Suede – Bloodsports

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You’d be forgiven for thinking that Suede started and ended at being that other Britrock band that sounded a bit like Oasis and did the song that everyone knows but can’t remember the name of (you know, that one). Turns out that they’ve been busy – upon their reformation they’ve absorbed the rest of the 90s rock spectrum into their being too. I like to make comparisons in my reviews but this is no exaggeration: they sound like *everyone*. If the opener ‘Barriers’ had Bono on vocals nobody would bat an eyelid. After that comes ‘Snowblind’ which is R.E.M. reincarnated. Not just because the riff is straight out of Document, they’re gunning for the same pseudo-sinister lyrical stylings too. Speaking of, they turn into the Manic Street Preachers around halfway through, pulling off the same signature gear shift into a higher register at the typical 2-minute mark, and stay there for the duration of lead single ‘It Starts and Ends With You’ which couldn’t be more latter-day Manics if it tried.  After that, ‘Sabotage’ has a guitar bridge which I swear is almost exactly like something Coldplay have done. And so the album continues for the first seven tracks, front-loaded with potential candidates for new singles, unabashedly borrowing from bands that you never quite realised sounded so similar until they’re all played by the same cover band. Although Anderson’s vocal performance does justice (more or less) to the barrage of wannabe ballads, where it tries so hard to succeed is where the album ultimately fails. Take ‘Hit Me’ – it sounds more or less like any of the above tracks, presents nothing particularly new and then fizzles out to a chorus of ‘la la la’s. The obvious crowd bait in place of any real musical ideas says a lot about Bloodsports as a whole.

The final three songs are a bit more interesting. All of them are sparse and sort-of-ominous, sometimes relying on a lone echoing piano, sometimes with creepy prog-trock tendencies (minus the epic scale), relying more than ever on the frontman to carry the day. The problem, though, is partly one of structure: dividing the album into two distinct parts composed of samey and indistinct tracks lessens whatever individual impact any given piece may have had. Whilst Anderson’s range is well exercised, he never quite gets to the level of emotional strain that the closing tracks need to justify their dramatic premise.  Unlike many would-be comeback kids Suede won’t be embarrassed with their new effort, but it still leaves something to be desired.

5.5/10

Scott Reid

Theme Park – Theme Park

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Theme Park’s self-titled debut album, out earlier this year, is quite the disappointment. This indie-pop trio from London consists of brothers Miles Haughton (vocals, guitar), Marcus Haughton (vocals, guitar) and childhood friend Oscar Manthorpe (guitar). All in all, this album is inoffensive and easy to listen to and enjoy. However, it is essentially uninspiring and lacks energy. For me, I like to feel evidence of the care and attention put into an album. There is simply no passion, the vocals are clumsy and the songs are generic fillers despite being upbeat and vaguely charming.

Theme Park would certainly not be out of place filtering through an episode of ‘Made in Chelsea’, especially ‘Jamaica’ which is actually quite catchy. Similarly ‘Tonight’, ‘Ghosts’ and ‘A Place They’ll Never Know’ are chilled summer time beats. ‘Saccades’ is a very minimalist track… but I kind of like it.  If you’ve run out of sedatives and fancy a sleep this song is the answer. Like ‘Saccades’, it drifts in and out of clangy and relaxing moments, an interesting few minutes! One of my favourite tracks is ‘Two Hours’ which  has stronger vocals and feels more like a song than an ‘instrumental moment’ like the others. Primary to my concerns for this album is that the songs do not seem to be fully formed, resembling background music. ‘Big Dream’, ‘Wax’, ‘Still Life’, ‘Los Chikas’ and ‘Blind’ are sadly just a bit boring.

Theme Park don’t really seem to have their own distinguishable sound and despite being somewhat catchy, their songs are utterly forgettable. As always I feel that more time may be required to appreciate them. Essentially there is nothing wrong with Theme park … apart from a lack of excitement. They simply haven’t pushed the boundaries.  There’s no lyrical genius, only a central theme for the perfect fun time formula (pretty girl + some drinks + banter = good time). In fact if I hear one more “pretty girl” I might scream. This album is good as background music and I will probably crack it out again for a beach barbecue, it’s perfectly  suited for that sort of situation. However, how many times does that happen, in Aberdeen no less?  Unlike their name, Theme Park are less of a source for amusement, and more a crappy arcade.

