“nearly makes it, but slips on more than the last hurdle…”

There are big, big boots to fill when it comes to writing a primarily acoustic-guitar based record. Let us not beat about the bush: if you are going down that path, something else is needed to carry the album through it’s ten or dozen or however many tracks without it lagging. Some succeed, most fail. Benjamin Francis Leftwich’s debut full length Last Smoke Before the Sun nearly makes it, but slips on more than the last hurdle.

The release of this full length, today incidentally, was rather anticipated amongst those who have heard of this chap. After the charmingly disparate A Million Miles Out EP of late 2010, featuring the brilliant Atlas Hands, Last Smoke Before the Sun seems a bit too polished, clean and worked on. Don’t get me wrong. I was not expecting Lua or Angeles, but unfortunately comparisons can’t not be made.

The record opens with Pictures, released back in March. For a new listener you’ll think “yeah, it’s nice…”; as an opener, it doesn’t grip you but more dulls the senses with it’s repetition and monotony. For all that though, it is a cute song for all the first-loves and rightly followed by the ‘lovely’ Box of Stones. By the end of this one though, if you’re attention is not wavering and the record isn’t slipping into background noise, 1904 will most certainly do that for you.

That lagging mentioned earlier is rectified by Atlas Hands, a Ben Gibbard-esque take on lost love with a couple of charming lines and cutesy finger picking going on (YouTube). However when this is over the album slips back in to its musical equivalent of trudging through snow until half been picked up by the waiting-to-be-used-in-The-fuckin-OC Shine. At this point, you may as well turn the record off.

So what is there to say? It isn’t a bad record, but Leftwich exhibits an inflexible approach which is exacerbated by most tracks been produced too cleanly. Lyrically the chap is decent and wears his heart on his sleeve but this is not reflected within the instrumentation of the tracks themselves. Which is a real shame. The 2010 and 2011 EPs were spot on, but scaled up to a full length record? No, it doesn’t quite have that something else…

Website | HMV (Signed Copies @ £7.99)

The thing with local bands is that there’s so many of them. Pretty much all are shit. But occasionally one of them, despite not ‘making it big’ or what-not, seem to stick together because they seem to just have so much fun. Half Man Half Biscuit spring to mind. Another one, is Fighting Evil is Cool!. It’s not just the fact that there’s cutesy four-chord riffs and a trumpet that makes you realise that here is a band not doing it because they want to be the next NME-cover fuck-wits, but that they’re doing it for the shits and giggles. And that’s something no review is ever gonna convey really, but we’ll try for the craic.

Quintet ska-punk outfit Fighting Evil is Cool! hail from Derby way. They sound like what The Sprites and The Zutons would if they co-wrote an album. There’s a trumpet, a kazoo gets brought in given half an opportunity, and there’s songs about hobos, satanists, zombies and giant monsters. I know of well established ska bands that don’t do what these guys do half as well. So what is it they do?

They’re a band you’d stumble upon playing a back-room in a pub and end up, ten pints later, £30 quid down and alot of skanking later, dancing with complete strangers thinking they’re your best mates. They’re a band you’d remember with fond memories a couple months down the line and go “yea, that was a wicked night”. They’re young and energetic and a little bit geeky.

So, highlights of the debut? Baron Nagant features the kazoo previously mentioned, has really fantastic progression and catchy hooks: it’s a sweetly made pop song. Dave gets a little bit more punky and Go On Get Wasted has gotta be up there in a dual with Titus Andronicus’ Theme From Cheers for the coveted title of Drinking Song of 2010. Closing the record is Brain Salad, a zombie anthem with the chant “what do we want? we want brains, brains, brains.”

Simply put: if you’re into ska and bouncy songs, check ‘em out. You’ll find something you like. If they’re gigging in your area, go. I bet they’re wicked fun live.

MySpace | Facebook

Portland’s Mus

After having released “Hold This Ghost” to much critical acclaim and toured for the first time in the UK in 2009, the band are returning as part of their European tour, as a five piece, rather than the duo which came to these shores last year.

Creating music from items as wide-ranging as tack pianos to saws, hand-operated ice cream makers to old radios, the song writing talents of Sean Ogilvie and Micah Rabwin are not only a sound to behold, but a sight too within the live setting of their shows especially now the three extra band members [Matthew Rubin Berger, Jeffery Boyd and Brian Perez] are coming along for the ride.

More info.

21^st – London, The Borderline

22^nd – Brighton, The Albert

23^rd – Bristol, The Louisiana

Delta Maid is 25, from Liverpool and signed to Geffen

She’s a singer-songwriter of American-style country and blues

Her style is seemingly unique in the UK’s pot of twenty-something guitarists

I fuckin well think she’s amazing.

