ALBUM: SEASICK STEVE - HUBCAP MUSIC

Review by Jon Birch

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.

ALBUM: FRANK TURNER - TAPE DECK HEART

Review by David Beech

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.

ALBUM: JIMI HENDRIX - PEOPLE, HELL AND ANGELS

Review by Jon Birch

Listen Up Manchester album rating: 8/10

‘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. 

ALBUM: THE STROKES - COMEDOWN MACHINE

Album Review by David Beech

Listen Up Manchester Album Rating: 7/10

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 4^th 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.

ALBUM: PEACE - IN LOVE

Review by John Cooper

Listen Up Manchester album rating 6/10

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!)   

ALBUM: DAVID BOWIE - THE NEXT DAY

Review by David Beech

Listen Up Manchester album rating 8/10

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 20^th 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 66^th 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.

ALBUM: JOHNNY MARR - THE MESSENGER

Review by David Beech

Listen Up Manchester album rating: 6/10

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 of fellow 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.

ALBUM: HEED THE THUNDER - ALL THOSE BLACK YEARS

Review by Jon Birch

Listen Up Manchester album rating 7/10

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.

ALBUM: NICK CAVE & THE BAD SEEDS - PUSH THE SKY AWAY

Review by Jon Birch

Listen Up Manchester Album Rating: 7/10

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.

ALBUM: ETHAN JOHNS - IF NOT NOW THEN WHEN?

Review by Jon Birch

Listen Up Manchester album rating: 7/10

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. 

ALBUM: FOALS - HOLY FIRE

Review by David Beech

Listen Up Manchester album rating: 5/10

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.

ALBUM: EELS - WONDERFUL, GLORIOUS

Review by John Cooper

Listen Up Manchester album rating 9/10

The opening lines to the new Eels album “Wonderful, Glorious” (their 10^th 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. 

ALBUM: JIM JAMES - REGIONS OF LIGHT AND SOUND OF GOD

Review by Jon Birch

Listen Up Manchester album rating: 8/10

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.

ALBUM: FIDLAR (Self Titled)

Review by David Beech

Listen Up Manchester album rating: 6/10

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?

ALBUM REVIEW: THE COURTEENERS - ANNA

Written by Jon Birch

Listen Up Manchester album rating: 6/10

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. 

ALBUM REVIEW: BIFFY CLYRO - OPPOSITES

Review by David Beech

Bucking the current coincidental trend of second albums released by bands this January are Scotland's Biffy Clyro who today released their sixth studio album entitled Opposites. Hailing from  Kilmarnock, East Ayrshire the band really need little introduction after their fifth album, 2009s Only Revolutions spawned the bands first top-ten single in the form of 'Mountains' which débuted at number 5 and served to extend the bands touring schedule as their popularity rose in turn causing the longest length of time in between album releases, a period of three years.

Opposites is a double album, a first for the band, and is best described as kind of dichotomy of sounds. The first half of the album entitled The Sand at the Core of Our Bones is described by singer Simon Neil as being “about putting things in the worst possible way and thinking you're getting yourself into a hole.” The music isn't necessarily melancholic or sad but there is an anger behind the music that wasn't present during Only Revolutions. This can be attributed, according to interviews with the band, to the sense of alienation found after prolong periods of touring with Only Revloutions.

The opening track titled 'Different People' builds with an organ followed by the unmistakable sound of Neil's vocals that straight away let's you know you're in familiar territory. The song is melodic, even by the bands more recent standards however it works well for them and you can hear the progression from the last album. The chorus of “I am going home/Forever and ever more/No, I was never born and there's no such thing as home/We used to stand so strong/That's why the others have gone” is classic Biffy Clyro. It's both uplifting in it's sound and delivery whilst the lyrics cover a darker subject matter that is evident throughout  the first half of the album.

Track two will be familiar to fans already as the first single off the album: 'Black Chandelier'. The song is a radio-friendly lament that describes feelings no longer reciprocated within a relationship.

This theme is continued in to track four 'Opposites' which is slow and melodic with a subtle string-section carrying the song.

Fans of earlier Biffy Clyro will be pleased to learn that the earlier math-rock sounds of albums such as Vertigo of Bliss are still there and are most prominent on tracks 'Sounds Like Baloons',

'The Jokes On Us' and especially 'Little Hospitals'. While this might be a point of contention between fans; the inclusion of obscure time-signatures is something Biffy aficionados will be pleased to hear, while the focus the radio-friendly sounds exhibited through Only Revolutions will keep even the most fair-weather fan happy and will certainly secure them fans in a generation not yet introduced to the band.

The second half of Opposites is a different story all together; described again by Neil as “looking more positively” when compared to the first half of the albums bleak outlook on life. This is immediately obvious as track 12 (or track one) 'Stingin' Belle' kicks in. Fans will have heard this track before, as it was the first song to receive radio airplay from the album and, although technically not a single, the song was available via download.

