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The Vaccines – Wreckin Bar

Nov 29th, 2010 Leave a comment

Ever wondered whether it’s possible to create a song that completely sums up and introduces a band in 1 minute 25 seconds? The Vaccines have! Not only have they wondered, they’ve produced exactly that. The song Wreckin’ Bar has been floating around for a few weeks now and it has taken me that time to try and work out if I like it, mainly because of the length. I questioned whether it was possible for a song to really be classified as good or bad if it was so short; the answer as it happens is yes!

Wrecking Bar is most definately a good track! It is is almost as if someone has taken the verses out of a song and left behind just the fantastically addictive chorus! The song, and the video, is a fast-paced onslaught of guitars, drums and rousing chants of hey, hey, heys. If it’s your sort of music, it will no doubt have you jumping around the room carelessly for its entirity, something a 3 minute song cannot do! The other genius thing about the length is that although it is probably the shortest song that will have been played on Radio 1 all year, it makes it easier to discover them as a new band. What I have come to realise is that it needs to be taken not so much as simply a song, but an introduction, a way of telling the world who they are and giving people 1:25 to work out whether this is the music for them, something they want to follow up, or if it is too loud. There is no waiting around for the whole song, an immediate impression is created. So, whether that impression is good or bad, I reckon after you finish listening you will have an idea of whether or not this is the band for you.

Live Review – 30 Seconds To Mars, Brighton, 25/11/2010

Nov 26th, 2010 12 Comments

30 Seconds To Mars’ latest album This Is War was phenononal, the product of musicians who understood that the best albums are ones that sound like one piece of work, that flow beautifully. With this in mind, my expectations for the second time of seeing the band were high; they did not disappoint! Last time I saw them, standing at the back of the balcony at the Hammersmith Apollo, they were very good, but three years worth of touring later, they produced one of the best gigs I have ever been to.

The support for the night came first of all from Funeral Party, who I admit disappointed slightly, they never introduced themselves and simply got on stage, played their songs and hardly interacted with the audience they should have been trying to impress. Main support came from Enter Shikari. It’s difficult to sum up Enter Shikari any differently to how I felt about them at Reading, which is their music is, personally, not to my taste but it is impossible not to appreciate both their skills as live performers and musicians; anyone who can seamlessly mix hard rock and dubstep deserves the credit for it. They also managed to get the majority of the crowd pumped and ready for 30 Seconds To Mars to take the stage.

When they did, they blew the crowd away. Entering to Escape, leading into A Beautiful Lie, I don’t think I have ever been to a gig where a band could come on to an album track and not have to sing because the crowd were already in deafening voice, such is the passion and dedication of The Echelon. It is also possible to see that Jared Leto has grown into his role as frontman and leader of the band, commanding the stage and the audience in a way that not only creates a fantastically energetic atmosphere, but also makes every single person watching truly feel like they are part of something special. In addition, it is only the second time I have been to a gig of that size and seen the artist completely engage with the audience, to the point where he picked out someone in the front row when they weren’t jumping, asking the question, “What the fuck is wrong with you? Why are you the only one not jumping?!”. Even more, when the house lights were up and he was trying to get those in seating to stand up, he even managed to pick out one of the few people to remain sitting right at the back and got them to stand up, from the front to the back the gig was inclusive.

Technically, the sound was faultless (as in it was a gig that did not leave my ears ringing) and the lighting was incredibly effective. In fact, it speaks volumes that for their set they relied on a fantastic and varied light show, with no other thrills, not even a banner or a backdrop, leaving the focus completely on the music. Musically, then, nothing was out-of-place. Jared Leto’s voice is flawless and haunting, and although they often fade into the background, both Shannon and Tommo deserve huge credit for the part they play in allowing the natural frontman to take the fore, while playing their parts with precision and vigour. It’s because of this that the whole thing works, there is no struggle for time or attention, everything comes naturally during the performance, and there is never any doubt that this is a band loving every minute they spend on that stage.

