Another Music Blog

Review: Esben and The Witch - Wash the Sins Not Only The Face | Matador

stephpowell — Tue, 15 Jan 2013 19:34:41 +0000

Brighton-spawned trio, Esben and the Witch, turned heads back in 2010 as one of the success stories of the ‘Indie-goth’ movement that saw the likes of Zola Jesus, Sleigh Bells and Warpaint break ranks.

At first glance, Esben and the Witch aesthetically fulfil all the initial genre clichés, complete with a band name taken directly from a Danish fairytale involving cruelty, ritual slaughter and all manner of unpleasantness. This was all evident in their dark debut, Violet Cries, complete with horror film-esque cover.

To immediately contrast the artwork for follow-up release, Wash the Sins Not Only The Face, is a sophisticated mystery. Judging an album by its cover would be completely legit here.

As the band crash into opener, ‘Iceland Spar’, with all the energy of an excitable toddler, existing genres chains are broken. This is a new Esben journey and they want you onboard.

‘When That Head Splits’ suggests a scene from a Romero film, however, instead its an ironic blend of guitar-fuelled dream-pop. Think; a dark and mysterious Beach House having a party with Siouxsie Sioux.

The band are more confident with this release. ‘Deathwaltz’ in an uncompromising offering of dark, yet jangly guitar hooks, and catchy percussion beats.

Rachel Davies’ stunning vocals lead into ‘The Fall Of Glorieta Mountain’, and it is the perfect showcase of her lyrical talents, having taken the lead on scripting the album. The melodic relationship between guitar and vocal may lean some nods towards The XX, but there is no mistaking the unique sound Esben have created.

If ‘Iceland Spar’ was the dramatic opener, than ‘Smashed To Pieces In The Still Of The Night’ is the perfect juxtaposition to conclude. It is the final curtain on this intense and vivid story. A big instrumental build-up adds to the expectant atmosphere. Even standalone, it is an incredible piece of music,

Expecting an obvious and easy first listen would be like be like asking Damien Hirst to make you a stick man from lollysticks: there’s a far richer and more sophisticated set of musical treats on display here than any of the band’s similar contemporaries have released recently. However, its worth it; with album two, EATW show their musical maturity and continue to develop creative effervescent styles that bend and defy genre boundaries, whilst managing to maintain a perfect homage to a bygone era of music.

I’ve recently been suffering immeasurable bouts of...

stephpowell — Tue, 08 Jan 2013 20:39:00 +0000

I’ve recently been suffering immeasurable bouts of insomnia. Positives of this have brought me new appreciations of poetry and spoken word artists.

Steve Camden, better known as alias Polarbear, is a new favourite of mine. His debut album ‘At home with Polar’, produced with Scroobius Pip, is now available to buy here.

10 pretty swell albums from 2012

stephpowell — Mon, 07 Jan 2013 21:01:00 +0000

I hadn’t really thought about this until Middle Boop Mag asked me for my ‘favourite’ albums of the year for their upcoming article. For fear of missing some musical corkers, I wouldn’t argue that these are my favourites (these change on a daily basis!), or necessarily the best from the past 12 months, they’re simply the ones that have graced my eardrums a significant amount, been a pleasure to listen to and deserving of a mention. So in no particular order:

1. Sigur Ros - ‘Valtari’

2. Purity Ring - ‘Shrines’

3. Grizzly Bear - ‘Shields’

4. Oberhofer - ‘Time Capsules II’

5. Frank Ocean - ‘Channel Orange’

6. Grimes - ‘Visions’

7. Chet Faker - ‘Thinking in Textures’

8. Sleigh Bells - ‘Reign of Terror’

9. Kindness - ‘World, You Need a Change of Mind’

10. Lucy Rose - ‘Like I Used To’

Some other fantastic notables include: Toy, Allo’ Darlin, Tame Impala, Cat Power, The XX, Bobby Womack, Of Monsters & Men, Alt-J and Bat For Lashes. 2012 has been lovely.

There are some beautiful releases due this year and I, for one, cannot wait to indulge.

Happy 2013.

Live: The XX, Guildhall, Portsmouth, 13/12

stephpowell — Sat, 15 Dec 2012 00:00:00 +0000

For Middle Boop Mag

Occasionally there are bands that you simply cannot catch on tour, no matter how hard you try. The XX were mine. Back after two years, on a rainy winter’s night at Portsmouth Guildhall, their first time in the city, I would get to see the band I always missed.

