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CD Review: Sol Gravy - Sun Son EP

info@leedsmusicscene.net (Jessica Thornsby) — Sun, 23 Nov 2008 10:15:18 +0000

The meandering acoustic guitar and hazy vocals of opener 'Remember Me (Summer Gone)' would make for a pleasantly undemanding ballad, if it wasn't for one seriously misplaced harmonica. What it's doing bleating all over this otherwise subtle song is anyone's guess. While initially, it does lend character and keeps 'Remember Me...' ticking over, it gets more prominent as the song progresses, and you'll hardly notice the finishing twists and turns because of it. 'Remember Me...' begins like a heady, summery ballad and ends up prickling with sharp edges that are so out of place, they'll have you wincing.

'Liar Liar' is more coherent, and the rattling acoustic guitar that acts as its cornerstone, ensures this song is always jangling with energy. A handful of atmospheric synths give this acoustic number some variety and Sol's voice has more than enough character to keep things interesting. However, at under three minutes, 'Liar Liar' does feel like it's over before it's built up momentum, and you might be left wondering just what the point was.

'For The Flow' is another laidback acoustic number. Although we've heard this sort of thing from Sol before, 'For The Flow' does showcase his ability to make even the most awkward lyric sound natural, and the stripped-down arrangement proves his voice can withstand even the fiercest of scrutiny. However, 'For The Flow' is ultimately lacking any hook or emotional core that'll get the listener involved. It may be crammed with sublimely beautiful acoustics and easy-on-the-ear melodies, but you'll drift along on 'For The Flow's surface, and never really get caught up in it.

'Autumn Chile' is a burst of ethnically-influenced alt-folk with eerie, campfire-singalong vocals. Refreshingly, it feels like it's grown naturally out of this EP's more conventional tracks, rather than being a forced, arty experiment. However, at one-and-a-half-minutes long, it's difficult to see why Sol didn't take this intriguing interlude and expand it into a more rounded song, because there are plenty of ideas here to work with.

Length isn't an issue with the eight-minute epic of 'I Am The One.' This is a song that's had some serious time spent on it, as subtle vocal echoes and flourishes of distortion combine to deliver some quietly unsettling moments. However, as with the rest of this EP, 'I Am The One's finest moments are nuances of sound rather than obvious hooks. 'I Am The One' requires your undivided attention if you're going to get anything out of it.

Sol signs off with possibly his most sedate offering, 'For A Girl' which is, again, all acoustic guitar and ethereal vocals but, after five songs of similar material, it's difficult to give 'For A Girl' the attention it probably deserves.

Perhaps, if this EP wasn't played out all at the same level, it would be easier to appreciate its more subtle moments. The major problem is that 'Sun Son' is so understated that you have to give it 100% of your attention at all times, and while there's nothing wrong with music that challenges, 'Sun Son' is one strictly for those who enjoy working hard at enjoying their music.

Read more about the featured bands: Sol Gravy.

Read more from this author: Jessica Thornsby.

News Article: Red Stars Parade to release a new EP on November 24th

info@leedsmusicscene.net (Dave Sugden) — Sat, 22 Nov 2008 22:26:02 +0000

Red Stars Parade release a new EP, entitled 'Lutine Belle', through Thirty Days Of Night Records on November 24th. It is the first release since the band's 2005's acclaimed debut album, 'Disko'.

They will enter the studio again on December 31st to record several new tracks to be included on 2 split releases later in 2009.

Read more about the featured bands: Red Stars Parade.

CD Review: Pifco - Pifco A Go Go

info@leedsmusicscene.net (Jessica Thornsby) — Sat, 22 Nov 2008 22:15:06 +0000

Pifco are one of those bands you're either going to love or hate. The first potential deal-breaker is frontman Ste's habit of barking incoherently rather than singing, which will leave a good many people scratching their heads before switching 'Pifco A Go Go' off. But, if opening track 'Jumping Sickness's bone-shaking blend of rattling drums, looped-to-within-an-inch-of-their-lives electro samples and mentalist vocals leave you cold, then you probably should switch 'Pifco A Go Go' off, because this is a formula that's repeated for pretty much the whole of the album.