Even when Jared Leto appeared in the middle of the Arena to play From Yesterday and The Alibi acoustically, there was no downturn in atmosphere. Yes it was more relaxed but still virtually everyone who was there sang along, in awe of a voice that was, for too many years, wasted on acting! The ultimate show of appreciation, came at the very end. After a beautiful and rousing rendition of next single Hurricane, they ended with Kings and Queens, for which they invited a large amount of fans from the audience on stage to join them. It may not have been fun for the security trying to keep them under control, but when you consider the majority of those on stage were randomly picked from the audience for being “crazy” during the gig, it is amazing to see a band with so much adoration for the fans. That, ultimately, is what makes the live 30 Seconds To Mars experience, so unforgettable. Everytime they win an award, or conduct an interview, the band will insist that all they do is for their fans, that they are part of a family, and it would be easy to think that this is contrived, a mere show of appreciation. Watching them live you realise they are sincere. That, more than any other band around at the moment, they know that they would not be where they are without their fans, and will strive to thank every single one of them, and make them feel as though they are a part of something truly special. Because they are! This is a band who excite and amaze. A band who have sculpted their live show around new material, without their fans batting an eyelid, because they know what they have created in This Is War is close to a masterpiece. After last night, I honestly think that if they continue down the road they are on, 30 Seconds To Mars are staring down the barrel of legendary status both as recording artists and live performers.

Cosmo Jarvis – Gay Pirates

Nov 22nd, 2010 Leave a comment

Today’s song is without a doubt unique! It comes from Cosmo Jarvis, an incredibly talented Filmmaker and Musician hailing from Devon. Cosmo self-teaches himself how to play the instruments required for each song he writes, and does it all himself, an amazing feat considering the quality of work he is producing. The song I am presenting to you is Gay Pirates, a song that despite his previous rejections from Radio, is now enjoying airtime on 6music. So, why this song? What makes it so special? The answer is a multitude of reasons.

Firstly, the fact that he HAS done everything himself, that there are no higher powers dictating the creative work he is allowed to put into the public domain, is evident in the song, and makes it that much better. I am willing to bet there are a lot of “industry professionals” who would not go near the song due to the title and controversial content, but this is no detriment, too much music is hampered by such restrictions recently. Secondly, the guy knows how to write a hook, after listening to the song trying to get ‘Yo Ho Sebastian’ out of your head is futile, it will stay there no matter how much you try to remove it. The biggest reason for the song being so poignant is the fact that in spite of the comical elements to both the song and the am-dram style video, the subject matter is serious, and when you really listen to the lyrics you realise the beauty and intelligence that runs throughout. If it was a pure run of the mill love song the sentiments in it would be enough to categorize the song as sweet and captivating, but Cosmo takes it beyond this. The theme of pirates is what provides the light relief to the fact that this is actually a striking song about extreme homophobia within a certain society. It is brave and done in such a respectful manner that it works incredibly well. The fact that there is a comic element, and real sentiment, makes the torture the fictional pirate suffers for his sexuality both more agonizing and easier to deal at the same time within the song and it is this perfect balance that makes the song phenomonal and hopefully puts Cosmo Jarvis in line for an elustrious career, because anyone with the courage and intellect to create this song and video certainly deserves success.

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Morning Parade – Under The Stars

Nov 15th, 2010 Leave a comment

Morning Parade are a 5-piece hailing from Essex, and judging by their debut track Under The Stars are definately a band worth watching! The song is a well-written catchy number that screams out for commercial success. Driven by a relentless accomodating drum beat, infused with synthesised sounds Under The Stars is current and slowly moving out from under the radar. The song has so many layered elements to it that achieving mainstream success is well within their grasp. Fans of pop/rock can get on board with their well-written lyrics and fans of dance can appreciate the upbeat and familiar anthemic sound being produced here.

