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Blues musician Seasick Steve emerged onto the scene back in
2006 with his debut solo album, Dog House Music. Helped by a storming
performance on Jools Holland’s annual Hootenanny, the record took off in a big
way, bringing authentic and honest electric blues to a new generation.
Hubcap Music is Seasick‘s fourth studio album in seven years.
A decent output for a young up and coming band but, when you consider Seasick
Steve is now in his early 70’s (he puts himself at either 71 or 72), it becomes
even more impressive. Having waited all his life for the opportunity to share
his music, he’s certainly making the most of it.
Having left home in his early teens, Seasick Steve’s life
has taken him to a myriad of high’s and lows’; jumping freight trains in search
of work, flitting through San Francisco in the 60’s, busking for change in the
Paris Metro before working as a session musician for some of the biggest names
in the music industry (he’s notoriously coy on this subject “because I hate name dropping, and
anyways, they was just jobs.”).
Much of the album is typical Seasick Steve. His forte is driving,
foot stomping, electric blues and you’ll find it hard to sit still when he gets
going. As you would expect of a musician with so much life experience, he
continually draws on his own experiences and those things close to his heart; ‘Down
On The Farm’, is a Bluesy ode to his love of the country life and, on ‘Self
Sufficient Man’, a thumping 12 bar blues, he sings ‘I've been taking care of
myself, since I was 13 years old’; an honest account of having to grow up
quickly in a tough world.
Raw electric blues may be at the albums heart but the soul
is provided in the softer moments. Possibly the stand out track of the record, ‘Purple
Shadows’ is a stunning duet with Country star Elizabeth Cook and Over You, is a
Bluegrass ditty on the inevitable end of a relationship. Seasick even show’s
his soulful side on ‘Coast is Clear’, complete with trumpets and saxophones.
Whereas many of his contemporaries, such as Jack White and
The Black Keys, have developed a sound inspired by the old time Blues Players,
Seasick Steve somehow feels more authentic. He is an old time Blues Player. You know what you’re going to get with
Seasick Steve; let’s be honest, there’s no danger of his style evolving.
However the stand out moments here easily rank up there with his best work, and
it’s an album that you’ll find more depths to each time you listen.
Frank Turner is a man whom divides opinion. As a
musician, his place as front-man of the seminal UK hardcore band Million
Dead cemented him in the hearts and minds of punks globally. Since the
band's dissolution however, he's both won over the naysayers and alienated a
handful of those who held him in such high regard previously. In one fell
acoustic swoop, Turner has gone from politically charged mouthpiece to
folk-punk troubadour and though his ideologies may well have changed, the fact
remains that his music still crackles and sparks with a punk aesthetic that he
will never truly be able to shake. Gone, however, is the face-melting
evisceration and overt politicisation of his previous band's efforts and in
their stead is a charmingly candid insight in to Turner's world. Now with Tape
Deck Heart, his fifth studio album, Frank carries on in much the same
manner as previous effort England Keep My Bones, with both albums
narratives seemingly moving away from that of his earlier releases, now
upholding a higher degree of introspection than before.
The first track on Tape Deck Heart is also the first
single to be taken from the album 'Recovery'. It's pretty standard Turner fare,
and nothing to shout about, however those expecting something similar to 'Peggy
Sang the Blues' won't be disappointed whilst it eases newcomers nicely in to
Turner's blend of paradoxically upbeat, self-deprecating tendencies. However
while it is very much business as usual, Tape Deck Heart is quite easily
also the most removed of Turner's releases; it couldn't be further from the
likes of 'Back in the Day' or 'Photosynthesis' but that isn't strictly a bad
thing. While the 'classics' still go down a treat live, hearing the
instrumentation at Turner's disposal expand album by album has been a treat,
and it's certainly the fullest and most diverse it's ever been here. From the
off-kilter keys in 'Good & Gone' to the woodwind and strings of 'Oh
Brother' it's without a doubt Turner's most adventurous foray yet with 'Broken
Piano' particularly sounding more like a Death Cab For Cutie or Postal
Service, indeed, some especially effective drums on the latter half of the
song serve only to add to the song's overall impact whilst the guitar provides
a spatiality never-before exhibited by Turner.
'Plain Sailing Weather' is one of the particular highlights
of the album. Coming early on it's particularly indicative of earlier Turner
releases; a welcome nod to the fans who have been there since album one or two.
Having had the pleasure of hearing this song live late last year, it's safe to
say that it's explosive chorus goes down fantastically and really is turner at
his pessimistic best. Another song he previewed live is the candid 'Anymore'.
Understated production here allows the guitar to take a back seat in favour of
a vocal track really conveys the candidness lyricism. The song also features a
line which is sure to adorn the tattoo sleeves of Turner's devout fans for
years to come, “I'm not drinking any more/But I'm not drinking any less”
pretty much sums up at least one aspect of Turner's penmanship. Conversely, 'We
Shall Not Overcome' is an upbeat and optimistic affair that turns the table on
some of Turner's more morose numbers. Unfortunately though this is only
featured on the deluxe edition of Tape Deck Heart which includes half as
many songs again as the album itself. While these tracks aren't intrinsic to
the album overall quality, the inclusion of them, Turner has said, is to allow
fans experience everything that went in to the album, whilst the standard
release is “the concise version”. These tracks are nothing out of the ordinary
or exceptional, however 'Tattoos' and 'Time Machine' (the only non-acoustic
bonus track) are worth seeking out online.
As an album Tape Deck Heart couldn't have been concieved
by anyone other than Frank Turner. There's a perfect mix of optimism,
self-deprecation,narrative analogies and everything else that makes a Turner
record what it is. That said however it isn't his strongest release to date,
but there are certainly several songs included that will almost definitely find
themselves included on the inevitable Greatest Hits. Newer fans of
Turner will almost certainly relish in the accessibility of the album, while
older fans might well sour at the prospecting of having heard it all before.
There's certainly no boundaries being broken (apart from the inclusion of
instruments new to Turner's repertoire) but that being said his music hasn't
been about breaking boundaries for a long time. Instead Frank Turner's found a
niche in folk-punk and will continue to reside over it for a long time to come.
‘Who is the greatest guitarist ever?’ is a question that will
rumble on and on and will, quite rightly, never have a definitive answer. I
would argue though that if not the greatest, Jimi Hendrix is without doubt the
most important guitarist in rock and roll history. Hendrix not only challenged the
perception and limits of guitar music, but he also developed his own signature
style and sound. Over 40 years since his death, it’s one that still influences
guitarists to this day.
The announcement that an album of previously unreleased
material from Jimi Hendrix was to be released, split opinion amongst critics
and fans. From a cynical view point, it looks like a shameless cash in. If the
material was any good, why has it been locked away for nearly half a century?
On the other hand, Hendrix is one of the greats and if he had something more to
say, it needs to be heard.
I had mixed feelings before the release but, having heard ‘People,
Hell & Angels’, I can firmly say I’m off the fence. Is it as good and as
instant as the classic Hendrix tracks? No. Is there much here that would
trouble a greatest hits album? Not a huge amount. Is it an absolute pleasure to
hear more from one of the most influential musicians in rock and roll history?
Without a doubt.
The album opener ‘Earth Blues’ starts with a quick,
ascending riff which seamlessly blends into a laid back, funky ‘Crosstown
Traffic’ style rhythm. That distinctive voice comes in soon after and it brings
a shiver down your spine to hear Jimi doing his thing once again.
