My weekend began on Friday evening with a trip to Horsforth Modern Art, a gallery in the sweet surroundings on the outskirts of Leeds. It was the opening of a month long exhibition for Ian Taylor and Brendon Croker and the small and perfectly formed space contained much of their work, as well as all kinds of other treasures. 'Modern Art' is perhaps slightly misleading, but does indicate the broad selection of pieces available, mainly paintings, prints and sculpture. There were Hockney’s and Hirst’s as well as some excellent glasswork and even a selection of books on the history of local music scenes (of which I understand the owner was once part). Most visits to exhibitions (in my experience) are rather austere affairs, in large, largely bare spaces, quiet and ponderous. Which is fine, and I like to go along and stroke my beard.
But this was a little different. It was a lot more cosy and welcoming. The variety of types of work were inspiring and the artists themselves were there to offer insights into their work, which had surrealist touches, but were tied to a more tangible reality, a sense of history and old world running through them that made them accessible. Ian told us about the history involved with a sculpture he had created which included a small Roman broach imbedded into it. Naturally, this made it very expensive. There were lots of works created using found objects and I especially enjoyed the slyly altered countryside maps that were beautifully presented. The whole event did get me pondering about how Art is priced, but my ponderings didn’t get me too far. But it reminded me how important Art is in our lives, and I guess if you are talking value for money, it is something that could last a lifetime. I think it’s important to fill our homes with interesting, creative things, whether they are expensive works of art, or a child’s drawing on the fridge and I found that positive attitude inspiring at HoMA. The night was concluded with Brendon singing a ditty with his Banjo and it was really homely. And so, the exhibition is well worth a visit, even if you're a bit skint, like me.
I then popped across town to the West Indian Community Centre in Chapeltown to attend 'Raise the Roof', which I guess you would say was a 'music event', but only if you were very dull, or at a loss to describe the majesty of what lay within such humble surroundings. We entered to the sounds of Honeydrum, basically about 30 people pounding out rhythms on drums and cowbells whilst people danced around. It was awesome, and with no encouragement the crowd were joining in. I didn’t though, I, erm... had a pint and might have spilt it. It did give me time however to admire the wider spectacle. A massive amount of effort had been put into decorating the room, beautiful banners and Japanese style lampshades, big mushroom chairs and decorated archways beckoning you in. Now, I appreciate you may think, what the hell difference does all that make? Was the music any good? Well it makes the world of difference thank you. It made it feel special and made me feel privileged to be there. It made me feel I was in the hands of interesting, brilliant people, who really care. It made me ashamed that I have ever 'just' put on guitar bands in pubs.
After the excellent performance from the drummers we popped next door to the second room, where we found some rather more electronic beats pumping out. I don’t know the genre, but it sounded fucking cool. It was the start of the night, so it was empty, but I bet it was bouncing in there later on.
Sadly, and in rather boring style, I had to leave early, due to having an early start for work. I was disappointed, as what I'd seen suggested something really positive and massive fun. I missed out on sets by East Park Reggae Collective, Middleman and all kinds of DJ sets, including one by The Sunshine Underground. I did manage to see China Shop Bull, who coincidentally were one of the first bands I reviewed for Rhubarb Bomb, back before the coup, when I was a but an aspirational writer. On that occasion I wasn’t too nice, but they've certainly improved and their heavy Ska / Asian Dub influenced sound was perfect for the occasion.
Next year - must book this off work in advance. Starting at 9pm and ending at 5am... I’m gonna need a long time to recover from that.
Saturday evening i paid a visit to Henry Boons in Wakefield. On the Ride Promotions had organised something a little special in the tiny upstairs room of the pub, and told me I simply must attend. I missed last minute additions to the bill, our old friends IMP, performing what i was informed was a memorable diversion from their usual raucous Indie pop, to a raucous ACOUSTIC Indie pop set.
Main pairing of Clemence Freschard and Stanley Brinks took to the stage next. Freschard, a gently smiling, beautiful and down to earth lady from France played first, Stanley backing her up with some cleverly understated guitar. I love it when artists take the old girl / boy and a guitar and manage to do something special with it. I sit there examining the chords and thinking about the melodies and there's nothing especially clever or innovative, just the bare bones of something unfathomably perfect. In this case, and recently with David Tattersall, on whoms album Freschard recently appeared, the result is utterly captivating. The gentle, genuine approach, the sweet French pronunciations and the intimate surroundings made this a wonderful experience and I could quite happily have sat their and listened to her songs all night.
Stanley Brinks then took to the stage alone for a run through of his songs. A little darker and more solemn in tone, with some quite seedy suggestiveness, if i was hearing things right, it wasn’t quite as effecting as the first half, but still a very delicate lesson in minimalism. The songs were so quiet that you could often hear the music pounding through the floor below. For this was Saturday night in Wakefield. An occasional vision of actual hell. Tonight, On the Ride managed to carve a little bit of bliss amidst the horror of a Wakefield Westgate Weekend and I have to admit, part of me was sat there thinking; there's a French person on stage! That’s how backward things can get here. On The Ride have made my weekend. I leave feeling becalmed and at peace. Then, as I hit the bottom of the stairs and I am faced with the stag and hen and office parties dancing to SHIT and its almost washed away. But not completely.
In true Craig David style, I 'chilled' on Sunday. Well, I worked ten hours, but you know what I mean.
Then Monday night, I made my way up to Leeds Academy to see the Manic Street Preachers. I like the Academy; it’s a great venue to see someone like the Manics in. It’s actually pretty intimate in there, for an Academy type venue and tonight it is sold out. Its just makes for a better Manic’s gig, instead of the arenas they were only half filling five years ago. First up though are British Sea Power who I saw loads years ago, but haven’t seen since their 'Do You Like Rock Music?' album. They were still good, but in a slightly different way. They are more what I would describe as 'Arcade Fire-y' which may be wrong, perhaps more what I expect Arcade Fire to sound like since I’ve never really got into them at all. I always liked BSPs wistful, yearning vocals, which are still present, and it’s a pretty varied set. At their own gig, perhaps at Brudenell, I would have lapped it up. But here, I, and everyone else in the room only want one thing...
The curtain is removed to reveal a bizarre stage set of disco ball mirror covered mannequins, one a full on muscled Mr Universe type, another with an acoustic, sat on the bass amp. Very odd, and funny too, better than a simply recreation of the latest albums artwork. They bounce on stage, Nicky Wire looking the best he has in a decade, with a delightful Leopard skin jacket he picked up during the day. Launching straight into 'You Love Us', 'Your Love Alone' and 'Motorcycle Emptiness' the room is electric. Any fear that the writing and recording of their rather tame, yet passionate, new album 'Postcards From A Young Man' would result in a similar live show are blown out of the water.
