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