NEW RELEASES
Reverend and the Makers
The State Of Things (Wall of Sound)
Arise for the Reverend. The Sheffield preacher, Jon McClure has finally released his debut album onto the masses. Collaborating with hometown mates, Alex Turner and Bromhead's Tim Hampton plus hero, punk poet John Cooper Clarke, they have created The State Of Things, a twelve track declaration to the world, urban street tales that tell it like it is. The title track is the opener and as the man says himself "I'm the Reverend and I'll tell you about the state of things". Next is 'The Machine', a funky dance tune with Alex Turner shouting "Don't forget you can get off the conveyer!" sure to get you in a sweaty mess live. 'Heavyweight Champion Of The World' has been a huge success for the Reverend and rightly so, a summer dance floor anthem and perfect introduction to the man's style and preaching. Next track 'Bandits' is repetitive and slightly annoying but 'Open Your Window' shows Jon's penchant for Reggae. The Makers keyboardist, Laura Manuel really makes the next single 'He Said He Loved Me', an infectious electro-pop duet and live favourite with the Reverend's congregation. 'What The Milkman Saw' is about local tittle-tattle played out in Grenoside ("Jonny reckons that he saw her in the chemist buying oral contraception/Can't be for her husband coz he can't get an erection"). 'Miss Brown' is a Specials-style Ska/Dance mash-up which gets Jon crooning "Oh for the love of Miss Brown". Before long it's the last track and it's 'Armchair Detective', which sounds like the other songs on the album. Ok, so it's not reinventing the wheel and every song might sound a bit similar but it still brings a much needed upbeat injection into the album chart and even better if it's from Sheffield. Ahem.
Kirsty Bowen
Milburn
These Are The Facts (Mercury)
Hang on a sec, didn't Milburn only just release an album?" I hear you cry. That was my reaction too as this new disc was slipped into my hand. However, observant readers of last months Sandman would have seen that the boys are back. After a rather lukewarm reception to debut album, Well, Well, Well, their label have encouraged them to get down to it and make record number two and it's bloody good like. A voice booms out of no-where with first track 'Lo and Behold' and grips you from the start. Lead singer, Joe's vocals are strong and confident, leading straight into single 'What will you do? (When the money goes)'. It's a new sound for the boys, with Shadows-like guitar sounds and the introduction of electronica. 'Wolves at Bay' and 'Summertime' are an example of the mature and darker direction. 'Lucy Loves Me Not' is brilliant, a story of a girl who gets around a bit, which is sure to be a live favourite. 'Sinking Ships' seems to be a stab at those critics who have labelled the band in the past a mere Artic Monkeys rip-off, with "so if you've backed the underdog, you may collect your winnings". The album ends on a reflective mood with 'Genius and the Tramp'. Sixties harmonies and twinkling guitars pepper the song whilst Joe sings "it won't happen to us cos we're too clever/you can't put your head in your hands forever". These Are The Facts is a truly great album, showing that these boys deserve more than their place on the Sheffield bandwagon.
Kirsty Bowen
iLiKETRAiNS
Elegies to Lessons Learnt (Beggars Banquet)
It's fair to say that unfettered enjoyment of the debut longplayer from iLiKETRAiNS requires a certain suspension of disbelief - for all of its strengths, 'Elegies to Lessons Learnt' feels at times weighed down by its own sense of self-importance. Nick Cave's morose influence can be keenly felt in the luxuriant, drawn-out phrasing of 'Trains frontman Dave Martin as he relates these ten tales of historical misfortune, clearly savouring ever last moment of gloomy grandeur. It's difficult to imagine a more humourless proposition than a concept album dealing with the human inability to learn from past mistakes, but the band certainly throw themselves into the endeavour with gusto, succeeding more often than not in conjuring up the kind of epic sweep frequently achieved by late lamented Chichester troupe Hope Of The States - no coincidence, one suspects, that their producer Ken Thomas crops up on mixing duties here. The album's remarkably cavernous sonics allows the band to make the most of songs already drenched in a thick (and occasionally cloying) sense of gothic melodrama; their dynamic structures are sometimes predictable, but fantastically well-executed. Spectral opener 'We All Fall Down' builds inexorably to a crest of sheet noise guitar, whilst drummer Simon Fogal deserves special mention for the thumping toms which propel 'Twenty Five Reasons' and standout number 'The Voice of Reason' from their humble beginnings into states of gorgeous cacophony. 'The Deception' is an excellent choice for a single, concise and powerful, whilst other highlights include the stately swell of 'Come Over' and droning masterpiece 'Spencer Perceval', which builds up quite a head of steam over its nine plus minutes. Best of all however is 'Death Is The End', a possible riposte to Cave's overarching sentiment on 'Murder Ballads', which closes out proceedings in a beautiful wash of piano, cello and cascading, multi-layered vocals.
