Supergrass - Diamond Hoo Ha Man [Parlophone single]

Along with fellow Oxfordians Radiohead, Supergrass are one of the few originators of Britpop to still be clinging on to much credibility – and it just so happens that they were one of the best. But somehow there is still the pervading sense that despite littering the charts with a succession of fantastic pop songs, Gaz et al have never quite surmounted the peaks that seemed within their reach.

In some ways, then, this White Stripes-flavoured bluesy rocker seems a fresh attempt to scythe through the repetitive and ever-multiplying chaff of current one-album, chart-bothering British indie (most of whom would sell their Lyle & Scott branded souls for a ‘Lenny’, ‘Caught by the Fuzz’ or ‘Mansize Rooster’). It does so, quite simply, by not sounding very British. The opening riff is almost identical to ‘Blue Orchid’, the slide guitar is reminiscent of a slightly slicker Gun Club and the integration of that most American of phrases “Bite me” adds to the all-round US garage rock feel of the track.

What is certainly true, though, is that after some 14 years Supergrass still know their way around a three and a half minute pop song. ‘Diamond Hoo Ha Man’ is another one that stands out on the radio, albeit thanks to a pretty straightforward Kings of Leon type formula: pounding drums, chunky guitars, aforementioned riff, speed up-slow down-speed up structure and some top-notch vocals.

It is a more than pleasant way to pass said 210 odd seconds and is nearly a very good return. But it just does sound a bit generic and lacks the Supergrass touch that (much like Super Furry Animals) normally makes their songs great. And it doesn’t help that it is actually ‘Blue Orchid’ that I have in my head long after listening to this track, rather than the work of the Hoo Ha Men. Still, decent enough, and an indication that there most probably is life in the old ‘grass yet.


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First published on rockfeedback.com. See it here.

Contributions to rockfeedback.com Top 100 Records of 2007

2007 has been a mixed year for records, with a couple of let downs (ahem Bloc Party) and a general lack of excitement in British music. There were, however, some exceptions, including LCD Soundsystem’s drooled-over ‘Sound Of Silver’, Jamie T’s debut, Editors dark second album and The Cribs Lee Ranaldo-featuring third. The other side of the Atlantic produced more works of substance with the likes of Battles, Liars, Animal Collective, Explosions In The Sky, Beirut and Deerhoof all earning high praise.

I managed to dash off a few words about some of my favourites below…

(59) Jamie T – Panic Pevention (Virgin)

Jamie Treays is a young middle-class Londoner who, like many of his peers, spent his teens drinking, taking recreational drugs, getting into fights and everything else typical of ‘naughties’ youth. How do we know? Because, unlike any of his peers, he articulated it perfectly in his inimitable urban poet style, delivered it backed by only an acoustic bass and finally put it to music that was as achingly modern as it was a display of musical kleptomania, borrowing from everything from to ska to drum’n’bass to punk.

23) Dinosaur Jr. – Beyond (Pias)

In an age when even the original line-up of the Beatles (with Stuart Sutcliffe on bass) are probably about to reform from beyond the grave, this was the most glorious of all 2007’s reunions. How did J, Lou and Murph do it? By recording a perfectly timeless Dinosaur Jr record. One of the few times you can honestly say it was just like they had never been away.

18) Panda Bear – Person Pitch (Paw Tracks)

If Brian Wilson had grown up in 80s Baltimore County and hung out with people with names like Avey Tare and Geologist instead of bloody surfing all the time, he probably would have made albums that sounded a bit like Person Pitch. Not content with contributing to Animal Collective’s delicious Strawberry Jam, Panda Bear outdid his band’s work with his third solo album. Managing to make surf pop sound experimental and lo-fi - Person Pitch is a joy from beginning to end. (Chris Helsen)

Honourable mentions also go to: The Strange Death Of Liberal England, Arctic Monkeys, The Tailors, Two Gallants, Kings Of Leon, Destroyer, Gravenhurst and more…

Above reviews first published on rockfeedback.com.

Video of the Month #2 The Go! Team - Doing It Right [dir Good Times]

Who really needs a summer when you've got a band like the Go! Team coming out with retro pop nuggets like 'Doing it Right'? The video, directed by the aptly named Good Times, merely enhances the joy of the record and broadens the grin on your face...

Gravenhurst - The Western Lands [Warp album]

As all us amateur cosmologists know, the Big Bang theory states that the universe originated from something somewhat smaller and has been expanding ever since. This same principle could apply just as well to Nick Talbot’s Gravenhurst. Having gone about things in a rather modest fashion in the early parts of a career that saw sparse folk records released on tiny indie label Silent Age (beginning with 2001’s debut ‘Internal Travels’), everything about Gravenhurst has grown outwards since – signing to Warp (the universe, too, becomes cooler as it expands), gaining more members and admirers, and intensifying the band’s sound considerably.

‘The Western Lands’ continues where 2005’s much-lauded ‘Fires In Distant Buildings’ left off, with broody, elongated ‘post-folk’ songs with more than a nod to shoegaze that somehow end up sounding like electronica without the electronics. The likes of ‘Trust’, ‘Hourglass’ and the closing ‘The Collector’ are perfect examples of this, while the gloriously epic instrumental title track leads the album into shimmering post-rock territory. The comparatively brief four minute ‘Hollow Men’ is probably the real highlight, though, with feedback and rocked out guitars providing a jagged contrast to Talbot’s trademark mournful voice and boasting a breakdown that sounds like ten jumbo jets taking off.

Talbot and Gravenhurst continue to make quite stunning records, utilising both song structure and instrumentation to achieve the ultimate atmospheric effect. Best listened to late at night while contemplating life by candlelight, ‘The Western Lands’ is a dark and intense record that at least matches its predecessor.


First published in Notion magazine.

The Fiery Furnaces - Widow City [Thrill Jockey album]

Possibly music’s most intriguing sibling collaboration, The Fiery Furnaces’ Matthew and Eleanor Friedberger continue their astonishing journey through the world of twisted pop with their sixth full-length release. The album’s opening opus ‘The Philadelphia Grand Jury’ acts like a mission statement, showcasing the fundamental elements of diversity and experimentation that have increasingly become the duo’s trademark. A carefully constructed mash-up, the song (and album) is a cut and paste musical collage with snippets of lyrics strewn over a variety of musical styles, from 70s pop to garage rock.

The expected is constantly twisted on ‘Widow City’ – when you think a song might be following a traditional structure, rhythm, melody even, either Matthew’s instrumentation or Eleanor’s intonation take it somewhere entirely different. This is more successful in some places than others, treading a fine line between the emotive and the unnecessary. Having succeeded with seven minutes of rhythmic variations on the first track, for example, a similar barrage on ‘Clear Signal From Cairo’ is just too much, and the whole album provides a lot to take. Once through the initial jolt of this constant assault, though, much of it is quite brilliant and staring you in the face are more catchy pop melodies than you might think.

If you like your ‘pop’ music challenging then ‘Widow City’ is definitely for you. The songs held within possess a great deal of depth, texture and interest. If, however, you prefer something a little more traditional and appreciate consistent song structure, you might want to give this one a miss.


First published in Notion magazine.