On a cold, dark, dank, wet, windy, woeful, worthless, soulless October day, a crowd of about 80 eager fans cram themselves into Southampton's premium venue, the Joiners. Some there just to out the rain, and there some to see their mates' bands, but mainly the crowd are here to see Southampton's finest indie-poppers, Mr Tom. The band have just finished their first major headline tour of the UK, and this is to be their homecoming show. Mr Tom are to be supported by How's Harry- another upcoming indie band, and Eagle and Weeks- a local hiphop band.
The crowd eagerly settle down, as the first band set themselves up. Eagle and Weeks take hardly any time to get ready, as they consist solely of a vocalist wielding an acoustic guitar, and a percussionist who drums a magic box. Eagle and Weeks are no newcomers to the Joiners, as they supported Jaws here in February. In between songs, Dan Eagle, the frontman, exchanges amusing 'banter' between one of his drunken friends in the crowd. The crowd are eager to point out that since the band last played the Joiners, Eagle's eyebrows have been taken, or lost, or gotten rid of in some odd manner. The blue lights dim, and the band begin their set, with a song about an ex-girlfriend, a theme prominent in their work. "This next one's about someone else who pissed us off, who might as well of just Pissed in our Tea", as they break into Pissed in our Tea. Eagle's soulful, yet fast paced vocals are a thing of beauty, and you can't help but think the band are going to make it some day. Eagle and Weeks' next song, they announce, is to be a Black Sabbath cover. "Is it Paranoid?" their drunken comrade exclaims, shortly before the band break into a brilliant rendition of early-Sabbath classic; Paranoid. The set goes on, and the band look confident yet have an element of control over the crowd. As the set nears a close, Sam Weeks gives the crowd a Push Pulk-style drum solo, before the final track commences; it's an Ed Sheeran cover, which fits Eagle's vocal style perfectly. The set closer draws to an ecstatic conclusion, and Weeks even falls sideways of his drumbox mid-frenzy. Eagle and Weeks pack up and join the crowd to watch the next band on; How's Harry.
How's Harry were a much more colourful affair, their music veering towards the indie end of the musical spectrum. How's Harry were another making a return to the Joiners, in the aftermath of the release of their debut EP; The Letter. How's Harry's set was ablaze with songs from the EP, as they almost outperformed Mr Tom with their Mumm-Ra meets early Maccabees style. Almost half the crowd appeared to be there just for How's Harry's set, and their vibrant riffs sent to the rain clouds packing their bags. As the young band made their way through their set, the lifeless crowd almost got moving, with the female population of the room appeared to congregate around lead singer, Ike Foulkes' ankles. When How's Harry reached the end of a well polished set they received a round of applause double the volume of Eagle and Weeks'. How's Harry are definitely one for the future.
Finally, it was time for Southampton's finest to take to the stage, for a triumphant end to their UK tour. Although looking weary, the triumph of the band outweighed the exhaustion, as they set up a vast number of effects pedals. They opened with a track from the newly released King and Queen EP, which sounded much greater in a live environment than on record. Between songs the band jokingly exchanged light-hearted conversation with the audience. The bassist, "Donny B", was wearing a hat which was subject to lots of feedback, not all positive, from the audience. The next song they played that stood out was Hook, Line and Sinker, the standout song on King and Queen. It sounded vibrant yet visceral, and the crowd loved every second. The next song was one that the band had added to the set just for this show, because it hadn't been practiced since Mr Tom's early days. Despite this, it was another faultless indie 'banger' pop anthem. The closer was King and Queen, which the crowd knew all the words to, and it made for quite the spectacle. Mr Tom, playing their first Joiners show since their support slot for San Cisco this summer, pushed all the right buttons as the crowd finally was teeming with the life it should have had from the beginning.
As the four local lads packed their gear up, in the knowledge they'd won the Joiners over, they announced they'd be supporting Natives there in three weeks, and I for one could tell that it was a must see, as Mr Tom are a fantastic young band, whose only way is up. Watch that space.
Rating: 9/10
Monday, October 28
The fifty greatest albums of all time? (50-41)
In light of NME's recent, well-recieved countdown of their "500 greatest albums of all time" I decided (because of a lack of A.) creativity B.) past-times) to engage in a similar activity. Here is the first part of a countdown of what I believe to be the fifty greatest albums of all time.
50. Copper Blue - Sugar (1992)
Bob Mould's move away from alternative rock, and move away from Husker Du, saw him form Sugar with David Barbe and Malcolm Travis. Sugar saw a move from the heavier sound of Husker Du, as Sugar's music was much more melodic and so much more visceral than Mould's previous band. Copper Blue was Sugar's debut album, and is loaded with some of alternative rock's finest anthems. In my humble opinion, the last song on side one- Hoover Dam is one of the most powerful songs ever to written, and The Act We Act is every bit as amazing as any of Husker Du's work.
49. Taking Drugs To Make Music To Take Drugs To - Spacemen 3 (1986)
Although it is not an official album, as such, TDTMMTTDT is Spacemen 3's Hatful Of Hollow. The Spacemen 3 are one of the greatest shoegaze bands of the nineties and TDTMMTTDT is nothing but a roughly cut compilation with more character than any of the band's studio albums. Released prior to The Sound Of Confusion, TDTMMTTDT has many of the same songs as the bands official debut- including the title track. But the three different versions of 2.35, the organ mix of Transparent Radiation and 7-minute epic, Everything's Allright, TDTMMTTDT is rich in rarities and is a must listen for anyone into their shoegaze.
48. Up The Bracket - The Libertines (2002)
Barat and Doherty's debut was, and still is, one of this century's standout records. Eleven years on, and Up The Bracket still sounds as fresh as anything released last week. The Libs' stunning debut is 40 minutes of gritty all the more energetic bliss. Side one especially is jam packed with songs which have had a lasting impact on the British indie scene, with the three song streak of Death on the Stairs, Horrorshow, and Time For Heroes, as well as the brilliant album closer; I Get Along.
