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.

It was an up and down day really for the Gaslight gig. After seeing a band play as hard as Hot Water Music just days before, it’d be hard for any band to impress me. This wasn’t helped by the exchange Ian and I had with Brian Fallon pre-gig either. All that aside, I’d been told to expect a good show from the New Jersey boys and that’s what we got – a good show. Nothing amazing, but it was far from bad.

Now I don’t want people thinking I’m hating on the band, the music they make is really good and they showed that on stage at Manchester’s Academy 1. A place I’ve not seen that packed in quite some time. The crowd was ready and the band were definitely up for it. The thing is, something was missing. There wasn’t that spark that’s needed to take over a room. There was no energy to the performance. Musically the band were great, but they seemed static throughout. Not to say that they’re lazy, but Brian barely moved throughout the whole set and even had a bit of a moan about his setlist.

Speaking of the setlist, it was great. There was something for everyone in there and, honestly, it was everything a Gaslight fan would want. A good mix of songs from each of their albums, and a lot of them too. There was even a cover of The Who classic ‘Baba O’Reilly’ in there for the older members of the audience. The highlights came in the form of ‘Great Expectations’, ‘Boxer’ and ‘The Spirit Of Jazz’. Three great songs played really well. However, the band seemed fairly sloppy for the most part. Then again, when compared to Chuck Ragan and Co., that seems inevitable.

Overall the show was good and I’d definitely recommend that you go and see them live. However their live show is just that – a show. I couldn’t really call this a performance def. They played ok and the crowd loved it, but I know, and I think they know, they can do better. They’re back touring the UK in October.

We thought it would never happen, after break ups and semi-make ups, Hot Water Music have finally touched U.K shores and are blasting the hell out of some, or what seems like, some old mans social club in the middle of fuck knows where known only as, the Irish Centre. Okay, I’ll do a little run down first, because it’s me writing this and it’s never a straight forward day is it?

In Leeds, we meet up with the fourth member of our usually 2 strong team, Mr Joe Brownridge. So far we have Anthony Barlow, Danny Rayner, Mr. Joe and myself. Being the ultimate arsehole I am, I decide it’ll be a good idea to walk to the Irish Centre, with not an ounce of knowledge of where it is, after an hour or so of walking through Leeds council estates (big fun) we decide to rely on the bullshit technology that is the iPhone.

So we get to the Centre, eventually get an interview with the lovely Jason Black and as we return to the venue Milloy are part way through their set. They play with such intensity I have to take a moment to think back to when I saw a support band play so well, can’t think of any right now. Next up is the Magnificent, who supported the Lawrence Arms on their Leeds venture, the crowd do not seem interested in the bands songs or on stage banter, but I do not think they played bad. At the end of their set, Chuck Ragan joins them for a full band cover of Alkaline Trio’s “Bleeder” which frankly, was the perfect start to what everyone had been waiting for…

Hot Water Music take to the stage and the crowd, frankly, go ape shit. A brief introduction and we’re straight in there. They open with ‘A Flight And A Crash’ (check the title duh!) and the place explodes. Before anyone can take a breath we’re followed by ‘Remedy’, a fan favourite and the last single (to my knowledge) to be released by the boys. The set continues with other well known songs such as ‘Wayfarer’, ‘Giver’ and the song that gave the album ‘Caution’ it’s title ‘I Was On A Mountain’ (such a tune).

The intensity of the band cannot, or has not been matched by any band I have ever seen. Chuck Ragan’s hard rocking antics, Chris Wollard’s borderline cocky crowd smiles and the deep concentration of the face of one of punk rocks best bassists, Jason Black. I’d say it is unfortunate, and I guess it is, but due to joining Against Me! George Rebelo is not on the drum kit tonight, luckily, Lagwagon drummer Dave Raun, who does exceedingly well (Oh Mr. Kipling!), playing songs that he didn’t write.

The set is a brilliant blend of new and old, featuring old classics such as ‘Free Radio Gainesville’, ‘Just Don’t Say You Lost It’ and ‘Alachua’. After and intense non stop perpetual boner of a setlist, the band retire, leaving the crowd anxious and almost riot bent on just a few more songs, and like fuck they’re not gonna give them to us! The band return to stage, and give a shout out to their good friends, a band called “The Bouncing Souls,”  they tear into a rendition of “True Believers” (much to Sarah Hadfields regret as she was not there) which rivals the original in a way that I’m sure shocked a few BS fans.

A couple more songs, Kerrang! favorite, ‘Choked And Seperated’ and finally ‘Turnstyles’ and the best night of my life comes to a close. Well kind of….

We ring a taxi under the pseudonym  Sebastian DeBlanc, and head towards Santiago’s, the best pub in the world. A lot of Against Me!, Nofx and Black Flag and then a lovely train ride home. Fuck yeah!

The Black Keys - Brothers © Nonesuch

With a unique and groundbreaking approach to rock music, The Black Keys have been making a name for themselves since their formation in 2001. Now, with the release of their sixth studio album Brothers, the Ohio due of Dan Auerbach and Pat Carney team with notable producer Danger Mouse of Gnarls Barkley to deliver what could potentially be the climax of their musical and artistic opus.

Formed in Akron, Ohio, a city that notes Pretenders lead singer Chrissie Hynde and the smooth talking, moustached master Clark Gable, The Black Keys are predominantly a blues and indie rock band who take most of their inspiration from the likes of Jimi Hendrix and Led Zeppelin. From their formation in 2001 and with their breakout album Attack & Release in 2008, Auerbach and Carney have steadily readied a loyal fan base that includes prominent rockers Robert Plant and Billy Gibbons. The band have also found notable fame for a number of their songs appearing in various forms of the media, the video game GTA IV and numerous TV shows in the states sampling their work. In all, The Black Keys seem to have hit their stride and are not about to take their foot off of the pedal.

