Bombay Bicycle Club - I Had The Blues But I Shook Them Loose

Having been a mass advocator of these guys since they appeared a few years back, in my peripherals possibly around the time that I was leaving University. I definitely remember seeing them at Glastonbury in 2009, and being blown away by them, as I sheltered from the white hot sun in a hollowed out and halved wooden track casing. Leaning against the cushions with the customary pint of cold, cold cider, I was taking it all in. even my techno-head buddy was all about them within two tracks. But listening to their album ‘I had the Blues but I shook them loose’ was another story. I bought it, but did I listen? Hell no. Irregular downloads and pre-polished beauties kept me going when I got my Bombay phases and needed a fix.

It’s the divide between an established artists cut-glass chimes and vocals and the old grit that gets me. Why would you want to lose that. The same way vinyl has way more character; there is no beating the flaws that are held within an early rendition. But alas, I broke at last and put the album in the CD drawer and explored the entrails. In a stunned tale of difference, it is mature. Perhaps this is what held me back all that time ago? Their innocence and subtle anger, heard in the voice and lyrics throughout even the quietest moments, has morphed into calm austerity that lurks above the feelings reigned in, an atmosphere of armor. Spanning the tracks, more intense feeling spreads across like spilled ink. So when I listen to ‘Magnet’, the lyrics have been hacked and divided between this and ‘Cancel on me’, severing the distraught distaste and a complex love affair, and rooting it in a more sober approach.

His distinct vocals still itch with that unbridled passion, stretching into forlorn disinterest, despair and then back into positive calm, an understanding of fact and fiction. Moments of energy and anger are met with an affected shaking in his voice. Shuddering on the brink of a relapse into the old ways of the Club. It is interesting, like watching someone breakdown, whilst trying to hold it together. This willful edge is met with clashes of snarling snare and pulsing drums in ‘Cancel on me’ as the end is in sight. It highlights that even under this presence of mind there is tumult. Breaks and beats in moments of ‘Autumn’ with pure mixes of indie from the true heyday, latterly forgotten in the haze of noughties ‘Indie’ efforts.

Golden oldie ‘What If’ in its re-dubbed state trips off skillfully spangled riffs and gently hissing high-hats, gliding through the air and meeting head on moments of crescendo where the lament becomes all too much. ‘Giantess’ in its more acoustic state still harnesses the drum machine in a break that is satisfying in the combination of old and new. Soporific and lilting, it differs almost entirely from every other track, but as a foray is beautifully engineered to wind you down after a hard and mostly fast jaunt into this little world. Difficult to pigeonhole as Bombay Bicycle Club are, the feeling of being in a warm bath when you hear them is difficult to escape. It is the one thing you can truly say about them, and its not a genre bound description. They hold you with their odd angled views and intone safety. It feels like purity, though how that is conveyed I don’t know, like magic, or charisma. Some people just have it I guess.

Iron & Wine - 'Kiss Each Other Clean' Review

Released 24.01.11 - Warner Brothers

With a little over three years since the release of The Shepherds Dog in 2007, Samuel Beam brings us the fourth studio album under the name he found on a dietary supplement in a store whilst shopping, ‘Beef Iron & Wine’. Nice. Well, if his 2007 release repined from the elemental folk of Our Endless Numbered Days, this offering entwines both, sweetening the deal with a little tribal timbre which bounds in and out of focus.

The repetitive and resounding quality within ‘Walking Far From Home’ drops you in through a hole filled with feedback, waning as Beam vocalizes over his observations in crowds, setting himself apart from the casual lives that pass. Crunchier qualities are lifted through choired choruses and the strains of a didgeridoo, lightening the mood in moments of clarity.

Beam really shows his respect for those musical greats who have gone before, ‘Me And Lazarus’ and ‘Glad Man Singing’ at times echoing Chris Rea, and perhaps jimmy Page, in the studied riffs and bubbling bass that lay under Sam’s rhythmic lyrical delivery and silky intonation. ‘Monkeys Uptown’ layers this feel with the elasticity of tribal drums, resounding throughout, entwining in chimes and the very image of rain. In other golden moments, there is a definite feel of the fields and golden sunshine of a hazy festival, ‘Tree By The River’ evokes this place in spades, infectious choruses and striking imagery masterfully dispelling any other thoughts from your head.

