SARANDON'S AGE OF REASON (Odd Box / Slumberland)
There's tracks on this that are quite good (Big Trev especially), but most of it is just clever clever rhythms, discord chords, and flashy drum beats. There's not a lot to honestly love.
It's ruined for me personally by the spoken word links between each track, which after the first listen, just get on your nerves. In a weird kind of way, I admire Sarandon for what they do, but that said, it doesn't mean I really want to listen to them very often. There's hints of The Fall, but I like The Fall better. I guess some people will absolutely love this kind of thing, and Sarandon do what they do really well. It's just a bit not really my kind of thing. It's music for serious boys in overcoats.
SP.
Sunday 13 November 2011
Catching up with the past
Incase you've wondering why several of these recent 'reviews' (they're not really reviews, just our thoughts on stuff) of albums, are of albums that came out much earlier in the year, it's because we started this blog thing a while back, but had a problem and loads of stuff got lost...so we're going back over stuff we've bought, borrowed, begged over the year.
Sunday 6 November 2011
GIRLS NAMES / CRYSTAL STILTS
GIRLS NAMES : DEAD TO ME (Tough Love / Slumberland)
CRYSTAL STILTS : IN LOVE WITH OBLIVION (Fortuna Pop / Slumberland)
I do hope Slumberland Records aren’t falling into a ‘they all sound the same’ situation, but these two records are almost interchangeable. From the sloppy simple drumming, to the over reverbed vocals. (The Jesus & Mary Chain early records had a lot of reverb on the vocals right? Ok that's what we want...) Crystal Stilts owe more of their sound to The Doors and the 60’s, whereas Girls Names are slightly more 80’s, with hints of shoegaze. Both are good records, but both suffer from the same problem. You start off loving them, but by the sixth track, your interest starts to disappear. Possibly due to the vocals, and lack of any really killer melody. The voice is there only to really stop the songs from being instrumentals. Girls Names in particular, the singer has something of a ‘monotone’ voice, which you really do start to get pissed off with…
RC
Wednesday 2 November 2011
BIG PINK CAKE RECORDS NIGHT. OCTOBER 15TH.
BIG PINK CAKE RECORDS NIGHT. THE CROFT, BRISTOL. OCT 15TH
I arrive just in time to catch the last two songs by The Fireworks. It sounds to me like they've swallowed an instruction manual on 'How To Be A C86 Shambling Band', which is fair enough if that's what floats your boat. It also sounds like they have some good tunes, the only thing letting them down is the drumming. It's half-hearted and quite pathetic. Drums were built to be hit, but the drummer seems more happy to rest the sticks gently on the skins while rolling her eyes to the heavens, as if it's really just a bit, oh, you know... all just too much effort. Pull your socks up dear, you're letting the side down. The Sunny Street up next and the room is starting to fill up. Playing tonight as a three piece, they have a collection of beatiful songs that wouldn't have sounded out of place on Sarah Records. (somewhere between Brighter and The Field Mice) I'm enjoying this lots! They even play a song that's currently on some annoying TV advert (What Is Love?) but their version is actually really rather good. But there's a few people at the back doing their best to spoil it by talking loudly, which seems every rude when there are people on a stage playing quietly. If you want to talk and not watch and listen, go somewhere else and do it! Jonny Colins is up next. He used to be in second wave of twee bands, 60's obsessives; Modesty Blaise. I was never really a fan. I heard 'Christina Terrace' once and thought it was a piss poor Mersey Beat rip off. I'm sure in their heads they thought it was up there with The Beatles. In reality, it was closer to Freddie & The Dreamers. Wearing a real nasty snake skin suit, Jonny leads us through a handful of unmemorable tunes, with questionable vocal skills. Until the lord steps in and a string snaps. Phew! Ah! but no, someone lends another guitar, and off we go again. The chatter at the back is getting louder as more people file into the room. I'm not sure what's worse right now, the rabbiting or Jonny's singing. The Kick Inside are on next. I'm told they sound a bit like The Smiths. Oh, really? I don't know if I can take another bunch of Smiths wannabes, having lived through far too many already. They are 'tight and together' (the kind of thing people who work in music shops would praise) But yes, they can play, and yes there's a hefty Smiths influence, mainy down to the Johnny Marr style of guitar playing. In fact I'd say after about three songs of non stop Marr-guitar picking, it is this that starts to get on your nerves more than anything else. Ok! we get it, you can play, now give it a rest man! There's definitely songs here. Although most of the words I manage to pick up on, do sound like Smiths lyrics without the imagiation or wit that Morrissey used to slip into his songs with ease. It all starts to sound a little too fifth form. A friend says to me after, when I mention The Smiths, that he thought they sounded more like Smiths wannabes Gene. I thought that slightly unfair as Gene used to be, well, not that bad really! The Kick Inside certainly don't have a song anywhere near as good as 'Sleep Well Tonight' that's for sure. By the time Our Arthur get going the room is full, but the noise levels at the back are by now really doing our heads in. You can barely hear the first song. Just an acoustic guitar and singing. Things improve when the whole band start playing, and it sounds like there could be some very good songs here, if only we could hear them properly. There's a few old Groove Farm songs thrown in for good messure, (Our Arthur being the new musical project by former Groove Farm singer) an interesting version of 'Couldn't Get To Sleep' and a surprise 'Baby Blue Marine' which seems to please the crowd. The song introduced as the forthcoming single sounds like a beauty. Then another quiet one which is completely ruined by the screaming and pissing about from a bunch of young student types who might be better suited at a nightclub in town rather than an Indie gig. You can see the look of complete disgust and despare on the bands faces as they realise that they're simply wasting their time. "For F**** sake, shut the f*** up" moans Arthur, and quite rightly, before they finish with another oldie. 