Continuing effectively where they left off in 2008, Brothers has been described by critics and the band alike as feeling the most natural sounding of the group’s albums to date. At a whopping fifteen tracks, sixteen if the vinyl is bought or the track is downloaded via the band’s website, there is certainly a lot of bang for your buck when it comes to material. Opening with the lumbering “Everlasting Light”, a more than Zeppelin esque that pays a great tribute to the old delta blues and sounds like it has been put through the rusty engine of an old Mid West tractor, the album continues this strong opening offering with “Next Girl” and “Tighten Up” the later being the album’s first single.

It is not until the fifth track of the album, however, with “She’s Long Gone” that the whole work as a piece of musical and artist ability really tarts to pick up pace. This track, with Auerbach’s guitar work bleeding through the amps and speakers like the ghost of a tormented old bluesman that the true ability of this duo is really put on show. Once again a very early seventies Zeppelin feel about the song, with its grainy production and whaling vocals, which of course can be no bad thing.  This feel and moping blues laments are continued with “Ten Cent Pistol” “I’m Not the One” and “Sinister Kid” all bring the ambiance and general tone and feel of the album alive, filling it and the listener with a heartfelt confidence and attachment to the band.

Rounding out the blues behemoth is the much slower, almost ballad like “These Days”. A wonderfully crafted slow number that perfectly compliments the rest of the album, Auerbach’s sleepy vocals coupled with his whining guitar and Carney’s downtrodden drumming make the listener feel like they are back on the bayou, a fishing line tied to your toe and a straw hat resting over your face to cover you from the sun. The imagery is evocative and intensely intoxicating, a tribute no less to the master craftsmen of the band.

In all Brothers is a very enjoyable and listenable album, one which is bound to be the band’s biggest hit to date and propel them into a much wider sitting audience, an accolade they most definitely deserve. Debuting with strong download and sales, the album debuting at number three in the states alone, Brothers is a fine introductory, if a little repetitive, example of The Black Keys work.

Jonathan Whitelaw

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

© 2010 Abbie MacDonald

I first saw Against Me! in September 2008 in Toronto at V Fest playing to an intense number of thousands, the open air, Lego haired Oasis crowd didn’t seem too appreciative of them and Against Me! appeared a little fish out of water at the indie dominated festival.

They were awesome back then and so I got really excited when I found out one of their three headlining UK tour dates (after playing three dates with Slam Dunk) was at the 250 people capacity Manchester Academy 3 to promote their upcoming album White Crosses, and all for a tenner. Ace!
Getting there at half seven, an hour and a half before the first (and only) support band came on, gave us plenty of time to take advantage of the Student’s Union’s cheap beer as the crowd filtered in.

Instantly bouncing upon stage, Canterbury revved up the crowd within the first couple of songs (dedicated to people who have ever ridden in an ambulance and to anyone who has ever been lost in a basement…yep!) and the academy was soon bopping along to the songs of the pop-rock fivesome, which was pretty hard not to do, they were brilliantly catchy and synced together perfectly; the guitarist’s dancing was particularly special.
All in all, good music, brilliant stage presence and genuinely lovely chaps! Their album is available to download for free at canterburythankyou.com; definitely check them out! Prepped and hyped up, the crowd pushed forward and, pints in hand, lined the stage for Against Me!

The lights dimmed and the sold out Academy roared as they welcomed on the eagerly anticipated headliner. Strolling on stage to Nancy Sinatra’s These Boots are Made for Walking, the crowd erupted and a pit followed seconds later as the Floridian punk rockers jumped straight into High Pressure Low.
Characteristically all dressed in black, Against Me! wasted no time as they rolled straight into song after song, pouring every single ounce of built up energy into the gig upon a crowd of beer-drenched, shouting-along-to-every-single-lyric fans, who had been waiting three years for their return since their last album, New Wave.
The adoring Academy is even treated to a bit of Gabel’s solo stuff, Amputations, which sounded awesome with the full band behind him, a definite highlight of the night!
Against Me! received lashings of sweaty, fist in the air praise throughout the night as they introduced new songs from their unreleased upcoming album White Crosses, including I was a Teenage Anarchist, High Pressure Low, Bamboo Bones and White Crosses.
Marching along to Don’t Lose Touch, maintaining a full blown pit and clapping in unity where applicable throughout, the Academy 3 welcomed back Against Me! leaving the crowd chanting for more at the end of the set.
Introducing the three song encore with a huge grin plastered over his face, telling the fans “this is the best feeling in the world I’m tellin’ ya!” (Tom Gabel) Against Me! dived into Ocean, closely followed by Rapid Decompression, closing the action packed set with “Baby, I’m An Anarchist” and bid Manchester farewell!
Bursting on stage with energy from the support straight on to the encore, the intimacy of the Academy 3 offered a much more personal experience, for both bands and fans, compared to when I first saw them in Toronto. Overall, an amazing gig, worth every penny of my tenner!

White Crosses is released on the 7th/8th June described by Tom Gabel (singer and guitarist) as a “new start” for the band, brimming with devotion, well received by the Manchester crowd and (if this gig was anything to go by) undoubtedly the rest of their European tour.
They’re playing Leeds and Reading festival’s Lock Up Stage too, so if you’re going, check them out! With their energy and raw performance, if you’re an Against Me! fan, you won’t be disappointed!

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