Goldspot - Tally Of The Yes Men

Such is the nature of the media that Goldspot seem to be getting more coverage than your average West Coast band plugging their debut album, seemingly because frontman Siddartha Khosla is an American citizen of Indian heritage – something remarkably under-represented in US culture. The band are more notable in the UK, where Indian culture is of course ubiquitous, for giving away their album in conjunction with the Sunday Times Culture section (nearly two years after its release in the States). And of course for having their cover of Modest Mouse’s ‘Float On’ featured on the OC...

It isn’t very surprising that the broadsheets are on board with Goldspot. For ‘Tally Of The Yes Men’ puts a premium on classic song writing while retaining a depth of character and remaining just leftfield enough to entice the intellectuals. First track ‘Rewind’ is a case in point. Opening with simply strummed acoustic and Siddartha’s striking voice, it develops into the kind of fully blown sunshine pop song with a trace of wistful melancholy that is hard to ignore.

The album’s third track ‘Friday’ provides something of a centrepiece to the collection, with its inviting orchestral introduction and irresistible chorus. The song takes the age-old premise of enjoying yourself after a week at work that Hard Fi managed to exploit to remarkably popular effect with ‘Living for The Weekend’ and slathers it in Goldspot’s trademark yearning melodies with just a hint of Bollywood. The song’s rebellious theme takes on extra resonance with the seemingly personal line: “Momma can tell me I’m going nowhere, I’m just a prisoner of my faith”, but it is one that is universally understood. Whatever the theme of the song, though, ‘Friday’ is damned near to a perfect pop song.

There are a host of similarly contagious pop tracks on ‘Tally Of The Yes Men’, but the band are equally successful in their quieter moments. The haunting ‘The Guard’ is a beautifully understated and the song’s ending is inspired, while the sparse ‘So Fast’ recalls a number of morose balladeers, from Jeff Buckley to Will Mason. Goldspot slip in some subliminal messages on ‘Rewind’, declaring: “I’m asking you to stay, the words are finally here. Would you rewind it all the time?”, but the LA-based three-piece don’t really need those kind of underhand tactics, as throughout ‘Tally Of The Yes Men’, their music – be it the summery pop of ‘Time Bomb’, ‘Friday’ or single ‘It’s Getting Old’, or the more reflective ‘The Guard’ or ‘So Fast’ – provides an enticing blend of styles that form a coherent, eminently likeable whole.

Siddartha Khosla is clearly a man of mixed influences, with his Indian heritage represented by the odd instrumental tweak, but most notably by a vocal style and voice that grew up singing in Hindu temples. Often, during the course of the album songs build from quiet beginnings to soaring choruses where his voice is at its stunning best, and perhaps it is this voice that is the most important of all the factors that contribute to the album’s success. The influence that comes through strongest, though, is that of the band’s California home – it’s as if there is something in the water at the recording studios out there that invests everything produced with the California sun. Of course this is helped no end by the influence of Beach Boys engineer Jeff Peters on the recording.

At its heart, ‘Tally Of The Yes Men’ is pure West Coast pop and though at times Goldspot threaten to wander into the middle of a road inhabited by the likes of Travis, they are more often reminiscent of the just below the radar lo-fi pop of Modest Mouse or Herman Dune’s recent work. An extremely accomplished debut, Goldspot mix purity of song-craft with some potentially chart-conquering tunes. They show a softer side with some tender ballads but in essence it is an album full of potential summer singles that will hopefully get the airplay they deserve. Pop music. You’ve got to love it.

****

First published on rockfeedback.com. See it here.

Coley Park - Quiet Lanes and Other Stories

This four track EP from Berkshire band Coley Park is worth buying just for the cover if you ask me. Designed to look like a vintage orange Penguin paper back, it fills you with a nostalgic joie de vivre before you even take the CD (or vinyl) out – something you just can’t get by downloading an mp3. Ah, for a return to the pre-digital ‘good old days’…

This nostalgia is something that continues with Coley Park’s music, starting with ‘Quiet Lanes’ (taken from the band’s third album Rhinoceros’), a paean to the curiosities of the English countryside where “magic water dries, over quiet country lane, grass spilt either side”. It is a folk rock song, more alt-country than indiepop, but one that would sit happily in either genre, and the addition of some trumpet and Hammond-esque keyboard (that’s Hammond Organ, not Richard Hammond – I have no idea how he plays the keyboard) gives it a summery feel that belies its slightly menacing lyrics.

The eccentric ‘Thurston Moore’ starts with a woozy introduction that sounds like one of those afternoons at primary school when the teacher hands out random instruments to the kids. In a good way. Featuring the Go! Team’s Ian Parton, it is a leisurely folk song where vocals chime slightly discordantly with a perfectly simple recorder line, to wonderfully unsettling results.

On side two of the EP, ‘Meadow Song’ is like a whispered re-telling of ‘We Are Sailing’, while ‘Tired Disappointed Blue’ is another of Coley Park’s slightly off-kilter, lo-fi summertime folk pop moments. The former’s banjo would not be out of place around a campfire and the latter’s breathy vocals turn into a grand indiepop chorus that culminates with an ever so charming impression of a train going “Choo choo choo”. Both songs, like their counterparts on side one, combine the lo-fi exploits of the likes of Bonnie ‘Prince’ Billy, Grandaddy and more with an enchanting Englishness that is guaranteed to put a smile on your face.

“Everyone else seems happy just to head for their final destination, without caring about the stations they pass through”, declare Coley Park as one on ‘Tired Disappointed Blue’. If you find yourself passing through Coley Park Station, make sure you take a look around: you won’t be disappointed.

****

First published on rockfeedback.com. See it here.

