Catfish And The Bottlemen - Their Breakthrough Year

So, the dust has now settled on what can be described, quite simply, as a mental summer for Catfish And The Bottlemen. Having played at every festival known to man, it only now seems a good idea to fully evaluate where the band are in terms of their standing within the music industry and just how well their debut album - 'The Balcony' - has been received.

Let's start with the record. What makes a perfect album? I challenge anyone reading this to define the perfect album. Is it a record where every single song is one that you want to sing along to as loudly as you can? Well this is what 'The Balcony' achieves. CATB's sound seems so fully formed that it's difficult to reconcile with the fact that 'The Balcony' is their debut recording. Its eleven tracks are filled with choruses made for stadium sing-alongs, walls of crunching guitar and the kind of lyrics that have the capacity to invoke memories and stories that will resonate with any teenager growing up in modern Britain. Tracks like Kathleen, Cocoon and Fallout demonstrate this perfectly, but quite honestly you could take  any track on the album as an example. 

OK, so 'The Balcony' is quite straightforward musically and hardly groundbreaking, with one music magazine in particular claiming that they are around '9 years too late'...whatever that means. CATB are a band that has mastered the art of writing tunes that connect with an audience, and all this at a time when commercial rock is supposedly at a low ebb. And what's wrong with a three-minute rock and roll song that gets mates on each other's shoulders at festivals, passionately screaming lyrics back at the band?

What's refreshing is actually seeing a young band full of ambition who aren't scared to admit they want to sell out arenas and stadiums but also understand where they are stand at this moment. CATB remind me a lot of a 2005/2006 Arctic Monkeys...and just look at what they went on to achieve. To any critics, I say give Catfish time. They are a hard-working band, still trying to find their feet in an industry that is frankly full of poppy, formulaic shit. CATB also have the ability to change people's opinions. This might be through the contagious nature of their music or the adorable, clumsy, energetic charisma of their front man, Van McCann. In NME's first article on CATB, they were so dismissive of 'The Balcony' that you wondered what the point was of reviewing the album in the first place. Skip forward less than 12 months and the band are on the front cover. 

What does this tell you...?

I'll leave that for you to decide.

The Balcony - 8/10

Noel Gallagher - Chasing Yesterday album review

Noel Gallagher – Chasing Yesterday

4/10

What should we expect from Noel Gallagher? Apparently too much. Put simply ‘Chasing Yesterday’ is a disappointment. There seems to be a changing in the tide and a widening gap between artists and the music press. No longer do the newest British bands feel in the shadow of Oasis and for all his whingeing about the loss of the working class in Rock n’ Roll music, Noel is hardly the man to do anything about it. This is in stark contrast to the music press. Rave reviews of ‘Chasing Yesterday’ from well-established music magazines seem unfounded. Maybe it’s because they haven’t filled their monthly ‘everything NG does is amazing’ quota or because of the seemingly unwavering influence he still possesses over the music press. It almost seems like it physically pains people to criticise the ex-Oasis man. Why are people so scared to criticise his music? Especially when it’s due.

Having read up and listened to interviews with Mr. Gallagher, I already expected to hear a trumpet or saxophone somewhere in the record. But even already knowing this, it did not stop me spitting out my morning coffee. Why? Because it sounds ridiculous. The introduction of jazz instruments is just not needed. A perfect example of this is ‘Riverman’. A song that encapsulates all of NG’s best work: catchy chorus, simple chord progressions and well thought out melodic structures, ‘Riverman’ could have been ten times better. In hindsight, maybe it would’ve been a wise decision for Noel to stop, take a breathe and say “that’ll do” when penning the initial acoustic version. Instead, for some ungodly reason, saxophones are present. Not only does this make the song twice as long as it should be, but it cries out of a songwriter who has tried to do something different in panic rather than creativity. This is a theme that runs throughout the record. For once, it would be nice if I could listen to a Noel Gallagher song that was under four minutes long. Seems like I’ll be waiting a while for that.

