Lissie Maurus

With a refreshingly similar trend towards the great folk rockers of the Los Angeles underground movement in the 1960s comes the debut album Catching a Tiger by Lissie Maurus. Compared by many to the great Stevie Nicks of Fleetwood Mac and general notoriety fame, Lissie is taking huge leaps and bounds towards establishing herself as THE adult oriented rock scene’s up and coming artist.

Having grown up in the American Mid West, it is hard to believe that this soft voiced young girl with locks of spun gold and a demeanor that would put even a daffodil to shame for extroversion, is already holding her own amongst the ruff and tumble of the music industry. With a seemingly unfathomable innocence and very marketable naivety, Lissie Maurus describes her own music as part folk and country rock and part “Freeway rock”. The latter of these descriptions more than aptly encapsulates her debut album Catching a Tiger which delivers fourteen tracks worth of her soulful voice and expert backing from Seattle southern rockers Band of Horses.

Kicking off this AOR based album are the harmonic duo of “Record Collector” and “When I’m Alone” two tracks that immediately demonstrate Lissie’s imaginative and considerable lyric writing and imagery ability. With a sound that is very warm and friendly, Maurus’ vocals add a wonderful sense of depth and completion to what is a strong musical opening. Ben Bridwell and the rest of the Band of Horses begin with strong performances here “When I’m Alone” paying particular attention to their strong percussion ability, the result a haunting, up beat ballad that gets both the head bobbing and the mind thinking.

The album then stalls somewhat, not picking up again until the eighth track “Cuckoo” Here the pace takes a much needed injection, the true potential of Maurus’ so called “Freeway Rock” description really coming into its own. A nostalgic and positive look back at misspent youth with just a pinch of regret thrown in for good country measure, “Cuckoo” is a perfect embodiment of Lissie and Band of Horses potential to fulfill a large gap within the current musical market. Rather than be bogged down by the all too easily exploited morbid and unhappy memories that plague every creative genius, this song celebrates the defiance of youth and its petulance, delivering this message in an upbeat, subtly produced number that could very well and perhaps should be the independent, folk anthem of this summer.

The album closes with “This Much I Know”, a plodding ballad that is, admittedly, a little clichéd and predictable despite being once more wonderfully crafted and sincere in its own belief. In all Catching a Tiger is a strong and gutsy debut album from this excellent new talent. With a strong work ethic and growing notoriety of experimentation, a recent semi acoustic performance of Lady GaGa’s Bad Romance at numerous live appearances, has only credited and developed this young woman’s talent and exposure in a positive light. What lies ahead for Lissie and her backing band is potentially very encouraging.

However, the question of “Does the music industry need another blond, plaid shirted folk singer” is unfortunately a very relevant one. Although a brilliant debut, a certain lack of originality still underlies the work as a whole, a great pity considering Maurus’ talent. Only time will tell, as it so often does, whether this dove will fly, or be crushed by corporate blood letting.

Jonathan Whitelaw

In a genre filled with over auto-tuned drivel, Janelle Monáe might just be what old-school R&B fans have been looking for. Her, retro-styled, sultry tones are bound to take the world by storm, with ArchAndroid (Suites II & III) already a big hit on the other side of the pond.

I’m not the biggest fan of R&B by any means (something you might have already gathered), but there’s something about this album that really works for me in a way that other albums in the genre don’t. I can’t really put my finger on it, but I think it comes down to the music having some kind of substance. Lyrically, this is not your typical modern R&B fare. There’s little (if any) mention of ‘the club’ or some posh champagne or material goods. With this album, it seems Miss Monae is trying to bring the genre back to basics, whilst sending it an a completely new direction and forcing it to it’s knees.

You might think that this has come at a price, but the substance has been coupled with an unrivaled  amount of style. The production is top-notch, if the lyrics don’t hit you the beats definitely will. This being a concept album, it really has to be a cohesive experience for listener. I’m happy to tell you that it’s been pulled off without any of the drawbacks and cheesiness associated with concept pieces.

I forgot to mention, The ArchAndroid is a concept album. It follows the story of an android and her quest to free The Metropolis. Not the most grounded of concepts, but that’s what makes it interesting. This futuristic approach allows for an ever-changing sound, which keeps the album interesting. Is calling an album ‘well paced’ weird? Well that’s what I am doing. There’s rarely a dull moment listening to this and, like a good book, I was looking forward to each new chapter.

If you’re a fan of music, you need to give this a shot. That’s right, it has a broad enough scope to appeal to everyone. When I say you’ll find it hard to not like this album, I’m serious. Janelle Monáe has created a masterpiece that deserves all the praise it’s getting. For me, The ArchAndroid (Suites II & III) is up there with the best albums of 2010 and I think you’ll agree. You might be unfamiliar with her now, but watch this space.