'The Big Black Plastic Explosion' Where guests Rocker (The Flatmates - playing the worlds smallest keyboard) and Jon (Ex Groove Farm - Guitar) join in for a rip roaring noise finish. Such a shame this was in the small room tonight, as this would have sounded so much better through a bigger PA. But it was great to see some of the old team showing the young 'un's how to do it right. A good night ruined by a few noisey buggers. I must point out that there were more people watching/listening than those at the back chatting, but none the less, those at the back spoiled the whole night. I leave thinking that this venue is obviously not suited to the Big Pink Cake Club. People used to go to listen to bands and watch. Now it's all about wanting to get pissed up, with your trendy friends (to almost quote from All Mod Cons) and dance like idiots to records you already know. Which is fine, It has it's place. But it's not the way Indie should be...but then a quick glance at a copy of NME will prove that Indie is not what Indie should be, so perhaps it's just a sign of the times. But really, it's all down to basic manners. But sadly, some people don't have any.
Marx.
I arrive just in time to catch the last two songs by The Fireworks. It sounds to me like they've swallowed an instruction manual on 'How To Be A C86 Shambling Band', which is fair enough if that's what floats your boat. It also sounds like they have some good tunes, the only thing letting them down is the drumming. It's half-hearted and quite pathetic. Drums were built to be hit, but the drummer seems more happy to rest the sticks gently on the skins while rolling her eyes to the heavens, as if it's really just a bit, oh, you know... all just too much effort. Pull your socks up dear, you're letting the side down. The Sunny Street up next and the room is starting to fill up. Playing tonight as a three piece, they have a collection of beatiful songs that wouldn't have sounded out of place on Sarah Records. (somewhere between Brighter and The Field Mice) I'm enjoying this lots! They even play a song that's currently on some annoying TV advert (What Is Love?) but their version is actually really rather good. But there's a few people at the back doing their best to spoil it by talking loudly, which seems every rude when there are people on a stage playing quietly. If you want to talk and not watch and listen, go somewhere else and do it! Jonny Colins is up next. He used to be in second wave of twee bands, 60's obsessives; Modesty Blaise. I was never really a fan. I heard 'Christina Terrace' once and thought it was a piss poor Mersey Beat rip off. I'm sure in their heads they thought it was up there with The Beatles. In reality, it was closer to Freddie & The Dreamers. Wearing a real nasty snake skin suit, Jonny leads us through a handful of unmemorable tunes, with questionable vocal skills. Until the lord steps in and a string snaps. Phew! Ah! but no, someone lends another guitar, and off we go again. The chatter at the back is getting louder as more people file into the room. I'm not sure what's worse right now, the rabbiting or Jonny's singing. The Kick Inside are on next. I'm told they sound a bit like The Smiths. Oh, really? I don't know if I can take another bunch of Smiths wannabes, having lived through far too many already. They are 'tight and together' (the kind of thing people who work in music shops would praise) But yes, they can play, and yes there's a hefty Smiths influence, mainy down to the Johnny Marr style of guitar playing. In fact I'd say after about three songs of non stop Marr-guitar picking, it is this that starts to get on your nerves more than anything else. Ok! we get it, you can play, now give it a rest man! There's definitely songs here. Although most of the words I manage to pick up on, do sound like Smiths lyrics without the imagiation or wit that Morrissey used to slip into his songs with ease. It all starts to sound a little too fifth form. A friend says to me after, when I mention The Smiths, that he thought they sounded more like Smiths wannabes Gene. I thought that slightly unfair as Gene used to be, well, not that bad really! The Kick Inside certainly don't have a song anywhere near as good as 'Sleep Well Tonight' that's for sure. By the time Our Arthur get going the room is full, but the noise levels at the back are by now really doing our heads in. You can barely hear the first song. Just an acoustic guitar and singing. Things improve when the whole band start playing, and it sounds like there could be some very good songs here, if only we could hear them properly. There's a few old Groove Farm songs thrown in for good messure, (Our Arthur being the new musical project by former Groove Farm singer) an interesting version of 'Couldn't Get To Sleep' and a surprise 'Baby Blue Marine' which seems to please the crowd. The song introduced as the forthcoming single sounds like a beauty. Then another quiet one which is completely ruined by the screaming and pissing about from a bunch of young student types who might be better suited at a nightclub in town rather than an Indie gig. You can see the look of complete disgust and despare on the bands faces as they realise that they're simply wasting their time. "For F**** sake, shut the f*** up" moans Arthur, and quite rightly, before they finish with another oldie. 