As ever, it’s a hit heavy set with a fair mix from all their 10 albums (only 'Know Your Enemy' and Lifeblood' are ignored) and non album tracks 'Motown Junk', 'Suicide is Painless' and 'The Masses against the Classes'. How can they still play Motown Junk, a song they wrote over 20 years ago with such passion and conviction? I don’t know, and it’s probably a question they ask themselves often. But tonight finds them completely within the moment and the lap up every second of the admiring crowd. 'Leeds you're on fire tonight!' James Dean Bradfield declares. They are unashamedly crowd pleasing tonight and look like they are having the time of their lives. An unusual and slow rendition of 'This is Yesterday' is moving, a spiky retread of 'Jackie Collins Existential Question Time' is sinister and JDB's 2 song mid set acoustic section is great, leading to crowd singalongs of 'Stay Beautiful' and 'You Stole The Sun From My Heart'. Slightly cheesy? Perhaps, but wonderful all the same.
Its gigs like this that I want my non Manic appreciating fans to see. For all the spiel I could produce about how intelligent and ambitious and magnificent they were, and can still be, all the examples of the amazing things they have achieved, if they were to see a live performance like this... it wouldn’t matter if they didn’t 'get it' and weren't into them as a whole; the pure power and energy of performances like this would surely win them over. I’m not a Manic’s fan with the blinkers on, but I always have time for them. It’s interesting that despite all their stylistic experiments since their commercial peak 10 years ago, the live show has always remained high energy. If they were to build an album around that idea... that Motown Junk still sounds fantastic live... well, y'never know.
Interestingly, before the show i found myself surrounded by what could only be described as 'idiots', loudmouthed, small brained blokes and their birds mouthing such inanities it took all my energy not to bash em. Yet later in the gig I would see them mouthing along to the words and I had to think twice. I never really believed that thing about subverting the masses from within. I believed in it as an idea, but I thought, in the Manics case at least, it was long dead as a prospect. Yet here it was in action and I thought that was pretty cool. Ive never seen the band so at ease and enjoying themselves so much. Its was a great night.
Episode 2 of our series of podcasts is now available to download through iTunes. I was joined in the 'studio' (our spare room) by Chris Morse, promoter and head of Louder Than Bombs Records to talk about the difficulties and challenges facing promoters at the moment. I was also joined by Rob Dee of Philophobia Music to share his own experiances of promoting and to entertain us with his razor sharp wit. I played some tracks that i have been enjoying recently and hope that you will also. Download here:
For those that missed em, the record reviews from Issue 1.3
The Spills – Smoke Signals Philophobia Music I’m so glad to hear this record. Because I can now finally unburden myself of a terrible secret – I’ve never been a massive fan of The Spills. I’ve enjoyed their records certainly (especially the split with Piskie Sits a while back) and they’ve always entertained live… but a full on FAN? The sound was always a little too grunge indebted to me, it never quite engaged me on an emotional level. But before Wakefield as a mass entity turns and strikes me down; Smoke Signals is immense and it’s now official – I’m a fan, and then some.
The format of a five track EP has given them space to breathe. In a way, less is more, with the focus on the hooks in place of some of the former bluster. Opening track ‘Fish Eye Lense’ is stripped back beauty. Clean, gentle, barely strummed guitar and tender vocals, with delicate echo – I cross my fingers this isn’t the predictable quick 20 second intro to the usual fair. It’s not, they keep their nerve and keep it quiet - it’s a ballsy move and pays off massively. And then, by doing something totally unexpected, they remind you what was good about the band in the first place – ‘Holidays’ is noisy and exciting. It’s also the hookiest track they’ve ever done.
Rob Slaters vocals, and lyrics are put further to the fore than ever before and it pays off big time. The dynamics and structures of the songs are exquisitely natural, and brought out beautifully by the upfront but subtle production. Not sitting back on the loud quiet routines, but incorporating whole interweaving sections that never sound contrived. When a track clocks in over 4 minutes but feels like it’s lasted half the time, you know you’re onto a winner.
‘Teeth in a glass’ shows a mastery of anthemic Indie without resorting to dumb emotional signposting, the ‘everything is alright’ refrain sang with enough hint of disdain, and possible sarcasm to avoid triteness. But overall the feeling is of carefree abandon; real beams of sunlight cover this record. Sound wise there may still be hints of that grungy past (but more ‘questions and answers’ Biffy than Nirvana) but it is certainly not angsty. A strong, passionate vein of positivity runs through this EP. And it’s the balance between unashamed pop and aggressive, intelligent noise making that makes The Spills so special now. Where many bands would kill for hooks like these, but then use them to sing inane nonsense about getting pissed up and losing a girlfriend, The Spills have an edge and passion that surpasses such predictable and tired ideas. And more importantly, they just seem to be getting better and better. A very important step for a band that deserves to take them to a much larger audience. Dean Freeman
Secret Circuits – This Town EP Self released This EP sounds like a contrived mixture of euphoria and melancholia, in the vein of bands who have had success by virtue of their inoffensive blandness such as Editors and White Lies, with songs building up using rumbling bass with layers of trance keyboards being added. Lyrics are sung sparsely over the top of this in a forlorn fashion. At times there is also a Biffy Clyro influence. Sadly the songs lack the passion, time changes or gabba rhythms that make that band so good. Not something I would encourage anyone to listen to. David Cooper
Tender Trap – Dansette Dansette
Tender Trap’s new album is released at a time when the indie-pop scene is absolutely thriving, with bands like The Pains of Being Pure at Heart and Los Campesinos currently taking the fuzzy, impassioned blueprint and making it their own, to popular acclaim.
Members of Temper Trap were helping to create this sound in the mid eighties with bands such as Talulah Gosh and Heavenly. I have to confess my ignorance for most of these bands songs, as well as the previous Temper Trap albums. What I can say though is that this album combines a steady, sleigh bell tap, reminiscent of bands like Jesus and Mary Chain with lush, dreamy sixties girl pop vocals and clean gently strummed guitars. It’s a very lovely combination and while it’s not breaking any new ground it’s a warm, relaxing listen.
I do prefer this type of thing with a bit more fuzz and feedback and a bit more urgency and bite. Nevertheless it is a very lovely record and comes highly recommended. David Cooper
EXIT STATE – DEATH OF A ROCKSTAR King Prawn Records
Let’s be honest, Britain hasn’t produced that many great heavy bands in recent years. The last home-grown ‘heavy’ album to really get me frothing at the mouth was Gallows’ “Grey Britain”, whilst their 2009 Leeds festival set transported me back to my late-teens, when Entombed’s death ‘n’ roll ruled my stereo. Exit State won’t be troubling said stereo many more times, if at all.
There’s no faulting them as a musical unit, they’re tight and on occasion write some infectious hooks, sterilised hooks at that. Everything about this album screams ‘commercial metal’, which holds little, if any appeal for me. “Out ‘Till 3” has, more than a hint of Lost Prophets about it, with plenty of potential to fill the dance floor at any given rock-night. But surely anyone with their critical faculties intact will baulk at “Death Of A Rockstar Part One”, one of the most overwrought, ‘everything and the kitchen sink’, rock ballads I’ve recently witnessed. “Part Two”, complete with gang chants, orchestral keyboards and stadium sing along sections is even more bloated and excessive. It’s cinematic in scope, but unfortunately like many summer blockbusters there’s little to reward repeated exposure. Meanwhile “Dirty Intoxicated” suggests the band listened to Pink’s “So What” on constant repeat when they were writing it.
