ALBUM: Vampire Weekend - Vampire Weekend

As the latest American hype-band, they are in the same vein as all those that have come before, but with the added effect of strings and a small nod towards world music that arguably makes them stand up above the rest.

Former single and arguably the best track of the album, "Mansard Roof" starts this self-titled album on exactly the right chilled-out and minimalist note, and the sparse snare drumming that drives throughout the whole album begins almost as soon as the song does, and doesn't really finish until the end of closer "The Kid's Don't Stand A Chance".

While obvious similarites with Paul Simon's Graceland and even a hint of the Beach Boys on a couple of the tracks, as well as the afrobeat of "Cape Cod Kwassa Kwassa", it seems as if they've made an obvious effort not to be lumped in with your average Spinto Band and are intent on making themselves stand out.

Unfortunately piano-led stormer "Walcott" brings them straight back down to New York with a bump, yet the album is all the better for it. The subtle mix of contemporary Indie alongside a wealth of mostly neglected musical styles leads to an album that almost borders on the chilled-out genius of The Shins.

Alas, a couple of tracks let them down, most notably Strokes b-side material "I Stand Corrected" and what sounds like what should be the theme to the Grand National and/or a BBC costume drama, "M79".

Similarly "A-Punk", while a good track in itself, never really goes anywhere, and is fairly demonstrative of this album, which while seeming to promise so much for each song, never really delivers that final master-stroke that would make it a great album. Instead what it becomes is a pleasant, yet mediocre 35 minutes from a band who could definately do a lot better.

Homepage
Myspace

This season, I have mostly been listening to... (January Edition)

This is the second time I've done one of these, I think I may make it a regular feature. If nothing else, it lets me talk about anything else I couldn't squeeze in anywhere else. Anyways, January 2008, a time of frantic revision (ha!) and exam worries for some, as well as a recovery from the festive time past. For me, however, catching up on those great albums from last year that I somehow overlooked or ignored completely was first on the agenda.

The Shins - Wincing the Night Away
From the beginning of "Sleeping Lessons" you can instantly recognise the changes that James Mercer and co. have made from their, well, lazy, 2003 effort Chutes Too Narrow. What follows is possibly their most consistent album to date, also featuring the brilliant "Australia".

Myspace

Burial - Untrue
I was put onto this by a good friend of mine, but it seems that was first after ignoring perhaps every end of year album poll that featured this anonymous dubstep musician somewhere in the top 20. To be honest, dubstep is a genre I've never really understood, let alone really sat down and had a listen, but was genuinely pleased and impressed with what I heard on this, Burial's second LP.

Myspace

Four Tet - Pause
Pause was Four Tet(AKA Kieran Hebden)'s first album for Domino, released in 2001. It was (according to Wikipedia) one of the first albums to be dubbed "folktronica" based on the albums sparse acoustic guitar sound based around computer typing effects and simple drum loops. Of all Four Tet's albums, this is the one that most appeals to me as being the most complete listen. More together than Dialogue, and less polished than Rounds and Everything Ecstatic, it is the perfect example of a slightly bored post-rock band member waiting for his bandmates to finish college.

Myspace

Metronomy - Pip Paine, Pay Back the £5000 You Owe
This album is one that definately grows on you. At first, the production seems both lazy and clumsy, but a few listens later and this album is a classic. My personal favourite tracks being "You Could Easily Have Me" and "Trick or Treatz". Their new album is out soon and if latest single "Radio Ladio" is to be believed, is will be at least as good as their first.

Myspace

British Sea Power @ Wedgewood Rooms, Portsmouth, 21/01/2008

Initial support band John and Jehn, wandering onto stage looking like a couple of Dickensian Opium fiends, seemed, if anything, a little bored with the proceedings. Calling them "Bohemian" would neither cover the classical dress sense nor their "We are from London, but we hate London" attitude. Instead it appears that they are actually a couple of post-modern French existentialists out for a good time. The kids today, eh?

For most of the time, John plays guitar and programs the drum machine, while Jehn plays keyboards and occasionally plays bass on tracks such as "Make Your Mum Proud". It is one of those occasions where you aren't sure what's missing until its there. As soon as Jehn picks up her bass, they seem to find their groove for their last two tracks. But it seems to be a bit too late for this set, at least.

Myspace

Make Model, I have to admit, I was not exactly looking forward to. After seeing them play a fairly boring set at the muddy inaugural Connect Festival in Scotland, I wasn't expecting anything fantastic. However, either they have improved or I have become less immune to their particular take on twee Scottish Indie-Pop. Playing their first gig in Portsmouth, the EMI-backed sixtet played some songs I recognised alongside some newer tracks such as latest single "The Was", presumably for their forthcoming album, probably out this time next year.

While they never really break any new ground, they are fairly pleasant exponents of the twee-pop genre, yet in a more similar vein to Belle and Sebastian than their welsh contemporaries Los Campesinos.

Myspace
Official Site

No foliage and less frolics, this new-look and slightly more serious British Sea Power tore through their set which borrowed heavily from their latest album, Do You Like Rock Music?