47. Aladdin Sane - David Bowie (1973)
Aladdin Sane is Bowie's second album as Ziggy, and although it doesn't quite have the same OOMPH as The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, it has it's own character. Aladdin Sane is much more centred around Mike Garson's avant-garde piano playing than it's precursor, and had a sound that draws comparisons to The Stooges and The New York Dolls. Time and Aladdin Sane both exhibit Garson's brilliance with a piano, whilst Cracked Actor is one of Bowie's finest rock 'n' roll songs. Aladdin Sane is one of Bowie's greatest records, and definitely the most characteristic of Ziggy's releases.
46. Going Blank Again - Ride (1992)
Ride's second crack of the whip produced Going Blank Again, and you can tell just by looking at the cover art that it's a much more colourful affair than 1990's Nowhere. The album was much more prolific than it's predecessor, yielding a top five placing in the UK charts. In addition, the lead single, Leave Them All Behind, reached the UK top ten despite clocking in at over eight and a half minutes. The albums other highlights include the very colourful Twisterella, and the epic OX4.
45. Good News For People Who Love Bad News - Modest Mouse (2004)
MM's last record before the addition of Johnny Marr was by far their greatest. The LP begins with semi-orchestral opener, World At Large. The song's one of Modest Mouse's more mournful, but is made greater, as it's linked to lead single, Float On. Float On's everything that World At Large isn't; a carefree indie classic. Elsewhere, Ocean Breathes Salty and Bukowski prove that Modest Mouse's fourth record is definitely their greatest.
44. Bleach - Nirvana (1989)
When talking of "grunge", there is only one band that springs immediately to mind, and that is Nirvana. Nirvana's debut is Subpop's greatest selling album to date, and sounds much rougher, and much less commercial than Nevermind. For Bleach, Cobain opted to make lyrics less of a priority, and focused on hard-hitting guitar riffs. He even "didn't write some lyrics til the day before recording, resulting in some tracks that are lacklustre lyrically, but fantastic musically- like School which features only four different lines repeated. Elsewhere on the LP, Cobain deals with subjects like rape (Floyd The Barber), self-loathing (Negative Creep) and other people (Mr Moustache), all flawlessly written about by Cobain. Bleach is Nirvana's cult classic; a must buy for anyone
43. Men's Needs, Women's Needs, Whatever (2007)
From one three piece to another, album number 43 is the Jarman brothers' finest album. In Men's Needs... The Cribs finally found a sound which suited them like no other, as the album is almost entirely made up of The Cribs' trademark indie-rock tracks, with the exception of Be Safe- an altogether different beast. The albums four singles, to this date, are arguably four of the best loved Cribs songs, all fast paced thrillers. Men's Needs, Women's Needs, Whatever is definitely the high point in The Cribs' rich discography.
42. Screamadelica - Primal Scream (1991)
Bobby Gillespie's indie cult classic is one of Creation records finest moments. Screamadelica is the Scream's best and probably druggiest record, as it even achieved the legendary status of being put on a stamp. The album yielded party classic, Loaded as well as Come Together- which is a blissful ten minutes long. Although it has a large number of fillers, it has some real killer killers, like semi acoustic opener Movin' On Up.
41. Reflektor - Arcade Fire (2013)
Toronto's finest's latest record is a real game changer. It's a dance record of biblical proportions, and the best way to summarise it is with the title track- a lead single that clocks in at over 8 minutes, with backing vocals from Bowie, Reflektor is one of the bravest songs/albums of the twenty-first century. And oh how it paid off. From the stunning title track there's not a single weak link, right down to 11 minute long closer- Supersymmetry, which rounds of The Arcade Fire's ballsiest, and most surprising record yet.
See The Ever Growing Spotify Playlist Of This HERE
50. Copper Blue - Sugar (1992)
Bob Mould's move away from alternative rock, and move away from Husker Du, saw him form Sugar with David Barbe and Malcolm Travis. Sugar saw a move from the heavier sound of Husker Du, as Sugar's music was much more melodic and so much more visceral than Mould's previous band. Copper Blue was Sugar's debut album, and is loaded with some of alternative rock's finest anthems. In my humble opinion, the last song on side one- Hoover Dam is one of the most powerful songs ever to written, and The Act We Act is every bit as amazing as any of Husker Du's work.
49. Taking Drugs To Make Music To Take Drugs To - Spacemen 3 (1986)
Although it is not an official album, as such, TDTMMTTDT is Spacemen 3's Hatful Of Hollow. The Spacemen 3 are one of the greatest shoegaze bands of the nineties and TDTMMTTDT is nothing but a roughly cut compilation with more character than any of the band's studio albums. Released prior to The Sound Of Confusion, TDTMMTTDT has many of the same songs as the bands official debut- including the title track. But the three different versions of 2.35, the organ mix of Transparent Radiation and 7-minute epic, Everything's Allright, TDTMMTTDT is rich in rarities and is a must listen for anyone into their shoegaze.
48. Up The Bracket - The Libertines (2002)
Barat and Doherty's debut was, and still is, one of this century's standout records. Eleven years on, and Up The Bracket still sounds as fresh as anything released last week. The Libs' stunning debut is 40 minutes of gritty all the more energetic bliss. Side one especially is jam packed with songs which have had a lasting impact on the British indie scene, with the three song streak of Death on the Stairs, Horrorshow, and Time For Heroes, as well as the brilliant album closer; I Get Along.
47. Aladdin Sane - David Bowie (1973)
Aladdin Sane is Bowie's second album as Ziggy, and although it doesn't quite have the same OOMPH as The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, it has it's own character. Aladdin Sane is much more centred around Mike Garson's avant-garde piano playing than it's precursor, and had a sound that draws comparisons to The Stooges and The New York Dolls. Time and Aladdin Sane both exhibit Garson's brilliance with a piano, whilst Cracked Actor is one of Bowie's finest rock 'n' roll songs. Aladdin Sane is one of Bowie's greatest records, and definitely the most characteristic of Ziggy's releases.