This is not to say that ‘Chasing Yesterday’ doesn’t have its moments. Highlights include a collaboration with Johnny Marr on ‘The Ballad Of The Mighty I’ and ‘Lock All The Doors’, which was written way back in 1992. These songs are edgy, brutal, powerful tracks which undoubtedly will have people comparing them to earlier Oasis records. Also, no gaps between each track on the record makes it sound like one rolling take on a tape. This is a nice touch as it allows listeners to peek through the window of a studio session with Noel Gallagher's High Flying Birds, metaphorically of course. However, sometimes the songs are so similar that without directly looking at the song duration, there is little indication of knowing when the album is going to finish. It says a lot that by the latter half of the record, you are literally waiting for it to end.

If you expected anything different from this record then you will be disappointed but if you are happy to hear the same, formulaic, three chord songs that have become a trademark of Gallagher’s then you will love ‘Chasing Yesterday’. It's not that the record is even that bad. It's actually OK, it's just that we’ve heard it before. For all the bravado and outspoken comments about there being a lack of guitar music in the industry anymore (interesting comments when bands like Catfish and the Bottlemen are taking the industry by storm), ‘Chasing Yesterday’ is a huge disappointment. However, there are moments of genius in tracks like ‘In The Heat Of The Moment’, ‘Lock All The Doors’ and ‘The Ballad Of The Mighty I’. If only the rest of the album had been anything like them.      

Kasabian 48:13 Album Review June 2014

5/10




Three years after their last album release, Kasabian are back with the highly anticipated fifth studio album "48:13". However, it is not what Kasabian and general music fans alike will have come to expect from the Leicester-born five piece. Music magazine NME said that "The Leicester lads' latest outing is a confused, tentative and occasionally brilliant bout of boundary-pushing". I just fail to hear it. 

Interviewed back in April 2014, Serge and Tom said that they had purposely "made an album of slightly above-average length" and what followed was album artwork consisting of 13 time codes. By doing this, we as listeners can already tell that there are thirteen songs on the record, three of them very short and therefore probably instrumentals. Is this Kasabian trying to be too clever or is it a clumsily made point that their music speaks for itself? 

So, to the actual music contained within the bright pink and black album sleeve. It starts with one of the three musical interludes - "Shiva". It seems a tad strange to begin the record in this manner but these instrumentals end up being significant in the formation and flow of "48:13". "Shiva" is filled with psychedelic, kaleidoscopic noises that inevitably crescendo into the first 'proper' track of the album, "Bumblebee". This is a song that is typical of what we have come to expect of Kasabian. It's a toe- tapper if ever there was one. Together with the two chord buzz-rock rhythm section and lyrical hooks such as "when we're together, I'm in ecstasy", so perfectly delivered by Tom Meighten, it couldn't be a better start to the album. The level is maintained with the following track "Stevie".

However, this is where the potential to become one of the best albums released in 2014 disappears. The remaining two interludes act as bookends to the next part of the album. The powerful, edgy yet familiar start is quickly overtaken by an experimental middle section. Songs that last around the three minute mark and have that feel-good, festival sound associated with the Leicester band are replaced with morbid, 6+ minute drivel (for want of a better word). It has to be acknowledged that when bands push themselves out of their comfort zone it can sometimes lead to a great album. Yet I feel like this is not the case with "48:13". The experimental middle section is lost and seems to go on forever. "Glass" epitomises this part of the album. It's half-arsed, limp and features a lacklustre rap from 23 year old street poet Suli Breaks. The skip button has never been so appealing.  

There are positives though. The album is almost saved by the first single from the album "Eez-eh", a catchy track that embraces all that's good about Kasabian; arrogance, power, humour, and the ability to write a catchy tune. It's easily the best song on album. 

Maybe Serge Pizzorno (who writes most of the music) is riding the successful wave that is Kasabian, relying on music magazine arse-lickers like NME to continue to overrate anything they release. They could produce an album of total silence for 48 minutes and NME would still describe it as genius with 'bouts of brilliance'. Despite some positive moments on "48:13", the overall feeling is that they have tried too much and got lost along the way. Kasabian have talked the talk, but the walk has turned into a leisurely stroll. 