Warming the room were MMOTHS, hand selected by the The XX to fill that elusive ‘tour support’ slot. For a support, they had commanded a respectable audience, and were an unexpected delight.

Over the stage hung a drape, adding to the suspense and excitement in the busy guildhall. Then, three dark silhouettes could be seen in the shadows, beautiful projections appeared on the drape and the opening notes of ‘Angels’ resonated around. Everyone went wild, joining Romy for a sing song in the delicate chorus, before a seemless transition into debut album favourites, ‘Heart Skipped a Beat’ & ‘Fiction’.

Oliver looked out over his crowd, ‘This is a really special day for us. We’ve never played Portsmouth before.’ Portsmouth acknowledges. Portsmouth appreciates.

Continuing to bring out the classics with ‘Crystalised’ next. However, it had been remodeled. It was a beautiful, emotive stripped back version that caught everyone off guard.

For a relatively small venue, the sound in the Guildhall was intense. There were times when the bass, enhanced by Jamie, would shake your insides so furiously, you weren’t sure you’d make it to the next song. ‘Missing’ exploiting it to the max.

The XX have been quiet in recent years, apart from Jamie who has stepped over into the dance scene working with Adele and Florence amongst others as ‘Jamie XX’. His input was evident throughout the night, with some very catchy beats thrown into the production. ‘Shelter’ had received a revamp, far from being the punchy, shoegazey song it was, it was now littered with dance beats. The whole room was dancing and moving. Incredible.

The encore saw the reveal of the famous ‘X’, sitting proudly over the stage. If any were confused about who they’d come to see, they weren’t now! Seeing the show out with ‘Stars’, the band appeared humbled by the turnout and support from their Portsmouth fans. Romy and Oliver took a well-deserved bow, Jamie refusing to leave the solace of his production station. The place was electric, the XX had left their stamp on the place. It was obvious what the topic of conversation would be over the cloakroom queue!

Setlist

Angels
Heart Skipped a Beat
Fiction
Crystalised
Fantasy
Missing
Reunion
Sunset
Night Time
Swept Away
Shelter
VCR
Islands
Chained
Infinity

Encore

Intro
Tides
Stars

Photo: Emma Farndell

Interpol - Turn On The Bright Lights: The Tenth Anniversary Edition (Matador)

stephpowell — Tue, 11 Dec 2012 00:00:00 +0000

For Middle Boop Mag

It is that time of year when record labels simply love to release and re-release albums. ‘SPECIAL EDITION’, ‘ANNIVERSARY ISSUE’ beam smugly off the shelf, proud to have made it through round one in the album fight. For the most part, it’s all a little tedious, an extra single here, or unreleased track here, but nothing particularly new for the listeners.

Enter Interpol. 10 years ago the band shot to indie idolatry with a record that would leave them at the forefront of rock music for the next decade. In reality Turn on the Bright Lights hardly needs reviewing. Critically acclaimed, it has become a staple in record collections across the world.

This year marks its 10 year anniversary, and so in true industry style, a special release of the iconic album that is perhaps best known for favourites ‘Obstacle 1’, ‘PDA’ and introspective anthem, ‘NYC’, has been released with some special treats onboard.

The special edition ‘half’ of this album showcases a side of Interpol that many might not have been exposed to. It’s a montage of highlights from the band’s early years with some unreleased B-sides, demos and some Peel sessions. A couple of near-oversights are ‘Gavilan/Cubed’ and the primal, and simply frantic, ‘Get the Girls.’ All in all, the second disc is stripped bare and raw but still grounded with the same calming consistency found in Paul Banks’ unique vocals.

This re-release offers fans a snapshot into the band’s mindset 10 years ago, showing how, through demos, Interpol absorbed several decades of great music and produced something familiar, yet fresh and new. It’s always a privilege to hear this album, whether it’s for the 300^th time or the 1^st.

Review: DELS - Black Salad EP (Ninja Tuna)

stephpowell — Sun, 09 Dec 2012 20:21:00 +0000

For Middle Boop Mag

When an artist is posed with the all-important ‘first album follow-up’ it can be a dubious time for any one involved. Kieren Dickins aka DELS, tore through the British rap scene in 2011 with his debut album Gob, catching the attention of Kwes & Hot Chip’s Joe Goddard. Now, he is back with his sequel, the Black Salad EP.