Delta Maid on MySpace

Dreaming Like A Fool outlines, in a Fyfe Dangerfield-esque way, a tale of an ex-girlfriend attempting to stab Mr. MacLeod. And, talking of Mr. Dangerfield, why not catch the both of them together in September as TBWTTS supports The Guillemots frontman. Tour dates below:

And, as if you need more persuasion to go along, check out this gem of a live video of Dreaming Like A Fool:

September 2010
Thu 16th Manchester, Sound Control
Fri 17th Nottingham, Rescue Rooms
Sun 19th Bristol, Thekla
Mon 20th Exeter, Phoenix
Tue 21st London, O2 Shepherds Bush Empire
Wed 22nd Brighton, Komedia
Fri 24th Oxford, Academy 2
Sat 25th Birmingham, HMV Institute
Mon 27th Leeds, Brudenell Social Club
Tue 28th Gateshead, The Sage
Thu 30th Glasgow, Oran Mor

On Wednesday 5th August, following the success of Proud Camden’s second birthday earlier this month, residents Bandangos host their own birthday party in the recently refurbished venue. Alongside essential ‘booze and birthday cake’ celebrations, the legendary promoters have secured an exclusive London gig from Hot Club de Paris and performances from the likes of The Chapman Family and guilty electro-pleasures Starman.

Headlining the birthday celebrations are Liverpudlian art-pink trio Hot Club de Paris. Notorious for their jangly, angular giutar sound, the Moshi Moshi prodigies are touring with a more refined sound found in their new 6 track EP “The Rise And Inevitable Fall Of The High School Suicide Cluster Band“. Having spent the past two years touring with the likes of Jamie T, Joan of Arc, Battles and The Who, the band will take to the stage at Proud for a rare London gig. This is the only chance fans will get to see the band perform their new material in the capital with a new found maturity, but still clutching tightly to the feel good signature sing-along choruses, hand claps, off-killer arrangements and three-part vocal harmonies that HCdP are best known for.

With a promising debut album currently in progress, the Chapman Family will also give an intimate performance for the Bandangos‘ party. Drawing strong comparison with Joy Division and Sonic Youth, the north-east’s best kept secret have stormed the gig scene in an aim to provide a distortion-fuelled antidote in a musical climate lacking in integrity. Having already been picked up by the NME radar and described as “dark and noisy”, this 4-piece is tipped for 2010 succession.

Best known for their appearance in SkyOne’s hit TV show Pineapple Dance Studios, Starman are a 5-piece pop group fronted by dance teacher and rising star Andrew Stone. Described as the electro lovechild of Alphabeat and Scissor Sisters, Starman have enjoyed success since appearing on the television and recording their first single, “I Don’t Wanna Dance“. Guaranteed to bring a smile to your face, Stone and his Starmen promise high energy and an epic stage performance.

Completing the night’s entertainment, The Bandangos due Adam and Matty and the Kids in the Riot with be DJing until the early hours; playing the best indie, alternative and electro sounds to keep the birthday spirit alive.

M&B presents an alternative, urban summer playlist. Enjoy…

First up, a classic cross-over belter from ’06. Skream’s Midnight Request Line.

Closely followed by ultimate summer feel-good pick me up, Major Lazer’s Can’t Stop Now.

Now we’ve to mash things up. Alot. Girl Talk’s Feed the Animals (Part I, at least) with 23 different samples. Phwah.

Followed by my all time favourite rave anthem classic SL2′s On A Ragga Trip. Summer summer summer!

After all that bouncing around, we need something a bit more relaxed. Chuck us a mojito and whack on Massive Attack’s Risingson (Underworld Remix), a veritable marmite of a song.

To cap it all off, one you all know and should love: M.I.A’s Paper Planes

Any suggestions to add? Post below and keep the night going

Just over a month ago I received an album dictating the future of British rock. It’s scratchy guitar refrains, sing-along chants and raw sound draw on the best of 50 years of British rock and punk. We’re talking The Kinks mixed with The Clash, Pistols with Verve, Oasis with The Rolling Stones. The album is called What Came From Fire, it’s by Sound of Guns, and it’s released on the 28th.

For big-sounding indie-rock anthems, nothing has come so refreshing since Whatever People Say I Am… The raw energy displayed throughout the What Came From Fire has justifiably earned Sound of Guns massive fans like Steve Lamacq and Zane Lowe. It’s quality cannot be underestimated: here’s a band that know exactly what they want to do and how they want to do it.

There aint much complex stuff going on here: it’s distorted riffs and power chords, simple bass licks and pounding drums pretty much throughout. Opening two tracks Architects and Alcatraz provide a strong back-bone for the rest of the album that grabs you by not by the ears but whole face and demands a listen. Their punky guitar just shouts out at you “turn me up”, which you obligingly do. Simply, if you’re stuck in traffic with this on, you’re gonna annoy alot of fuckin people.