46. Going Blank Again - Ride (1992)
Ride's second crack of the whip produced Going Blank Again, and you can tell just by looking at the cover art that it's a much more colourful affair than 1990's Nowhere. The album was much more prolific than it's predecessor, yielding a top five placing in the UK charts. In addition, the lead single, Leave Them All Behind, reached the UK top ten despite clocking in at over eight and a half minutes. The albums other highlights include the very colourful Twisterella, and the epic OX4.
45. Good News For People Who Love Bad News - Modest Mouse (2004)
MM's last record before the addition of Johnny Marr was by far their greatest. The LP begins with semi-orchestral opener, World At Large. The song's one of Modest Mouse's more mournful, but is made greater, as it's linked to lead single, Float On. Float On's everything that World At Large isn't; a carefree indie classic. Elsewhere, Ocean Breathes Salty and Bukowski prove that Modest Mouse's fourth record is definitely their greatest.
44. Bleach - Nirvana (1989)
When talking of "grunge", there is only one band that springs immediately to mind, and that is Nirvana. Nirvana's debut is Subpop's greatest selling album to date, and sounds much rougher, and much less commercial than Nevermind. For Bleach, Cobain opted to make lyrics less of a priority, and focused on hard-hitting guitar riffs. He even "didn't write some lyrics til the day before recording, resulting in some tracks that are lacklustre lyrically, but fantastic musically- like School which features only four different lines repeated. Elsewhere on the LP, Cobain deals with subjects like rape (Floyd The Barber), self-loathing (Negative Creep) and other people (Mr Moustache), all flawlessly written about by Cobain. Bleach is Nirvana's cult classic; a must buy for anyone
43. Men's Needs, Women's Needs, Whatever (2007)
From one three piece to another, album number 43 is the Jarman brothers' finest album. In Men's Needs... The Cribs finally found a sound which suited them like no other, as the album is almost entirely made up of The Cribs' trademark indie-rock tracks, with the exception of Be Safe- an altogether different beast. The albums four singles, to this date, are arguably four of the best loved Cribs songs, all fast paced thrillers. Men's Needs, Women's Needs, Whatever is definitely the high point in The Cribs' rich discography.
42. Screamadelica - Primal Scream (1991)
Bobby Gillespie's indie cult classic is one of Creation records finest moments. Screamadelica is the Scream's best and probably druggiest record, as it even achieved the legendary status of being put on a stamp. The album yielded party classic, Loaded as well as Come Together- which is a blissful ten minutes long. Although it has a large number of fillers, it has some real killer killers, like semi acoustic opener Movin' On Up.
41. Reflektor - Arcade Fire (2013)
Toronto's finest's latest record is a real game changer. It's a dance record of biblical proportions, and the best way to summarise it is with the title track- a lead single that clocks in at over 8 minutes, with backing vocals from Bowie, Reflektor is one of the bravest songs/albums of the twenty-first century. And oh how it paid off. From the stunning title track there's not a single weak link, right down to 11 minute long closer- Supersymmetry, which rounds of The Arcade Fire's ballsiest, and most surprising record yet.
See The Ever Growing Spotify Playlist Of This HERE
Friday, October 25
The NME's 500 greatest albums of all time?
When buying the NME one can almost assume that there will be some sort of list, describing what are the ten best drum solos of all time, the 25 greatest sound engineers, or the 100 greatest gigs of all time. This week's edition was no different, with the magazine boldly claiming to have selected a 'definitive' list of 500 greatest albums of all time. Although the magazine, to it's credit, didn't show any major bias to the NME's favoured artists, it lacked any real surprises and was quite easy to predict.
I mean, it's not without reason that The Stone Roses, Revolver, or Nevermind make the top ten of almost every list of this sort, because they are excellent albums. But many albums, arguably greater than those above, were omitted or left well out of the top two or three hundred. But in the NME's defence, the method of devising the list was near genius, as it yielded a diverse list of 500 good album. However, it left the top 50 almost forgone. I mean, who wouldn't put The Velvet Underground and Nico in their top ten when asked to give what they believe to be the fifty greatest albums of all time?
There were some Biblically great albums that missed out on a spot as high as they deserve (in my humble opinion), and some bands' albums were in a wrong sort of order (Closer is above Unknown Pleasures). I think the following really deserved higher than they were given;
Goo - Sonic Youth (426th)
Sonic Youth's masterful sixth album was their first released on a major record label, and the record after (41st placed) Daydream Nation. Goo is far greater than all the preceding Sonics albums, as its their only record that can be described as all killer, no filler. It is not only more poignant than Daydream Nation, but more lyrically and musically intricate. The album's highlights include Kim and Thurston's tribute to Karen Carpenter, Tunic, and Kool Thing, which features Public Enemy's Chuck D on backing vocals.
Diamond Dogs - David Bowie (447th)
David Bowie was the most successful artist in the list, scoring albums at numbers 3 and 10, as well as having eight other LPs appear throughout the list. Of these ten albu ms listed, Diamond Dogs was lowest ranked, and quite unjustly so. Bowie's stunning 8th album was one of, if not, his greatest albums. With the exclusion of shaky title track, Diamond Dogs is flawless from almost the start. Sweet Thing is not only features the lowest recorded vocals on a Bowie song, but possibly the greatest, and lyrics to match. Lead single Rebel Rebel is Bowie's finest pop moment, and Big Brother is one of Bowie's greatest songs of the seventies. Diamond Dogs is ever so overlooked as one of Bowie's masterpieces, and it's almost a travesty that it's 400 places lower than Young Americans in the list.
In Utero - Nirvana (35th)
Thirty fifth is brilliant, don't get me wrong, but below Nevermind? Are you off your heads, NME? In Utero is 49 minutes of unadulterated bliss, as Kurt Cobain gives the music industry one last FUCK YOU. Songs like Tourette's and Rape Me are a two fingered salute to the authorities, whereas Scentless Aprentice and Radio Friendly Unit Shifter are career highlights of grunge's greatest protagonists. Although Nevermind has The Hits, it lacks the fury of In Utero, and it lacks the honest heartfelt emotions Cobain coveys in the band's third album. In Utero deserves to be way, way above Nevermind in any list.
