Posts Tagged ‘Single Review’

Dispel – Flames of Greed

Posted: 5 October 2022 in Singles and EPs
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Christopher Nosnibor

Well, if you’re going to do goth, it’s best if you go all-out on it. Cleveland-based electro-goth rock collective Dispel certainly don’t toy with half-measures.

‘Flames of Greed’ is the lead single from their second album, Inferno (out on October 12th).

As the title may suggest, the album is based on Dante’s seminal text, and the premise is that ‘Dispel follows Dante and his guide Virgil down each layer of the Nine Hells, dedicating a song to each level of mortal sin. Sprinkled with diabolical personalities from ancient mythology and fantasy literature, this undertaking took two years to complete.’

‘The Flames of Greed’ is an interesting hybrid of pulsating electro pop and dark disco, spiky post-punk and high theatre, with Ravensea’s semi-operatic vocal dominating the insistent drum-machine driven electro grind that pulsates away relentlessly and it’s compelling, multisensory, especially when accompanied by the video…

Ah, the video, directed and edited by filmmaker Rafeeq Roberts, which ‘sees vocalist Ravensea play the part of the diabolic and tormenting empress of greed Fierna, her powerful voice serenading the fallen souls who succumbed to greed in the material world, delivering their eternal fate in Hell’.

It’s epic, and no mistake. And given the inspiration and subject matter, it’s entirely fitting.

This isn’t simply goth or a cliché rendering of any goth template: Dispel fully embrace presenting high art and literature, and when so much is dumbed down to nothing, it’s welcome, and the presentation is impressive.

And while content is king and image only counts for so much, presentation definitely matters. Dispel have got it all going for them here.

AA

Dispel

Glytsh – SAV@Ge

Posted: 3 October 2022 in Singles and EPs
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30th September 2022

Christopher Nosnibor

This is a proper slap round the chops. It follows many conventional industrial tropes, and you could readily lump it min with the endless catalogue of Nine Inch Nails rip-offs, primarily because NIN set the benchmark and the tone from way back in 1988. Prior to that, it was either mainstream sleaze with soul drawing influence from Depeche Mode, or pulsating electro industrial that was either on or wanted to be on, Wax Trax!

Pretty Hate Machine was actually more Depeche Mode than Ministry, but its use of extraneous noise and the general production was, to use a cliché, a gamechanger. It created a new conduit for simultaneous anger and emotional fragility in ways that had previously been untapped.

Anything post PHM is therefore destined to stand against comparisons to NIN if it’s angry electro and industrial, and ‘SAV@Ge’ is all of that – plus tax.

Luna Blake spits lyrics about blood and bones and shame, pain, and death, against a thumping beat-heavy surge of sleaze-grind that’s strong on the stomach-churning low-end and that classic NIN-style production that’s dense and distortion-thick yet crisply digital. The dynamic range and optimal use of dropouts just before everything powers in at twice the volume achieves maximum impact. ‘SAV@Ge’ is aflame with fury and condenses all the rage into just a fraction over two and a half minutes that absolutely blow your face off.

Glytsh ArtworkGlytsh image 3

Dirty Laces – Midnight Mile

Posted: 18 September 2022 in Singles and EPs
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17th September 2022

Christopher Nosnibor

Manchester’s Dirty Laces have been away for a while, and not through choice. The pandemic skittled most bands and brought an abrupt halt not only to gigs, but working in general, since most bands don’t live together and when it comes to music-making, it’s simply not always feasible to work remotely, tossing audio files back and forth virtually. I shan’t labour this too hard, but what was The Great Pause for some was The Great Anxietor for many – whether it be because of having no work or being furloughed on reduced pay, or working and home schooling at the same time, or simply dealing with isolation, fear of the virus, or being cooped up with people who weren’t people to be cooped up with, so many of us had something to keep us awake at night and which probably hasn’t fully left us yet.

