“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.
Thursday 19 June 2008
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.
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.
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.
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$h’ and ‘Crystal Lite’ combine Gnarls Barkley inspired vocals with beats reminiscent of The Fresh Prince of Bell Air days.
‘Welcome’ is likely to divide audiences, with some massively respecting James Pants for his creativity and innovation and more traditionalistic others wondering just what the hell he is trying to achieve. Either way, James Pants is definitely worth a listen…even if only out of morbid curiosity.
Hailing from Texan roots and with influences including T.I and Gary Numan, he fuses soul, R&B, New Rave and 80’s disco to create a whole new audio soundclash.
His latest 16 track album ‘Welcome’ is demonstrative of how talented and adventurous James Pants is, keeping the listener guessing as each track ends, as to what the next four minutes will embody.
Tracks like ‘My Girl’ and ‘Finger on the Knife’ have all the unclassifiable chaos of Hadouken! whereas ‘Dragon Slayer’ and ‘We’re Through’ are characteristic of electro connoisseurs Simian Mobile Disco. This complete mish mash of musical ideas makes James Pants close to impossible to pigeonhole but undeniably intriguing.
He has all the diversity fuelled by eccentricity of artists like Aphex Twins but vocals by Deon Davis on ‘Ka$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.
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.
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