Nowhere - Ride (Unlisted)
Bell and Gardener- The Lennon and McCartney of shoegaze's sophomore album made NME's list, but their debut missed out. But why? Nowhere is an almost faultless record, with a mix of eerie haunting songs (Paralysed), visceral shoegazing classics (Kaleidoscope, Polar Bear), and of course the stunning closer, Vapour Trail. Ride's debut may have lacked the bright, almost summery, sound of Going Blank Again, but their first effort is greater, more haunting, and more unforgettable. Nowhere was the album that made people take note of the shoegaze movement. It, alongside Loveless and Slowdive's Souvlaki, was shoegaze's greatest triumph. Nowhere, on the other hand, is far less dated than the other two stated albums, and the britpop it preceded.
OK Computer - Radiohead (20th)
In all honesty, a top 5 finish was to be expected for OK Computer, as it's unarguably Radiohead's finest record. OK Computer redefined what a guitar band could do, with notable highlights including "modern day Bohemian Rhapsody", Paranoid Android and minimalist inspired Let Down. OK Computer is arguably the greatest album of the 90's, and deserves much better than to be placed ten places behind a shaky Oasis album.
Any more I/NME have missed? Feel free to comment.
I mean, it's not without reason that The Stone Roses, Revolver, or Nevermind make the top ten of almost every list of this sort, because they are excellent albums. But many albums, arguably greater than those above, were omitted or left well out of the top two or three hundred. But in the NME's defence, the method of devising the list was near genius, as it yielded a diverse list of 500 good album. However, it left the top 50 almost forgone. I mean, who wouldn't put The Velvet Underground and Nico in their top ten when asked to give what they believe to be the fifty greatest albums of all time?
There were some Biblically great albums that missed out on a spot as high as they deserve (in my humble opinion), and some bands' albums were in a wrong sort of order (Closer is above Unknown Pleasures). I think the following really deserved higher than they were given;
Goo - Sonic Youth (426th)
Sonic Youth's masterful sixth album was their first released on a major record label, and the record after (41st placed) Daydream Nation. Goo is far greater than all the preceding Sonics albums, as its their only record that can be described as all killer, no filler. It is not only more poignant than Daydream Nation, but more lyrically and musically intricate. The album's highlights include Kim and Thurston's tribute to Karen Carpenter, Tunic, and Kool Thing, which features Public Enemy's Chuck D on backing vocals.
Diamond Dogs - David Bowie (447th)
David Bowie was the most successful artist in the list, scoring albums at numbers 3 and 10, as well as having eight other LPs appear throughout the list. Of these ten albu ms listed, Diamond Dogs was lowest ranked, and quite unjustly so. Bowie's stunning 8th album was one of, if not, his greatest albums. With the exclusion of shaky title track, Diamond Dogs is flawless from almost the start. Sweet Thing is not only features the lowest recorded vocals on a Bowie song, but possibly the greatest, and lyrics to match. Lead single Rebel Rebel is Bowie's finest pop moment, and Big Brother is one of Bowie's greatest songs of the seventies. Diamond Dogs is ever so overlooked as one of Bowie's masterpieces, and it's almost a travesty that it's 400 places lower than Young Americans in the list.
In Utero - Nirvana (35th)
Thirty fifth is brilliant, don't get me wrong, but below Nevermind? Are you off your heads, NME? In Utero is 49 minutes of unadulterated bliss, as Kurt Cobain gives the music industry one last FUCK YOU. Songs like Tourette's and Rape Me are a two fingered salute to the authorities, whereas Scentless Aprentice and Radio Friendly Unit Shifter are career highlights of grunge's greatest protagonists. Although Nevermind has The Hits, it lacks the fury of In Utero, and it lacks the honest heartfelt emotions Cobain coveys in the band's third album. In Utero deserves to be way, way above Nevermind in any list.
Nowhere - Ride (Unlisted)
Bell and Gardener- The Lennon and McCartney of shoegaze's sophomore album made NME's list, but their debut missed out. But why? Nowhere is an almost faultless record, with a mix of eerie haunting songs (Paralysed), visceral shoegazing classics (Kaleidoscope, Polar Bear), and of course the stunning closer, Vapour Trail. Ride's debut may have lacked the bright, almost summery, sound of Going Blank Again, but their first effort is greater, more haunting, and more unforgettable. Nowhere was the album that made people take note of the shoegaze movement. It, alongside Loveless and Slowdive's Souvlaki, was shoegaze's greatest triumph. Nowhere, on the other hand, is far less dated than the other two stated albums, and the britpop it preceded.
OK Computer - Radiohead (20th)
In all honesty, a top 5 finish was to be expected for OK Computer, as it's unarguably Radiohead's finest record. OK Computer redefined what a guitar band could do, with notable highlights including "modern day Bohemian Rhapsody", Paranoid Android and minimalist inspired Let Down. OK Computer is arguably the greatest album of the 90's, and deserves much better than to be placed ten places behind a shaky Oasis album.
Any more I/NME have missed? Feel free to comment.
Thursday, September 19
40 years on- The Rolling Stones' "Goats Head Soup" reviewed
40 years on, and The Rolling Stones' last great album still sounds as fresh as it did in the cold, dark, September in '73. A great Stones record can never age, much in the same way that Aladdin Sane sounds oh so modern.
The Stones' 11th studio album was written almost entirely in Jamaica, and it shows, as it's much less rock 'n' roll than predecessor, Exile On Maine St. Lead single, "Angie", highlights this. It's acoustically driven, and although it is often assumed to be about David Bowie's first wife Angela, Keith Richards claims Angie was a pseudonym for heroin, which Richards and Jagger were taking en mas in the early seventies.