Second track 'Snorkle Stalker' is more jangly, alt-indie Pifco oddness, but played faster and louder, with extra layers of synths and more prominent drums. It's a complex mix, but the synths that blare out every few seconds give 'Snorkle Stalker' the immediately catchy moments it needs, and proves that Pifco have an ear for the unusual hook.

With 'Snorkle Stalker' it becomes apparent that, although Ste's vocals are strikingly different, they aren't particularly strong, and the drums frequently drown him out. This is a reoccurring problem, with the very thing that makes Pifco so distinctive being too-often regulated to background noise.

This is particularly the case in 'The Long Island Incident' and 'Get!!' with the buzzy-edged synths of 'The Long Island Incident' completely taking the edge off of Ste's barked vocals, and making Pifco sound borderline normal.

The undercurrent of crunchy, grunge-tinged synths in 'Jonny No Name' shows a darker side to Pifco. However, it isn't a complete success as the synths are often so loud and distorted that 'Jonny No Name' is on the verge of becoming unpleasant to listen to. When Ste's vocals are ricocheting off the synths, it does have a softening effect, and 'Jonny No Name' becomes a song you can just about enjoy, but Ste's vocals are spread too thinly in this song, and for the most part there's nothing to distract us from that horrible crunching sound.

'Aluminium Shoes' blends fluttering riffs and harsh synths that, like the rest of 'Pifco A Go Go,' shouldn't work, but does. Although a few of the more strident sound effects might set your teeth on edge, most of the contrasting electro and jangly indie elements of 'Aluminium Shoes' combine to create irresistibly off-kilter hooks that'll keep you coming back for more. The same can't be said for follow-up track 'Mixer' though, which showcases how Pifco's two contrasting sides don't always come together quite right.

'The Embassy Dinner' sees a distortion effect added to Ste's voice. Although tinkering with the very thing that makes them so distinctive could have been disastrous, it actually puts a new slant on Pifco's sound, which is exactly what's needed after almost an entire album's worth of material. 'Race Course Race Horse' also pulls this trick, with some serrated synths revealing a darker side to the band. 'Race Course Race Horse' and 'The Embassy Dinner' are guaranteed to re-engage any listener who thinks they know exactly what to expect from Pifco at this late point in the album.

Beyond its darker synths, 'Race Course Race Horse' is another slice of jerky, Pifco addictiveness, apart from a jarring burst of crackling synths that crops up halfway through the song before, suddenly, 'Race Course...' jolts back to normal. This highlights the ever-present danger of Pifco taking their quirkiness too far and alienating their audience, which thankfully they don't make a habit of on this album.

'Face Wall Paper' has an undercurrent of crunchy synths similar to those of 'Jonny No Name.' Pifco may go easier on the distortion this time, but that grunge-influenced synth still completely dominates 'Face Wall Paper,' making it one of the weaker songs on the album.

'Cliff Jumper and Hound' makes heavy use of organ-imitating synths that, inexplicably, complement Pifco's jangly sound perfectly. 'Cliff Jumper...' is Pifco on top form: a quick, infectious alt-indie jaunt, crammed with looped samples and spring-heeled drums.

It's the perfectly odd-but-accessible end to an album that will worm its way into your affections by being different, without being too different. Pifco may occasionally drown out their own strongest asset, and they may occasionally indulge their creative side at the risk of losing their likeable-oddballs status and becoming just plain odd (this is the case with 'Jonny No Name' and 'Face Wall Paper' in particular) but ultimately they manage to avoid this fate, and turn out a raucous, off-kilter album of indie-influenced oddness.

Read more about the featured bands: Pifco.

Read more from this author: Jessica Thornsby.

CD Review: Skint & Demoralised - The Thrill Of Thirty Seconds

info@leedsmusicscene.net (Joseph C Seager) — Sat, 22 Nov 2008 22:11:41 +0000

The first thing on receiving the single I notice is the use of an Alan Ball & Billy Bremner image. Great stuff! That's where the greatness kind of ends though. 'The Thrill Of Thirty Seconds' would maybe be better as a thirty second thrilling track. It all seems a bit dated. There isn't anything new here to get your teeth round. The singing in a broad accent thing hit its climax a while ago and Skint & Demoralised may be just that by turning up to the party a little late. The lyrics are fine, a bit random at times, there is obvious talent in the playing of the instruments but it's not anything special. It picks up a bit toward the end, but does go on a tad. A basic, average release. I wish them all the luck in the world, they might need it.