Fields - Song For The Fields

There are a lot of adjectives to describe the kind of music made by Fields: lush, epic, grandiose, ethereal, to name but a few. As if to live up to its mission statement of a title (it should by all rights be called ‘You’re Not The Only One’), this re-released single from debut album ‘Everything Last Winter’ encapsulates all of them.

The lilting acoustic introduction is pleasant enough, but when the song really kicks in with driving guitars, soaring harmonies and pounding drums it is truly impressive. It eventually builds to a euphoric, psychedelic peak with a wall of sound behind the gorgeous boy/girl vocals. For a time the song settles on a piercing repetition of “You’re not the only one” that sounds like your Guns’n’Roses ‘Use Your Illusion I’ CD is skipping, stuck on that line in ‘November Rain’, before falling away and then rising again for a final climax.

You could compare ‘Song For The Fields’ to any number of shoegazers, from My Bloody Valentine to Ride, while in parts there are also elements of Explosions In The Sky’s post rock, Arcade Fire’s chamber pop harmonies or South’s beat-laden euphoria. These stimuli and more swirl around in Fields’ expansive galaxy to create a single well worth its re-release. B-side ‘Nine Stones’ is more delicate and is reminiscent of much of ‘Everything Last Winter’, but is another moment of quality from this band.

When it first came out some 15 months ago, ‘Song for The Fields’ was a startling debut single that promised much. Its re-release now serves as a timely reminder of what remains Fields’ finest moment so far.

****

First published on rockfeedback.com. See it here.

Dogs - Tall Stories From Under The Table

It didn’t quite happen for Dogs first time round. After building a reputation as a thrilling live act, they were whisked away to record their debut album (‘Turns Against The Land’) to some promise in 2005, but for whatever reason (the band cite not really being ready for it when the opportunity came along) they ended up watching from the sidelines while the likes of Maximo Park and Kaiser Chiefs hit the big time instead of them. Two years and a hell of a lot of gigs later they are back to try and make amends with ‘Tall Stories From Under The Table’ at a time when bands like The Enemy are finding success with a similar brand of indie rock.

‘Dirty Little Shop’ is an excellent way to start. The bass intro and energetic guitar line combine with Johnny Cooke’s searing vocals and a euphoric chorus to create a moment of real quality. The glorious refrain “And you don’t let it fall apart, They’re stabbing little daggers right through your heart” adds emotional resonance to what is all-round a rather good song. Amongst other things ‘Dirty Little Shop’ is a song about desperation of the downtrodden (“the coldest place in the betting shop is by the litter bin, you lost the lot”) and much of ‘Tall Stories…’ focuses on similar themes. From the escapism of ‘Forget It All’ and ‘Who Are Yu’s exploration of the boredom and depression of the 9-5, to the examination of jumped up East End gangsters in ‘Little Pretenders’, Dogs paint a dark portrait of London in 2007.

The album references “Welfare”, “young conservatives” and politically-minded collage artist Winston Smith (the man responsible for the Dead Kennedy’s banned ‘In God We Trust, Inc’ album cover) while setting everything against an aggressive backdrop of drink and drug-addled young London. More than anyone, ‘Tall Stories…’ aligns Dogs with the Jam (Weller himself guests on piano on final track ‘Let It Lay’) and The Clash with their politically charged lyrics, disaffected vitriol and quintessential Englishness, and they would probably have loved to have been making music 30 years ago. While invested with a similar London spirit as ‘Up The Bracket’ or ‘A Weekend In The City’, Dogs make noticeably more disaffected music than the Libertines’ romanticism of the good ship Albion and more straightforward fare than Bloc Party’s intricate deconstruction of city life.

Throughout ‘Tall Stories…’ Dogs walk a fine line between an excellent rock’n’roll band and an average one. Often a song will begin in a less than convincing manner – such as ‘Soldier On’s opening statement: “Here’s to all the lonely old soldiers” – only to grab you by the arm and pull you in. Like an awkward boy on the edge of a school disco dance floor, you may pretend you don’t want to dance, you may even believe yourself that you don’t, but once you get dragged in it’s damned good fun. This is exactly the way that song (and several others on the album) develops with its irresistible fraught, passionate, hell-for-leather chorus draws you in. Similarly, ‘Forget It All’s contrived line “run from the white coats, you’re not going to dance today” is initially a little off-putting but the aching guitars and anthemic chorus mean it ends up as an album highlight.

There are several other highlights on a record that doesn’t allow the listener much time for reflection, so on edge are all the songs. ‘Who Are Yu’ ends up like a harder-edged Kaiser Chiefs with its questioning chorus and Cribs-esque backing shouts, while the frenetic ‘Little Pretenders’ gives heavier treatment to the violence of East London that is world’s away from the fashionista neighbourhoods of the area. The final two tracks on ‘Tall Stories…’ prove that Dogs can do anthems too, with Cooke’s vocals at their best. He trembles through lines like “We grew up with this every day” and “I hope you’re better mate cos I can’t help getting afraid” on the nostalgic ‘By The River’, while ‘Let It Lay’s glorious chorus of “If you’re running away don’t waste it” is the finest moment on the album.

Dogs are at their best when they keep it simple like this. However, they mix their grand, affecting moments with attempts at contrived poetics, the more contrived of which do tend to stand out (see for example “the bullet whistles like a poison kiss” or “she’s been eating £50 notes as a slow red river runs sleepily over her” from ‘These Days’). Elsewhere, lines like “Right now I reckon I’m better off out with a packet of snouts and a shivering face” (‘Little Pretenders’), “He put the ‘pissed’ in philanthropist” (‘Who Are Yu’), “I’m heading for the bright lights, with a little bit of gumption…I’ve got one foot in heaven and the other in town” (‘On A Bridge, By A Pub’) and rhyming “balaclava” with “palaver” (‘These Days’) can either be endearingly entertaining or a little painful, though with the passion oozing from Johnny Cooke’s voice it is hard not to be charmed.