As well as Angie, Goats Head Soup features a number of The Stones' lesser known masterpieces. Side 1's funky opener, "Dancing With Mr D." is a personal highlight, as it features Mick Jagger at his brilliant best. The album's second single, Doo Doo Doo Doo Doo (Heartbreaker) is another of Goat's Head Soup's stronger tracks. Unlike number one hit Angie, the funk-inspired track didn't break into the US top ten.
The album's most controversial point is, however, the closer. Star Star (originally titled Starfucker) is the rockingest, rollingest track on Goats Head Soup, and one of the few Stones tracks to be blacklisted for explicit lyrics. Star Star brings the album to a close in style, as it's a completely different to the Americanis-sounding side 1.
Although Goats Head Soup is incredibly great at it's best points, it does slump into mediocrity at times. Until Star Star side 2 features a lot of the faceless plain, foreshadowing their slump into mediocrity in the late 70's. It has it's great moments, mind, and they are great. Goats Head Soup is, as I said earlier, the last great Stones album, and it does have some real classics on it. It's a must listen for anyone who, like me, loves The Stones, or in fact anyone who loves The Beatles more than the Stones so you can see just what you're missing.
rating: 8/10
original release date: 30th September 1973
The Stones' 11th studio album was written almost entirely in Jamaica, and it shows, as it's much less rock 'n' roll than predecessor, Exile On Maine St. Lead single, "Angie", highlights this. It's acoustically driven, and although it is often assumed to be about David Bowie's first wife Angela, Keith Richards claims Angie was a pseudonym for heroin, which Richards and Jagger were taking en mas in the early seventies.
As well as Angie, Goats Head Soup features a number of The Stones' lesser known masterpieces. Side 1's funky opener, "Dancing With Mr D." is a personal highlight, as it features Mick Jagger at his brilliant best. The album's second single, Doo Doo Doo Doo Doo (Heartbreaker) is another of Goat's Head Soup's stronger tracks. Unlike number one hit Angie, the funk-inspired track didn't break into the US top ten.
The album's most controversial point is, however, the closer. Star Star (originally titled Starfucker) is the rockingest, rollingest track on Goats Head Soup, and one of the few Stones tracks to be blacklisted for explicit lyrics. Star Star brings the album to a close in style, as it's a completely different to the Americanis-sounding side 1.
Although Goats Head Soup is incredibly great at it's best points, it does slump into mediocrity at times. Until Star Star side 2 features a lot of the faceless plain, foreshadowing their slump into mediocrity in the late 70's. It has it's great moments, mind, and they are great. Goats Head Soup is, as I said earlier, the last great Stones album, and it does have some real classics on it. It's a must listen for anyone who, like me, loves The Stones, or in fact anyone who loves The Beatles more than the Stones so you can see just what you're missing.
rating: 8/10
original release date: 30th September 1973
Wednesday, September 18
MGMT - MGMT
Even since 2007's Oracular Spectacular, MGMT have always had a certain "what-the-fuck factor" to their music. MGMT, the band's third album slides the psychedelic dials to the extremes, as MGMT get trippier than before. One look at the tracklisting, and it seems apparent that Andrew Vanwyngarden and Benjamin Goldwasser have pushed the musical boat out even further than ever before.
When lead single, Your Life Is A Lie was first brought out, MGMT's initial fanbase were both taken aback by it's brilliance and shocked at just how odd it is. The whole album builds on how far out Your Life Is A Lie is, and has a completely unique sound to it that it's almost impossible to get your head around. The electronic, psychedelic sound gets almost TOO much at some point, but MGMT are not for those who like their listening easy.
Throughout this album, the Connecticut duo push the limits of what psychedelic rock can be, almost. Throughout the record you're constantly questioning the sounds you're hearing. Songs like I Love You Too, Death push the boundaries of a pop song, and cause you to ask yourself whether you are on something or not. It's almost as if MGMT asks more questions of you and itself than you ever could. Congratulations was fairly trippy, like psychedelic rock should be, but MGMT is on a whole new level. Maybe it takes it too far? The closer, An Orphan Of Fortune sounds almost like Tame Impala on a whole new drug, if you thought Tame Impala were out there, think again. The psychedelic electric melodies and, as Alex Turner would describe it, "Dr Dre beats" have a truly unique sound, which is clearly a result of excessive drug intake. It would seem drugs are a prominent theme, as all I personally can think when hearing MGMT is "I want what he's having".
MGMT is an album it's hard to get your head around. It's certainly the oddest I've heard all year, and I think maybe MGMT have gone overboard with the psychedelia. It's by no means a bad album, but it's way over my head, and probably over the head of everyone who doesn't take excessive hallucinogenics. All the songs sound kind of similar, and it's hard to imagine truly loving any of them to the extent that you'd love the songs on the earlier, more accessible albums. Except for Your Life Is A Lie and RSD release Alien Days, the possible exceptions, everything is kinda forgettable, but not in a bad way. Maybe. Maybe it's forgettable in a "my-human-mind-can't-process-this-information" way, you know?
Rating: 7/10
Out: Now (Released 16th September)
Key Tracks: "Alien Days", "Your Life Is A Lie"
When lead single, Your Life Is A Lie was first brought out, MGMT's initial fanbase were both taken aback by it's brilliance and shocked at just how odd it is. The whole album builds on how far out Your Life Is A Lie is, and has a completely unique sound to it that it's almost impossible to get your head around. The electronic, psychedelic sound gets almost TOO much at some point, but MGMT are not for those who like their listening easy.
Throughout this album, the Connecticut duo push the limits of what psychedelic rock can be, almost. Throughout the record you're constantly questioning the sounds you're hearing. Songs like I Love You Too, Death push the boundaries of a pop song, and cause you to ask yourself whether you are on something or not. It's almost as if MGMT asks more questions of you and itself than you ever could. Congratulations was fairly trippy, like psychedelic rock should be, but MGMT is on a whole new level. Maybe it takes it too far? The closer, An Orphan Of Fortune sounds almost like Tame Impala on a whole new drug, if you thought Tame Impala were out there, think again. The psychedelic electric melodies and, as Alex Turner would describe it, "Dr Dre beats" have a truly unique sound, which is clearly a result of excessive drug intake. It would seem drugs are a prominent theme, as all I personally can think when hearing MGMT is "I want what he's having".
