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Saturday 20 December 2008

Gig Review - Kings of Leon- Bournemouth International Centre 14/12/08

A normal Sunday for people in Bournemouth would usually consist of a poor attempt at a roast dinner, students desperately trying to start and finish the assignment due midday on Monday or a night in watching Coronation Street. But this was no ordinary Sunday, this was the day that Followill fever hit Bournemouth in a big way.

The South American four-piece began their astounding almost two-hour set at 8.45pm, following support from M83 – a French electro band that arguably received less audience encouragement than their talent would warrant. Although, judging by the crowd’s intoxicating hysteria on the first strum of a recognisable chord sequence from Kings of Leon - impatience and anticipation may have had a lot to do with the seeming dismissal of the support.

Kings of Leon have been propelled into the mainstream since the release of their last two albums at a rate that their chequered shirts and newly short do’s could barely keep up with. Yet, unlike the fickle scene-chasing fans of many other bands of the genre, the self-professed Kings of the Rodeo’s fan base which have been there since the beginning have stood proudly, like parents watching their child achieve their ambitions – something that the band are appreciative of, later telling their sea-side audience “It’s fans like you who keep us doing this”.

This was also demonstrated by the set list; entwining tracks from all four of their impressively diverse albums into their set. Starting things with ‘Closer’ and the bass-heavy ‘Crawl’ before the renowned ‘Kings of the Rodeo’, meant a crowd of hysterical fans dancing like their lives depended on it…with the occasional over-zealous crowd surfer being dragged out by security of course.

Four songs in and lead singer and guitarist, Caleb Followill, followed the typically epic ‘Molly’s Chamber’ with a brief belated introduction: “We’re Kings of Leon”. Greeted by an uproar of applause from fans hugely appreciative of the refreshingly humble approach for a band that, in 2008, need no introduction.

Whilst bassist and many a female fan favourite, Jared Followill, spent a lot of the show with this back to the audience, he turned to lend his vocals to chart topping ‘Use Somebody’ and to demonstrate his bass prowess on tracks like ‘Sex on Fire’. The musical ability of Kings of Leon is something that prevails in a way that leaves even the most fickle of music fans questioning how they possible stayed under the radar for so long. Guitar riffs and Caleb’s raspy vocals tugged at the hairs on the back of everyone’s necks amongst an atmosphere of fans clearly having the time of their lives.

And the perfect end to the perfect show? A four song encore. Leaving the audience to work themselves up into a frenzy for five minutes and to allow Caleb to no doubt consume as much Evian as his bladder capacity would allow after an immense performance of ‘Trani’, the band returned to play ‘Knocked Up’, the show-stopping ‘Charmer’, ‘Slow Night So Long’ and ‘Black Thumbnail’.

If only all Sundays were like this.


Set List:

Closer
Crawl
Kings of the Rodeo
Joe’s Head
Molly’s Chamber
Fans
Revelry
Milk
Four Kicks
Pistol of Fire
Wasted Time
Notion
Sex on Fire
The Bucket
Use Somebody
My Party
Cold Desert
Trani
Encore – Knocked Up, Charmer, Slow Night So Long, Black Thumbnail

Thursday 18 December 2008

Single Review - Calexico - Victor Jara's Hands - Noize Makes Enemies

It is unlikely that Calexico will be whatever you are expecting, or at least that was definitely the case for me. The Arizonan six-piece recorded their 2005 EP with folk, often spine-tingle-encouraging, Iron and Wine, and whilst Calexico have the same southern sound -with country and folk attributes –they inject an unexpected world music overtone to their music.

Calexico’s latest release, ‘Victor Jara’s Hands’ is no different –incorporating all of these factors into a style that is a very welcome distraction from a typically bleak British December, but arguably lacks a great deal of relevance in the modern music industry. However, perhaps this is not such a bad thing.

Kicking off 2009 with a sixteen-date tour of Europe, Calexico, although undoubtedly not everybody’s preferred musical style, are talented and definitely would appear to be doing something right.

If a band that have an established approach which exudes innovation and works for them, should they need to tamper with and manipulate their music to appeal to mass audiences? I would suggest not.

The world is a more interesting place because everybody is different, and the music industry is undeniably a better place as a result of mould-breaking bands like Calexico.

EP Review - Get Well Soon - Listen - Noize Makes Enemies

Get Well Soon are a seven-piece German band. Fronted by Konstantin Gropper who is quite the talented multi-tasker; songwriting, singing and playing a host of instruments in the band.

It is these kinds of quirky factors that become less surprising, and almost characteristic of Get Well Soon. In an adjective, they are; diverse. Incorporating, violins, banjos, what sounds like a glockenspiel and then fusing these into dark instrumentals not unlike the newer work of Radiohead and teaming this with Gropper’s vocals - reminiscent of Matt Bellamy’s (of Muse).

Add in Gropper’s vast American/Canadian influences which range from Smashing Pumpkins, Sonic Youth to Leonard Cohen and the foundations for the choice of adjective should be a great deal clearer.

Get Well Soon’s latest EP is a showcase for the above descriptions and with tracks like “Christmas in Adventure Parks’ showing a more folk side to the band, their status for most successful newcomer tour in Germany this year demonstrates the success of their fine balance between dark gothic tendencies and more mainstream genres.

With it’s potentially niche audience, Get Well Soon are unlikely to beat Alexandra Burke to the Christmas number one spot this year, but Gropper’s musical talent is indisputable and music fans willing to open their minds to the more experimental; this EP could be well worth a listen.

Album Review - Her Space Holiday - XOXO Panda and The New Kid Revival - Noize Makes Enemies

Visually, Marc Bianchi, aka XOXO Panda looks like a cross between Weezer front man Rivers Cuomo, with the tattooed torso of Travis Barker. Originally hailing from the bands Indian Summer and Mohinder, this paradoxical and somewhat unexpected appearance is undoubtedly a direct consequence of Bianchi’s background in hardcore music.

Clearly an innate courage for change, Her Space Holiday’s new album is a clear progression from previous work. Tracks from ‘Telescope’, the bands 2006 release, demonstrate Bianchi’s lyrical capability but are musically somewhat easier to apply to a genre or compare to bands such as The Postal Service.

However, whilst his latest album has the same acoustic theme and warming lyrics, there is something quite traditional or older sounding about the thirteen tracks, particularly musically on “No More Good Ideas”. Whether it’s the optimism and upbeat tone to the music – something which is seemingly becoming less commonplace in modern music, or whether it’s due to the harmonies and impossible-to-pigeon-hole sound; either way it’s inarguably refreshing.

There’s an aurora of maturity and reflection on experience that is inevitable with a singer/songwriter who has been in the music industry for as long as Bianchi. But rather than a patronising and irrelevant slant after twelve years of making music, the consequences on tracks like “Year in Review” and “The World Will Deem Us Dangerous” are lyrics that demand attention and seem to effortlessly soothe any potential personal dissatisfaction by persuading it into a broader perspective.

Lyrics such as “Hold your breath and count to three, if you know the words then sing with me” make the album at times feel not unlike a campfire session for fans of alternative music. Yet, at the end of a year that has heard numerous musicians complain about the attributes of fame and at times demonstrate a flagrant disregard for the support their fans show – Bianchi’s positivity and his audacity to bungee jump from one genre to another, at times creating new ones altogether, would appear a breath of fresh air.

Wednesday 29 October 2008

Album Review - Popular Workshop - We're Alive and We're Not Alone - Noize Makes Enemies

Withdrawal symptoms in the absence of Nikolai Fraiture of the Strokes’ dirty bass guitar riffs’ and a fan of sporadic bands like El Milano?

Ready to meet your new favourite band…?

Well, you need to be as they won’t give you much of a gradual welcome - preferring instead to grab you by the lugholes and drag you at full force into their fashionable new world.

Popular Workshop are an excitable Indie trio with a prevailing dislike for all things clich̩ Рparticularly of the neon omitting Nu Rave variety.

Tracks like ‘Uh (Uh) Uh Uh’ and ‘Get Up and Wait’ show the temperamental nature of the likes of Biffy Clyro in their ability to switch from relateable arty outbursts to thoroughly embittered screamo declarations like ‘I don’t want to fall in love’ over and over.

Popular Workshop’s debut album ‘We’re Alive and We’re Not Alone’ is thirteen tracks dripping with potential and angsty body trashing magic – a perfect distraction from the prevailing British winter weather.

Album Review - Those Dancing Days - In Our Hero Space Suits - Noize Makes Enemies

Sweden can’t seem to stop churning out pop lovelies including Lykelli, Peter Bjorn and John and the likes for us lucky Brits and Those Dancing Days are no exception.

They are a five-piece lyric writing, instrument playing, live performing girl band. Alien concept, Girls Aloud? Perhaps - but to anyone who thinks the niche for female indie bands in the alternative music scene has been long in need of filling – Those Dancing Days are a very welcome concept indeed.

Their innocence makes them look slightly like the sisters in the film ‘The Virgin Suicides’ after a day trip to a vintage boutique but their sound makes them a sort of seventies throw back splash of quirkiness with upbeat lyrics.

Tracks like ‘Hitten’ and ‘1000 words’ show there’s a lot more depth and vulnerability to the band than a retro dance outfit with lyrics like ‘I feel like I’m lost in this body, trying to get inside my head’ which is inevitably needed with any band who hope to maintain some form of longevity in the industry.

Named after the Led Zepplin track ‘Dancing Days’ and label mates with the likes of Los Campesinos! Clap your Hands Say Yeah and Bloc Party – everything about this innovative girl band screams future success.

