2011 Albums

JANUARY

Ensemble - Excerpts (FatCat)

Let’s cut to the chase; this is a dull record. Which is a shame because I think that the song writing in and of itself is perfectly fine, but the arrangements and interpretations of them have been overegged and probably over thought, turning them into bloated and uninspiring versions of what they could have been. The life has been sucked out of them and no amount of ‘avant garde’ strings (they’re that kind of normalised version of avant garde that’s now as shocking as a butterfly on a summer’s day) can rescue them from their fate. I wanted to like this album, as Ensemble (aka Olivier Alary) has some fine musical credentials having worked with the likes of Bjork on her stunning Medulla album, and he clearly knows his way around an orchestra, but Excerpts just never manages to hit the spot. It’s forgettable, and in my opinion that’s worse than if it were a terrible record because at least you get a strong reaction and lasting impression of truly awful music. This is a ‘pleasant’ album, perhaps something the formal dinner party crowd might put on during post desert digestifs – something that’s not going to offend guests but may impress the less inspired amongst them. 5/10 BBV

Karl Phillips & The Midnight Ramblers (Medic Records)

I’m not too sure where to start with this album, I like it but don’t think I could necessarily listen to it over and over again.  That’s not necessarily a dig, it’s possibly just not my cup of tea – or at least I don’t think so.  The bare elements of the album are based upon ska and punk with a bit of hip-hop layered on top.  It certainly has somewhat unique sound and I should probably stress the hip-hop element is relative loose in the sense that this is predominantly based on the fact that Karl Phillips MC’s on top of the tracks.  I don’t think it would be misleading to compare Karl Phillips to the style of Mike Skinner, except Mr Phillips is also a very talented singer which adds to the happy-go-lucky energy and feel of the album.  The introduction of synths halfway through the album on track 6 (Strongbow) unfortunately feels slightly out of place, although the overall sound still works to some degree due to the strength of the vocals.  I guess the hardest thing I’ve had to overcome with this album is when I hear anything remotely ska based I immediately make negative associations with Madness, a misplaced prejudice I am fully prepared to admit. Tommydog 5.5/10

Fujiya & Miyagi – Ventriloquizzing (Full Time Hobby)

Whoa whoa whoa there Daniel-san, before you start waxing off about the prospect of cinema’s finest sensei releasing a hip-hop opus, Fujiya & Miyagi are a quartet that indulge in “whisper-electro” and hail from, er, Brighton.  This is the band’s fourth album and while 2008’s ‘Lightbulbs’ was a funkadelic smorgasboard this is very much a wedding buffet, banal and predictable.  The band have retreated to the minimalistic approach of their early releases and, despite being billed as ‘funky’ and ‘full of twisted humour’, this album is as hilarious as Come Fly With Me and as funky as a rotting fish.  The title track ‘Ventriloquizzing’ provides the album a promising start before nose-diving violently into insipid mediocrity, indeed ‘Tinsel & Glitter’ employs the lyric ‘we blend in with the furniture’, and you do wonder whether these guys would struggle to show up a beige DFS three-piece.  The whole thing just sounds lazy and repetitive with David Best’s allegedly sexy vocals more symptomatic of laryngitis than corpulent lust.  The lyrical content essentially consists of monotonous repetition of random idiomatic phrases your nan used to batter you with as a child (e.g. “there’s no use crying over spilt milk”) while some other muppet mercilessly mashes the sample button on the Yamaha key-tar / guit-board they got from Santy Claus.  Unfortunately the fact is that there are numerous out there that do this far better (Hellooo Hot Chip!) and surely you peeps deserve more from your hard-earned dollar. 2/10 Mike Jarvis

The Phoenix Foundation – Buffalo (Memphis Industries)

Rejoice bovine lovers apparently while wild buffalos have been known to brutally maim around 200 humans a year this beast is a cuddly little creature for you to love safe in the knowledge your spleen is not going to end up draped around your neck…yaaayy!!  It’s possible you may have already come into contact with The Phoenix Foundation as they lent their skills to the score for Taika Waititi’s films ‘Eagle vs Shark’ and ‘Boy’ with much critical success.  Indeed this sextet of Kiwis provide Wellington their biggest export since Peter Jackson and sheep, making serious waves in their homeland in the process, honours include winning ‘Best Group’ at last years NZ Music Awards.  The band’s sound is reminiscent of Badly Drawn Boy’s vibe; chilled, focused on simple solid song-writing and cuter than Jonah Lomu in a tutu.  Formed waaay back in 1997 the group’s warm, psychedelic, summery sound was bottled up in a shed, songs like ‘Orange and Mango’ bounding along like smacked-up leprechauns that can’t help but slap a smile on your face.  The way the music ebbs and flows is intoxicating, although sometimes the pace can lull too much.  You won’t hear this banging out as the backdrop to a slag-scrap down Prince of Wales but wang it on when you’re mincing down to the beach and you won’t go far wrong. 8/10 Mike Jarvis