For this release, DELS has once again teamed up with Kwes, who has provided the production guidance, his input apparent with ‘Bird Milk’, a track that first surfaced in a slightly different incarnation on the Micachu collaboration, the Kwesachu Mixtape Vol. 2.

Black Salad is a pedestal for DELS to showoff, and he has embraced it. Over a whirlwind of eccentric beats, he paints a picture of escape through imaginative rhyme. One inspired couplet from ‘Bird Milk’ goes: “Some say I’m just anxious / I just think I need to eat cheese less.”

This is something of a music rollercoaster, and DELS is definitely in control. The EP offers three instrumental pieces in all, with the title track, ‘Sell-by date’ and closer ‘You live in my Head’. Sell-by date’ is deep and in your face, almost challenging you to take notice, deservedly so. Its choppy and adventurous, neither here nor there, a snapshot into the creative mind of Dickens’.

It seems almost a paradox to use dreamy as a descriptive word for rap music, but with closer, ‘You live in my head’, this is exactly what DELS offers with a subtle piano hook over gentle jazz beats. It could even be described as a love song, one man’s simple tale of lost lust told through Dickins’ unique imagery, “Will I see you again? I had a right laugh, there’s no need to pretend… That you live in my head.”

The EP is a showcase of DELS prolific abilities to conjure up pictures for the listener, despite not being the most technical of rappers on the scene. We can only hope his new full-length due in Early 2013 is comparable to this, meaning it would be something of a injustice if DELS was missed off the prestigious ‘ones to watch’ lists beginning to form for next year.

Review: Mouse on Mars - Parastrophics (Monkeytown)

stephpowell — Fri, 23 Mar 2012 15:22:29 +0000

Written for Middle Boop Mag

Mouse on Mars are German duo Jan St Werner and Andi Toma. With their 19-year career, the pair has established themselves as two of the most inventive and unpredictable artists in electronic music. However, the pairing has been quiet since 2006’s noisy, experimental and abstract offering Varcharz. Now six years on, Mouse on Mars are back with studio album number ten, Parastrophics, through new label, Monkeytown.

Immediately it rings familiar of Mouse on Mars with ‘The Beach Stop’, the six-year pause not affecting the pair’s ability to create an engaging mix of darting synths and wobbly electro bass.

One desirable characteristic of Mouse on Mars is that they are fun. Not content with creating melodies to warp your mind, the lyrics blow all logic too. While the cartoon samples and slide guitars of ‘Chordblocker, Cinnamon Toasted’ disguise the fact they’ve used a similar ping-pong sample to that in Flying Lotus’ ‘Table Tennis’; it’s the lyrical hook that maintains your attention as the words are spat in such a way they sound like ‘Cock-blocker, Facebook’s a Cock-blocker’ but really they could be anything.

The album is exciting, and highly listenable. Layered with phasing basslines, multiple beats and staccato beeps, in ‘Gearknot Cherry’ for example, Parastrophics is so rich in texture it would make the artex on the ceiling jealous.

Parastrophics is more than just a bag of abstract, bass-orientated brain-food. With ‘Syncropticians’ the duo go downbeat, it’s reminiscent of Boards Of Canada, and yet infused with Mouse on Mars’ imaginative flourishes.

Back in 2004, the duo experimented with pure electro-pop on Radical Connector, to a mixed reception. ‘They Know Your Name’ and closer, ‘Seaqz’ are examples of the more mature Mouse on Mars that this record exudes, dabbling back into this genre but instead, injecting it with funky electro squiggles and stabs of abrasive acid techno. The end result; limbs that feel fit to burst.

If Autechre and Flying Lotus had collided they would had undoubtedly produced Parastrophics but this is only a credit to the intelligence and imagination in Mouse On Mars and goes someway to explain their extraordinary career, and the creative gap left in their absence. Ten albums in, the band are still creating new sounds to excite electronic fans. The album is chaotic electronic at it’s finest, bending the boundaries of the genre with fragmented melodies and wobbling synths. It establishes perhaps the perfect balance of danceabilty and complete musical turmoil.

