The Black Keys - El Camino Album Review

Never heard of The Black Keys? Where have you been!? Their last album ‘Brothers’ got three Grammy awards  and  they sold over a million copies of the record worldwide. There is a theory that the blue-rockers from Ohio have just inherited 'The White Stripes’ fanbase. I think this is just because there is a gap in the world of bullish guitar and drums acts so it has become an easy and lazy way to criticise The Black Keys' raw sound. Over the last few albums, The Black Keys have made great strides from a bluesy bar band into established rock ravagers. 

Now to the album. ‘El Camino’ had to be a record that justified the band’s emergence into the arena tours and festival headlining sets. It does just this. Lets face it, until maybe Brothers, not a lot of people had even heard of them, but 'El Camino' not only sticks two fingers up at a decaying music industry but also puts The Black Keys firmly on the Rock N' Roll map, and they aren't for budging. 

Single and opener ‘Lonely Boy’ sets the tone. It's incredibly simple in structure but it becomes an instant hit with a catchy riff and big bass lines. This song must be played loud. ‘Run Right Back’ is very similar to  Queens Of The Stone Age’s ‘No One Knows’, by managing to paint yet another fatal attraction scenario to a rhythm that feels like a finger jabbing in your chest and then punching you in the face, just incase you weren't paying attention. ‘Little Black Submarines’ is by far the best track on the entire album, starting out in a Johnny Cash style with acoustic noodling and soothing vocal melodies then exploding into a psycho-blues meltdown which leaves you speechless. 

‘Sister’ is probably the best pop song they’ve ever written with it's 1980s undertones layering the track, while we see a returning flirt with the glam rock era in ‘Gold On The Ceiling’. 
The album is a lot of fun and from start to finish, it's kept simple, yet tight and effective. Finally there is a band within the 21st Century music industry who isn't afraid to pick up a guitar, wack on the fuzz pedal and blast out some rock n' roll riffs. 'El Camino’ is incredibly thrusting, in your face, urgent and above all to the point. In an album lasting only 37 minutes, The Black Keys have produced the best work they've done. They have not only met but destroyed the challenge of being the biggest garage rock band in the world and have left all guitar music fans an unspoken promise of better things to come. 

9/10 

Two Door Cinema Club - NME Awards Tour Manchester 2012

Squashed into Academy One, I begin to understand what all the fuss is about with this band. I stand and watch a weird mixture of support bands before the Bangor boy's enter the stage. As part of the NME tour, I am forced to stand through three bands I have never listened to, but the band named 'Tribes' certainly impressed me and the rest of the crowd. I won't mention the other two support acts, for the simple reason that they aren't worth mentioning. Maybe it would've been a better idea to let 'Tribes' be the sole support act and whip the crowd up before the headliner's set. However, for a band who look completely innocent, Two Door Cinema Club certainly got people excited and expecting big things.

This is instantly shown with opener ‘Cigarettes In The Theatre’ as the crowd goes mental to the sound of synthesized trumpets and guitar melodies. It’s all very slick, quick and transforms into one of the best openings to a gig I've ever witnessed. They’re not exactly blessed with the gift of the gab though. They do struggle to stop our attention drifting after the end of each song. Unlike bands such as 'Tribes', 'Arctic Monkeys', or 'Miles Kane', they lack a stage presence that is only highlighted when they aren't playing. Despite this, I cannot judge Two Door Cinema Club's performance based just on the lack of banter, witty remarks, or audience participation. 

To be honest I get too involved with watching older drunk men in front of me than noticing the boy's in between songs but the set does swing from incredible high points to low ones. ‘Something Good Can Work’ is arguably as perfect as indie-pop gets, combining the naivety and energy of bands that have emerged around the same time as them but also previous indie acts that have broke through in past years. However this level is not maintained throughout the set. I can't help but cut them a bit of slack for this. They are still incredibly young, and are nearing the end of a massive tour off the back of just one debut album. So credit where credit is due. ‘I Can Talk’ is a real crowd pleaser and ‘What You Know’ has the crowd singing along to every single word . 

As the set progresses, it becomes obvious that this band have adopted the ‘throw it all in, mix it up and see what happens’ theory that has delivered pop brilliance as well as disaster in the past. There is nothing outwardly special about this performance and they are still just a band with some brilliant tunes. They keep it simple but interesting and try to maintain a high tempo.  There is clearly a lot of potential for this band. They need to discover that quickly but once they do, Two Door Cinema Club will go on to achieve big things. 