'The Big Black Plastic Explosion' Where guests Rocker (The Flatmates - playing the worlds smallest keyboard) and Jon (Ex Groove Farm - Guitar) join in for a rip roaring noise finish. Such a shame this was in the small room tonight, as this would have sounded so much better through a bigger PA. But it was great to see some of the old team showing the young 'un's how to do it right. A good night ruined by a few noisey buggers. I must point out that there were more people watching/listening than those at the back chatting, but none the less, those at the back spoiled the whole night. I leave thinking that this venue is obviously not suited to the Big Pink Cake Club. People used to go to listen to bands and watch. Now it's all about wanting to get pissed up, with your trendy friends (to almost quote from All Mod Cons) and dance like idiots to records you already know. Which is fine, It has it's place. But it's not the way Indie should be...but then a quick glance at a copy of NME will prove that Indie is not what Indie should be, so perhaps it's just a sign of the times. But really, it's all down to basic manners. But sadly, some people don't have any.
Marx.
Tuesday 1 November 2011
POCKETBOOKS : CAROUSEL
POCKETBOOKS : CAROUSEL (Odd Box) CD
First things first. I Like Pocketbooks. Now we've established that, the one slight downer I probably shouldn't mention, but am about to, is... the guy (Andy) who sings, has a voice which sounds perhaps a little bit 'wet' . Kind of like a seven year old singing skipping songs in the playground. It's fine as a back up to the warm and lovely tones of the other singer (Emma), but as a lead singer, well, it's certainly not terrible, but if Pocketbooks would like to take a step outside the comforts of the tiny indiepop scene and get more listeners (which they really deserve), I'm afraid his voice would put a stop to that, which is something of a shame because when they're good, they're very, very good. And it is after all, Andy who writes the songs. And here on their second album, some of these songs are nothing short of pure pop brilliance. 'Promises Promises' bounces along like a rabbit on a pogo stick, An absolute killer tune that should be sitting in the Top 20 instead of the sad parade of TV show wannabe pop stars clogging up the airwaves with utter dross. The added strings give it an early Belle & Sebastian feel, which lets face it is no bad thing. In fact this is a song that really anyone who's ever bought a Belle & Sebastian record should own. My other personal favourite 'The Beaujolais Lanes' reminds me of a Burt Bacharach style song, which is the highest compliment I can offer. There's not a bad song on the CD. It's an album that will grow on you a little more each time you give it a spin. Even Andy's voice grows on you (honest). The musicianship here is really quite special, without being 'muso' at all. The production is also great, it has a real honest kind of sound. By that I mean it's well recorded and mixed, without sounding over polished like too much music these days does. Really all hail Pocketbooks for this is a rather splendid album. And all hail Odd Box Records for bringing it to us.
Roger C
First things first. I Like Pocketbooks. Now we've established that, the one slight downer I probably shouldn't mention, but am about to, is... the guy (Andy) who sings, has a voice which sounds perhaps a little bit 'wet' . Kind of like a seven year old singing skipping songs in the playground. It's fine as a back up to the warm and lovely tones of the other singer (Emma), but as a lead singer, well, it's certainly not terrible, but if Pocketbooks would like to take a step outside the comforts of the tiny indiepop scene and get more listeners (which they really deserve), I'm afraid his voice would put a stop to that, which is something of a shame because when they're good, they're very, very good. And it is after all, Andy who writes the songs. And here on their second album, some of these songs are nothing short of pure pop brilliance. 'Promises Promises' bounces along like a rabbit on a pogo stick, An absolute killer tune that should be sitting in the Top 20 instead of the sad parade of TV show wannabe pop stars clogging up the airwaves with utter dross. The added strings give it an early Belle & Sebastian feel, which lets face it is no bad thing. In fact this is a song that really anyone who's ever bought a Belle & Sebastian record should own. My other personal favourite 'The Beaujolais Lanes' reminds me of a Burt Bacharach style song, which is the highest compliment I can offer. There's not a bad song on the CD. It's an album that will grow on you a little more each time you give it a spin. Even Andy's voice grows on you (honest). The musicianship here is really quite special, without being 'muso' at all. The production is also great, it has a real honest kind of sound. By that I mean it's well recorded and mixed, without sounding over polished like too much music these days does. Really all hail Pocketbooks for this is a rather splendid album. And all hail Odd Box Records for bringing it to us.