FEBRUARY

VersaEmerge – Fixed At Zero (Fuelled By Ramen/Atlantic Records)

Apparently upcoming band VersaEmerge are 'destroying preconceptions' with their honest lyrics to provide 'the perfect soundtrack to growing up'. Perhaps I'm already grown up but this Florida three piece didn't inspire feelings of teenage angst or even teenage dilemma. Unfortunately the first thing that sprung to mind was Paramore. Yes the singer is female but that aside they do sound similar to the US pop-rockers and I have the feeling they will find it hard to escape the comparison throughout their career. Having earned themselves a nomination for Kerrangs best newcomer I was hoping for a little more but after the first few tracks it all blended into one another. The songs are well put together female-fronted accessible US rock but nothing progressed into a 'stand out' track. They would probably be better live but anyone buying the album after a gig might be disappointed. There's not enough balls in it to make them last more than an album or two if I'm honestly cynical. I hope to be proved wrong. Lenore 5/10

Ben Ottewell – Shapes and Shadows (Eat Sleep records)

If you’re a Gomez fan then you’ll already be familiar with the gravely yet honey coated tones of singer/guitarist Ben Ottewell. For those of you not familiar with the aforementioned band, think of a slightly less gruff Eddie Vedder, singing beautifully melodic indie tunes. Unsurprisingly, Shapes and Shadows isn’t too dissimilar from a Gomez record and I mean that in a good way. When an indie band member makes a solo record because they want to explore their love of jump-up drum and bass or something similarly out there, you’re generally left with an un-listenable pile of turd. Thankfully, Ben has broadly stuck to the Gomez blueprint and crafted a compelling collection of songs that simply ooze out of your speakers. My only minor quibble is that at nine tracks long, it’s all over a bit too soon. Still, better to put out a top quality selection than pad it with inferior material. If you’re a Gomez fan you should definitely give this a listen and even if you’re not, give it a chance anyway as this album exudes class. 8/10 Jimmy James

Bikini Test Failure – Fleecing The Easily Pleased (Blague Records)If the band name doesn’t have your eyebrows raised, then the music will certainly prick up your ears! With the sound’s of a chilled out version of The Charlatans, fronted by an even more chilled out version of Jon McClure of The Reverend & The Makers, along with an added sound or two from the likes of Joy Division, U2, Radiohead…and just to raise those eyebrows comically off your forehead and above your head, BTF isn’t just any old band…that’s right eyebrows of Norwich, BTF is actually a one-man-band-ego-maniac in the shape of Manchester’s James Hill. Producing, mixing, singing and playing all the tracks with his own mitts, as he lyrically takes us on one hell of a trip through love, death, sex, loss, joy, planet ruining over population, a brief consideration of Richard Feynman and geologic time. Finally taking stock and starting over again to find the joy and humour in despair while peering over the edge of the abyss only to come back smiling. With the realisation that, ‘Yes we all lose THE GAME in the end, and we all end up the same in the end’ reminding us that its, ‘certainly an interesting world, if you know where to look’. iTunes would be a good place to start if you’re ears are fully pricked that is and if you’re not convinced, “There is no harm in doubt and scepticism, for it is through these that new discoveries are made.” 7/10 nawaza

Syd Matters – Brotherocean (Sonic PR)

I wasn’t exactly sure what I was going to make of Brotherocean having read the PR sheet that came with it and discovering that Syd Matters (originally the stage name of singer Jonathan Morali but now that of the band) created the name from a combination of Pink Floyd’s Syd Barrett and Roger Walters, and that the record was, apparently “the story of what lies behind the great yet fragile enterprise we have come to know as ‘Life’. Talk about self-indulgent, pretentious nonsense… But actually I was very pleasantly surprised and this record is, in fact, a rather beautiful, harmony rich and extremely well written album, containing elements of folk and seventies prog but both in a good way; it’s the sort of record that those genres sometimes promise but never seem to deliver as they get too wrapped up in themselves. This is a much more humble affair and as such is better for it. Think Fleet Foxes and you’ll be in the right ball park, but this Parisian quintet are no clones and deserve to be listened to on their own terms. Overall, this is a great record and, despite my initial reactions, I highly recommend it. But they do need to get someone new to write their press releases… 8/10 BBV