Granted their clean, catchy, chorus laden metal will have its fans. Me, I’d prefer something altogether, darker, dirtier and well deathly. It’s no coincidence I’ve been blasting Entombed’s “Clandestine” so much recently. Andy Whittaker
GLASS – THE SOUND OF GLASS Self Released Glass are not just the sum of the gothic, post-punk and new wave influences they list in their biography. Perhaps ‘Prog’ is still a dirty word around some parts, but there is more than a hint of progressive rock at work during this album, particularly on its closing track “My Elan”, where echoes of progressive-metal titans Dream Theater can be heard. Further to this the “The Sound Of Glass” is a concept album, a progressive rock trademark if ever there was one.
The imagination which has gone into not just this album, but also the band’s website (www.thesoundofglass.com) is impressive. If anything it is Alexander King’s voice that lets the material down slightly, lacking some of the power of Editors’ Tom Smith. As it reaches its conclusion “The Last Transmission” certainly bares the hallmarks of the material which has brought Editors to a wider audience. Crucially at this point King’s voice is complemented by layers of backing vocals. At points earlier in the song his vocal style reminds me of that of William Shatner, seemingly talking over the music. Still, I happen to be a fan of Shatner’s “Has Been” album, some people though may find the vocals are missing that extra something.
At just over half an hour “The Sound Of Glass” never threatens to outstay its welcome, shunning the tendency of more overtly progressive bands to pen songs that often stretch well past ten minutes. Secretly though, you wonder if the band yearn to unleash a sprawling double-album in the future, we’ll have to wait and see. Andy Whittaker
Pop Fosters EP Self released
Punk music is good; it’s brilliant. However, I personally find that, the older punk music is the better. A lot of bands these days go for a punk sound but often end up sounding like a bit of a joke. Maybe it’s because bands like The Ramones, The Clash and Buzzcocks did it so well, who knows.
Fortunately, Pop Fosters; a two-piece from Wakefield, have made a pretty decent job of it. ‘I don’t wanna feel this way tonight’ has that cheery little spark most Vaseline’s songs do, which coupled with Pop Fosters’ up-beat, high tempo chantings, makes for a great little track. ‘Everyday’s the same’ is another interesting song, it begins all gloomy and depressing, but just at the right moment becomes an infusion of punk and raw energy. Clever little thing they did there, and it certainly has the intended effect.
‘Myopic’ is blatantly the stand out tune on this EP; it’s immediately catchy, fast paced and fused with energy. You should definitely listen to this song. This track tells me this is a band to watch, creating such a perfect punk song, we can only hope there’s more where this came from. Not to say the other songs aren’t good; but they certainly don’t have the spirit and intensity of this song.
Aside from the songs, Pop Fosters have a great attitude that comes through on this EP. Essentially attitude is what makes punk so brilliant in the first place, and this EP is bursting at the seams. Melissa Greaves
This Many Boyfriends - Getting a Life With EP Thee SPC This Many Boyfriends take their name from the Beat Happening song ‘This Many Boyfriends Club’. Surely they have to be good if they’re named after a Beat Happening song. With that in mind, it seems quite fitting that the CD release of this EP comes with a fanzine and badge/sticker set; I’m in Indie heaven already.
The first song on this EP is called ‘I Don’t like You ('Cos You Don't Like The Pastels)’, and it’s pure brilliance. Anyone with a hint of music-snobbery lurking under their skin will instantly relate to this song, with lyrics like “I didn’t even flinch when you said you hated the go-betweens” and “I even let you smash my Cribs singles box-set”. Lyrics aside, it’s fervent and poppy guitar sounds and blatant twee-ness will leave you weak at the knees. Listen closely, there’s a lovely little riff in there not too dissimilar to Ryan Jarman’s riff in ‘Another Number’. To top it all off, the chorus has an immense catchiness like a Ramones song; captivating in its simplicity.
‘I should be a communist’ sounds like Morrissey and Marr joined Beat Happening for the day, and the results are catastrophically ingenious. The guitar playing on ‘#1’ is clearly influenced by Orange Juice, and when coupled with a clarity laden vocal, gives this song a perfectly summery vibe. When I thought things couldn’t get better, they did. The female vocals on ‘Trying to be good’ are perfect, and the feeling behind the vocals as a whole is sure to grip the heart of any Indie soul.
This band reminds me of Comet Gain; there’s a definite energy running throughout all the songs. Their influences shine through, yet they still have a unique and interesting sound. Melissa Greaves
Under the Bus Station Clock – Compilation Philophobia Music
‘Under the Bus Station Clock’ is the recent compilation from Philophobia, with a whole variety of talented artists on display. Noticeably absent are Runaround Kids, but not to worry, label boss Rob Dee has more than compensated with this fine selection of songs. Although it may seem a little incestuous, in the sense that many bands contain members of other bands, it’s certainly a positive thing.
The compilation begins with ‘How to Stay Alright in a Southern State’ from ‘Junior Swimsuit’. He used to be the lead singer of Lapels (RIP); aside from that he has the most poetic and eloquent way with words I have ever come across. This is far more stripped back than the raucous energy of the Lapels, but still as enticing. Followed by ‘A Billion Parallels, Crashing’ from ‘One Day, After School’, who since the release of the ‘PROLEFEED’ EP late last year, have progressed tremendously. Though as before, still utterly charming and a great listen, this track is mesmerising and hauntingly atmospheric.
A particular highlight has to be ‘When the Weathers Wrong’ from The Bambinos with an incredibly captivating vocal, which is addictive accompanied with the twinkly guitar sounds. Another highlight; Wakefield’s answer to Jeffery Lewis, ‘Salvage My Dream’ with a great song called ‘Cost Of Living’, which drifts between gentle vocals and an hypnotically aggressive rant. ‘St Gregory Orange’ takes you to another world with ‘Pan Away Then Fade to Black’ which is eerily cinematic, showcasing further poetic talent from the once Lapels front man.
Then there’s ‘IMP’ with ‘My Least Favourite Brunette’; they’re the perfect indie-pop band, home to a few ex Lapel members. IMP probably have more talent in a single toe than all off NME’s current fancies combined, but that’s generally how it goes isn’t it? ‘Jeremiah’ flaunt the most charming of vocals with ‘Do Whatever He Says’, and two of Wakefield’s most exciting bands ‘Tiny Planets’ and ‘Piskie Sits’ expectantly provide catchy, dreamy songs. Both these bands harbour a distinct uniqueness, which is rare to come by these days. And, when Tiny Planets man Rob Slater isn’t sat behind the drum kit, he’s off making delightful punk songs like ‘The Frontal Lobe’ with ‘The Spills’. Then, there’s Piskie Sits guitarist Harry Rhodes with his exquisite contribution ‘Twisting Deep and Cursing Sweet’, with a slight Suede vibe, this track is certainly a personal favourite. As is Michael Ainsley’s ‘Slip Smash’, with his heart on his sleeve and poppy keyboard sounds, he offers up magical pop song.
