The May Birds and Roobic @ Zigfrid von Underbelly

Now I can be predisposed to dislike a band that makes a cover song a prominent part of their set, it comes across as lazy and a waste of a chance to showcase their own skills. However, I wandered into the venue to be greeted by the May Birds performing a brief rendition of Crazy by Gnarls Barklay that was so striking in its tenderness and intricacy that I wrote down the words 're-imagining' and 'spilled forth' like I was the publicity team behind a vomit inducing horror movie remake. What I really meant, at that point, was that it was very good. 
Now, if you were to look at the promotional photographs for this band then you could be forgiven for expecting a relatively morose, miserable performance. They clearly do not like smiling and they would look less out of place digging someone's grave in the moonlight than they do in their stereotypically alternative band picture. When singing, this image is distorted. At points you are definitely witnessing dark moments and a sense that emotion is sometimes hard to express but this is all draped in a thin layer of something akin to bliss. On stage, notes and voices drift between soft and soulful to powerful and grand. When the lead singer takes to guitar, for apparently the first time in public, there is an incredible outpouring of passion.
Songs progress through the odd combination of subtlety and overwhelming elegance. Roberto Cacciapaglia-esque sounds from string and piano sections frame songs expertly, providing the elements that are astounding at times and quietly fundamental at others.
It is very easy to make comparisons to the folk stalwarts of Laura Marling and First Aid Kit here, these guys are all ladies, after all. But there is too strong a hint of refreshing talent to make such simple comments, as the four women combine for moments of phenomenal beauty. There is an undeniable influence of the pop folk that is so abundant these days but even more so are influences and sounds from those that inspired the folk-plosion; Bon Iver, Johnny Flynn and stylings similar to Smoke Fairies noises.

Listen to them on their slightly confusing website... now.

The first thing you notice about Roobic is that you are being confronted by two impressive guitarists and an expert bassist. The notes are cohesive and built on consistent force. Then there are the drums. A steady, contained explosion of beat and progression. Next, the singer. The lyrics clutched in hand denote a level of uncertainty and lack of preparation. Once the singing starts, and it could be down to the sound configuration, but the band's weak link is revealed. A broken voice that is often struggling to be heard above the instruments and without any real union with the music around it. 
Luckily, this does not take much away from the spectacle on show. Each instrument is played, from start to finish, with a confidence that relentlessly drives the material forward. A tumultuous ensemble of influences combine to make each song strong and distinctive. We delve into classic rock, funk, indie and soul to show off extensive talent and flexibility. This is not a band that has found its ultimate direction but it is on funkier tracks garnering sounds from long neglected archives of musical history that even the singer shines as another figure of fun and enjoyment on the eclectic stage. 
In fairness, one of the best facets of this band is the lack of a 'main' guy. Each instrument supplements its surrounding whilst retaining its own idiosyncrasies and avoiding any unnecessary replications. Even the singer, when treated on the same level can be forgiven for short comings. However, when standing in front of a band with no instrument you need to demonstrate your worth as a strong vocalist. The voice should be loud, reasonably flawless and become a fundamental characteristic of the group. Otherwise, you do not need a singer at all. Roobic have the instrumental talent akin to early Yeti Lane work, and sometimes, that is enough. We were, at one point, privileged to hear the vocal talents of their drummer. After that, I would be inclined to advise the band go the way of Scrantonicity.

Finally, there was a guy that played after these two bands. Given that at least two bands cancelled on the night and no one had any idea of the intended order, or who this guy was, I have no name and therefore his review is pretty substandard. He was good, though.

The Quadrilles EP launch with Theo, Olympians and Adults, the Elderly and Children @ The Windmill, Brixton

This Friday I made the inspired choice to venture down to Brixton for a Quadrilles EP launch night and I thought, as I have been absent here since my move to London, I might do a little blog about it. So here comes the words.

A band called Adults, the Elderly and Children began the evening and left me in a slight quandary. First of all, is their name awful or delightful? Secondly, is their music disjointed or similarly delightful. I never quite made up my mind on either counts but I will pause to lament on the unfortunately weak start they made in their first two songs. Cohesion was lacking on various degrees throughout their performance, going from severe to unnoticeable. When it was most evident, it bordered on jarring as their electric guitar heavy arrangement created a disconcerting collection of twangs. Also, their singer was not a strong element. However, follow the above link and you will hear plenty of evidence to the contrary, it simply may not have been his night.
Once the band started to focus on songs from their upcoming album, there was considerable improvement. Very similar to early and mid Maccabees with songs attempting to get to your nostalgic and warm centres. All things considered, this is a band that will need a big change to become different and largely noticeable but there is some interesting potential and an extremely talented guitarist in the short guy with the red t-shirt.

Next came Olympians, the primary reason for my expedition that evening. I have already given them a rave review on this blog before and I do not intend to do anything less here. It was a slightly different performance than those I have seen from this outfit in the past. A decreased body count in terms of instruments at least, and maybe people, I can't remember. Either way, the sound was a different one, ridding themselves of subdued grandness with slow builds and subtle cascades. Instead going for a energetic barnstorm which showcased previously ignored punk roots. Commanding possibly the biggest crowd of the night the audience gave a raptuous response to the Norfolkian(?) artists as they gave a comprehensive lesson in eclectic cohesion. Looking forward to how they perform the next time I happen upon them.

Quadrilles were the focus for the evening, it all being about the release of their new Inuit EP.
One thing that is made certain by these guys is that math rock really isn't going away. Whether this is a good or not is for greater minds than mine to decide. These guys are pretty good at it but at their math rocky peaks had a tendency to sound like a Foals tribute band, which is not something we need. It was the times when they dropped the 'math' from their musical adjectives that they really impressed creating pounding rock noises to excite all those listening.

The round off the evening we had a lovely little set from one man band Theo. There isn't too much I can say about this guy other than he is fucking aces. Like super-duper really. Obviously, by one man band I mean someone playing a variety of instruments, creating loops and layering these different sounds on top of each other rather than a Mary Poppins-esque man with a drum on his back. Having said it though, that would impress me. My actual point is that Theo played a faultless, exhilarating set using loops to a standard not reached by many. The only person I have seen command them so well is Thomas Truax and that is a different kind of music altogether. If you know Fang Island, and you should, then you can imagine some of the sounds and progression that was emanating from the man playing drums and guitar in the midst of the pub crowd. Go and see him play.

The Horrors with Toy and Bo Ningen @ Cardiff Student Union

A strange feeling of nostalgia filled me on Sunday evening as I walked to the Cardiff student union venue where the Horrors would be playing a couple of hours later. This was, probably, the last gig I would see in Cardiff before I depart for the other capital city (London) in the next month. I had my fingers crossed. It needed to be a good one, or it ran the risk of being the experience I associated with Cardiff in its entirety. 

Let me lift the suspense. It was one of the best gigs I have seen this year, and a fitting end. 

Bo Ningen were the first act and continued the theme of under produced loud rock bashing started by my seeing Japandroids on the Thursday. Their relentless energy and volume crashed amongst the gathering crowd. No instrument was wasted - each one sounded like it was playing its own extended epic solo which just happened to be effortlessly co-ordinated with the three other solos going on around it. While you can level the accusation that they sound a little rough around the edges it does not matter at all. When watching a band with their weird dancing, frantic thrashing and aggressive shout-singing and knowing that they are having an impossible amount of fun it is extremely difficult not to join them in that mentality. 