8/10 

Two Door Cinema Club - Tourist History Album Review

Originating from the delightful and famous city of Bangor in Northern Ireland, Two Door Cinema Club have emerged as one of the brightest new bands in 2011 in only the past six months. Not known for it's vast musical talent, including the often forgotten Snow Patrol, Northern Ireland have stumbled across a gem of a band in Two Door Cinema Club. Being praised by the like of Kanye West, their awkward electropop was an almost instant hit with teenagers. The album is simply amazing. It's not epic and it's not unbelievable but it's definitely a short, sharp shock to the system of any indie fan.



The album is tight, and each song consistently hits around the three minute mark. This band do not mess about with "anthems". They simply make you smile, and want to dance. With optimistic tracks such as 'What You Know' and 'I Can Talk' and 'This is the Life' (which was been hijacked by a major retailer), you could easily take on the world, cure cancer and then come back and do it all a second time just for the crack.



Forgetting the trumpet led 'Cigarettes In The Theatre', which is the only time on the album that the economical three minutes, tight guitar riffs and major key synth sounds are abandoned, no song fails to impress. But even 'Cigarettes In The Theatre' stands up by itself and is an awesome album opener.



By mixing a guitar sound from the new romantic era with synthesized drumbeats and hushed vocals, they have created their own sound. These boys from Bangor have gone about this successful new sound and album through hard work and keeping their heads down, but there is no doubt that their number has come up. They deserve it.



Many bands get criticised for creating songs which are catchy and happy but have no depth and are frankly boring (namely Coldplay) but this new style has a positivity that is as catchy as chlamydia. After listening to 'Undercover Martyn' or album closer 'You're Not Stubborn', I wanted to run up Mount Everest, singing every single word from the album. Their songs are like a drug, you have to listen to them again and again just to keep the smile going on your face.



8/10 

Miles Kane - Colour Of The Trap. Album Review

Who ever said Rock N' Roll was dead? Thank god for Miles Kane. The music industry has been screaming out for an artist like this. Someone who keeps it simple, plays top quality gigs, and records straight down the line rock n' roll records. Miles hasn't had the best luck in the world in a career that boasts three bands (The Little Flames, The Rascals, and The Last Shadow Puppets), all of which have ceased to exist for one reason or another. Although Kane has never ruled out a return for the Puppets, his attention has been firmly placed on his debut album.

On the brilliant opener 'Come Closer', you immediately understand what has been missing in the charts since the turn of the century. Filled with catchy riffs and a simple song structure, 'Come Closer' leaks filth and dry "wooooah"'s and "ahhhhh"'s. This is definitely rock n' roll in it's finest, purest form.



The theme runs continuously through the record which features many guests. We hear backing vocals from Fleur Delacour from Harry Potter in 'Happenstance' and some indulgent harmonies from Mr Noel Gallagher in 'My Fantasy'. Although Miles is now a solo act, he cannot claim he did it all by himself. He has support with backing vocals from Gruff Rhys all the way through the record, most notably on "Rearrange". This song again is a simple, heart-skip rock n' roll tune that just makes you want to dance.



Alex Turner is introduced on 'Telepathy', one of the best tracks on the record in my opinion. Only appearing in the liner notes as a co-writer, he doesn't actually feature in the song but his influence is truly heard. The song highlights, (if it needs to be) the '50's, '60's rock n' roll genre that has been missed like a baby misses their mum.



This is certainly one of the most exciting albums of the year. Being full of wit, charisma and charm, 'Colour Of The Trap' has delivered something spectacular. There was no hype surrounding the release of this album, and maybe that's why it has been so successful. With rid of any pressure, Kane has been able to express his musical genius in a way he hasn't been able to do in the past. The record has revived Rock N' Roll and Miles has emerged from the shadows. Finally, we can appreciate the man's talent and provide him with the recognition he deserves.

9/10

Ed Sheeran Album Review

The positive comments that have come from the general public about Ed Sheeran after his number one single "The A Team", are astounding. The man can do no wrong in the eyes of music fans. Or can he?
His slight urban style is mixed together with a weak hip-hop rhythm and a vocal pattern that varies from half arsed rapping to depressing love ballads. Mr Sheeran has been accused of being too cynical about the music industry yet he does carry a strong message. In his song "You Need Me, I Don't Need You", a beat-boxing manifesto, he arguably tries too hard to convince us about where he's coming from. However, being my personal favourite track on the album, the song does highlight long lasting issues that lie deep within the music industry. What a relief that someone like Ed has emerged into the charts at number one and gets regular radio play. Thank God he isn't mainstream.



If you haven't seen him in concert, you wouldn't have anything against his debut album. But this record is miles apart from his own voice, one guitar and loop pedal that made him different in the first place. The album features weird, off beat drum patterns, violins, pianos and a bass guitar. This is not what Sheeran fans would've expected. This is shown through the lame and horribly corny "Kiss Me". It sounds dated which is such a shame coming from someone who has an obvious drive to succeed.