Single Review - Keith - Up in the Clouds - Noize Makes Enemies

Manchurian band, Keith, have all the swagger of Johnny Borrell and with their first single from new album ‘Vice and Virtue’ setting the bar so high – you can see why.

‘Up in the Clouds’ is three minutes of uninterrupted attitude with epic psychedelic melodies reminiscent of an acid-ridden Cajun Dance Party and vocalist Oli Bayston not sounding unlike Fyfe Dangerfield of Guillemots fame at various points…and, weirdly, it works.

Two minutes in, the band break into what feels like a twenty second homage to their talented influences of Battles and Broken Social Scene- as with the band’s B-Side track ‘La Ritournelle’. It’s this disjointed feel that engulfs the album’s first release and hooks the listener with blunt lyrics like ‘You know I don’t care that you are much more beautiful to you, than me’.

In person, the band look like a rough around the edges Alex Turner and Ian Brown with two of their mates – in a sort of Rascals-esque side project. But, on listening to ‘Up in the Clouds’; the band stick two calloused fingers up at any pigeon-holing into specific genres and give the impression that the Northern four-piece will keep on doing things their way regardless – something that is no doubt a great thing.

Tuesday 28 October 2008

Album Review - Girl Talk - Feed The Animals - Noize Makes Enemies

Eight years in and innovation officially has a well established face - personified in the shape of Greg Gillis.

Otherwise known as Girl Talk, he has become renowned for his ability to mash up and re-entwine music samples from artists ranging from Avril Lavigne and Missy Elliot, to Prince and Nirvana.

And the result? ‘Feed The Animals’ is fifty minutes of insatiable schizophrenic tracks amounting to more than 300 re-worked samples on his latest dirty hip hop and electro fused album.

The juxtaposition of such a variety of genres, both contemporary and long-standing, in such a meticulous way has in no way gone unnoticed in the music industry with Girl Talk finding himself in high demand. Having consequently produced with artists including the likes of Tokyo Police Club, Simian Mobile Disco and Peter, Bjorn and John – his diversity is ever-impressive.

Sick of the same old stuff churned out of your stereo? Greg Gillis is here to smash all your CDs into a giant blender, throw in some effortless cool and serve it back up to you in a way that will put a smile on the faces of even the most serious of music fans.

EP Review - Imajin - We are Speakers - The Mag

All too often I open up my monthly batch of unsigned CDs to find a predictably average sounding band that I could have sworn I’ve reviewed before.

Bands like Imajin are that exception - and affectively what it is all about.

Encapsulating Radiohead’s unavoidable stop-and-listen mentality which, when teamed with Jim Connelly’s vocals that are as intoxicating as Brandon Boyd’s best soulful tracks, create a truly raw talent and a four-piece that are not to be overlooked.

With comparisons to a British version of The Doors, fans of Thom Yorke and generally melodic and rather melodramatic alternative music, may have just found their new favourite band.

EP Review - Garth Adam - Storm in a Tea Cup - The Mag

Garth Adam’s fourth release since 2002 is his new EP; Storm in a Tea Cup.

Sounding like some version of Crowded House with a soppy uplifting Lighthouse Family ethos - it’s relevance in today’s music market is questionable.

With an established career behind him in Australia, his talent isn’t in dispute – more so whether the borderline cheesy melodies and attempt at socially- conscious lyrics like ‘What is the reason for the gap between the rich and the poor?’ can really cut it in such a talent rich industry.

Whilst a bit of uplifting music or profound vocals are no doubt welcome in the midst of a rather depressing winter and Garth Adam may be the secret to cheering many a credit crunch victim up, for me, I’m not so sure.

Thursday 23 October 2008

Cervical Cancer - The Facts - Entertainment Newsline

Jade Goody: “Racist”, “Pointless Celebrity”, “Bad Mum”.

It’s all been said at some time in relation to the loud-mouthed Essex star.

But regardless of what you think of the Ex-Big Brother contestant, I think everybody empathised with Jade Goody when she was diagnosed with cervical cancer in August this year, Laura Routledge writes.

And yet, Jade is just one of around 2,800 women who are diagnosed with cervical cancer in the UK each year; making it the second most common cancer in women under 35 years old.

Shocking statistics and the fact that pre-cancerous cell changes do not have any symptoms, means it is crucial that women aged 25-65 have regular smear tests with three year intervals.

Contrary to common belief – a smear test is not a test for cancer – it actually involves a sample of cells being taken from the cervix so that any abnormalities can be detected early on, which with treatment, can prevent 75% of cancers developing.

If you are under 25 and wondering why you are not considered eligible for a smear test; the NHS state that it is very rare for women this age to contract cervical cancer, because as with their bodies – their cervixes’ are very much prone to change.
This makes false results very much a possibility and unnecessary treatment is likely to cause a lot more damage than good. Yet, anyone under 25 who is concerned about cervical cancer or her sexual health generally should contact her GP or Genito-Urinary Medicene (GUM) clinic.

Worryingly, at 27, Jade only began being invited for smear tests two years ago, but she is already considered to have a 50:50 chance of survival after doctors found that the cancer had spread further than they had expected, during an eight hour operation to remove her womb.

Aware of the need to detect this common cancer as early as possible, the Government has now announced that from this month, all girls aged 12 or 13 in England will be offered a Human Papilloma Virus (HPV) vaccine. HPV is a major cause of cervical cancer and is otherwise known as ‘The Wart Virus’ because some types of the infection can cause Genital Warts. There will also be a 2 year ‘catch up’, starting this time next year, to vaccinate teens under 18.

However, HPV is not the only cause of cervical cancer and in fact, from the time a girl becomes sexually active, she is at risk of cervical cancer as many sexually transmitted infections can be linked to it – for example having HPV and Chlamydia increases the risk by as much as 70%. Even sleeping with someone who has not been circumcised increases a woman’s chances of contracting the cancer as these men are more likely to have HPV, than those who have been circumcised.

Other factors such as bad hygiene, smoking, a poor diet and genetics have all been linked to an increased likelihood of developing cervical cancer.

With 8 in 100,000 women getting cervical cancer in the UK each year and so many potential causes, basic prevention is essential and includes using a condom, avoiding sex at a young age and reducing your number of sexual partners.

Whilst pre-cancerous cells are without symptoms, it is important that if a woman is noticing bleeding between periods/after sex/during sex/ past the menopause, a vaginal discharge that smells unpleasant or discomfort during sex, that she goes to see her GP or local GUM clinic.

Whilst here at EN we wish Jade lots of strength in her battle against cervical cancer, you can help prevent any more potential tragedies by going to get a smear test every three years – something that is said to prevent 84 cancers out of 100 that would develop without screening.

Single Review - Tommy Ludgate - Sweet Release - The Mag

Tommy Ludgate possesses a lot of the attributes that make an artist’s fame inevitable.

At just 22, she has the vocal style of someone much older and her fan base has all the loyalty of a golden retriever, yet as her soulful blues glaze the sound waves there appears to be something missing.

Whilst her jazz sound is inarguably relevant, with Amy Winehouse propelling the genre into the top ten and the tabloids, Tommy’s musical style, although similar sounding, is not distinctive or particularly memorable.

Her influences range from Joni Mitchell to India Aria and in many ways she encapsulates an element of each of them. But with an overtone of En Vogue meets an X-Factor winner’s first track – there is something just too safe about it. There does not appear any real pain to her blues, any believable passion in her soul or funk and although it’s pleasant to listen to; it doesn’t itch any real scratches.

Yet Tommy clearly is doing something right as her album and single are funded purely by her zealous fan base. Website Slicethepie gives unsigned acts like Tommy the chance to professionally release albums and retain copyright. Thus perhaps my inexperience of the afore mentioned genres is the crux of my lack of appreciation – rather than a reflection of Tommy’s musical talent.

Regardless of my qualms, such mixed opinions will no doubt make Tommy’s new album ‘Wall of Words’ a must listen for music fans who love a good debate over a opinion divider and similarly for people interested in what may lead the way for more contemporary jazz and soul in the future.

Tuesday 14 October 2008

EN Meets...Jack Harris - Entertainment Newsline

We love NY...and New York, it appears, loves Jack Harris. Jack is just 20 years of age and already has a portfolio that boasts of Ralph Lauren photo shoots and owning some of London's most credible magazine front covers. Now living in New York, EN put our envy to one side and caught up with the exciting upcoming talent to find out just how he got to this new NY:LON lifestyle.

Name: Jack Harris
Age: 20
Live in: New York/London

Job description: Model

How long have you been doing this for? 4 years

What qualifications do you have? GCSEs and A-Levels in Photography, Media, Drama and Art & Design

How did you get into modelling, & what you do etc? I got scouted in London at a small gig and got my first contract with Select in 2004.

What jobs have you done prior to this? Worked in a small record store for 4 months when i was at college.

Did you always want to do this or did you have other aspirations? I want to work in photography or art and design. I never really 'wanted' to be a model because I never thought about it but now I'm doing it I like it, and hopefully when this is all over I'll be able to get into photography a bit easier.

What is the best part of your job? Getting to travel and meet really talented people that I admire. And the parties.

And the worst? Not getting a lot of sleep. Being away from my friends and family for indefinite amounts of time.

What does your job involve on a daily basis? Going to castings, meetings, going to photo shoots, going to after-parties, travelling a lot.

What is your most memorable moment in your present job? Modelling for Vogue or i-D Magazine.