Greg Elliott
Stephen Fretwell
Man On The Roof (Fiction)
In moving to the North-West to ply his trade, Stephen Fretwell was never destined to become a Garvey or Morrissey of Mancunian songwriting tradition, but still he got stuck in and oft found himself sharing stages with the city's luminaries. 'Magpie' was a success, but still divided opinion amongst those either wooed \ deterred by the boy's individual, but inoffensive moodiness.
Less weary and more wistful, 'Man On The Roof' is the experience and sound of a change of scenery. As much as Stephen was Manchester's mascot in 2004 he becomes New York's in 2007, leaving nothing but his personal talents free of any location but where he chooses to lay his hat. Which is of course what being a troubadour is all about.
His soft and sallow style however has hardly changed a bit. 'Dead' is the epitome of this - never quite committing to the soul, but plodding onwards with a crisp hoarseness strangely warming to the ear. It's still a coffee table record, but this is the sort of well-used, booze stained piece of furniture that is worthy of music. And just sometimes, like with 'The Ground Beneath Your Feet', the man packs a romantic punch that you never saw coming.
Fretwell never broke into the Gonzalez realm of public affection, but neither could he charm in the same way the Hawleys hold our hearts (despite clearly aspiring after the man with breezy single, 'Scar'). Where do you go from here fella? Plod on with the yawning Coldplay melancholies of 'Sleep' and you might as well not bother. However, really dig in and come up with something surprising for album three and you may well win over the non-believers yet. Maybe head home for Scunthorpe Ste, there's no place like home to get the creative juices flowing.
Fran Donnelly
Patrick Briscoe
Colours Will Fly
This is a collection of beauty, original with intermittent and sparkling guitar, acoustic and ripe, a rugged and hopeful voice singing words of melancholy. An album suited wholly to the days of haze and sunshine, something more satisfying than other acoustic artists, explaining why there is no, and will be no comparison, to do so would be to demote him and for such sounds, it would be criminal.
Appearing on some tracks, including 'Longwave' and 'Another country', introduces Jenny Stokes on the violin, the former being the lighter of the two, the latter setting the tone perhaps a little too low, lacking in the way of joy and enticing feelings of morose.
Much of this record sounds fresh and experimental. Seeming neither over worked nor moulded, it is as it is, making it raw and edgy creating a sound more genteel than dull as acoustic music can so often be. It's an obvious advance from his earlier days spent roaming bands, I think the evolution of wings has boosted his talent by far, and is only further supported by inspirational guitar advancements.
Variation in style and texture is apparent including Spanish influences, pulsing, strumming and curious, verging on medieval, bizarre, but it can be heard.
This is definitely not typical Manchester dirge, it's poetic, true to life and filled with talent, lyricism at its best with songs of Romantic escape, rushing passion, journeys through theory, cause and meaning, all full of emotion and strength. This is for the quiet days and with the incredible, unparalleled artistic prowess found on every album sleeve, each hand made by a local Manchester artist Chim Lee makes it that little bit more special. Besides, supporting local heroes is always fun. This makes me proud to live in Manchester.
Katie Swindley
Holly Taymar
Before I Know
Who needs New Rave when you have New (hang on shouldn't that be an ubër cool nu?) Jazz and Holly Taymar is the one of its brightest young stars.
Ok, so I made up the 'New Jazz' genre to make this review sound all excited but let's face it Jazz is popularly maligned so it is desperate need of some kind of media makeover (other than that damn Cullum). Unfortunately, Holly's 'butter wouldn't melt in her mouth' image isn't going to get the kids jumping onto the New Jazz bandwagon but if she and her management could just focus on the magnificent folky side then we really could be looking at a star. Opening track 'home' is as good a song as any to showcase what this woman could do - it lets her sweet like honey voice dictate a gentle song without the need to compete with any swinging. Of course, if you like Jazz then you will love this release and Holly Taymar, if you like folk you will cry out for her to sing more of it.