However, it is an album that grows on you. If you forget about all the little things that annoy you about the album, good tracks start to emerge. For example, on first listen to "Grade 8" you wonder if Ed had smoked something before recording the track but it grows on you. You notice this as you find yourself bobbing along to it, singing virtually every word.



It is not a great debut album. And fans that have followed Ed since he first started making a name for himself, notably in the "Nando's Skank" are felt to be let down by what can be interpreted as "selling out". But there are tracks on that album that emerge. From no where. They grasp their acoustic strings, beautiful voice, and melodramatic lyrics and entice you. Ed Sheeran is not a corperal sell out and who are we to judge him on the music he makes. Every song has a message behind it and he tells poetic stories. Not everyone in the charts can do this. Yet, after seeing him live, I feel let down by the record as I expected much more from the ginger singer/songwriter.

Rating 6/10

Arctic Monkeys - "Suck It And See"

After making their debut record breaking record at just 19, following it up with arguably competitive records "Favourite Worst Nightmare" (2007) and "Humbug" (2009), changing their sound every time and challanging their creative limitations each time, the time has come for Alex and the boys to release their fourth record, "Suck It And See".



Unlike "Humbug", which saw Arctic Monkeys taken out of their comfort zone in the dessert by Josh Homme, "Suck It And See" is a record which suprisingly has promised nothing and expectation has been kept minimal. But fourth albums are the trickiest of them all, with many accomplished bands such as Franz Ferdinand, The Killers and The Kaiser Chiefs failing to attempt theirs. We had to ask the question if Turner had anything else to say, or was this just a record to fill a void left by the band after their difficult third album "Humbug". I feel guilty for this even crossing my mind. What an insult.
"Suck It And See" can be seen as competitive as any, and challanging Monkeys' first album "What Ever People Say I Am That's What I'm Not" to be their best work thus far.


They've done it. They've well and truly aced it. This album does not sound like "Humbug", to confirm what you've read, but it also does not sound like anything they've done before. It's strong, it's immediate, it's tightly structured and it's start-to-finish fantastic. Humour also gets a part to play within the record, with tracks such as "Don't Sit Down 'Cause I've Moved Your Chair" and "Brick By Brick" quoted by Turner as "just being a fucking laugh". This is not a return to a more fast paced, robust Arctic Monkeys we were all so famaliar with. Yes they have had hair cuts, and they don't seem to be as depressed but this record breaths maturity and creative prowess.



Let's start at the start. Jamie Cook's jangling cloudburst announces "She's Thunderstorms" which sets the tone for the rest of the album perfectly. Direct guitar playing and beautiful melodies cast no doubt over the boys from High Green's capabilities. Lyrically complex and delusional , "Black Treacle" follows suit from the opening track, as Turner's humourous ambiguity highlights a love of language through sound and meaning that has been present in every single article of work he has ever produced.



As a theme, love is clearly apparent in Turner's lyrics. "The Hellcat Spangled Shalalala" begins with one of Cook's now infamous cloudbursts but we see glimpses of past Arctic work as Alex's rhythm and O'Malley's bass line remind of "Fluorescent Adolescent". It is not an overcomplicated song, like many on the album, yet works incredibly well. This track is one of the best on the album but does not stand out. This is only because the simplicity of the album means every single track has it's place on the record that never dips in quality. "Love Is A Laserquest", "Suck It and See" (with it's melodies and candy striped title) and "That's Were You're Wrong" maintain a level of quality that many artists mind hard to continue throughout the duration of an album.



Just as on "Favourite Worst Nightmare", a two chord track is once again published as the album closes. Reminisant of "5O5", "That's Were You're Wrong" has just two chords, a spiralling guitar riff and ingenius lyrics that leave you speechless and highly emotional. It isn't often you finish listening to an album and forget what you were going to do next. "Suck It And See" leave you dumbstruck. It is just simply genius.



 They are four albums in and do not look like wavering under rusty creative juices. Instead Arctic Monkeys have raised the bar even higher. Not a return to the teenage boy in polo-shirts band we all fell in love with, but more of an emergence of a band who can not only provide us with hard hitting pacey numbers such as "Library Pictures" but also more cultured thoughtful tracks like "Reckless Serenade" and not lose momentum or quality in lyrics or sound.



Arctic Monkeys fourth album, "Suck It And See", is genius. There is not one bad song, they have done it again.