MGMT is an album it's hard to get your head around. It's certainly the oddest I've heard all year, and I think maybe MGMT have gone overboard with the psychedelia. It's by no means a bad album, but it's way over my head, and probably over the head of everyone who doesn't take excessive hallucinogenics. All the songs sound kind of similar, and it's hard to imagine truly loving any of them to the extent that you'd love the songs on the earlier, more accessible albums. Except for Your Life Is A Lie and RSD release Alien Days, the possible exceptions, everything is kinda forgettable, but not in a bad way. Maybe. Maybe it's forgettable in a "my-human-mind-can't-process-this-information" way, you know?
Rating: 7/10
Out: Now (Released 16th September)
Key Tracks: "Alien Days", "Your Life Is A Lie"
10 years on: Muse's "Absolution" reviewed
Almost 10 years ago to the day, Teignmouth rock trio, Muse released Absolution, their third album. It saw a move away from the more Radiohead-esque sound heard on Origin Of Symmetry and Showbiz. Cited by many as the time at which Muse peaked, the album was arguably Muse's greatest and even best known work. At the time it was exceptionally well acclaimed, as it was Muse's second LP to be rated 10/10 by NME, as well 4 stars (Recommended) from Q and The Guardian.
Absolution starts in the most mediocre way, with a 10 second long "Intro". It's rare that an intro track is anything but trouble on an album, so it's a surprise when this one draws to a close and breaks into dreary, dark, dystopian opener, "Apocalypse Please". Apocalypse Please immediately sets the tone for the album, as the end-of-the-world themed lyrics are a prominent theme throughout the album. It's then followed by the anthemic second single and fan favourite, "Time Is Running Out". As well as being a general highlight, it was the first Muse song to break into the top 10 in the UK, after 2001's Plug In Baby only reached 11th. Time Is Running Out was also released in the UK almost 10 years ago to the week.
The other notable highlight from side one is the heavy, rocky lead single, Stockholm Syndrome, which as its title suggests is about falling in love with your kidnapper. The live version on 2007's HAARP is cited by many Muse fans as one of Muse's greatest live moments.
If side one was good, side two is absolutely brilliant. It opens with the fast paced, heavy riffed Hysteria, which is again, a fan favourite. Released as a single in December, it peaked at 17 in the British charts, but snatched the "Greatest Bassline" of the year award in MusicRadar. It's then followed by a beautifully haunting slow one, Blackout. Blackout is the slowest song on the album, with string parts creating wonderful melodies. It's also a feature of 2006 film, Southland Tales, yet is ommited from the motion picture's offficial soundtrack.
Blackout paves way for the album's sixth single, Butterflies and Hurricanes. The song sounds like it is inspired by Rachmaninoff, and features a Mike Garson-esque piano solo showcasing Bellamy's talent. At 301 seconds it's the album's longest song, despite being shorter than 4 songs from the previous album, Origin Of Symmetry.
The final 4 songs on the album are all underrated gems, as there is no weaker songs towards the end. Thoughts Of A Dying Atheist in particular is easily as great as any of the singles, and the riff to The Small Print is just as great as anything from side one. Absolution, in fact lacks weak tracks full stop, whereas predecessor Origin Of Symmetry (in my opinion a greater album) is plagued with them towards the end. Although not quite up to OoS, Absolution has much more consistency, even if it lacks anything as great as Citizen Erased.
Rating: 9/10
Original Release: 15th September 2003
Must Hear Tracks: "Butterflies And Hurricanes", "Hysteria", "Time Is Running Out", "The Small Print"
Absolution starts in the most mediocre way, with a 10 second long "Intro". It's rare that an intro track is anything but trouble on an album, so it's a surprise when this one draws to a close and breaks into dreary, dark, dystopian opener, "Apocalypse Please". Apocalypse Please immediately sets the tone for the album, as the end-of-the-world themed lyrics are a prominent theme throughout the album. It's then followed by the anthemic second single and fan favourite, "Time Is Running Out". As well as being a general highlight, it was the first Muse song to break into the top 10 in the UK, after 2001's Plug In Baby only reached 11th. Time Is Running Out was also released in the UK almost 10 years ago to the week.
The other notable highlight from side one is the heavy, rocky lead single, Stockholm Syndrome, which as its title suggests is about falling in love with your kidnapper. The live version on 2007's HAARP is cited by many Muse fans as one of Muse's greatest live moments.
If side one was good, side two is absolutely brilliant. It opens with the fast paced, heavy riffed Hysteria, which is again, a fan favourite. Released as a single in December, it peaked at 17 in the British charts, but snatched the "Greatest Bassline" of the year award in MusicRadar. It's then followed by a beautifully haunting slow one, Blackout. Blackout is the slowest song on the album, with string parts creating wonderful melodies. It's also a feature of 2006 film, Southland Tales, yet is ommited from the motion picture's offficial soundtrack.
Blackout paves way for the album's sixth single, Butterflies and Hurricanes. The song sounds like it is inspired by Rachmaninoff, and features a Mike Garson-esque piano solo showcasing Bellamy's talent. At 301 seconds it's the album's longest song, despite being shorter than 4 songs from the previous album, Origin Of Symmetry.
The final 4 songs on the album are all underrated gems, as there is no weaker songs towards the end. Thoughts Of A Dying Atheist in particular is easily as great as any of the singles, and the riff to The Small Print is just as great as anything from side one. Absolution, in fact lacks weak tracks full stop, whereas predecessor Origin Of Symmetry (in my opinion a greater album) is plagued with them towards the end. Although not quite up to OoS, Absolution has much more consistency, even if it lacks anything as great as Citizen Erased.