Mike Reynolds
OFM
The Danger In Pretending (Inhaler Records)
Doncaster's finest, OFM have finally released their debut album, The Danger in Pretending after sell-out self released EP's and three years together. Released on new Record label, Inhaler Records, the boys describe the album as their 'Greatest Hits', a collection of live favourites. Opening track, 'Mary' is a catchy ditty with interweaving guitar lines and vocal harmonies, commandeered by members Ben Booth and Ben Lindley. Bassist Chris and Drummer Dave don't overdo the solos and twiddling, by taking a step back and purely providing a strong platform for the front men to take centre stage. The band wear their influences on their sleeves, with artists like Built to Spill, Guided By Voices and Pavement setting the US lo-fi rock standard.
'Peasant Aeronautics' is great, strangely reminiscent of Crowded House (or is that just me?). Things slow down and rock out for songs 'Medical Advisory Board' and 'Request Paper Statement'. 'Sure About Hydro' is more of the same quirky melodies and catchy yet brash vocals. Last track, the epic 'Friendly Parts' is truly great. The prefect chance to display all their assets in the longest track on the album, with heartfelt vocals and introspective lyrics like "talk is cheap but so am I, with a wry smile it's do or die". Even though these South Yorkshire lads sing in an American Accent (my biggest bugbear), they've won me over with as Steve Lamacq says "A great album".
Kirsty Bowen
New Generation Superstars
Crash Course… (Underdog Records)
Nottingham's beer-soaked rockers New Generation Superstars have been described as seeming like a gang on stage (as, notably, Guns N Roses, had before them), and they're undoubtedly stirring up quite a fuss with their ongoing tour of the UK, after being featured in Kerrang! and Classic Rock over the past year.
Crash Course…In Rock N Roll, their much anticipated debut album, kick-starts with the heart warming sound of a faced paced riff being cranked out of a distorted guitar, before launching into a well executed solo and the rest of album opener 'Come Over'.
The Superstars have a definite punk tint to their brand of rock and roll, which comes out strongly on 'Always Gonna Be', a quick, relentless ode to alcohol, during which rhythm guitar / vocalist A.J. chants an instantly memorable lyric, 'Oh my god I'm blind drunk again / in the morning I'll regret it but I'll do it again'. If you can excuse him for rhyming the word 'again' with itself, it does display the correct rock and roll spirit, and New Generation Superstars are a band that will certainly be entertaining live (also, admirably, they've requested that people come up and speak to them afterwards, because they enjoy drinking with their fans).
The album overall, though, becomes somewhat repetitive. It is certainly refreshing to hear a band that still plays good solid rock and roll, but it must be said that albums need diversity, and this is unfortunately lacking in that department.
That said, the band are certainly going to live up to their name, through a few kick ass songs and reputedly amazing live shows. Their time in the limelight will be worth keeping up to date on.
Lee Johnson
Hayashi
Badmachine
As the opening chord of opening track 'Nuevo' hangs in the air for a few moments, the space is punctured by a chuckle of giddy, expectant delight. By the end of this CD, you'll understand why that unidentified member of Hayashi just had to laugh, given the rush of hot, smoking, moody, swinging, sensuous music that oozes, jumps, punches, judders and jerks out. If you though Hayashi's debut was good (and if you didn't where's your fucking head at?), 'Badmachine' takes the band to another level.
Don't believe me? Take the already mentioned 'Nuevo' (Spanish for 'new', appropriately enough), all skittering drums and popping bass and three confident women telling you how it will be ("This time/Love won't tear us apart") and a chorus that seems to stand up and strut; or the epic sprawl of 'Drumble in the Jungle', a song that moves through exhausting degrees of intensity; or 'Shop Floor Tiger Trap' with its careening super-funked rhythms underpinning a weird, claustrophobic tale of social mores.