Following Bo Ningen was Toy, a band so perfectly suited to supporting the Horrors it was ridiculous. Happily riding on the wave of excellent live music started by the inaugural act they put together a flawless set and, although they were the worst act of the night, they still played with an exciting and progressive sound that surely won them a few more fans. In my personal opinion it felt like Toy were actually a step up from where the Horrors started out, with a very similar sound which felt a touch more accomplished. But I'll explain that comment further in a moment.

This moment. When the Horrors brought out Strange House in 2007 I did not enjoy one bit of it. My opinion has cooled somewhat but it is still not an album I would struggle to recommend and 5 years ago I could not have seen myself going to, let alone enjoying, a gig by these morose melodiers. I disliked the album so much that I purposefully ignored Primary Colours, their second (my mistake). However, when Skying came out last year it was impossible to ignore. A glorious, transcendent and beautiful record which I was not expecting. In a similar vein, the Horrors graced the stage with a glorious, beautiful, transcendent and spectacular performance that all were so very lucky to behold. They played each song perfectly and spending the second half of the act completely devoted to their last album was a wondrous decision by them. The crowd adored them, arms aloft and feet stepping on feet in reckless abandon. Perhaps the best moment was that bit in Endless Blue where it goes from soft tones and slow teasing of guitar and brass into the attack of guitar strokes which evoke so much of the very best of Brit rock. 

Summary - the Horrors were chuffing incredible. A must see. 

Japandroids with Cadence Weapon @ Clwb Ifor Bach

Back to the Bach for Japandroids on a Thursday night was something I was very much looking forward to. Since Heart Sweats was randomly picked by my iPod a couple of years ago I have been patiently waiting to see this Canadian duo play live. So I did, this is how it went (summary=really well).

Before telling you that you should all go and see the irrepressible Japandroids live, I will approach the subject of the opening act, a young gent by the name of Cadence Weapon. He is a hip hop rap man which was not what I, or a lot of people there, were expecting. Because of this there was a slightly stammered start to proceedings but it is to his credit that by about the third song, people were crowding around and bopping along. And they had good reason to. Despite the early show time and very different sound to the popular headliners, his showing was fantastic.
Exuberance and enthusiasm pulsed from the performance against a back drop of marvellously grand and bouncing beats. I am not going to try and give a comprehensive review of this rap music as, while it is a genre I enjoy immensely, it is not one that I can write about in a massively convincing manner. Saying that, this guy was enjoyable and genuine and regardless of whether he was playing music that was compatible with Japandroids (and, for the record, I think it was) his talent was undeniable.

Oh, before I forget. You should all go and see the irrepressible Japandroids live. The duo from Vancouver perform with all the frantic and unavoidable energy that you would expect if you listen to their music on the metal discs and ethereal computer bits. Stand outs against the flood of contemporary music relying on 100+ elements whirring around in the background, the back-to-basics guitar and drum bashing is awesomely refreshing. With the thrashing sounds blasting through air thick real gig experience that is impossible not to enjoy. AND they played Heart Sweats and it was sodding unbelievable.
Given the hour+ that was allocated to the headlining act and the upcoming album to promote, the density of old songs was a real treat and there was a sense throughout the performance that Japandroids were there simply so that everyone involved could have an immensely good time. Their choice to conduct their pre album tour in the smaller venues was also a good one. The compressed crowd up close to the duo added to the unprofessional and uninhibited sensation that often accompanies their music.
With their second album coming out early next month, there was no escaping a good chunk of new material but this is not something that I could complain about. If anything, the new stuff sounds like it could overshadow the Post-Nothing debut album of three years(ish) ago. All very exciting and formed with a sense of increased maturity without losing any of the recklessness.

Spector with Gabriel Bruce and Violet @ Clwb Ifor Bach

Back to the welsh club it was for me with my first foray into watching live music since a disappointing Mystery Jets gig a month ago. Spector were the headliners with support from a man called Gabriel Bruce and Pixie Geldof's Violet. I did not listen to any of these bands before arriving.

Violet had just started when I arrived, the thin crowd lining the wall in an arc around the performance. Immediately I was hit with the sense I was watching an off shoot of the prevelent Lana Del Ray theme of being slow and 'sultry'. Slow and sultry is not interesting and it isn't intelligent or arresting music. Each song was a ridiculously slow climb to nothing much at all - like a rollercoaster building half way up a slope and then falling backwards in slow motion. A lot of tracks were not bad but they sounded a lot like songs you would find on an album that, although not bringing the album down at all, they do not add anything and you are going to avoid putting them on any of your playlists. With the musical theme very much focused on Ms. Geldof and her attentive lead guitarist, it was no surprise that with the departure of both the bassist and the drummer, the sound of the band suffered a complete absence of change. While understated and ignored instrumentalists are a staple of good music, you are still supposed to be able to tell when they have wandered off on a beer run. 

Then a man called Gabriel Bruce came on, along with two backing singers and a man with a laptop balanced on a keyboard. And after coming on, revealed that the collective was very good. My only real gripe with this act was the way that he was dancing and singing next to the computer made it look startlingly like I do when tidying my room and listening to music. I know they say dance like no one is watching, but still, calm down slightly. Also, the amount of energy he was putting into the performance was leaving him rather out of breath. But energy was one of the key, excellent elements of the performance. In complete contrast to the nothing-happens style of Violet, Mr. Bruce and his merry band put forward a thoroughly entertaining mash up of overwhelmingly 80s sounds with the processing power of a high end Apple Mac. Mentioning the influence of the 80s is key here, it was all over every single sound. From Tears for Fears to Madonna, and from David Bowie (thanks in a big way to Mr. Bruce's voice) to the contemporary mastery of the very 80s melody of Chairlift. It was super fun, both on stage and in the audience and I can heartily recommend seeing him perform live. In case you are going to listen to his stuff on Soundcloud/Tumblr, bear in mind that the live performances come with a lot more energy and enthusiasm - turning soft tracks into dance-y triumphs. 

Now, I had not really heard of Spector at all before this week but on announcing my evening's plans at work I was promptly informed that Radio 1 had taken a liking to the lads, and I do slightly remember the appearance they made on the Sound of 2012 poll. This had me in some considerable dismay. The only radio station I really listen to at all is BBC Radio 6, because it is the one with all the alternative, cool stuff on and, in my opinion, numbers 1-5 have completely sold out. (I don't actually listen to much radio at all and have no idea what I am talking about). With the information that had just been provided to me I was resolute in the conclusion that I would not like this band at all, the populist arseholes. 

Now, this was not the correct attitude to take. They were reasonably spectacular and I applauded (out of genuine pleasure, not awkward obligation). 

It would be foolish, and near impossible, for me to talk about Spector without mentioning the White Lies. Regardless if it is just because I have been distracted by the lead singers voice or if it is actually an astute observation, but they sound remarkably similar. Loud indie rock being the name of the game, this is not a big surprise. I am tempted to say that I think Spector could be better. They are definitely more fun and interesting, not taking anything too seriously and live, pretty engaging. Also, the lead singer proved just how important hilarious stage banter can be in getting a crowd really up for making a proper gig atmosphere. 

In summary, if you are looking for only-very-slightly-formulaic indie rock and roll, I would be hard pushed to find many bands I would recommend seeing live more than this one. Looking forward to the album, as well. 

Sounds quite heavenly - to April from January.

