ART BRUT MAKE ME WANT TO ROCK OUT!

Art Brut Live @ O2 Academy, Birmingham 28/04/2009

Art Brut have been a favourite of mine for a while now. It took me a little longer to get into them than it did for other fans, but when I caught up with the fun that was going on, I was there with my boots blacked and ready to sing their praises to anyone who’d listen. Having liked the band since hearing ‘Formed A Band’ a few years, and then Art Brut solidifying their awesomeness with a support slot on the NME tour in America (with my favourite band in the world, The Hold Steady). I got progressively more excited about the band that it the Brut. Rightly so. Since that fully-formed debut record, they have released a wonderful record in the form of ‘It’s A Bit Complicated’, full of songs about that complex thing of being drunk and not knowing what to say to girls (or boys). It’s easy to relate, and I think that this is probably why I love Eddie Argos and his merry band of men (and woman) so very much indeed.

Since the second album came out, there was THAT tour and then the band took a break. They have been writing for some time and entered the studio with Black Francis (former Pixies man) to create their third record, ‘Art Brut Vs. Satan’. This album was released last week and there will be a review up of this record soon. But for now, Art Brut are on tour and I had the chance to see them in my home city last night. It was my first Brut show and I had high expectations. I knew they looked to have a good time every time they hit the stage, so I knew that it wouldn’t be dull.

With this in mind as I left the house, I realised that Art Brut did have a lot to live up to. Their reputation proceeded them. They wouldn’t disappoint.

Art Brut took to the stage at around 9:15pm in a haze of drunken foolery (the crowd) and smoke. They opened with current single, ‘Alcoholics Unanimous’ and the crowd weren’t really sure whether to jump around to stand and watch Eddie and co. rip the stage apart. They got the idea when we were presented with ‘My Little Brother’ which was absolutely perfect live. Not note for note or anything like that, I mean that the spirit and the crowd seemed to convene and there were smiles everywhere. Not to mention a heck of a lot of shouting and the wonderful line, “STAY OFF THE CRACK!” Leading to lots of air punching. Eddie’s brother doesn’t like that song, but then, as he says, “it does accuse him of having a crack addiction.”

After this little dabble with the debut record, which includes ‘Rusted Guns Of Milan’, ‘Modern Art’ (we’ll get to that in a minute) and later, ‘Emily Cane’ (a request from the crowd). We are then presented from the opening track from their sophomore album. The track, ‘Pump Up The Volume’, is a particular favourite of mine, so hearing it live for the first time was particularly brilliant. The shouts of “I know I shouldn’t / Is it so wrong / To break from your kiss to turn up a pop song?” from the crowd led to more bouncing around and getting very hot and sweaty. This was then followed by a few from the new record.

Great renditions of new tracks, ‘DC Comics And Chocolate Milkshake’, ‘What A Rush’, ‘Demons Out!’ (with it’s “THE RECORD BUYING PUBLIC SHOULDN’T BE VOTING” shout along), ‘Slap Dash For No Cash’ and the brilliant ‘Summer Job’ with that epic riff from Ian Catskilkin. More raging, some knew the words, some didn’t. We got treated to a B-side from the new recordings, a song that Eddie wanted on the album but it didn’t make the cut. A Track called ‘Positively 5th St” which rocked just as hard as some of the debut album stuff. It wasn’t out of place on this punk-indie-rock set list.

Now, to THAT performance of a fan-favourite, ‘Modern Art’. This track has always made me want to jump around like a goon (which I have done on several occasions) but last night’s rendition was spectacular. Eddie Argos got into the crowd, teased us with fake chorus moments and bounced around with the common people. Loads of fun. Lots of shouting. Exhausting to say the very least. Eddie was telling us a story of how he got banned from a famous Parisian art gallery at the same time. It was like a party with your friends, but with an awesome rock band on the stage and the greatest rock storyteller in your living room. Great fun.

So all in all, Art Brut make me want to rock out. Lots. And hard, too. I hope they come back soon so we can enjoy the madness once again.

STAY OFF THE CRACK.

You're a liar and that's the truth...