Rating: 9/10
Original Release: 15th September 2003
Must Hear Tracks: "Butterflies And Hurricanes", "Hysteria", "Time Is Running Out", "The Small Print"
Sunday, September 15
Drenge - Drenge
Derbyshire is one of England's most picturesque counties, featuring many many National Trust houses. It is, of course one of the nation's renowned beauty spots. In fact, my grandma went to Derbyshire for her birthday for a tour of such places. As well as the surrounding architecture, Derbyshire is home to one of Britain's most fantastic two piece rock bands, Drenge. Drenge, even the name sounds as far removed from the pretension of huge manor houses than humanly imaginable, and that's what Drenge are. Drenge are a real honest, simple, yet all the more brilliant rock band.
The Derbyshire rock duo bear resemblance to other popular two pieces, like Vancouver's Japandroids. Like Japandroids, Drenge use heavy, distorted guitar tones to add to the sound of the solitary guitar, making them sound like there's more than just the two brothers. Drenge are one of the British indie scene's biggest hopes, and a band renowned for hectic, energetic live shows, and from experience I can assure you that Drenge are one of the best live acts in the business.
But does their album compare to their live shows? It does! Drenge's self titled, fast-paced, hard-rocking debut album has everything. You can tell from the first five seconds of lead single "Bloodsports" that the Loveless Lads are no slackers in the studio, as the simple riff is enough to get anyone off their feet. Bloodsports is the perfect single, with it's simply singable lyrics and it's swaying riff, even it's middle-8 is a thing of brilliance.
But Bloodsports isn't the only highlight, far from it. The anthemic opener, "People In Love Make Me Feel Yuck" ensures that the LP hits the ground running. Although the title is a bit old Fall Out Boy, but it's so much better than that. It could definitely be titled better, but at least you know what to expect from the chorus, right? Right.
Another notable highlight is Fuckabout, the pace changing closer. Fuckabout is arguably the standout track, especially lyrically. Lyrics like "I put the kettle on/You put heavy metal on" are simple yet so typical to Eoin's style. Loveless has clever rhymes left right and centre throughout Fuckabout, like "Sleep in the corridor/What are you living for?". The song is also arguably the only song on the album that shows any sort of emotion, or more to the point, this song is the only song that lacks the lack of emotions.
The rest of the album, however, is bursting with the songs Eoin Loveless describes as "psychotic". New single Face Like A Skull, and Gun Crazy is where this is most apparent, as well as the penultimate last track, "Let's Pretend", all three of these songs being highlights of Drenge's excellently brutal debut album.
With this record the aptly named Loveless brothers have produced one of the year's standout debut albums. Many of this year's most critically acclaimed first albums (180, Where The Heaven Are We?, Sistrionix) can't even hold a candle to "Drenge". In fact, it even gives Peace's stunning "In Love" a run for it's money, but that's because this duo from lovely Derbyshire give everything a run for it's money.
Rating: 9.5/10
Out: Now (2nd November)
Key Tracks: "Fuckabout", "Bloodsports", "Gun Crazy"
The Derbyshire rock duo bear resemblance to other popular two pieces, like Vancouver's Japandroids. Like Japandroids, Drenge use heavy, distorted guitar tones to add to the sound of the solitary guitar, making them sound like there's more than just the two brothers. Drenge are one of the British indie scene's biggest hopes, and a band renowned for hectic, energetic live shows, and from experience I can assure you that Drenge are one of the best live acts in the business.
But does their album compare to their live shows? It does! Drenge's self titled, fast-paced, hard-rocking debut album has everything. You can tell from the first five seconds of lead single "Bloodsports" that the Loveless Lads are no slackers in the studio, as the simple riff is enough to get anyone off their feet. Bloodsports is the perfect single, with it's simply singable lyrics and it's swaying riff, even it's middle-8 is a thing of brilliance.
But Bloodsports isn't the only highlight, far from it. The anthemic opener, "People In Love Make Me Feel Yuck" ensures that the LP hits the ground running. Although the title is a bit old Fall Out Boy, but it's so much better than that. It could definitely be titled better, but at least you know what to expect from the chorus, right? Right.
Another notable highlight is Fuckabout, the pace changing closer. Fuckabout is arguably the standout track, especially lyrically. Lyrics like "I put the kettle on/You put heavy metal on" are simple yet so typical to Eoin's style. Loveless has clever rhymes left right and centre throughout Fuckabout, like "Sleep in the corridor/What are you living for?". The song is also arguably the only song on the album that shows any sort of emotion, or more to the point, this song is the only song that lacks the lack of emotions.
The rest of the album, however, is bursting with the songs Eoin Loveless describes as "psychotic". New single Face Like A Skull, and Gun Crazy is where this is most apparent, as well as the penultimate last track, "Let's Pretend", all three of these songs being highlights of Drenge's excellently brutal debut album.
With this record the aptly named Loveless brothers have produced one of the year's standout debut albums. Many of this year's most critically acclaimed first albums (180, Where The Heaven Are We?, Sistrionix) can't even hold a candle to "Drenge". In fact, it even gives Peace's stunning "In Love" a run for it's money, but that's because this duo from lovely Derbyshire give everything a run for it's money.
Rating: 9.5/10
Out: Now (2nd November)
Key Tracks: "Fuckabout", "Bloodsports", "Gun Crazy"
Saturday, September 14
Arcade Fire - Reflektor (Single Review)
When it was leaked that David Bowie would appear on Arcade Fire's new single, everyone was more than just a bit excited. As it happens Bowie's role is only very minor on Arcade Fire's new single, it does not detract from the magnificence of Win Butler and his band's masterpiece and at 7.42 minutes long, Reflektor is easily Arcade Fire's longest single.
At first listen, Reflektor sounds more LCD Soundsystem than Arcade Fire, thanks to the recruitment of James Murphy as a producer and the rejection of the once prominent 'epic' Arcade Fire sound. As well as that the club beat and the male-female harmonies in the chorus make Reflektor very different from not only 2010's "The Suburbs", but anything. Reflektor is dissimilar from anything in recent musical history.
With Reflektor, Arcade Fire are moving away from the sound that made them one of the greatest bands in the world; a brave brave move. And what better way to announce a change in sound than with an eight minute long single? The very release of the Reflektor single, and the Reflektor promotional campaign shows they aren't phased by their critics.
