Just for confirmation, ‘Odelay’ was not released last week. This is not a follow up record. That record was released nearly a decade ago and there have been three full releases since, ‘Guero’ being the fourth. That ‘Odelay’ is still used as the Beck litmus test may be representative of that record’s utter peerlessness, but the sooner people realise he is unlikely to ever make another, and has in fact made others of note since, the better. ‘Midnite Vultures’ may Continue Reading
As debut efforts go, it seems to be every rookie band raises the bar a notch, whether it be hype or quality. Fortunately, Kasabian has the kudos to go with the accolades and numerous comparisons. If Bobby Gillespie had spread his seed, his bastard children would probably end up being something like Kasabian. They create songs that are straight talking, dirty electronica, lyrically scything and directly venomous. Even if they aren’t political on their own admission, they’re already shrugging of Continue Reading
A striking lone-guitar re-reading of Brian Wilson’s ‘You Still Believe In Me’ kicks off the album in typically fiddly, prodigious Ward form and another beguiling guitar instrumental, J.S. Bach’s “The Well Tempered Clavier“ concludes it. Why? Because Ward is by and large a guitar player. Leatherfaced, intense, weatherbeaten and graced with the rasp of a 60-day-smoker, Ward began his low profile career with the San Luis Obispo-based and Jason Lytle produced alt-country combo, Rodriguez, and whilst his love of all Continue Reading
Like F.A Cup Finals, Monkees, Beatles and great American disasters, everyone has their favourite don’t they? For me Glastonbury peaked on the new pyramid stage when 11th-hour Stone Roses replacements, Pulp literally defined the feeling of the moment (and their career) with the freshly ground ‘Sorted For E’s And Wizz’. That was 1995, and nearly ten bloody years ago and I can still remember to this day the people I was with, the things I was eating, the things I’d Continue Reading
The promise was for a period of great change, the heavy wagon rolling off across the desert in a new direction, or at least down an alternate dust-trail. Lunatic tackle-flapping beardy and presumed life and soul of the paaaardy Nick Oliveri was out, collaborator and resident Billy Goat Gruff Mark Lanegan announced his intention to head off into the sunset. The bare meat and bones of Josh Homme remained, and although it was always he up at the helm, there Continue Reading
Think back over some of the most seminal American indie records of the past few years, and all the reasons you considered them so great. The Flaming Lips’ ‘Soft Bulletin’ and the way it bent your perception of awe. Modest Mouse’s melding of heartening eccentricity and gold-top songwriting on ‘Good News For People Who Love Bad News’. The Postal Service’s sharpening of a whole genre’s sound on ‘Give Up’. Mercury Rev’s ‘Deserters Songs’ and their ability to tell a whole Continue Reading
Is it just a coincidence that in its week of release Britain has shaken defrosting icicles from its brow, thrown off its duffel coat and tried to leapfrog over spring straight into summer? Well of course it is, but it don’t half feel right having Ambulance Ltd’s debut massaging our ears as the first decent sunshine of the year cascades generously through the window and carefree souls (well, students) sprawl decadently on the patch of grass opposite. It’s a beautiful Continue Reading
You know when you’re unpacking a new stereo or whatever, and in your haste you accidentally bring the two bits of polystyrene crashing together (the mere mention of it is a little much, isn’t it) and the inevitable emitted sound is so face-creasingly tortuous that you’d rather listen to a nursery of seals maliciously butchered with a rusty, malfunctioning chainsaw, given the choice? And you’re a vegan too – it’s that bad. But what if after all the rubbing and Continue Reading
There is a weight of truth present in Roddy Woomble’s voice. Whether it is, or indeed is not, it considers itself to be right – which may have no immediate grounding in fact but stands tall nonetheless. He is all the things he presumes for himself – a compassionate soul, a poet, an enigma – he truly believes he is. Thing is, we’re beginning to believe him too, more than ever. On this, their fourth album, there are many things Continue Reading
Let’s face it, the Mars Volta have pretty much perfected that big sprawling rock cyberscape kinda thing, so when Paul D’Amour – Tool bass-player and sometime director of videos – decides to crank-up the volume and out-gross the gross, experimental weirdness of previous ventures like Lusk, you have to be prepared for a bumpy ride. Written, performed and produced by D’Amour in his Topanga Canyon studio, Feersum Ennjin hovers menacingly over warped time signatures, queer chord changes and crunching, QOTSA Continue Reading