For many, emerging out of the other side of it all, we’ve found that we’re not the same as before, and there’s some re-evaluation has taken place, albeit not necessarily on a conscious level. Good, I say. Life’s too short to expend what little life you have on pintless crap and people who give nothing in exchange for taking everything.

Recorded in the fallout of the pandemic in solitary rural Wales, ‘Midnight Mile’, essentially speaks of that re-evaluation and the realisation that it’s time to dump the fucking rubbish: the band say the song is about ‘Escaping toxic people, toxic habits, embracing happiness and learning how to ‘free your mind and bathe in love’. It might sound a bit hippie for a band born out of punky garage rock – but ultimately, when you boil it down, punks and hippes alike share the aesthetic of sticking it to the man and people who suck.

This outing is a hybrid of garage and grunge and brings a stadium rock swagger and a dash of industrial and calls to mind Headswim and Filter – it kicks in instantly with a nagging riff and chunky bass. It’s not just the drawling vocal that sounds more American than Mancunian: the production is pretty slick, rendering the gritty, emotionally dense, sincere performance radio-friendly and digestible for a more commercial market – and the big chorus absolutely seals its broad appeal. It’s better than Headswim, but not quite as good as Filter.

AA

Dirty Laces Artwork

I Like Trains – The Spectacle

Posted: 15 September 2022 in Singles and EPs
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15th September 2022

Christopher Nosnibor

The evolution of I Like Trains continues with their first new output since 2020’s Kompromat, which marked a seismic shift both sonically and lyrically. Not their first, either, since they made a giant leap after Elegies for Lessons Learnt, after which they made the change from being iLiKETRAiNS to I Like Trains and towards a more conventional dark alternative rock style. But Kompromat saw them ditch the last vestiges of jangling echoed guitar and baritone crooning in favour of politically-charged angularity, that saw them become more aligned with Leeds forebears Gang of Four than anything remotely tied to their post-rock roots. It was unexpected, but it really suited them.

One thing I have immense respect for I Like Trains for is their self-awareness, and knowing when something has run its course. Elegies took the historical events recounted against brain-melting crescendos format established on Progress Reform to its absolute limit with the nine-minute ‘Spencer Percival’. They recognised that, and moved on. Kompromat was a one-off, and ‘The Spectacle’ bookends that particular spell.

As they write, “‘The Spectacle’ is a standalone single. Part of the KOMPROMAT world, but not quite closure. There’s more where Boris came from.”

We know this to be true: Johnson’s replacement continues his trajectory down towards the lowest common denominator soundbites without substance. Only whereas Johnson’s ideology was largely built around what favoured Johnson, Truss seems blindly fixated on hardline Conservatism, even if it bankrupts the country. And ironically, having dismissed Scotland’s first minister as an ‘attention seeker’, the new Prime Minister’s penchant for a cheesy photo op seems to only accentuate her obliviousness to pretty much everything. As such, The Spectacle continues, and the refrain of ‘Keep it light and repeat it often’ continues to resonate beyond Boris.

But ‘The Spectacle’ is a transition that unfurls before your eyes / ears and is one of those songs that ends in a completely different place from where it started without it being clear where the transition took place. It’s a disorientating, time-bending experience, smoke and mirrors and spin in action, and a brilliant piece of songwriting.

It starts out with the choppy guitars and largely spoken vocal style of Kompromat, which finds David Martin stomping in the steps of not only Mark E Smith, but closer to home, James Smith of Post War Glamour Girls / Yard Act – a style which suits him remarkably well – before the song takes off in a different and unexpected direction around halfway through, when he tosses the mantra and launches into a slab of lyrical critique over guitars that slow at first, before building in crashing sheets of noise and a mangled solo breaks out, and drags the song to a taut finish. They pack a lot of action into just shy of four and a half minutes, and they’re unashamed in pointing out that the single – like so many singles – is a promotional device, here with the purpose of enticing punters to the upcoming merch-flogging opportunity which is their forthcoming tour.

We’re all trapped in the wheels of capitalism, but ILT show that they can simultaneously play and subvert it – while at the same time making great music. ‘The Spectacle’ is as sharp as a pin, and ILT continue to thrive as strong as any virus in a post-pandemic world.