10/10. *****

Glasvegas MCR Academy May 2011

As the lights dim, leaving only one single white light reaching out to the audience, surrounded by smoke, the silhouettes of frontman James Allan, Swedish drummer Jonna Lofgren, guitarist Rab Allan and bassist Paul Donoghue emerge from backstage to the sound of "Pain Pain Never Again", played over the PA. The expected screams and beer throwing are present as Lofgren whacks her sticks and they fire into their opening song "The World Is Yours".  


Tonight, James is wearing his now infamous white number and sunglasses and dominates the stage as the whole band is back-lit. The new song pounds out with a magnificent chorus, "If I'm your world, then the world is yours", and the sound of a hearty, blood-pumping thunder that defines the recently changed Glasvegas.





Being a fairly new tune, the reception from the crowd is a mixed bag. I get the impression that the audience (which suprisingly is made up of mostly middle-aged men) don't know whether to jump up and down like a pogo or just stand and appreciate the enormous sound the four Glaswegians are making as the song crescendoes into a glorious climax of glass-shattering noise. It is followed by another new tune, "You", which receives very much the same reaction. Heads bobbing, some movement in the front row, and a big noise that is well received from the generally well-seasoned music fan crowd. 







I am here with my dad and his mate so I wasn't expecting to be enlightened by the night's happenings. However, my attitude quickly changed after the fourth song, the first from their debut album, "It's My Own Cheating Heart That Makes Me Cry". Had it not been for a pint of beer in my hand, I would've easily deserted my old man and joined the front row. This feeling grows throughout the gig as James strolls around the stage, pummelling his microphone. However, I can't help feeling that this gig is missing something. A younger crowd. I'm looking around, and I can't see anyone that is remotely near to me in terms of age and a great sense of disappointment descends on me as Glasvegas break into "Palmont On My Mind". Not because I am disappointed with the gig, or the new material. Quite the opposite. I'm disappointed because this atmosphere, this night, this setlist, this band, deserve a much younger, more energetic crowd (one which has been present at previous gigs and a constant element in concerts of "White Lies", a band to which Glasvegas are very similar).






It takes the Scottish band about half way through their setlist until we hear some of the crowd-pleasing tunes. New tune "Euphoria" is aired and treated as an old favourite by the fans as we see more beer throwing. The place goes wild when the contagious riff is driven home by Rab Allan and his spiralling guitar. "Geraldine" peeks through after five songs from their new album, which were generally well received. But none had the power and presence of "Geraldine" as it induces a word-perfect crowd singalong, with the line "My name is Geraldine and I'm your social worker" being broadcast so loud it could probably have been heard on the 42 Didsbury bus.







After about an hour, we come to "Go Square Go" and the end of Glasvegas' set. The song is reminiscent of a football chant heard on the terraces of a lower league football team, with the repeated line "Here we, here we, here we fucking go". Somehow, the crowd's voice becomes stronger and louder than James Allan's Scottish vocal power and the line everyone knows the words to is repeated consistently until the band reappear after literally ten seconds off stage. The first song of their encore is "Flowers and Football Tops", stripped down to it's bare bones as we are treated to a much darker and more haunting version of the song with James' vocals only being backed by Rab on an organ. Can Glasvegas still pull off tender heartbreaking melodies in the middle of thrilling, epic pop-rock and make a sound that is immense? Of course they can. They pulled it off with ease. 







This is shown in the final song. The most anticipated five minutes of the night arrives with a mix of joy and heartbreak. As James approaches the microphone and calls out the first verse of "Daddy's Gone", more beer is thrown and the crowd find their voices once again. The chorus of "Forget your Da he's gone, he's gone, he's gone, he's gone, he's gone" rings out, which Glasvegas fail to milk. Think they missed a trick there.







Overall, Glasvegas were far better than I had ever anticipated. Forget the backlighting, the smoke machine, the strobe machine, the fact remains that the Scots can still make a massive noise that appeals to a much wider audience than I first thought. The gig was fairly mellow in terms of crowd action but this is almost bypassed as you accept that yes, Glasvegas deserved a much more energetic crowd than tonight's, but their music was recreated almost perfectly live. 


A top night. A top, top band.


SETLIST


 1. Pain Pain, Never Again (Recorded track, played over PA)


 2. The World Is Yours 


 3. You 


 4. It's My Own Cheating Heart That Makes Me Cry 


 5. Shine Like Stars 


 6. Dream Dream Dreaming 


 7. Whatever Hurts You Through the Night 


 8. Polmont on My Mind 


 9.Euphoria, Take My Hand 

 10. Geraldine 

 11. Ice Cream Van (with snippet of Inspiral Carpets)

 12. Go Square Go 


Encore:


 13. Flowers and Football Tops (stripped-down)


 14. S.A.D. Light 


 15. Lots Sometimes 

 16. Daddy's Gone