© Warner Bros Music 2012

“A living detachment exists between the music and listener”

It seems there is a renaissance afoot. Amongst the musical community, the resurgence of indie infused psychedelic, electro pop has never been more popular.

As much of a mouthful as that seems, the oncoming summer months seem to bring out such bands like midges from a mossy log. Throwing their hat into the ring with debut offering It’s a Corporate World are Dale Earnhardt Jr. Jr.

For those UK fans unfamiliar with the band. Formed in Detroit, Michigan, the duo takes their name from American Indy Car racing legend Dale Earnhardt Jr. who, according to some sources, is a reputable fan of the band. Joshua Epstein and Daniel Zott have sky rocketed their reputations amongst fans and music critics alike since their formation in 2007.

Branding themselves as psychedelic, electro and Motown influenced, Dale Earnhardt Jr. Jr. appear to be on the cusp of domination of the indie, elector scene. This debut album, It’s a Corporate World arrives as the total of maligned performances, side projects and other dedications that have prevented the two members from publishing their collective work. They bring the haunting, wistful vocals and soft guitar hooks that have established them as a stand out indie outfit to what will presumably be a much wider audience, possibly globally.

Tracks “Simple Girl,” “When I open My Eyes,” and the eponymous “It’s a Corporate World,” showcase the band’s eclectic, anathema style. Drawing clear influences from late Beatles and their own brand of psychedelic pop rock, Epstein (coincidentally) and Zott mesh seamlessly together both vocally and musically.

None more apparent than the harmonic, toe tapping “Vocal Chords.” A fun, catchy, high tempo track that lends itself perfectly to the up coming summer months, Dale Earnhardt Jr. Jr. know their audience and how to effectively win them over new listeners.

This stellar rise amongst their own scene and the music industry as a whole raises some suspicions amongst the more skeptical listeners. And therein lies the problem with both Dale Earnhardt Jr. Jr. and this debut album. It’s a Corporate World is, quite simply, a clean cut, glossy, over produced album that would be more suited to a band’s second or third offering.

Following their various EP releases and a loyal fan following of their energetic live performances, this fully fledged debut album arrives amongst a sea of publicity. None more apparent than the highly touted select UK appearances on Club NME and HMV Next Big Thing. Surprising, surely, to those indie electro groups from native shores who are still scratching around on their home turf all begging for that big break. More importantly, with substantial discographies behind them.

Fundamentally, the band’s ethos and material seems oddly unoriginal enough to warrant this lavish production. Although by no means a poor piece of work, it is exactly that that makes for suspicious reasoning. They may sing of heartfelt, unrequited love and psychedelic jaunts through golden fields, albeit with the looming presence of a disapproving chaperone lurking somewhere in the background. It’s fun but well supervised fun.

A living detachment exists between the music and listener. Begging the question, have Dale Earnhardt Jr. Jr. sold out before they were even in? Suddenly the album’s title takes on an altogether more sinister and frightening meaning.

Jonathan Whitelaw

Nobody's Fool © DixieFrog

Trail blazing a path that has now taken him all across the globe, Dave Arcari has returned with a fourth album, Nobody’s Fool. A regular here on M&B, Dave’s unique brand of delta blues infusion and throaty folk tradition have proven to be great successes for the man in the hat so far.

It seems like an almost incalculably long time since Arcari’s last offering, Devil’s Left Hand stormed onto the country scene in late 2010. By comparison, Got Me Electric is now over two years old and still offers a fresh, invigorating sound to what is one of the oldest genres of music. It is with this same pioneering approach that Arcari delivers Nobody’s Fool.

Recorded between Finland and Arcari’s native Scotland, Nobody’s Fool represents the growing international recognition of the singer himself. This latest offering is his most ambitious to date. That ambition drips from every one of the thirteen tracks with a glossy, conscious production as Arcari is joined by some substantial names from the across the industry. Most notable of these is on “One Blind Side” where drummer Paul Savage of The Delgados fame. Part of one of the most successful, well loved Scottish indie bands of all time, the testimony, is all Arcari’s. This is a collaboration, not an endorsement and, more importantly, something that works.