Live Review: Pulled Apart By Horses - The Cellar, Southampton

stephpowell — Fri, 23 Mar 2012 15:15:26 +0000

The Cellar Southampton, 22/02/12

Written for Middle Boop Mag

It was finally the night. Tickets for this show were like golddust, and there was an air of excitement surrounding the venue. Some hadn’t known if this gig would even go ahead when Southampton’s Talking Heads, the original venue, suddenly announced it was permanently shutting its doors. But step in The Cellar. Hundreds of avid fans packed into the top floor of the intimate setting; if ever there was a ‘sardine in a tin’ moment, this was it. But this was perfect for the band, who tell Middle Boop that they enjoy playing to an audience where ‘you can see the white’s of people’s eyes.’

Kicking off with 2011 single, ‘Punched a Lion in the Throat’, the band ignited the crowd. They looked energetic and keen, matching the atmosphere in the room. Straight into ‘Wolf Hand’ and it only added fuel to the fire. Tom roaring the line ‘when I was a kid, I was a dick’ with a real passion and raw aggression.

This was the 8^th date of a brutal European tour, darting all over the country and playing sold-out shows most nights. For many bands, this would be a grueling prospect, but for Pulled Apart by Horses, it seemed easy.

‘This one’s a new one’…Tom announced, and with that the menacing bass of ‘Shake off the Curse’ erupted around the venue. A piercing vocal delivery of a lyrical hook and screeching guitars, you could imagine this being sung to larger audiences over the summer. Straight into the pleasing recent single ‘V.E.N.O.M’, the consistently animated James Brown, flaunted himself round stage.

This, by all accounts, was rock ‘n’ roll; the band, now semi- dressed, throwing themselves around to a sea of flailing audience limbs. The atmosphere in The Cellar was electric.

To faint cries of an encore, the band came back on to tell of their nipple comparisons with supports, The Computers. Words such as ‘chicken nuggets’ and ‘burger nips’ were heard. Those wanting more were not disappointed. The band performed a wild cover of Nirvana’s ‘Tourettes’, before closing with ‘Den Horn’.

Over all, it was a real crowd-pleasing performance with a mix of old and new material for the fans, and they showed no signs of being fatigued, despite James telling me the band had toured over 600 shows altogether. Look out for these boys, the four angriest northerners, at festivals over summer for one amazing live experience.

Setlist:
I Punched A Lion In the Throat
Wolf Hand
Bromance Ain’t Dead
Meat Balloon
Shake Off The Curse
V.E.N.O.M
Get Off My Ghost Train
E= MC Hammer
Some Mothers
Moonlit Talons
Epic Myth
Everything Dipped in Gold
High Five, Swan Dive, Nose Dive

Encore:

Tourette’s (Nirvana Cover)
Den Horn

Review: The Big Pink - Future This (4AD)

stephpowell — Fri, 23 Mar 2012 15:03:00 +0000

Written for Middle Boop Mag

Milo Cordell and Robbie Furze are an actual representation of the perfect band ideology. Two friends enjoying producing music together, complete with a name taken from the debut album by The Band. This is The Big Pink.

Now three years on from the modest success of their debut release, A Brief History of Love, the girl-toppling, Minaj’ed boys are back with their second album. The band have called upon the production skills of Paul Epworth, who has worked with artists such as Adele and Florence & The Machine, in their quest to create an electro-rock masterpiece in Future This, named after the slogan of an ‘80s skateboarding company.

The opening bars of ‘Stay Gold’ smother you with synth tones, which set the tone for the track, before the drums kick in. They’re a smooth blend of electronic and acoustic to give that punch and dancey feel that gets your head nodding and involved, but yet still remains chilled and mellow.

‘Hit the Ground (Superman)’ blends almost effortless in, staying with the mellow, electro-beats that are familiar to fans of The Big Pink. Sampling Laurie Anderson’s experimental classic ‘O Superman’ is bold and unfortunately the track fails to make any substantial impression, plodding along without any real highpoint, despite having the ingredients to have been any electronic enthusiast’s fantasy.

The record contains to merge and bumble it’s way through ‘Give it Up’, ‘The Palace’ and ‘1313’. By now you’re familiar with the sound of this record, and although it is a well-constructed album, you simply can’t help but start to feel disengaged by the familiarity of the songs, and the lack of dynamics and tempo changes.

Every album has a stand-out track, the anthem; the one the fans will scream for at concerts. In A Brief History of Love, the band found this with ‘Dominoes’. With Future This, this track is perhaps intended to be ‘Lose Your Mind’. By comparison to its forerunners on the record, it is dramatic and quicker-paced, with thistle-sharp melodic synths and a haunting bass rhythm. The chorus is easy, memorable and danceable. A recipe for hit success. It would work at a festival, arguably the best environment for a band like The Big Pink.