Track 14 'Spanish Radio' will surprise fans with the inclusion of a mariachi trumpet, which aids Neil's claims of the second half of the album being more upbeat and optimistic. Spanish brass inclusions aside, this does feel like the stadium-filling Biffy Clyro that you've come to expect and the songs dynamics rise and fall in a dramatic fashion that stems from years of song writing.

'Pocket' is perhaps the most accessible Biffy Clyro song yet. Harbouring pop sensibilities that will be recognisable to those familiar with Neil's sideproject Marmaduke Duke, the track is sweet and punchy with a simple piano melody running throughout. However the sweetness of the track makes the next track 'Trumpet or Tap' seem really quite jarring. The changing time-signatures will once again be a welcome relief to some but when included after 'Pocket' really detract from the overall feel of the song despite it's chorus being one of the more memorable from the over all record.

Perhaps the strongest three songs from the entire album are reserved for the finale. 'Accident Without Emergency' is probably the best of the three. A marching drum beat coupled with fantastically audible bass drives the song forward while an understated math-rock guitar ornaments the verses. 'Woo Woo' is as a aggressive a song as you're likely to find on the album and one which will please old fans as much as intrigue new ones and will sure to be a crowd-pleaser live. 'Picture A Knife Fight' is the penultimate song on the album (the last being an instrumental) and is a contender for best song on the album. As it the song plays out and Neil is singing “We've got to stick together”, you can't help but feel totally uplifted, although why we have to wait until the closing minutes of the album to hear songs as strong as the aforementioned is anyone's guess.

The releasing a double album is usually reserved for bands who are so wrapped up in their own sense of self importance they feel that all the tracks they write between albums are worthy of making the final cut and for bands that feel a 'greatest hits' album with the inclusion of a few B-sides is a worthwhile substitute for new material. However that doesn't feel the case with Opposites. At times the album may be spread fairly thinly, with a couple of tracks feeling like filler. Nevertheless this is a strong album, albeit not career-defining. The idea of a double-album so as to play on the dichotomous nature of the songs featuring on each disk is at once both interesting and bordering on the pretentious.

There is none of the usual concept album pomp here, despite the cover art being designed by Storm Thorgerson of Led Zepplin and Pink Floyd album cover fame, which is a complete relief. What we have instead is a concept album for the postmodern world. The sounds of the songs overall differ dramatically, not only from disk to disk, but from song to song while still managing to sound completely like the Biffy Clyro people have come to adore. While still not being the strongest album they've released, it is by no means a bad album, and one which has included enough pop to appease radio producers and with occasional elements of the angular guitars which have become a staple of their music. Let's just hope we don't have to wait another three years for the next album.

ALBUM REVIEW: I AM KLOOT - LET IT ALL IN

Review by Jon Birch

Listen Up Manchester rating: 8/10

Let It All In is the sixth studio album from Manchester based three-piece, I Am Kloot. Formed in 1999, the band has maintained a cult status and, with the exception of 2010’s Sky At Night (which reached no. 24 in the UK Chart and received a Mercury nomination), none of their previous work has made a mainstream breakthrough look likely.

Let’s be clear, Let It All In isn’t going to be the record that does that. It is an album of well-crafted songs, beautiful in some cases, but what this doesn’t have is that one track that grabs you and excites you. There is a 60’s pop feel throughout much of the record, listen to the retro styling’s of Jake Bugg and Miles Kane and its clear their influence is widely felt. Lyrically, there will be almost inevitable comparisons with their Manchester compatriots Elbow (front man Guy Garvey actually produces here, as he did for Sky At Night), and that does come across in the downtrodden Northern wit present in many of the tracks; opening track ‘Bullets’ asking ‘Do you think that someone could have snuck into your life, and overnight has changed the locks?’.

John Bramwells voice is smoother and clearer than Garvey’s though and there is a Beatles-esque sound to many of the songs. ‘Some Better Day’ finds Bramwell almost channelling John Lennon, singing along to a backing track including trumpets, harmonicas and tambourines.

The majority of tracks are simple but incredibly well put together compositions but they do venture into the extravagant occasionally; ‘Hold Back The Night’ builds progressively to a climax filled with strings and cymbal crashes. They even step into what could almost be described as psychadelica on penultimate track ‘These Days Are Mine’. The album finishes as it begins, on an almost tender note, with the gentle ‘Forgive Me These Reminders’ proving that it’s sometimes better to go out quietly. It’s possibly the highlight of the record.

It’s easy to initially pass this album off as dull or maybe even drab. There is no big hit on here, no song that stands out above the rest. However, repeated listens are highly rewarded and the subtleties of the lyrics become more and more apparent each time you hear them.

ALBUM REVIEW: JOY FORMIDABLE - WOLF'S LAW

Review by Richmal Lamb

Listen Up Manchester rating 8/10

Looking for home-grown British indie-rock band that delivers true rock sensibility at a loud volume? Look no further than the welsh trio Joy Formidable. 2011’s “The Big Roar” landed with as much noise as the title suggests, and they are back with their second full player “Wolf’s Law”.