The song itself features a dance-y four to the floor drum beat, and the male female vocal combination of Butler and his French-singing wife, Régine Chassagne, adding to the character of the hit. The lyrics too are somewhat ear-catching, sounding somewhat alone but together. Win Butler's talent is clearly "reflekted" through this particular medium.
With the next Arcade Fire album being along in less than two months, this mysterious, enticing yet all the more exciting single leaves fans and critics alike starving for the more, as Reflektor (the album) is shaping up to be a much more exciting affair than any other album released this year.
Rating: 9.5/10
Out: Now, Reflektor (album) is released on October 28th.
At first listen, Reflektor sounds more LCD Soundsystem than Arcade Fire, thanks to the recruitment of James Murphy as a producer and the rejection of the once prominent 'epic' Arcade Fire sound. As well as that the club beat and the male-female harmonies in the chorus make Reflektor very different from not only 2010's "The Suburbs", but anything. Reflektor is dissimilar from anything in recent musical history.
With Reflektor, Arcade Fire are moving away from the sound that made them one of the greatest bands in the world; a brave brave move. And what better way to announce a change in sound than with an eight minute long single? The very release of the Reflektor single, and the Reflektor promotional campaign shows they aren't phased by their critics.
The song itself features a dance-y four to the floor drum beat, and the male female vocal combination of Butler and his French-singing wife, Régine Chassagne, adding to the character of the hit. The lyrics too are somewhat ear-catching, sounding somewhat alone but together. Win Butler's talent is clearly "reflekted" through this particular medium.
With the next Arcade Fire album being along in less than two months, this mysterious, enticing yet all the more exciting single leaves fans and critics alike starving for the more, as Reflektor (the album) is shaping up to be a much more exciting affair than any other album released this year.
Rating: 9.5/10
Out: Now, Reflektor (album) is released on October 28th.
The 1975 - The 1975
September has seen the release of not only Arctic Monkeys' AM, and Babyshambles' comeback record; The Sequel To The Prequel, but also the release of The 1975's self titled debut. Hailing from the same city as New Order, The Smiths and Magazine, you'd expect The 1975's critically acclaimed number one album to be at least half decent. However, that is exactly whatever it is not.
The 1975's self titled album begins with The 1975's self titled intro, a dull affair which, like any intro, lacks any sort of substance and does nothing to make listening to an album more pleasurable, or more of an experience. It's followed by The City, which is a largely uneventful song, but one of the album's strong points, however it may only seem strong because it is next to "M.O.N.E.Y". M.O.N.E.Y is undoubtedly the worst song on the album, or indeed any album released over the past year. It comes close to equaling anything George Michael in terms of being so god damn shit. The album gains a little bit of credibility with singles Sex and Chocolate as track 4 and 5, before paving way for eleven songs more of utter, unlistenable drivel that'll leave you feeling like Matt Healy owes you 50 minutes of your life.
From track 6 to 16 it seems like there's not a track worthy of note. Each song is a non event waiting to happen and if possible I'd recommend you keep your ears away from Macnhester's latest export as possible. It leaves you underwhelmed beyond the point of recovery and will leave you questioning the countless favorable reviews. With the possible exceptions of Sex and Chocolate, I'd implore you not to listen to this album. I mean don't be fooled, even Sex and Chocolate are Simon Cowell's idea of chart topping music, even if it is brandished with the label of 'indie'. The 1975's album is one of the year's more overrated releases, and is to be avoided at all costs, no matter who recommends it.
Rating: (a generous) 2/10
Out: Now
Key Tracks: (If you must) "Chocolate"
Thursday, September 12
5 Albums That Didn't Get Nominated For The Mercury Prize, But Really Should've Been
Public Service Broadcasting - Inform-Educate-Entertain
PSB's extraordinary debut slipped completely under the Mercury Prize's radar. Perhaps the most innovative album of the year was completely overlooked by the judges. For me, Inform-Educate-Entertain is 2013's standout album, as it makes vocal sampling not only work, but work to a great, great effect. Night Mail is easily as catchy as anything on AM, or Holy Fire, and Everest matches the singles from those aforementioned albums for sheer brilliance.Rating: 10/10
Peace - In Love
NME's (and in fact my) favourite new indie band's near flawless debut album was missed out by the Mercury Prize judges, which makes you wonder just what kind of people they are. In Love has much more energy than AM, and blows that godawful Disclosure album out of the water. The only thing stopping In Love from being a genuinely perfect release was the fact that it's predecessor, The Delicious EP was one of the decades greatest releases.
Rating: 9.5/10
My Bloody Valentine - MBV
Shoegaze's best known heroes made a very welcome return this year, with new out-of-the-blue album MBV. Although MBV lacks the brilliance of earlier releases like Loveless, and Tremolo, MBV more than equals the albums that have achieved Mercury nominations. 25 years on from the genius release that is Isn't Anything, My Bloody Valentine sound as fresh as ever, and it's a wonder they didn't receive a nomination.
Rating: 9.5/10
Atoms For Peace - Amok
Thom Yorke's latest electronic endeavor was a brilliant one. Amok is 8 songs of Yorke's best electronic work, and quite possibly his best work away from Radiohead. Amok sounds a bit like The Eraser, but more haunting, and just... better. The recruitment of Flea, Nigel Godrich and a host of talented musicians defiinitely bolstered Yorke's outfit making Amok a rather brilliant release.
Rating: 9/10
Franz Ferdinand - Right Thoughts, Right Words, Right Action
In 2009, Franz Ferdinand, Scotland's finest export released "Tonight:", a dire, half arsed album, which led to them dropping completely under the radar. Something had to be done. That something was Right Thoughts, Right Words, Right Action, one of the (if not the) finest comeback album in the history of indie music. The record sees Franz Ferdinand back to their strutting best, in what is definitely the album of the year. A flawless album from start to finish, with Love Illumination being a definite nominee for any Song Of The Year list.
Rating: 10/10
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