Closer, ‘77’, is the slowest track on the album and something of an anti-climax. The lyrical hook in the chorus, ‘77 ways to say no’, is memorable for the wrong reasons. Hearing Robbie repeat the same five words grinds away, much like an alarm you can’t find the snooze for.

It’s not ground-breaking, but then possibly it is an example of what the music world had come to expect from the modern, British electro-rock scene, with The Horrors and The Klaxons producing highly commended albums. Future This, with it’s well-groomed electronic beats, polite samples and civil lyrics is not offensive to listen too but it is somewhat repetitive and after a while the distinction between tracks becomes blurred. Unfortunately the irony is that all in all, Future This, feels a bit archaic.

Future This is out now.

Listen: Kele - What Did I Do (All The Lights remix)

stephpowell — Wed, 08 Feb 2012 16:00:39 +0000

Pretty much love this tune:

Digital Wristband Technology to Feature in UK Festivals.

stephpowell — Fri, 03 Feb 2012 15:53:32 +0000

Written for Sonar Magazine

In process that is similar to Glastonbury’s current identification system, the RFID wristband’s use a chip to store information about the wearer. It would allow festivals better security and would see the end of the fabric wristband.

The wristband would also allow consumers to pay for onsite food and drink without having to carry cash on them, using kiosks to ‘top-up’ the credit on the band. The idea behind this is to increase costumer security levels, and make people feel more safe during their festival experience.

The technology has already been successful at Coachella in the US and on practise tests in the UK, which could, providing cost-effective production methods are found, see it being used at festivals as early as next year.

But is this necessarily a good thing? Ofcourse anything that helps combat theft and touting is always good for the industry, but for me personally, the little fabric wristband left over from that weekend of music is part of the whole experience. Replacing it with a clever, chunky and frankly little bit ugly one, just won’t be quite the same.

Source: http://www.eventindustrynews.co.uk/2012/02/digital-wristbands-to-feature-in-uk-festivals.html

Review: Perfume Genius - Put Your Back N 2 It.

stephpowell — Wed, 01 Feb 2012 12:16:00 +0000

Written for Middle Boop Mag

Perfume Genius is the alias for American solo artist Mike Hadreas. His debut album, Learning, was an insight into his feelings, fronted through bitter and painful lyrics. It was a raw record of sadness and heartbreak, which brought Hadreas into the foreground of indie, and became the staple soundtrack for emotional wrecks internationally.

With his follow-up release, Hadreas had promised a more accessible record, less a tale of him and more universal subjects instead.

Reassuring all fans that he’s not ‘selling out’, Hadreas keeps the familiar cynicism of Perfume Genius evident through the ironic use of modern slang in the album title, Put Your Back N 2 It. At first it feels like a repeat of Learning, when ‘Awol Marine’ opens with a dark, heavy sigh, and a tinkling piano riff. But Hadreas is smart; he doesn’t want to reveal his hand straight away, the track layers up and crescendos with synth drones to reveal something far more complex instrumentally than any before on Learning.

‘Normal Song’ is a perfect example of this new Perfume Genius. It is tender and moving, a tale of relationships and living, ‘normal people stuff’, told in only the way he can. Unlike on Learning, this track has guitar lead, and we also hear choir-like backing vocals, that make it feel spiritual and delicate.

“No secret/No matter how nasty/Can poison your voice/Or keep you from joy.”

– Perfume Genius, “Normal Song”

One of my personal favourites off the new album is ‘Take me home’. Here, Madreas captures the ideology of, in his words, ‘hookerism, so if it was in a commercial or something [he] could say that song is about hookerism.’ But it is much more than merely a man writing pop songs to offend. The narrative of the lyrics is obvious, but there is that underlying story of submission and loneliness that, despite the beat being relentlessly catchy, remains striking.

Perhaps the most radio-friendly off the album is new single, ‘Hood’. Here Madreas is reunited with his beloved keys to present a simple, tale of relationships that would resonate with many. Madreas states, ‘this is about when you feel like if someone really knew you, they would leave.’ The song builds to full drum-bass-guitars, and the sheer surge of power turns you into an air-player of the instrument of your choice.