While the majority of people are content with splitting their year into the neat fractions of quarters, halves and twelfths I have decided that each third of the year should be addressed when it comes to the albums that have impressed me these last few months. This is in no way influenced by my laziness but is, instead, a carefully measured decision with the best outcome.

Blunderbuss - Jack White April

Perhaps it is too soon to be writing about this album. It only arrived a few days ago, after all. However, it is worth mentioning, and it didn't come out next month so I really don't have a choice. 

Jack White's first solo album is not something you would not expect. It doesn't disappoint any hype because it is very good although it is not spectacular. We are all so familiar with his work that it would be a devastating decision to produce something that could be considered totally surprisingly because with that familiarity comes a great source of adoration from a great many people. 

It could be asked if it is really a necessary album. Wouldn't we all just like to have more Whites Stripes, Raconteurs or The Dead Weather (maybe not quite for the last one) given the similarity between all these outlets and Blunderbuss. 

Personally, I think that it is necessary. That, and extremely self indulgent. Jack White shows off just how much of a throttle hold his musical influence (genius?) has had on every project he has worked on. The album is a boast, a wielding of a power we all knew was there and a careless disregard for his previous collaborators. And, like I said, it is very good.

Always - Xiu Xiu February
Difficult, painful, erratic, dark and sad are all words that can easily be applied to Xiu Xiu's eighth album.
It is really quite odd, and will take a number of listens to really appreciate - and when you do appreciate it, you are constantly under the impression that you might think it is brilliant simply because of its unfathomability. All in all, it is a pretty standard outing from the consistently bizarre band.
The reward, be it real or not, when you finally get to grips with tracks which alternate between flailing, sobbing and malevolence is worth any amount of hours reaching it. It might be the densest, most satisfying album out there. It also might be a random mix of wretched nothings playing a trick on me.

Port of Morrow - The Shins March
There is not a terrible amount that needs to be said about this album. It is an album by the Shins. If you like the Shins then it is a very good album. If you do not like the Shins, what is wrong with you?
Filled with obscene amounts of fun and childish grandiosity it will not let you down. It is something to be enjoyed with very little thought involved.

Have Some Faith in Magic - Errors January
Haunting and magnificent, the third go by Errors is easily their best attempt at music. Borrowing some of the epic wanderings of M83 and mixing it with their own strangeness they have created an album that will completely suck you in.
Even as one song blends into another and you have lost yourself amongst the ten tracks you will always be aware of a benevolent genius lurking in the pulsing guitars, laptop key pushing and half sung words.

The Lion's Roar - First Aid Kit January
When I first heard this album I have to admit that I did not rate it that high. I thought that it was entering a saturated folk market without offering anything special or original enough to worth considerable praise.
While I would still debate its originality I have revised my position of general thoughts of praise. When I found that I was still going back to it every now and again for sneaky listens I discovered the incredible level of warmth and character that rests in each song. An understated passion is infused in the album and is combined with far too much maturity for its young creators.

Something - Chairlift January
Already mentioned this album on here because I adore it so much. Intelligence and fun are ever so present sometimes disguising a darkness that lurks within the tracks. We should not overlook the fact that the first song is about trying to run someone over in a car.
The whole thing is constructed with a wondrous 80's feel that you cannot escape. A lot of bands trying to do this would create music that sounded tired and copied, but Chairlift have used it to make an album that is refreshing in its premise and execution.

Django Django - Django Django January
If I am going to mention fun, there is no good reason for leaving out the excellent debut album by Django Django.
It arrived amidst a lot of pomp and fervour, and I am definitely not the first person to say it is good. What I am surprised by is that an album which relies so much on catchy, lively and fun music has as much staying power as this one has.
It is not a grower, you will like it a lot the first time you hear it. You will also like it almost as much the twentieth time you hear it. Beyond that, I really couldn't say, sorry.

Ghostory - School of Seven Bells February
School of Seven Bells have now released three very good albums. Therefore it is significant that I consider this album to be their best, by far.
Despite the name, it is strange that it is not nearly as ghostly as some of their previous work, the glorious wishiness of their music has been replaced by a glorious ambition.
The ambition has also arrived with much more accessibility, but not in a way that compromises any integrity or smarts. Each track advances with force and carries grand sweeps and exquisite crescendos that will make you lie on your bed with your eyes closed for the entire 45 minutes.

Plumb - Field Music February
I have a real soft spot for Field Music, so I was probably going to put on this album no matter what. Luckily for me, it really is quite good.
It is not, unfortunately, better, or as good as, Measure. The prospect of it managing that was always quite slim but they have not fallen too far short of what was an incredible third album.
Their forth continues with Field Music's tradition of cramming a seemingly limitless number of influences and sounds like a car crusher into painstakingly simply guitar music. You can hear echoes from Queen and David Bowie with ease, along with more recent input from bands like Of Montreal and Little Dragon. It is a real feat of engineering, but with music.

Animal Joy - Shearwater February
When I read that Animal Joy was coming out, I was pleased. I then continued to read the very same piece that announced the news and discovered that the band had decided to take a different direction than that of their utterly exquisite trio of Palo Santo, Rooks and The Golden Archipelago to pursue a more 'indie' sound. This news troubled me some what but it needn't have. Animal Joy retains the majority of the profound and stunning qualities of Shearwater's best music and adds a flourish of happiness to proceedings.
While the result is incredible, the slight lifting of the dark beauty that was so prevalent in the aforementioned three does make it feel like something is missing. Luckily it is still infused with some darkness so you are not missing much.  

Mystery Jets with P E A C E @ the Gate

After a brief hiatus inspired by real work, travelling the country and a (terrrible) Sound of Guns gig, I returned to Cardiff's live music scene this week to jot down my various words of praise and disdain. On Wednesday I went to the Gate Arts and Community Centre for a much anticipated Mystery Jets gig. It was a mixed blessing but I should start by saying that the venue itself is superb. Gigs take place in the theatre, which is actually a theatre. It's quite large for a Cardiff venue and the atmosphere is fantastic - and you can even sit down!

Onto the music. P E A C E were the lone supporting band that evening, although the amount of time between acts could have easily been filled with another. They started their set sound like 70% (approximately) of the bands I have seen in support this year. Off kilter, kinetic riffs with the sense of copyright infractions of the work of Battles/Foals/Crystal Castles. Pretty standard.
They then changed into rocky night time music with pain. Not emo pain, but loud indie pain.  Reasonably enjoyable with enough interesting and fun bits to see my head bob around a bit. Can't see them expanding greatly but could definitely book them for a sixth form/college party or two. You know, somewhere where everyone knows what its like to be too drunk and miserable. And also likes the Horrors.
The back and forth between indie rock and almost math rock continued for a few songs. High pitched guitar reverb propagating their sound like it does over the desolate wasteland of 2011/12's forgotten support bands. See Soundcloud for examples.
Ending with upcoming singles they sprung into something a lot more enjoyable - and marketable. They revealed more depth and something significantly more upbeat, elements that should be present in the majority of their work. Fingers crossed they latch onto them in reaching new-band-maturity.