What's the most common misconception about modelling and your job? That it's an easy job. You do get time off but when you're working it's long hours, lots of running around, followed by lots of waiting around and being moved around.
.

What is your best advice for someone who wants to follow in your footsteps? The best advice i got was be prepared to get knocked back a a lot to begin with; you can't have the right look for everyone you go to castings for. but stay with it and it will pay off.

What are your plans for the future? At the moment I'm living in New York. Eventually I want to move back to London. When I get bored of this/no-one wants me any more, I want to do photography and be on the other side of the lens.

Monday 29 September 2008

Album Review - The Walkmen - You and Me - Noize Makes Enemies

Amidst the propulsion of The Kings of Leon to previously unknown and unpredicted fame – on this September morning, The Walkmen’s new album seems more relevant than ever.


The New York three-piece demonstrate all the coarse rock of Black Rebel Motor Cycle Club, with the profound impression of a largely vintage check shirt toting band, as their dissatisfied rural sound grinds over each track.

Hamilton Leithauser’s gritty country rock vocals on songs like ‘On the Water’ convey a believable sense of blues, as the band’s maturity – 5 albums in – sets the bar that little bit higher and separates them from the rather wet-behind-the-ears in comparison, Followill family.

The harsh bass and post-punk guitars that previous albums have embodied are not thrust onto the listener in such an unavoidable way with the fourteen track ‘You and Me’, but the band’s trademark sound is still at the forefront.

Although The Walkmen’s country sound does fit in well with the scene of Autumn- as cowboy boots and Topshop’s tartan shirts hang from countless fashion conscious students- despite their clear talent, it is rather likely that their disgruntled sound will tend to grate on more optimistic ears.

Yet, if you like your traditional rock and are partial to a bit of a country blues – The Walkmen’s latest album is indeed worth a listen.

Wednesday 24 September 2008

Album Review - Screaming Tea Party - Golden Blue - Noize Makes Enemies

What do you get when you cross two Tokyo guitar and bassists and a London born female drummer?

No, this isn’t some exhausted Christmas cracker joke but the ingredients for arty punk outfit, Screaming Tea Party.

Their mixture of backgrounds and unusual nature creates all the insatiable shambles of the early Libertines work and what sounds like a cross between The Clash and The Mae Shi – no doubt the result of their impressively diverse and worldwide influences.

And this band’s debut EP’s crux is fundamentally all about the diverse.

Ranging from screams and epic guitar riffs to a chilled Moldy Peaches sound, it’s hard to get your head around this three piece. And whilst the punk side to their music is clearly what laces all of their hearts, I’d argue that their hard to fathom style and highly cultured approach is exactly what will make them so addictive.

If you’re sick of the same old shit leaking out of Radio One’s towers and you’re looking to shake up your music collection; I suggest you let Screaming Tea Party chuck you into their international punk world; it’s unlikely you’ll be turning back.

Album Review - Flobots - Fight With Tools - Noize Makes Enemies

Every now and again, a band comes onto the radio and within the first few seconds, a compulsion to turn up the volume, to listen closer, is felt.

Flobots are that band and they come with a message.

I’d forgive you for a lethargic eye roll at the latter part of that sentence but unlike so many scensters who cling desperately to the concept of depth and concern for the wider world; with this six piece, it’s for real.

Sounding not dissimilar to Rage Against The Machine combined with The Roots, as a result they have all the genre-splitting likeability of bands like Linkin Park and Gym Class Heroes.

The band hail from Colarado and tellingly, formed in 2005 after the American election. Their lyrics tackle racism, globalisation and the greediness at the hands of the people in control but in a refreshing way that is not condescending or superficial.

If you haven’t already heard ‘Handlebars’, it is likely that you are in solitary confinement because the response to the band’s debut has already been phenomenal. Lyrics like “I can lead a nation with a microphone” and “I can keep rhythm with no metronome” teamed with a painfully catchy beat, make the band outstandingly appealing.

With their new album ‘Fight with Tools’ displaying all the familiar likeable attributes, it is likely that Flobots are here to stay.

Album Review - Aidan Smith - Allotments - Noize Makes Enemies

Now onto his fifth album, Manchurian, Aidan Smith, clearly hasn’t run dry of his trademark creativity.

On paper, the structure of his songs just shouldn’t work; teaming endearingly poetic lyrics, soft vocals and a sort of sporadic collision of brass instruments, but somehow it just does.

Allotments is a rather gentle creation that has a very traditional overtone – with upbeat melodies on “Morning Was Your Picnic” creating a sound that is not wholly dissimilar to The Beatles’ Sgt Pepper Lonely Hearts Club work.

Yet, tracks like “Drapes of Black” maintain this jovial nature, but in the same way that Dev Hynes of Lightspeed Champion confuses his delighted listeners with a paradoxical sound of dark lyrics and cheerful tunes, Smith incorporates murkier lines like “The birds murder each other for food, I squawk and spark like a Narcissist each time that I am pissed.”

Smith then turns again with the beautiful instrumental ‘Sore thumbs, sore fingers’ which creates an aspect of the addictive thought-provoking atmosphere conjured by niche bands like Mogwai.

Fourteen track, Allotments, is a mature innovation that will draw in fans of Turin Brakes, Cherry Ghost and Athlete but as a result of Smith’s inspired creativity; a whole variety of audiences.

On a first listen, the album may not tick all the boxes for a lot of music fans – largely because of the unusual and acquired sound, but after a few repeats on your iTunes, it becomes difficult not to at least recognise the imaginative talent of Aidan Smith.

Monday 8 September 2008

Single Review - The Automatic - Steve McQueen - Noize Makes Enemies

The Automatic are back. And what a welcome return it is.

No sign of novelty monsters coming over any hills, our Cardiff boys have definitely grown into fully fledged men with a bigger and bolder sound that they make no excuses for.

Rob Hawkin’s vocals sound better than ever as he sings out: “I wrote myself into a new story line, this time was different, this time it was mine” in a way that makes it feel that this change of direction has been a massively empowering upgrade for the four piece.

Adding to the rawer new sound is ex-Yourcodenameis:milo frontman Paul Mullen, replacing Alex Pennie who is to pursue something new, leaving behind darker guitar riffs and body-thrashing bass.

With new album This is a Fix and a tour just beginning for The Automatic, there is one thing that is very clear – things are about to get very exciting for Rob, Paul, Iwan and James as well as for their ever-increasing fanbase.

Thursday 4 September 2008

Single Review - Cut Off Your Hands - Expectations - Noize Makes Enemies

Hailing from the same country as Flight of the Concords, you’d be forgiven for believing that New Zealand laces its water with talent, particularly now with the arrival of Indie four-piece, Cut Off Your Hands.

Singing out the humanist of frustrated emotions; “All these expectations keep on pulling at me” and Cut Off Your Hands grip the listener as vocalist Nick Johnston’s voice fluctuates like a pissed off Robert Smith.

Sounding something like Glasvegas without the Scottish overtones, these vocals perfectly accompany heavy guitars and background chants with all the credible subtlety that the Kaiser Chiefs should have strived for.

With a new album expected for October, Cut Off Your Hands have also been recently supporting Foals on their UK tour and would appear set for similarly big things, albeit with a different demographic.

Tuesday 2 September 2008

Single Review- Ann West- Missed it Again - The Mag

Boasting a career that has left her as an ex TV show host, ex model, ex doctor of metaphysics and ex yoga and meditation teacher, Ann West’s now trying her hand at a musical career.

But with female singer-songwriters currently at ten-a-penny, does she bring anything new to our tired speakers?

Sadly, not.

Her folky pop sound and pleasant voice delivers simple lyrics like “I need to get some sun, laugh and have some fun, lay on the beach and breathe the freedom in” in a way that is not difficult to listen to, but displays little in innovation and fails to excite the listener.

Whilst ‘Missed it Again’ does not offend, there is a definite impression of her turning to music in order to round off her already diverse career, rather than her motivation being an intense passion for music…which in turn makes it rather difficult to be passionate about this debut.

Album Review- Vessels - White Fields and Open Devices - Noize Makes Enemies

Experimental. Post-Rock. Indie. Beautiful. Skitzophrenic.

Meet Vessels. The five-piece from Leeds exude all the spine-chilling ambience of Explosions in the Sky but switch to a pissed off Sigur Ros or 65daysofstatic all within their hour long debut album.

Displaying a broader range of emotions than a woman in her ninth month of pregnancy, Vessels’ musical diversity and talent never fails to impress as seemingly sporadic outbursts of rock slice through the serenity the listener comes to get used to.

Tracks like ‘Yuki’ and ‘Walking Through Walls’ allow Tom Evans’ heart-slowing vocals to effortlessly seduce the listener whereas the darkness of ‘Trois Heures’ and ‘An Idle Brain and the Devil’s Workshop’ are demonstrative of the bands varied influences.

With a mastermind like John Congleton (Explosions in the Sky) responsible for the production of White Fields and Open Devices, it would be impossible not to have high hopes for this debut, but rest assured, you will not be disappointed.

Thursday 28 August 2008

Single Review - Paul Madsen ft Bispatial - Hiding from the Storm - The Mag

With ten years of song writing experience behind him, Paul Keen has teamed up with fellow Fluid Groove Records artist Paul Madsen, in order to put pen to paper once again and produce ‘Hiding from the Storm’.

Hailing from Norwich, their eighties influences radiate with little subtlety from Keen’s fifteenth release.