AA

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AA

Trains trour

Leatherette – Sunbathing

Posted: 13 September 2022 in Singles and EPs
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Bronson Recordings

Christopher Nosnibor

Life’s short. Too short. It may not always seem it, when you’re slugging through long days in grinding employment that earns a wage that buys less by the year – or, right now, by the week – or when you’re sitting in waiting rooms in doctors or dentists or hospitals, or waiting for trains or busses, ever fewer and ever later. Life as lived, in real-time, is often a drag. But then you realise a year, three, five, ten, has evaporated while you’ve been willing each day to pass just so you can move on from it and move on to the evening, the weekend, a better future that never comes.

But even when time drags, we’re busy and don’t have time to waste on shit we don’t want to do, beyond the work, the groceries, the bill-paying, the essentials. What little leisure time we have that we’re awake enough to enjoy is too little to squander on crap that isn’t the crap we want to spent it on, meaning life’s too short for crap bands and crap music.

On opening the email urging me to listen to the latest from Leatherette, the single ‘Sunbathing’, lifted from their upcoming debut album Fiesta, out on 14th October, my heart sank as my slow, scrolling broadband, revealed a promo short of the Bologne-based quintet a segment at a time.

Turns out they’re infinitely better to listen to than they look, and ‘Sunbathing’ very much fits with everything I’ve just said about life being too short. It’s pitched as a ‘song about hope, dreaming of a better life and telling the world to go f**k itself when needed. It sounds loud, fast and rough, an irresistible punk-shoegaze anthem’, and the band explains that “‘Sunbathing’ was almost born as a joke, it came out of nowhere. We wanted to write a happy cheesy pop song and then completely destroy it from within”.

And they succeed: in the space of just over a minute and a half, they throw down a sackload of post-punk angularity delivered with a rawness that brings real bite. Drawing on a broad range of stylistic elements all tangled together, it’s simultaneously familiar-feeling and fresh, not to mention exhilarating, with squalling guitars howling through a rack of effects lurking behind a pleasant jangle and played at a frantic pace, propelled by some whirlwind drumming. It’s a rush, a clash of sensations, disaffected and yet uplifting. Short lives demand short songs, and with ‘Sunbathing’, Leatherette are spot on.

AA

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The Slow Cooked Bears – We’ll Never Be Apart

Posted: 23 August 2022 in Singles and EPs
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2nd September 2022

James Wells

The last time we encountered Slow Cooked Bears here was back in December 2020, on the release of their single ‘The Grand Scheme’, the follow up to the stark, tense-sounding ‘Space Odyssey’.

They’ve been hard at it back on the live circuit since then, and these things change bands, harden them, shape them, give them focus, and a reforged sense of identity. Well it can, or it can crush them. The London trio have followed the former path, and rather than becoming crushed by the wheels of industry, have been building themselves nicely.

Pitched as being for fans of The Smashing Pumpkins, Queens of the Stone Age, Placebo and Pixies, ‘We’ll Never Be Apart’ was produced with Michael Smith whose former clients include Wolf Alice and Anteros, and promises ‘a giant leap’ – and yes, it delivers.

With a rolling bass and chiming guitar by way of an intro, it breaks into a big bridge that becomes a surging chorus. You don’t get many songs where the hook is the guitar section after the vocals, but with ‘We’ll Never Be Apart’, they bring it. And, while in places it hints at the kind of early 00s arena indie, the songs packs in drive and edge that’s emotionally rich and owes more to the likes of The Twilight Sad than it does to Keane or Coldplay back in the day.

On other words, it really is a huge evolution that sees the band straddling boundaries. It’s got enough heft to not be a complete sell-out, but it’s certainly not as dark or edgy as ‘Space Oddysey’, being a whole lot less Joy Division / Editors / Interpol / Cinematics, and less Placebo in collision with Royal Blood and Black Keys than ‘The Grand Scheme’, and hinting at ambitions of broader horizons.