Bipolar Sunshine Live Review – EVAC Liverpool 2/11/2013

Bipolar Sunshine – EVAC Liverpool 2/11/2013

After rushing down to the EVAC from witnessing a disappointing loss for Liverpool at the hands of Arsenal, I was certainly in the mood to be cheered up. The beer prices weren’t going to do that so it was down to the man himself, Adio Marchant and he did not disappoint. Bipolar Sunshine, the solo project from Adio Marchant (previously of Kid British), have almost risen out of nowhere with near to no hype. This could be to do with many reasons, one of them being that Kid British, after promising so much, were forgotten about and placed on the music industry’s “nearly” shelf. This being the case, Adio Marchant has got back on his musical horse with something that no one expected.

Due to the football, I missed the majority of the support bands but I wasn’t too concerned as I had a feeling the headline act would blow the crowd away. Walking into the EVAC, it immediately felt very surreal. I felt out of place, under dressed, and definitely under prepared for what was to come. Looking around, at first it was quite hard to find anyone who looked my age. Everyone was well dressed, all the men had beards, and all the women had handbags. I immediately got lost, walking past the restaurant and after briefly glancing at the menu, this was definitely not a place you’d find many students. However, this was all forgotten about once Bipolar Sunshine took to the stage.

 Being cool, calm and collected and playing tracks from his EPs ‘Aesthetics’ and ‘Drowning Butterflies’, Adio’s presence reeked of a musician who should already be well established within the industry. His slow-burning, soulful vocals were played over captivating R n’ B influenced beats. Not only this, at times it was hard to remember that Bipolar Sunshine is essentially a solo project. The band that accompanied Marchant were as much a part of the band as the Manchurian himself. They almost channeled the vibe of a sunset evening somewhere a thousand miles away with some amazingly beautiful harmonies that are very apparent in the acapela sections of “Rivers”. Some songs, such as “Fire” almost take these harmonies to such a level that it sounds like a chant that has come straight out of an African tribe. It is then that I realise why Bipolar Sunshine have chosen to play the EVAC. It just fits. I couldn’t help but feel that this sort of sound would just get lost in a bigger venue which has it’s benefits but obviously also has it’s major drawbacks. It seems a shame to already be writing someone off who obviously has immense talent, so I turn my attention back to the performance and forget about the future of Bipolar Sunshine.

In tandem with the vocally led tracks that were predominately on show, new track “Blossom” nicely broke up the set with an abrasive, almost dubby guitar track, providing a thundering soundscape for Adio’s gorgeous falsetto to float heartbreakingly above it. The droned and abrasive textures of the instrumental sent me into a trance, where I felt relaxed and comfortable in my surroundings. Bipolar Sunshine kept the crowd’s attention throughout the set purely due to the talent that was on show. There was very little talking in between tracks, and it was almost over before it began but from start to finish it was thoroughly enjoyable. They were the perfect band to go and see after a stressful day. If anyone deserves a second go at becoming a successful musician it’s Adio, and with Bipolar Sunshine this looks extremely promising. Only time will tell, let’s keep our fingers crossed!

Miles Kane - "Don't Forget Who You Are" Album Review 2013

Miles Kane's second album ‘Don’t Forget Who You Are’ is a fast, hard-hitting, feel- good record with the longest of the 11 songs, ‘Darkness In Our Hearts’, being only three-and-a-half minutes long. The album almost mirrors the pace and intensity of Kane’s live shows. The fuzzed up, glam-packed opener ‘Taking Over’ is a song that seems instantly familiar as if it's already a chart topping hit. The title track also does this, just as hard. Continuing Miles' simple yet in-your-face rock n' roll song structures and guitar riffs, the track delivers a key message to any who might doubt his abilities: “Don’t build me up/Make up your mind/And keep the faith/I’ll keep the faith”. The third track ‘Better Than That’, concludes the album’s outrageously strong opening. By the time these songs finish (which, by the way, is less than 10 minutes in) there is a quite obvious sense that ‘Don’t Forget Who You Are’ is a real step forward. The energy is out of this world. No human being should be able to provide that amount of energy. But Miles does, and most importantly, the quality of the songs doesn't dwindle. Not once. Miles Kane is back, and even better than before.