Dustin O’Halloran - Lumiere (FatCat)

My first impression of Lumiere is that it should have been a film score, but I think that might be underselling it a bit because, whilst the majority of those require the movie they were written for to be fully appreciated, this does stand up entirely on its own. Rather, then, this work has very distinct filmic qualities and is able to very well conjure up its own imagery. There are echoes of Sigur Ros here, some of the chord progressions and choices of instruments and sounds are very similar, but I don’t think that should take away from the beauty and depth that Lumiere manages to encompass. This is the sort of record that you’d put on when alone, with a bottle of red wine, in the dark, and want to have a cry. The arrangements on Lumiere are based around O’Halloran’s piano playing, with strings performed by the ACME Ensemble (who have worked with the likes of Grizzly Bear, Nico Muhly and Matmos) and some very subtle and well placed electronics and it’s all a very precise and extremely well considered affair. It’s not a perfect record, but it does manage to avoid most of the clichés associated with ‘pop-classical’ music and is at points genuinely moving. 7/10 BBV

Gruff Rhys– Hotel Shampoo (Turnstile)

Gruff Rhys, ex of Super Furry Animals,  releases his new album on St Valentine’s Day, and what could be more appropriate? With his lustrous locks and Welsh ways many ladies enjoy a secret swoon to his lilting lyrics. This album is inspired by and takes its title from Gruff’s extensive collection of hotel products acquired from touring the world, and in some ways it feels like The Forever Young Gruff is finally growing up. A dozen songs in a variety of styles are tied together with a sweet melancholy and a kind of lying-in-a-meadow feel, if you know what I mean. More laid back and folky than the uber-twee Candylion, this is a collection of gentle, sweet and ‘60’s sounding tracks which show Gruff’s maturing sound and gives a more rewarding listening experience as a result. Not to say I wasn’t a MASSIVE fan of his side project Neon Neon and its’ filthy electro habits (RIP), but this is a beautiful peaceful summery pop album and I for one will enjoy seeing him play his new tunes at the Arts Centre very soon. 8/10 Lizz

Grouplove – Grouplove (Atlantic Records)

In a week Grouplove cut and edited 8 songs, five of which contributed to this raw and understated EP. With their slow electric climax’s and the vulnerable clapping, Grouplove’s gentle sound is elevated with the harrowing and giddy yowls of lead singer Christain Zucconi and synth player Hannah Hooper, producing a haunting summer record. Their innocence seems twisted and tainted as they portray a muted memory so clear you can feel the sun burn on your shoulders and the grains of sand embed into your mind. The tangible exuberance of the songs each un-pick a perfectly proportioned, succinct tale to partner this condensed EP. The beauty of this record seems to be that it reflects them and is made for them, by them. But this seems to leave you feeling isolated from their fantastical daydream, you’re the one who’s been sent for fire wood while they conduct exclusive songs around a camp fire. Their mood, though intoxicating, does make you wonder if there is going to be enough fuel to produce a full length album whilst escaping the irritatingly happy disposition of the joys of summer and its ‘memories’.  If you’re still not convinced, they defied the American convention and spelt ‘Colours’ right. 8/10 Cicely Ryder

Rebekka Karijord – The Noble Art Of Letting Go (Lil Facit Records)

Do you ever feel like all the people around you are doing much more exciting and important things than yourself? That you’re constantly overcompensating incase someone realises the truth – that you’re just as lonely and discontented as the rest of us? Rebekka Karijord, not only understands the art of life, she has had a good go at writing it too. Released in late 2009 in Scandinavia, it’s hard to believe that the album hasn’t received more attention to date. Sound clips have featured in international films and commercials and the album has also recently been adapted as the soundtrack for the highly acclaimed Cirkus Cirkor’s new show, so chances are you may have heard a sample of her work unknowingly. Love and loss are hot topics when it comes to song writing, but sometimes, just sometimes, an artist captures the essence of it perfectly. Here is one. Opening with the stunningly honest track “Wear It Like A Crown”, armed with beautiful harmonies, raw lyrics, and a simple piano melody, you’ll know instantly whether she’s for you or not. “Undo Love” is a captivating story with powerful and heartbreaking imagery and “Life Isn’t Short At All” reminds you of all that there is. “Morning Light Forgives The Night” sees Karijord working alongside the talented Ane Brun and the outcome is hauntingly graceful. If there’s one thing Miss Lightyear enjoys more than Scandinavians, its circus. And this Swedish, Circus offering, released on my birthday, is awesome and you should buy it immediately. Miss Lightyear 10/10