There are also tantalising glimpses of what might have been
had things gone differently that fateful, final night in Notting Hill in 1970. ‘Let
Me Move You’ is a full on funk track and see’s Jimi rocking a James Brown style
vibe, complete with guttural shrieks and grunts. ‘Mojo Man’ is another
highlight and showcases his skills as a bluesman, albeit with that trademark
Hendrix panache.
There are also clear signs of the influence he left on
others. Hearing ‘Inside Out’, the riff is instantly familiar. It turns out Jimi
did ‘Are You Gonna Go My Way’ years before Lenny Kravitz started out,
ironically, on a career that owes more to Hendrix than anyone else.
This isn’t an album for casual listeners and if you’re new
to Hendrix then it’s probably best to go for a Greatest Hits compilation.
However, if your familiar with Hendrix’s back catalogue or you’re a true music
fan, this is for you. Throughout this record the guitar playing is never short
of exquisite. With Hendrix, it’s often those notes played in between the lick
that make a piece of music so unique and there are so many examples here. Jimi
Hendrix is such a huge figure in the history of Rock and Roll and his influence
is so widely felt, it’s easy to forget he left us aged just 27. Listen to the
intricacies of his playing and the masterful skill he displays over his
instrument and it’s frightening to imagine just how good he might have become.
Had fate taken a different turn that night, the question of the greatest of all
time wouldn’t even be up for dispute.
New York-based band The Strokes really need no
introduction. They've been making their garage-enthused rock 'n' roll since
2001, with their debut EP sparking one of the largest bidding wars amongst
labels in recent history. Their first full length entitled Is This It
has received global critical acclaim and earned the band numerous awards. Now
12 years, four albums and countless airmiles later, the band release their
fifth studio album Comedown Machine. Not only is it a milestone album
for the band, but it marks the end of the bands contract with RCA marking the
end of an era, and the start of something new.
Going off the strength of album opener 'Tap Out' you could
be forgiven for thinking The Strokes have fallen back in to the trappings of
their ill-fated 4th album Angles. However there is something
sufficiently more salient about 'Tap Out' than any of the songs featured on the
aforementioned. However it is a departure from their garage-rock roots.
Something that's upheld by the eclectic and unusually understated 'One Way
Trigger' which features an erratic synth pattern and almost falsetto vocals.
It's certainly different and a far cry from the Television-esque Is
This It but there's still something about the track which remains
particularly Strokes-like.
'Made in Japan' is particularly evocative of pre-First
Impressions of Earth recordings. Casablancas' signature arrogant swagger is
back in almost-full force, although there's a distinct lacking of confidence
when compared to their earlier albums. The last minute of the track is easily
the highlight as the song picks up and features some chunky bass work courtesy
of Nikolai Fraiture.
If 'Made in Japan' is the band almost back to their roots
then the track that follows '80s Comedown Machine' is certainly The Strokes
we've all come to know and love. The chorus even dares to get heavier than most
of their repertoire with a particularly lo-fi vocal making this easily one of
the stand-out tracks from the album and a contender for a further single while
'50-50- is a chance of pace and at a second under five minutes is also the
longest track on Comedown Machine. It's understated vocals coupled with
the excellently produced drums throughout make this a personal highlight and
possibility of a classic in the making. Halfway through the song soars to
unexpected highs and shines with an atypical aesthetic.
Without dissecting and analysing every single track on the
album, it's difficult to convey just what this album sounds like. It's all at
once undeniably The Strokes, but it's not The Strokes as you know them. Given
their contract is up; this could be the band foreshadowing the road their
planning on taking now they're free of the constrains of a label. There's still
elements of the ballsy garage rock there, but there's also a newer, shinier
veneer that the band have encased themselves in. The inclusion of a synth might
well deter people who have buried their heads in the sands of the first two
albums, certainly on their initial listens, but Comedown Machine is an
album that will grow on you. From the preprogrammed Casio-beats to Casablanca's
atypical vocal parts across the majority of the album, it's certainly a bold
move for a band who's last album didn't fair nearly as well as those that
preceded it, but if it's the music they want to make, who are we to stop them.
Eclectic and erratic, different and dance-y, there's surely something for even
the most stringent of fans.
A couple of listens in and the new Peace album already feels
very familiar – yes the songs are memorable, catchy and at times anthemic all
of which help draw you into a new album, and with this being a debut album, a
new band. However, a big part of Peace’s familiarity comes from the fact that
their influences are heavily stamped all over “In Love”. Making notes for this review, my notepad
reads like a list of bands that certain tracks soundlike – Oasis, the Cure,
Stone Roses, My Bloody Valentine, Happy
Mondays, Blur, Charlatans, Smashing Pumpkins & even the Beatles (just
listen to California Daze) are all scribbled down. Don’t get me wrong this doesn’t make it a bad
album and with a touch of that math-rock sound it brings it a bit more into
this century, it’s just a shame they don’t really bring anything new to the
table, considering their hype as being one of the new bands for 2013. It does have a lot of well written upbeat
songs that will keep you going back for one more listen though, the highlights
of the album being “Lovesick”, “Wraith”, “Delicious” & “Toxic”, so if you
want to go and have an enjoyable (just over) half hour full of good melodies and
more than a touch of nostalgia then…… all we are saying is give Peace a chance.
(sorry couldn’t resist that line!)
David Robert Jones, better known
as David Bowie has been gracing the
British public with various blends of his music since 1962. After a
multiplicity of failed releases with several ill-fated blues bands, Bowie
struck out on his own in 1967 and never looked back. His albums have spanned
both genres and generations, garnering him legions of fans across the world.
From his flamboyant androgyny through the 1970s and his involvement with the
new romantics in the 1980s right down to his production of soundtracks and even
starring in films himself there's not much that Bowie hasn't done over the
course of his 50 year career. Now, 45 years after his self titled début, he
releases his 20th studio album, The
Next Day.
Fans awaited this album with
baited breath, given that it's been a decade since he had last released album
and even longer since he last released one worthy of his own legacy. After
quietly leaking 'Where Are We Know?' on his 66th birthday, many
thought The Next Day would be a
continuation of the single. The truth is, the majority of tracks featured
across the album are nothing at all like the single. Whereas 'Where Are We
Know?' is perhaps meant to be Bowie's very own 'Perfect Day' minus the heroin,
the rest of the album is an eclectic mish-mash of varying genres; much like his
career.
Fourth track 'Love is Lost' is
synth heavy and emphatic, a crunchy guitar perpetuates the intro while the
verses are unmistakeably Bowie. The whole song is a dark and broody affair
which encapsulates the alienation ultimately felt by Bowie himself throughout
the course of his career. The song reaches a crashing climax featuring
multi-layered vocals and impressive harmonising that adds to the overall
aesthetic. Track 8, on the other hand, 'I'd Rather Be High' is brilliantly
upbeat and is one of the best vocal performances on the album. A dreamy chorus
springs to mind some of Bowie's earlier work and would be perfectly suited to a
Summer's evening in a beer garden. The guitar leaves behind the chunky riffs
that populate a lot of the tracks on The
Next Day and is melodic and harmonious, taking a cue from some of the more
contemporary indie-pop bands.