After a length pause and time spent queuing in the bar that smelt like a swimming pool (something I quite liked); Mystery Jets arrived. With a new album on the way and having recently suffered the departure of Koi Pond (sorry, Kai Fish) there were no promises of intense familiarity. But still, there were no concessions made and the band stuck firmly with more 'recent' material. By that I mean, Dennis was allowed to continue thinking he could fool them and no one lamented Agnes. Mystery Jets are a band I got the most enjoyment from during my early university years, about half a decade ago (pretty depressed at that realisation), and I would struggle to agree with anyone who said their first album wasn't their best. This is mostly due to a lack of development in their sound, which has its foothold in cockney almost-whimsy and because nothing is more fun than running through campus going "zoo time zoo time zoo time". Hence my disappointment in their refusal to play their really old stuff and while it was pretty fun hearing Show Me The Light, Two Doors Down and Young Love, it wasn't quite the trip down memory lane I was hoping for.
That being said, their new stuff sounded very promising and I will definitely be getting the album on the 30th of this month.

Sound of Guns with The Vestrals and Eric Unseen @ The Full Moon Club

Arriving later than expected, and after a slightly awkward affair at the entrance with a confused ticket lady, I find a room populated by about 5 people. 'Oh', I say, before deciding that gin at the adjacent Wetherspoon would be a good distraction until the bands begin. Minutes later, with my nose in a glass, I can hear the opening act. A quick swig later and a jaunt up the stairs I find the same 5 people, and a band, continue to populate the room.

They are called Eric Unseen (something I found out today, not last night) and here is what I thought of them: primarily bad. Lots and lots of enthusiasm which did not seem in the least bit genuine, as if they wouldn't have chosen to listen to these songs had someone else created them. Stage banter was some of the worst, most excruciating I have ever seen/heard. In many ways I was just watching a teenagers garage band with dim hopes. So much emphasis was placed on standard, boring vocals and uninspired lyrics. The incredibly talented drummer was almost completely ignored when he should have been the focus of the group's sound while they filled every second with guitar white noise.
I should, however, mention that they almost completely redeemed themselves with a fantastic rendition of Bat out of Hell. But, that aside, I was far less than impressed.

Then there were the Vestrals. Better. Much better, in fact. Another guitar overload but with so much more cohesion and purpose to each performer. However, despite the harbouring of a lot of potential, there was nothing distinguishing about them. You could see intelligence and interesting themes buried in there somewhere but the make-up of the band and the sound of the songs demonstrated a lack of depth and imagination. I liked them and, if they were to play in front of me again, I wouldn't walk away. But I am not sure I would walk towards them. Take note Vestrals, you need innovation, or just give up and go to the anonymous band wastelands of so many soundalikes. Sorry.

Now, I really like Sound of Guns. Both their albums are immensely enjoyable and I was really looking forward to seeing them live. Known, by me and others, for the sustained, bold and brilliant notes sung by Andrew Metcalfe compounding the heavy beats and anthemic guitar.
Unfortunately, I was disappointed. Solely because the aforementioned Andrew was terrible. The band behind played excellently, never dropping a note or missing a beat, but for a band with such a prominent front man, singing badly can ruin the whole thing. This is a band that was destined fort he biggest of arenas with their pounding rock but the horse cries and off tune bellowing that accompanied this performance spoilt brilliant song after brilliant song. Perhaps it was because of the awkwardly small venue which is the Full Moon Club (more on that later) that nothing sounded right but it was as if Mr. Metcalfe had taken up a 20 a day smoking habit since recording their last album. Some flashes of glory were there in admirable attempts to belt out Architects and Alcatraz (songs I adore) but on a whole it was too distracting having someone struggle that much. Eventually the excuse of the cold came out, but if it was going to be that obstructive, I would have accepted a postponement/cancellation.
I still think the albums are brilliant and I will eagerly await each new release, but I will also think twice before going to see them live again.

Now, I should quickly address my first experience of the Full Moon Club. What can I say... utterly dreadful. Quality of music aside, it doesn't function as a good place for live music. Half the room is around a corner from the stage and it is so small. Perhaps I am slightly bitter, for, after being short changed to the amount of a fiver (a signification amount) I was treated like a mistaken drunkard (neither of which were true) and eventually fobbed off despite the utmost attempt at being amiable and nice about the, unavoidably awkward situation. Even if I am bitter, I think that attitude is a negative enough attribute to prevent me from returning there. Anyway, I will stop complaining and go back to listening to What Came From Fire.

Dog is Dead with Another's Blood @ Cardiff Arts Institute

Another's Blood provide a refreshing break from the faux-math-rockers populating much of Cardiff's support and small bands. In fact, they only had one guitar that was more often than not left dangling and gropeless from the lead singer's neck as he played with the keyboard in front of him.
Really very engrossing stuff. Soft, yet grand. Unassuming, but assured. Quite poppy, but not to the extent of the likes of Hurts or the Fray. More like the best bits of the Temper Trap, or Local Natives without guitar hooks.
All in all, with their scooping drums, growing synths and keyboard twinkles they were enjoyable. Casually so rather than intensely but straying away from the trap of being 'catchy'.

Dog is Dead came on afterwards. With much more gusto although not that removed from the Local Natives vibe that accompanied the opener. They had a saxophone which always secures a mention, so well done there. It added some sunny feelings which were well received by myself and the huddled masses in the corners and crevices of the oddly shaped Cardiff Arts Institute.
Foregoing some of their slower material (and overall a more upbeat showing than their recorded stuff), the performance was shaped by exciting thrusts, surges and crescendos. A fantastic accompaniment to the astounding red and yellow gigantic cloud towers above Cardiff earlier that I witnessed while everyone else was staring the team egg and spoon race everyone else was watching (rugby) earlier in the day.
Dog is Dead show much promise as a band getting bigger. Walking through doors opened by Mumford and Sons but without the cheap, horrible tactics employed by that collection. A prevalent Mystery Jets influence was present - which is good.
I have to admit that I can't read a good portion of my notes for a bit so I shall just say that it was a performance full of smart, fun, jaunty combinations and simplexity (complexity orchestrated simply).
One of my favourite free gigs ever. And I went to Live8.

NB. It wasn't as good as Live8

Wild Beasts with Alt-J @ The Coal Exchange

Within seconds Alt-J  demonstrate exactly the reason why they have been chosen as Wild Beast's support. This is not to say that they are an imitation of the main act, but compliment them excellently as they use similar subtle tones to create the landscape of their songs.
Half the band is employed to create the atmosphere while the other half populates that atmosphere with fun and intelligent tunes. Responsibility for these roles is constantly shifted during the set so your focus follows different instruments against the delightfully constructed background.
As a unit, songs diversify themselves in an analogous manner. Sections blend themselves together with wist and waves before arriving at perfectly slotted stand-out jigsaw pieces of energy and chorus.
Joe Newman has a distinctive twang in his voice, reminiscent of The Tallest Man on Earth, which could be instantly mistaken for off putting. However, once it becomes familiar appreciating it is in no way difficult. Assisted by soft, artful lyrics it narrates performances with a delicate suitability for Alt-J's style and sound, enhancing the experience and drawing you in - capturing your captivation.