Inded, the pace changes so quickly throughout it could make your head spin, but with a guiding hand that seems to be present at all times, and the intertwining of those slower moments with bigger, more peopled tracks, Kiss Each Other Cleam is both dizzying and reassuring. ‘Your Fake Name Is Good Enough For Me’ speeds through an opening riff, drawing in flutes, trumpets and the odd strain of a saxophone in the style of an eternal jazz band, before slowly extinguishing each instrument, leaving a more peaceful outtro.

Perhaps the finest moments though, come from those stripped-back tracks where Samuels charming vocals and musicianship come to the fore. ‘Godless Brother In Love’ is one such moment, where the piano plays an endless ebbing tune over which the lyrics soar, entwining with simple chords from the mandolin and a sparse backing chorus. It is both achingly beautiful and optimistic.

So Iron and Wine is back, and not a moment too soon. With a track for every moment, from every facet of Samuel Beam’s repertoire, it combines crystal elements of the folkster we love, alongside the more playful elements which dig deeper into the past, making up some of the present. Needless to say Kiss Each Other Clean inspires philosophical thought in the minds of those who are attuned to it!

Pulled Apart By Horses - 16th September 2010

Guildford Boiler Room

With Support from the sans-base duo Phantom Theory, who manage to whip up a storm with tough drums, riffs and vocals, and a stage presence not to be reckoned with, alongside the equally grand Young Legionnaire, members of which have cut their teeth belonging to some well known diamonds such as Yourcodenameis:milo and of course Bloc Party, Pulled Apart By Horses take to the stage with little grandeur and open with I Punched A Lion in The Throat. Reminiscent of a boy-child staking outrageous claims, the title lyrics are repeated with a ferocious tenacity and defiance, all the more appealing since the statement is so damned absurd! From this instance you are drawn from your mind into the swirling vortex of a force you cannot see, but is pulling you gently into an abyss of savage energy and joyous degradation.

The jam-packed crowd twist turn and stagger to the heady riffs and thrashing drumbeat, speakers swinging from the ceiling as we whip back and forth, and in not time at all the gents are reeling off their last few bars, and settling us in with some choice banter, channeling around lead guitarist James Brown being ‘single and riddled’, a catch in essence! Ripping into the fresh and tasty single Back To The Fuck Yeah, Tom Hudson shows off both challenging and charming vocals as the chorus riff demands a long shrieking cry from the pit of his soul, set apart from the latter reverberating guttural cry of “Yeeah-huh”. Its a beaut, and no doubt worthy of the esteem it has collected for the quad.

The most notable, chaos-inspiring tracks follow shortly behind in the shape of E=MC Hammer and Yeah Buddy, the latter of which takes inspiration from a steroid freak, and drips with a sarcastic, menacing strut as they muse “Yeah buddy. Thats Super heavy. Lightweight baby!... Thank God for pure natural strength.” The divide between the stage and the surrounding chaos becomes incomprehensible as Tom drives through the crowd, shrieking and shaking with an unbridled wonder-lust, bassist Robert stands high on his bass-amp, cutting one mean silhouette, James pulls one dumbstruck lady into a one armed hug, and Drummer Lee Vincent hammers out and impressive backdrop for the proceedings. in a whirl of shredding riffs and raw vox from centre stage, we are left reeling and ready for the last, and most bloody of all, not least because those of us privileged to be at the front can see James’ claret dripping from his fingers onto the collection of strings he covets! Den Horn opens as one over-energised bunny hops up and climbs monkey-style over the crowd to hang off the ledge above the stage, supported by the over-fueled arms of all those who cant stop shouting for more. As reality seeps back in, and we are left to stare blinking into dim recollection, there is an unsaid thought we all share. I want to do THAT again! The night has ended on a high, but all to quickly and we are left wanting more. PABH deal in inspirational chaos, and it is a drug we will continue to crave for eternity after this night.

Mercury 2010 Nominated Rundown

Nominated:

Corinne Bailey Ray - The Sea

Half written before and after her late husbands death, the album feels both new and fresh, and thick with yearning. This seems to be a feeling that Corinne has tapped into, not dwelling too much on her own pain it seems, but on the beauty that can be felt with it, and an empathy for everyone and everything surrounding her. The camaraderie she says she shared with her eclectic group of top musicians whilst creating this album, and healing her torn life, can truly be felt throughout each different thread running through this tapestry of tracks. It is a coming together of emotions and styles, elegantly structures and dripping with soul.