 In his vocals you can hear his arrogant, snarling delivery on the title track and 'Give Up' where the influence of Liam Gallagher's mode of delivery can be heard. Miles' influences emerge throughout the record as in the song ‘Tonight’ where he sounds almost John Lennon-esque. On ‘Out Of Control’, a song backed by a string arrangement, Miles couldn’t sound more like the former Beatle if he tried. Paul Weller co-wrote and performs on ‘Fire In My Heart’, a moment in the record that displays a much slower and more collected feeling. However by placing the song between the lively ‘What Condition Am I In?’ and Weller’s other contribution, ‘You’re Gonna Get It’, the pace and aggression of the album is maintained. The latter ('You're Gonna Get It') is a simplistic pre-night-out song, something that Miles deliberately set out to achieve with this record. He has certainly done this. 

 

Despite Paul Weller's contributions and the clear influence of bands gone by, ‘Don’t Forget Who You Are’ is well and truly a Miles Kane album. Through it's entirety, it only ever sounds like Miles Kane. To all those people who thought he was riding on the back of his famous friend, he simply sticks his middle finger up to them and says: "this is my record. If you like it, great. If you don't, I don't care". Much like his fashion sense, it’s measured, sharp and extremely well put together. Rock n' roll needs this album. Rock n' roll needs Miles Kane.


10/10

Have the Vaccines Come of Age?

The Vaccines' second album 'Come Of Age’ can hardly be called 'one of the greats' or an album that will be remembered as a true work of art. However for a group of young musicians who are still essentially new and have been born into a rock revival, the album does venture into new, unexpected ground. It is arguably an album that has been made more for the band's own personal growth and to showcase to the world that they weren't just a group of lads who could 'bash out a few good pop songs'. It is certainly not mind blowing, but what the album does do is prove that The Vaccines are back with a slightly more mature sound and are ready to face the world once more. 

 


The song ‘Bad Mood’ is a tightly played crowd pleaser that takes around four seconds to lock into your brain and take root there. It is everything you’d expect from The Vaccines but adds something harsher to the song. It’s clear evidence of what the band are capable of.

Despite exploring many more unknown areas and original avenues than their first album, there is still a simplicity to the band’s second record. Where ‘What Did You Expect From The Vaccines’ got hold of and rattled the bare bones of indie rock, by writing songs consisting of three-chords, ‘Come Of Age’ is a more melodic record but still maintains 'a kind of throwaway appeal'. 

‘Ghost Town’, which rides along on threatening basslines that push the guitars to the back of the mix, has a completely different atmosphere and impact to anything the band have done before. However, the lyrics essentially mean nothing. “No-one’s about and it’s kind of creepy It’s a big mistake when they say it’s sleepy”. It has almost become quite a characteristic of the lyrical content of The Vaccines' songs with lines such as "If you wanna come back it's alright, it's alright, it's alright if you wanna come back to me" carrying no great meaning and would certainly not win any awards for originality or craftsmanship. They seem easy to criticise, but I don't see the point. The Vaccines have never staked any claims to being deep.

However, there are moments, as rare as they are, in ‘I Wish I Was A Girl’ (“Life is easy when you’re easy on the eye”) or beneath the deceptively perky but very catchy riffs of ‘Teenage Icon’ (“I’m not magnetic or mythical/ I’m suburban and typical”) where Justin seems to be addressing topics closer to the heart than stating that having sex with someone else just after a break up won't end well. But this is not where the record’s high point lie in. The band’s increasingly skilful way around a melody start to become apparent in songs like ‘Aftershave Ocean’ and ‘All In Vain’. They prove that The Vaccines can still write a killer hook without necessarily firing on all cylinders. Not only can The Vaccines write very increasingly 'catchy tunes' in  the song ‘Weirdo’ they evidence another tangent of their abilities as it is an almost grunge slow-burner, dramatically dictating a change in pace to the record. 

The Vaccines are no doubt, still evolving and finding out who they really are but ‘Come Of Age’ is clear evidence that they are only going to get better. Watch this space.

6/10

Black Hearted Deal - Northern Noise