So why this exponential step up? Eighteen months ago, Hayashi were bereft after losing a singer who was a key part of their sound. Rather than throw in the towel, drummer Gideon Woods and bass player Ben Coleman set about rebuilding the band around their own self-belief and the talents of not one but three new female singers. As a rhythm section, Woods and Coleman are now diamond hard, with Woods often stepping up to play the drums as the lead instrument and Coleman fluid and hard by turns. Although keyboard player and occasional guitarist Darren Ibbetson's contributions are unobtrusive and low key, they open out the band's sound enormously.
But key to the revitalised band is the way they've learned to deploy the vocal talents of singers Mwen, Ana and D. Also crucial is that, although around half the music here is based on material that was recorded for their first album, in every case the playing is better, the arrangements are richer and the scope is more imaginative. The band just ooze confidence. Fantastic, on every level.
Johnny Ersatz-Culture
The Lancashire Hotpots
Never Mind The Hotpots (Fuss Records)
Even for a supposed 'comedy' album, the Lancashire Hotpots' horribly accented debut is nothing short of bloody awful. The folky acoustic strummings that dirge through the entire album are reminiscent of a ropey local pub's Friday night busking band. In obvious attempts to win over a 'MySpace Audience', every song is littered with references to the social networking generation. For example, on lead single 'He's Turned Emo', we hear how a friend Jeff 'used to be listening to Simply Red / Now he's listening to Fall Out Boy instead'. Expect similar 'musings' throughout the album on songs like 'I Met A Girl On MySpace'. If Peter Kay wrote songs while he was pissed, this is probably what they'd sound like. Only he would have thrown them in the bin before he even thought about recording them. Lancashire Hotpots could have been brilliantly funny, but instead, 'Never Mind The Hotpots' is about as hillarious as an STD.
Holly Arrowsmith
Peter Wright
The Renegades EP (Random)
Peter Wright is a man of many faces. Who'd have thought that a bassist who pulverises his instrument under the guise of Hordak in White Boys for Gay Jesus, and lets his love of Les Claypool shine through in his Indian Classical and jazz crossover act Transpangaen could create an acoustic EP as plain gorgeous as The Renegades EP?
Here is a collection of four gloriously pastoral pieces of luscious folk music. The first thing you notice is that Wright's clearly a very talented a guitarist. The tracks show-off his fast, intricate finger-picking and delicate hammer-ons, yet despite this his voice really shines through, a complex baritone that shines with its slight imperfections and emotional depth.
The opening track, 'Winslow's Melody' really shines through as a highlight. A fluid guitar melody flows around a contrasting more subtle vocal line. Indeed, the track has something of a 'classic' feel to it, as if Wright's found an old, traditional folk song and reworked it in his own style - it's strangely comforting in its familiarity, despite it being a new composition.
The closing track 'Road Song' picks the tempo up again and puts Wright's voice in the foreground over a muted guitar part.
Tom Goodhand
The Cribs
Moving Pictures (Wichita)
The Cribs are a band whose music is becomingly increasingly hard to divorce from a public image seemingly constructed to antagonise as many people as possible - including those who you would still expect them to consider their key constituents. Despite all the recent posturing however, 'Moving Pictures' is yet another song that it's impossible not to like - smart, compact and immensely accessible, containing a maddeningly small number of chords (played out in thrilling guitar catfights by the brothers Jarman), and the flimsiest of lyrical content, yet more successful on its own terms than almost anything else churned out by a local band with their eyes on the mainstream this year. The assured production and mixing expertise of Alex Kapranos and Andy Wallace can't exactly have hurt, but it's telling that, while absolutely nothing about this single is difficult to get your head around, it also sounds like absolutely no one else. Bastards.
Greg Elliott
Toddla T
Do U Know? (1965 Records)
Toddla T is the wide eyed digital scamp running amok round Sheffield night spots and a name to keep your lids pinned back for. Previously a studio bod at Kenwood Studios he's tweaked and twonked the likes of Dizzee Rascal, Roots Manuva and Steve Edwards before strapping on the gloves and embarking on his own voyage through electronic bumping. He's been distilling the sound of late nights in Steel City warehouses out into the daylight through his Small Arms Fiya collaboration with Monkz, and now this, his first solo release, 'Do U Know?'