Mumford & Sons - Sigh No More

One of the most beautiful albums i have ever come across, listening to the group discuss their debut, and the effort that went into the composition of each individual track is a truly beautiful thing, and effortlessly paints them as talented musicians with a deep and proficient talent, as well as a deep emotional connection to the music they make. With a driving force behind every sound, movement can be heard in every single track, soft or rough. Their choral lyrical moments are pure gems.

Kit Downes Trio - Golden

The only representation of Jazz in this mix, Kit Downes reaches into his deep well of musical knowledge and presents a whirlwind foray into the bands own particular brand of off-kilter tunefulness. At times sounding like you are standing between two music rooms listening to separate practices, there is a whimsy to their style. Golden, the title track unfolds, revealing layers to explore, as the tune subtly changes with each few bars.

Dizzy Rascal - Tongue N Cheek

There has been a lot of discussion surrounding Dizzy, and it cannot be said that he is a lazy artist. His tracks have evolved since he started to make music, and his shrewd take on each musical style he lends his hand to is palpable throughout the track. The tracks are upbeat and pithy, as is to be expected from Dizzy’s own style of lyrical banter. This album has already been given such critical Kudos, and bore Dizzy an embarrassment of number one singles in the charts, if this were a more mainstream commercial based award, there is not doubt this one would be in the bag.

Wild Beasts - Two Dancers

One of the most bizarre and baffling groups of this years nominations, with Hayden Thorpe’s falsetto yowl etched across many tracks throughout the album, Wild beasts have also one of the most powerful albums. With discussion of the ‘fulcrum’ between the two sides of the album being the title track ‘Two Dancers’, listeners can feel the pull between broken emotions riding high and a gentle goading love for fun and enjoyment. The album is like a tale of life, with no beginning or end, but it continues. This sense is captured in the last track, which the band members favoured as one which gives a hint as to what will follow upon their return.

Paul Weller - Wake Up The Nation

With Weller’s ‘key track’ being the title of the album, and feeling this best sums up his efforts on this record. As the proffered ‘Mod-father’ and veteran of rock, his appearance on this list sets up the Mercury’s as indifferent to length of service in the music industry, and only celebrating all forms of truly great music, whatever the background.

Biffy Clyro - Only Revolutions

One of the more commercially popular albums, and from a background that stands out against the rest as more mainstream, Biffy Clyro have been rewarded for a long line of releases in this years Mercury awards. This certainly is one of their finest works, encompassing sensitive tracks, with the riff heavy larger numbers, inspiring moshpits across the festival scene this year.

Villagers - Becoming A Jackal

An irish artist and friends of the epic James Vincent McMorrow, links can be seen between the two pals, though his smooth and inviting voice sets him apart and places him in the Simon and Garfunkel era, recalling tracks such as America. With complex and insightful lyrics and a thunderous beat, sounding as though hacked out on the hull of his acoustic guitar, the title track becoming a jackal opens a new path to self discovery.

I am Kloot - Sky At Night

With gentle stirring riffs and rolling beats amongst some of the more powerful tracks, and lyrics which could make the most shallow person pensive, Kloot without question belong in this mix. You can sense the deep connection and understanding between band and producer in the shifting weight between dark and melodious, joyful and sweeping tracks. The most powerful has to be ‘I Still Do’, who’s bright and beautiful plucked guitar rhythm weaves a story behind its shimmering facade.

Laura Marling - I Speak Because I Can

One of the most beautiful albums to come out of a painful experience that has ever been penned, recorded and presented before an already sizable fan-base. the meek and mystical Laura speaks to the heart and beseeches you to feel every note.

The XX - XX

Embodied as ‘A lifetimes work’ by band member ollie, this is one of the most expansive albums on the list, rivaling even foals in this field. with Both Romy and Ollie engaging with the lyrics, there is a bitter-sweet battle of the sexes involved, sometimes singing in turn, sometimes together, overlapping their voices in the same lyrical pattern, but never vying for the limelight. this represents a fantastically produced and epically involved collection.

Foals - Total life Forever

a master-class in the creation of space, and time. with barbed lyrics which bizarrely compliment the synthy backbeats and sneaky bass. All the undercurrents and over-exertion come together to form what can only be described as Ennui-Disco in my ears, though they may hate that. Its the culmination of being drowned in sound, and swept to a new and intuitive setting, which you will never tire of exploring

The Winner:

It has been announced and The XX have indeed won the coveted prize. The minimalist, futurist and deeply dark artistes have trumped all others and come out speechless in the award ceremony, bereft of a clever quip, or hundred mile and hour gabbled thanks. The XX have divided opinion in their figurative arrival centre stage earlier this year, and yet having had their track Intro used in the UK Election coverage this year, alongside other snapshots in adverts and television shows, they were tipped as one of the forerunners for the award.