Musically, Put your back in 2 it doesn’t break any previous moulds set; however for Perfume Genius, it’s simply a revolution. Just as Learning was stark, one-mans hard-hitting tale of discomfort, the new record is a beautiful soundtrack about everyday life. The endearing songs on Put Your Back N 2 It unite to create a record that is still as sensitive as Learning, but far more diverse, not just in topic but in instrumentation choices. Perhaps with this record Perfume Genius will outgrow his fanbase, either way, he is clearly capable of matching expectations.

Put Your Back N 2 It will be released on February 21, 2012

Review - The Tings Tings - Sounds of Nowheresville

stephpowell — Wed, 01 Feb 2012 11:55:52 +0000

Written for Sonar Magazine

So The Ting Tings are here. For a brief while in 2008/09 they were exploding and flailing everywhere and despite various award nominations and top chart success, it seemed still no one knew what her damn name was. Now, 3 years on, Katie and Jules are back with their second full-length offering, hoping to reclaim back their former success.

Opener, ‘Silence’ is a steady grower, a native bass beat with Katie’s vocal perfectly layered on top. At 1:50 the song ripens into an instrumental track that would fit alongside the emerging M83; deep electronic drums mismatched against aboriginal drum flourishes and synth hooks. You can picture this song with a room full of adoring fans, and it feels like the Ting Tings could be back on top.

‘Hang it Up’ strikes with familiarity that grabs you as the opening chords mirror that of Nirvana’s ‘Come as you are’. It’s catchier, and more engaging than the others so far. A simple yet strong beat with quick vocals from Katie, there’s no mistaking the identity of the artist here. This track has Ting Tings written all over it.

In fact, further listening feels like this is could be a well-rounded, quality album. ‘Guggenheim’ is stripped back in the verses to expose Katie’s vocal. It is a love tale, but in typical Ting Tings, it is not delicate. The chorus is a dancey mix of cowbells, drums, and shouty vocal that is infiltrated by guitar stabs and contagious in all the right ways.

Then, ‘Soul Killing’ happens. It’s cringe-worthy. The use of ‘bed spring’ sound effects to support the rhythm throughout the verses and chorus detracts from the lyric ‘they can never hold us down’ which is a shame because it turns an otherwise credible song into one that, to be frank, is a little tacky. For the whole 3:17 you’re stuck listening to a bed squeaking; a sound that I’ve had enough of from my time as a student!

From here on in it’s like someone took the batteries out. ‘One by one’ is sadly predictable, even the ‘quirky’ flourishes are so perfectly timed you know that they’re coming. But it is what it is, and that is pure pop, boring but easy on the ears.

All in all, it’s a real mixed bag of genres, and a tale of two halves. The album overall is a more mature offering from the two-piece but you can’t help but feel it’s lacking that ‘in-your-face’ ingredient that made you stop and listen with We Started Nothing. The songs aren’t awful, perhaps just too overproduced, strip it back to a raw, live gig environment and this album could make for a cracking setlist.

Sounds from Nowheresville is out on 27 February 2012 in the UK.

Ben Brooks - Grow Up (I wrote about a book?!)

stephpowell — Mon, 16 Jan 2012 23:30:00 +0000

Image: Canongate

You’re always told never to judge a book by it’s cover, and so with this in mind, I decided to open ‘Grow Up’ by Ben Brooks first. Flicking through the pages, my gaze was caught by the words ‘chicken nuggets’ mid-text and I instantly decided this was a book I must read.

’Grow Up’ is a first person account of modern teenage life, told through the eyes of Jasper. There’s nothing notably out of the ordinary with Jasper, he’s a typical teenage boy who’s desperate to grow up but contends with the perils of A-levels and an overly pushy mum.

There are some pretty extreme examples of teenage life in modern British culture. Channel 4’s hit series ‘Skins’ shows abnormally beautiful teenagers burying their difficult lives under a colourful shelter of drugs and alcohol, meanwhile ‘The Inbetweeners’ is four social outcasts on their quest to get laid.

In ‘Grow Up’, Brooks harnesses the realities of these excesses. It presents adolescence as a hub of drug-use and alcohol, assisted with some minor mental health problems. Part of this issue is Jasper’s, almost hilarious, fixation with his step-dad. In a typically exaggerated love/hate parent and teenage relationship, think Kev & Perry, Jasper’s convinced that his step-father is some kind of evil murderer. Brooks shows off his incredible writing talent by managing to maintain the self-doubt and curiosity prevalent in a teenager by being overly outrageous in Jasper’s evaluation of Keith’s past, ‘For Keith, murder is even better than anal sex.’ In fact most of the adults in the book fit under blatant stereotypes, for example, the over-the-top-Christian Religious Studies teacher that refers to the class as ‘heathens’.