Walking on stage to opener "All In It", BSP regulars Yan, Hamilton and Noble began "Lights Out For Darker Skies" alongside their replacement drummer Tom White of the Electric Soft Parade and Brakes, as usual stickman Wood (far left, on picture above) is out injured. Also included are the touring viola player Abi Fry (who also tours with Bat For Lashes) and one man Horn section Phil Sumner.

An early set highlight is "Canvey Island", which is swiftly followed by older song "Remember Me". Soon Hamilton takes over vocal duties for new album track "Down On The Ground" as well as "How Ever Will I Find My Way Home?" from their 2005 LP Open Season.

While White is an able and competent drummer, the chemistry is missing and Wood is definitely noticeable by his absence on some tracks. However, the rest of the band are on good form and play on to a slightly more mature, and increasing indifferent crowd. While the front few rows are still vying for space with their elbows, equally to BSP classics such as "Fear of Drowning" and most recent single "Waving Flags", further back, Make Model may as well still be on stage for all anyone else seems to notice.

While even the front few stop moving around during instrumental track "The Great Skua", the pace is picked up with another Open Season track "Please Stand Up". Later, after live favourite "The Spirit of St. Louis", guitarist Noble climbs aboard the PA system, and stays there for almost the entirety of main set closer "True Adventures".

The encore includes next single "No Lucifer" and Decline Of... track "Carrion, followed by the traditional semi-improvised "Rock In C", following the tradition of trashing the stage and Noble getting up on Hamilton's shoulders.

Even though their latest has been their best charting album (at number 10 this week), and the band probably put little less than a foot wrong tonight, from the crowd's reaction it seems, unfortunately and unjustly so, that they aren't as relevant as the rest of the Indie tripe. A critically acclaimed band with a small but hardcore following they remain.

Myspace
Official Site

Video: We Are Scientists - After Hours

Ahead of releasing their second major-label LP Brain Thrust Mastery on March 17th, We Are Scientists, now short of original drummer Michael Tapper, have released the video for their next single "After Hours" here.

While the video is an almost typical comical WAS take, it doesn't seem to be as funny as, say "Nobody Move, Nobody Get Hurt". And while the song is in the same vein as the majority of their consistent, yet could-do-better debut, it lacks the proper pop hooks that ran all way through With Love and Squalor.

Don't get me wrong, I look forward to hearing the new album, and definately on seeing them tour again, I can't help but feel a little bit dissapointed by this.

Even after a couple of listens, this track seems to drift uncomfortably between contemporary US Indie and something All American Rejects would have written. Okay, maybe I went a bit too far there.

Myspace
Official Site

ALBUM: British Sea Power - Do You Like Rock Music?

From orchestral introduction "All In It", straight from the songbook of The Arcade Fire, it's clear that British Sea Power haven't spent the last three years resting on their laurels for their third album. It soon becomes apparent that this will be par for the course.

From the anthemic probable single "Lights Out For Darker Skies" to the ballad of Bird Flu, "Canvey Island", whats good to see is how well these songs actually fit together. The coherence and consistency on show here is definitely what was lacking on their previous album, although this comes at the price of perhaps a lack of craziness when compared to Decline Of...

Instead, the album dips its toes into both and ends up with a sound almost retrospective of their career to date. The storming "No Lucifer" complete with Soccer AM chant wets the appetite to what should be another live BSP show, but that should not take away from the value of this work recorded.

For it seems BSP have been experimenting with a much more North American sound, ditching the "Post-punk" style of The Futureheads and moving onto a much more traditional Indie Rock sound, but still very much of their own style, in their own way. Still including obscure references to Football Teams and historical events, such as on lead single "Waving Flags", but now also with a slight post-rock feel. None of this is unsurprising with the involvement of Godspeed You! Black Emperor's Efrim Menuck, who reportedly worked with them in Montreal, as well as former Arcade Fire drummer Howard Bilerman.

And while the album has its more mellow moments, such as instrumental, almost post-rock track "The Great Skua", which serves as a rough interlude, and semi-acoustic "Open The Door", these tracks work much better next to the more frenetic moments than they did on Open Season.

The first interesting album of 2008 has certainly kicked it off to a great start, and while this album takes a little bit of getting used to, it has raised the bar somewhat for British Indie bands, that desperately need to up their games this year.

At Home with Sigur Ros

The other night I watched Sigur Ros' film Heima. I realise I'm not exactly up-to-date with this, and its been out a few months now, but it was on my Christmas List, but as no one bought it for me, so I got it as a late Christmas present to myself.

And I have to say, it's absolutely brilliant.

This double-disc DVD documents the band's 2006 homecoming (Heima means "at home") where they decided to pay back Iceland for supporting them all this time, playing anywhere and everywhere for absolutely free. Playing the small villages and towns across the island, they only expected a few people to turn up, but are pleasantly surprised that entire towns and villages come and see them, toddlers and grandparents too.

In terms of documentary, not much new is learnt. We don't get a magical new insight into life on the road, or get to see the band as they are, but this isn't because the documentary doesn't include it. IT is made pretty plain that this band are still humble and grateful for their success, and are possibly the most genuine group of people out there. Interviews with all of the band, including the string section Amiina are set before, after and during live excerpts of the band playing their erm... "hits".

Alongside this are fantastic panoramic views of the Icelandic countryside that fit in so well with the music you begin wonder how you could ever listen to it anywhere else. If nothing else, the views allow you to finally realise how organic Sigur Ros' music really is. It makes it as natural as the green hills and the black sandy beachs from where they've come. And the eagerness of the Icelandic people to welcome back this massively talented group.

This film is a must-watch for fans of Sigur Ros, and also something you should probably see if you are a general fan of Iceland, the countryside and beautiful music. The lush landscapes and eesoundscapes on offer will leave you begging for more.

As for icelandic talent, Bjork who?

Trailer
Official Site

The next "....." pt.3

On most people's musical journeys of discovery, or mine at least, it comes to a point where you get bored of whats being thrown out into the British Indie scene, naked under their Libertines T-Shirts, with perhaps only a vague nod towards anything before Up The Bracket.

So then you look further afield than dear old blighty and have a little glimpse at the much less derivative and generally healthier US Indie scene. Usually discovering Modest Mouse somewhere along the way. But on the whole, worshipping whichever is the "next big thing from America". Remember The Spinto Band? Clap Your Hands Say Yeah? Cold War Kids?

Of course you do. And the next band to fall firmly into that category are Vampire Weekend.

Mixing the chilled out genius of The Shins (who they supported) with a traditional Afrobeat percussion, its easy to see why a band like Vampire Weekend wouldn't survive on a UK diet alone. They are one of those bands that, if they existed in just the suffocating London or Manchester scenes, would still, unfortunately, be doing their day jobs. But thanks to the massive appetite of your average American music fan, the sheer size of the place, and the US's uncanny ability to have bands sell a million albums and still be unknown, these have manged to scrape enough of a living in America to take on the world. They are not the first band to do so, and will not be the last, and it seems a shame that British msuic can't be the same. It seems as if there are proportionally fewer small bands who stick with independent labels and actually have enough fledgling success to tour Europe or the World.

The best example of their strange juxtaposition of styles is on "Cape Cod Kwassa Kwassa", where the traditional African beat is behind lyrics about Peter Gabriel. Although the prospective album highlight will still be former single "Walcott", ironically their most American-sounding song, but the one I can't stop listening to.

Signed to XL, they release their debut album Vampire Weekend on January 29th, 2008.

Official Site
Myspace

This year's "......." pt.2

Does It Offend You, Yeah? bridge the gap that you never knew existed between the dance-punk of !!! and Death From Above 1979 and straight dance and electro house of Daft Punk and Digitalism. Think Holy Fuck, but slightly more rehearsed. Although I have to admit, what first attracted me is their sampling of Japanese cult classic film Battle Royale on their song of the same name.

They make this section due to the apparent comparison of them being "this year's Klaxons", or somewhat unfairly, "the Hadouken of 2008". Nevertheless, this Reading four-piece boast both the tunes and the remix talent and should release their debut album on Virgin before the year is finished.

Get a free mp3 of "Let's Make Out" by signing up to their mailing list here.

UPDATE: 15/01/08 - Their debut album You Have No Idea What You Are Getting Yourself Into is set to be released on March 17th. Details here

This Year's *Insert last big thing here* pt.1

Firstly, a quick explanation of what this is. Basically, every eyar around this time, every half-arsed indie rag has its preview of what artists will be big this year. And usually, very lazily claims they will be "this year's Franz Ferdinand". This year of course, there will lazy tag-lines from sub-editors everywhere saying "this year's Kate Nash" or "this year's Klaxons". So, I thought I'd get in there first.

Adele is apparently this year's Amy Winehouse. Or the next Lily Allen or Kate Nash depending on how you look at it. However, she bears a much greater resemblance to Russian-American Anti-folkie Regina Spektor, moreso even then than that bit-tah lemon Nash anyway. This obvious influence, plus the slightly more obscure parts of contemporary soul and jazz, leads to music about as relevant to Allen or Nash as Take That are to The Stone Roses. They might all be British and ocassionally drop their t's when they sing, but it seems, for Adele at least, the assumed similarities are purely for marketing purposes. Which is a shame, because it would seem that Adele, of all four of here alleged genre-mates, is the only one that has the talent.

This Londoner, reportedly good friends with XL Labelmate Jack Penate, will have her album 19 out the 28th January.

Myspace

Some cool stuff

Free Blood

Now a full-time project for former !!! other guy John Pugh, Free Blood shares the similar funk-punk-dance stylings, but to a greater, more spazzed up degree. The dancier parts of Myth Takes plus some sampling and you start to get the idea. Signed to Adventures Close To Home, they are reportingly working on an album for the end of the year.

http://www.myspace.com/freeblood

LA Priest

Side project of Late Of The Pier frontman Samuel Eastgate, featuring the same bedroom synthesizers and laptop beats of his original band, but with an obvious lack of instruments. With a passable resemblance to a certain French House duo, its unsurprising that this may get lumped with the legions of Daft Punk Impersonators. But why should that ever put anyone off?

http://www.myspace.com/samueldust