Listening back to the album, you can see why the prestigious award was given to these bright young things- they have the gift of creating a world of space, and time to explore it. Through the sparse lyrical foreground, and the slow yet gaining rhythmic structures that support it, you can feel a strength grown and cultivated from inside out. there are no half measures within each track. Every composition has been thought about in depth, and with their own admittance that this album has been imbibed with everything they have ever written you get the sense that every single tune is their own baby, to be nurtured and set out into the world, but only when fully ready.

Under The Driftwood Tree - London - 17th June 2010

Opening with their trademark of mash-up covers, Under The Driftwood Tree skillfully work The Killers Mr Brightside, Kings of Leon’s Use Somebody and Stereophonics Local Boy in the Photograph into their own breezy summer model, Local Boy Mr Brightside Uses Somebody. It is a testament to their talent that this foray into their stylings on stage take three of the most recognisable tracks of the recent past and twists them into a creature of their own making. Beautiful in its own right. There can be no better way to describe the Welsh wonders than that. With a fabulous array of covers, and their own songs interwoven with banter and the odd impromptu free-styling from the gentlemen up front, Chris and Robbie, the magic and sparkle of their set is visible even in daylight.

Formed in 2009 it is amazing to see a collective who are so comfortable, at home even, in front of an audience, and indeed with each other. The fluidity of movement, and the sounds coaxed and spun from their instruments beautifully compliments the shared harmonious vocals, and all around them seem enraptured. The instruments on stage are swapped and tuned with ease as the set up seems to change from song to song. This adds a fantastic element to the set, as each member showcases their talents; Robbie and Kathryn on Accordion and Percussion, Chris on Ukulele, Guitar and Didgeridoo, Alex on lead guitar, and Sam on Bass.

With their stage presence and collective impish humour in full swing, they pull out of their repertoire a song apparently written by their neighbours, detailing their annoyance at having loud music played next door at all hours. The whimsey with which they retell this tale speaks volumes of each individuals easy going nature.

As the day moves on, and the sky gets hazy with the coming dusk, we are treated to a further mash-up cover. one which whips up energy within the sun dazzled audience and stirs some movement throughout. Weaving the pre-Kid Rock ‘Sweet Home Alabama’ and Reef’s ‘Put Your Hands Up’ into another hand-made classic Pink Alabama, we are swept along into their final song, a beautiful instrumental which conjures images of country village dance and large tankards of Cider and Guinness in the sun. Perfect for the days setting! We are left wanting more, and the juggling woman, who has stood by the stage the whole set rhythmically bouncing her balls in time with the music ceases. Just another example of the level of involvement the crowd feel with the band!

There is no doubt that Under The Driftwood Tree have the talent and energy to sustain interest from the audience, to engage with and perform to the crowd and generate a great reaction. There is a great deal of certainty within me that there will be so much more to come from a this Welsh band, who have come so far and achieved such beauty in their stylings in just over a year. Carving out their own perfectly formed bohemian niche in the weathered stone that is Folk. If they continue on this path, they will be unstoppable, and this is a fact.

www.myspace.com/underthedriftwoodtree

Canterbury - Thank You - November 2009

Right at this moment, Canterbury are giving out their album free. On their myspace. This is not a gimmick, this is free genius! Please go and download, then read this. or the other way round, it doesn’t really matter. I found these guys by accident, and that makes me worried. what if there is a whole host of amazing bands I will never hear because there aren’t enough hours in the day to hunt them down. All the more reason to up my game.

So, the album. It is an Über showcase of the talents encompassing these young men. With titles which follow a flow, like a semi concept album (titles follow in sequence, such as; Accident Ambulance & Hospital), the audio equilibrium is constantly rocked, as the lyrics whip from angry bitterness to soulful melancholy. But this isn’t an album of alternating rage and static. No, no. The tunes are full of fluid movement, whether pensive and endearing with dulcet tones and lyrics gently pulling you in (Hospital, Diver), or 11,12, which oozes an angsty energy. Generally the word angst makes me cringe, I use it in a good sense here, when that tightness in your chest rips through you, the chorus kicks in and you let it all go.