I have been waiting quite a long time to see Wild Beasts live. Since 2008's slightly camp but exciting debut Limbo, Panto they have aged exquisitely into one of Britain's finest bands. Two Dancers was brilliant, innovative and easily accessible while last year's Smother was a thing of staggering beauty. At the impressively sculptured Coal Exchange they came with a performance easily worthy of the legacy they are creating. The fact that it did not sell out before the event is a black mark against the musical judgement of Cardiff's population.
I could have spent the entire time dancing with my eyes closed if I wasn't so worried about looking foolish. I was encompassed by swathes of elegance and harmony.
It helps that Wild Beasts are in possession of two of the best band singers in Britain, if not the world, right now. Hayden Thorpe's epic falsetto counteracted perfectly by the rich, deep sound that swims out of Tom Fleming. No further proof is needed of their vocal superiority than their combination on The Devil's Crayon (just astounding live) and, in fact, almost every song released and performed since such an early triumph.
If Wild Beasts had come and performed competently, reciting the material from their albums then no one could complain. Instead they added something spectacular with a passion that could fool you into thinking they were revelling  in sudden exciting success. It was music to fall in love with.
I feel privileged to have witnessed a performance as stunning as this from a band which is stating a case for being the best in Britain. As accessible as Coldplay, as intelligent as Radiohead and as thunderously beautiful as, well, I don't think there is anyone who merits comparison with Wild Beasts on that score.

Natural Snow Buildings with Mars to Stay and Sneaky Earnest @ Buffalo Bar

Today is a sad day. What follows is my most negative live review. At this point I would suggest that if you are looking for any guidance as to which bands to go and see live then you should look somewhere else. I am afraid that I am just going to tell you which ones to avoid. Of course, this is all very subjective. Oh, by the way, for this post my guest contributor will be the experimental chiropractor, William Rousseau.

Sneaky Earnest began proceedings. Here we have an undeniably talented guitar player who really needs a band. Without out one it gave the impression that a drunkard had wondered onto a stage full of discarded instruments and wobbled about improvising. Interesting and exceptional rifts were sporadic and brief and everything was hampered by the most shocking choices for loops. And the loops, instead of an opportunity for singly orchestrated layers, seemed to be being used for walking around music. Mumbled Spanish confused me and others who had heard English words spoken by said artist on entry without a hint of foreign beginnings. The whole experience seemed over-the-top pretentious or, as William testified, "extremely self indulgent". It was like listening to Rodrigo y Gabriela album filler with half the band.

Best band of the evening, Mars to Stay, arrived next with some minimalistic psych rock (maybe). Opinion forming someone stunted at start by realisation that drummer and vocalist was old classmate but real difficulty found in sussing this band was due to a mixture of them not wanting to be sussed and my experiences down this avenue very much limited to Tame Impala. So, in other words, no experience down this avenue. Echo-y lyrics indistinguishable from sometime monotonous, sometimes suspiciously beautiful notes, making it very difficult to know when the music has actually stopped and someone is saying "thank you" to provoke clapping. In the end, this band has one thing to offer, and its not especially interesting. And why did the guitarist have his back turned on the audience the whole time? A need to get over oneself perhaps, especially given the lack of mirrors (Guillemots reference that no one will get).

Long, anonymous notes return with the arrival of Natural Snow Buildings and I start to notice the background videos that have been playing all night. Attention grabbed by the prolonged image of someone's iTunes as the loop of videos has ended. This is, probably, Buffalo bar's biggest fault as a venue. The terrible, grandiloquent black and white images of people looking weird or a child wandering around. But then again, it is just what is needed to accompany similarly pompous guitars. First headlining performance I have been to where it is significantly emptier about two thirds in than at start. No one really seemed to be enjoying the experience there were whispered jokes and the obvious stances of people focused on how they were appearing to enjoy, or tolerate, the performance. You had to have something to concentrate on, the music was not distracting in any way. The little movement and meaning that arose in sections was pounced upon by the crowd before it swiftly dissipated in the rising waters of white noise. It was as if the French duo were trying to drown our senses until we succumb to the most boring of musical genres. Ethereal and ambient ingredients can give unassuming tracks the most wonderful of boosts but on their own are like a spoonfull of cinnamon, except less interesting.

Perhaps my dislike is based on an under developed musical taste and the inability to 'get' this kind of sound. If so, I am sorry. In fact, I am sorry anyway if you got this far, I really haven't got anything worth saying, to say. Not even going to spell check this one, want to put the evening in the past. Bye.

Truckers of Husk with Gallops and Kutosis @ The Globe

Hello.

I reviewed Kutosis a couple of months ago so I shall keep this first bit short. They did not start brilliantly. As my guest quoter stated: "They didn't sound like proper well rounded songs".
But, luckily, they were just waiting to hit their stride. Into their second and third songs their frantic combinations became more cohesive and deliberate and the furious guitar noises were soon joined by brilliant drums. An illogically logical cadence bounced and thrashed its way over the enclosing crowds.
I am, however, aware that their considerable improvement ran parallel to my pint progression and the changing opinions of my companion. I don't really think that had anything to do with it and I do really like Devo.

Gallops graced us with their presence secondly. Last year they tied with Slow Club as the best band I saw at Swn Festival (an achievement not to be trifled at) and I have been a reasonably gigantic fan ever since.
Here comes the second (grander) introduction to their review segment...
Just as mathematics transcends the apparent chaos of the universe with its precise elegance, the best math rock bands transcend the potential pandemonium of its often delirious concoction of ingredients. And Gallops definitely fall under the 'best math rock bands' category. They immediately demonstrated their bewitching complexities before launching into an unstoppable tirade of guitars, drums, keyboards and electronics. There were buttons on the floor and everything. Their sound was always advancing, much like the precarious speaker that kept edging closer and closer to falling on the drummer's head.
Mari says: "I like that they don't sing". She is right, they don't sing. They are one of the best and most interesting instrumental bands around. I do wonder if they will ever start to sing. It happens.
I must insist that you go and see this band live, and listen to their music being done un-live, like this one. Although this might be considered live by some, as the presenter lady said; "We are broadcasting this live... next week". To clarify, those three full stops indicate a pause, not a part of the sentence I have removed.

She said this just before the headlining act Truckers of Husk came on. Straight away I like them because they have a saxophone. Mari says: "Saxophone!". And they were also playing a film about Robert Falcon Scott going to the South Pole. This was very distracting - particularly when seals were fighting and people were dying.
Similar to Kutosis (but for different reasons) Truckers' first half wasn't their best half. Whilst very enjoyable they didn't distinguish themselves from the abundance of similar bands which crowd around them in our contemporary times. Gallops were also proving an extremely difficult act to follow and Truckers had included some strange samples in their songs which, to me, felt slightly uncomfortable and unnecessary.
Then there was a turning point. One song arrived with an impressively grand rise and crescendo and brought an irrepressible energy and drive spearheaded by their fearsome drummer. The energy went from irrepressible to overwhelming the players on stage and the crowd which rapidly became a mass of people leaping and bouncing along to every beat. They had to stop, momentarily, as said drummer rearranged his kit in the midst of them all before launching into the final stampede towards the end, dousing everyone in a flurry of flour and exceptional banging.  

NME Awards tour - Two Door Cinema Club, Metronomy, Tribes and Azealia Banks @ Cardiff Student Union

This was a very good night. However, there isn't really much to say about these artists that are reasonably established and will be going around the country. There is enough for a small ramble, although you will soon see where my focus lies...

First of all, Azealia Banks was excessively exuberant. It made it impossible not to enjoy her and, although she seemed to be spouting mostly gibberish, the performance was fun and her command of the crowd was commendable. Even when nothing worked she was able to carry on with only her voice and lost no momentum whatsoever.

Tribes were standard. There are a lot of bands like them at the moment but they played well enough. Catchy rock stuff that everyone seemed to enjoy.