‘Tightrope (Feat. BigBoi of OutKast)’ The first single from this album is now available in the UK as the ‘Single Of The Week’ on iTunes. Download it here.

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

2009’s Relapse (and the expanded release Relapse Refill) was, rapper, Eminem’s comeback release after a few years in the musical wilderness. Taking time out to focus on his family, grieve for his best friend and beat his addiction to prescription drugs, the Detroit native seemed to have lost the fire that made his pre-Encore work so good.

This week sees the release of Recovery and it’s a massive improvement and harkens back to his past works. He’s never going to top The Slim Shady LP or, it’s follow up, The Marshall Mathers LP, but this album shows us that he deserves to still be up there with the best of them.

Honesty was always a big part of Eminem’s work and that honesty is riddled throughout Recovery. The rapper goes as far to criticise his own work saying: “those last two albums didn’t count/Encore I was on drugs/Relapse I was flushing em out”. Tracks can be somewhat self-depricating, but not to the point that he’s wallowing in a pit of despair. To me, this album feels like Marshall trying to confront everything that has gone wrong over the past few years and help himself.

For the most part, the album is a very solid, serious experience that deals with Mathers’ struggles. However, there are breaks in this trend. A few less serious tracks are offered up. I can definitely see songs like ‘W.T.P.’ and ‘Wont Back Down’ – a track that features guest vocals from P!nk – taking over charts and clubs the world over. Don’t get me wrong, these tracks are still good, they just don’t pack the punch of tracks like ‘Going Through Changes’ (which samples Black Sabbath’s ‘Changes’) and, album opener, ‘Cold Wind Blows’.

Alongside honesty, violence and humour are also make up a lot of Emiem’s lyrical content. Right from the off we’ve got lines like “you’ve never seen such a sick puppy/ fuck it a sick duck/I want my duck sicked mummy” and “might as well let my lips pucker/like Elton John/cos I’m a mean cock sucker”. Punchlines have always been a big part of Eminem’s work and I’m glad to see them return so prolifically. As for the violent side of things “grab the scissors and saws/cut out your livers, gizzards and balls/ throw you in the middle of the ocean in a blizzard with Jaws”.

Of course, lyrics like this are not for everyone and part of me thinks some of them are there purely to try and offend the listener as much as possible. However, don’t let this put you off. Recovery is a great album with something for everyone. It’s great to have someone as talented as Eminem back to his best.

Virtually unknown up until a few years ago, New Jersey natives The Gaslight Anthem have become one of the premiere bands in the world today. Their sophomore release, The ’59 Sound, was one of the best albums of 2008 and now the boys are back and they’ve brought another fantastic record with them.

American Slang is definitely a step forward for the four-piece, who’ve gone from strength to strength with each release, and is bound to be one of the albums of 2010.

The album opens with the title track and, from the off, you can hear how the band has progressed since their previous release. American Slang is definitely showcasing a more mature Gaslight, and a band more in tune with their influences.

There’s more a hint of The Clash on this record, something that’s certainly not a bad thing. Brian Fallon had equated Gaslight’s progression with that of the British punk band in the past and, despite appearing somewhat arrogant, he’s not wrong. London Calling showcased The Clash at their best after a good second release. Could this be an omen?

As Clash-laced as this album may be, there’s also a distinct R&B/Soul influence too. On tracks like ‘The Diamond Church Street Choir’ this becomes immediately apparent. It’s a nice change in pace, and that track in particular quickly became one of my favourites.

All this talk of influences aside, American Slang is a fantastic album that bridges the generic gap. Whatever you’re into, there’s something for you here. It’s a definite progression for the band and one of the finest albums of 2010.

Stand up and take notice.

Anathema - We're Here Because We're Here © KScope

Continuing on their departure from the doom and death metal scene they helped pioneer, Anathema deliver their eighth studio album, We’re Here Because We’re Here. Having started this transition to a much more melodic and progressive sounding rock with their 1996 album Eternity, the Liverpool outfit deliver a beautifully crafted, progressive work of art. No mean feat in an era that has recently seen a resurgence in the prog rock scene this past eighteen months.

Although mostly known to fans of their respective genres, Anathema is a predominantly popular and ever endured band recognised throughout the prog and metal scenes. Suffering from almost uncountable line up changes since their formation and commercial debut in 1991, the Liverpool based band is consistent and resilient if anything. The testament to the core members of the group’s dedication to their music and sound is the impressive back catalogue and discography that includes eight full studio albums, three EPs, eight single releases and three compilation albums all in the space of a nineteen year career.