'Dancing Out In Space' features
some fantastic brass work, even if the drumming falls a little flat as it
rarely changes. Uplifting and melodic, the silky smooth jazz-fused veneer is
given an edge in the form of Bowie's vocals which are somewhat abrasive,
keeping in fitting with a song that's disconcerting and different, but one
which is sure to grow on you.
'(You Will) Set the World on Fire'
is just all out classic rock. A chunky guitar riff drives the song forward
throughout the first half and hears the vocals sounding particularly sleazy.
The second half of the album however, takes a change as he's joined on vocals
by Gail Ann Dorsey and Janice Pendarvis, and though the driving guitars are
still there, particularly in the solo, the male/female dichotomy gives further
edge to a song that would have come off as formulaic and filler without it.
'You Feel So Lonely You Could Die'
is perhaps the song on the album most similar to first single 'Where Are We
Now?'with a higher degree of optimism and much more uplifting. The song closes
spectacularly with further appearances from Dorsey and Pendarvis.
Long time fans of Bowie, who felt
somewhat slighted by the single take from The
Next Day will be pleased to know that this album is a veritable orgy of
different influences and moods, rarely starying in to the slow and mournful
realms exhibited by 'Where Are We Know?' In fact, unlike many of Bowie's
contemporaries, whom try and capture the sounds of their heyday and rehash the
same old formula, here Bowie has branched out and incorporated a multitude of
styles across the 14 tracks. While not quite reaching the same levels of
avant-garde of some of his 1990s outings, The
Next Day is still quite an experimental album, particularly with last track
'Heat' which needs to be heard to understood; words won't do it justice. This
album earned Bowie his first number one since 1993's Black Tie White Noise and it's easy to see why. This whole album is
something that needs to be listened to in it's entirety several times to allow
the almost bipolar nature of it to fully sink in. This isn't Bowie at his best,
but it's bloody close and a damn fine comeback album.
It seems to be THE thing to do lately - to live stream your new album a week or 2 before its released for free, and that is what the Strokes have done too! So have a listen now to the brand new Strokes album "Comedown Machine" - let us know what you think of it either here or on our facebook page.
Enjoy: http://pitchfork.com/advance/48-comedown-machine
Johnny Marr is a man who really needs no
introduction. He's played in a myriad of bands spanning his thirty year career
including Modest Mouse and The Cribs as well as a little-known
Manchester band called The Smiths. He has an impressive total of 18 studio
albums already under his belt with forthcoming album The Messenger, his first outing as a solo
performer, making it 19.
The album opens with 'The Right Thing Right'. A Pete
Townshend sounding guitar fills this song from start to finish and is
easily the highlight of this song. Marr's vocals are perfectly adequate but
there is obviously a reason he plays guitar more than he sings. Despite the
punchy guitar riffs and an effective solo the song seems to fall short. The
first track on every album needs a sense of immediacy, something that grabs
you; draws you in. Ironically, lacking that, 'The Right Thing Right' just feels
wrong.
The first single taken from the album is 'Upstarts' and
thankfully it fairs better than some of the tracks on this album. There is more
energy and urgency here. Drawing comparisons with the likes offellow
Mancunians Buzzcocks. Marr's vocals are an improvement here, sounding
almost Ramones like, especially in the chorus. Following track
'Lockdown' is again another impressive effort and features an incredibly
nostalgic guitar, however, you can't help but feel that the song wouldn't
benefit from Morrisey's warbles if not his lyricism.
'Sun and Moon' is another stand out song on the album. A
ballsy bass riff rumbles along propelling forward a track which is all out
sleaze. The abrasive solo is a particular highlight, as well as Marr's vocals,
surprisingly enough.
This isn't strictly a bad first effort from the former
Smiths' guitarist, there's some solid songs featured across the course of the
12 tracks. However, maybe it's because
of the buzz surrounding the album and it fell victim to it's own hype, but it
just feels a little flat. Marr's guitar playing is obviously on top form. It's
a nostalgic return, in most part, to his jangly roots, and that is something
for which we can be thankful.
Unfortunately there just seems to something missing from The
Messenger. Like 'The Right Thing Right' there's nothing here that
particularly grabs your attention; there's nothing you've not heard before. It
was a case of starting as you mean to go on for Marr which is a shame given the
average nature of the song which set the standard. At least he's consistent if
nothing else.
Hailing from deepest Herefordshire, Heed The Thunder are
perhaps the antidote to the pseudo pop-folk middle-classery of Mumford and
Sons. The four piece band (with occasional additional collaborators), led by singer
and lyricist Alex Gordon deliver an album of 12 well-crafted songs that prove it
takes more than a neckerchief and a banjo to play folk inspired sounds full of
soul and passion.
They dub their style, ruralcore; a mix of skiffle, Americana
and traditional English Folk music. All of these influences, plus many more,
are evident across the debut album, All Those Black Years, which was recorded
in two days in a friend’s kitchen. The majority of what you hear on the record
are full band, live recordings and, whether an artistic decision or a monetary
based one, it proves to be the right one. By recording this this way, none of
the chemistry in the band is lost. The final recording includes all those
delicate interplays and slight imperfections that make live music so appealing.
The album starts slowly with Walking Blues and the Sadness
In Me, both of which are gentle and reflective ballads. However, it really
starts to come alive on Precious One. It’s the stand out track on the record
with a foot tapping beat, lively trumpets and a huge sing-a-long chorus.
Other highlights include Baby Got To Run, which is the most
up-tempo track on the album, the oddly named Donkey Blood and Easter Tree. Written
by English folkie, Dave Goulder, it’s a modern take on the traditional folk
song, ‘The Gallows Tree’, a haunting ballad about a tree used to hang poor
unfortunate souls.
There are of course weaker moments to be found. The final
two tracks, ‘All Those Black Years’ and Scottish’, go beyond mournful and start
to head toward dreary. It’s a shame to have the record finish like this but the
strong moments along the way do stick in your head and will bring you back for
repeated listens. Every track here is well written, both in terms of lyrics and
musical composition with a deep vein of strings and brass adding many layers to
the mix. Alex Gordon’s voice is splendid
as well. Effortless and rich but, most importantly, not perfect. It sums up
everything that Heed The Thunder offer and everything good music should be; full
of passion, spirit and feeling.
Yes - you can listen to the new album from David Bowie - The Next Day - in its entirety for free!!! Thanks to the nice people at iTunes!!! Listen Up Manchester are having our first listen as we type up this blog post and can confirm that it sounds amazing (only at 3 tracks in so far)
Enjoy! click here for: David Bowie - The Next Day
Nick Cave and The Bad Seeds released their debut album ‘From
Her To Eternity’ back in 1984. Now, 15 albums and nearly 30 years later, ‘Push
The Sky Away’ sees them at maybe their most dark, poetic and beautiful. Sharing
more in common with the seminal 1997 album, ‘The Boatman’s Call’, than their
more recent works, this is an album of deep, dark fairy tales told over gentle
atmospheric piano.
In a musical sense, it’s a very much a stripped back and minimalist
affair. Music here is used to create the atmosphere and Nick Cave’s distinctive
baritone is the driving force. The opening track to the album, ‘We No Who U R’
is a poetic and eerie number, with lightly threatening overtones (We know who you
are, and we know where you live’) On ‘Waters Edge’, Cave paints a picture of a
seedy, apocalyptic underworld where the old men (‘you grow old, and you grow
cold’) watch girls dancing on the streets ‘shaking there asses’.