5/10

Bailey Johnson.

Swim Deep – ‘She Changes the Weather’

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It’s pretty rare nowadays that a band manages to create a new sound, yet Swim Deep have somehow managed to achieve it with this new release. It’s such a diverse mix of elements – pop, grunge, psych, rock – that the sound is fresh, yet subtly done so as not to feel too weird. The music builds up to a wave of sound, incorporating soaring synth, surging drum beats and a catchy piano riff that give way to the slightly boyish tone of Austin Williams. It’s all got quite a summery, surfer feel to it, with a dreamy chorus describing a girl who “changes the weather in my bones, feels like it’s never getting cold”. That said, at times the track can feel a little wishy-washy, a bit too whimsical. Also, without that surging accompaniment, the lead vocals can sometimes appear slightly mundane; just like every other indie track. But that’s just a matter of personal taste. It’s that build-up of various instruments – electronic and acoustic – that makes this track memorable, and I’m sure the forthcoming album with be the soundtrack to many people’s summer.

Isla  Hodgson

Frank Turner – ‘Recovery’

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There’s something about Frank Turner’s friendly tones that instantly makes any topic appear cheery. Take ‘Recovery’ – the new single from his fifth album Tape Deck Heart – portraying an account of a break up in such a jolly manner you’d hardly believe he’s singing about heartbreak and lovesickness. Turner’s characteristic narrative style carries you through his tale of getting over his “pain-in-the-arse ex-girlfriend” to the backdrop of a spirited folk-rock accompaniment, combining acoustic guitar and piano with boisterous drums, culminating in an unapologetically catchy chorus.

A self-made singer-songwriter, Turner has worked his way up the ranks from pub gigs to the Olympics opening ceremony, resulting in an expansion of his fanbase. Previous albums have showcased his fiercely right-wing political views – ‘Thatcher f***ed the kids’ is one such example – yet this newest offering is a much safer option, appealing to a wider audience. There’s nothing offensive here, just some impressive story telling (how he fits in all those lyrics I’ll never know!) from someone who could just be the guy next door. Definitely puts a smile on your face: a song for sunny days!

Isla Hodgson

City & Colour – ‘Thirst’

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For those of you who like the sound of Foals and Bastille, this offering from City and Colour may be up your ally. It’s a combination of the two – the powerful, almost harrowing vocals of Bastille combined with the rocky edge of the Foals – with a grungier, dirtier feel. ‘Thirst’ opens with a fuzzy bass riff and a sparse, clear-cut drumbeat, over which Dallas Green’s vocals echo. The album The Hurry and the Harm sees Green return to a full band set up after his departure from Alexisonfire, and a long foray into the acoustic scene. Instruments are subtly layered throughout the first verse, until finally the guitar kicks in the chorus. This track has depth, and has a much more epic feel than CaC’s previous vulnerable acoustic sound. It’s a cool, dark background to some decent melodic vocals, and I like it.

Isla Hodgson

Haim – ‘Don’t Save Me’

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Haim are simply amazing! With a different sound from your average group these 3 sisters from California, Este, Danielle and  Alana Haim (along with drummer Dash Hutton) have the perfect mix of old-stylie music with up to date pop, folk and R&B.

‘Don’t Save Me’ has become one of my favourite songs this year. It’s upbeat and easy to sing along to with the added bonus of integrated claps; this track is perfect to dance to in a completely ridiculous way (arms flailing included).

‘Don’t Save Me’ also has an essence of the 80’s which I can never resist. The vocals are strong and husky. In a way this song (and most other Haim songs) has some ‘life empowerment properties’. Not in a ‘we are the best’ Destiny’s Child sort of way but in more of a hippy, fun and carelessly free way. This is complemented by the lyrics, for example “Don’t save me now, if your love isn’t strong.” Haim’s songs just create a really great atmosphere, they’re happy and a tad eccentric.

So far there aren’t that many Haim tracks out there, with only the EP ‘Forever’ and a couple of singles to get your Haim fix :( Their newest single ‘Falling’ is potentially my favourite Haim song, so check that out as well as it will be perfect for summer (when the sun eventually arrives).

10/10

Bailey Johnson.

Bastille – Bad Blood

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As previously stated in my other reviews on Bastille, this four piece band from South London never seem to disappoint.