Read more about the featured bands: Skint & Demoralised.

Read more from this author: Joseph C Seager.

Live Review: Coaltrain

info@leedsmusicscene.net (Francis Denning) — Sat, 22 Nov 2008 22:08:49 +0000

Every once in a while your evening turns out to be so very different from how you planned it.

A normal routine might be to get home from work, undertake a little desultory housework, perhaps have a nice cup of tea; and then pop down to The Junction to shoot the breeze and leave just before the band takes the stage (well, perhaps "stage" might be exaggerating a trifle).

On Tuesday however, the band in question was Coaltrain, a local outfit oozing with the class which only comes from years of performing live.

The band is fronted by Dave Vermond, perhaps better known as an acoustic solo performer, whose vocals tonight were an object lesson in clarity, expressiveness and no little emotion.

The rhythm section comprises the legendary Andy Thornton on drums whose inconspicuousness only emphasised his rock solid ability to nail the whole sound firmly to the floor.

Nick, formerly of the Above Average White Band, fitted effortlessly into the role of the, previously considered irreplaceable, Andy Aitchison on bass guitar; and contributed some fine vocals.

Taking responsibility for the frills and furbelows were Johnny Hardcastle, who, whilst shamelessly hawking for sale a rather classy Fender Telecaster, played some of the best guitar I have heard for some time, alternating between conventional guitar and something which resembled a trouser press, though which we were later informed was a lap steel.

Providing a one man horn section was Simon Holmes, a man whose excellent sax playing, so ably complementing Johnny's guitar work, was surpassed only by the acrobatics of his eyebrows.

The set was a mix of genuine Rock'n'Roll standards (Shake, Rattle and Roll), Country and Western ( a magnificent version of Hank Williams' "I'll never get out of this world alive"), original material (20 minute man), and even a smattering of Wilson Pickett,(a version of "Don't fight it" which brought to mind an, as yet undiscovered, Exile on Mainstreet masterpiece).

If you want to experience a band which contains some of the best in local talent, which can rock, swing and jitterbug with the best of them, and which can make you stay several hours longer than you ever intended to stay; then go and watch Coaltrain. Just don't blame me if you pitch up to work with a stinking hangover the next day.

Read more about the featured bands: Coaltrain.

Read more from this author: Francis Denning.

Live Review: Fight Like Apes + Art Department + Vile Vile Creatures

info@leedsmusicscene.net (Kevin Richardson) — Sat, 22 Nov 2008 22:04:18 +0000

Monday nights are always strange nights for gigs. It's kind of like an extension of the weekend, but with the knowledge that it's Tuesday the next day and still a full week of work ahead. But with Fight Like Apes we knew were guaranteed an interesting night so six of us made the short journey into town for some cheap bottles of Fosters and good music.

Although having not been able to find out the support anywhere (does that annoy anyone else?!) we could of course have been wrong about the good music. But luckily both support acts were really good. First up was Vile Vile Creatures. That's the name of the band, not my personal opinion! They're a three piece all female group from Leeds and Manchester and specialise in fast punk pop tunes. They majority of their tunes seem to be built on some very fast drumming, which as a Bloc Party and We Are Scientists fan I enjoyed. You could dance to all their tunes and the lead singer even found her way into the crowd for a little dance. It veered into more punky material with the singer screaming into the microphone but overall it was a really enjoyable set. If I see an unknown support act they need to make an impression on me and Vile Vile Creatures certainly did with some good tunes and a really good vibe around them.

The second band, named Art Department, was a bit mellower but equally as interesting. The lead singer was really into the music and cut quite a mesmerising figure as he shut his eyes and let the music take him. He reminded me of the lead singer of Yeasayer with the rhythmic jolting and dancing. Their set was quite varied with some almost experimental sounds to some straight forward rock and roll sounds between the guitarist and the bassist. They did have quite a unique sound and it was another set that seemed to quite quick which isn't always the way with support bands.

Just as a random aside, halfway through the set one of my friends turned to me and said he wants to go see The Thrills again. I said OK that's a bit random and he said the song at the moment reminded him of a song and he started singing 'Wires.' Yes... by Athlete. Sometimes words fail me! The same friend got even more excited when a trumpet appeared out of nowhere at the end of the set. It was a nice way of mixing it up and added another dimension to the set. Another really enjoyable set and so far the fiver we paid for the ticket was already value for money.