The album is, though, positively dripping with the passion and commitment of a band who have nearly made it once and are determined not to blow it again. It may not be revolutionary, but ‘Tall Stories…’ is dynamic and engaging enough throughout. Guitar riffs pulsate like synapses through an album that is racked with nervous energy and Cooke’s vocals are great throughout – though the recurring faux-sneering fills of “Yeah right” or similar are another aspect of the album that can be a little cringe-making. Whatever you think of their music, though, you certainly can’t fault Dogs for effort or endeavour and this is something that comes across in every song.

As rock’n’roll albums go ‘Tall Stories From Under The Table’ is certainly not the best you’ll ever hear, probably not the best you’ll hear this year, maybe not even this month. But Dogs have something that, given the chance, might just win you over. Whether it’s the commitment to every note, the non-stop action or just the melodies of songs like ‘Dirty Little Shop’, ‘Tall Stories…’ gets under your skin. If the likes of the Enemy and the Twang are adorning NME covers left right and centre, there is no reason why Dogs can’t join them. I’d rather listen to this band any day…

***

First published on rockfeedback.com. See it here.

Super Furry Animals live at the ICA, London 19/06/07

Is it just me or is there something in the air? Something rather familiar but definitely exciting? All of a sudden life seems that little bit more enjoyable, there’s a spring in your step and nothing can bring you down. Is it? Could it be? Yep, you guessed it: it’s that feeling any discerning music fan gets when there’s a new Super Furry Animals album in the offing. And a new album means the joys of seeing these infectious (purely in an entertainment sense, you understand – I’m not suggesting for a moment that any member of the band has any sort of contagious disease) Welshmen play a selection of their tremendous canon of songs live.

Aside from some preceding Cardiff club dates, Super Furry Animals the band haven’t actually played live together since last August. As Gruff states, since they last played London there have been “two babies, four solo projects and a new record”, but in front of a rather sweaty ICA crowd there is not even a hint of rustiness in what turns out to be a thoroughly enjoyable, textbook Super Furries show. From start to finish, the overwhelming enthusiasm that engulfes the audience from the stage suggests that the Welshmen are revelling being back in each other’s company. Needless to say, the enthusiasm is returned in kind.

A rousing version of ‘Slow Life’ kicks things off, made all the more [ahem] ‘powerful’ half way through when Gruff puts down his harmonica in favour of a huge red Power Rangers helmet, and, in a particularly surreal moment even for the Super Furries, proceeds to sing through the eye of his new giant head. ‘Rings Around The World’ and ‘Golden Retriever’ follow, and despite jokingly declaring that the band intend to play side one of new album ‘Hey Venus!’ before returning to play side two, the majority of the performance is a pretty much standard Super Furries set – perhaps unsurprising given that this is largely a festival warm up show.

They do, however, include six new numbers that they play consecutively. And do you know what? Not only do they fit in seamlessly alongside the familiar material, they all sound great too. ‘The Gateway Song’, which they declare to be the shortest they’ve ever written, is a 30 second burst of glam rock that declares, “Once you get hooked, you can’t get enough”. And with more of a pop-rock feel to them than recent albums ‘Phantom Power’ and ‘Love Kraft’, the new songs definitely seem to be of the class that might just get you hooked. ‘Run-Away’ is apparently the band’s attempt to “bring yodelling back to the lexicon of rock’n’roll” with its big, melodic chorus and, in fact, big choruses seem to be the order of the day for the forthcoming ‘Hey Venus!’. ‘Show Your Hand’ (“a song about gambling”) is a glorious 60’s inspired sing-along with hints of ‘Baby Love’ and ‘Good Vibrations’ and Gruff on acoustic guitar, while the more psychedelic ‘Neo-Consumer’ also begs for future crowd participation with a chorus that goes something along the lines of “Oh oh oh whoa-oh oh oh oh oh”. The rockier ‘Into The Night’ and the groovy ‘Gift That Keeps Giving’ provide Gruff with an opportunity to test out his falsetto and both utilise typical Super Furry Animals harmonies, the latter of which, according to the front man, will be their “Christmas single”. It all sounds very promising…

The rest of the show is made up of old favourites, but they are delivered with aplomb and there is certainly no sign of the band getting bored of playing them. Perhaps the loudest cheers of the night are reserved for ‘Mwng’s ‘Nythod Cacwn’ and ‘Fuzzy Logic’s ‘God Show Me Magic’. Some novelty is injected into proceedings with surprise guest Wendy Flower (from Wendy and Bonnie, whose ‘By The Sea’ is sampled at the beginning of the song) duetting on ‘Hello Sunshine’, by a reworking of ‘Northern Lites’ in the style of Teenage Fanclub and by Gruff taking on Paul McCartney’s ‘food’ role and munching on crisps during ‘Receptacle for the Respectable’. The band, in fact, make a point of playing at least one track of each of their seven previous studio albums, with highlights including an anthemic ‘Juxtapose With U’ (complete with vocal effects for the verses) and final trio ‘Do Or Die’, ‘Ice Hockey Hair’ and ‘The Man Don’t Give A Fuck’, during which Gruff and guitarist Bunf engage in some outrageous guitar sparring. Whatever they play, though, each song is delivered with verve and the band sound as tight as ever.

As far as live performances go, you don’t get much more entertaining than your average Super Furry Animals gig and this one is no different. It’s in everything from the giant Power Rangers helmet to the crisps, the vocal effects to the sparring guitars. Most importantly, though, it’s in the songs. The Super Furries make music that can be experimental on record, but live asks nothing more of its audience than to be enjoyed. And they pull at all off with an irresistible combination of boyish enthusiasm and rock star cool. As always, it sure is good to have them back.

****

First published on rockfeedback.com. See it here.