However, it is the effortless comparisons to the likes of the Eurhythmics and Depeche Mode that place the partnerships’ release in a somewhat out of touch position.

Fans of Grove Armada’s Late Night Tales or the afore mentioned artists may possess more curiosity about what Keen’s upcoming album ‘Milestone’ will have to offer as it is not his talent that is in dispute, more ‘Hiding from the Storm’s’ modern relevance.

As whilst their synth-pop meets electro sound would have once delighted shoulder pad toting dance fans, it is hard to see where their mass appeal will lie twenty years on.

Wednesday 27 August 2008

Single Review- Kissing Kalina - Here She Comes - The Mag

Only a few years old, Kissing Kalina effortlessly exudes all the addictive factors of Rock; the filth, the sleaze and the ability to instigate impromptu body thrashing of an audience.

This, teamed with Danny Sanchez’s vocals, that at times sound like an intoxicated Brian Molko of Placebo, make their debut single ‘Here She Comes’ likeable and easily pigeon-holed but regrettably rather forgettable.

Whilst Kissing Kalina’s talent and potential is evident with good structure and dirty guitar riffs reminiscent of the earlier work of The Libertines, whether it’s the premature nature of the band and thus their need to develop or simply the necessity to dig deeper and hear more from the duo, ‘Here She Comes’ is catchy but nothing you wont have already heard in a sticky-floored rock venue.

EP Review- Hot Head Show - Chopstickabean

After meeting on their school orchestra a decade ago, three North London boys with all the quirkiness of the Bloodhound Gang and the strategic disorganisation of System of a Down, have since spent ten years turning a conventional background into a far from conventional EP.

“Chopstickabean, I’ll give you half the time you need. You know exactly what I mean…Chopstickabean, Chopstickabean.”

And whilst it is hard to fathom just exactly what it is that vocalist Jordan Bennett does mean as his baritone vocals growl the lyrics, admittedly there is something about Hot Head Show that makes me want to understand this three-piece’s ale-addled pirate sounding idioms.

Their shambolic Ska sounding beats means fans of similarly kitsch bands like Gogol Bordello will no doubt find this chaotic nine minute EP a tantalising taster ahead of the band’s 2009 tour alongside bands of the same label.

Thursday 14 August 2008

Back to Black - Entertainment Newsline

This summer we have watched in morbid curiosity as Amy Winehouse searches for houses to be close to her imprisoned husband, despite her family’s fears for her life, and Cheryl Cole take back Ashley amidst allegations of serial adultery throughout their married life.

With talented celebrities and some of the richest and most beautiful people unable to break the intoxicating spell of ex-partners, it is hardly surprising that DearCupid.org, the world’s largest online agony aunt, has received over 5,600 questions from us mere civilians struggling to get over a serial heartbreaker.

Site owner of DearCupid, Andrew, claims that Amy and Cheryl’s return to their bad-for-them ex’s should not be seen as especially significant:

“It’s just a reflection of how people behave. Lots of folks can’t move on because they think it’s easier to go back than forwards. They’re scared, lonely and probably lack self esteem.”

However, whether it’s because of insecurities, fear of change or an addiction to the familiarly addictive rollercoaster of emotions endured as the result of partially unrequited love, we’ve all been there. Facebook stalking, Mariah Carey’s ‘We Belong Together’ on repeat and a resounding bitterness for public displays of affection. It’s a pretty bad place to be.

And yet you can guarantee that the minute you stop checking your phone every ten minutes, stop boring everyone around you with anecdotes of happier times together and start to realise that you are going to be fine without him/her; they’ll contact you.

It’s as if they’re sat in a control room watching over you and your emotions and when they sense you’re feeling okay, alarm bells ring and they know it’s time to call to tell you that they have changed and are a new and improved version of their previous self.

Should you believe them and allow them to come back into the heart they were so relentless with? Andrew from DearCupid thinks not:

“It’s normal to want to get an ex back. But it doesn’t mean you should try. Change your life and move on. Don’t fuck them, text them or keep them as a friend on Facebook. In that order. People never change and going back never works.”

As easy as Andrew makes it sound, there are still people everywhere who just can’t seem to break the cycle of returning to an inconsiderate ex. The more people around them criticise, the more desperate they become to prove everyone else wrong….usually to their own detriment.

And even if they do break the spell of this relationship, it is all too easy to fall straight into the heartbreak of another similar situation. However, Andrew feels there is an easy solution to avoid making the same mistakes with a new love:

“Stop having relationships that are the main focus of your life. Your life should be made up of friends, jobs, family, hobbies, healthy activities and a partner should fall into that. If you focus on your partner, when they’re gone it is like a gaping hole has opened.”

Thursday 7 August 2008

Album Review - Redemption Unnamed - Silent Shadows - The Mag

Redemption Unnamed come screaming out of Plymouth with no apologies for their eleven track homage to all things traditional rock.

As the first track of the album edges you into an Evanescence inspired sound, the band’s description of band member Dani’s responsibility for ‘throat and words’ appears somewhat cryptic.

That is, until ‘Carrie White’ hits the three minute marker and her Amy Lee style vocals cascade into spine-chillingly gender defying roars and more four letter words than a mild Tourettes sufferer.

The music that Dani’s vocals smash through combines drumbeats and heavy rock in a way that isn’t unlike the likes of Incubus’s darker album tracks. However their strategically placed Bullet For My Valentine meets Guns and Roses style guitar riffs give a much more 80’s screamo edge that will be welcomed by their demographic.

There’s a thread of distinctive sound that runs throughout ‘Silent Shadows’ but the band’s skilful musicianship allows each song to stand alone in its own anti-conformist stage, something that instrumental breather ‘Low Life’ epitomises.

Overall, whilst their dark musical style may not appeal to the masses, fans of long-standing traditional rock and screamo will no doubt soon welcome Redemption Unnamed with sporadic moshing in rock venues all over the country

Wednesday 30 July 2008

Album Review - Dengue Fever - Venus on Earth

Welcome to the world of Dengue Fever.

Named after a disease found in Africa, they are a six-piece Cambodian rock outfit and once you’ve listened to their twelve track album – you’ll understand the definition of originality.

Screaming international eclecticism in a way that makes CSS appear fairly standard, their plethora of foreign influences create a mishmash of sounds from Bollywood to surf rock in a way that is effortlessly intriguing.

With tracks like ‘Tooth and Nail’ displaying a sensitive side to the sextet and producing simple rhyming schemes in their lyrics that are reminiscent of the likes of Abba and ‘Tiger Phone Card’ omitting three and a half minutes of psychedelic composition – the album sits in a league of its own.

Whether it’s their 70’s inspired retro sound, their Eurovision entry qualities or their complete disregard of conventionality, Dengue Fever are an addictive and refreshingly light-hearted addition to the music industry.

Single Review - Slyvia Powell - Crazy Beautiful Life - The Mag

Should it become scientifically possible, Sylvia Powell, as an artist, would have been the love child of Imogen Heap and Sarah Bareilles.

This is accurate to the extent that her vocals and folk sound echo of Heap’s mature depth but fused with a fundamental pop basis, Powell sits somewhere in the middle of the two.

Yet, the single itself does not massively stand out as anything innovative or different from all the other existing female artists that litter the charts each week.

However, Sylvia Powell’s extensive endeavours in order to produce her new album, The Script, and impressive collaborations with the likes of John Lewis of Zero 7 fame and Winston Blissett of Massive Attack , without help from any major labels, appear to make her someone to watch out for.

Album Review- Sonny - The Spirit of Elegy - The Mag

It’s rare that something comes along that is so far from the mainstream that it becomes hard to describe or draw realistic parallels to. That is, until an artist like Sonny chants his lyrics from your surprised speakers.

His debut album, Spirit of Elegy, is laced with natural beauty and contains the sort of spine-chilling ambience of the likes of Explosions in the Sky and Sigur Ros.

However, when combined with vocals that echo of Morrissey’s dark influence over his work with a strange effeminate reminiscence of Annie Lennox’s vocal tones, the ten-track album leans more towards gospel mantra than the chilled intoxicating sounds of the afore mentioned bands.

Whilst Sonny’s musical style is very much an acquired taste, his talent and complete originality that has developed immensely over the last four years, is undisputable.

Monday 7 July 2008

Single Review - Oh Laura - Release Me - Noize Makes Enemies

Putting aside my initial favourable bias towards the band’s name, Oh Laura’s debut single, ‘Release Me’, is the latest Swedish export to capture the hearts of a loyal fanbase.

Following in the footsteps of heart-warmingly endearing newcomer, Lykelli, Oh Laura force their hearts to their sleeves as vocalist Frida Ohrn sings of feelings of entrapment and a burning desire for freedom.

Musically, the track is nothing new. In an industry that has become somewhat overpopulated with credible female artists singing of hardships incurred, ‘Release Me’ is trampled in the crowd.

Whilst the single’s lyrics echo around the listeners head after a few plays in a way that all memorable releases should, the three minutes are essentially saved by the beauty of Frida’s vocals. They’re the type of vocals that emanate believable emotion which draws you in and sets apart the qualified musicians from the pop princesses.

For this reason, whilst ‘Release Me’ does not stand out dramatically, it appears there may be a lot more to come from the Alanis Morrisette reminiscent vocals of Frida and the rest of the five piece.

Album Review - The Sugars - Curse of The Sugars - Noize Makes Enemies

Their influences are said to be blood, sweat and tears. No not the band, but according to The Sugars, the reality.

The Sugars are a three-piece originally from Leeds and there is something essentially refreshing about their musical style.