Metronomy were fucking incredible. Excuse my language but it is hard to get across to you just how brilliant their performance was. There is absolutely no justification for NME putting Two Door Cinema Club as headliners over them. No justification at all. First of all, Metronomy came out with what is probably the album of the year last year. Two Door Cinema Club did not come out with an album last year. AND NME themselves called 'The English Riviera' "brilliant", "expansive" and "visionary" - awarding it two more points (out of ten) than 'Tourist History'.

As for the actual performance - Metronomy propelled each song into a divinely sublime version of the album track. Even the slower or subdued examples like 'She Wants' and 'Loving Arm' were catapulted into overwhelmingly electric dance tracks. The crowd exploded with the introduction of material from 'Nights Out' halfway through the set. All the while Gbenga Adelekan put in a performance on the bass guitar that was so unerringly astounding I honestly do not think that there is a better bass player in the world

Two Door Cinema Club were solid performers - as ever. Their music is extremely adequate and easy to enjoy live. New stuff coming out this year sounds pretty much the same as the other stuff. It was, however, quite funny to hear people realising that chanting their name for an encore was quite awkward.

Errors with Remember Remember and Tom Rogerson @ Clwb Ifor Bach

Imagine you are out with friends at an open mic night. The stage is oddly neglected with a keyboard pushed out in front of a cacophony of instruments. Eventually one man sits down at the piano. With eyes shut and hands jabbing at keys with more random than rhythm. An anguished moan periodically erupts as his head thrashes back and forth, up and down. Well that is pretty much most of Tom Rogerson's set. And it was somehow beautiful. 

Most of the set was one long, disjointed serenade as he channelled the organist from a space church. There was no doubt that this was the keyboardist from Three Trapped Tigers. There was plenty of the I-don't-remember-this-tune-but-I-remember-the-vibe feeling typical of their sets as their songs, stripped of everything but keyboard and an almost scream, played out in front of the growing crowd trying to figure out how they were supposed to slightly move to this music. 

The seven piece outfit Remember Remember followed to provide some appreciated depth and continuing a theme of music which doesn't stop climbing. They even had a saxophone (which is major plus points for me) which was used expertly, avoiding the trap of commanding too much attention it worked its magic in the background. The background of the music I mean, it was actually situated quite close to the front of the stage. Perhaps it could be said that their second song Ocean Potion plagiarised a Fleet Foxes instrumental. On the other hand, it could also be said that that song was utterly spectacular. As their set progressed, more stand out beats surfaced and proved that even with seven members mixing up instruments - with toys sometimes - their cohesion and assured sound triumphed. Even when they, in my opinion, risked guitar overload they pulled it off excellently, drawing everyone into the rich denseness of the music. 

Within moments of their arrival, Errors had created a glorious music tsunami crashing into everyone's faces. It gushed. Vocals twisted themselves around complicated yet single-minded notes, stopping at exquisite hooks and bumpy, unstoppable beats. All the time layered on top of a beautiful back-drop of slow climbs and breaking waves. The two Scottish bands of Remember Remember and Errors brought all encompassing, ethereal  electro math rock in contradiction to the wannabe isolationist wonderings of their northern nation. Unstoppably grand.

Tracks from Come Down With Me stood out as great impact pieces but the new stuff from Have Some Faith In Magic was much less instant gratification and much more long term satisfaction. If it seemed to lack force in places it was only because of its unfamiliarity - it was only released a couple of weeks ago. Needless to say, everyone was convinced by the end. 

The entire set sounded much bigger than the slightness of the spectacle on stage, and also sounded pretty good echoed through legs (as I bent down to get my drink). There were undertones of LCD Soundsystem, which would be a terrific indicator given that we need a replacement for them. Having seen Errors 18 months ago I can say that they are progressing with vigour and should they continue, they will turn their excellent sound into a magnificent and unstoppable force. 

Thomas Truax with Inconsiderate Parking and Alan Coles @ 10 Feet Tall

I do not think that I have ever been to an evening of bands without finding at least one individual or group who has drawn from me harsh criticism. With this in mind, try to understand the magnitude of February 8th, 2012 - the night where I enjoyed every single performer. It's a big deal, honest. 

Alan Coles opened, standing there with his guitar and a ukulele on the floor, beckoning the 15 or so attendees that had arrived by half past eight. He was a somewhat apologetic speaker, explaining his presence with the statement that he is a "songwriter, who can only get his songs heard by playing them live". The only real explanation that was needed was for him to play his guitar. Foregoing the impression that he might be more comfortable playing for disinterested drinkers in a village pub, he produced compelling solo music which advanced with surprising complexity and an excitement that one man and a guitar does not normally warrant. This is not the singer-songwriter meaningless faff of today's Ed Sheerans and James Morrisons. Alan Coles' narrative excelled with his guitaring and although the ukulele based work lacked a little of the engaging spirit of the rest, he played through an admirable and interesting set. 

Then came Inconsiderate Parking, three young lads with a band name adored by the neurotic driver in me. The ukulele returned, with the energy of obvious youth but the maturity of the performance was shocking. The boys played with excellent harmony and understanding which might have seemed impossible in the face the frantic nature of their efforts. They were funny too, and although they, like the rest of the acts, might not have a sound that will ever attract a large audience, they continued strongly in the personal, fun and fascinating sound of the evening. 

The first glimpse of the main attraction was a spindly spectre fiddling with half a bike and a tiny drum at the front of the stage. It was weird - a feeling which quickly became the focus of the evening. Well, that along with hilarious, brilliance and stunning music. From the outset of his set, Thomas Truax seemed like a bubbling pot of untapped genius. Except that someone had just tapped him all over 10 Feet Tall. It was incredible, I was completely blown away with the musical intelligence present in even the simplest song and the utter hilarity of the whole thing. Easily funnier than any stand up I have seen and accompanied by deep, beautiful, entertaining, dance-y, bizarre and transcendental tunes in equal measure. Mr. Truax's smarts were displayed with his junkyard band of Mother Superior (the aforementioned drum-bike), the Hornicator (indescribable really), a bongo-tube thing, the ring on his finger, strings draped from the ceiling for plucking and a spotlight-emitting electric guitar. He traipsed around the stage effortlessly tapping out rhythm loops before heading into the audience, then into the stairwell, then outside, then back to the stage to get tangled in wires whilst relentlessly pressing onwards. An incredible sight, sound and experience. 

Each song was a self contained trip for the stone cold sober, blowing all that came before and after out of consideration, and I cannot claim with 100% certainty that I wasn't having some vivid hallucination. 

Chairlift - Something (Album) review

It is a bit late, and I apologise. But I just couldn't not say something about Something. 

With Does You Inspire You, Chairlift began their album attempts with a nice enough try. It was good and, although it was slightly ruined by an iPod Nano advert, you can be forgiven for still listening to it from time to time. The only problem with it was that it wasn't anything special. It lacked that distinctive difference to set it apart from the contemporaries which was only really a problem because you could tell that the potential was there for a fantastic showing (Evident Utensil being the biggest clue).

Now Something is their second go. And I can start by saying that it is, hands down, the best album of 2012 so far. This is so preposterously obvious upon reaching the irresistible hook of first track Sidewalk Safari. The record then sees Caroline Polachek and Patrick Wimberly cook with ingredients which combine for something delicious, complex, individual and so very moreish. 