The penultimate song on this compilation is from the greatly talented ‘ByBy’ slurring over a mystical combination of glimmering keyboards and sneering drums. Rounding things up perfectly are ‘Candid Squash’ with the final track ‘Gimp’, it may be over eight minutes long, but each and every one is worth a devoted ear.
So there you have it, Philophobia is just showing off really; there isn’t a single song on this compilation that could be described as anything less than brilliant. Melissa Greaves
Quack Quack – Slow as an eyeball Cuckundoo Records
This reminds me a lot of the first time I heard Aloha Hawaii, Stuart Braithwaite and Aiden Moffats side project, in that it makes me feel a little bit sick. Now, that’s probably not the best opening line to a review Quack Quack will receive, lets be fair. But it doesn’t mean it’s not good, it just means you have to give it some time, and get tuned in to what’s going on.
The keyboards on opener ‘Perpetual Spinach’ chime around nicely, recounting the innocence of an old fashioned children’s TV programme. The playful melodies are key, and along with the inventive and sprightly drumming remain constant across the album. There’s a Fall element to it as well, the repetitive rhythms and the sense of not being quite sure what’s going on, or where you are; its disorientating certainly. But this is purely instrumental, and perhaps more than any other instrumental record I’ve heard do the instruments take the place of the vocal lines. Its dense, it’s packed, there’s rarely a space that isn’t filled. If they did have a vocalist they simply wouldn’t be able to get a word in.
It’s a real achievement for a three piece to have created this record, and I admire the musicianship immensely. Whether it’s a record anyone that isn’t a musician would like to listen to is a difficult one. It’s got the complexity and (for me) inaccessibility of Jazz – that element of impenetrability and experimentation. I’m frightened that this might be a little too close to ‘muso’ territory, but there isn’t the sense that the musicians are having more fun than you; it’s undeniably an astounding piece of work. And I love that it is incredibly positive, a happy and celebratory album, that is proudly different. I love the attitude of the band too, and that they’ve created something fresh and challenging… it just makes my head hurt a bit. It’s certainly unlike anything else reviewed this issue, and for that reason alone it is definitely worth checking out. Chances are you’ll fall in love, or turn it off after about 24 seconds. So, worth a go right? Dean Freeman
Above Us The Waves – A Gene Self Released
Before even hearing this I knew I was onto something good. You know why? Because it came in a hand made sleeve, and not just a little picture placed inside a second hand CD case – a full on fold out paper sleeve, with pictures and handwritten lyrics and allsorts. It made me realise I haven’t received a crappy demo in ages. It’s no longer good enough to send off CDRs with a pen written band name on. The enthusiasm and creativity of the sleeve says a lot about the band I reckon, so well done Above Us The Waves.
And for the small matter of the music? Well, it’s a 4 track EP and it would be impossible not to mention Runaround Kids, with which this band share some members. It’s a similar high energy mix of super quick clean jangly guitars and pounding, noisier parts but rather more angular and ‘raw’ than the previously mentioned band. In parts its blisteringly fast and draws to my mind a mix between 80’s American punk - not hardcore - but the sound of bands in garages in suburban neighbourhoods, with a touch of Smashing Pumpkins ‘1979’ melancholia. That may sound like a bit of a contradiction, but it’s matched by the music, these songs often sound like lots of little ideas squashed and forced together, but in way that actually works really well. The sudden changes of mood, tempo, vocalists and time signature all sound really natural and I think that’s a real gift. To be fair, I’ve listened to this quite a lot recently and still don’t feel I’ve scratched the surface, which is pretty rare for an ‘energetic Indie band’ or whatever this stuff gets labelled. And its further testament to the members of the band who are in other projects that this sounds fresh, vital and FULL of ideas – it’s the sound of an unquenchable urge to create - and that this is the first ‘release’ from the band, when others are still pissing about figuring out how not to sound like all the songs they used to cover before they wrote their own, is pretty exceptional. Dean Freeman
Our recent round-up of the Summer’s huge variety of festivals had left us a little sad. Would we really have to wait til next May for it all to start again? Well, of course not, there’s still loads going on, including all the ATP stuff (sadly not for us this year), as well as something that’s looking quite special: Constellations.
Taking place in Leeds on November 14th at Leeds University, it has a chance of matching the joy and variety of ‘Live @ Leeds’ with the added advantage of keeping it all under one roof – essential as winter closes in.
3 stages will host some fantastic bands, including some of our favourite Leeds regulars, alongside some truly exceptional visitors from further affield. The difficult decisions as to where to go and who to see will begin immediately at half two, but naturally the Bomb would head off to see Wakefields finest ‘Runaround Kids’. After that, who knows, but I would personally have to go for a run of iLiKETRAiNS, Sky Larkin, Liars, Los Campesinos! and Broken Social Scene. A great band I came across just the other day, ‘Cloud Nothings’ are there too and, well, there’s not really a weak moment.
Sadly, I will not be here to see it. Whilst it seems like an awesome way to spend a miserable November Saturday, it’s not quite enticing enough to cancel a trip to Japan. Not quite. But I feel genuine sadness I can’t be there and as such, a RB writer will be there to document the whole event for me (and you). It sounds to me like a great combination of spot on local talent and interesting and unusual artists that probably wouldn’t come to Leeds so often and that is all put on in conjunction with some of great independent enterpirses (Wichita, Dance to The Radio, Brudenell, Drowned In Sound) makes it even more worth the while. Look out for that upcoming review and for more info go to www.constellationsfestival.com
We have recorded our new podcast and are currently editting it together. Then it'll just be down to the people of iTunes to give it thumbs up and it will be with you.
Our guest on this edition was our good friend Chris Morse, who is the head man of Louder than Bombs Records, as well as the club night of the same name. He's been putting on gigs in Wakefield for a long time and we spoke to him about why (and how) he does it.
We were also joined, at the eleventh hour by Mr Rob Dee, head of Philophobia Music who updates us on his labels goings on as well as offending everyone from Glasgow. We were all a little hungover and tired and as such the editting process was a testing one (!) but it was great fun and thankfully we got some great tunes in there for you too including tracks from the forthcoming Phantom Band and iLiKETRAiNS albums.
Whilst we will continue with these podcasts we are looking to improve upon them in the new year. We are also going to produce some 'one off specials', the first of which should be with you alongside the new issue in December. I will be joined by Tim from St Gregory Orange and will feature us talking about (and playing) some of our favourite B-Sides.