The Megaphonic Thrift – Decay Decoy (Club AC30)

The name sounds a bit like The Polyphonic Spree, no? Well ok, yes it does, but here’s the thing: I don’t think I’ve ever come across a band with a name that describes its sound so aptly, not since Madonna’s label put out a record by Wank back in the 90s, anyway. But it’s not immediately obvious why. There are subtleties that will elude you the first time you hear Decay Decoy, because, on that first listen, you’ll get lambasted by jarring guitar chords, by insistent drumming, by distortion, feedback, noise, chaos. The rewards come a few listens in when you become attuned to its lo-fi production and you start to pick up the vocal lines more readily. Even then, lyrics are hard to grasp, as is everything about this record, but when you do catch a wistfully melancholic “chasing the world away, making it sweet again”, your heart stops, just for a moment, before you get reimmersed in guitar pedal generated cacophony. It’s not until you start to allow all of that chaos to wash over you and you let your guard down that you actually listen. There are strong pop melodies to be found here, but they’re hidden. There is tenderness, introspection, but you have to work to find it. This is a band that don’t feel the need to shout to be heard above the babble. Decay Decoy is far from a classic, but its appeal lies, unexpectedly, in its mastery of the understatement. Megaphonic thrift, see? 7/10 Dan Bleksley

Stateless – Matilda (Ninjatune)

If there’s ever a better time to review a good album it is now because let’s face it there isn’t much to look forward to in either January or February (except for my skiing trip of course).  Anyway, down to business – right from the very start I liked this album because it has a more than a hint of originality and balance.  There is a plentiful helping of sharp vocals on top of a booming sub-bass, with a subtle amalgamation of electronic distortion to finish things off.  Furthermore, Byork’s producer/programmer, Damian Taylor, was brought in to tidy everything up so the overall production is extremely well polished.  This may not make sense, but I want to roll with this idea anyway - when something is good it often appears to be simple because there is an element of natural effortless/talent to what is being achieved or played.  The second track, Ariel, is probably my favourite because the vocals complement the strong bass, which gives a meaningful purpose and direction to the track.  The rest of the album is however also extremely good and the different comparative sound of each track not only emphasises the imagination and ability of Stateless, but also the potential longevity of the album in terms of shelf life (i.e. the frequency in which you can listen to the album over and over again).  ‘Matilida’ is therefore a welcome addition to help anyone through these dark months.  Tommydog 8.5/10

MARCH

D.R.U.G.S. – D.R.U.G.S (Decaydance/Sire Records)

After being unceremoniously booted from his last band 'Chiodos', frontman Craig Owens took just 12 months or so to select a new band, put together from his 'closest friends and the best musicians', and record a new album. Owen's new group includes guys previously involved with 'From First To Last', 'Story Of The Year', 'Underminded' and 'Matchbook Romance' and is an attempt at some kind of post-hardcore super group inspired by frustration and similar difficult experience. Their debut is clearly fuelled by a need to vent – most musicians feel their music acts as a kind of catharsis and it has never been more true than with D.R.U.G.S. Almost every track is a lyrically vitriolic and brutally honest insight into Owen's last year, backed by tight guitar hooks and aggressive drums. The vocals remain melodic while visceral and electro industrial samples here and there break-up what could easily be a formulaic album. By the second and third listen it begins to stand out from the others in it's pigeon-hole and it is clear that this self-titled debut is not just another post-hardcore album but could potentially be the start of something significant. Lenore 7/10

Josh T Pearson - Last of the Country Gentlemen (Mute Recordings)