Super Furry Animals interview, London 19/06/05

I was lucky enough to interview Guto from Super Furry Animals for rockfeedback.com. Here's what we chatted about...

Super Furry Animals bassist Guto is far from super today. Fresh from a drive to London from Cardiff he is struggling with flu. Still he manages to spare a couple of minutes to answer a few questions from rockfeedback before he tries manfully to sweat the illness out at the band’s low key gig at the ICA.

RFB: You’ve just played 4 nights in Cardiff, how did that go? A good reception from your home crowd I imagine?

SFA: Absolutely. That’s why we did the gigs really. We haven’t played together since August so we wanted a receptive audience to play to. And we were playing in a club I drink in every weekend so that was brilliant – walking to work every day and then walking home again was nice!

RFB: And now you’re back in London, known for its somewhat cold crowds – is that something you’ve found playing here over the years?

SFA: At the start definitely. Any capital city in the world you will get that really. Generally they’ve been alright though. Once you can fill a venue with your fans its great and you don’t see that anymore – playing places like Brixton Academy have been fantastic experiences for us. Though we’ve never played here [the ICA] before so this is a new experience.

RFB: This is also a warm up show for Glastonbury and you’re playing End Of The Road Festival – with so many festivals around these days is it still special playing Glastonbury?

SFA: Yeah, it means you get a ticket! I’ve always been one of these people that just go to Glastonbury anyway, so playing is a bonus really. There’s some terrible bands that play as well as some good ones so I tend to be found watching someone in a circus field rather than watching up and coming bands. I’d much rather stumble across something I’d not normally go and see. I haven’t been to Glastonbury for the weekend for probably about ten years so I hope it hasn’t changed too much – I think the clientele might be different. To get a ticket now you need an internet connection and a credit card, the people I used to go with didn’t even have a home you know? But less scallies and yardies has got to be a good thing – there were shootings last time I went!

RFB: So is it good to be back together playing some shows after your various solo projects – you still get on well after all these years?

SFA: Yeah it’s great. Of course we all still get on!

RFB: Is this part of releasing a new record still exciting for you – playing the songs live for people for the first time and seeing what people think to them?

SFA: Oh yeah. I wish we could bring out more records quicker, that’s the only downside. You finish a record and you have 6 months of all the other stuff that goes with it before it comes out. It would be nice just put it out and move on. With playing new songs live it’s a fine line. We’d love to play a set of obscure b-sides and brand new songs just to keep ourselves happy but I don’t think the crowd would appreciate that too much, apart from the real hardcore fan base.

RFB: So lets talk about the new album ‘Hey Venus!’. How’s it sounding?

SFA: Yep it’s sounding good, we’re really pleased with it.

RFB: As a band you tend not to do the same thing twice, especially consecutively, is it a departure from ‘Love Kraft’?

SFA: Yeah. Love Kraft was more mellow, Hey Venus is more of an in your face pop/rock album. It’s 11 songs, 37 minutes, none of the songs are over 4 minutes. They’re all straight to the point…

RFB: I heard a rumour that it might have started life as a concept album about a girl called Venus? Is this true?

SFA: Err no. It kind of became apparent that there was a thread running through the songs but concept album is a horrible word because it immediately puts a constraint on the songs and you have to stick to one idea. And that’s just not he way we are as a band. But there is definitely a thread…

RFB: When you went into the studio did you already have the songs in mind that went on to the record?

SFA: We did know the songs this time yes. In the past we have gone into the studio with maybe 20 songs and whittled it down but this time we went to a house in the countryside and rehearsed it. We chose the songs that were going to make the album there, before we went into the studio, so we had a pretty good idea. There’s always a couple of wild cards that come up though.

RFB: You say that ‘Hey Venus!’ is a bit more in your face than the last album. Was this a conscious decision to make an album? Do you tend to know what sound you’re going for before you make an album or is it more of an organic process?

SFA: No I wouldn’t say it was a conscious decision, I think we just chose the more upbeat, shorter songs. It’s not a ‘brash’ record. It’s not a death metal record by any means! It’s just a bit more upbeat!

RFB: ‘Love Kraft’ was recorded in Spain and Brazil, this one was recorded in the south of France. Does the place you’re recording have any bearing on how the record turns out.

SFA: No, not at all. We did a record in Brazil but the last thing we wanted to do was make a Brazilian record. There’s a lot of Brazilians doing Brazilian music very well already. I don’t want to be like Paul Simon and go to Africa and do an African record! We just went to Brazil because it’s a nice place to go. We went to France for this album because it was on a vineyard and it was during the harvest so we got to see the whole wine-making process at the same time as making an album.

RFB: Has that found its way on to ‘Hey Venus!’? Any lyrics about stamping on grapes?

SFA: No, but the wine from the vineyard won a gold medal as a champion wine so it was good quality wine! We got involved in that quite heavily…

RFB: We’re here at the ICA where there’s the first itunes festival coming up. Is the revolution/evolution the music industry is undergoing something you take interest as a band? You are known, for example, for being one of the first band’s to put out a record on DVD – does the impact of new technology interest you?

SFA: Definitely, because it’s the consumer’s choice at the end of the day. The internet came about not through the record companies forcing it on the public for a change. This time the record companies have had to adapt to what the public are doing.

RFB: Ash have just said that they’re not going to release any more albums, just singles on download. Would Super Furry Animals ever consider something like that?

SFA: I’d be gutted if we don’t have a record on vinyl, just because I like listening to vinyl. You can roll a joint on an album – you can’t roll a joint on an mp3! Mp3s are compressed to fuck too so they don’t sound as good. But at the end of the day, if people want to listen to songs like that through their headphones it’s their choice.

RFB: You’re not necessarily a political band but there’s always an undercurrent of political or cultural commentary running through your records – could you see any of the band doing a Dave Rowntree and going into politics?