Yes I know, lists are easy and tired, but it is with good reason that I have decided to list what I see as the ten biggest mistakes The Beatles made. For it is 43 years ago, this very day, that they were recording guitar overdubs for 'Your Mother Should Know', which is well worth celebrating, I’m sure you’ll agree. And just to clarify, by mistake I am meaning a ‘musical’ mistake, so I’m not to include silly things like getting Magic Alex to build a studio or the whole Apple Corp enterprise. It’s also worth noting that almost everything here relates to the second half of their career. This isn’t due to some preference for their earlier material – I am very much a ‘Blue Album’ person; it’s just that having made their mistakes early on, learning on the way, the expectation was so much higher 1965 onwards. I’m not here to criticise mistakes made due to lack of experience or naivety; more those that were pure misjudgement and often led the path towards, or exemplified, their ultimate demise. But criticism cannot be that harsh, for it was often their ‘mistakes’ that brought out their character (s) in the most effective style.
1.‘Her Majesty’
How to conclude the final album by the greatest band in the history of forever? How about a song called ‘The End’ featuring Ringo’s first ever drum solo, and 3 electrifying guitar solos featuring Lennon, McCartney and Harrisons differing styles? And a final lyric that declares ‘And in the end, the love you take is equal to the love you make’?
And so it should have been, ‘Abbey Road’ closing with an exciting, positive and collaborative final effort. But, with the album pretty much put to bed, Second Technician John Curlander decided to tag on ‘Her Majesty’, a left over segment from the albums ‘Long Medley’ idea, to the end of ‘The End’ and, unbelievably, The Beatles allowed it. As such, the ‘final thought’ we are left with from their unmatched series of albums and singles is a throw away ditty, featuring just Paul McCartney and his acoustic guitar making bland and meaningless sentiments about the Queen. Perhaps more a sign of their complete disregard for The Beatles as a band at that time, its still a disappointing mistake to have made, and always annoys me when I forget to quickly turn the album off after ‘The End’.
2. Eric Clapton
Getting Eric Clapton to join the band in recording ‘While My Guitar gently Weeps’ wasn’t a disastrous decision for The Beatles. But, come on, Eric Clapton? Not very cool is it. One of only two professional musicians to collaborate on a Beatles record (the other being Billy Preston), it unfortunately places his turgid, showy, ‘muso’ guitar playing on a much higher pedestal that it deserves. Harrison was struggling for a long time with the solo passages to this song (including trying to record it all backwards to sound like ‘weeping’) and recruited his good friend to help out. How did Clapton repay him? Nicked his wife, naturally. Poor George. Should never have got Clapton involved.
3. Just Let it Be
The majority of what became the ‘Let It Be’ album was recorded between The White Album and their swansong, ‘Abbey Road’. Yet it didn’t see release until after the latter. The idea behind the album was for the band to get back to its ‘roots’, that is, a more rock and roll, less experimental approach that focussed on the band working, and playing together as a four piece. After the disjointed approach to recording The White Album, this certainly made sense. However, in the end, it only served to stretch the already strained relationships between the group and the resulting recordings where left on the shelf.
The songs were later given to Phil Spector to pick through, and he ended up producing the album ‘Let it be’. With his signature production techniques all over, it flew in the face of the ‘warts and all’, ‘no overdubs’ approach of the original idea. McCartney in particular was upset with the treatment his ‘The Long and Winding Road’ had received. But since the band had just split, no one seemed to care, and history came to see ‘Abbey Road’ as the bands actual swansong, so its place as a failed experiment (that at least produced the legendary rooftop concert) was secured, no one really minding either way.
Except McCartney couldn’t let it go. And as such, 33 years after its initial release, it was made available in its ‘intended’ form as ‘Let It Be…Naked’. Gone are the swirling choirs and over the top orchestration and instead we are left with some simple and direct run thru’s of the same set of songs (plus Lennon’s fantastic ‘Don’t Let me Down’). So what’s the problem?
Well, the initial sessions were a mess. Utter misery, and probably the low point of inter Beatle relations. The hours and hours of tape betrayed the fact they had completely lost their focus and direction, and that at least 50% of the band weren’t interested anymore. The second attempt by Spector to rectify it was a hit and miss affair, and completely disregarded the ‘honest’ approach they had attempted, though he had chosen to leave in various false starts, between song ad-libs and conversations, which at least gave an impression of what it was meant to be.
But now, the third attempt at ‘getting it right’ was just as flawed. The between song banter was removed and placed on a bonus disc (22 minutes of random conversation – why?) and instead we are left with the bare bones of the songs. Admittedly, the remastered tracks sound fresh…but by meddling with history McCartney has taken the soul out of the music, the character. Even the original premise of it being ‘as was’ in the room was betrayed - an out of tune Lennon note was corrected digitally. What was this meant to be? Not to mention the album is now suspiciously McCartney heavy. At least the original album and accompanying film were interesting documents, showing the decline and dissolution of a great band. ‘…Naked’ added nothing to this, only took away from it.
But the big thing McCartney has missed is that, well, the songs just aren’t very good. It’s not a good album in the first place, and no amount of remastering and altering the order of the tracks is going to change that. ‘Get Back’, ‘Let it Be’ and ‘The Long and Winding Road’ withstanding (but I cant really stand the last 2 in that list) there’s nothing here that approaches The Beatles best, by some stretch. After THREE botched attempts to get something worthwhile out of the sessions, you cant help but feel that perhaps the whole thing would have been best left in the vaults, earning a reputation as being the ‘great lost tracks’. If McCartney’s interfering had revealed a real gem, then fine, but it doesn’t. It was all there in the title, all along. Why didn’t you just ‘Let it Be’ Paul?
4. ‘Wild honey pie’
Its well known that a large amount of The White Album was written during their stay in Rishikesh, and, as such, many songs were either acoustic based (at least in origin) and / or throw away in-jokes. And whilst I will discuss this in further detail later, special attention must be drawn to the track ‘Wild Honey Pie’, which is quite possibly the worst song they ever released. Perhaps (though only ‘perhaps’) other songs were more trite, more disposable, more careless, more ill thought-out, more misguided, but was ever a song so bloody annoying? Mercifully not much longer than a minute, its inclusion as track 5 on The White Album is utterly befuddling. From the nauseating group vocal to the horrible wobbly guitar, it simply recreates the feeling of being very, very ill.
On a wider level, it showed The Beatles instincts had been well and truly blunted. The belief, formed with their discovery of LSD, that ‘random’ elements and ideas were as equally valid as those well thought out ones had brought them some amazing success: ‘Tomorrow Never Knows’, ‘I am the Walrus’ etc but had also led to more self indulgent, less focussed work such as ‘All Together Now’ and ‘You Know My Name (Look Up The Number)’. Though ‘clean’ during their trip to India, this belief had clearly stuck around, hence the release of utterly inferior work like ‘Wild Honey Pie’.
5. Run For Your Life (little girl!)
A constant theme running through The Beatles work was ‘Love’; from the simplistic teenage infatuations’ of ‘She Loves You’ et al, to the more universal, hippy messaging of ‘All You Need Is Love’ it was the one constant in a diverse career. So fitting the lyric ‘I’d rather see you dead, little girl, then be with another man’ into this theory is a little difficult…
But worse than the nasty bitterness of this Lennon penned number is the pure hypocrisy. By the time it was released on ‘Rubber Soul’ in 1965, Lennon had long tired of his loveless marriage to Cynthia, and was openly engaging in affairs and one night stands with a vast amount of ladies. ‘Norwegian Wood (this bird has flown)’, also from ‘Rubber Soul’ tackled this very subject, but its ambivalent ending was due to some late lyrical changes, to avoid Cynthia finding out. Not that she wasn’t at least partly aware; Lennon would often brag openly in her company of his various conquests. It was his feeble way of rebelling against the gentle bourgeois hole he had found himself in. But how could he sing ‘If I find you with another man, it’s the end – little girl’ with any sincerity what so ever?
‘Rubber Soul’ saw the band developing greatly as songwriters, and the aforementioned ‘Norwegian Wood’ shows a more thoughtful and complex approach to dealing with personal issues. ‘Nowhere Man’ deals with a similar feeling of isolation and ‘In My Life’ is a beautiful and mature expression of love and melancholy. All Lennon numbers, and all fantastic.
Which makes it all the more surprising that ‘Run for Your Life’ sits along side them, as the albums closing number, no less. Later, older and wiser, and under the influence of Yoko Ono, he expressed utter regret at the song and its misogynist views. It’s hard to think of a bigger misstep in The Beatles catalogue, purely in terms of mood and intent and its bizarre that no-one, especially Brian Epstein or George Martin thought to point out the bitter taste it leaves. For The Beatles themselves, it would be the last bit of ‘filler’ they committed to tape until the LSD come down of Magical Mystery tour and the passing of tracks of this inferior calibre would see the onset of their imperial phase: Revolver and Sgt Pepper.
6. Quality Control, and The White Album
Now, let’s be clear; The White Album (some weeks) is my favourite Beatles album. Not because it has the best songs. Far from it. But because it has a unique atmosphere, a seemingly relaxed approach, once described as the ‘lazy afternoon’ of their career. The fact that most of the band were working in different studios on their own songs, mean it is incredibly diverse, and sways wildly from straight on ‘rock’ to twinkly folk, to mesmerising 9 minute soundscapes, each of the composers letting their personalities shine – even Ringo, with his first ever self penned composition. The 30 tracks show a huge range, and though there is a self indulgent element to it, it’s utterly fascinating if given the time.
That said, and as mentioned previously, it does contain some duff tracks. It’s an interesting exercise to try break the two discs down to one album, especially if you throw ‘Hey Jude’ and ‘Revolution (single version)’, recorded at the same time, into the pot.
The aforementioned ‘Wild Honey Pie’, whilst atrocious, does at least fit in with the Rishikesh sing-a-long starting point for the album. But the decision to release a 30 track double album resulted in crap like ‘Savoy Truffle’ and ‘Honey Pie’ being forced upon the world. And these weren’t quickly recorded throw away tracks – they were planned, thought out pieces that simply showed their authors to be, in the first instance, out of ideas and inspiration (a song about Eric Clapton eating chocolates – him again!) and in the second, literally going through the paces of recreating some awful dance hall pastiche, which can only leave the question – why? ‘Honey Pie’ in particular was an early sign of McCartney turning into the insufferable smug ‘entertainer’ role he later seemed to relish in.
A slight bit of trimming could have left us with an exceptional 26 track double album, or even, with a bit more work could have seen the inclusion of later solo tracks (Lennon’s ‘Child of Nature’, McCartney’s ‘Junk’ or Harrison’s ‘Not Guilty’) or even the wonderful ‘Hey Bulldog’, still at that time in the vaults, seeing eventual release on the ‘Yellow Submarine’ soundtrack a year later. But the problem was the egos, and the disintegrating relationships, no one writer willing to give up his space on the album. And whilst the track listing itself is a pretty awesome effort in creating a flow throughout its hour plus, the ‘kitchen sink and all’ approach sadly leaves some pretty big cracks. Some of these ‘cracks’ in the façade are fascinating. But some are beyond redemption.
7. Never toured past ‘65 When Beatles Manager Brian Esptein died in 1967, the band effectively lost their ‘rudder’, the man who had guided them through the turbulence of ‘Beatlemania’ and beyond. Since they had ceased touring in 1966, his role had become more perfunctory, yet his death still had a huge effect on the band. After the high of Sgt Pepper, McCartney stepped up to suggest a film project in order to keep them focussed, which became ‘Magical Mystery Tour’. The band then went on their Indian adventure, resulting in another album. But at the dawn of 1969, with Lennon and Harrison pulling in different, non-Beatle directions, McCartney dreamt up another idea, one that, he hoped, would bring them all closer together.
Sadly, and as already discussed, it pretty much tore them apart. The ‘Get Back / Let it Be’ project was, however, a good idea in principle; to re-engage the band by playing live, rehearsing carefully as a four piece after the separation of The White Album sessions.
Its yet another symptom of The Beatles malaise at this time that, after brainstorming ideas for the location of the ‘one-off’ gig to conclude the ‘Get Back’ sessions, which included an Atlantic Sealiner and a Tunisian Ampitheatre, they eventually settled on the roof of the apple building where they ‘worked’. Similarly, their final album was to be called ‘Everest’, until they realised that involved them all flying to said mountain for a photoshoot. They promptly changed it to ‘Abbey Road’ meaning they could step outside the door and be done in 20 minutes.
The result of all this being that we will never be able to hear The Beatles greatest songs performed live by the band themselves. Giving up live performance was undoubtedly one of the finest (and bravest) decisions they made. It allowed them to explore and experiment beyond the limits of sound and pop in the mid sixties. But, with the exception of ‘Revolution 9’ which isn’t ‘pop’ anyway, their last ‘pushing of the boundaries piece’ was probably ‘I am the Walrus’ in 1967. The trick they missed was performing all that 65-68 material in concert. Instead they pushed forth with the performance angle but instead tried to ‘get back’ to their Hamburg roots, a final attempt to reinvent themselves that ultimately failed
Sadly, after the split, Lennon only ever performed 3 of his Beatles songs live (Come Together, Yer Blues and Lucy in the Sky with Diamonds) and McCartney’s modern day touring band unfortunately polish the essence out of what were quirky as well as seminal recordings (I can barely listen to Hey Jude or Back in the USSR without seeing his wrinkled face backed by 20 plus session musicians)
Common belief is that it just wasn’t possible to create the sounds of their Pshycedelic peaks, but existing demos and alternate versions of ‘Strawberry Fields’, 'Tomorrow Never Knows', ‘I am The Walrus’ et al would suggest otherwise. Stripped back, with different elements to the fore, certainly, but how exciting would a live album have been, seeing all these classics reinterpreted by the band themselves? Live albums are often the nadir of any bands back catalogue; in this instance The Beatles could have revolutionised that concept too.
