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.
Tuesday 29 January 2008
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.
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.
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.
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.
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.
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.
Subscribe to:
Posts (Atom)