It doesn’t take long for the first guitar cord to hit in, 44 seconds into first song “This Ladder is Ours”. The pulsating guitar is everything you would enjoy and expect from Joy Formidable, but on this particular track Ritzy’s vocals are rather on the saccharine sweet side. The next two tracks Cholla and Tendons, although packed with great riffs and crunchy guitar, lack some of the underlying bite of the “The Big Roar”. As the album progresses, the jewels of this album are steadily revealed and you can see the band’s evolution unfold. Rather than increase the volume of an already big sound, new instruments, song arrangements and a tad of psychedelia are thrown into the mix. “Bats” grows and grows from a snappy opening verse into an intense lolloping final crunch at 2:40; “Little Blimp” pummels and buzzes with so much energy that you can only imagine how good it would sound live. This reviewer’s favourite track “The Maw Maw Song” has a interesting psychedelic feel to it; it speeds up, slows down, and spins around breathlessly. There are some slower paced moments on “Wolf’s Law”: “Silent Treatment” is an acoustic number that would have sounded even better if it had not hampered by the unnecessary doubled-up vocals. “The Leopard and The Lung” is a beautifully layered track and“The Turnaround” is a elegant closer with backing vocals, a sweep of violin, and the ability for Ritzy to show off her huge vocal range.

Whilst not a perfectly executed album, the many various attempts at experimenting with the already huge Joy Formidable sound are highly commendable. In the shape of “Bats”, the band has a track to rival “The Big Roar”s colossus “Whirring”. This is a record that will reward you again and again with each repeated listen; Wolf’s Law will certainly give you more than enough thrills to have you howling back for more. 

ALBUM REVIEW: BROWN BROGUES - BORN TO LOSE

Review by John Cooper

Listen Up Manchester rating 6/10

Manchester based duo Mark Vernon & Ben Mather better known as Brown Brogues release “Born to Lose”, their debut album.  After growing a good following with their fast and furious live shows, I was intrigued to listen to the album to see how it translates to record. I’m glad to say they haven’t tried to polish their sound up (at all), and still deliver their own brand of scuzzy garage rock guitar sound with a pumping rhythm throughout. Vocals are loud and distorted, sometimes verging on punk and the whole album has a very lo-fi approach, almost sloppy in parts – with the Brown Brogues however this is not a negative. I would however say as an album it doesn’t quite work as well as it should with abrupt song endings and in parts it being a bit too far on the lo-fi end making the vocals at times too hard to decipher, but having said that there are some stand out tracks on the album too. Our favourites being “Mike, I Love You”, “May I Walk With You” and “I Drove For Miles Just To Hear About The Book That You’re Reading.  All in all if you like a two-piece who can hit it hard and create a hell of a racket then you’ll thoroughly enjoy the Brown Brogues “Born to Lose” album, but to fully appreciate this band – go and see them live!

ALBUM REVIEW: DUTCH UNCLES - OUT OF TOUCH IN THE WILD

review by Richmal Lamb

Listen Up Manchester album rating: 5/10

If I asked you to name a Manchester band at random, what would you say? Chances are you would name one of the big guns such as Oasis, Joy Divison, The Smiths or The Stone Roses. Perhaps Elbow, Doves, The Buzzcocks or Happy Mondays would be your choice. It would be safe to hazard a guess that the Stockport collective of Dutch Uncles would probably be rather far down your list. Quietly turfing out their own brand of alternative indie-pop since 2008, “Out of Touch in the Wild” is their third album after 2009’s self titled LP, and 2011’s “Cadenza”.

Listening to “Out of Touch…”, the comparisons with another, more famous, art-pop band are an obvious chip-shaped elephant in the room. The first single, Fester, could easily have been lifted from Hot Chip’s last effort. You can’t argue that it isn’t punchy and playful, and it is by far one of the highlights of the album. The changing time signatures across the album, which Dutch Uncles are use to great effect in tracks such as Flexxin and Bellio, propel the songs forward and give vitality and energy. Sadly this energy is not translated to all the tracks; Phaedra sounds weary rather than the sombre tone they aim for, and Brio passes you by unmemorably. Godboy is this reviewer’s favourite track; in which Dutch Uncles attempt to break the Chip-mould and use time-change, pause and electronica to great effect. “Microscope Head” is also one of the most interesting lyrics I have heard in a while! I would recommend this record to fans of Hot Chip, Everything, Everything, Field Music and Holy Fuck.

There are more than a few touches of brilliance within this album, but not enough to cause you to venture towards repeat listenings. In stepping up with the production, Dutch Uncles appear to have divorced themselves from the more distinctive sound they honed for themselves on Candez. Less cool uncle, more lukewarm chip; Dutch Uncles are not in danger of bothering anyone’s "Manchester: Best of" playlists just yet.