SFA: I’d say we’re more political people in a band than a political band. But I doubt it. I can’t really see any of us joining a political party for a start.

RFB: Journalists have a knack of pigeonholing bands and using unnecessary adjectives to describe them, which is probably quite hard to do with Super Furry Animals. Have you ever seen or read the band described as something particularly funny or that you really didn’t agree with?

SFA: Well we’ve outlived a lot of things. In Europe when were on Sony they plugged us as a Britpop band and that’s been a big weight around our necks. Where we come from doesn’t make us any better as a band – and the whole Britpop thing was pretty horrible and dated anyway. But when we were pushed as that we’ve had to live up to it which was never ideal.

RFB: Last question – are Cardiff City going to get promoted next year?

SFA: No. I’d love it, but no. I’ll still get my season ticket though.

First published on rockfeedback.com. See it here.

Ryan Adams & The Cardinals - live at Koko 07/06/07

You know that myth about Paul McCartney. The one that he actually died in 1966 and was replaced in The Beatles by a man called William Campbell. Well, as Mr ‘McCartney’ plays to a lucky few at Camden’s Electric Ballroom, there just might be another imposter at work a few hundred metres down the road.

For the Ryan Adams that plays Koko tonight doesn’t seem much like the Adams of old at all. And shrouded in darkness throughout the gig, hidden behind sunglasses and placed in amongst his band rather than out front, it could really be anyone on stage. Add the fact that he doesn’t take up his usual guitar duties (allegedly due to a skateboarding accident) and that he doesn’t speak to the audience once until introducing his band at the start of the encore and suspicions are aroused further that there is something not quite right with this so called Ryan Adams. No heckles are put down acerbically, no one is thrown out of the gig and Adams himself manages to keep himself on stage without falling off. In fact he remains seated as well as silent throughout. So just what is up with Americana’s favourite son?

Well in fact tonight’s on-stage placidity is something that extends beyond the live environment. Now 32, the somewhat rehabilitated Adams (take note Chaplin, Hawkins et al – no celebrity clinic necessary) has given up his booze-fuelled and amphetamine-crazed wild child lifestyle in favour of one that can best be described as that of a clean-living workaholic. Not content with 8 solo albums in 7 years, he recently put up some 11 albums on his website, including hilarious attempts to tackle the punk and hip-hop genres. Cigarettes and coffee are apparently his only vices these days. The results have been palpable. Volatility and obtuseness in interview have been replaced with an affable honesty, concerts are technically masterful but pass without incident and even the celebrity girlfriends (including Winona Ryder, Parker Posey and Lindsay Lohan) seem to have disappeared.

Or, was the initial suspicion correct? Is this in fact some look-a-like contest winner who has been roped in by the record company to cover up the real man’s breakdown, kidnap or worse? The moment the man on stage opens his mouth to deliver his first line through the darkness there is no doubting he is the real deal. Somehow, somewhere over the last couple of years, Adams has transformed from the ashtray voiced country boy that he was, to a vocalist of real note. Flanked by the similarly blessed Cardinals (Neal Casal, Jon Graboff, Brad Pemberton, Chris Feinstein and Jamie Candiloro drafted in on keys), Adams and his band give a lesson in arrangement – both vocally and instrumentally – during one of the most beautifully pure concerts I have witnessed.

Between him and his band, they must take hours to come up with a set list, so prolific a songwriter has Adams been. Tonight the set draws predominantly from impending new album ‘Easy Tiger’ and 2005’s trio of releases: ‘Cold Roses’, ‘Jacksonville City Nights’ and ‘29’. Each song attempted is a triumph of harmony and despite no cause for dancing, those in the front row will surely return to the Camden night air soaking wet, so drenched in Jon Graboff’s pedal steel are these songs.

From the gorgeous opener ‘Games’ to well-received new single ‘Two’ that ends up being the last number of the night, each song is delivered perfectly. Stripped of guitar duties, Adams is perhaps able to concentrate closer on his vocal duties and gets thoroughly absorbed in them, clinging to the microphone and pulling out some hand-clenching emotion to emphasise his effort. The Cardinals too deserve considerable credit for their contribution to the collective beauty of these heartfelt tunes, with Neal Casal’s vocals and Graboff’s pedal steel really standing out. The consistency of performance is such that the new tracks fit in smoothly between the recognisable ones and each one sounds like a winner. A surprising set highlight is an extended version of ‘I See Monster’s’ from 2003’s dark ‘Love Is Hell Part 2’. Other standouts from the back catalogue include a rare outing for ‘Gold’s ‘Goodnight Hollywood Boulevard’, token Heartbreaker moment ‘Winding Wheel’ and ‘JCN’s ‘Dear John’ but in truth there are no weak links tonight and each song is a joy.

The passionate Ryan Adams fan (and there’s certainly a LOT of them), though, might feel a little cheated tonight. No support act means a long two hour wait for their hero to emerge. For the drinker that time is made to feel even longer at £3.70 a can of Kronenbourg and when added to the £25+ for a ticket, it becomes a rather pricey evening. At just an hour and a quarter it is a fairly short set – especially by Ryan Adams standards – there is just a handful of ‘old’ songs (again by Ryan Adams standards, very few promoting their new album would play a set full of old songs) and none of his witty banter (or in a cynically voyeuristic way, none of the unpredictability of some of his tortured drunken performances).

The lack of crowd interaction and difficulty anyone further back than the fifth row must have had in seeing their hero might also have been a mite frustrating. It’s often better to see a performer show emotion on stage whether it’s positive or negative rather than simple muteness and it would have certainly have been expected from Adams in the past. Tonight, though, all emotion is directed solely into singing his songs. Similarly, those not as familiar with Adams’ music, while surely unable to deny the beauty of the performance could be forgiven for finding the proceedings a tad one-dimensional, or even dull. Still, for one racked in the past by a variety of demons, it is certainly nice to see a performer concentrating purely on delivering what are undoubtedly wonderful songs.