This album can be alloted a place alongside those of You Me At Six and artists of that ilk. perhaps, dare I say it, they go one better in creating a debut of this form. It would seem as though it is a dismissive action, but there is a reason there is such a collective who adore this style. It simultaneously argues for emotion and passion as well as F***ing S**t UP. This is what we should all choose embody in our lives, and as the opening of Ambulance crashes with symbols and drums, there can be no other case than for the latter. it really embodies the confusion and energy that would actually go with the appearance of an ambulance, funnily enough. That is where the concept lies, in the attention to detail with the lyrics and the cultivated sound. They make sense together.

This fluctuating mixture involves a touch of upbeat controlled chaos, with Set Your Right delivering a fast paced staccato beat with an impeccable sense of timing, leaving you feeling ready for a night out with your best male friends. Witness the amusing highlight of Friends_ We’re More Like A Gang. The sheer range of paces and ideas that are traversed within Thank You leaves you feeling slightly addled, but in a good way. Though we traverse the stages of joy and heartache with the foursome, there is little room for melancholy, and absolutely no room for boredom. With the hidden melancholic tang of the ending track Hometime, and lyrics ‘I never had something mess me up like this...You were a sunset, I was a hurricane’, it feels as though this story is unfinished. If music is set by the pace of a lifestyle, it is clear that these guys never have a dull moment.

Knock2Bag - Comedy Gold!

21st April 2010 - Shepherds Bush - Bar FM

Ascending the steps to the underground 'Bar FM', there seems to be no better setting for a comedy night than this. There seems to be an undeniable sense of other-worldiness in the plush darkness within. The Knock2Bag stage is raised almost imperceptibly from the ground as chairs tables and sofas occupy the surrounding space creating a sense of intimacy. We are all in this together, which is just as well as in a setting this small, very few can escape the ever watchful eye of the comics, especially MC Fergus Craig, starting off the evening with a tailored brand of childish imagery and musings, effortlessly delivered and sandwiched between his sharp wit and impeccable timing.

Tonight's ensemble are a charming mix of established and upcoming talents, and without much ado Mike Wozniak appears onstage, the embodiment of Tom Selleck after a nervous breakdown. With perfect diction he delivers an observational eye, twisted with a surreal cerebral vision, culminating in a story about his father taking a job cleaning mice on the underground. Perfectly executed with a remark about his fathers competency in such a job, given the state of underground mice these days, he exits to a roar of applause, replaced with an even fresher face, named Grainne Maguire.

Gawky and nervous as she is, her comic style takes some getting used to. There is a fine line between comic awkwardness and a nervous disposition. Nonetheless, a fair few laughs bestowed to us from this 2009 Mercury New Act Of The Year finalist, especially in her take on our relationship with the new Conservatives, drawing links between the British public and a battered wife. "They've changed! They recycle now!". Finishing with a terribly awkward but lovable 'reclaiming of the belly' rap, which only serves to reinforce her naive charm, she scurries off stage indulging us in a quick break to sate our thirst for booze.

The next portion of the event is reserved for the well established comics which took the headlines of this particular event. Doc Brown takes to the stage, armed with a folder and an amazing penchant for comic rapping. His swagger and charm are a winning combination, and rapping about anything from his love of David Attenborough, to the correct pronunciation of urban 'gang speak' and its middle class translation, a quick scan of the audience will see most people bent double in silent fits, or choking on their chips. As usual, this particular set is not long enough. We move on to the mysterious 'top secret telly guest'.

Award winning writer and actor Stephen Merchant is not one best known for his standup. A change he is prepared to make, as he introduces himself thus, stating his interest in having something "he can't get his hands on". No need to ask to whom he refers! unleashing his wealth of observations on the responsibilities men have in the dating stakes, height and levels of 'geek', he is every bit as brilliant as you can imagine. Here is a wealth of talent which we hope he will continue to utilise to great effect. His personality, passion and delivery smack of his unique writing style, a winning combination it seems.

We end on an absolute high, as Robin Ince spews bile on all and sundry, covering a ten mile radius in enraged ramblings. Prophecising the failure of his set due to his 'good mood', he is soon berating all those who own up to "guilty pleasures", calling for these pleasures to be far more guilty, crossing the lines into downright illegal. Just how far into guilt is a bit too rich to put into print! After too short a time, the end is nigh, and we are spilling out on to the streets once more, a gaggle of half remembered jokes, too rare to be repeated, and too blue to be aired on television! With the wealth of amazing upcoming and well-known comics treading the boards within the realms Knock2Bag enterprises, it is a perfect gem of brilliance which never fails to deliver. A cheap night out at £8 per ticket, the only solution is to go and see it for yourself. You will choke on your chips, so be careful!