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.
Wednesday 30 July 2008
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.
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.
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.
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.
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.
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.
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