With band member, Anna’s almost June Carter esque vocals conveying lyrics of effective simplicity like ‘you stabbed my little heart in two and now I don’t know what to do’ and a theatrical use of music that is on par with The Hush Sound and Panic at the Disco; The Sugars exude blues to rival the 1940s.

Yet they manage to maintain an air of modernity that accompanies this with tracks like ‘Black Monday’ and ‘Unnamed Duet’ sounding more like something from a Yeah Yeah Yeah’s album.

It is this diversity that works in The Sugars’ favour as if the album had swayed entirely in one of the two ways detailed, particularly to the latter, it is unlikely to have been very memorable...more like headache inducing.

However, overall the album’s bursts of 1940’s style and jazz instruments that would inspire the likes of Anchorman’s Ron Burgundy, teamed with all the folky eclecticism of Karen O, The Sugars’ debut album, The Curse of The Sugars, is worth a listen.

Album Review - Weezer - The Red Album - Noize Makes Enemies

‘The Red Album’ is their fourth self titled album in seven years and once again, it drips with the sweet taste of irony that Weezer do so effortlessly well.

The first release of the twelve track album, Pork and Beans, is as current and accurately sarcastic as Beverley Hills. With lyrics like ‘Timberland knows the way to reach the top of the chart, maybe if I work with him I can perfect the art’ screaming what appears to be the subconscious beliefs of so many artists that smother the music charts.

Whilst Weezer deliver all the anti-conformist satire and goose-bump prompting lyrics like ‘we are the angels and we are the ones that are praying’, there is something different about the new Weezer album that in a different place to its predecessors.

Tracks like ‘Thought I Knew’ and ‘Cold Dark World’ have a much darker sound that not only did the more jovial and recognised songs like ‘Buddy Holly’ resist but that even the more melancholy album tracks failed to show.

Whether this change of sound is due to guitarist, Brian Bell and drummer, Pat Wilson’s influence on song writing and lead vocals or simply because since forming in 1994 and some time out, the band’s maturity has naturally progressed.

For whichever reason, whilst the album does not necessarily intoxicate the listener, it clearly bares all the ingredients required in order to please existing fans and to lure in a new audience with this new established sound – something inarguably impressive for a band that formed over a decade ago.

Thursday 19 June 2008

EP Review - Lapush

“Write your names in the stars, I am trying to heal your heart” are neither the first nor the last lyrics of beauty to leave the lips of Lapush vocalist, Thom Donavon.

Hailing from St Louis, Lapush’s American influences are exuded effortlessly from their EP but not in such a way they appear mimicked or forced. Sounding like a more youthful Goo Goo Dolls at times, with leanings towards Tom Delonge, of Angels and Airwaves, sounding vocals.

With ‘Closer’ as their potential next single, Lapush’s distinguished sound is reminiscent of the likes of Primal Scream and its memorable tune refuses to let your brain forget it.

Lapush’s thought provoking and raw lyrics are instantly endearing on tracks like ‘Sticking Around’ and ‘Aurora’ and when combined their country rock preferences, the three piece have created a classic sound that emanates potential longevity and is likely to continue to establish them a loyal fanbase.

Tuesday 17 June 2008

Album Review - Richard Kavanagh - End of Tape

In the way that eloquent artists like Bon Iver transfer the energy of a band break up into a emotive and raw solo project, after The Pistachio’s split, Richard Kavanagh appears to have attempted something similar. After spending two consequential months earlier this year at home recording ten tracks for his new album.

Richard’s vocal tone echos all the endearingly innocent romanticism of Kook’s frontman, Luke Prichard, but his lyrics have a much darker and raw crux. Lines like “I could taste the death in your mouth’ occasionally make it hard to pigeonhole Kavanagh in the way that is necessary to determine his target audience. However, his talent is undisputeable.

An unconventional injection of piano keys on ‘Self Obsession Makes You Razor Pretty’ is reminiscent of the likes of Luke Pickett and is no doubt a product of Richard’s love of Rilo Kiley.

‘Spin’ adds another, more rockier, dimension to End of Tape which at first appears a bit out of place but on further listen to the album appears to find its place.

End of Tape is an impressive home recording from Richard Kavanagh. It creatively manages to convey a trademark sound but also diversely use various musical styles in the same way that The Subways effortlessly merge acoustic tracks to make you fall in love with the heavier ones to make you fall out of it.

Single Review - Air Cav - Embers

When a band combine Pixies-esque vocals and the darkness of Radiohead with a violin, electric guitar and reed organ, to name but a few instruments, it’s evident from the off-set that Air Cav are a band to sit up and acknowledge.

The Manchester four-piece formed in 2006 and their early 90’s sound has lent support to the likes of We Are Scientists and already received critical acclaim.

‘Embers’, the band’s next release, is a refreshing addition to the music scene amongst proliferated Indie bands and lethargically mainstream rock.

Whilst if Placebo and The Pixies had a musical lovechild, they would have indefinitely raised Air Cav, this does not take away from the bands individuality. Their fusion of musical instruments and unconventional Vietnam roots makes them an unavoidably exciting burst of audio energy.

Wednesday 4 June 2008

Single Review - Barringtone - Snake in the Grass - Noize Makes Enemies

Ever stop and thought to yourself: “What happened to Clor frontman Barry Dobbin?”

No, me neither. But if you had, since last year Dobbin has been part of Barringtone.

Barringtone are an eccentric three piece from London and their latest single ‘Snake in the Grass’ has received promising reviews from the likes of The Times and The Guardian.

This is what I find so worrying.

‘Snake in the Grass’ has all the shambolic chaos and lack of structure that works so well for the Rumble Strips, but Barringtone have infused the track with a sort of over zealous campness that is characteristic of the likes of Alphabeat.

It is hard to see what demographic Barringtone are pitching this three minutes of theatrical enthusiasm to but whether it’s The Darkness- esque vocals screeching ‘Thunder, Thunder, ooohh’ or the cheesy drawn out guitar riffs, it is difficult to see just what exactly the broadsheets found so intoxicating.

Fans who proudly sang out ‘It's like a revelation…woh oh, o-o-oh’ in February will love this little shimmy and jazz hand inducing number, as for everyone else – steer clear.

Album Review - James Pants - Welcome - Noize Makes Enemies

Meet James Pants. He is quite possibly the personification of unique.

Hailing from Texan roots and with influences including T.I and Gary Numan, he fuses soul, R&B, New Rave and 80’s disco to create a whole new audio soundclash.

His latest 16 track album ‘Welcome’ is demonstrative of how talented and adventurous James Pants is, keeping the listener guessing as each track ends, as to what the next four minutes will embody.

Tracks like ‘My Girl’ and ‘Finger on the Knife’ have all the unclassifiable chaos of Hadouken! whereas ‘Dragon Slayer’ and ‘We’re Through’ are characteristic of electro connoisseurs Simian Mobile Disco. This complete mish mash of musical ideas makes James Pants close to impossible to pigeonhole but undeniably intriguing.

He has all the diversity fuelled by eccentricity of artists like Aphex Twins but vocals by Deon Davis on ‘Ka$h’ and ‘Crystal Lite’ combine Gnarls Barkley inspired vocals with beats reminiscent of The Fresh Prince of Bell Air days.

‘Welcome’ is likely to divide audiences, with some massively respecting James Pants for his creativity and innovation and more traditionalistic others wondering just what the hell he is trying to achieve. Either way, James Pants is definitely worth a listen…even if only out of morbid curiosity.

Album Review - Elevator Suite - The Remixes - Noize Makes Enemies

With Pendulum being the most prominent genre-manipulating act on the lips of music lovers everywhere this year, there would appear a clear gap in the market for Elevator Suite, even after six years in the industry.
The English trio combine filthy electro beats with chilled euphoric dance in way that is timeless and shamelessly swagger-inducing.
Their latest album compiles remixes of Elevator Suite’s most celebrated releases by the likes of Aquasky and Crazy P.
Tracks such as Alex Metric’s remix of The Wheel and Nigel of Bermondsey’s remix of How Does it Feel, both stand out as instant classics with evidence of a type of Justice-esque dark infectiousness.
With every track over five minutes in length and only six tracks spread over the 13 remixes, the album is not as varied as many listeners would crave. However, the high quality of the DJ’s on board and contagious remixes, reminiscent of some of Ed Banger record’s favourites, inevitably does something to rectify this potential fault.
If the concept of Hot Chip and Roni Size combined with a bit of country, rap, funk and electro sounds like your perfect musical cocktail then make room in your iTunes for Elevator Suite - your new favourite band.

Thursday 8 May 2008

Interview - John Digweed - L8R Magazine

“I’ve always had a great time in Bournemouth. It’s been a while since I was last here so I am really looking forward to coming back.”

In anticipation of his return to the clubbing capital of the South last month, John Digweed couldn’t have been happier.

Yet John’s DJ-ing roots all began in another coastal town, the very English town of Hastings, where at the age of fifteen he first started to get into mixing and the music scene.

“I was really into the electronic bands of the mid / late 80’s. Groups such as Heaven 17 were a huge influence. From there was just a small step to the early house records and emerging club scene that was developing.”

Now over a decade later, the globally renowned DJ has a lot to show for his impressive work ethic, including his radio show on Kiss FM, which attracts over two million listeners. John is refreshingly sincere and appreciative of all his proud achievements:

“I am fortunate enough to say there has been more than one. I’d have to highlight the release of The Mix Collection; my first single ‘For What You Dream Of’ and the beginning of my relationship with Nick Muir; the Bedrock label itself and, of course, my Transitions album series.”