Having seen Fight Like Apes supporting We Are Scientists at Leeds Met and being shall we say energetic and wandering all over the stage I was intrigued as to how they would adapt to being the more confined Cockpit 3 room. Their equipment barely fit on stage as the keyboard was huge, and anyone who has seen Fight Like Apes will know they do not look like a conventional band. Pockets with his beard and scraggly hair does not have the look of a rock star (but he is a lovely bloke!) while Tom the bassist is very lanky and has a magnificent head of hair that my friend with no hair was immediately impressed with. Maykay the lead singer has thick black hair and was apparently ill all day and only made it before the band came on.

You couldn't tell though as once the band started playing she was throwing herself around and screaming at the top of her voice. Their sound is hard to explain as it is mostly electronic with synth and keys but the drums and bass give it a rocky feel. The whole gig had a really good vibe as the band play on the edge and are very unpredictable. At one point Pockets jumped onto the ledge and began playing the roof! He had a drumstick and after a brief moment of thinking about it just went for it. This wasn't the end of the roof's night however as the bassist ended the night pushing his bass against the roof, it's nice to see bands making use of the environment! Maykay also got in on the act as halfway through previous single 'Jake Summers' she walked into the crowd and decided to sit down whilst singing!

This was just one of those gigs that you can barely put into words (but I have tried to for the benefit of this review!) The crowd was buzzing, the band were on fire and weirdly enough the entire front row of the crowd were older people filming on their mobile phones and taking pictures. Just a really strange night but definitely one of the most fun gigs I've been to all year. We had a good chat to the band after (we discovered a mutual lover of Johnny Foreigner thanks to our T-shirts) and somehow ended up getting our arms signed by Maykay. For a Monday night it really was something!

Read more about the featured bands: Fight Like Apes, Art Department, Vile Vile Creatures.

Read more from this author: Kevin Richardson.

Live Review: Nitin Sawhney

info@leedsmusicscene.net (Sam Murray) — Sat, 22 Nov 2008 22:01:36 +0000

Nitin Sawhney has been seen as one of the most prolific composers of our age pioneering the Indian-Electronics movement branching out from Bhangra in the nineties. Fresh from his high profile electric proms appearance Mr Sawhney brings his 'London Undersound' tour to Leeds. I had never really heard Nitin Sawhney's music before so I went into this gig open minded although my lecturers had name dropped him as a key world musician making me check out this gig.

The set draws mainly from the new album London Undersound that is based the emotions expressed after the 7/7 bombings in London. Sawhney plays Spanish guitar and piano for the set with a variety of guest singers including Tina Grace who appears on the album. To show the Indian Classical influence on his work Sawhney has a table player and a wooden flute player alongside conventional western drums and a cello.

The set begins with 'Sunset' from the 2001 album Prophesy which is remiscent of a more chilled out Massive Attack and extremely relaxing to listen to. The pure sound of the singer voice is so haunting and enchanting the audience are captivated into standing still and admiring the musical beauty placed down before them.

'Days of Fire' is a set highlight and the example of pure creative genius coming out of Mr Sawhney the lyrics explore the raw feelings caused by 7/7 with reference to the Charles de Menezes shooting in such a delicate yet powerful way that stirs up a new emotional angle on the tragedy.

My personal set highlight is the instrumental piece 'River Pulse' which seems to mix a plethora of folk music into an international feel. The music seems to wash over the crowd bringing a euphoric joy that is rarely achieved at a gig. You can't help but be amazed by the sheer virtuosity of Sawhney and his band notably his table player who becomes so involved in what he is doing he reflects a positive energy onto the audience.

The whole experience is about Sawhney sharing his musical stories with ordinary people to change them even if just for an hour and a half set with two encores prompted by an eager audience. I felt happy to have shared in a musical journey that is completely new and refreshing.

Read more about the featured bands: Nitin Sawhney.

News Article: Downdime to release their debut album in January 2009

info@leedsmusicscene.net (Dave Sugden) — Sat, 22 Nov 2008 19:43:01 +0000

Leeds-based melodic noise-popsters Downdime are to release their debut album in the New Year.