One other thing I can’t help thinking while witnessing this lovely performance, though, concerns the state of Americana/Alt-Country music in 2007. Rewind to 2000 and Adams was a tormented, erratic soul who had acrimoniously disbanded his band Whiskeytown and cemented his place in the American music elite with the career-defining solo debut ‘Heartbreaker’. That same year a similarly tortured 20 year old Conor Oberst was still wailing about depression on Bright Eyes’ third album ‘Fevers and Mirrors’, while over in Chicago Wilco were recording the incredibly progressive and equally career-defining ‘Yankee Hotel Foxtrot’. Being a fan of Americana was, dare I say it, an exciting place to be.

In 2007 these three major players each release albums within two months of each other and my how things have changed. Adams has gone all harmonies and pedal steel, Jeff Tweedy is happy, Oberst is a grandiose political commentator who regularly tops the Billboard charts and all three are adored by Radio 2. Is it just me, or are we all getting a bit old…?

However, tonight’s show proves that at least Adams the man is healthy (hand injury aside) and Adams the performer is more than capable of writing and delivering beautiful, affecting songs. If this is in fact the real Ryan Adams, he will continue to perform charming concerts such as this with as good a backing band as there is around. Unfair as it is, many, though (myself included), will not be able to help missing the baggage.

****

First published on rockfeedback.com. See it here.

Tiny Dancers - Free School Milk

Nope – not an Elton John tribute act. In fact Sheffield’s Tiny Dancers claim that their moniker is not taken from the song of the same name. They must have got it from watching a particularly musical episode of the Borrowers or something then. Either way it seems to be doing them no harm as they release this, their debut album out on Parlophone, to a fair bit of attention.

The first thing you notice about the band is that singer David Kay sounds rather a lot like Neil Diamond. To the point that I reckon he’d probably do pretty well on ‘Stars In Their Eyes’. He is blessed with a voice that is richer than Roman Abramovich and for the most part ‘Free School Milk’ showcases this. His vocals are generally left to standout above the music and, unless it grates on you as some distinctive voices can, this is generally a good thing.

It is particularly striking on the moody ’20 to 9’, a rather strong opening to the collection and a track reminiscent of Scott Walker’s Philips albums. With its moody drums and atmospherics it is actually at odds with much of the rest of the album. For it is on the following trio of songs that Tiny Dancers put forward their real manifesto. ‘I Will Wait For You’ and ‘Baby Love’ is where the Neil Diamond comparisons are at their most obvious with its melody sounding rather like something he might have released in his 70s heyday. Name-checking hometown Sheffield (“this city of steel”), the former utilises a variety of pop techniques including pauses, “oo-oohs” and a slowed down climax to infectious effect. The latter, and indeed, following track ‘Shame’ continue this pop-by-numbers approach with the desired results, and each hover remarkably close to the three minute mark.

Another trio of songs follow that see Tiny Dancers stray a little from the formula. ‘Ashes and Diamonds’ (presumably not referring to Neil) and ‘Moon Song #2’ are earnest slow burners that hit almost epic scale. Both show a darker side to Tiny Dancers with lyrics such as “I blame it all on you” and “It goes from up to down, it goes from hot to cold”. Sandwiched in between is the charming ‘Bonfire Of The Night’, a ditty based around fingerpicked acoustic guitar, handclaps and “ba ba” backing vocals. It is the most throwaway of the tracks on ‘Free School Milk’ and actually serves to emphasise the polished nature of the rest of the album. It is this polished sound that returns for the remainder of the album, with the only variety coming by way of a slight country tinge to ‘Sun Goes Down’ and in ‘Deep Water’ which rounds off the album with pleasing symmetry to ’20 to 9’.

Tiny Dancers are clearly more than in touch with their pop side, something label Parlophone has obviously recognised. With John Leckie manning production duties, everything about this album feels shiny and sparkly to really force home the record’s accessibility. That said, despite the odd overindulgence in the production department, ‘Free School Milk’ is for the most part free from pretension or any desire to be placed in a pigeonhole. It’s a good old fashioned pop rock record, with infectious hooks a plenty.

To be honest, though, such is the syrupy nature of the majority of the album, you would have to be a very, very happy person to listen to it all the way through without getting a sugar-induced headache. For those who like things a tad more miserable, rather than cheer you up it might just push you over the edge with its relentless joyfulness. Without the middle trio of songs to cut through the saccharine pop songs it really would be too much.

The likes of ’20 to 9’, ‘Ashes to Diamonds’ and ‘Moon Song 2’ prove that Tiny Dancers can write songs with more depth than is often evident. A few more of these and a few more breaks from the smiley onslaught and it would be a stronger album for it. ‘Free School Milk’ attempts little past tried and trusted formuale and is in no way cutting edge, but is ambitious for a debut album if only for it’s size. I’d much rather the charts were full of song by Tiny Dancers than the usual dross but I don’t think I’ll be listening to it front to back again.

***

First published on rockfeedback.com. See it here.

The Ripps - Holiday

The sun seems to be on its way and perhaps finally some semblance of summer is around the corner. It’s about time for some summery sunshine pop then: cue Coventry’s The Ripps with their take on this very thing – ‘Holiday’ – taken from debut album ‘Long Live The Ripps’.

Musically ‘Holiday’ takes its cue from Britpop, with ‘Parklife/Great Escape’-era Blur and ‘I Should Coco’-era Supergrass being the obvious influences. The slowed down middle 8 and backing vocals being particularly reminiscent of the former, while the organ recalls the latter’s ‘Going Out’. There are also hints of fellow Cov boys The Specials – even more noticeable on b-side ‘Wrontom 18-30 Version’ remix of the song – with a hint of a ska twist to their brand of pop rock.