This 12 bounds out waggling it's rump on the 1965 records label, and perfectly encapsulates the madness of the Kabal parties, those hedonistic pockets of rogue electronic action which just. don't. stop. Featuring a simple killer bassline with various Mcees and chatterboxes (including Serocee and Trigga) giving it serious lip over the top it's got Notting Hill, Electric Chair and Basement Jaxx style cross over bomb scrawled all over it.
Jim Ottewill
its a buffalo
Divorce Song (Akoustik Anarkhy)
Very pop. Very catchy. Very country, and folk, and indie, and super. Ironically I first listened to this whilst counting buffalo in Africa, ace for a bouncy ride in the cold, it warms the insides. Up in MancLand I'm not sure the warmth will be put across so well live, but then again, I'm oh so cynical of Manchester gigs. Perhaps not so original, but relief is felt from its utter freshness and so completely fitting with today's scene, another gem from Akoustik Anarkhy recordings. Round of applause please. 'Divorce song' is definitely the better of the two, but with rosy-cheeked merriment and the hard backbone drumming, its tight as. 'Somewhere in Range' has an undertone of passion and more urgency, rather than the gaiety of 'Divorce Song', again how ironic, which is exactly how it is, style for content, but with edges of hope. Oh just listen, you'll understand me then.
Katie Swindley
I Was A Cub Scout
Our Smallest Adventures
Our Smallest Adventures' by Nottingham duo I Was A Cub Scout opens with organ tones alongside the soft, innocent voice of singer Todd Marriott which creates a haunting beginning. Drums, guitar and synth are added, one by one, evolving the track into a glorious emo-pop masterpiece. Marriott uses tender and delicate lyrics to talk about how the small, almost irrelevant events of our youth can be our most important and treasured. At its peak the song is a rich blend of sounds mixed with forceful vocals sounding like they're sung from nowhere but the heart and not only justifies the increasing interest in this young band but shows them to have great promise. 'Bless You' provides a more than worthy b-side to the single and ponders over the uncertainty surrounding a break up. The track showcases the outstanding creative talent of drummer William Bowerman and is another triumph.
Lauren Evett
Black Light Theatre
1402 Valentines Massacre (Hooked Up)
Only formed in February of this year, BLT (can I call them that?) have built up quite a live reputation, even headlining the re-opening of the Fez Club, before recording with Alan Smyth and subsequently being signed up to London-based Hooked Up Records. These tracks amply demonstrate their epic, brooding sound, particularly the opener, 1402 Valentines Massacre. The second track, Piece of Me, is more of a howl of vocals over a driving rhythm and screeching guitar sound, and is my favourite of the two. BLT are touring the country at the moment promoting this, and may even be visiting a fast food outlet near you very soon.
Vivian Bonzo
The Favours
Islands (Stonetrax)
It's been a long time coming but finally Hull's favourite sultry pop rockers The Favours get the single release they deserve. Islands has all the classic Favours ingredients, catchy riffs, singable hook lines and most obviously irresistibly massive choruses. A bitter sweet tale, singer Sara's vocals slide are both achingly emotional and intensely powerful at the same time. B side 'One Up on You' feels like a fabulous Blondie style romp, from pounding drums to almost sickly sweet but always flirting with the dark side. Both songs feel faster paced than previous tracks but still exhibit the trade make slick polish that makes it undoubtedly The Favours.
Hanna Houghton
Neil Burrell
Oompa Zoompa / Evelyn (Akoustik Anarkhy)
Hospitalised along with Beefheart and other such 60s unstables, 'Oompa Zoompa' is complete nonsensical wankery, quivering about like a folk record in a washing machine. Eccentricity is only great if you're doing something lovable with it and 'Evelyn', by strange and interesting contrast, is a cute tale from a squeaking voice escaping through hushed throat. Enjoyable but someway from the flipside loopiness that Akoustik Anarkhy were so charmed by in the first place. Neil Burrell then, unhinged and understated like the kook that plucks around with his battered acoustic guitar in the corner of your local indie café. Hardly boring or expected in his own little way but equally dismissible, exactly what the future holds for Mr. Burrell is uncertain.