"I think I love you..." Annie Clark sings on her new single, 'Actor Out Of Work'. I think I love her, actually. This new single is fabulous, just so you know, and the video is down below all this writing. Annie's new album is out in May and she recently did a hub session for BBC 6music, which you should check out, too because it was awesome.

I think I love Annie Clark because her music is so wonderful, which is because she has that voice and she does it all on her own, you know, with pedals and stuff. It's quite ingenius and I adore it. More! More!

St. Vincent - 'Actor Out Of Work'. From the album, 'Actor', due in May.

Positively rockin'

A wise man on the new Hold Steady Documentary, ‘A Positive Rage’, said something along the lines of the following: “A lot of people don’t believe that rock ‘n’ roll can save the world… I don’t think any of those people have ever seen The Hold Steady…” In many respects, this guy, in a moment of awe, summed up this documentary. The Hold Steady are lots of things to allsorts of different people. They are a wonderful rock band, they are a band that enjoy their live shows (therefore making the shows more enjoyable for the audience), they are bringing back rock and roll and they are five men on tour.

In the documentary part of this live package, we get to meet the latter of these things. We see how the band grow from a bar band to releasing ‘Boys And Girls In America’, their third album, and we see how this tour changes The Hold Steady and how they deal with their new fame. The interviews are insightful and interesting. The perspective of a rock band about to blow up in their home country is quite fascinating during this DVD. The laid back approach to touring and doing what they love is incredible. The modesty and gracious attitude that every member has is something to behold. The fans interviewed post-Hold Steady show are honest, funny, giddy and excited and the show shots are fantastic, with shots from London and Minneapolis showing off what this band can and does do every night on tour. There is a lot of heart in this documentary and it shines.

And then we get to the accompanying live CD…

This disc was recorded in Chicago, Halloween 2007. The show comes highly recommended if you’ve never heard this band before. If you’re new to the band then this is where I’d recommend you start. This is what The Hold Steady sound like live, in a nutshell. There are huge riffs, speeches, love, affection, screaming audiences and rock and roll in bucket loads. The songs that were new then have been rehashed and recorded for the latest studio album, ‘Stay Positive’, and give a bit of an insight into how things get changed between the road and the studio. The versions of ‘Stuck Between Stations’, ‘The Swish’ and fan favourite, ‘Killer Parties’ leave you with a full heart and a dire need to see the band live immediately.

If the latter does occur when you hear this record, I heartily recommend catching a real live show, buying all of the studio albums and a red bull. You will need the energy to keep up with the five dudes on stage.

This live package is incredible in every sense of the word. I know I’m a “fan” and would say this, but I wouldn’t be saying it if I didn’t believe it. This package (when bought from the shop) also comes with brand new free songs ‘40 Bucks’ and ‘Spectres’, which I will have to review separately because they are something completely different to the package: you cannot get these anywhere other than with the disc itself. Worth every single penny.

The Hold Steady are on tour throughout May, June and July.

You wouldn’t walk by this woman (or this man)!

PJ Harvey is, and always has been, a force to be reckoned with. Her previous albums have seen her undertake carious guises, whether it be temptress, forlorn lover or the siren on the cliffs PJ has create many different album, all of the wonderful in their own way. Her latest, with an old collaborator (Mr. John Parish), is no exception to this rule.

Regarded by many critics as PJ’s follow-up to 2000’s Mercury Prize winning ‘Stories From The City, Stories From The Sea’; ‘A Woman A Man Walked By’ is in a similar place lyrically. This record sees Harvey return to guitar, with help from Parish, after her last album, ‘White Chalk’, dabbled with piano. All of the music here is scored by Parish. His writing sees the use of several great guitar moments (see lead single ‘Black Hearted Love’) and a few brilliant organ-led tracks (see the fabulous ‘Sixteen, Fifteen, Fourteen’ and ‘April’). Some of the new tricks that Parish brings with him suit PJ down to the ground, others see her embracing new ideas and a more experimental approach to her music. Her voice, of course, I spectacular as with every other record she has ever released. It’s familiar, beautiful and wailing (particularly on stand out track ‘The Chair’). Some of Parish’s tricks sound alien-like, like something that fell from the sky.