8. ‘The Ballad of John and Yoko’
Forget ‘Strawberry Fields’ or ‘Eleanor Rigby’, this has to be the most ‘un-Beatles’ single the band ever released. For one, it only features Lennon and McCartney, Paul only really agreeing to the whole enterprise in a doomed attempt to keep Lennon interested in being a Beatle. But Lennon’s mind was elsewhere, and in many ways, this could be argued to be his first ‘solo’ single.
Describing his recent run ins with the law, his bed in for peace and the medias treatment of Yoko, it is an interesting document of what was happening at the time, without being a great song. Its hard to tell whether its chorus refrain of ‘Christ, you know it aint easy, you know how hard it can be / The way things are going, they’re gonna crucify me’, is a tongue in cheek reference to his early (misquoted) suggestion that ‘The Beatles are bigger than Jesus’ or the onset of a messianic complex. Likely, it was a bit of both. Either way, as a song and a proposition, it raised questions about what a Beatles song could, and should be; the problem was it raised it in a way that only really offered one answer…
And so, featuring a lyric that no one in the world could relate to, bar Yoko Ono, ‘The Ballad of John and Yoko’ was Lennon at his most self obsessed, and self interested and further signalled the end for the band. Musically it is pleasant enough, in the style of the ‘Get Back’ sessions around which it was recorded, but is certainly no classic, and had any other band recorded it, it would have been long forgotten.
9. Anthology of disinterest
Anthology was a big deal. An opening of the vaults, a chance to hear unreleased Beatles material, all those lost classics that had been the subject of speculation for decades. A chance to tell a different story, reveal the secret history behind the worlds biggest band. But they kind of bottled it. Whilst relations between the surviving members and Yoko had certainly improved by the mid nineties, in that they could at least talk fairly reasonably about things, the unsteady peace resulted in any member being able to veto any inclusions, for whatever reason. It wasn’t a case of majority vote, if someone wasn’t happy they could just walk away. They were a Beatle, they didn’t need this stress. They certainly didn’t need the money. And so, what could have been an essential purchase, became a bloated run of backing tracks and uninteresting alternate takes. Yes, some tracks were excellent insights, but at 3 double disc sets,why no legendary 28 minute take of ‘Helter Skelter’? Or more of the White Album demos recorded at George Harrison’s house? Or what about ‘Carnival of Light’, a free form 20 minutes SGT Pepper era experiment that bridges the gap between ‘Tomorrow Never Knows’ and ‘Revolution 9’? Nah, an instrumental version of ‘Eleanor Rigby’ is what we get. Cheers Beatles.
10. Come Together / Fall Apart
From 1965 to 1970 The Beatles output of singles and albums was phenomenal. Up until the release of ‘Come Together / Something’ in 1970, the only singles they released from albums were ‘Help!’ and ‘Eleanor Rigby / Yellow Submarine’. They tended to usher in new albums and directions with standalone singles; ‘Paperback Writer / Rain’ for ‘Revolver’, ‘Strawberry Fields / Penny Lane’ for Sgt Pepper, ‘Hey Jude’ for The White Album. It’s an astounding record, both from the perspective that whilst pioneering the idea of what an album could be, they were still producing ‘hit’ singles, that were equally pioneering and that so many of their well known tracks are simply really good album tracks. This consistent high quality is part of what makes them a great band; buying their albums is never a case of getting 4 hit singles and 8 fillers. Which is why it’s sad, and symptomatic of their falling apart, that they released the split ‘Come Together / Something’ single from ‘Abbey Road’ AFTER the album was released. Not only were they both album tracks (and tracks 1 and 2 at that) but it was the only time they released a single after the album. That might not sound odd now, as that is generally common practice these days, but back in 1970 it was lazy and showed utter disinterest. Lennon’s typically dismissive comment was that they’d released it so people could hear the 2 decent songs off the album, without having to bother with the rest. Whilst clearly not true, to show such contempt for his own work spoke volumes and not long after The Beatles were no more.
One positive upshot was that the release of this single saw Harrison get his first Beatles A-Side and may well have been a goodwill gesture from Lennon / McCartney, both of whom praised ‘Something’ highly. But, regardless, the release of this single ended an unparalleled run of singles and albums that went: ‘I Feel Fine’, ‘Ticket To Ride’, ‘Help!’, ‘Day Tripper/We Can Work It Out’, ‘Rubber Soul’, ‘Paperback Writer’, ‘Eleanor Rigby’, ‘Revolver’, ‘Strawberry Fields’, ‘Sgt Pepper’s Lonely Hearts Club Band’, ‘All You Need Is Love’, ‘Hello, Goodbye’, ‘Lady Madonna’, ‘Hey Jude’, ‘The Beatles (White Album)’, ‘Get Back’, ‘The Ballad of John and Yoko’, ‘Abbey Road’.
Dean Freeman
*The Best Beatles book in the World is 'Revolution in The Head' by Ian Macdonald. If you only own one, make it that one.
Roland X reviews the odds and sods that arrived too late for the last issue, but soon for the next.
Freebass ‘The Singles’ Hacienda Records Freebass; the long discussed collaboration between legendary bassists Peter Hook, Mani and Andy Rourke. This is a promo of, presumably, what were or will be the singles from their debut album ‘It’s a Beautiful Life’.
When I first heard of this project many years ago, I was pretty excited about it. Not especially because I expected an amazing record to appear, but because of the madness of it – three bassists? How would that work? But considering their styles – Hooks high end melodies, Mani’s low end driving hooks and Rourke's bouncy multi octave approach, maybe it could work…
What has finally appeared is something a lot more conventional. After seeing Peter Hook’s spoken word, it comes across much more as his baby, a chance to play in a band once more after the dissolution of New Order. And so we have a ‘full’ band setup, mildly jangly guitars, run of the mill drums and a slight eighties production. Vocals are supplied by Gary Briggs, veteran of some bands I’ve not heard of. It’s all a bit earnest for me, a bit plodding, more an exercise in hitting the notes on some pretty dull melodies with no memorable lyrics of which to speak.
Opener ‘The God Machine’ is probably the best here, ‘Smiths’ guitars and a propulsive beat, plus the flash of excitement when Hooky’s bass appears. But I wouldn’t say it’s anywhere near his best... I don’t know what I expected really, but a lot more than this. ‘Kill Switch’ is pretty ploddy, but moves to something more interesting in its synthy chorus, a stadium Depeche Mode, on the cheap.
Overall, its fine; inoffensive middle of the road late eighties Hacienda backing music. Its surprising that there isn’t really a memorable hook amongst these three songs, be it bass, guitar or vocal. Press for the album suggests some of the tracks have a darker edge, which may certainly help. Perhaps its testament to the weight of expectation. Hearing Hooky talk with passion about Freebass makes the results all the more disappointing, but fans of the less famous Factory bands will probably enjoy the sounds and styles here. As for me, I’d rather listen to New Order…Actually I’d rather listen to Monaco, but there you go.