In many ways its perhaps not right to describe these as
songs, there more like gothic poetry. The music certainly set the tone but you’re
always drawn back to the vocal and Nick Cave’s voice is so enticing, you don’t always
need to understand the meaning behind the lyrics. The way they’re delivered is
enough.
Another highlight is ‘Jubilee Street’, which is one of the
few tracks where the music itself really comes into its own, building and
swooping to a climax. In a surreal touch, this is followed in the second half
with ‘Finishing Jubilee Street’, a song about the writing of the earlier track.
All in all, it’s a big departure from both 2008’s ‘Dig,
Lazarus Dig!’ which was a big, bold confident record and Cave’s side project
Grinderman, an outlet for his more loud and frantic offerings. However, it’s
certainly not unknown territory and is perhaps one of his more accessible
records in recent years. If you’re ready to indulge in some beautiful, yet dark
storytelling, like no-one else can offer, there is plenty to intrigue you here.
Ethan Johns live at the Sacred Trinity Salford 18.02.2013
Review by Jon Birch
Photography by John Cooper
This is the second church gig I’ve been
fortunate enough to attend in Manchester and it’s an utterly different
experience from any big arena, or theatre show you’ll go to. In such an
intimate setting, the artist is able to connect directly with the audience in a
way that’s just not possible in larger venues. The audience as well tend to be
different too, real fans engrossed in what’s taking place in front of them.
It’s a real music lover’s experience.
It’s a surprise to me that the show
isn’t sold out and tickets are available on the door. There’s a certain thrill
in getting on board with an artist before they break into the mainstream,
particularly if you know that what they offer is something pretty special. It’s
like knowing a secret before anyone else. On entering the main body of the
church, support act Marika Hackman is on stage. She’s a fragile looking
creature who sings folk songs with a dark edge. She’s an artist that could
easily be swallowed by a bigger venue but the gentle finger picking guitar and
haunting vocals are perfect for the location.
The Pugh’s are full and extra chairs
have appeared for the latecomers as Ethan Johns’ takes the stage. He’s dressed
in a black suit, with a loose, crooked black tie and his messy hair and full
beard complete the dishevelled look. He greets the audience and kicks straight
off with ‘Hello Sunshine’, the album opener. It’s a gentle arpeggiated ballad
and straight away he’s got the room under his spell. It’s been a long tour and
it’s evident as he follows on with ‘Red Rooster Blue’ that it’s taking a few
minutes to get his bearings. He stops half way through and with a bashful smile,
acknowledges he’s sung the first verse twice. With such an intimate setting it
works to his favour; we’re all in on this together and it’s all part of the experience.
He goes again and it’s on the mark this time. The song, he explains, was
written initially for Bush and Blair but dedicates this performance to Cameron
and Milliband. The political theme is one that’s carried into quite a few other
tracks, particularly the rousing call to arms, Valley. These are thoroughly
modern protest songs with a thoroughly traditional sound.
The pace and sound level is upped
considerably as Johns plugs in for ‘Morning Blues’, the drum machine accompaniment
coming from his iPhone. It’s a classic blues track with a deep throbbing bass
line that shows his versatility as artist. A quick apology to The Man upstairs
(‘he won’t have liked that one, this might go down better!’) and Johns’ takes
to the piano for the musing and mournful ‘Eden’.
Throughout the set, he introduces
several new songs, again covering a variety of genres. The highlight is ‘Black
Heart’ (the second and last time he goes Electric), a track driven by Swampy-Blues
style slide guitar and littered with Americana imagery. He explains that he’s
been writing non-stop on the road and these songs are very raw and still works
in progress. Even with this being the case, there is enough here to make a
second album a very exciting prospect.
Johns’ manner throughout the show is
engaging, warm and friendly. For someone who’s been around high profile
musicians for much of his life, he doesn’t display the slightest hint of ego.
His humour is self-depreciating as he tells anecdotes and explains the stories
behind his songs. Part of the beauty of playing a venue like this is that he
can talk directly to the audience. With a a different act, not so readily
willing to converse, let alone admit they may have failings (‘I’m no good at
the talking parts, music does all my talking, it always has’) the atmosphere
could easily go stale. Johns’ has such a warm manner and charm that there’s
never a danger of that.
There is also a generous spattering of
covers including a beautiful and breath-taking version of Gillian Welch’s ‘Revelator’(http://www.youtube.com/watch?v=r4LdjEObjGo)and an encore, that isn’t really an encore
(we’re asked to imagine he’s walked off and come back), of Howard Eliot Payne’s
‘Lay Down Your Tune For Me’. The former, he says, may be included on the next
album and it would be a huge shame if it’s not.
It’s refreshing to see an artist,
particularly one who has been in around the industry for so long, that is so
humble and grateful. As soon as he’s bowed his head and accepted the applause,
he’s down to the merchandise stall at the entrance to the church, signing
albums, shaking hands and thanking each and every person for coming.
The next time he plays in the UK, it’s
likely to be in a much larger venue. His music will definitely translate to
that (and in fact, he talks of how he envisages full band versions of some
tracks), but I feel absolutely privileged to have had the opportunity to see
him play such an intimate setting.
Funeral For a Friend live at NQ Live, Manchester 16.02.2013
written by David Beech
I often think that, as a band, it must be quite
disheartening playing smaller, more intimate venues after several years of
larger ones. It's almost an admittance on the behalf of tour managers/promoters
that your fan base isn't what it once was or that your music doesn't resonate
the same way it once did. However tonight's show at NQ proved that, for Funeral
for a Friend at least, a downsizing in venue doesn't always mean a
regression in career. In fact, the very notion that the band are still
releasing albums and touring when so many of their contemporaries have fallen
by the wayside proves that they're a band that still have a lot left to give.
The first band of the night are I Divide. Exeter's
freshest five piece have been hotly tipped as a band to watch out for over the
coming months and seeing them live it's easy to see why. Though they've only
been a band since 2011 their music is as confident as it is accessible. Pop
hooks punctuate heavy riffs throughout in a style that will no doubt appeal to
fans of bands such as You Me At Six or Saosin. The band upholds a
kind of youthful exuberance and despite playing to a limited crowd, it's
transferred to those already at the front, foreshadowing what's expected to be
an energetic show.
The second band to grace the stage are Major League,
a pop-punk quintet from New Jersey. Despite this being the first time in the UK
for the band, they have already garnered a devout following amongst aficionados
of the ever-growing transatlantic punk scene. Capturing the lovelorn innocence
of bands such as New Found Glory and The Ataris, it goes without
saying that Major League will break a whole new generation of hearts in much
the same way the aforementioned were doing ten years ago. You would be forgiven
for thinking that Major League were the headlining act tonight. They give their
all and the crowd reciprocates. Fans of the band already sing back every line
and clamour for the microphone each time it's offered by vocalist Nick
Trask. If the job of the support band is to warm up the crowd then it's
safe to say that Major League go above and beyond the call of duty and have no
doubt converted a slew of new fans (myself included) nationwide.