One of my favourites from this album is probably ‘Oblivion’ which is a slow and atmospheric track in which Dan Smith’s high pitched vocals are really quite impressive. ‘Things We Lost In the Fire’ is another gentle and catchy track, likewise ‘Get Home’, ‘Icarus’ and ‘Daniel in the Den’ are simple and easy to listen to.

‘These Streets’ is a nice upbeat track with a funny ‘plinky plonky’ background (the technical term escapes me) ‘Laura Palmer’ and ‘Bad Blood’ make for more energetic listening.

Naturally when listening to an album there are songs which I would class as fillers. ‘The Weight of Living‘ is one of these, it’s just a bit of a non event with too much repetition and not much of a clear melody, it also features a strange nintendo-esque riff in the background, which is also present in ‘Flaws’.

For me ‘Overjoyed’ and ‘Pompeii’ still remain the highlights from this album, no doubt due to familiarity. Most likely all the others will become just as enchanting as the others with a little time. All in all this is a good album featuring a nice balance of songs with emotive lyrics to fit various moods, not to mention the lovely vocals from Dan Smith. ‘Bad Blood’ was released march the 1st, so go out and grab it.

8/10

Bailey Johnson

Kid Canaveral – Now That You Are A Dancer

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Here’s the sell: it’s the best of Scottish post-Snow Patrol indie doing the bits of 80’s guitar-driven pop that you’d rather not forget. There’s a often bounciness close to (but not quite) the level last seen on Idlewild’s ‘Post Electric Blues’, matched with a typically Gary Lightbody/Scott Hutchison soundin’ male frontman and a lyrical style which, whilst slightly less inclined to vicious and snappy one-twos, follows the generally anti-romantic trend  – “Cos the heart is a muscle that pumps blood to your limbs, and arms that won’t hold”. But if that wasn’t a contradictory enough package, there’s also an abundance of Edwyn Collins inspired guitar leads, only (if possible) de-cheesified and with sonic reverb added to taste. And (to break the national theme, although I’m sure that we have equivalents) I swear that the female vocalists are  Blondie and Kim Wilde re-incarnate.

It’s odd. With many bands hitching a ride on the Frightened Rabbit train (including, says the cynic in me, Frightened Rabbit themselves), this one seems to be doing something worse than going with the flow – it’s going backwards. Yet this may be one of the best records we see all year.

Maybe I can take a guess at why that is. A shake-up in Scottish music isn’t exactly overdue, but think: when was the last time there was something properly new and exciting happening in our music scene? Or perhaps even the British scene at large? Maybe now that we’re entrenched in the internet age and we have the capability to deeply personalise and diversify our music taste to the point that what appears in the charts isn’t indicative of very much, and there can no longer be another pivotal, perhaps genre-birthing shift in the music being made and consumed. Maybe we won’t have another ‘get The Prodigy on Radio 1’ style cultural watershed. But even though I can’t deny that we still have some great bands kicking about – have a read through the rest of the blog and see for yourself – and I am truly glad that these guys are getting recognised for bringing that Scottish quality to an international stage, isn’t it tempting to think that we’ll be moving on from this era of sounding vaguely like Snow Patrol/Frightened Rabbit/latter day Biffy/[insert Scottish indie band of your choice here] sooner rather than later? Kid Canaveral aren’t bringing that revolution. I’d be highly surprised if they ever do (given that I’ve somehow managed to compare them to he of ‘I’ve never met a girl like you before’ fame). Quite the opposite. Intentionally or not, Now That You Are A Dancer ends up being a celebration of what we’ve already got, taking influences from throughout the modern Scottish heritage yet sounding much fresher than certain other big-ticket albums that we’ve already seen in 2013. It’s a work of a national canon reaching maturity, of integrating the old with the slightly-less-old and coming out the end with something that fits. The only thing missing is a sort of magical assurance that a couple of weeks down the line I won’t be thinking that I’ve overcooked all of this and I’m making an arse of myself again: on the other hand, to even be considering spots on the year-end list in March is telling of how much I like this. If we can have a bit more of this sort of sound, then I’m quite happy to keep the revolution on hold.