Brooks does not overlook the sexual desires of a teenage boy, being little more than one himself. When he’s not preoccupied with his step-father, Jasper is thinking of ways to win over idyllic class-mate Georgia Treely or spending valuable time on ‘www.girlsoncam.com’.

A mature and engaging coming-of-age tale about friendship, relationships, Facebook, mephedrone and cheap vodka, ‘Grow Up’ is as much about heartbreak as it is hilarity. Ben Brooks, only a mere nineteen himself, presents you with a lead character that is a cynic on adulthood yet simply strives for nothing more than to be one, a position that will resonate with most readers.

Michael Kiwanuka – The Sound of 2012.

stephpowell — Sat, 07 Jan 2012 14:04:00 +0000

Image// http://michaelkiwanuka.com

The BBC’s Sound of 2012 list is now in its tenth year. It’s still considered a notable way to highlight new artists with the likes of Adele, Ellie Goulding and Jessie J all being recognised through the chart.

Recently voted top in the BBC’s sound of 2012, Michael Kiwanuka looks set to make waves this year; waves of the calm and gentle variety that make the ideal accompaniment to a warm summer sunset backdrop.

The London-based singer’s debut single ‘Tell Me a Tale’, released in April 2011, takes a fresh approach to 60’s soul,infiltrating it with delicate flute flourishes and strong brass tones, whilst still paying homage to his apparent influences in Otis Redding and Bill Withers.

New single ‘Home Again’, is a soul-folk tale of nostalgic heartache, one man’s lonely look into a brighter future with an equally melancholy video to accompany, which allows his stunning voice to not become overshadowed. You cannot deny
it is a beautiful song, perhaps because it is heartbreakingly sad. Even so, the steady underlying beat engages you into a gentle nod.

Having recently been on personally invited on tour with last year’s biggest selling artist, Adele, it perhaps comes as no surprise that Kiwanuka has raised a few eyebrows along the way, he after all, possesses the same soulful voice that suggests life experiences far beyond his 23 years. Michael, on winning the BBC sound of 2012, said, ‘I think it’s every musician’s dream to have any sort of recognition for their art, something that is so personal. This is something that I don’t take for granted.’ (BBC, 2012)

The debut album from Michael Kiwanuka, also titled Home Again, is due for release on 26^th March 2012.

'Why would want someone so vain stealing your soul, making it rain?'

stephpowell — Tue, 03 Jan 2012 16:09:35 +0000

The Big Pink - Stay Gold (Single)

stephpowell — Fri, 25 Nov 2011 09:16:00 +0000

There’s something utterly endearing about receiving a single on a large pink vinyl, splattered with the word ‘BIG’ that would make even the uninterested music fan a little bit excited. This of course, is the brand new single, ‘Stay Gold’, from girl-toppling, recently Minaj’ed, The Big Pink, and what better way to mark your territory then with a foot of beautiful, shiny, appropriately-coloured vinyl.

The opening bars of ‘Stay Gold’ smother you with synth tones, which set the mood for the track, before the drums kick in. They’re a smooth blend of electronic and acoustic to give punch and dancey feel that gets your head nodding and involved, but yet still remains chilled and mellow.

Throughout the track that catchy opening synth melody stays constant, providing a hook for even a first time listener to really latch onto. It seems their recent involvement with producer Paul Epworth (Adele, Florence & The Machine, Friendly Fires) has turned a new page in The Big Pink story, delivering them with a new electronic sound, and one, that with ‘Stay Gold’ makes them more than THAT one song band.

The new album from The Big Pink, Future This, is released on 4AD on 16/17th January 2012.

Catch them on tour: 08 FEBRUARY – Bristol Thekla, Bristol // 09 FEBRUARY – Portsmouth Wedgewood Rooms, Southsea

Kathleen Edwards - Sidecars (Single)

stephpowell — Fri, 25 Nov 2011 09:15:00 +0000

Kathleen Edwards is currently a little name in the UK, however the acclaimed Canadian musician is surely set to cause a stir following her European tour with Bon Iver. Her new single ‘Sidecars’ is taken from her new album Voyageur due for release on 16 January 2012.