The final support are Such Gold, part of a new
generation of pop-punk bands who take as much influence from 90s emo bands such
as The Juliana Theory and Christie Front Drive as they do Blink
182 or Green Day. That doesn't mean their show is an exercise in
self-pity or pop-punk cliché. Their blend of hardcore inspired gang-chants
coupled with melodic guitar parts whips the crowd in to a frenzy. As they're a
band who have already established themselves, a fair few members of the crowd
are obviously here to see Such Gold above the headliners. Circle pits form at
least every other song and fans are drawn in with reckless abandon. 'Sycamore'
is a particular highlight of their set and is spurred on by vociferous crowd
reactions, much to the chagrin of a security guard who overtly and perhaps
unnecessarily felt compelled to make his presence known. However, over-zealous
security can't detract from the fact that Such Gold who, despite being fairly
new at the game, come across like they've been doing this for years. Their
mixture of hardcore and pop-punk might not be to everyone's taste but they were
a perfect choice for tonight's main support and only just overshadowed by Major
League's ebullience.
At 8.30 Funeral For A Friend take to the stage to riotous
applause. Despite it being 6 years since the release of their most commercially
successful album, Tales Don't Tell Themselves, Manchester's NQ is packed
to the unusually low rafters, confirming once again that commercial success
counts for little when your fan base is a loyal as FFAF's. Opening with
long-standing favourite 'She Drove Me to Daytime Television' causes the most
raucous response thus far. Choosing to omit the more melodic tracks from new
album Conduit was a wise decision given the bands limited time-slot and
the hardcore enthused elements of contemporary tracks such as 'The Distance'
and 'Grey' slot in next to fan favourites such as 'Roses for the Dead' and 'You
Want Romace?' as if they've always been there. Front-man Matt Davies keeps the
crowd entertained between songs, even going so far as to cheekily ask the
aforementioned over-zealous bouncer if the crowd could “start a circle pit
around the entire venue?” to which he understandably declines. Penultimate song
of the night is the band's début single and my personal favourite 'Juneau'.
Finally hearing this song live, a decade after it's release is something really
special for me, and the majority of the crowd too given their reactions.
However, the song that receives the best reaction of the night however belongs
to'History', taken from 2005s Hours. Davies is barely audible
over the crowd who sing back every lyric as if it was their last night on earth
and as the closing chords ring out, there's not a person in the room who can
leave tonight doubting the staying-power of a band once tarred with the emo
brush.
Be that as it may, tonight wasn't without it's drawbacks.
There were some minor issues with the sound quality across the board, this was
particularly noticeable during FFAF's set which is a massive shame; this
however can be attributed more to the location of the venues sound desk (the
side of the stage) as opposed to the bands overall performance. In fact any
complaints on tonight fall at the feet of the venue as opposed to the acts.
NQ
feels more like the club it is than a venue that plays host to some of the
biggest bands of yesteryear and ending on a negative feels somewhat ill-fitting
given the quality of the music on show tonight. Sure there were some songs
which felt a little flat when compared to the singles, but that’s the perils
you face when playing newer material live. All in all this was a solid show and
one which cements FFAF's place as one of the top contemporary British bands. It
doesn't matter whether they're headlining the Apollo or a backstreet dive such
as NQ the passion and the heart that went in to their previous records is back
with a vengeance and as long as Davies and co keep making music like they are
doing, long may their hearts stay broken and permanently on their sleeve.
If Not Now Then When, is the debut solo album from prolific
record producer, Ethan Johns. The son of the legendary Glyn Johns, producer for
the likes of The Rolling Stones, The Faces, The Who and Eric Clapton to name
but a few, Ethan has a mightily impressive pedigree of his own. He’s the man
behind The Kings Of Leon’s first two, sound-defining albums and has worked with
the likes of Joe Cocker, Ray LaMontagne and Laura Marling.
As the title suggests, it’s a record that’s been long
planned and on first listen, Ethan Johns has got plenty to offer as a solo
artist. There’s a wealth of genres packed in here, from the mournful acoustic opening
of Hello Sunshine, the full on Blues-Rock of Morning Blues to the upbeat Americana
of Red Rooster Blue.
With the record just ten tracks long, it does sometimes feel
a little this mass of styles has been crammed together; across the opening few
tracks, it almost lurches from genre to genre, pieces of a jigsaw that don’t
quite fit. However, it comes together on The Turning which see’s John’s at his
most contemplative. There’s something of the wistful beauty of Nick Drake in
the soft piano and clear reflective vocals. It’s a beautiful, moving song and
leads the album into its strongest section with the Nick Cave-like, Rally and
Don’t Reach Too Far.
Johns has worked closely with Ryan Adams for much of his
career (he took the helm for both Adam’s seminal 2001 album Gold and its
predecessor Heartbreaker) and Adams, along with Laura Marling, joins in for the
lead track, Whip Poor Will, contributing a backing track of haunting vocals and
subtle slide guitar.
Throughout his time behind the desk, Ethan Johns has worked
with a wide range of musicians and that’s openly expressed in his music. It’s
the reason why so many genres are on display here and why many tracks sound so
readily influenced by others. What it does lead you to wonder is, is it his
style that has been influenced by those he’s worked with or is it maybe the
other way round? This is a decent debut that showcases Ethan John’s many talents
and, if there is a follow up, it will be intriguing to see which direction he
takes next.
Finding success off the back of the ill-fated nu-rave scene
of 2007/2008, Oxford's Foals managed to avoid the break-ups that many
other bands suffered and yesterday released album number three: Holy Fire.Gone are the progressive math-rock beats and off-kilter angular guitars
that populated earlier releases and in their place are gentle, ambient synth
patterns, jazz influenced guitars and silky smooth vocals. It's a far cry from
the days of 'Cassius' and 'Hummer' and a direction that won't please everyone,
The first single taken from Holy Fire is 'Inhaler', a
song which aims a little too high with what it wanted to achieve. A messy
breakdown halfway through the song hampers the quality and seems somewhat out
of place given the steady plod of the verses. There's an attempt at utilising
shifts in dynamics here, which unfortunately doesn't work well and leaves the
song feeling erratic.
Track four on the album 'Bad Habit' fortunately sees an
increase in quality. As a gentle drum beat slowly gathers momentum and
instruments until it breaks out in to a chorus reminiscent of New York's Black
Kids.
Late Night is the sixth track on the album and
features a disco tinged breakdown towards the end which is completely out of
character for the band and really doesn't help their case any.
Holy
Fire is
an album which has lost all the youthful energy and urgency that made Foals
earlier records so fresh and exciting. It's a natural progression for a band to
feel that they need to move away from their initial sounds, it stops their
sound becoming formulaic, even boring. But the idea is to keep it fresh and
interesting; to bring an element of maturity to their sound, not retirement.
Foals have made an album that is essentially all fluff with the occasional
moment of quality. Rarely does Holy Fire rise above anything more than
just an 'okay' album. The production quality is first-rate. But that doesn't
help when everything can be described as beige at best. Unfortunately Foals
have fallen victim to an overt case of 'all filler no killer' and would do well
to revert back to their exuberant party tunes before they alienate fans further
than Holy Fire might well do.
So i'm guessing a lot of people have seen & had a go on the recent facebook post going round "100 most influential albums" - one of our favoutite "critiques" had a go and thought there were clearly some blatent errors so has compiled his own. Here is the list from Mr Carbohydrates (AKA the Moleholme) - let us know your thoughts and comments!!!