In addition to all of this, the production of the song belies the fact it is a debut, and the recognisable sound indicates that even at such an early stage they know what type of music they want to be making, and how to make that fit into a pop-fuelled music industry. The band openly admit that they want to be writing songs to fill stadiums, that can only be improved by the sound of thousands of voices singing along in unison, and I think with time and opportunity they have the ability to reach that level. It also speaks volumes that the video they are using to promote this song on their website is a live one. In comparison to the recorded version, it makes the different aspects of the song much more obvious, and when the synth kicks in, which it does later on in the live version, the dance aspect of their music really comes to life with a fantastic light show and fantastic enthusiasm from the band. The live vocals are pitch perfect, and draw attention to the lyrics, which sing of nightlife, emphasizing the fact that the song belongs at festivals, to be sung by a vivacious music-loving crowd, barely seeing the sunlight.

So, below is the live version they have, rightly, become so proud of and which just shows their ability and they joyous nature of the song.

Introducing… Twin Shadow

Nov 12th, 2010 Leave a comment

This week on Introducing I have picked out an artist different to those I usually use for the feature. By this, I mean that it is neither a rock band or a British artist. Twin Shadow is Dominican-born New York producer George Lewis, some one who is beginning to make waves in the music industry in America. It is difficult to put an exact definition on Twin Shadow’s music, there is so much depth and variety to it, which makes him such a noteworthy artist. Whether it is an uptempo (At My Heels) or slower relaxed (Forget) sound he produces, all of his songs hook you in and utterly entrance you.

My personal favourite from his debut album Forget is Castles In The Snow, the first song I heard and one that is undeniably beautiful. The song, as well as the rest of the album, proves how the amount of production now available to artists, can be used to create phenomenal and authentic-sounding music. Unlike the over-produced quality of a large amount of music in the charts at the moment, this uses synthesisers and auto-tune to create haunting melodies, layered with sparse and harmonic vocals. The songs are romantic and low-key, singing of moonlight and daydreams. The synthesized sound, though, twinges everything with a melancholy that is weaved seamlessly amongst the sentimental lyrics throughout the album. The music fits in among the 80s revival currently sweeping through music, but Twin Shadow achieves a unique and gracious tone which makes him, in my opinion, in league with the brilliance of Hurts. In addition to this, a lot of 80s music can often be regarded as cheesy, and Twin Shadow’s sound is so far removed from that tag it makes it questionable whether this is really 80s revival, or a modern rediscovery of music making techniques that happened to be popular in the 80s.

Either way, Twin Shadow is definitely worthy of attention. Providing a fresh and easy to listen to sound that is becoming trendier by the day, he is currently a hidden gem who will hopefully continue to build on the beauty of Forget and especially Castles In The Snow.

Introducing… Canterbury

Nov 5th, 2010 Leave a comment

With over 13,000 fans on facebook, it could be argued that perhaps Canterbury do not need to be featured on Introducing. However, with a lack of guitar bands in the charts, and claims that this is because they are no longer original, I think more people need to be listening to Canterbury. Personally, I think that if this is the case and it means that a new and exciting band of their calibre could be lost before their career has really begun, it is a worrying time for music. With that in mind, 13,000 fans who already appreciate guitar bands is not enough in the current climate, and if this post gets them even 1 more fan who would not usually listen to the type of music they are producing, then it has been a productive post.

To understand what I mean, follow the above link to a very interesting article on the BBC website about the disappearance of guitar bands from the charts, stating the repetitive nature of the music as the reason for this absence. In that frame of mind, yes Canterbury do sound like other bands that have gone before them, they employ the traditional instruments expected of a band and use similar riffs. But let’s be honest, there is only so much you can do with a couple of guitars, a voice, a bass and a set of drums. Therin, perhaps lies the problem, the current wave of pop and urban music gracing the charts relies on computers to make music, guitar bands don’t. If they did, a large part of their appeal would be lost, they have always been considered to be the grass roots of real music, something which is being forgotten amidst all the electronics. With any luck, Canterbury’s talent will ensure that this is not a downfall for them. It may take longer for them to get into the mainstream and be appreciated by many, but I honestly believe that they have the ability to do so.