The somewhat turbulent history of the band can possibly be excused due to the radically different approach to varying music genres they have attempted throughout their careers, from their initial doom metal origins to pioneering the now feverent death/doom metal scene and now as a predominantly progressive unit, musical tiffs and differences of opinion are merely casualties in a war of direction changes.

This varying style and ability to play just about anything within the confines of the metal and progressive rock sounding genres is never more present than in this latest release. We’re Here Because We’re Here opens with two atmospheric songs that immediately serve as an introduction into this brand new world that the band has sought to create. “Thin Air” and “Summer Night Horizon” are standard progressive rock sounding albums that long term listeners will have come to expect from the group. To new listeners however, these tracks not only serves as a prime introduction to the album but double as excellent stand alone tracks that can almost indepednantly encapsulate the sound that Anathema have been trying to peddle now for the better part of a decade.

As the album progresses further into its substantial ten track bulk, the initial atmosphere and self contained world that the opening tracks never truly fulfils its own potential. In retrospect, tracks such as “A Simple Mistake” and “Get off Get out” have much harder sounding, more melodic metal feels about them, the lingering electric guitars of Vincent and Daniel Cavanagh give the tracks a much harder bight to them. This sound, however, transposed into the album which really does serve as one long, progressive story and not individual tracks, makes the overall picture of the album seem a little clunky and perhaps laboured. The production and instrumentation however is flawless but overall the middle crescendo tracks feel poorly placed and forced.

Closing the album are two much more progressive sounding numbers that act as a perfect symmetry, a much more aptly and properly executed piece of art by the band. “Universal” has distinctly Pink Floyd feeling qualities about it, the looming vocals coupled with immaculate percussion and a stomping guitar solo that never comes directly to the fray but more acts like a tormented voice somewhere in the distance create the ambiance and feel that the album and band seem to have been aiming for all along. “Hindsight” continues in this same vein, the much more elevated and positive sounding a song to close out the album that has attempted to take the listener on a journey of joy, loss, love and life.

In all We’re Here Because We’re Here is an enjoyable album that will no doubt have fans scrambling for its download and cd the world over. For new listeners it can perhaps be misconstrued as an attempt at a pseudo, post post modern high art that may potentially distract them beyond purchase. In the current musical climate of progressive/alternative rock and its apparent renaissance with bands such as The Gaslight Anthem, Mark Sweeney and Eden all releasing new material in the past two months or so, the competition is fierce for Anathema. We’re Here Because We’re Here is an album certainly worth a listen if there is a familiarity and fandom for the scene and certainly of their work.

Jonathan Whitelaw

It seems a strange thing to write a review of an album, that has openly been leaked for quite some time now, but, with me not being part of the illegal download nation is seems appropriate to write this for the actual release date. An album that seems to have torn Against Me! fans down the centre, ladies and gentleman…White Crosses.

The album begins with the album’s title track. A perfect start to the record, it has a driving drum beat, a big arse chorus and enough sing-a-long hooks to keep the audience striving to tear their throats up that little bit more. The songs background comes from white crosses for aborted babies, a subject singer Tom Gabel blasts into on the songs chorus, “White crosses on the church lawns, I wanna smash them all.”

The second track is the bands first single from this record, and a story from Tom’s childhood where during his teenage years he was beaten up by the police. The song itself is a lovely gem of popped up punk rock, and the obvious choice for a single. Not only due to it’s catchy, anarchist-laden accessibility, which caters to both the mainstream moguls and the more ‘hardcore’ AM! fans. How people can confuse better album production (kudos Butch Vig) as ‘selling out’ is beyond me. It’s similar chord progression and song subjects as always.

One thing I doubt any ‘sell out’-labelling AM! fan can dispute, is how goddamn interesting the song subjects are. Because of the Shame is no exception. The song tells the story of a lost love from the past and a funeral procession in her honour. For such morose lyrical content, the musicality of the track is actually quite upbeat, not necessarily happy but more with the punk rock pound familiar with the AM boys. “I watched your mother bury you today, with tears in her eyes. It wasn’t her words that shook me, it was the resemblance you shared.” If that doesn’t bring a tear to the eye of every single listener, then you’re a bunch of heartless bastards.

Next up is Suffocation, which is definitely going to be a fan favourite if not already. The chorus is by far this songs strong point, not to put down anything else about it, but it completely adheres to the fist in the air punk rock mentality AM have previously been so famed for.