The 60’s------------- Beatles “Revolver” / “Sgt. Pepper Lonely Hearts Club Band” / “Magical Mystery Tour” Jimi Hendrix Experience “Electric Ladyland” MC5 “Kick out the Jams” Beach Boys “Pet Sounds” Bob Dylan "Bri...ng it all Back Home” Johnny Cash “At Folsom Prison” Doors “Debut” Love “Forever Changes” Velvet Underground & Nico “Debut” The Small Faces “Ogden’s Nut Gone Flake” Kinks “Something Else” Captain Beefheart “Trout Mask Replica” Electric Prunes “Mass in F Minor”
The 70’s---------- Nick Drake “Bryter Layter” Fleetwood Mac “Rumours” Marvin Gaye “What’s going on?” Roxy Music “Debut” Kraftwerk “Autobahn” Neil Young “Harvest” Simon and Garfunkel “Bridge over Troubled Waters” Pink Floyd “Dark Side of the Moon” / “The Wall” David Bowie “Low” Iggy Pop “The Idiot” Rolling Stones “Exile on Main St.” Clash “London Calling” Sex Pistols “Nevermind the Bollocks…” Stooges “Raw Power” Joy Division “Unknown Pleasures” Queen “A Night at the Opera” The Jam “All Mod Cons” Ramones “Rocket to Russia” The Who “Quadrophenia” Elvis Costello “My Aim is True” Bruce Springsteen “Born to Run” Lou Reed “Transformer” PiL “Metal Box” Led Zeppelin “IV” The 80’s-------------- Black Flag “Damaged” Misfits “Walk Among Us” Prince “Purple Rain” The Fall “Grotesque” Psychedelic Furs “Debut” Tears for Fears “The Hurting” Talking Heads “Remain in Light” Sonic Youth “Daydream Nation” Pixies “Doolittle” The Stone Roses “The Stone Roses” Smiths “The Queen is Dead” Jesus & Marychain “Psycho-candy” Echo & the Bunnymen “Ocean Rain” U2 “Joshua Tree” New Order “Technique” Talk Talk 'It’s My Life' Dexy’s Midnight Runners 'Searching for the Young Soul Rebels' Cure “Disintegration” Guns’n’Roses “Appetite for Destruction"
The 90’s------- Happy Mondays “Pills n Thrills & Bellyaches” Ride “Nowhere” Teenage Fanclub “Bandwagon-esque” Massive Attack “Blue Lines” Smashing Pumpkins “Melancholy & the Infinite Sadness” Spiritualized “Ladies and Gentlemen, We are Floating in Space” Primal Scream “Screamadelica” / Depeche Mode “Violater” Oasis “Definitely Maybe” Radiohead “OK Computer” REM “Automatic for the People” My Bloody Valentine “Loveless” Suede “Dog Man Star” Beck “Odelay” Nirvana “Nevermind” Pearl Jam “Ten” Manic Street Preachers “Holy Bible” Mansun “Six” Jeff Buckley “Grace” Bjork “Post” Moby “Play” Elliott Smith “Xo” Portishead “Dummy” Nine Inch Nails “The Downward Spiral” The La’s “Debut” Mercury Rev “Deserter’s Songs”
The 00’s----------------- Primal Scream “XTRMNTR” Radiohead “Kid A” Libertines “Up the Bracket” Interpol “Turn on the Bright Lights” At the Drive-in “Relationship of Command” Strokes “Is This It?” Sigur Ros “Debut” Jimmy Eat World “Bleed America” White Stripes “Elephant” PJ Harvey “Stories from the City, Stories from the Sea” LCD Soundsystem “Sound of Silver” The Horrors “Primary Colours” Queens of the Stone Age “Songs for the Deaf” Arcade Fire “Funeral” / “The Suburbs” (yes its the 10's)
Review by John Cooper Listen Up Manchester album rating 9/10 The opening lines to the new Eels album “Wonderful, Glorious”
(their 10th studio album) set the tone nicely for the rest of the
album “nobody listens to the whispering fool, are you listening? I didn’t think
so, I’ve been as quiet as a church-house mouse, tiptoeing everywhere I go, I’ve
had enough of being complacent, I’ve had enough of being a mouse, I no longer
keep my mouth shut, bombs away, I’m gonna shake the house” for this album has a
real fighting spirit to it and sounds like E (aka Mark Oliver Everett) stating to the world he's no longer gonna put himself down & he's got something to say. The usual trademark understated melancholic Eels
sound is still there beneath the surface, but its given a real boost and a bit of a lift - in particular
by the lyrics. The very next track E proclaiming he’s
“feeling kinda fuzzy” a reference to his ongoing battle with depression, but he’s
“up for the fight”. Talking about the album recently, E commented “It probably would have
been predictable if I’d done a bummer album after ‘Tomorrow Morning’, which was
pretty positive, but a more interesting curveball was going further with the
positivity.”
The lead single form the album sits nicely
after the much gentler “Accident Prone” which gives it (“Peach Blossom”) much
more impact when its rocksteady drumbeat and heavy fuzz laden guitar intro
kicks in. E claiming that its his favourite track on the album along with “On
The Ropes” – which as the title implies is another track that embodies that aforementioned
fighting spirit of this album (“I’ve got enough fight left inside this tired
heart, to win this one and walk out on my feet”).
“New Alphabet” has a Beck-like quality to
it and kicks in to become a bit of a rocker & further tracks “Stick
Together” & “Open My Present” keep the momentum running throughout the
second half of the album. Amongst all this there are some tender moments here,
most notably the track “True Original” a beautiful ballad, (sounding more like
earlier Eels work) in which E states he’d “stand between the bullet and her”.
The album finishes on a high – a very warm
positive song “Wonderful, Glorious”, that rounds things up nicely and tells the
listener everything’s gonna be alright! Give this album the time, attention and
love it deserves (“my love is beautiful and its here for the taking”) and each
listen to it will reward you further.
Back in
2008, Jim James became obsessed with the early Graphic Novel, God’s Man by Lynd
Ward. In what was a ground breaking format for the time, the book tells the
story of an impoverished artist who accepts a gift of a magic paintbrush from a
stranger clad only in black. The artist at first finds riches beyond his
wildest dreams but soon finds himself losing his sanity and ultimately, his
life, as the true nature of the stranger is revealed.
Taking time
away from his day job with My Morning Jacket, he began composing and writing
songs inspired by this tale and these would ultimately become his debut solo
album. The result is a quite beautiful record with a thoroughly dreamlike quality.
It’s what you imagine the afterlife must sound like; unknown, hazy and ethereal
but at the same time, comforting and safe.
It impossible
to pigeon hole this album and every track is different and takes on its own
form. The opening song, ‘State Of The Art (A.E.I.O.U)’, starts with a simple
piano backing with James’s vocal, both strong and fragile at once, telling a
cautionary tale of being careful what you wish for; ‘Your signing on forever.
When you ink it in blood’. ‘Dear One’ is driven by a complex drum beat and
fuzzy bass and ‘Exploding’ is a simple instrumental picked out on an acoustic guitar,
distorting and changing as it reaches its climax. As the album plays through,
it’s similar to being in a dream filled sleep; each one is slightly different
but once they’re finished, you can't clearly remember individual details, you’re
just left with the feeling they gave you.