Some of the best bits are the excellent 80's throwbacks of Take It Out On Me and Ghost Tonight as Ms. Polachek channels Kate Bush and Madonna while backed by synth-y sounds which I could not derivate by calling catchy. More irrepressible.

More contemporary comparisons exist with the aforementioned vocals easily reminding you of previously excellent albums by The Do and St. Vincent but these moments could be said to be Something's weak points as it is when comparisons are harder (more due to a expert blend of many influences rather than outright originality) as these are the points where something remarkable takes place.

These moments are primarily found in the opener, Wrong Opinion, Met Before and the first single, Amanaemonesia. Three easily distinguishable tracks but equally superb. Ethereal backgrounds fused with twisted synth, perfect guitar moments and an utterly captivating glockenspiel(?).  

It should be remarked that this album could seem to continue the tradition of slacking off after reaching the half way mark. However, I think that it simply changes tempo and while this might seem a bit less fun and interesting it is just more subdued but no less intelligent. Definitely worth repeated, full plays. 

This is the triumphant winner of January's music. It will be difficult for February to offer anything to beat it. 

8.8/10

Howler with Man Made and Kutosis @ Buffalo Bar

For a much hyped band like Howler, the Buffalo bar in Cardiff is not the kind of venue you would expect for them. The awkward shape and relatively small size of the upstairs live music area draped in red is where you might expect to see Cardiff bands like Kutosis with their hardcore local fans or the strange solo act of Man Made but the headliner for this occasion was a rare sight. Still, both act and venue performed exceptionally for an entertaining event.

Kutosis kicked of proceedings very much in the way that you would expect a Howler support act to play. A slightly different take on it, but definitely guitar based indie rock. However, this changed quickly to become the math rock stylings of a band you can see supporting the similarly biased Truckers of Husk and Gallops in March. Jagged guitars with a stop-start-jump rhythm, this is a band that would be at home playing late afternoon in a small tent at Reading with obsessed fans leaping about singing "devro! devro!". I might even join them. Their frantic enthusiasm was demonstrated ably by the fact that they kept breaking the strings on their guitars and it made for a memorable and fun start to the evening.

Man Made graced the stage next although the subdued start left many people in the crowd wondering if it was just a roadie with good lighting. Unfortunately this solo electric guitar player did not leave much more of an impression than that. A lot of the act resembled a lonely one man Placebo tribute act, in vocals, lyrics and guitar playing (when it didn't sound like bedroom strumming) but with none of the complexity. Perhaps he can be complimented on the amount accomplished with a limited amount of ingredients but the biggest case was for him to swap places with Kutosis on the billing, or just stay home.

Within seconds of Howler starting their set all the Strokes comparisons became a lot more obvious that on the album. But it wasn't long before the uncoordinated thrashing of surf rock became all encompassing and encouraged room wide jigging about. Halfway through the set and each song starts to sound like their strongest and the band, along with everyone else, is visibly having a great time. Their best songs are arrestingly recognisable and perfectly performed, they make none of the mistakes of Kutosis and only reach any sort of boring once, and only briefly. At the height of the performance all they are playing sounds familiar, as if you have been waiting to see them live for years. Whether this is because of effortless copy-catting or simply the catchy and fun elements that are embedded in the album, is unclear. What is incredibly clear is that Surfer Blood have competition for the throne of the surf rock revival king. Oh and I should mention their highly offensive, inappropriate and hilarious stage banter. These guys know what they are doing.

You can read my review of Howler's debut album, America Give Up, here.

Howler - America Give Up (Album) review

Welcome to part one of today's Howler extravaganza, the album review. 

These last two years we have had an influx of bands playing slightly punk, quite indie and a bit rock music with guitars, drums and a gravelly, moody voice over upbeat music. I am mostly talking about bands like The Drums, Wavves and Vivian Girls. Howler continue in this vein and, as such, are being touted as quite an exciting prospect for this year. With this album they have provided something which is more exciting than the majority of bands that have preceded them but not quite as exciting as a lot of people were hoping.

While still being the kind of music that you can play on tinny speakers and not hear a difference with imprecise, relentless twanging of guitars, uncomplicated drumming and the low, gravelly voice of today’s surf rock. However, they somehow create a sound with these limited elements that is noticeably their's, you know whose album you are listening to which wasn’t always the case with the aforementioned. Whether you can be sure which track you are listening to, is another matter. It is no Astrocoast, but it is something, and that something is pretty neat. 

There is a much talked about influence from the Strokes intertwined with the beach music. Although it is not overwhelming. Howler are a much friendlier band than the Strokes, giving the impression that they are having a lot of fun and they want you to join them. It may just be a product of the fact that Jordan Gatesmith sounds a lot like Julian Casablancas and there are guitars. On the album, that seems to be the biggest similarity. In fact, comparisons to the Strokes cannot be made at all at certain points. Black Lagoon sounds more like Sex Bob-omb than anyone else. 

As I mentioned before, it is not the album that a lot of people were hoping they would make. Howler have produced something that is enjoyable but lacks anything special to live up to the hype that they were enjoying. However, no one should allow themselves to be truly disappointed. Like with the Vaccines last year, Howler have just produced the album that they were destined to. It is their first attempt and it is one full of the music that they can play well. Lets just enjoy it for what it is, good surf rock with a smack of individuality. 

7.3/10

You can read my review of Howler's live performance at the Buffalo bar in Cardiff here.

Boy & Bear - Moonfire (Album) review

This is an album that came out in August last year in Australia and the US (and some other places, presumably) so maybe this is all old news. However, I have only just heard about it as it has just come out over here and so I think it deserves my ‘unique’ critique.

When it begins, ‘Lordy May’ gives the impression that you might be onto something quite excellent. It is nicely understated, self-aware about not being the strongest song on the album but is just there to ease you in which is an effective staple of the great folk albums.

Then the next track arrives. Feeding Line. And then you realise. It is the bloody Mumford & Sons all over again. Shit.

Thus follows the general theme of the rest of the album. You can be certain that it is somewhat better than the depressingly popular, yet folk-murdering Sigh No More, but Dave Hosking’s  voice and the gimmick-y/pop-y building and beating sounds so much like it. It is not void of enjoyment, however, and can be quite fun at points, but you are constantly being reminded of those horrible similarities. There are a couple of other bad things as well.

Part Time Believer does something which really gets on my nerves at the moment. Referencing something they remember, especially when it involves music they used to listen to (in this case the Rolling Stones) is really cheap. It’s like going “hey guys! We’re doing nostalgia, can you feel it?” It is not how you are supposed to do things. It is, however, how you, as a creatively insufficient song writer, try and create a sense of nostalgia with easy words rather than invoking it with complex atmospheres and sincere musical gestures that rest within songs. Perhaps it has something to do with the overwhelming Mumford and Sons sound-a-like moments that exist in the album that makes it sound recent, but not new, and certainly not original. So they try and push fake nostalgia on us instead.

There are also some downright boring moments. My Only One is a really good example of this. And by really good, I mean it is not good and should be skipped. Proper going through the motions standard nothing.  To their credit, they follow this drudge with Golden Jubilee which gets to an area that is more of a reflection of the good side of folk. Fast and fun guitars, sometimes frantic, sometimes simple and rhythmic. Quite enjoyable.

It might be tempting, what with House & Farm, Percy Warner Park and The Village, to give up before you get to track 10, thinking that you have given Boy & Bear enough chances to redeem themselves. Don’t.  Beach is easily the best track on the album and is the only one that can claim to have anything resembling depth and complexity. It might not be as immediately fun as earlier entries but, with it also being the longest at a slightly unpopular 6 minutes in length, it is a substantial treat. 

Give up straight after it though, don’t bother yourself with full on M&S reject final tract Big Man. 

5.0/10

Everything Everything with Headquarters @ The Globe

In the interests of full disclosure, I should say that I was extremely excited for this event. Everything Everything have been one of my favourite bands since familiarising myself with Man Alive early last year. Therefore, I might be slightly biased. To balance things, I shall begin with a tepid review of the opening act, Headquarters.

The band of the brother of Everything Everything's bass player, they certainly didn't sound like the obvious choice for support. Slightly blues-y and heavily influenced by decades old rock and roll, they tried to stage a proclamation that traditional guitar obsessed rock is not facing a demise. They were not convincing. Once or twice they did invoke a slight feeling of listening to the rusty American rock and roll from bygone eras but more often it came across as archaic and, as such, offered nothing new or interesting. A lot of the time, I could have just been listening to the generic music they used to play on wrestling games. It should be noted that a chance meeting with the tour manager after they played saw him being as or more disparaging than this paragraph. Perhaps that says something.

During the same conversation, and after I found out who he was, I was informed that I should expect to hear 75% of the upcoming album from Everything Everything and that "they have managed to still sound like Everything Everything but not sound like the first album". I was expecting that level of new stuff given the amount of time since the first album's release and eagerly awaited confirmation of his verdict. 

Despite a stumble at the start, with some technical(?) difficulties the set was a glorious treat, as expected. When they played their new songs, any lack of polish in places was made up for with extra effort and a real desire to convince everyone that they will enjoy the next album as much, if not more, than the first. And rather than this taking the spotlight away from fan favourites like Final Form and Photoshop Handsome it simply made them seem effortless. 

With Man Alive, Everything Everything walked a distinctive tightrope between the sounds of Wild Beasts and the electrical atmosphere of Foals and while certain influences were always noticeable, it did not make their personal sound seem anything less than individual. The new stuff sounds like they have lost their footing and are currently dangling over the electronica safety net, holding onto the rope with Alex Robertshaw's astounding guitar work and Jonathan Higgs's excellent puberty vocals.

For those not already enamoured with the band, the second album will, like the first, be a bit of a grower and probably won't be the genre defining/destroying masterpiece we all want from them. But it might be, I believe they have it in them to do it one day.

8.7/10

Given to the Wild - the Maccabees (Album) review

I have to admit, it took some deliberation before I decided to make Given to the Wild my first album review of 2012. It is somewhat indicative of my poor decision making methods that this deliberation was done without even listening to the album. If I had, I would have had no problem with making this my first review. This album is good. It might be really good. No, wait. It might be brilliant.

I'm sorry, I am getting ahead of myself, it isn't really brilliant. I should explain. The Maccabees are reasonably good at capturing the sound which is popularising itself at the time. With Colour It In they gave us, along with Pigeon Detectives, The Cribs, The Wombats and many others, shallow, immediately gratifying indie rock. The kind that eventually grates and sounds like its being sung by someone trying really hard to sing like someone else. Wall of Arms did not stray to far from this but maintained a slight folky feel throughout, because that was when people were starting to really like slightly folky things. Given to the Wild doesn't see them stop imitating, but given what people are starting to really like now (Wild Beasts, Antlers, The Horrors, etc) it is reinforced with considerable depth and maturity.


The album starts with an understated intro and immediately makes you think that these guys have learnt something from last year's successes. They have thrown asunder the catchy effort-laden and vocal focused sound of their previous submissions and produced something with a subtle blend of elements and plenty of atmosphere. Guitars don't bounce you around, but direct with authority while vocals fuse with gentle lifts and impressive crescendos. There are exceptions, Pelican and Went Away (tracks 8 and 9) deserve to be chucked in with the rest of 2007's irritants. Give it a minute, however, and you will find that the remaining tracks see them introducing a few new influences. Go is alright but Unknow sounds a bit like a good U2 song sung by Jonsi before becoming startlingly ambitious and anthemic. Unfortunately it ends with Grew Up With Midnight which feels like they got tired, gave up and decided to just be Bon Iver and make no attempt at hiding it.

Verdict: I think I will go back to really good, worth the disappointments and a surprisingly strong start to the year from these guys. 
7.1/10

The Maccabees official website
The Maccabees on YouTube

Tubelord with Olympians and Samoans @ Undertone

Undertone is a peculiar venue and it takes a lot for a band to showcase themselves properly in the intimate space that is the basement of 10 Feet Tall in Cardiff. Sunday 8th February saw this attempted by Tubelord with stellar support from Olympians and some more support from Samoans.

Starting the evening off, Samoans began well with engaging guitar rifts and an excited energy. They were confident players but lacking something. With two guitars, some drums and hoarse vocals they never promised anything revolutionary but there was definitely a sense of missed potential. Samoans came across as a band capable of being very interesting but unwilling to do anything different. They were let down when it came to the vocals and I found myself at times straining to hear the sounds I enjoyed over the ones that I did not. In all, they were a welsh band that sounded a lot like a welsh band and, unfortunately, it wasn't anything too notable.

Olympians followed and provided what was the big treat of the evening, for me. Their sound was completely assured even when taking unusual turns and dipping into separate tempos and styles mid song. In fact, such changes brought smiles to faces like the best bands manage with their best songs. Olympians were comfortable in the venue and comfortable doing something memorable. In fairness, they had a bit of an advantage from the start as they arrived with a trumpet and a glockenspiel along with the customary drumsticks and picks and instrumental varieties do make me happy. Even when the songs weren't particularly great, they continued to effortlessly exhibit a distinctive sound. Of course, it is easy to compare bands and hints of Mew and Beirut among others threaded their way through songs but more in the feel of the music rather than in a this-song-sounds-like-that-song manner. Another thing these guys did better was the way in which they filled the venue with their sound, a difficult feat with more than two instruments and a task which saw Samoans sounding like they were trying to catastrophically crash upwards. Olympians made it very hard for me to be at all critical -and that is a triumph in and of its own.

When Tubelord began their set I immediately felt something I had not felt in a long time. Years, even. A medium sized spider had fallen on my head and was making its way south down my face. Once I realised that this sensation wasn't a deep musical connection and I scraped the bugger off my nose I got over the distraction by listening to some catchy fun indie rock. There really isn't too many other ways to describe this band. Not to be disparaging but it was the kind of music that is abundant, and has been for a while now, but not in a bad way. More upbeat than the Cribs, less annoying than Los Campesinos with some of the off kilter guitars that lie beneath tracks by Battles and Foals. Actually, that was something I did notice throughout the gig. Despite the passage of time, there are still so many bands out there trying to make the kind of music the kids in Skins would listen to (the first one, I am old). This irritates me somewhat, but there is an enjoyable sound to be found in tracks which compromise between this influence and more contemporary themes. Although, I am getting sick of 'tick tock' in lyrics. Sorry.

One final note. All three bands on the night (Tubelord the most, Olympians the least) reminded me to lament on the inexplicably heavy influence Temper Trap seem to be having on new bands. Not that Tubelord are relatively new, they just sound like they have just started, but they two albums out, and they are not terrible.

Verdict: One thumbs up with a potential new favourite.


Samoans bandcamp
Olympians bandcamp
Tubelord bandcamp