Track 5, or We’re Breaking Up as it’s named, is the first song on the album that seems to have strayed away from the usual Against Me! style and taken a more Gabel solo approach. That being said, it is reminiscent of Borne On the FM Waves Of the Heart, from 2007′s New Wave. I make these comparisons lightly, as in no way is this track simply a re-scripted version of that song or Gabel’s solo efforts.

Probably my favourite track on the album, and from what I hear, a few other peoples too. High Pressure Low see’s AM at their best. Rocking hard, fast, with yet another juicy as fuck chorus for everyone to get their teeth into. Politically tinged, socially outspoken words from the mouth of one of the few punk rock spokesmen left in modern times, fronting one of the few true punk rock bands of the past decade. HPL is a perfect example of why White Crosses haters can fuck right off.

It wouldn’t be an Against Me! record without some form of acoustic installment, this comes in the form of Ache With Me, a beautiful song telling a tale of cynicism, confusion, defeat and isolation portrayed in the usual  ”sway with me” (bad joke) way that works so damn well when acoustic guitars are implemented into this bands music.

A drastic change as the listener is thrown head first into Spanish Moss, probably the hardest hitting track on the entire record, as far as fan favourites go I can imagine this song being one of the bands favourite songs to play.

It seems I was wrong, as not only is the momentum matched with Rapid Decompression but it’s blown right out of the water. This is true punk rock if I ever heard it, angry, tough yet up-beat and slightly playful. RD is the the most ‘punk’ song on the record, with a repeated hook, heavily distorted guitar riffs, a catchy arpeggio pre-verse riff, a gut-wrenching bassline, drums that sound like they just might explode, pick slides (well one anyway) and all this in under 2 minutes. Fuck yeah.

The album ends with Bamboo Bones which apart from being a pretty freaking cool name for a tune, is vocally the strongest track on the entire record. Vocals aside the song itself is a powerful ballad which seems to be a homage to AM fans telling them to aim for their dreams and all the usual inspiring stuff, but hell, it not only works, but works really fucking well.

P.S George Rebelo from Hot Water Music drums on this record, we’re now best friends, you can ask him.

If You Cared Enough is more like the Far that is known and loved, so much so the song starts with a riff that sounds a lot like a sped up version of Man Overboard taken from their 1998 release Water & Solutions. As the chorus kicks in, the song seems to take a form similar to that of the band Gratitude a short lived act that was fronted by Matranga.

When I Could See is a much darker track, using a weird ambience to create an atmosphere that makes the listener almost feel hypnotised, light drums, mellow vocals, soothing bass and even an acoustic guitar section makes up this hauntingly relaxed track, it has a little heavy section too, ya know, for funsies.

Back to the Gratitude style on the next track. Give Me A Reason is the fourth track and a real summer song. A homage to the Robert Plant track, In the Mood, It’s perky, upbeat, and features the cheeky Matranga attitude we have seen more in his solo work and various other projects. At only four tracks in, it’s pretty obvious that the Far boys had a whole lot of fun writing and recording this record.

Dear Enemy is a very peculiar track, it kind of reminds me of U.K alternative rock band Reuben but at the same time, holding entirely it’s own style. It has an awesome riff throughout the verses and a big ass open chorus, what more could you asks for, a hard hitting break down? It’s got one of them too. Perfect.

When the word fight is used in a song title, I generally expect a certain type of song, and frankly, Fight Song # 16, 233, 241 is exactly that. It’s hard hitting, fast paced and draws heavily on any punk rock roots the band Far have whilst keeping the upbeat mood seen throughout this release.

Once again it seems Far have taken a very Gratitude style writing style on this record. After the high energy of the previous track, it’s time to wind down with the title track At Night We Live, a slow temp love song with the distorted guitar sound traded for clean guitar sounds and ambient keys. An almighty sound never the less.

After a quick breather it’s back with some hard, fast, punk tinged rock. Burns is a track the takes your it’s dick out and slaps you in the face, I have not been this uplifted by Jonah’s vocals since the Onelinedrawing song We Had A Deal.

Better Surrender blasts into head banging drum beat, and keeps in touch with the albums bouncy sound, though this track does is a little tougher then some of the previous, no doubt it’ll be a live favourite, with Matranga’s vocals showing he still has the gravelly tone from their earlier work such as Tin Cans With Strings To You.

They’re must have been a lot of idea’s left in Jonah’s brain after the Gratitude split, Are You Sure? is right up the alley of any fans who feel that single L.P just wasn’t enough. Actually it’s that good, I’m going to listen to it again and probably a third time! Far really have saved the best until (almost) last. Definitely my favourite on the record. “But are you suuuuuuuuuuuuuuuuuuuuure! This is what you wanted!”