If there is
one criticism, it’s that there are no natural peaks here; the album glides
along, in and out of consciousness, before drifting to a quiet close. At the
same time though, there are no real weak moments. It’s written to be enjoyed as
a whole and at just over 40 minutes long, it’s easy to let this wash over you
without feeling your committing too much. Come back repeatedly though and ‘Regions
Of Light And Sound Of God’ starts to reveal some stunning depths that are begging to
be explored.
Born off the back of a skate-punk resurgence, LA's FIDLAR
are living life to it's fullest and creating the kind of booze-fuelled
skate-sleaze your parents warned you about. Their self-titled début album is a
balls-to-the-wall surf-jam influenced by So-Cal punk bands such as The
Offspring and Blink 182 as much as earlier punk bands such as T.S.O.L
and Social Distortion.
Clocking in at just over half an hour long Fidlar is
a short, sharp kick in the ribs. Songs such as 'No Waves' ooze So-Cal attitude
and paint pictures of the holy trinity of Californian punk. Surfing; drinking and girls. While track six,
entitled 'Max Can't Surf' is full of sleazy guitar-licks and a surprisingly Weezer
like chorus.
Unfortunately the album isn't without it's downsides. About
halfway through, it does seem to get quite repetitive, as if you've heard it
all before. The lo-fi vocals, while suiting to the overall archaic sound of the
band, do seem to be slightly over used and would benefit from some respite
every now and again.
There are occasional moments where something particularly
special shines few, although they are few and far between. One such moment is
the shortest track on the album '5 to 9' which is a fantastic minute long
stomp-along that is bound to go down well during live shows. While 'LDN' sounds
like The Ramones meets The Beach Boys in a lo-fi surf amalgam
which is surprisingly inoffensive given the drug-addled subject matter of most
of the other songs.
Fidlar is an album that will almost certainly have
it's critics. On the surface it's an aggressively hedonistic portrait of Cali
life steeped in punk history (two members of the band are children to the
guitarist from aforementioned T.S.O.L). Beneath an obnoxious exterior however
is an album with promise and potential. Perhaps a second album will reveal a
maturity in their song-writing. But for now the lads are more inclined to drink
and snort their way through the royalties, but where else would they get their
subject matter for album number two from?
Review by John Cooper (special thanks to Lauren & Amelia for the photos)
When two special acoustic solo performances (an afternoon matinee
& an evening) by Liam Fray were announced a few weeks ago, scheduled for
the eve of the release of the Courteeners third album Anna, we knew we had to
get tickets to one of these shows. Tickets sold out fast (something Liam made
comment to and thanked the crowd for during his set saying that it had really
meant something to him), and we were more than happy to secure a couple of
tickets for the evening show. Also for the cost of £12, this not only included
the ticket, but a copy of the new album & and individually signed lyric
sheet by Liam – a real bargain.
We arrived at the Ritz a shortly before Liam
was due on stage, and battled our way to the busy bar amongst a crowd of die-hard
Courteeners fans. There was a real buzz about in the room, and when Liam walked
out the shouts (and screams) were both passionate and loud. Liam launched
straight into "How Come" and the crowd responded with singing every word with arms
outstretched towards their hero. Even stood to the side you could really sense
the atmosphere of this gig was going to be something special, I can only
imagine how intense it would have been right at the front in the heart of it all.
The first 5 songs were all classics from St Jude with the crowd knowing every
single word and singing back at a clearly humbled Liam. He carried on with a couple
of B-sides including “an Ex is an Ex for
a Reason” the B-side to the 7” version of the early single “Acrylic” probably a
good opportunity for him to dust off these rarely played songs. He then followed
up with a good mixture of tracks from Falcon and of course the new Album Anna. The
Stand out tracks that Liam played from the new album included “Van Der Graaff”,
“Marquee” & album closer “Here Come the Young Men”.
At one point during the
show a girl was pulled from the front after feinting and was taken by the security
staff to the side of the stage, after finishing the song he was playing – Liam ran
off for a few moments to check on her – something that was really good to see that
he genuinely cares about his fans – he could have easily left something like
that to the officials – so hats off to you Liam. Another
incident that happened during the show (something that seems to be a staple of
a Courteeners gig is the throwing of beer – why I’m not quite sure as its never
a cheap pint in most major music venues and just seems a waste of beer to me),
but this particular pint hit the stage and covered Liams back – he didn’t rise
to this, have a rant and walk off like some artists might – instead he got on
with doing what he does best and entertaining his crowd (who were already booing
the pint thrower who had soaked their hero). Liam rewarded the crowd with a
real crowd pleaser to finish on “Not Nineteen Forever” cue more singing in
adulation. The lights went down and everyone realised that one song was missing,
prompting the mass repeated chanting of “Whoh-oh-oooh U-huh-hu-oooh” the final
refrain of “What Took You So Long?” and indeed Mr Fray didn’t let down his
audience coming out for a one song encore of the song the crowd needed to hear.
Upon leaving the venue there were so many beaming faces and the continued
singing from them of “Whoh-oh-oooh U-huh-hu-oooh” filled the air as we filed
out. A truly memorable night where both artist and audience fed of each other
to make it one of those special gigs that will remain in the hearts and
memories of everyone who was there.
The
Courteeners burst on to the scene in 2008 with their debut album, St Jude. It
was an album full of raw guitar riffs, honest relatable lyrics and homages to
their hometown of Manchester. It was a huge success, reaching no. 4 in the UK
charts and prompting claims they were ‘the next Oasis’. That was followed by
2010’s Falcon which, although retained the down to earth lyrics, was a far more
polished record in terms of production and saw the band’s sound evolve with the
introduction of synths and strings into the mix. It was commercially well
received but is not as instantly accessible and ultimately, likeable, as the
debut.
Anna then,
is The Courteeners third full length album and sees them following much the
same blueprint as Falcon. There are some strong tracks to be found here but
there are too many that pass you by or, worse still, leave you reaching for the
skip button. The production quality is again high, and the sound has now evolved
to a point where, once the next great hope for guitar music, The Courteeners
now seem to be more concerned with embracing the trendy art-pop scene.
Opening
track, ‘Are You In Love With A Notion’, kicks in with an 80’style drum beat and
guitar riff and is a tale of falling in love and getting caught up in the
moment. The beauty of Liam Fray’s signature down to earth lyrics is that they’re
so easy to relate to. We all know someone who’s been in these types of
situations; ‘You told Deborah, that he is the one, you’re going to quit
Debenhams, elope and get married in the sun’. The strong start continues with
the lead single ‘Lose Control’. It’s by no means one of their career best but
it’s got a strong hook and enough synths and drumbeats to become a dance floor
staple at Indie club nights in the months to come.
Van Der Graaff
sees an attempt at a Kasabian style riff and Welcome To The Rave is a
reflection on the rise to fame, the changes it brings (‘I’ve got a pass to
Aladdin’s cave, are you coming with?’), and the fears that come with it. ‘When
You Want Something You Can’t Have’ and ‘Marquee’ are possibly the two songs
here that have most in common with the first album and share bittersweet
experiences.
This isn’t a
bad record; it’s just not exciting or enough to make you want to come back time
and again. There are tracks that will stay with you but there are more that
you’ll forget. Ultimately, if you’re a Courteeners fan, this will fit nicely in
your collection and you’ll sing your heart out to each song. If you’re not, I’d
advise you to give St Jude a listen.
From ancient civilisations to the internet,
where does music go from here?