This man has a beard that looks like mermaid’s hair. It’s truly a wonder. Beyond that, he is a Texan fellow, previously with Peel favourite, Lift To Experience, a rock band along the lines of Arcade Fire crossed with Pavement. They were good. You’d like them. Since they split up he hasn’t been in the musical eye much, but now returns with a debut solo album which has blown critics out of the water. With only 7 songs, but most of them lasting around 10 minutes each, this is a country/folk album by someone with a brain and a heart and tells of the struggles between them.  With his rambling, whispered lyrics full of love, sorrow and disappointments, Josh literally swoons through this album, his voice fading in and out as if he is singing it directly to the listener. The arrangements are so beautifully simple, mainly acoustic guitar with an occasional fiddle, it’s timeless and heart breaking at every step. The best song title I ever heard, Honeymoon is Great, I Wish You Were Her, is the stand out song for me, at 12 minutes long and dripping with regret and romance. For those moments when we need pretty AND sad. 9/10 Lizz Page

The Vaccines –  What Did You Expect From The Vaccines (Columbia Records)

After Justin Young’s previous project, Jay Jay Pistolet, as an anguished acoustic singer/songwriter, he’s returned with a cough and a bit of a sore throat in the form of The Vaccines.  Despite being a collective for under a year The Vaccines have established a strong stampede of a sound. Narrowly escaping the possibility of looking like a painfully white pair of Sketchers trying to be a pair of  battered and well worn Converses, Young’s raw voice is elevated perfectly by Cowan’s trashy guitar producing exhilarating, intoxicating and succinct songs. “I’m bored – we’re all bored – with the current  climate”  previously stated Young, his contempt and boredom for current music is often expressed in his bare and effortless vocals. But it is this quality which has earned The Vaccines a well deserved place on the critic’s tongues. Breaking free from the synth-happy, soft toned generic indie music it embraces the welcome return of the provocative guitar band which has taken a back seat recently. Initiating the album with the repetitive, chant like ‘Wrekin’ Bar (RaRaRa)’ the (RaRaRa) seems almost ironic as though they are trying to prove their ‘attitude’. But The Vaccines are in their element with vulnerable aggression fueled ‘All In White’, their downfall? Their need for assurance – “Have you earned your stripes?” seems to be a cry of distress more than a demand. 8/10 Cicely Ryder

The View – Bread and Circuses (1965 Records)

When mentioning ‘The View’ to anyone it is often reciprocated with a gormless, blank expression but when humming the chorus of ‘Same Jeans’, their staple hit from 2007, it is returned with the vague recognition of this undeniably catchy record. In an attempt at reviving themselves from the debatable second album, they have admirably undertaken establishing themselves once more with a new producer, Youth, and with a much more sober album. It seems this third album is their last chance to consolidate themselves as something worth remembering.  Kyle Falconer’s intense Scottish accent and their chanting chorus’ allude to their compelling punk influence. But it’s hard to ignore the nostalgic tendencies within the songs in which they seem to fall back on, switching between a nauseating carousel and a rowdy drunken barn dance. In this album they seem older but have not yet kicked their old habits with tired and easy lyrics which prevent you from making any connection with the songs, and mistake the key for a good song for being loud for the sake of being loud. Take away the Scottish accent and catchy melody you are left with uninspired twenty something’s who are already past it. 6/10 Cicely Ryder

Beardyman – I Done a Album (Sunday Best Recordings)

When I first heard Beardyman many years back I thought to myself that really is a rubbish name – but not one to ever openly judge a book by its cover I listened to his material and was impressed, not blown away, but suitably impressed nonetheless.  Probably the hardest element to tackle in beatboxing is the longevity of interest, as this often seems to wane after the initial admiration of skill / talent is overcome… which in layman’s terms essentially means the listener quickly becomes bored after a few minutes of squelchy mouth sounds.  However, what presently sets Beardyman aside from others alike is his creativity, resourcefulness and mastering of the Korg Kaoss Pad (a touchpad MIDI controller, sampler and effects processor).  It would be misleading to say Beardyman has revolutionised beatboxing, but he has certainly become a driving force, utilising external instruments to test the limits of his own vocal capacity.  His album, ‘I Done A Album’, superficially appears mostly electro based due to the strong Korg influence, but should not be pigeonholed as it is nicely complimented with a colourful array of different genres including African, Balkan, drum and bass, house, and hiphop beats.  However, there is much more to the album aside from the overall genre mix as interest is maintained throughout with a combination of old and new beatboxing styles; ‘Vampire Skank’ and ‘Big Man’ retain the tongue and cheek humour often synonymous with beatboxing, whilst ‘Sativa Steps’ demonstrates the more progressive sounds Beardyman has added to his armoury.  Overall, the album is a fantastic piece of work even my mum could enjoy.  9/10 Tommydog