‘Holiday’ starts off somewhat promisingly with a delicate run through of the chorus backed by some Beach Boys harmonies before it shifts a gear into a bouncy pop song. It loses its way rather in the verse part however, as ‘Country House’-esque vocals dominate. Lyrically it is typical post-‘Whatever People Say…’ British realism, providing a tongue-in-cheek examination of summer drinking. However, when so prominently on show, it becomes clear that The Ripps don’t have their own Alex Turner. Far from it. While there is no need for a summery hit to be knowing or clever necessarily, lyrics like ”Afternoon in Wetherspoons the story begins, a cheeky pint will always end in tears / Go on mate just one more shot, it won’t do you no harm / Go on then you’ve twisted my arm” are enough to send a shiver down your spine on the hottest of June days.

Dodgy lyrics aside there is certainly enough to enjoy about ‘Holiday’ to not dismiss it out of hand. The changes in tempo, likeable chorus and descent into Big Top madness towards the end are all enough to raise a smile. And for those of us old enough to remember Britpop the first time round, there’s a bit of nostalgia on offer too.

The best thing The Ripps have got going for them is a sense of fun, and, if the weather holds out, with this single their timing couldn’t be much better. Whether they will still be around come autumn is another matter.

***

First published on rockfeedback.com. See it here.

Blonde Redhead - Silently

On first listen there doesn’t seem that much to ‘Silently’, the soothing daydream of a new single from the New York three-piece with a mixed up view of follicular colouring. But as with much of ‘23’, the album from which the song is lifted (Blonde Redhead’s eighth, but first for three years), it becomes apparent that actually there is considerable depth to it as delicate touches begin to reveal themselves to the listener.


A far cry from the band’s early Sonic Youth-influenced work, ‘Silently’ is a song with almost entirely smooth edges. Kazu Makino’s trademark shrill but silky vocals take centre stage, providing a smooth gloss finish on this a tale of unrequited love. Underneath is a mellow beat and a complementary concoction of guitars and keys that sound like they are being played through honey. Add in some layered, velvety backing vocals and electronic twists and the only hint of sharpness comes from the odd snatch of Simone Pace’s snare drum or hi hat.


The fact that the lyrics take the form of a rather clumsy nautical metaphor is effectively inconsequential as the vocals are merely one part of a laid back whole. It is so laid back though, that it does need some additional touches to add distinction. Luckily it has them, most notably in the form of the keyboard riff during the middle eight and the hint of eighties drums shortly afterwards, while the odd submarine-type noise is entirely apt.


Sounding somewhere between an updated and remixed version of The Supremes’ ‘Baby Love’ and a very polished My Bloody Valentine (perhaps unsurprising given the presence of Alan Moulder on mixing duties) it is a luxuriant song that combines its warm glow with Makino’s icy delivery. ‘Silently’ is a song that could easily pass you by, give it a chance though and you might well be glad you did. To be enjoyed alongside the Cardigans better moments or Blondie’s ‘Heart Of Glass’ and possibly with a glass of wine, it is a perfect song for the end of a long day.


***

First published on rockfeedback.com. See it here.

Joe Strummer: The Future Is Unwritten – a reflection

So, a film review (of sorts) rather than a music review and not written for anyone else for a change but more to fulfil the need I have to put something down in writing about how profoundly affecting this film was for me…

It has been nearly five years since we lost the great Joe Strummer, a hero to me and countless others (not just music fans) who had been spellbound by not just his music but his passion, wit and insightfulness. Experienced punk film-maker and Sex Pistols collaborator Julien Temple of ‘The Filth And The Fury’ fame attempts to do the man justice with this much-needed and much-anticipated tribute.

Temple is lucky in some respects. The largely unheard (though according to a Strummer quote during the film some 40 million people listened to it) BBC World Service Show called 'London Calling' that Strummer presented in the 90s provides some vital material from Strummer’s later life, while also making up a kind of soundtrack to the film (especially satisfying since these were all songs handpicked by the man himself) and giving it a sense of cohesion. Rather than a documentary about a historical musical figure whose most important work took place 30 years ago, these intermittent bursts of Strummer soundbites give the film a vitality means that there is no need for a narrator and for much of the film it seems like the musician himself is the film-maker.

Temple takes the theme of the campfire, something key to the regeneration of Strummer in his private and musical life, as the central motif in the film. Throughout, family and friends old and new gather round campfires on both sides of the Atlantic to reminisce about the man they knew. This provides not only a useful film-making tool and the sense of community that Strummer’s life and the music of the Clash inspire, but also the flames and smoke that often threaten to overwhelm the shot offer a neat metaphor to the turmoil that he faced throughout his life – from his brother’s suicide, to the pressures of touring, to the break up of the Clash and his subsequent loss of self-confidence.

Add in some great old Clash interviews and footage and you have a formula that can’t really fail. Much of the punk period will be familiar ground for true Strummer fans, but Temple chooses not to dwell too long on this giving important insight into Strummer’s early years and life after the Clash – making up for any lack of footage available with a variety of animated segments. It is an interesting technique that at times can produce entertaining evocations of a part of his life, but at times they can seem a little too twee for a man as dynamic as his subject.

As any good biography or tribute should, ‘The Future Is Unwritten’ celebrates each facet of Strummer’s personality, most notably his passion for good causes, his fierce intelligence and his razor-sharp wit. There are funny moments throughout, for instance when asked what he wanted shown below his name, the answer “‘Punk rock warlord’. With ‘warlord’ as one word”
comes back in Strummers inimitable dry tones. Or the moment when a noticeably worse-for-wear Strummer asks an interviewer “Do you want to meet our manager?…He invented punk rock”: cue a camera pan to a mouth wide open, passed out Bernie Rhodes. It is not all plain sailing though, as Strummer's personal flaws are laid bare on several occasions to poignant effect. Described variously as a coward and at times not the best father, Temple wisely presents Strummer as the complex man he was instead of opting for mere one-dimensional hero-worship.