John’s ‘Transitions’ series is an aspect of his career that has helped establish him not only as a DJ, but also as something of a music connoisseur.

“Transitions 4 is a response to the fact live club sets are ten-a-penny these days; be it Podcasts or illegally recorded downloads, clubbers have more access to traditional club sets than ever before. As a result, compilations have to raise their game and offer something completely different.”

With his latest album, Transitions Vol 4., released in April this year, John explains just how he decides which tracks will go towards making the prominent genre-skipping compilations:

“I’ve pretty much been in album mode for the best part of 2 years, always looking for suitable tracks. Some immediately leap out at you; others may not be immediate, but come to life and demand your attention when played out for the first time in a club environment.”


Demonstrative of his entrepreneur-like abilities, another big project of John’s is ‘Bedrock’. Kicking off in 1997, it is effectively a promotions and studio production company. It also functions as a record label, renowned for propelling the careers of the likes of Danny Howells and Chris Fortier. John reassures us there are a lot more new talents at Bedrock to look out for.

With so many projects on the go, it’s hard to believe the dance superpower has any time to him. Yet, in the same way most of us put off revision by watching the entire series of Lost and comfort eating, John really isn’t much different.

“Because of the touring I tend to catch-up with TV via box sets of my favourite programmes. I also like eating-out and mountain biking, so I tend to end up burning off a load of calories only to then go out and put them all back on!”

If you missed John Digweed at Crank last month, don’t kick yourself, as he will be returning. And if you’re still curious, check out his latest Transitions Vol. 4.

Friday 11 April 2008

Single Review - Rotary Ten - Time is not a line and I am not a rock - Noize Makes Enemies

“What if I just changed forever? What if we just fit together?” Vocalist, James, fires questions at the listener like an inquisitive nine year old on a long journey with his parents. On the surface, there is nothing wholly unique about Rotary Ten, a four-piece from Shefield.

Vocally and lyrically not unlike similar Indie bands like Cajun Dance Party, Good Books and Larrikin Love, it is their musical style that has the potential to set them apart from their peers.

Inspiration from bands such as Death Cab for Cutie and Explosions in the Sky appears to have refreshingly pushed their musical integrity and attention up a good couple of notches above the other trilby toting scenesters that litter the alternative music genre

Album Review - Crystal Castles - Crystal Castles - Noize Makes Enemies

Meet Crystal Castles. Having already built up an enormous fanbase all dutifully thrashing about to their music, Crystal Castles’ debut album has definitely been eagerly awaited by many. Listing their influences as murder, blank looks on girls and knives, they are quintessentially the personification of originality. From the first track, their experimental Electronica sound gives the impression that you’ve stepped into your Dell laptop whilst someone thumps effortlessly effectively from up above on a Cassio keyboard. Combine this with vocals reminiscent of Bjork on acid and you’re fully submerged into the innovative creations of Crystal Castles. Whilst appearances on cult television show Skins and regular coverage in NME can only do good things for the Toronto-hailing duo, this does come with its risks. By this I mean that all too often, new unique bands get attached to rusty wheels by publications in order to make them the latest bandwagon band. However, the certain Marmite love-or-hate quality definitely applies to Crystal Castles because of their distinctive sound. Tracks like ‘Through the Hosiery’ and ‘Xxzxcuzx Me’ will be thought headache-inducing distasteful noise to some, whilst fans responsible for their 60,000 plus play count on Myspace will stick two neon-painted-finger-nailed fingers up at any critics of the two-piece. Yet, like them or loathe them, be warned, once you press play on this sixteen track debut, it’s nigh on impossible to forget Crystal Castles.

Album Review - Drive By Argument - Drive By Argument - Noize Makes Enemies

Occasionally an album comes along that is so ridden with raw emotion that it functions as a mouthpiece for everything you didn’t ever realise that you felt. It digs deep into every hidden and overt dissatisfaction, desire, need and hope in a way that denotes that the band behind it demands a closer look. Drive By Argument are that band. Musically, at times not unlike The Dykeenies or the earlier work of Taking Back Sunday, lead vocalist Stoke’s lyrics like “’cause happiness is always easy, it’s just hard to find” pour out his relatable frustrations. The album darts between Emo, Rock and Electro in a way that manages to be current and relevant but at the same time still unique. Tracks like “Lower Your Pieces” and “How Trees Sleep” show the four-piece’s vulnerability and Stoke’s vocal similarity to Bert McCracken (of The Used). Yet the schizophrenic styling of the band’s debut album infuses dark electro on “Cyclists Run Red Lights” and “We Techno Prisoners”. This modern combination of genres helped bands like Enter Shikari build a loyal fanbase last year, as well as intrinsically allowing them to achieve renowned success and 2008 looks set to see DBA do the same.

Sunday 6 April 2008

Album Review - Creature With The Atom Brain - I am the Golden Gate Bridge - Noize Makes Enemies

Named after a 1955 film and conventionally continental in appearance, Belgium band Creature With The Atom Brain are far from mainstream. With guitar riffs inspired by Led Zepplin, musically the band propel themselves back into the seventies and eighties. The band’s third album ‘I am the Golden Gate Bridge’ exudes aspects of The Raconteurs and The Dandy Warhols – particularly through Aldo Struft’s vocals- at least to begin with.

As the CD playhead advances along the twelve tracks, the album takes a turn for the darker and elements of Metallica, Skindred and System of a Down can be recognised. It becomes infectiously chaotic and fans of said bands will no doubt delight in the almost gothic undertones that violently scratch their way to the surface. The album’s focus also inferably shifts from Struft’s vocals revealing “sweet trouble is calling for me” to the music.

Tracks like ‘Not a Sect’ and ‘Park My Car Outside the Record Store’ sit more as a covert three minute showpiece for Struft and Michiel Van Clevvenbergen’s guitar talent. Producing impressive guitar riffs that demand attention is something Creature With The Atom Brain have got down to a fine art as demonstrated on ‘Rapeman’s Scalp’ which is purely instrumental under demonic whispering.

The band’s plethora of inspiration including Mars Volta and My Bloody Valentine, teamed with their eclectic style, has undoubtedly played a monumental part of the album’s diverse and head turning style.

Whilst fans of more mainstream rock may find ‘I am the Golden Gate Bridge’ a bit harsh on the eardrums – it is close to impossible not to respect the abundance of musical talent that seeps out of this Belgium four-piece.

Album Review - Groove Armada - Late Night Tales - Noize Makes Enemies

It’s rare that a compilation album can run for over five years and maintain such a high degree of integrity and quality and yet Late Night Tales seem to have found the secret to success. Going back to old friends, Groove Armada, to compile eighteen tracks of their choice was a typically smart move for their twentieth release.

Groove Armada chose the theme of making mix tapes for friends and looked back to their youth for inspiration. As a result, the album is as varied and miscellaneous as ever, with mixes of Stevie Wonder, The Cure, Midlake and Depeche Mode all gracing the compilation with their presence.

With effortless transitions and mixes from one track to another, Groove Armada has effectively combined several genres and eras into what has been coined as ‘quite possibly the best Late Night Tales yet’.

The latest from the Late Night moguls conjures images of evenings by the beach with a cold drink as every song teases out a forgotten memory in the way that all the best music does.

Album Review - Jesse Malin - On Your Sleeve - Noize Makes Enemies

Seven days. Fourteen tracks to cover. This is the challenge that Jesse Malin embarked on for his album, ‘On Your Sleeve’.

The concept behind the album is admirable, if slightly self-involved. Malin covers over a dozen artists that have inspired him and his musical style in some way. With his vocals, reminiscent of a cross between John Rzeznik of the Goo Goo Dolls’ and The Pogues, he calls on artists including Tom Waits, Neil Young and Lou Reed for some of their most renowned tracks.

The album, as with Malin’s career, does demonstrate the singer-songwriter’s diversity. But whilst certain tracks like The Kill’s ‘Rodeo Town’ suit Malin’s folk style, other more adventurous covers like Sam Cooke’s ‘Wonderful World’ is pleasant but far from the original’s standard.

Fans of Malin and his distinguished style will doubtlessly enjoy this inside look into the artists that have moulded his passion for music and the people that he looks to for inspiration. However, this is unlikely to be true for many others who may be less impressed with the collection of somewhat sombre tracks that when covered, appear to lack something the classics originally emanated with such ease.

Friday 28 March 2008

Single Review - Grovesnor - Drive Your Car - Noize Makes Enemies

With a backing track that is reminiscent of the programmed demos featured on a Cassio Keyboard that schoolchildren everywhere insist on playing to a frustrated music teacher, from the very off-set – Grovesnor appear uninspired.

‘Drive Your Car’ does undeniably grow on you with its four minutes of catchy retro beats and Rob Smoughton’s Scissor Sisters- pitched vocals promising ‘I’m sure I could be what you’re dreaming of.”

Whilst it is not unpleasant to listen to, the 80’s inspired track seems to lack whatever the essential ingredient that its peers, bands like Chromeo and Mylo, effortlessly exude.

Whether it’s the endorphin-inducing hands that tug you to your dancing feet or the chilled type of dance that helps you rationalise a bad day, Grovesnor remain on the fence; never quite doing either.

Yet, with Smoughton previously drumming for Hot Chip and support from afore mentioned bands, hopes remain high for Grovesnor and their future releases.