Roger C
Monday 31 October 2011
THE GROOVE FARM : I KNOW IT'S ONLY INDIEPOP...BUT I LIKE IT
THE GROOVE FARM : I KNOW IT'S ONLY INDIEPOP...BUT I LIKE IT
(Big Pink Cake Records) CD
Back at the end part of 1986 The Groove Farm sprang into life with their self released EP 'Sore Heads & Happy Hearts'. It sounded thin, no bass, scratchy, it was a real lo-fi affair. Photocopied inserts, cheapy printed sleeves. But this didn't stop it becoming a firm favourite with the night time Radio One crew (Peel & Long). The band always claimed they were a garage band, who got tangled up with the 'tweepop' scene. Listening to this new CD, remixed and remastered (by Rocker (The Flatmates)) which contains twenty odd choice cuts, I'd have to agree with them. Yes even 'The Legend' (AKA Everett True) said in the NME that they were 'a garage band who forgot to be twee' . Sure, they had their twee-ish moments (It Always Rains On Sunday, Captain Fantastic), but even those are not sickly twee, 'The sun is shining , the sky is blue, I love you, you love me' type nonsense. No, there's always a hint of sadness or longing, of despair or anger, keeping them the right side of 'wet'. (Something many of the C86 crew slipped into quite easily). As the band progressed they ended up on Subway records, and although they were apparently unhappy with the more polished recordings, they also released at least three bona fide indie classics with 'The Big Black Plastic Explosion', (an even better mix is featured here) 'Surfin' Into Your Heart' (ditto) & 'Driving In Your New Car'. Hearing these old songs (25 years since Heaven Is Blue!) now is quite a joy. For, what at the time was written off by 'serious' music bores as disposable pop, they have actually stood the test of time remarkably well, and to be honest there's more than a handful of the current crop of indiepop bands out there who could do a lot for themselves by listening to this and learning from it. The Groove Farm were, as guitarist and singer Andrew Arthur Jarrett admits in the brilliantly amusing sleeve notes: 'Absolute beginners' and as true as that might well have been, they still aimed high. You can hear it in the songs. The Groove Farm don't get anywhere near as much recognition from the indiepop scene as they really deserve. Let's hope this CD changes that. Matt & Clare from Sarah Records were big fans, and if they thought this band were the bees knees, surely the indiekids must agree.
Do yourself a favour, buy this and play it loud!
Get it from the Big Pink Cake website.
Roger C.
(Big Pink Cake Records) CD
Back at the end part of 1986 The Groove Farm sprang into life with their self released EP 'Sore Heads & Happy Hearts'. It sounded thin, no bass, scratchy, it was a real lo-fi affair. Photocopied inserts, cheapy printed sleeves. But this didn't stop it becoming a firm favourite with the night time Radio One crew (Peel & Long). The band always claimed they were a garage band, who got tangled up with the 'tweepop' scene. Listening to this new CD, remixed and remastered (by Rocker (The Flatmates)) which contains twenty odd choice cuts, I'd have to agree with them. Yes even 'The Legend' (AKA Everett True) said in the NME that they were 'a garage band who forgot to be twee' . Sure, they had their twee-ish moments (It Always Rains On Sunday, Captain Fantastic), but even those are not sickly twee, 'The sun is shining , the sky is blue, I love you, you love me' type nonsense. No, there's always a hint of sadness or longing, of despair or anger, keeping them the right side of 'wet'. (Something many of the C86 crew slipped into quite easily). As the band progressed they ended up on Subway records, and although they were apparently unhappy with the more polished recordings, they also released at least three bona fide indie classics with 'The Big Black Plastic Explosion', (an even better mix is featured here) 'Surfin' Into Your Heart' (ditto) & 'Driving In Your New Car'. Hearing these old songs (25 years since Heaven Is Blue!) now is quite a joy. For, what at the time was written off by 'serious' music bores as disposable pop, they have actually stood the test of time remarkably well, and to be honest there's more than a handful of the current crop of indiepop bands out there who could do a lot for themselves by listening to this and learning from it. The Groove Farm were, as guitarist and singer Andrew Arthur Jarrett admits in the brilliantly amusing sleeve notes: 'Absolute beginners' and as true as that might well have been, they still aimed high. You can hear it in the songs. The Groove Farm don't get anywhere near as much recognition from the indiepop scene as they really deserve. Let's hope this CD changes that. Matt & Clare from Sarah Records were big fans, and if they thought this band were the bees knees, surely the indiekids must agree.
Do yourself a favour, buy this and play it loud!
Get it from the Big Pink Cake website.
Roger C.
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