Recorded at the Brudenell Social Club and produced by Matthew Robson (Random Number), the 8-track album 'Knowing Too Much' will be released on the Squirrel Records label on 19th January 2009.

Read more about the featured bands: Downdime.

News Article: Buen Chico release their second full album

info@leedsmusicscene.net (Dave Sugden) — Sat, 22 Nov 2008 19:16:18 +0000

Leeds trio Buen Chico released their second album, 'Our Love's Enormous', on 10th November. The album follows the band's 2007 debut 'Right To Re-Arrange', which received rave reviews as well as airplay on Radio One and BBC 6 Music.

The band also released a new single, 'See Who Wins', on 3rd November.

Read more about the featured bands: Buen Chico.

CD Review: The Research - The Old Terminal

info@leedsmusicscene.net (Alexander Rennie) — Wed, 19 Nov 2008 22:18:09 +0000

It may surprise some of my acquaintances, but I didn't always spend my spare evenings propping up the bar at the Faversham nursing a pint of Theakston and stroking my chin to the latest peripheral sounds. My own Damascene moment came after I read about The Research in these very pages some four years ago. After careful monitoring of the listings I tracked them down to a support slot in the middle room at the Cockpit and, after half an hour listening to this naïvely charming trio, I realized that 'indie' - as I had known it - was alive and well.

At that point the band operated on a simple formula - Sarah's 'crash crash crash' drumming (anything but linear) and Georgia's subtle and dependable bass giving Russell free reign to muck about with his condemned Casio keyboard whilst bearing his soul with childlike profundity. And then they went away. Rumour had it that the Disaster had broken something or other in a freak snowboarding accident but, given the length of delay, I assumed they'd disappeared - leaving only a brief, if beautiful, legacy in the shape 'Breaking Up' - their sublimely erratic debut LP.

But it turned out that they hadn't disappeared - they'd merely metamorphosised. So now they're back, with one slight amendment to the line-up. It's still Sarah, Georgia and Russell, of course, but it would appear that the Casio has been pensioned off. Goodness knows what it'll mean for the live show, but it seems that Russell's taken up the guitar. And do you know what? He plays it rather well. In fairness to him, if he could somehow conjure 'She's Not Leaving' out of less than ten quid's worth of electronic cast-off then he's clearly got a way with a musical instrument - in whatever form it manifests itself. And this album is replete with impressive riffs, albeit those not featured in manuals of classical technique.

Of course it's still infused with the spirit of having been laid down in the garden shed and spliced together with sticky tape. Whilst someone's clearly spent time on the production, it obviously wasn't Mark Ronson. The fragility of the lyrics hasn't been swamped and the character of the group permeates throughout. Opener 'Golden Rules' is sonically lush, but is as sublime a way to start an LP as you could hope for. Subsequent tracks are jaunty and, if anything, enhanced by the driving rhythm of the new instrumental dynamic. Just check out 'I Would Like To Be Forgiven' to see how musically adventurous all of them can be. There's even some harmonica and neo-Cribsian shouty vocals thrown in for good measure.

'I Think She's The One I Love' comes across like 'I Bet If We Kissed' (from the first album) beefed up by some orchestration, something which suits this particular track. Like this particular forbear, backing vocals lend intensity. What is perhaps a shame is the lack of female lead on any of the tracks. Georgia's 'Lonely Hearts...' from the previous disc is still unsurpassed in the Research's canon, although 'She Is Cold As Death' or 'I Think I Know What Happens When You Die' may get there with repeated listens. Both, coincidentally, benefit from plangent guitar licks.

As with previous output, all these songs invite you into the slightly off-kilter, absent-minded and honest world that the band appear to inhabit. It's jaunty and listenable, and all the lyrics - as befits their importance - are discernible to a fault. Whilst the melodic variety of the guitar means that this can be listened to as background music - purely on the strength of the tunes - anyone so doing misses out on a lot. It's also likely that the occasional cacophonous intrusion from this newly acquired instrument will be more than enough to win back the ear of most listeners before it is allowed to wander too far. If you're jaded by mainstream conventionality then this album might just remind of what music can mean at a personal level.

Read more about the featured bands: The Research.

Read more from this author: Alexander Rennie.