Fran Donnelly
The United Kingdom of America
Indier Than Thou (Manilla Records)
A short burst of a single from The United Kingdom of America which comes in, tells you that you're a wanker, and then leaves again before you've had time to think of a retort. In this dressing down of all things indie, the band have a Half Man Half Biscuit-esque knack of lyrics which you would normally file under 'amusing novelty single' if they weren't combined with a good bass-line and quick melody. You might think of it of more of a statement than a song, mocking kids in bands who buy their clothes from Oxfam 'apart from that top, what I got from Topman', but it works brilliantly as a short, sharp hit of punk energy. A fine, no nonsense, anti-mainstream, cynical piece of punk rock snapped into one minute and forty-five seconds.
Michael Brader
Heroes Of Switzerland
Wish It Away (Club AC30)
Monaural is not the most exciting band name and probably sensing this, one Nottingham bunch rebranded themselves with the far more suggestive Heroes Of Switzerland. Fitting then that 'Wish It Away' is a dizzy but determined mind of alpine heights, ringing and escapist pledges about being "free and upward bound".
The Heroes really do know their way around the fizzing shoegaze number on ice. They're not totally mellow with the mend-bending distractions, and round off a song a bit like how Chapterhouse's instinct for melody lifted the depths of Ride, but with The Jesus & Mary Chain rocking up the rehearsal room some. In all a pretty knowing debut, but one that gives little indication that there is much here yet to really tantalise the discerning alt-rock fan.
Fran Donnelly
The Rosie Taylor Project
Black and White Films (Bad Sneakers)
The Rosie Taylor Project claim to have formed in Leeds in August last year and played their first gig last December. But listening to these two exquisite, mature and perfectly balanced examples of modern country music, its impossible not to believe that the band are really life soiled, middle aged veterans of Appalachian country musical heritage. Both songs (the other being 'Maps for Lost Lovers') are weary-eyed stories of unfolding experience propelled by melancholy and sweet expectation in equal measure. The music is oddly jaunty, with each song stitched together with its own emphatically picked guitar line and stroked by a sparely used but sensuous trumpet. One question remains, who is Rosie Taylor and does she realise she's responsible for this fine music?
Johnny Ersatz-Culture
Film Preview
Control
Directed by Anton Corbijn, Control tells the story of the rise of the band Joy Division and of the turbulent life and early death of its singer Ian Curtis. Based on the memoir Touching from a Distance by Curtis's wife Debbie, the film offers an intimate, honest view of the breakdown of his marriage and of the insecurities that plagued him, leading to his suicide at the age of 23. As Curtis, newcomer Sam Riley gives an intense, wild-eyed and utterly believable performance.
Control opens in the Macclesfield of the late Seventies; a stifling, greying town evoked beautifully in monochrome by cinematographer Martin Ruhe. Married at 19 to Debbie (Samantha Morton) and working as a clerk at the local job centre, Ian Curtis seems to have left behind the poetic aspirations of his teenage years.
Everything changes when he witnesses the now legendary Sex Pistols gig at Manchester's Free Trade Hall in July 1976. A brief conversation with three acquaintances leads to the formation of 'Warsaw'. Soon renamed Joy Division, the band is signed to Factory Records and starts to tour Europe.
Debbie and Ian have a child together. When he meets and falls in love with another woman however, a destructive, hopeless inability to choose between the two is born. Epileptic fits also start to plague the singer, striking without warning, sometimes when he's on stage. This lack of control - over his body, his relationships, his growing fame - leads, Corbijn suggests, to Curtis's final desperate act.
Control is an assured debut feature. The director brings a very 'European' sensibility to a very British subject, achieving something much deeper and more affecting than a straightforward rock biopic. In large part this is due to Sam Riley's performance: on stage as Curtis, he is utterly hypnotic. The gig scenes, normally so awkward in films, here are gripping, emotionally charged affairs.
There are nice supporting turns too, from Craig Parkinson as impresario Tony Wilson, and from Tony Kebbell as Rob Gretton, Joy Division's manager. But the real meat and bones of the film lies in the doomed menage à trois between the singer, his wife and his mistress. In a scene that is at once funny and heartbreaking, a friend says to Debbie: 'He's quite famous now isn't he?'. 'Not to me', she replies. 'I still wash his underpants.'
Control is released in UK cinemas on 5th October.
Kieron Clark