On the musical side we are reminded what an engaging performer, frontman and singer Strummer was, and perhaps even more, what an incredible lyricist he was. Equally the range of musicians who speak of the importance of the Clash to them, from Bono to Flea and beyond, goes some of the way to illuminating what an incredibly influential band The Clash were, are, and will remain to be for as long as people continue to make music. Perhaps a little strangely Temple chooses not to name the many contributors during the course of the film, which can leave the viewer sidetracked as they try desperately to remember that American actor’s name. However, it also reinforces the feeling that Strummer was a true man of the people, loved by the downtrodden and the Hollywood star alike and someone who would view them each as equals. His unshaking faith in humanity is always clear. Many of the contributors provide useful and intelligent insight, but speaking from the point of view of a Clash obsessive it's difficult to shake a feeling of annoyance at the apparent irrelevance some of the celebrities interviewed (again rarely is it explicitly stated how or why each person knew Strummer). And it is perhaps inappropriate that Jonny Depp's ridiculous plaited beard provoked the biggest laugh of the evening at the screening I attended.

While Temple is indeed lucky to have such a charismatic subject, an infinite list of people willing to talk about him and a wealth of resources, this remains a superbly made film that most importantly succeeds in the one thing it needs to: it pays tribute to a great man loved by millions. The feeling of tragedy that he was taken at the age of 50 actually ends up being replaced by the uplifting knowledge that this troubled soul that had spent 10 years in the wilderness both creatively and mentally, managed to be born again during his last years. It ends up, though almost heartbreakingly poignant, a true celebration of the man.

‘The Future Is Unwritten’ is both a powerfully moving and wonderfully enjoyable tribute to a singularly popular man. More than anything it lets us slip back into the world of a hugely influential musician – and just as importantly a great but troubled human being – for a few hours. And to anyone that is passionate about or interested in music, culture, society or just humanity itself, this time is absolutely priceless.

”And so now I’d like to say… people can change anything they want to. And that means everything in the world. People are running about and following their little tracks – I am one of them – but we’ve all got to stop just following our own little mouse trails. People can do anything. This is something I’m beginning to learn.

People are out there doing bad things to each other. It’s because they are being dehumanised. It’s time to take the humanity back into the centre of the ring and follow that for a time. Greed… it ain’t going anywhere. They should have that on a big billboard in Time Square.

Without people you’re nothing.

That’s my spiel.”

Joe Strummer 1952-2002

Stephanie Dosen - A Lily For The Spectre

Stephanie Dosen’s debut album ‘A Lily For The Spectre’ is attention-grabbing for several reasons. Firstly it is released on notable label Bella Union, secondly it features Bella Union founder and ex-Cocteau Twins member Simon Raymonde on bass and thirdly Dosen was raised on a peacock farm in Wisconsin. The latter has absolutely nothing to do with the music or this review per say, but it certainly grabbed my attention.


A title like ‘A Lily For The Spectre’ hints that this might not be the cheeriest of albums and a quick glance through the song titles seems to confirm this. Despite the occasional suggestion of positivity in titles such as ‘This Joy’ and ‘Only Getting Better’, the majority hint at darker themes: ‘Owl In The Dark’, Death & The Maiden’ and the title track to name but three. And sure enough, this turns out to be a largely morose album. It can, of course, be dangerous to judge a book by its cover, but one would be wise to with ‘A Lily For A Spectre’. Accompanied for the most part by melancholic keys or piano and fingerpicked or strummed acoustic guitar, Dosen glides her way through 11 quietly powerful tracks that focus on spectral themes.


Opener ‘This Joy’ is not as positive as it first seemed, as it turns out that “This joy will fade inside” and the acoustic guitar is supplemented by plaintive strings and keyboard chords to emphasise the downbeat nature of the lyrics. This mould is one that Dosen sticks to throughout the course of the album, focusing her efforts on delivery without much in the way of experimentation. There are little tweaks here and there that rise above the singing and mellow instrumentation, such as the breathy backing vocals on ‘Death And The Maiden’ or the violin on ‘Owl In The Dark’, but she largely keeps things simple and effective.


Clearly Dosen’s main strength is her evocative voice and it dominates the album, with many long, held notes and often layered over itself (see particularly the aptly titled ‘Like A Dream’). Combining fragility with depth, it is excellent throughout and perfectly complements her almost child-like songwriting, typified by ‘Vinalhaven Harbor’: “When I was young I had a dark heart inside of me…Now I go to the dark playground where I can’t let go”. She hits vocal highs on the uncharacteristically upbeat ‘Only Getting Better’ with its glorious “It’s all so beautiful” refrain, but equally her singing is at its most poignant when it is delicately fragile, such as on ‘Like A Dream’ or ‘Way Out’.


‘A Lily...’ is at its heart a collection of dream-like songs that feel like they should be animated by Tim Burton. It is certainly not traditional girl-meets-boy fare with its ethereal atmosphere and ghostly lyrics (“You had a vampire grin… and you hold back like a tear”) and would work well as the soundtrack to something like Burton’s ‘Corpse Bride’. It’s beautifully sung, heartfelt and polished at the same time with songs that are at times bewitching and always a pleasant listen and perfectly arranged. In the end, though, this proves to be its downfall too. One gets lost in it as each song melts into the other, but, equally, one gets lost in it as each song melts into the other. Unless you really concentrate on the quirky lyrical twists there is little that stands out or pricks up the ears, little that marks it out as anything truly special. It’s a lovely album. In fact it’s just that – ‘lovely’ – something it both benefits and suffers from

***

First published on rockfeedback.com. See it here.