So, why do they deserve that accolade? For a start, they know how to write a damn catchy song. From foot-tapping tempos to beautifully written lyrics, they combine all the major elements required of a band to enable them to make the crossover from a leading act in their genre to mainstream music makers. As much as they are an indie/rock band they retain an element of pop in their music that should allow them to make that transition a lot more easily. This is exemplified most in their latest release, Calm Down which is a lot more radio friendly for a new band than some of the tracks on their debut album, Thank You, and sounds a lot more professional. The quality of production for the song, which was released 25th October, is so much better. Yes the sound is not as raw, but that makes it more appealing to the masses. I know there are those that will see this as ‘selling out’, who will believe that making music for mass production may take away some of the passion, but in all honesty in this day and age for an artist to make a true career out of making music, mainstreaming is important. Also, as much as there is a clear difference between Canterbury’s first album and Calm Down, it seems to be less about mainstreaming or selling out, and more about growth. There is a clear development happening in the production, the sound, the lyrics and even the image that reminds you that is part of the true joy of being a fan of guitar bands, especially from the beginning, there is a always a clear process of them maturing, and watching this from the very beginning can give a fan a sense of pride as much as the band.

So, please, give Canterbury a go, even if you are not sure the music is up your street. They are without a doubt one of the best up and coming bands in Britain today and can hopefully help break the cycle of failing guitar bands in the charts. Listen below to new single Calm Down and if want to hear more go to their website for a free download of their debut album Thank You

Pictures Courtesy of MP Stills

James Blake – Limit To Your Love

Nov 1st, 2010 Leave a comment

James Blake is without a doubt a phenomenal musical talent, and his latest single Limit To Your Love is a prime example of why. James has been heralded by Zane Lowe, Nick Grimshaw, Mary Anne Hobbs, and many more leading taste makers in the world of music. The song itself is not self-penned, in fact it is a cover of Feist. However, this is an instance when it is possible to recognise the beauty of cover versions, how they can improve and manipulate the feeling of a song. Both versions retain the inherent melancholy within the song’s lyrics, the worry of whether someone’s love is enough, and if not it leaves behind a feeling of emptiness, ‘like a map with no ocean’.

The difference, therefore is how this feeling is conveyed. In Feist’s version it is done with a soothing, incredibly melodic voice. The whole song flows easily. In contrast, James Blake’s version strips the whole thing back. It is his first full vocal appearance on a song, previously choosing to cut and manipulate anything he recorded himself. Based on this evidence, I hope he continues to utilise his voice, without adapting it too much because it is simply beautiful. It is a completely different tone from Feist’s and he clips the words more, giving each one weight and power in a way Feist’s more delicate vocals cannot. It also helps that he has stripped the music to one instrument at a time. Moving from piano to percussion and back to piano. There is very little to inhibit the vocals, therefore making the whole track a haunting experience. The track, in James Blake’s hands becomes more sinister and stirring, all the while retaining the beauty of the song as a whole.

Hopefully, he can follow this up with an equally brilliant track of his own where he continues to put in accomplished vocal performances. So here is Limit To Your Love by James Blake, and below that is Feist‘s version if you wish to compare.

Performance of the Weekend – X Factor 30/10/10

Nov 1st, 2010 Leave a comment

After all the disappointment that was the X Factor Halloween special I come to the task of choosing a favourite performance. I still love Aiden, in spite of what Simon thought of his version of Thriller, and I don’t think Katie deserved to be in the bottom two. However, I do think that Belle Amie leaving was the right result at the end of the sing off. In terms of the best performance on the Saturday though, there was really only one choice; Cher. Admittedly, I am not her biggest fan. The sort of artist she wants to be is not my sort of music, and I think the faces she pulls when she sings alienates some people. However, there is no denying the strength of her performance on Saturday, and she was the only one who managed to break all expectations and prove to all doubters that she can sing. I think, it was crucial for her to prove that point and should she go on to win the show it will once again show that Cheryl Cole knows exactly what she is doing and without a doubt knows how to turn people’s opinions.

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