The aforementioned, ‘The Chair’, is a highlight on this record. Polly Jean is in full temptress mode voice-wise, whilst playing the forlorn love lyrically. She is as sexy as she’s been since ‘This Love’ and the jaunty arrangement makes it different but PJ’s powers make it accessible somehow.

Overall, this album encompasses some of Harvey’s best moments and Parish’s melodies are interesting, epic and beautiful without being over the top or cliché. The words are fabulous as usual, Polly sounds great throughout and the whole record has something new to offer to the PJ back catalogue, even for those who haven’t heard any of it previously. It might be a bit edgy and weird in places but its experimental side compliments the straight up side without ruining the flow.

Oh Polly Jean Harvey, how I adore thee.

Angela!

The New Jarvis Cocker single is out and about. His new album, 'Further Complications', is out this May and I, for one, am excited to hear it. Produced in Chicago with Steve Albini, Cocker has embraced his rock and roll side and taken what he started with 'Fat Children' to create a whole album of suchlike wonderment and joy. I simply cannot wait to hear what the record sounds like.

Here is a video of Jarvis playing the new track for BBC 2's The Culture Show. Enjoy!



For more info head to Jarvis Cocker's offical website where you can get your hands on the recorded version of 'Angela' for free.

Yeah baby we were savage / We existed to kill...

The Thermals - Now We Can See; Kill Rock Stars, 2009

The Thermals have always been the fun side of rock and roll. Their debut album was full of intent and great riffs. Their album, 'The Body, The Blood And The Machine' , is one of my favourite albums of this century. I played it to death when I got my mits on it. Well, they are back with their fourth record, 'Now We Can See', and I have not been disappointed. The riffs and the fun are still there, but this time it's pop-rock.

The lead single from this record, and the title track, promised a great deal from this record. The Hold Steady-like woahs and the massive riff suggested a slightly new direction, embracing mainstream. I fell in love with it very quickly and found it randomly popping into my head on occasion, which is always nice. This track isn't alone in its catchiness. Oh no. The Thermals have perfected that art on this record.

The noted catchy tunes start the record off with a bang. Songs like 'When I Died', 'I Let It Go' and the aforementioned 'Now We Can See', really grab the attention and then we are presented with 'At The Bottom Of The Sea', a break in the proceedings. This track brings out The Thermals softer side, with another catchy little chorus and some lovely guitar parts. You don't complain and you've been dancing so much that you need the break to catch your breath. It's a little bit forgettable in the context of the album. But still great on its own.

After a small break we get back to business with more riffs to dance around the house to. The soundtrack to bouncing might be a more accurate name for this record, with breaks in between for you to gather yourself. There are epic guitar anthems a-plenty here. Some of it isn't quite as exciting as their previous record, but it's solid and it's catchy so I won't complain.

The record ends on a slower point with 'How We Fade' closely followed by 'You Dissolve' both great tunes, very nice indeed, but not quite reliving the speed and the ferocity of the earlier records except for those riffs being incredibly catchy. The only moment here that I can, hand on heart, say sounds like it could fit on an earlier Thermals record is 'When We Were Alive', which at 1:45 is a short, sharp shock to the album and kicks it into gear.

Great record overall, with a few moments that don't quite seem like The Thermals. This isn't a bad thing, this is a sign that they are embracing new ideas and directions. I can't wait to see how they flesh it out for album number 5.

The Thermals are on tour this spring/summer.

Blitzing the old, bringing back disco.

Yeah Yeah Yeahs always has been a cool band. It’s lead singer, Karen O, is fashionable, crazy, passionate and energetic. She oozes the cool up front while “the other two” thrash about on the instruments, trying to make exciting noises. They’ve always succeeded in the latter. Yeah Yeah Yeahs debut album proved that. All guitars and shouting, bringing in the indie cool and showing off their softer side with the instant classic, ‘Maps’.

This trick was later followed up with ‘Show Your Bones.’ An album full to bursting with finger-on-the-pulse guitar-based noise, with a dash of melody and a couple of hit singles. They’d hit their stride and proved that they were one of the more important guitar bands around and they had glitz and glamour.