Objectively, it’s a great tune, and could well mark a turning point for the band. Is it too early for me to say I preferred their earlier stuff without sounding like a hipster cockend? Guess that depends on the next single, right?

Artwork - Slow Cooked Bears

A.R.T – Nothing Better to Do

Posted: 13 August 2022 in Singles and EPs
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12th August 2022

James Wells

I have questions. Not least of all, why is the bassist with A.R.T, Tiarnan Mathews known as 10” Tiarnan? I sincerely hope it isn’t because of the obvious, unless it’s ironic. But then, they all have daft nicknames, with lead guitarist Bradley Allen being known as General Sweet Tooth, drummer Scott Gordon as Dijon Mustard, and rhythm guitarist Tom Strange also known rather dubiously as Daddy Strange.

To their credit, they’ve been favourably described as ‘Bowie meets The Killers’ rather than ‘oddball creepy buggers’, which s a plus, or they wouldn’t be getting a review. I’m not prejudiced, just really busy, and give preferential treatment to acts who aren’t a bit sus.

‘Nothing Better to Do’ is pitched as ‘strolling a line between indie rock and glam, whisked together with the charm of the likes of Madness and Dexy’s Midnight Runners’ and I have to admit that this doesn’t sit comfortably. I loved Madness as a kid, but by my mid-teens I not only found them a little wearisome, but had started to take issue with their flag-waving fanbase. Granted, you can’t necessarily blame a band for the fans it attracts, but nevertheless, it can be offputting.

It’s early days for A.R.T, and there’s a lot going on here with a load of 80s indie in the nagging guitar line and a certain needling insistent groove that’s hard to ignore. There are hints of Orange Juice in the mix, not to mention a dash of funk but equally some raucous white soul and a splash of blues, before they chill the vibe with a mega sax break. Why did sax breaks seem to die a death in the 80s? Shit, we need more sax breaks. We need more A.R.T.

AA

A.R.T artwork

Bedroom Tax – Kin

Posted: 11 August 2022 in Singles and EPs
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12th August 2022

Christopher Nosnibor

While we swelter in the middle of the hottest, driest summer on record, during which wild fires and hosepipe bands sweep the nation, people are shitting themselves about paying for heating in the winter as the cost of living crisis bites ever deeper. When a tub of butter costs £7 and people are staying home because they can’t afford to put fuel in their vehicles, it’s clear that things are beyond fucked and that this isn’t simply some post-Covid dip. This is aa cataclysmic collapse, exacerbated by shit government and capitalist greed. You see, not everyone is struggling here. The top guys, the ones who make all the money from the work of their employees, their doing ok. The major shareholders in the companies raking in profit by the million, by the billion, they’re doing ok. Bankers are landing double-figure pay-rises while the people who keep the country going – from the teaches and nurses to rail staff and refuse collectors – are queuing at food banks at the end of their working day. This crisis, then, is a crisis of social division, a crisis of capitalism.

Formed in 2018, Bedroom Tax sound nothing like Benefits, but both bands are clearly part of a growing swell of stylistically disparate but politically similar bands who exist to voice dissatisfaction, and their very name reminds us of just how hard the Conservative government has pushed an agenda to fuck over the poor.

‘Kin’ is a hybrid amalgam of indie, alt UK rap, and blues influences and they’re probably the post-millennial answer to The Streets – only they’re better than that.

‘Kin’ delves into kitchen sink territory, and blends social commentary and disaffection – not so much bile but a whole lot of downtrodden day-to-day depictions, with the jittery drumming and scratchy guitars of the twitchy verses leading into a magnificently melodic chorus that’s buoyed along by some jangling guitar work. It’s genuinely beautiful, and so well-delivered you can forgive the rhyming of ‘issues’ and ‘tissues’ in the blink of an eye.

AA

Kin - Release Artwork

Voodoo Radio – Ice Cream Man (Deluxe Double-Flake n Strawberry Sauce Mix)

Posted: 10 August 2022 in Singles and EPs
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12th August 2022

Christopher Nosnibor

It’s 30֠C in the shade up and down the country right now, and everyone is melting. It’s oddly quiet in the office at the back of my house, and had been for a while: some people have gone away on holiday, but most still seem to be at home – because most can’t afford to travel and are still working from home at least half the week – but hardly anyone’s sitting out in their back yards, It’s simply too hot.

You want to know what else is hot? Thins new single by Voodoo Radio. It’s a sizzling serving of primitive pop-flavoured punk that grabs you instantly. To unpack that, pop-punk or punk pop as we’ve come to know it in the contemporary sense is limp, bouncy and lame, but to trace the point where pop and punk converge to the late 70s, we’ve got Buzzcocks, X-Ray Spex, The Adverts , knocking out belting tunes that are bristling with the spiky attitude and gritty guitars of punk as it was emerging, but still packing strong melodies and hooks galore, and it’s in this bracket that Voodoo Radio sit.

There’s no pretence or hidden depth here, no subtext: this is a straight up and direct song that’s pure nostalgia, a fond reminiscence about buying ice creams from ice cream vans, delivered with a sing-song tune with a high sugar content that’s guaranteed to make you bounce off the walls. The video, too, plays on that retro vibe, shot in that 70s solarized colour tone with a proper ice-cream van as the main prop.

But what’s special about the Cumbrian duo is their unashamed exposure of their northern roots, which have never been more celebrated than on ‘Ice Cream Man’, where Paige’s pronunciation is proper gritty with flat vowels and glottal stops galore, and this only accentuates the vibrancy and directness that simply makes this song so much fun. It’s old school, but this comes with added sprinkles, and you won’t hear anything cooler, more fresh, and more exhilarating all heatwave long.

AA

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The Vaulted Skies – ‘What If I Were The Boy? (Mark Saunders Remix)’

Posted: 8 August 2022 in Singles and EPs
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4th August 2022

Christopher Nosnibor

Back in November of last year, I gave ‘What If I Were the Boy?’ by The Vaulted Skies a massive double-thumbs up, having previously raved about their debut EP, No Fate back in 2018. And now ‘What If I Were the Boy?’ has been rereleased, this time as a remix courtesy of Mark Saunders, whose eye-poppingly extensive discography includes work with The Cure, Lloyd Cole, Depeche Mode, Siouxsie and the Banshees… and many others, including some truly huge names like David Bowie, but those I’ve picked out are relevant is they’re illustrative of his longstanding links with post-punk, of which The Vaulted Skies are emerging contemporary exponents. But Saunders also has a long history of wording on radio-friendly and more dance-orientated material, and it’s fair to say that his remix of ‘What If I Were the Boy?’ brings these two threads together very neatly.

The song itself draws on contrasts in its take on a ‘nostalgic tale that is filled with reflection and regret’, inspired by an encounter experienced by vocalist/guitarist, James Scott., who recounts how “In college, I was paired up in an acting assignment with one of the popular girls. She propositioned me and in doing so, verbally and indirectly alluded to a very troubled home life. I wish I’d recognized the cry for help underneath it all. This song captures the desperation I have felt when wondering what became of her.”

Saunders sensitively preserves the stark, haunted angst of the original, but subtly packs some extra oomph and wraps it in a dark disco groove. The chunky gothy bass of the original is smoothed into a more dancefloor-friendly sound, the drumming – the cymbals in particular – is slickened down and given a more buoyant disco twist. If the original sounded in some way tentative, despite its solid assurance, then the remix rolls it all out and effortlessly stretches it past the seven-minute mark in vintage 12” single style.

If the grit and flange of the driving guitar in the chorus is backed off a bit in favour of a more even sound, well, it works, as does the cleaner vocal treatment. In short, this version may lack the ragged punch of the original, but it by no means does The Vaulted Skies a disservice, and will likely be a major step toward connecting the band with the larger audience they so richly deserve.

AA

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