Saturday 15 March 2008

Single Review - The Author - Dannie - Noize Makes Enemies

Rather misleadingly for a band that profess that they’re aren’t a rock band, The Author’s second single ‘Dannie’ starts with a Bullet for My Valentine inspired guitar riff. Yet as the Jersey band’s track graduates into something similar to a rowdier Klaxon B-Side, their claim appears justified. As vocalists James Dolan and Christian Silver yell ‘Dannie don’t go, Dannie please just stay’, dark electro guitars demand your body is receptive to it, in the way that all the best live tracks do. ‘Dannie’ is just over three minutes of contagious enthusiasm that screams for a live audience in order to be fully appreciated. Second track on the single, ‘Mr Debacle’, maintains the structure of an early Klaxon track but pulls the band down to a darker level with affective flickers of Brand New or Billy Talent. With such diverse musical decisions, The Author is inarguably a band to keep an eye out for, even if only to see what they’re going to do next.

Wednesday 12 March 2008

Album Review- The King Blues - Under the Roof - Noize Makes Enemies

Everyone loves a bit of ‘stick it to the man’ mentality, but what happens when you throw in a ukulele and some reggae punk with it? The King Blues. The six-piece have produced a debut album that effortlessly exudes innovation and an uplifting contagious Hackey spirit. Songs like ‘We ain’t never done’ and ‘If I had a Coin’ force a smile upon even the sternest of lips in a way that is instantly likeable. The King Blues are original in the true sense of the word and conjure equally unique images of how the The Twang would sound toting colourful hula skirts. Yet, amongst the ska-type beats lies a message. ‘Duck and Cover’ starts with a poignant ‘Where the hell did I leave those weapons of destruction?’ and the bands Punk roots and political awareness is mirrored. As the band sing out ‘I’m out to build the world, without breaking my hand’, the band’s preference for peace and unity is also effectively denoted. And perhaps they aim to spread this through their music. ‘If I had a Coin’s a’cappella musical embodiment of positivity is catching in the same way that you can’t listen to Bob Marley and feel stressed out. The King Blues have a welcomed unique ability to untie any knots of anxiety and bring with them some warmth during a cold March.

Tuesday 11 March 2008

Album Review - Grand National - A Drink and a Quick Decision (Noize Makes Enemies)

Meet Grand National. The London two-piece is made up of Lawrence ‘La’ Rudd and Robert Lyddon and is somewhat hard to fathom. Like the friend that on occasions you want to lock yourself in a room with, and others when the thought of an interrupted 60 minutes alone with them leaves you envying the partially deaf, their debut album ‘A Drink and Quick Decision’ is unusual in its style. It darts unpredictably from one approach to another as the play head moves along the thirteen tracks. Songs like ‘Reason to Hide in’ evoke a New Order type of 80’s electro muted passion before ‘New Space to Throw’ throws in a bit of Cuban - esque drumming for good measure. If that wasn’t enough, ‘Joker and the Clown’s lyrics ‘I’m in the mood for a comeback’ are beautifully relevant in a way that touches everyone who has ever longed to peel away their skin and start everything again. People tired of the same sounding alternative bands who are more interested in impressing Zane Lowe with their skinnies than they are with their music capability, will love the diverse nature of Grand National and their sporadic Gogol Bordello tendencies. Whilst individually, a lot of the songs like ‘Close Approximation’ are as pretty good, it’s the inconsistent and disorganised nature of the tracks that would at times leave it sounding more like a awkward NOW compilation, if it wasn’t for Robert’s distinctive vocals. The rely-race between genres does become tedious but Grand National’s songs still have the ability to toy with your feelings in the way that any good album should. More importantly, in this era of regularly manufactured ring-tone inspired noise, their lyrics have a fundamental believability that is so often missing, and as a result, their songs have heart.

Monday 10 March 2008

Single Review - Magic Wands 'Teenage Love' - Acryllic Tom Tom

When a band’s MySpace Top Friends vary from Morrissey to ET it is perhaps difficult to imagine what Magic Wands will sound like. Yet, on listening, it all unexpectedly clicks into place. ‘Teenage Love’ has all the slow pace and dreamy keyboards of a 1970’s hit but when injected with evidence of CSS - it is slammed at G-force into 2008. Lyrics like ‘This teenage love has got me stuck/ Come over now so we can fuck” show CSS’s LoveFoxx’s dark sexual awareness that is perfectly paradoxical to the Ravonettes style backing. Whilst ‘Teenage Love’ is far from earth moving and at times waivers into sounding like a poorly put- together Carpenters sample, lust fuelled pleas like ‘forget about everything’ makes Magic Wands the welcomed advocators of sinful behaviour and brimming with potential.

Tuesday 19 February 2008

New Artist Review - James Severy at the Circus Circus - Acryllic Tom Tom

After releasing an impressive 10 track demo, James Severy was signed by Art Goes Pop. His music dances across Folk, Grime, Electro and Pop, whilst blurring the borders that once divided and restricted such genres. An artist whose vocals resemble Robert Smith of the Cure’s with a fundamental modern similarity to the Rumble Strips when wailing lines like “we’re in control”. There is an endearing quality in the lyrics that exudes a believability that the louder he shouts; the truer the words become. James Severy is undoubtedly a talented artist with lyrics depicting eccentric stories of killing bus drivers and talking to crocodiles - something that he picked up from the narrative structure of his favourite writers but that can now be compared to the Wombats’ and Rumble Strips’ lyrical styles. It is far from hard to see why James Severy at the Circus Circus was so quickly signed. His tracks embody the disorganisation of Babyshambles and are innovative and quirky with lines like “punch a stranger in the back of the head…just get it off your chest”. Although at times the tracks’ trademark chaotic style becomes grating in the same way that the banging of pots and pans from a kitchen inevitably leads to a headache, the structure to the new single release of “Do the Circus Circus” conveys a more polished finish that is guaranteed to showcase James Severy’s talent and build up a loyal fan base for the up and coming artist.

Tuesday 29 January 2008

Single Review - Cage the Elephant 'In One Ear' - Noize Makes Enemies

Visually, Cage the Elephant look like a cross between the Kings of Leon and The Almost, with unwashed tangled hair being an unavoidably essential companion for their tight white jeans and check-patterned shirts. Vocally, lead singer Matt Shultz sounds like a more intense and more excitable Jason Mraz as his lyrics jump quickly over traditional rock music that's sure to inspire Goo Goo Dolls and Primal Scream fans to throw their shoulder length, knotty hair back and forth. Curious? You should be.

Their lyrics are simple but in a way that effortlessly compliments the immense guitar riffs. Shultz’s vocals dart over his brother, Brad’s, guitar with messages of fundamental stubbornness and resistance. ‘I’m only playing music cause you know I f**king love it’ form part of Cage the Elephant’s two fingers up at stereotypical images of what it means to be rock in ‘In One Ear’. Yet, the way that their messages lack condemnation conveys a sense of light heartedness that makes them instantly likeable.

‘In One Ear’ is the perfect track to showcase Cage the Elephant. It is quintessentially disorganised and chaotic in the way that has made traditional rock so immortal and yet the band’s tight musical ability and Shultz’s cockily modern vocal style creates an impressively distinguished style. Whilst the track does sound vaguely similar to something by forgotten band Rooster, an undeniable vaster credibility and its addictive quality, make this an extremely impressive debut from this American five-piece.

Monday 28 January 2008

EP Review - The Opiates 'Anatomy of a Plastic Girl' - Noize Makes Enemies

Amidst dark electro beats, Billy Ray Martin, The Opiate’s lead singer, tries to convince us that she’s ‘really anything but bland’…I, however, am not so sure. Whilst vocally Martin displays an impressive talent, the deliberately minimalist style to the band’s debut EP has the power to either enchant or simply bore.

On a first listen, the EP is reminiscent of the music from a dark film soundtrack that accompanies the scene of a seedy strip club, buzzing full of unsatisfied men; all shamelessly striving for an inch of gratification. Something that similarly, this EP initially appears unlikely to provide.

The Opiates ,whilst musically talented, can be likened to the likes of a slightly less-content Thom Yorke, with the vocals of Annie Lennox. As strange as it sounds, it is this clash of modern electro beats and traditional s vocals that make the band innovative and the whole ‘Anatomy of a Plastic Girl’ experience, a lot less traumatic.


This contrasting individual style becomes more likeable as the EP develops and is explained with their influences listed as Kraftwerk and The Carpenters. ‘Oprah’s Book of the Month Club’ sounds similar to the early work of Garbage. A slightly more satisfied “Coated Candy Crime” incorporates Chemical Brothers-style beats with semi-amusing lyric “who cares if I get arrested, I’m only playing CSI” and appears to be the strongest track on the album, displaying the greatest relevance to audiences.

Repetitive beats that encompass the entire EP encourage toe tapping but sadly remain far from inspirational. However, there is a potent sense that was not part of the band’s mission statement, nor a burning desire of their demographic. Whilst the The Opiates are undoubtedly musically gifted, it is hard to see where they fit into the current music scene. If you’re really into music stripped to the bare basics and have a secret appreciation for The Eurhythmics, you’ll love The Opiates. If, on the other hand, Radiohead’s tales of dissatisfaction leave you struggling to pull back the duvet to face a new winter’s day…perhaps steer clear.