The album officially ends with The Ghost That Kept On Haunting a bizarrely macabre track, with a very cold and electronic feel, it keeps the ambient feel seen on some of the previous tracks, but turns the mood from a warm cosiness to a sound that feels like an iced over thermometer in the butt.

The songs on this album, though reminiscent of previous works by members of the band have no problem confirming their uniqueness with intricate vocal patterns, gritty riffs, pounding bass line and hard hitting drum beats, this, combined with a super slick production value make At Night We Live worth that 8 million year wait.

There is also Pony, Far’s rendition of the classic Ginuwine track as a bonus, which is big fun.

Algebra opens with the title track that featured on their previous single Spirit of the Beehive. Opening with guitars and drums before the vocals begin, Airship reveal what they do best: vocals and a mix of guitar, drums, that combine to produce uplifting songs. Defiantly worth checking out the vid to this one.

Always Awake is, in my opinion, the ‘heaviest’ song that Airship have made yet; bass and drum create a deep rhythm that is present in large amounts throughout the song, whilst the guitar makes the sounds that Airship usually do. Lyrically it’s uplifting and questioning at the same time: imaginative, but isn’t out of place with the music. Throughout the song though, I can’t help but want the lighter, more poppy sounds of ‘Spirit of the Beehive’ to break through, but they never quite do. Always Awake is the most average song on the EP and feels a little out of place compared to the music that Airship usually make and being in between ‘Spirit Party’ and ‘Algebra’ on the EP makes it less memorable.

Spirit Party feels like the strongest song on the EP: it’s certainly the most enjoyable. Musically its what you’d expect from Airship: poppy and upbeat but with vocals that are the most striking aspect of Airship – they certainly don’t disappoint. Shouty backing vocals and drums work well together and I find myself shouting out ‘lets have a spirit party!’ whenever I listen, it really is that infectious.

Go To Sleep is a haunting song with few lyrics. This defiantly feels like the weakest song on the EP and acts as an outro track. Considering the lively nature of the rest of the EP having an outro track seems like a good idea, but just seems to waste the momentum of Spirit Party.

Algebra is a solid release from Airship, very much feeling like the second half of Spirit of the Beehive. Its not particularly flawless, but its an enjoyable listen and is packed with emotion conveyed through well crafted lyrics. Airship are showing a lot of promise, having already supported Editors and Frightened Rabbit. They are currently touring to support the release of Algebra, which is available on iTunes now.

After bursting onto the scene in 2002, Kevin Brereton, better known as K-Os (pronounced “chaos”), has yet to really make his mark on the majority of hip-hop fans (myself included). However, with Yes!, the Canadian rapper might finally get the recognition he deserves.

After listening to just one track I could tell I was in for something special. Yes! isn’t your typical rap album. Those coming in expecting tales from ‘the hood’ will be sorely disappointed. That isn’t K-Os’ style. In fact, it’s pretty hard to determine what his style actually is. The one thing I can say is that the man is highly influenced by a lot of different musicians and genres. I could hear everyone from Daft Punk to Wyclef Jean to The Beatles in this album. That’s not a bad thing and derivative is certainly not a word I could use here.

I mean, in what other rap album would you find a mix of smooth neo-soul, awesome guitar riffs and synthesiser work any electronic musician would be proud of? There’s not many out there than can create an album that sounds as eclectic as Yes! does, but still make it feel like a cohesive musical experience. Each track is great in it’s own right. Some, like ‘I Wish I Knew Natalie Portman’, hit you straight away and it’s hard to get them out of your head (as I write, this that track is playing. I am singing along). Tracks like Mr. Telephone Man took a little more time to burrow their way in, but after a few plays they were in my head and there to stay. It’s a cohesive album, without a track I feel the need to skip. That said, I can see myself overplaying some of them. Surely that’s testament enough to how good Brereton’s songwriting and production actually is?

Lyrically, this is one of the best hip-hop albums I’ve listened to in a while. It’s great to hear something that’s not a mindless collection of rhyming words and big brand promotions. Anyone who can reference Batman and Charles Dickens (especially whilst sampling the theme from The O.C.), and make it sound cool, has got my vote.

The one thing K-Os does very well is strike a good balance between the serious and playful sides of hip-hop. At times the album can definitely make you think. That’s something that I really admire on a rap record, and something that’s very rarely seen today. There’s certainly tracks here that could be this summer’s big party anthems, but, sadly, I think they might be overlooked in place of something a little more mainstream. This album certainly secures Mr. Brereton’s place as a prominent player in the hip-hop world. Hopefully people will wise-up and start to pay attention to this man of many talents.