From the start it’s cheesy pop, and when the lyrics kick in it completely conforms as you feel yourself singing along from the off, despite having never heard the song before. This is probably helped by the constant repetition within the lyrics. The content of which is an ode to a new love and one that doesn’t overindulge on the complicated, instead staying on the safe side of jaunty with lines such as, ‘sit up, I want to make you breakfast in bed.’

It’s feel-good for sure with an uplifting beat accompanied by a chorus of cheery vocals, whistling synth melodies and punchy acoustic strings but the song as a whole package is just too twee and too sweet, almost like too many sugars in your tea and it becomes a little bit hard to swallow. Given the listed credentials on the track, including Justin Vernon of Bon Iver, I’d expected a bit of a wow factor, the same chilling excitement that gives me goosebumps upon hearing that voice, but instead it’s 2:38 of sprightly pop sounds under an enthusiastic cheery voice, although in fairness one that can hold a tune, that simply fails to leave any real impact after listening.

‘Sidecars’ is out now on Zoë/Rounder records.

Lucy Rose - Scar (Single)

stephpowell — Tue, 18 Oct 2011 18:44:14 +0100

Lucy Rose, a voice that fans of Bombay Bicycle Club will have grown familiar with following her supporting slots throughout A Different Kind of Fix, is back with a solo vengeance.

At first viewing, she looks every bit the ‘folk-girl’ part. Gracing the cover of this limited 200 pressing of debut ‘Scar’, sits the blonde-haired figure accompanied by an old lady, providing an almost perfect juxtaposition for the fresh talent of Rose.

The track opens with a bass-line hook that subtly hints at an influence from her Bombay Bicycle Club friends, however it’s undeniably catchy and your inner mover instantly wants to tap along.

Then in comes THAT voice of Lucy Rose, almost on the 30-second marker, its warming and gentle. At first you’re drawn in, immersed in that beautiful voice and it’s almost easy to overlook the underlying heartache expressed in the lyrics, an anguished story of lust and desire told with such endearing empathy.

Although it will inevitably occur, I just warn anyone who dares draw comparisons to other current, female folk singer-songwriters to do at your peril. With ‘scar’, Lucy Rose sets herself as a credible artist, demonstrating an overwhelming ability to tap into the most personal of heartaches and turn it into 4 minutes of innocent and heart-warming, emotional pop music; which will surely see her become a household name.

The single is available on Rough Trade from Monday 14th November 2011.

Review: Radiohead - The King of Limbs

stephpowell — Sun, 03 Jul 2011 00:00:00 +0100

Radiohead; a household name, except this time the music is anything but household music. A rock band by every true sense of the word, producing an album that is anything but rock music. In this, their eighth studio album, Radiohead indulge in a mix of electronica and abstract rhythms to produce something that would unite journalists and fans in a frenzy of musical excitement.

Technically, the album combines hints of their last record, In Rainbows, as the band utilise their very own distinctive brand of intelligent, complex guitar-based rock with assured maturity and effortless grace and unite it in seamless harmony with similar sounds heard on their 2003 release, Hail To The Thief, as they throw in electronic glitches, jazzy accompaniments and off-beat rhythms with notable ease.

’Bloom’ is an atmospheric opener offbeat and understated with stilted, jerky electronic percussion, swirling orchestral ambience over which floats Thom Yorke’s unearthly mumble. Simultaneously acutely weird and inviting, ‘Bloom’ leaves you wanting and warm with anticipation.

Stand-out song, and first single off the album, ‘Lotus Flower’, is a beautiful melodic number. The bass hooks elegantly over a gentle drum pattern. Yorke’s singing is light and smooth, almost floating above the rhythm as he entices you in with the promise of setting you free. Spacey electronic echoes could draw comparisons to Four Tet and if you’d only dare imagine the places a mind could visit on a collaboration between the two!

‘Lotus Flower’ comes with a video release, which sees front man Thom Yorke don a Clockwork Orange-esque bowler and begin throwing some serious if not questionable shapes; fittingly surreal.

At 37 minutes, the rather concise offering of The King of Limbs is music to rock out to in the most meditative way as its beautiful melodies drift into and linger in the forgotten corners of your mind, short enough to consume but long enough to enjoy.