The Holidays – 'Golden Sky ' The Passport Label The Holidays hail from Sydney, Australia and, on the evidence provided on this single, produce lovely little percussive summer soundtracks… which is presumably a lot easier when you actually get to see some sunshine. Golden Sky is a percussion heavy piece of Indie funkadelia, kind of like The Rapture trying to record an album in the Caribbean with bongos and rum based cocktails. Its’ all about the rhythm here, the falsetto vocals and stabbing guitars countering each other nicely to build up the complexity. Ultimately it’s a pop record though, the refrain of ‘It’s alright, alright’, whilst perhaps the most clichéd in all of music, works in bringing a sense of structure to it all. It kinda reminds me of the outro to 'Bleed From Within' by The Music, the careful layering up making it almost irresistible to dance around to.
B-side ‘Heavy Feathers’ ratches up the tropical feel with a steel drum melody running through the whole thing. Vocal harmonies pile over one another and it all feels very sunny. The structure is again pretty loose and it’s a little more downbeat but a worthy B-Side all the same. Well worth keeping an eye on for the future.
Scott Wainwright – 'Every Man Has His Critics ' Soshanna Music Well, with an album title like that, surely Scott Wainwright is setting himself up for a fall, right? Well turns out its all to do with ‘God’. Yes, that big man who lives in the sky. I would’ve liked to have reviewed this album purely on its musical merits, but the press release goes into some details about Scott’s ‘deep Christian faith’, as does the artwork, containing an essay on his musings on God in relation to creativity. It’s not heavy or too preachy, but it’s serious, and really left me wondering what on earth I was going to be hearing.
‘Bonkers’ is the word that springs to mind initially. This album covers a lot of bases. First track ‘Down the Line’ opens with a nice 4/4 jazz influenced beat, then some ‘funky’ bass. Then we get some country style Harmonica… and then the vocals which are…odd. Very odd! It’s a kind of Americanised, hoedown, speak/talk drawl that I’ve got to say I found very strange (Scott is from Yorkshire). The next track contains an out of place Tuba playing the bass line and an unsophisticated guitar line, and then those vocals again. Baring in mind the press release states this is the result of a NINE year song cycle, I think these elements could have been brought back together in a much less messy fashion. But then suddenly it all drops out, leaving a solitary female voice over some delicate picking and its absolutely lovely, and moving too. But then it cuts to the Tuba and crappy sounding guitar again!
The album has some moments that stand out – instrumental ‘whispers from the undergrowth’ is delicate and wistful and ‘blueberry jam and lemonade’ is sweet with some gentle banjo and those lovely backing vocals once more.
Generally though we are in country / folk / blues territory, and some tracks like ‘kiss like they do in France’ work as standards of those genres. But overall, the jarring between the other styles attempted makes for an uncomfortable listen (see the ‘hard rocking’ of ‘here for you’). And I find the vocals just too much to enjoy. It’s bizarre, because I’m not saying Scott is a bad singer; I’m not given a chance to find out, because it’s as if he is singing in character throughout, a Dylan-esqe delivery that is simply not convincing on any level. One of the better tracks here, ‘Out in the Open’ features that same type of rasping verse, but then, bizarrely, has him using his ‘own’ voice for the chorus. It’s not even consistent.
I guess the best thing about ‘Every Man Has His Critics’ is it avoidance of preaching its Christianity too heavily within the songs. Because that would have killed it dead. I was looking forward to a bit of good old Christian bashing, for I do, quite strongly, dislike and despise organised religion. But with this there’s no need really. The idea that God is a creative being, and the key to man’s happiness is to be creative too is fair enough. Of course, if it were up to the church we would still be living in the dark ages believing the world is flat and basically every advance in every field of science / art / literature would never have happened. But that’s beside the point – Christians only ever pick and choose the bits from the Bible that suit the ideas they’ve already got, so new ideas have never been part of the deal. Which is apt, as here, on this album, we see a lot of run throughs of particular genres types with no real originality. There will be people out there who find Scott’s voice engaging, and those people may find a lot here to delve through. As for me, the vocals are impenetrable and the music is too derivative, despite the obvious skill on show. It all comes in a beautiful digi pack, which shows this is a real labour of love, but, whilst I praise the DIY nature of the undertaking, the songs aren’t strong enough, whilst the vein of Christianity running through it is the final nail in the cross.
Runaround Kids – 'No Dreams / Falling into Better Hands ' Philophobia Music Rhubarb Bomb was part of collaboration between various Wakefield establishments that took some bands down the The Windmill in Brixton last February and Runaround Kids were part of that crew. Bassist Jack was manning the merch stall and in order to pass the time, he defaced our front cover, changing it from ‘Rhubarb Bomb’ to ‘Runaround Bomb’ in honour of the seemingly endless name dropping they had been receiving.
Well, it’s a nice little feeling to see that we were right early on, as this double A-side is released on the back of their glorious Leeds and Reading Festival appearances. Don’t believe any nonsense you’ve read comparing these guys to The Cribs – its lazy journalism that has only one Wakefield reference point – though it might not be long before RKs become the second. ‘No Dreams’ rattles along furiously and is the best indication of their live show; riotous, delicate, youthful and carefree – whilst ‘Falling Into Better Hands’ betters it with the subtly applied Sonic Youth chords and the evener bouncier noisy punk spirit. It’s a great step forward from last years ‘Kiss Chase EP’, ‘No Dreams’ in particular showing a greater pop awareness without sacrificing any of the energy, the youthful spirit, or the FUN. In fact, if I had the time, I reckon I could SCIENTIFICALLY prove that listening to this record makes you feel about 5 years younger… unless you’re already 18, in which case it doesn’t. It just makes you glad to be 18. Fantastic debut single, with so much promise for the future. Don’t let us down Runaround Kids… The Whatevers – 'Rhapsody in Blue Jeans / You and your Twisted Romance ' Holiday Records Listening to this record takes me straight back to the Indietracks Festival this summer. Not because The Whatevers were there, but because of the opening chords of ‘Rhapsody…’ just SING to me of the wonderful weekend I had there. The chiming guitars, sweet boy / girl vocals and the gentle chorus melodies. There’s more to it than that though, an ace guitar ‘solo’ popping up half way through, noisy and dirty adding further character to the whole event.
The band are a two piece and the interaction of them both singing is what makes this special. They are both great, characterful voices, Mike with a sad but hopeful Edwyn Collins croon and Kate with a polite Emma Pollock melodic approach. I believe this is their first single, and as such it’s a great effort, the C86 thing is a pretty easy style to do a cheap approximation of, but The Whatevers have put their own stamp on things. The single is available for a free download from Holiday records website, which releases loads of great free single downloads. So go look at this, then see what else you can find.