After a long break, which included a great EP dubbed ‘Is Is’, Yeah Yeah Yeahs have come back and this time, they’ve all but forgotten the guitar. Nick Zinner’s skills aren’t sidelined in anyway, of course. It’s just time for a change. The lead single, ‘Zero’, showed off their intentions perfectly. There will be less rock and roll noise and shouting and more glamorous groove.

And with this mission statement, YYYs have created an album full of shiny dance floor pop/rock. This isn’t an album like the other two, it’s something new. A new direction? Yes. A horrible idea? HELL NO. This album still retains YYYs cool. It still has the glitz. But this time you want to dance it to all night long, possibly in a shiny outfit with some glow sticks in hand. ‘It’s Blitz!’ also stands a chance for best cover of 2009 too.

‘Zero’ is, of course, the opening track on ‘It’s Blitz!’ A track which sees the band start as they mean to go on. Its killer beats and synth hark back to ‘Date With The Night’, but this time there’s disco involved. It’s sparkly and exciting and it doesn’t stop there. ‘Dull Life’ is probably the only track here that sounds anything like “old” YYYs. There is Zinner guitar and Karen O shouting, but there is a twist. Notice how damn catchy it is.

We get presented with ‘Heads Will Roll’, a thumping, new wave track with synth-aplenty. This track builds to its chorus and then Zinner lets rip on his guitar. You can’t help but nod your head and tap your feet when it all kicks in and as it gets funkier and funkier you want to dance more and more. No mean feat for an indie band. The same can be said of ‘Dragon Queen’, another keyboard rocker with Blondie written all over it.

And then we come to ‘Hysteric.’ This track is ‘Maps’ bastard child, with Karen O singing about feeling complete and all that jazz. It’s a love song for the nu-rave generation. I just hope they have left nu-rave behind and are embracing the sound of Yeah Yeah Yeahs instead.

Great album, earning its ! Straight away. Just make sure you’ve got your dancing shoes ready before you press play.

Further Listening:
Blondie - Parallel Lines
PJ Harvey - To Bring You My Love
Does It Offend You, Yeah? - You Have No Idea What You’re Getting Yourself Into
Sons And Daughters - This Gift
Bloc Party - Flux (Single)

Not so rusty. Not so rusty at all..

Doves - Kingdom Of Rust; Heavenly Records, 2009

Doves, a band that have had their ups and downs. A band that have a superb live reputation and have recently released their fourth studio album, 'Kingdom Of Rust', into the world. Fans, like me, have been waiting some considerable time for this record to hit the shelves and on hearing the lead single, the title track, the excitement grew all too much.

This record, is brilliant. If you liked Doves before then you'll have to brace yourself for this newer, bigger, layered version. Doves have taken their original sound an made it twice the size. They have branched out and seen ideas through to the end. Most of these involve taking the noises Doves were making up a level. The guitars a bigger, there's a hint of electronics, the choruses scream for the terraces. This is Doves very own version of The Seldom Seen Kid, but without the Elbow factor and the loss of friends.

Broken hearted? Dust yourself off, listen to Doves. They've been there before and they have come back fighting!

'Kingdom Of Rust' opens with the keyboards of 'Jetstream' and those guitars. Its melody ebbs and flows and then kicks in towards the end. The build isn't quite so gradual and Doves have clearly worked on their arrangements to the point that they will become people's favourites and have their songs sung in pubs all over the show. It's a trick that continues throughout the album, too.

The first single, as I mentioned earlier, wetted the appetite for the new album. 'Kingdom Of Rust' is a tale of lost love, a subject Doves are good at, like their Manc counterparts, Elbow. The track has that classic Doves feel. Jimi's voice, familiar and yet sounding more mature than it ever did. This is no bad thing, his voice has improved somewhat in tone and texture and it comes out best in the next little section of the record. The section that will have you singing as loud as you can.

This section starts with the elctronic noise of 'The Outsider's. This track may start with the sound of keyboard sounds and looped vocals but when it kicks in and Jimi's bass line thunders through your bones, you can't help but think "oh my, Doves are BACK". This is cemented by the fact that this track has sing-along-a-bility. After the second listen, you'll find yourself singing that chorus randomly and humming the Williams guitar licks. Second in this section of wonders, is the brilliant, 'Winter Hill'. Now, I don't want to scream and shout too much about this song, I'll let it speak for itself, but it is up there with the best of Doves, the best of the record and the best of this year so far. The riff at the beginning embodies summer '09. Just you wait and see. After this, we head into a slightly more heartfelt side of Doves. '10:03', which refers to a train time to Manchester, is a song about love. It goes along, steadily and then we are presented with the breakdown. Oh! The breakdown!