Featuring previously released tracks re-recorded at Sonic-Pump studios in Finland; the album offers more of what has come to be expected from Aracri. Following a “if it aint broke…” policy, Nobody’s Fool is as throat raspingly raw as it’s predecessors. With a voice that feels like a saw’s blade, the man in the hat takes listeners on long, emotional, heart felt rides with every song. As is customary in Delta Blues, the need to lament, bemoan and generally feel sorry for one’s self is something expertly delivered and weighted in Arcari’s signature brogue. Indeed, had it not already been started in the American bayou, Scotland would no doubt be the blues capital of the universe.

With the added weight of three successful albums behind him, Nobody’s Fool marks a watershed in Arcari’s career. No longer considered a fringe artist in a niche market, this outing will most likely become Dave’s most widely acclaimed piece. Both through general exposure and now substantial touring back catalogue and set to draw from, Arcari is now on the threshold of wider acclaim and recognition across all musical spectrum. The importance of Nobody’s Fool is therefore much greater than simply another forum for new material and re-recorded classics. It is the wide spread calling card that could become synonymous with an artist and his career.

The breakthrough album is what every artist aspires to achieve, that’s just musical fact. Some spend whole careers before achieving the feet, David Bowie being one who slaved through mediocrity before going stratospheric. Others hit the jackpot on their (relatively) first attempt, Michael Jackson’s solo career, The Clash and of course, Guns n Roses. But when the dust settles, the last cocktail drunk and the spoon cooled down, all that matters is the quality of the work left behind.

With that in mind, Nobody’s Fool is an album that will be regarded in the future as a defining moment for Dave Arcari. The potential has been evident for years and success has duly flowed. Thousands of gigs and albums sold are testimony to Arcari’s growing endurance and loyal fan base. The next step therefore awaits, the signature breakthrough for an artist most deserving of the accolades that brings. Time, as it always does, will tell.

Courtesy of Jezus Factory Records © 2012

Psychedelic-folk rock is not the easiest genre to let roll off of the tongue. Indeed, since its inception way back in the hazy sixties, there have been few markets of popular music as niche and subtle as this. As The Beatles provided a Technicolor master class to start with and Pink Floyd dabbled in the mysteries of the universe seven years later, the folk infused guitar riffs of rock and roll became altogether more relaxed and laid back.

It is from Belgium then that, some four and a half decades later that the latest pretenders to the psych-folk throne come sweeping along in typically haunting and morose manner. Birds That Change Colour (BTCC), a clichéd yet strangely evocative name, are the latest Belgian act bringing their own brand of 60s throwback to the British shores this March. With their debut On Recording the Sun the band set up their tie-dyed shop for the rest of Europe with a surprisingly strong, enjoyable ten track album that packs a lot of bang for the buck.

In keeping with the tradition of the greats who have gone before them, BTCC kick off their work with the hauntingly simple “Stones.” An eerie and simple ode to the nuances of subtle guitar and string work, vocalist, Koen Kohlbacher, creates a lofty ambience that evokes images of a misty early morning wood or lofty sky.

This mixture of high art and emotional imagery continue throughout the album as a whole, none more apparent than in “Playground,” “Oh So Tired” and the 11 plus minute epic “Never Ending First of May,” a track that steals the show from the other ample works. Contrary to this eclectic, borderline gloomy approach to what is generally regarded as bucolic infused neuroticism designed purely to toy with one’s own perception of the universe, there are a number of playfully cheerful songs thrown in for good measure.

“Tales from the Moon,” has all the hall marks of a late Beatles piece of fun, the psychedelic images of distorted cartoons and brightly coloured suits forming almost instantly in the minds of the listeners’, all to the tune of tame drums and the merest hint of sitar. The final track “Oh What a Day” rounds off the album with a Bowie meets Ringo infusion of juvenile story telling that serves perfectly to compliment the rest of the tracks. The guest vocals from Nathalie Delcroix and the pepped up pipes serve as timely reminders that this is a work of art, mainland European art no less and close the work amply, smiles all around.

In all, BTCC have delivered an album that is on the whole enjoyable and fun, two emotions that are very rarely placed together when interpreting modern music. It could be a combination of the wonderfully crafted images, the honorable tributes and throwbacks to the past masters of the genre and the lovingly produced nature of the work that makes On Recording The Sun work. Regardless, only time will tell if it makes an impact abroad.

Jonathan Whitelaw

Thrashing drums, whiplash inducing head banging and a sphincter clenching devotion to blistering guitar solos and riffs. Not the usual adjectives reserved for sunny Spain. Shove the paella back in the oven, put away the sunscreen, hard rock n roll is back, lock up your daughters.

By that, of course, the triumphant return of ’77 has occurred. Hailed on M&B as the champions of a dying breed, the cymbal crashing cacophony from Catalonia have produced their follow up to 2010’s 21^st Century Rock with a much glossier, slicker produced and still irresistibly thrown back (and up) to the glory days of pub rock.

High Decibels is this highly touted follow up. Less than a sequel and more of a rebranded, better equipped version of the first installment, this album marks a much more professional, intensely matured taste of the band’s talent.  The first difference is the more intensified sense of individual identity. This is hardly surprising. In the eighteen months since their last release, the band have moved from an AC/DC tribute act who played their own material to an act in their own right.

Expanding from their native Spain, this summer sees a continental tour that takes in Germany and Sweden. As profile has risen, so too has the ambition of this four piece outfit. With tracks like “Back Door Man,” “This Girl is on Fire” and “Melting in a Spoon,” a more sinister, edgier vibe is shown here. With lofty ambition comes the same mix of catchy blues riffs, solid solos and the sleaze fuelled harmonies that would make your mother blush.

The near nine minute opus “Promised Land” stands as a testimony to how far this band has come since their debut. Split into multiple parts of changing pace, eclectic imagery and the fundamental three riff hooks that force smiles onto the most maudlin of rock fans, the aspiration of such a project is plain to see. Evoking memories of Bad Company, early KISS and even Led Zeppelin in one song is not something regularly attempted, less carried off. “Promised Land,” however, skirts the line between success and disaster with enough majesty and arrogance that the whole operatic ethos comes off with a plom. The jam session approach, casual riffing and constantly changing tempo and medley is an audio delight.

When 21^st Century Rock appeared, there were many who rolled their hypothetical eyes at “another seventies throwback, completely out of touch with the modern music listener.” An unfair but altogether more realistic view of the industry and the chances of such an act. However, defying such criticism and producing a follow up as strong, layered and arguably defining like High Decibels has done nothing short of place ’77 in as strong as position they could hope for. The much cleaner production, bigger, bolder sound and broader audience (the album is available on iTunes) reach will provide an excellent starting point for what should be a big year for the band.

Jonathan Whitelaw

Apologies, I Have None have a new record coming out really soon, and it’s shaping up really well. Having already released ’60 Miles’ earlier in the year, the London-based band have just debuted another new song. ‘Clapton Pond’ is a massive tune – which is totally indicative of the band’s previous work – and the video is an absolute masterpiece.

Apologies, I Have None head out on a short UK tour with Crazy Arm and Great Cynics on February 29th, and are playing a few dates with, acclaimed country singer/songwriter, Austin Lucas. Shortly after, the band will embark on the release tour for, debut album, London. This is followed by a few dates with Touche Amore and Pianos Become The Teeth.

• White Rabbit, Plymouth – Feb 29th w/Austin Lucas
• Croft, Bristol – March 1st w/Austin Lucas
• The Hydrant, Brighton – March 2nd
• Firebug, Leicester – March 3rd
• Fighting Cocks, Kingston – March 4th
• Karma Cafe, Norwich – March 5th
• ManchFESTer II – Kraak Gallery, Manchester – March 17th w/Above Them, Sam Russo, Calvinball, Great Cynics + more!
• The Central, Newcastle – March 18th
• Santiagos, Leeeds – March 19th
• The Flapper, Birmingham – March 20th
• The Edge Of The Wedge, Portsmouth – March 21st
• The Old Blue Last, London – March 22nd w/Sam Russo + ‘Special Guests’
• Thekla, Bristol – March 26th w/Touche Amore + Pianos Become The Teeth
• Sound Control, Manchester – March 27th w/Touche Amore + Pianos Become The Teeth
• XOYO, London – March 28th w/Touche Amore + Pianos Become The Teeth

Bonafide - Something's Dripping © Black Lodge

Bar-room lyrics, check. Catchy, riff based songs, check. Long hair, acres of denim and a love of late nights and even later women, almost definitely. This is a list that, to some, may seem an imposing, clichéd inventory needed to write a stereotypical rock band comedy/mockumentary. But rock n roll isn’t anything complicated and this list has stood the test of time, like those who have adhered to it. And so do Bonafide, the latest champions of the down and dirty to come from Sweden’s Nordic shores.

When Sweden is mentioned, most here in the UK would automatically and rather imperialistically think of Volvo and, unfortunately, ABBA. So it is with great relief and pleasure that the latest in a long line of young pretenders to the blood stained, amp shaped throne of hard rock champions comes in the form of Bonafide. Having paid their dues all over Europe and a subsequent UK tour in December, Bonafide bring with them a back catalogue of proven song writing ability, excellent sound and a dedication to an art form that has seen a relative renaissance in the past half decade.

Their 2009 album Something’s Dripping, a wonderfully graphic and balls to the wall title, is a standout combination of a group who are plying their trade in what could be mildly described as a hostile environment. Indeed, it would seem that the fun and lavish rock and roll excesses of the past half century have been long forgotten since 2000 rolled around and the music industry became a place of factory (definitely not Factory Records) produced starlets hell bent on fifteen seconds of fame.

Thus with an album like Something’s Dripping, Bonafide and their contemporaries bring a much needed injection of light heartedness and relaxed throw back into a scene dominated by innocuous glitter and pre-fab. There is nothing more gut-bustingly wonderful than tracks titled like “A Shot of You,” “Butt You Up” and “Fill Your Head with Rock.” All of these songs incidentally are not only excellent hard rock but perfect examples of the musicianship, song writing and top tier production that Bonafide have behind them.

The lyrics, “You think you’re God almighty, like you own the show/ I’m gonna be there laughing at you, you’re Dirt Bound,” taken from the album’s opening track “Dirt Bound” more than exemplify this band’s intentions. Following the hard rock formula of simple riff, throaty vocals and an unrelenting percussion, “Dirt Bound” has the makings of crowd pleasing anthem but also carries with it the grandeur and statement of intent of the band and their sound as a whole.

This is a group of rockers, plain and simple, no frills, toe tapping blues-based music that feels refreshingly new and familiar all at once. The theme of us Vs them is concurrent throughout the whole album, Something’s Dripping’s tracks slipping seamlessly together, one high paced track after the other in a rapid, machine gun paced trip of eleven tracks designed as a protest and assault on anything else you’ve heard this year.

Rebellion is what rock music is all about and this is the finest form. There are no hidden messages, no complicated sub themes or parable like analogies to set fire to message boards across the Internet. You will not be able to play the album in concurrence with classic movies like The Wizard of Oz or Blade Runner because there is nothing needlessly complicated or self indulgently artistic and ambiguous about this music. It’s hard working, hard sounding, excellent rock and roll that everybody can enjoy.

With an array of recent bands trying their hand at this style of music, Airbourne, The Answer, The Treatment and Rival Sons to name four, it seems there is still a contingency of musicians out there willing to make music that echoes a golden age of recent memory. As the world continues to become progressively digital and the medium of music is more accessible, high hopes rest on Bonafide, and the others, to keep us rocking all night and partying every day.

Jonathan Whitelaw

Florence+The Machine - Ceremonials © Island

2009 was year that Florence Welch will never forget. With a monumental and almost instantaneous rise from obscure indie pop vocalist to one of the biggest selling and popular artists of recent memory. With a string of awards and media praise including the prestigious BBC Introducing, respected cultural South Bank Show award, a BRIT award and MTV Music Video Award amongst her haulage for breakthrough album Lungs, Miss Welch and her band Florence + The Machine return with the hotly anticipated and always trialling follow up album Ceremonials.

There have been very few bands in recent memory that have stormed the mainstream music scene and had such a powerful influence across the complete spectrum of consumer appreciation and economic bankability. From tweener school kids wishing to seem more mature in their music taste to the young professional still gripping tightly to their aging days of youth. They are joined by the middle class suburbanites and beyond in their appreciation for Florence + The Machine’s alternative, soul infused indie rock sound that feels it should be performed in airy, 17^th century cathedrals than the glitzy, confetti strewn stages of the O2 arena.

So it is with a relative pleasure that the new album Ceremonials arrives on the shelves for the baying public’s ravenous consumption. Once more cantered as the focal point of the group and its commercial appeal, front woman Florence Welch lends her voice, that which is rather liberally described as “somewhere between rock and soul”, to an album that almost writes its own cheques, merely at its mention.

Launched with the preceding singles “What the Water Gave Me,” a techno funk, artistically indulgent anthem that, if popularity continues to escalate as it does, will no doubt be the festival anthem of next summer’s inevitable tour by the band. The second, of three, singles; “Shake it Out” returns Florence + The Machine to their grandeur and crowd mimicking anthem status they last experienced with their cover of Candi Staton and The Source’s “You’ve Got the Love.” More nightclub throbbing, drunken, happy memories sure to be made in the same vein as its immensely popular predecessor.

With additional tracks such as “Seven Devils,” “Spectrum,” and “Leave me Body,” Ceremonials stands as a substantial piece of work that is a fair reflection of the band and their music. Standing at twelve tracks long, twenty for the inevitable Deluxe edition which includes various demos and acoustic versions, fans and casual listeners alike will be more than pleased and satisfied.

However, this fact alone could well prove to be the final nail in the coffin of Florence + The Machine, the overused, clichéd term “More of the same” an all too fitting an epitaph. Where Lungs was embraced because of its relative originality and refreshingly bold, orchestral and musically intelligent driving force that is all too redundant in the popular music field. The album and songs spoke across the multigenerational, quasi spectrum of multiple listeners because of its word-a-mouth popularity and enjoyable music not heard for twenty years for some and not heard at all for others.

Ceremonials however feels more like a re-hash of the previous album, not so much a new piece of work but more Lungs.2. undeniably talented and blessed with one of the more unique, fabulous and hauntingly infatuating voices in pop, Florence Welch and the rest of the band, as they have become dubbed, quite literally by their own admission and band name, have produced an album here that stays safe.

And what is wrong with that? Well nothing, nothing at all. AC/DC have produced the same album, once again by the own admission, fifteen times since 1973 and are one of the wealthiest, most respected pioneers within their genre, if not music. So have countless other groups and artists, who is really to say there is any difference between “Dead or Alive” and “Young Gun” by Bon Jovi? It is a formula that works and all credit to be due for those who exploit it.

But with Florence + The Machine, there seems to be a rather acrid taste left in the listener’s mouth about the whole experience. Here was a group of talented, young musicians who were seemingly stumbled upon as a genuine hope for the future of genuinely good music who had importantly captured the imaginations of the wider public. Instead Ceremonials takes the safe, money in the bank option of sticking to the formulae that has allowed them the luxury of making the album so closely that the end product is nothing shy of the same material in a different sleeve.

Where those who are obvious inspirations to the band, see Annie Lennox and Kate Bush for starters, continually pushed the boundaries of their own images and styles whilst still retaining their fan base, Florence + The Machine have regressed. A pity but no great surprise and nothing that they should be ashamed of in the current climate of musical austerity.

Jonathan Whitelaw

Having solidified their line-up in 2011, they are now a strong, experienced 5 piece with a charismatic and professional female lead singer, giving the band an interesting dimension.

The band are currently working on an EP which they plan to release in late 2011 and are currently performing in their local music scene and beyond.

They have recently played a series of gigs, including their local ‘Battle of the Bands’ competition, in which they have reached the final. I went along to the heat gig and the semi-final and thought their performances on both occasions were incredible.

For the Semi Final, the band opened with a stripped down cover of Amy Winehouse’s “Love is a Losing Game”, with a spotlight on the lead singer and a single guitar accompaniment; a delightful and touching homage to the late soul singer with Pressure Kids’ frontwoman paying her respects perfectly with soulful and powerful reflections on Miss Winehouse’s sassy and haunting vocals. As this cover faded out, the band kicked into their own repertoire of tracks. With effervescent energy and a great rapport on stage, the band certainly engaged the audience where heads were bobbing, toes were tapping and plenty of people were dancing. Their sound is full and profound with hard-hitting percussion and edgy guitar riffs. The vocalist has a strong tone and has great control of her voice which compliments the intelligent and witty lyrics perfectly. The set ran smoothly and the band received a great reception from the crowd once their slot was over. The 5 accomplished and talented musicians gelled on stage and were a genuine pleasure to watch and listen to. There was no pretention or angst, but plenty of raw ability and star quality.

The reaction from the audience was extremely complimentary and excitable, with a general hubbub of interest in the band. Once the audience vote opened, a swarm of fans headed to place their votes for Pressure Kids who were, in my opinion, champions of the evening and thoroughly deserving of their place in the final!

A selection of the band’s songs include “Monster”, with a catchy-chorus and fun lyrics and their new track “Blinded”, which will undoubtedly be stuck in your head after listening to it (video of live performance below!). “Robots Break Hearts” is another great upbeat track whilst “We never really got on anyway” offers a slower, edgier take on ‘Pop’.

I recommend, no, I URGE you to head over to the band’s Facebook Page and show them some support. You can download their first EP for free and acquaint yourself with a fantastically talented and interesting unsigned band! You can find Pressure Kids at: www.facebook.com/pressurekids or www.youtube.com/user/pressurekidsmusic

[J]

Roy Santiago - The Great Pretender courtesy of Jezus Factory Records

Multi talented, multi instrumentalist, Roy Santiago offers up his latest album The Great Pretender. Putting a face to what is touted as a thriving scene, Santiago provides an image and sound that satisfies.

The Netherlands is a country that is famous for a great many things. A great footballing nation, great painters and liberal laws on certain smokables. They are not, however, famous within the musical industry for rock acts. It would take even the hardest, most open minded rock fan to think of a world famous, world class rock act, the closest coming in the form of the Van Halen brothers of their eponymous band, although they emigrated at a relatively young age and are American citizens.

It is with great pleasure then, that M&B presents the latest offering from Roy Santiago, a man on a mission to provide quality, and quantity, of top quality music from a country desperate to make its mark.

The Great Pretender therefore is much more than yet another album from a man who seems to be constantly working on one project or another, a contender for the busiest Dutch musician on the planet surely. With an eclectic and mysteriously upbeat tempo, The Great Pretender provides ten tracks of soft, harmonic and passively enjoyable pop rock tracks that will suit a broad spectrum of listeners.

There are no three-chord riffs or thundering drum solos here and those hardcore rockers who are looking for that will be supremely disappointed. Instead a quantative, laid back rock, almost jazz feel is created from Santiago as he whispers his dulcet baritones in your ear, creeping on your shoulder.

Despite there being no real groundbreaking tracks, lyrics or harmonies within the bulk of the album, Roy Santiago is worth a listen merely from a music fans’ perspective of discovering a different country’s approach to an established genre and format.

Jonathan Whitelaw

The Pierces - You&I © Polydor

With more than a hauntingly familiar nod to the queen of folk/psychedelia rock Stevie Nicks, The Pierces deliver a beautiful, eerie and eco friendly video for their latest single “I Will Not Be Forgotten”

Sisters Catherine and Allison Pierce bring their own brand of new wave infused, indie rock back for a fourth fully fledged album You & I which comes with the rather enviable/laborious subplot of being produced by Coldplay’s Guy Berryman. The single, however, is anything but confusing or ambiguous as the vocal talents, Particularly in their layered, textured ability to enthrall a mighty, choral sound from two very talented women, there is a wonderfully retro-respectful feel to this latest single from the album. Available now for immediate download and viewing pleasure, it comes with a highly touted recommendation.