The album was produced by Chris Potter (Verve, U2) and it shows a bit too much at times. 106 (Still The Words) slows the pace too much with prog-sounding synthy guitairs. Ballad-esque Starts With An End sounds like a History rip-off and, being the final track, taints the album and leaves a depressing and unfortunate after-taste. But, if there’s one thing both tracks shows it’s potential and confidence to explore.

Final verdict time then: for a debut album, Sound of Guns’ What Came From Fire is strong. Very strong. It’s raw, heartfelt, stadium rock. It’s as British as Wimbledon but with more balls (pun not intended). It’s lineage and influences are strong and it’s confidence is felt. Simply, this is a band you’re not going to be able to ignore for much longer.

http://www.myspace.com/soundofguns

Sound Of Guns – Alcatraz

When you think of Latitude what 5 words spring to mind?
Tents, beer, sunrise, waking and baking.

If you could only see one performance at this year’s festival what would it be?
It would be between Grizzly Bear and Laura Marling I think.

What 5 items will you be bringing to Latitude?
Picks, earplugs, my glasses, my guitar and a smile of excitement.

Do you have anything special planed for your performance at Latitude?
Not yet, but it’s still a long way away.  We might do.

Latitude is 5 years old, how did you celebrate your fifth birthday?
Unknown, captain.

And as a special treat to you lovely people, here’s the awesome video for Radar Detector.

American singer-songwriter Sean Rowe recently supported Noah & The Whale on their UK tour. On the back of this, he released his debut album ‘Magic’ to the UK. Moon & Back Music caught up with him for a quick chat

Sean Rowe: Hey man, no worries.

M&B: How long you enjoying the sunny UK weather for?

SR: About two weeks; the bulk of it is in London and Brighton, then I’m off to Paris.

M&B: The tour going good then?

SR: Yea yea, we’ve played [Brighton's] Great Escape festival. That reminded me of South by South West, it was cool. Then I’ve got an um, instore tomorrow which I’m looking forward to at Pure Groove Records aswell.

M&B: And Paris?

SR: Well Paris is um, really interesting actually. I’m performing for the release of ‘Magic’ at l’INTERNATIONAL which I’m looking forward to.

M&B: I bet that’ll be pretty awesome. You opened for Noah & The Whale for their UK tour recently, how did that go?

SR: It was amazing, amazing: the audience were really receptive to my songs, it was just, um, surprising for me to play overseas to such an audience. And with Noah and that, we became great friends and they’re great people to know. So yea, it was a good time.

M&B: How did that come about? They …. ‘spotted’ you didn’t they?

SR: Yeah; well it was very unplanned and what happened was, my um, my CD [Magic] got into the hands of Noah’s booking agent. So he, he had a listen to my songs and essentially I had about four days notice that I was coming to England. Clearly I wasn’t going to turn that down. Totally unplanned.

M&B: Awesome, so totally in promptu then.

SR: Yea yea very.

M&B: Now, I’ve been asked by a lot of people to…describe your sound, and the best I could come up with was a cross between Bonnie Prince Billy and Tom Waits. Would you tend to agree?

SR: Well, I haven’t heard of Bonnie Prince Billy, but definitely the Tom Waits bit. When I was a kid growing up, I wasn’t really listening to the same genres as my peers were. I was more into old blues, like John Lee Hooker and Robert Johnson and ya know, soul singers like Ray Charles and Aretha Franklin and…at the same time I was getting into Iggy Pop and The Velvet Underground and of course Leonard Cohen and Johnny Cash. They all came in at the same time so, ya yknow. I’m influenced by a lot of musical character I guess. But um, I also draw from things that are coming out now. But what it comes down to for me is, is music that has a real quality to it ya know, a rawness. It’s not in everything you hear.

M&B: What are you listening to at the moment?

SR: Yea, in terms of music that’s coming, I’m  a big fan of Regina Spektor and um, Feist and…there’s alot of music coming out in the genre of alternative-folk, which seems to me a very….loosely descriptive term really. Like, Fleet Foxes; I’ve been listening to them since their first record. But, I never tire of my Leonard Cohen records or Ray Charles though really.

M&B: How was the recording of ‘Magic’?

SR: Yea it was good: the studio that it was recorded in was essentially an, *laughs* an old beauty school building that had been for years closed down; it was very old by American standards at least not European. We recorded the record in this room that wasn’t designed for recording it was essentially a room with paint pealing off the walls and pigeons and all sorts of craziness going on there. But I suppose that added a rustic simpleness to the record.

M&B: Tell us about your naturalistic and edible-plant side.

SR: *laughs* Well, there’s been sort of, um, a duality in my life with music and wilderness living. But that sort of parallels my musical learning ya know, as a kid I was always in the woods and I grew up around the mountains. I was constantly outside and getting into trouble. I’m very interested in the, the original inhabitants of the land, the way they eked a life. It’s an interesting paradox, performing up against a thousand people, ya know in cities like London.

Sean Rowe’s debut album ‘Magic’ is available to buy from his website, www.seanrowe.net