More bass lines, more tracks that will sound infinitely better in the sunshine (this, I can confirm), more Doves letting rip. This isn't a band holding back anymore. This is a band ATTACKING the mainstream and, I have to say winning.

When we get to the last songs of this wonderful album, Doves are really calling all men. You can imagine scarfs aloft when it comes to the sound of the epic closer, 'LIfelines' and that chorus gets stuck in your mind for the rest of the week. My personal favourite, so far, from the album is 'House Of Mirrors', a song that has been likened to U2. I think that's a little harsh, but it does have the smae immense rock-ability to it. That layered, wall of sound approach to songwriting and arrangement. It's not an attempt on U2's crown, but it is an absolutely fantastic track! Catchy, great guitars, epic structure and Jimi Goodwin's purrs. Their laid back approach to rock and roll belongs at Heavenly, a label which likes to party when a record is done.

I hope they have all the success in the world with this record. It deserves all the praise it gets.

Doves are on tour now!

Elbow room - New Elbow Live Package

Elbow - The Seldom Seen Kid (with the BBC concert orchestra) Live at Abbey Road

Elbow are, it has to be said, getting bigger by the month. Their debut album barely sold and the band toured constantly to get it promoted. Since then, Elbow have released three studio albums, toured the world and won that Mercury Prize. That latter has seen them catapulted into the stratosphere here in the UK. Nearly every mum in the country owns a copy of their last album, 'The Seldom Seen Kid', and they recently sold out Wembley Stadium. As a proud fan, it's great to see the band get the recognition they always deserved. It also means exciting pieces of wonderment like this new offering from Elbow: the live package.

A while ago, Elbow were offered the chance to perform their biggest selling album in front of a very small audience, with the BBC concert orchestra and the BBC radio three choir of the year. Of course, the guys lept at the chance and the performance went out on BBC radio two and the red button. This performance took several hours of scoring for one man. His work on the score for this performance proved vital and the whole show sounded absolutely wonderful.

And then Elbow decided they must release it as a package for the fans. Well, I am very grateful for this as the gig was so beautiful from start to finish (much like the album itself). The live record that features in this package is stunning in every sense of the word. From the opening moments of 'Starlings' to the thunderous strings on 'Grounds For Divorce', this record gives that little something extra that Elbow couldn't quite achieve in the studio (with a three ladies and various sting instruments). The most wonderful performance here, surely, is 'Weather To Fly'. The goose bump inducing section of 'The Seldom Seen Kid' and the track that oozes more beauty than anything Coldplay have ever recorded. This is also true of the performances of 'Some Riot' (Craig Potter using that Grand Piano to great effect) and, the never before performed, 'Friend Of Ours'. The latter was so wonderful, I cried.

You can see on the faces that this show meant the world. I hope they conquor it. All of it. This is just another step towards domination, I can't wait to see where they go from here.

Well worth the pennies, just for the instrumentation alone.

Elbow performing 'Grounds For Divorce' live at Abbey Road.

Franz Nicolay - Shiny video joy

Franz is a Words Won't Save Your Life favourite. His debut solo album is incredible. His moustache is fabulous and now he has an official video to add to the wonders. 'Jeff Penalty' is the opening track from Franz's album, 'Major General', and it packs a killer punch. It is, of course, just the beginning to that record, but I'm pretty sure I've mentioned that before...

Stereogum *have premiered the brand new video from Franz, I have stolen it and embedded it here for you all to view and ponder. I love it. Very swish indeed. I can't wait to see more (or watch it over and over again...).

'Major General', featuring the following brilliance, is available from all good record stores or here if you don't fancy looking (especially if you are in the UK). Please head to Franz's MySpace, too. He'd love to hear from his adoring fans...

Play this LOUD.