The demise
of HMV is another timely reminder that the retail world is evolving and in
particular, the way people buy music has changed dramatically in a relatively
small amount of time. I read a comment from Comedian Frankie Boyle in his
tabloid column which I think sums up HMV’s plight perfectly; ‘HMV was the place
you went to when you had half an hour to kill in town but didn’t intend to
spend any money’. With internet shopping becoming secure, safe and above all,
value for money, there really is no reason for people to make their final
purchases on the high street anymore. This will affect all retailers to a
degree (John Lewis reported that 25% of their Christmas sales were conducted
online) but has hit HMV so hard because their main product and source of
income, music, has seen perhaps the biggest swing away from the high street.
It’s easy to
see why. Even though, I’m a self-confessed vinyl junkie and love the thrill of
hunting for that illusive record, a lot of my music collection is in MP3 format
from ITunes and similar online services. Its user friendly, instant and with
prices that a retail outlet can’t get near. In addition to this, purchasing a CD
is becoming increasingly redundant as MP3 files can be shared effortlessly
between laptop, tablet and phone. Digital music is clearly the future.
If you
believe the doom-mongers, this is going to mean the end of the music industry.
It’s certainly a massive time of change but for me, it’s perhaps the most
exciting time for music in the modern age. With the UK’s largest music retailer
closing its doors and many independents already gone (ironically, in a lot of
cases, because HMV or one of the other big chains came to town) the retail end
of the music industry is now firmly based on the World Wide Web. This opens up
a huge range of opportunities, not only for established artists, but for up and
coming acts and even unsigned bands. With Facebook, Twitter, YouTube and a
myriad of Blogging sites, anyone with an internet connection can share their
thoughts, views and their music with the world.
Self-promotion
is no longer about drawing up a few flyers and passing them around in pubs and clubs;
it’s now about your own web page, your own YouTube channel and easy connections
to the world. While the quality of home recording equipment goes up, the price
comes down meaning up and coming bands no longer have to shell out for
expensive studio time to put together that all important first demo. For new
artists, the possibilities and the opportunities to promote yourself are huge.
It doesn’t mean actually getting signed is any easier but it does mean you can
make your music available to a much wider audience yourself. Bands are now able
to build a considerable following and even play fairly large shows without
necessarily having a recording contract.
With the
evolution of digital music, the evolution of file-sharing has gone hand in hand
and there have been many claims that this will bring the music industry to its
knees. I don’t believe this at all but I do believe the industry needs to grow
and change with the times. We all taped off the radio as children and we all
copied friends CD’s. File-sharing is just an evolution of that, albeit on a
huge scale. It’s also something that’s not going to stop. It’s an unfortunate
fact but if the technology exists, then you’re not going to stop it being used.
Of course this
will have an effect on CD sales but this is where record companies need to get
smart. Established artists have barely scratched the surface of the potential
that digital media can offer. You only have to look at the resurgence in the
vinyl market over the last couple of years to see that the key is to make
something that people want and need to own. The opportunities for innovation
are endless and a few artists have started to embrace this. The Flaming Lips
for example launched songs in several different formats last year including a
Gummy Skull, with a USB stick hidden at the centre. The Doors entire catalogue
is due to be released as an IPad app later this year and will include unseen
interviews, essays and promo videos. Of course the tech savvy could crack this
and download it illicitly but again, by creating something new and innovative,
you tap into people’s desire to possess something, be it physically or
digitally. Other ideas have seen bands like McFly creating a members only area
to their website. The music is free but the subscription paid entitles you to
exclusive contact with the band and photos and tracks not found elsewhere.
Music no
longer has to be just an audio experience.
Nearly everyone nowadays has not only a music player but also a video
player in their pocket. This could see more examples of the music video being
not just an accompaniment to a song, but also a means to tell a story. In
addition to this, the simple album cover no longer needs to be a single image.
Why not an image per song, why not a video per song, the possibilities are
endless.
It’s easy to
sound the death knell for music but it’s important to remember that the music
industry in its current form is only around 60 years old. Before this time, pop
music wasn’t easily accessible and records weren’t widely released. It was only
in 1967 with the advent of Radio 1 that popular music was given its own place
on the airwaves.
Music in
itself has been around for thousands of years and is in no danger of going
anywhere. If you go to a museum and look
at the remnants of any ancient society, It’s fascinating to me that there are
three things you will always find in common. Tools for building, weapons for
hunting and instruments for music; It really is that important to a society. Digital
music and file-sharing won’t bring about the end of music but it will force
change and innovations and that can only be a good thing.
Throughout the set, he introduces
several new songs, again covering a variety of genres. The highlight is ‘Black
Heart’ (the second and last time he goes Electric), a track driven by Swampy-Blues
style slide guitar and littered with Americana imagery. He explains that he’s
been writing non-stop on the road and these songs are very raw and still works
in progress. Even with this being the case, there is enough here to make a
second album a very exciting prospect. 
There is also a generous spattering of
covers including a beautiful and breath-taking version of Gillian Welch’s ‘Revelator’(http://www.youtube.com/watch?v=r4LdjEObjGo)and an encore, that isn’t really an encore
(we’re asked to imagine he’s walked off and come back), of Howard Eliot Payne’s
‘Lay Down Your Tune For Me’. The former, he says, may be included on the next
album and it would be a huge shame if it’s not.
At 8.30 Funeral For A Friend take to the stage to riotous
applause. Despite it being 6 years since the release of their most commercially
successful album, Tales Don't Tell Themselves, Manchester's NQ is packed
to the unusually low rafters, confirming once again that commercial success
counts for little when your fan base is a loyal as FFAF's. Opening with
long-standing favourite 'She Drove Me to Daytime Television' causes the most
raucous response thus far. Choosing to omit the more melodic tracks from new
album Conduit was a wise decision given the bands limited time-slot and
the hardcore enthused elements of contemporary tracks such as 'The Distance'
and 'Grey' slot in next to fan favourites such as 'Roses for the Dead' and 'You
Want Romace?' as if they've always been there. Front-man Matt Davies keeps the
crowd entertained between songs, even going so far as to cheekily ask the
aforementioned over-zealous bouncer if the crowd could “start a circle pit
around the entire venue?” to which he understandably declines. Penultimate song
of the night is the band's début single and my personal favourite 'Juneau'.
Finally hearing this song live, a decade after it's release is something really
special for me, and the majority of the crowd too given their reactions.
However, the song that receives the best reaction of the night however belongs
to 'History', taken from 2005s Hours. Davies is barely audible
over the crowd who sing back every lyric as if it was their last night on earth
and as the closing chords ring out, there's not a person in the room who can
leave tonight doubting the staying-power of a band once tarred with the emo
brush. 
NQ
feels more like the club it is than a venue that plays host to some of the
biggest bands of yesteryear and ending on a negative feels somewhat ill-fitting
given the quality of the music on show tonight. Sure there were some songs
which felt a little flat when compared to the singles, but that’s the perils
you face when playing newer material live. All in all this was a solid show and
one which cements FFAF's place as one of the top contemporary British bands. It
doesn't matter whether they're headlining the Apollo or a backstreet dive such
as NQ the passion and the heart that went in to their previous records is back
with a vengeance and as long as Davies and co keep making music like they are
doing, long may their hearts stay broken and permanently on their sleeve.