Sunday 27 January 2008

EP Review - Said Mike 'Stop the Clocks' - Noize Makes Enemies

Said Mike is a hard band to pigeonhole. They’re not self-pitying enough to be Emo, they’re too rocky to be Indie and far too good to be classed as Pop. So what are they? The five-piece are a hybrid mixture of The Used in their ‘In Love and Death’ days. Said Mike are reminiscent of what the product of Billy Talent covering a Taking Back Sunday track would sound like; which, for a debut EP, lends a great deal of credence to the band’s talent and potential longevity.

The first track on the EP is “Mind over Muscle” which, despite the intro sounding worryingly like a track that Matt Willis from Busted released, is a testosterone exuding five minutes of rock that reassures the listener that pressing play was far from something to regret. From the muffled Screamo vocals to the Emo sentiment, both “Stop the Clocks” and “Heads Down Check it Out”, are musically on par with The Used with lyrical injections of Billy Talent.

Whilst the borderline whine of Billy Talent’s vocals can become quite grating on the ear, the rockier content of Said Mike manage to counter this effectively. “Sister Mary” demonstrates aspects of vocals similar to those of Gerard Way, but “Let Yourself Go” straddles the line between Emo and the uncomfortable pitch of Billy Talent with a lesser aspect of certainty. Yet, the Biffy Clyro-esque guitar riff of the single forces it back into a high level of success.

“Stop the Clocks” is a very strong debut EP both musically and lyrically. Said Mike have a refreshing maturity in their lyrics that is becoming less common as the alternative music scene, with the exception of bands like Enter Shikari, becomes saturated by bands that personify the Topshop portrayal of what it means to be alternative. It is Said Mike’s clear and welcomed grasp of rock music, a genre that has been blurred by bands such as Razorlight and Hard-Fi feigning Pop/Indie music as Rock by nodding enthusiastically when we ask if it is suitable for Kerrang, that I feel will aid their exposure and it is their talent that will make 2008 a great year for the band.

Single Review - Friendly Fires 'Paris' - Acryllic Tom Tom

Let’s face it, underneath all the bravado of individuality, the fundamental similarity that all Indie lovers have in common is a desire to be different; to step away from the conformity of their peers. However, as with most societal archetypes, the result of this a smaller but prevalent group of people who all look/dress/talk similar but just vary from their elders and some of their more traditional peers.

For example, the majority of people with an affinity for Indie music that I have come across, the ones with a quest for individuality and a passion for unsigned bands until they acquire a MySpace fan base above 1,000, want to go to Paris. They have watched slightly messed-up cult film ‘Dreamers’ and since have spent years admiring the fashions, yearning for the romance and striving for the culture of France’s Capital. And it would seem that Friendly Fires are no exception.

Consequentially, on reading the lyrics “One day we’re gonna live in Paris, I promise”, a tired eye roll of lethargy may be forgiven. Yet there is something unavoidably endearing about Friendly Fires’ upbeat new single ‘Paris’. Whether it’s the illegible Klaxons-esque wailing chorus or the schizophrenic jump from poppy verses to the cathartic outbursts of shouting that bring the single to an end; there is something about this single that has the ability to lift moods and make you forget about the depressive gravity that is January.

Yes, they are another addition to an ever-expanding genre of similar bands, all with this arguably unobtainable aspiration for individuality, but there is something different about Friendly Fires. I start to believe that their promises excude sincerity as they claim “You’ll find me that French girl, I promise…I’m on it” throughout three minutes of compulsive music. Despite the stereotype that their single portrays, I find myself reaching for my Beret as I listen to the Foals-esque Indie beats that bring a welcomed bit of Parisian culture to my coastal English town.

Friday 25 January 2008

Everything Changes...But The Music Industry - Noize Makes Enemies

Take That’s impressive selection of Brit Award nominations include; Best British Group, Best Album, Best Live Act and Best British Single- but what does this say about the future for music in the upcoming year?

With Take That dominating the recently revealed Brit Award 2008 nominations, could it be that British music is stuck in a lethargic rut of nostalgia or does the renewed success of such bands reflect an array of talent that is still relevant to music lovers over a decade later?

I would suggest the former. Where once images of a Lycra-clad Barlow, Orange, Owen, Williams and Donald prancing around with an air of homoeroticism to stadiums of packed teenagers and their equally excited mothers were commonplace, ten years on and one member down, tank tops have been replaced by M&S suits but fundamentally we’re back where we started.

Despite this, bands such as Take That do undebatably have a unique degree of longevity that not many bands today will be able to boast of in years to come. Their toe-tapping beats and quirky lyrics lost to fickle scene fans quick to jump on the next bandwagon before they even have time to straighten their fringes. As a result, bands like Take That’s loyal fan base and subsequent high level of recognition would appear more deserving of a Brit Award than current bands.

But whilst their talent is undisputable and their ability to please a crowd unarguable, the reappearance of bands such as Take That and the Spice Girls simply make it even harder for new bands to get noticed in the cut-throat music industry. Innovative and experimental bands such as The Klaxons hold little hope of grasping Brit Award for Best Live Act when placed up against the commercial four-piece. And even then hundreds of bands, worthy of similar acknowledgement slip under the radar of recognition for another year as Posh makes £10 million for every show she pouts her way through on recent comeback tour.

It is somewhat gratifying to see bands such as Bat for Lashes, Kate Nash and The Hoosiers sneaking their way into the mainstream competition for a Brit Award. Though, everything from their skinny jeans to Nash rather being with your friend (mate), make it hard to detect whether industry bosses selected these more as token Indie acts for credence rather than as a reflection of a shared appreciation.

There may be hope for bands that exude refreshing individuality with television programmes such as Channel Four’s MobileAct Unsigned which promoted the emergence of new bands with unsigned groups competing to please judges such as Jo Whiley and Alex James to win a record deal.

Yet, though frustrating that new bands fail to get the recognition that many deserve and often need, it could be argued that it’s all pretty irrelevant in the greater scheme of the industry. Great new bands not being nominated for Brits don’t coincide with a decline in credibility in the same way that the prospect of Leona Lewis winning Best Single for ‘Bleeding Love’ does not make it any less of a mind-numbingly overplayed song. Perhaps we should simply continue to just let bands of now thirty-something men, with an affinity for pop music and gyrating, obtain their metallic statues whilst the rest of us seek out original music that doesn’t encourage jazz hands.

Thursday 10 January 2008

Interview with Air Traffic - B-People

The phone rings at least five times before someone answers. The greeting, accompanied with a strong gust of wind in the background, belongs to that of Jim Maddock, bassist of Air Traffic. Having answered fellow band member, guitarist Tom Pritchard’s, mobile, he has unwittingly signed up for a ten minute interview with me. Yet in a way that is instantly likeable, Jim agrees to the interview without hesitation, despite the weather that I can hear in the background implying that the warm confines of a recording studio may be preferable.

I soon find out the gusty backdrop is because Air Traffic are a little bit further a field than their coastal hometown of Bournemouth. “At the moment we’re in Ireland…in the middle of nowhere! We’re writing new material that we’re hoping to have done by the end of the year to release early next year.” Together with the band’s singer and main songwriter Chris Wall, and drummer David Jordan, Air Traffic are set to have a very busy 2008. Jim explains “Our next tour actually starts next week and our last tour went brilliantly”. Promoting the February release of their debut album “Fractured Life” in America, the band toured enviable locations such as LA and Texas, as well as Europe. “The [American version of the] album has extra tracks that weren’t on the one we released in the UK and we’re going back to America in March too which should be good”.

So that’s this year set up for four twenty-one year olds, but how did it all start? “We all met at school, I guess that’s where it all started” Jim remembers “We were all in different bands and knew each other through the music scene and decided we’d be better together”. That was three and a half years ago. Whilst in college the band maintained a passion for the band, although it was a side project whilst they hurried through education. “When we left, we sort of thought ‘okay we want to do music properly now’”. Listening to Radiohead, Supergrass and Blur, just some of the band’s influences, lead them to establishing their own unique sound that set them apart from other local bands. But a familiar complaint from Jim and other Bournemouth bands is the lack of opportunities for local groups. “All the venues in Bournemouth have been closed and turned into wine bars. That’s the problem I think, there’s nowhere for bands to play original music.” Advocators of under-age gigs, Jim also thinks this is something that would be beneficial for Bournemouth. “What we’d like to see I think is the old places re-opened where young people can go too. Speaking at a rate that my handwriting struggles to keep up with, the band’s active passion for music and for the music scene is undisputable and refreshingly sincere.

Despite all the touring, the band still has a lot they come back to Bournemouth for. “We’re really big fans of the beach. We were never really into the club scene but we like 50 Million Postcards...and the usual places like Walkabout.” With their up and coming gig at The Opera House on 26th January, coming home to perform at such renowned venues is always pretty special for the band too. “It’s brilliant. Obviously it’s where it all started, it’s great to see a lot of familiar faces and we’re all really proud to be sort of the only Bournemouth band to have UK success.”

Since being signed, the bands memorable points range from the first time they were played on Radio One, performing on Jools Holland and selling out at The Electric Ballroom in London. But when put on the spot for interesting facts on the band “I can’t think of anything that would be really interesting to other people!” Jim laughs before remembering something. “We just had a number one in Belgium. ‘Shooting Star’ was number one for five weeks.” Clearly, a loyal fan base has already been established in Belgium and yet endearingly modest, Jim jokes “I don’t know why!”

Their debut album ‘Fractured Life’ combines mature, thought-provoking lyrics and songs that encourage toe-tapping and make dancing unavoidable. With their homecoming show at The Opera House, Bournemouth, on the 26th January, kicking off their next tour, Air Traffic seem set for big things for 2008.