8.5/10

Scott Reid

Two Door Cinema Club – ‘Next Year’

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With the release of their second studio album, Beacon, Two Door Cinema Club have proved that they are a band to be reckoned with. Peaking at number 2 in the UK Albums Chart, this album has negotiated its way through the pressure of the difficult second album and come out on top.

The third single from Beacon, ‘Next Year’ is an infectious indie track with lyrics which express the sadness of the loss of contact with a loved one, be it a friend, partner or family member and the subsequent plans we make with them which are ultimately broken. The tone of the song strikes the same chord as The Cure’s single ‘Cut Here’: emotionally honest in terms of lyrics but also uplifting and catchy. The track is very much vocally centred, however there are some interesting guitar interludes which keep things interesting and the quick tempo ensures the vocals do not descend into an emotionally stifling nostalgic lament. The song has enough variety for a few listens, with a vocal interlude towards the end and a classic clipped guitar riff which can be expected from Two Door Cinema Club, however it is nothing ground breaking, and better, more exciting indie music can most definitely be found elsewhere. Saying that, it is a nice, easy listen and a good choice for their next single.

6/10                                                                                                                                  Elizabeth Ozolins

A Lack Of Colour – My Life & 8mm E.P.

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There’s always a bit of cynicism when a frontman embarks on a solo project – especially when they produce it themselves. You can’t help but suspect they’re going to do something daft. Without the filters of common sense that are other people, things can get out of hand, and you could end up with something that ultimately, no one wants to listen to other than the person who makes it.

With My Life & 8mm, Kevin Walls (the chap that was in MakethisRelate, now going by the name A Lack Of Colour) deftly sidesteps these potential pitfalls. He isn’t using this as an excuse to chuck everything that pops into his head onto record. The E.P. is a sleek, expertly produced slice of alt-pop. Nothing is overdone or undercooked. All 4 tracks (6 if you order it from his website and ask nicely) are fleshed out with acoustic and electric guitars, drums (from Scott Johnston who also helped with production), the occasional harmony… But ultimately everything is there with the sole intention of adding to the overall quality of the song. That might sound like a weirdly obvious observation, but what I mean is nothing seems out of place, every song has a melodic strand and lyrical theme that is stuck to diligently by every instrument. There’s never an attention-seeking guitar solo, or an unnecessarily exuberant drum-fill. Despite the sometimes laid-back delivery, this is an extremely focused piece of work, and you end up with something that is perhaps worth more than the sum of its parts.

Not that there aren’t some extremely impressive parts on show here (sorry, had to). Walls’ vocal is comfortingly Scottish, and sounds perfectly at home whether up against pop-rock riffs, or quasi-crooning over a string section. ‘The Best of Me’ possesses some tight, propulsive drumming, and a sing-along chorus that initially might seem a little uninspired, but will almost certainly have you subconsciously humming along by the end. Kind of like if Sam McTrusty was fronting Weezer. Again, the smooth production comes into play, as the loud/soft dynamic is introduced expertly. ‘Black Market Body Parts’ is different, letting the vocal melody do most of the work. It builds a little here and there. And just after a lovely little fill, when you think everything’s going to crash in… It goes back to the isolated vocal. It works really well, the restraint showing a Death Cab For Cutie-like maturity and respect for melody. ‘You See In Yellow’ is maybe the least impressive of the tracks in that it doesn’t do anything not already displayed by the others. That’s not to say it isn’t pleasant – the main vocal line is quite pretty and as always the production is perfectly judged.

The title track, ‘My Life & 8mm’ remains the most exciting. From the opening guitar twangs, it’s attention-grabbing. It’s pop-rock of an extremely high standard. The recurring stop-start theme and infectious chorus make it comparable to a slightly more conscientious New Found Glory or Motion City Soundtrack.

It’s worth knowing that My Life & 8mm is a deeply personal set of songs. Conceived around Walls’ recovery from orthognathic surgery (Google it, it doesn’t sound fun), many of the lyrics are quite introspective. There’s hope, uncertainty, outright fear… Sometimes there’s an intensity that belies the music’s outright bounciness. It’s an interesting combination. You could look at this as a character study or as a pop-rock experiment. Either way, it’s expertly crafted and inherently melodic.

7.5/10

 

My Life & 8mm is out March 25th, and can be pre-ordered on the A Lack Of Colour website. Have a peek at his Facebook page too.

Alan Henderson