*do follow the links to the new Daytrotter session and the free download

Leave the rest at arms length - Frightened Rabbit @ The Glee Club, Birmingham 30/03/2009

Frightened Rabbit are, it has to be said, one of the few bands around right now that give me the shivers. The Rabbits are very good at crafting songs that hit you right in the solar plexus, a little too close to home for those of us of the emotional disposition. Their recent album, 'The Midnight Organ Fight', has met mixed reviews on this side of the ocean (it should be noted, that this is their side of said ocean) with many music publications claiming that the record lulls into dull patches that don't grab you the way the rest of the record does. I think I am one of the few that actually believes the entire album is worth listening to - over and over again. It's the lyrics that will get you, not necessarily the tunes.

I had been looking forward to a night out with the Scared ones. I had heard that the live shows were something to behold, whether you enjoyed the album or not. It was something about Scott Hutchinson's voice that would make you fall in love when it came to the live show and he was about to take to the stage and stun the Glee club crowd.

Before this could happen, though, the audience was treated to a performance from the support act, Ross Clark & The Scarves Go Missing. Ross is a solo artist who has roped in a band to help him beef up his tracks while on this tour. A 20-something from Glasgow with incredible wit and character, his songs were just as brilliant. The songs were layered, affecting and fun. I went and bought all of the CDs available, with the stripped down versions. Clark's voice something of the strained, emotional type with shouting and dancing. He was clearly enjoying his time on stage and so were the audience who all had their feet tapping and heads nodding by the end of the set. It warmed us up nicely for the Rabbits.

A short break meant that the crowd that was gathered could locate the nearest bar and then get ready to be assulted by the FR guys. Everyone got back to their seats and Frightened Rabbit took to the stage, guitars and synth at the ready. Opening with a staggering beautiful verison of 'My Backwards Walk', stripped down for the "acoustic" evening, kept the audience glued to the stage. I don't think anyone managed to look away as Scott sang with more emotion in his little finger than any band I've seen for a while. He meant every single word.

After this spellbinding opener, Frightened Rabbit played almost all of the latest album, bar about 3 tracks. Each track getting its own acoustic make-over where needed and others getting the crowd clapping, smiling and tapping those feet. The perfect example of the latter was 'Old Old Fashioned' which saw the seated crowd enjoying the Rabbits' more upbeat song, along with 'The Modern Leper', 'I Feel Better' and 'Head Rolls Off', which all saw the crowd participating from their chairs.

The moments of the evening that were the most cause for 'celebration' in this little review have to be the performances of 'Good Arms Vs. Bad Arms', which was so beautiful that I could feel the tears stinging the back of my eyes and the hairs on the back of my neck stand to attention as the band played a simply perfect version of the album favourite. The other incredibly moment that I have to mention is the song that opened the encore, 'Poke'. Scott took to the stage, just him and his acoustic guitar, walked away from the mike and unplugged himself completely. He then went about singing one of the most affecting songs from the album, one which uses the c-word to great effect. The crowd sat in stunned silence as he sang the last bars; none of them had seen anything like this before.

Another, comepletely different, highlight was the yell of "SET YOU FREE!" from the back of the room. Frightened Rabbit, four guys and their instruments, set about covering the N-Trance song with great aplomb, they made it their own and they got the crowd smiling along. "Everyone's been felt up to Set You Free..." - Scott Hutchinson.

Frightened Rabbit ended the set with one of my favourite songs from the latest album, 'Keep Yourself Warm'. A song that does emotional like no other track on the record. A song about one night stands not fulfilling the need to be with another human being. "It takes more than fucking someone you don't know, to keep warm..." The build of the song gets me every single time and when Scott wails "Can you see in the dark, can you see the look on your face?" for the final hit, I get goosebumps all over. That night was no exception and the Rabbits kept true to the record where possible, even if it meant a few wobbly notes here and there.

Overally, the show was deep, thoughtful, witty and had emotion in buckets. Much like the Rabbits themselves who came across as a very different kind of "rockstar". These guys clearly didn't do this for the limelight, this was just for the music. I think I enjoyed that fact as much as the set itself which oozed beauty at every single turn.

There's no need to be Frightened anymore, Rabbits.

Frightened Rabbit performing 'Poke' at the Glee Club: