Monotonix
Hailing all the way from Tel Aviv, Israel, come Monotonix, who have already garnered a name for themselves through their chaotic live performances. Where Were You When It Happened? gives them a chance to transfer the anarchy and mayhem into your living room.
Noah and the Whale – The First Days of Spring
Noah and the Whale‘s second studio album sees the band return with a more mature sound and a concept album an. Inspired by the breakup of Charlie Fink and Laura Marling, this is only half of the picture as there is also a DVD for the music to accompany. The album is more a soundtrack to heartbreak but probably best not to listen to if such pain is still fresh in the memory.
The pounding drums and cutting violin hardly signify the first days of spring on the opening, and title track, but they work together to create an atmosphere of melancholy. They build slowly as Charlie wistfully narrates and sets the scene. Two thirds of the way through, the orchestra takes over as the track soars. The freedom of the heart wrenching violinists brings the song to a close as memories of the good times float around.
Reality sets in as the drink takes effect, bringing the mood down to a more sombre affair. The heartache takes over and the tales of loneliness and despair set in. The hopeless romantic side of Charlie Fink comes to the surface as Noah and the Whale edge closely towards Richard Hawley territory. The songs, while depressed, are full of mournful beauty and lines like “I didn’t marry the girl I love, saw my world cave in felt like giving up” – which could bring a tear to the hardest of hearts.
The introduction of what sounds like a brass colliery band brings a sense of false hope. This continues into ‘Love of an Orchestra’ as music brings cheer to Charlie’s heart distracting the mind from real life with some tuneful escapism.
The false hope sees Charlie take his first steps in ‘Stranger’, the hollow experience bringing the walls crashing down but not with a devastation more a realisation of the situation. The whole description of the moving on is told with such elegance and life that whole album comes alive around you. The distant gaze that closes the track brings a real sense of joy, as you realise that things will be fine.
‘Blue Skies’ (the second single) follows with a more upbeat rhythm and a sense of closure. The heartache is plain to see but it’s been dealt with and it’s time to move on.
The album comes to a close with ‘My Door Is Always Open’ and ends on a high. Much like the opening track, it slowly builds to beautiful heights. There is so much going on at the end it’s hard to take it all in, but as you do you find yourself in the presence of angels.
The emotion is genuine and the pain is all the more real through the beautiful arrangements and the sorrow that is evident in Charlie Fink’s voice. The album doesn’t tire after multiple consecutive plays, only offering more hidden depths. It’s hard to actually pick fault with The First Days of Spring.
The Hush Now
With the first single from the forthcoming album, Constellations, The Hush Now return with a stellar slice of indie pop. Whilst the band has seen numerous changes since their debut, with Noel Kelly at the helm the music doesn’t veer too far off course.
Mando Diao
Containing three songs from the Give Me Fire album, released earlier this year, Mando Diao deliver their third EP of the year.
Opening is the title track, which bounces along to the sound of a honky-tonk piano, bringing back memories of Jet, which is never a good thing. The circus-like chorus wants you to sing along but never really demands it. Whilst not offensive, the song drags on for over four minutes which would most certainly test the patience of a saint.
The second song, ‘Give Me Fire’, as you’ve probably guessed, is also one from the Give Me Fire album. Starting off with more urgency than previous, there’s instantly a better feel. The verses, encompassed by an infectious riff, are reminiscent of The Coral circa Skeleton Key. The vocals are certainly more impassioned and give you hope that there is potential to create something more accomplished. This is all let down by a chorus that begs not to be heard more than once. … Continue Reading
Cryptacize – Mythomania
“A band not quite like any other”, or so they say. It’s hard to argue with the statement. You can identify numerous influences on Cryptacize, but you would never put them together.
On opening, we’re greeted with some kind of looney tunes ditty, only more psychotic. It slips into a slow marching song before building into a powerful chorus begging for some brass. No brass comes, just some idiot playing space invaders. It’s a minor point as ‘Tail and Mane’ is a great opener.
After dropping the tone and the pace, although someone forgot to tell the drummer, ‘Blue Tears’ picks up the scent of the opener but just falls short of the mark. It’s nothing special but it does get the album back on track.
The title track is a highlight; it bounces along brilliantly and lets you see the beauty in Nedelle Torrisi’s voice. One of the few times where we’re not overloaded with sound effects or an abundance of instruments, it’s the effect of a simple song being allowed to breathe. The verses are heartbreakingly cold in contrast to the warm 60s summer chorus, but it works. It contains ambition and experimentation but doesn’t take away from a great melody . This leads into ‘The Loving Sun’, and finally there seems to be a bit of a flow – although someone tries there best to ruin this by running up and down the piano with no sense of time or feeling. … Continue Reading
The Mars Volta - Octahedron
It’s hard to recall any other band that have delivered albums with such ambition and finesse whilst maintaining such a high level of quality that most bands can only dream about. Add into that the rate at which the albums are delivered (Octahedron is The Mars Volta’s fifth studio album in six years) and you can truly appreciate an awesome band.
Labelled by Cedric as ‘acoustic’ and ‘mellow’ Octahedron gently flows into life with ‘Since We’ve Been Wrong’. A song that quietly builds adding more and more warmth as time goes by creating an elegantly beautiful piece of craft. It is reminiscent of ‘Televators’ but also still includes the attention to detail and innovative complexity that has been evident throughout.
Energy levels are increased as we enter into ‘Teflon’. Whilst similar to the previous two albums it still lacks the over exuberance. The song is defined by the contrast of the desperate wails of the bridge to the teeth grinding chorus. … Continue Reading
Great Lake Swimmers - Lost Channels
Named after a spot in Thousand Islands, where the album was recorded in and around, Lost Channels sees the Canadian quintet with their fifth studio album. After high praise on their last outing there is anticipation for something special.
After two false starts the album comes into play with ‘Pulling On A Line’, starting off promising and with a magical chorus, the song begins to get a little tedious as the soft swing of the verses becomes a slow pull. The chorus rescues it from becoming painful but it disappoints in not achieving the heights it deserved.
The pace slows down as we slip into the beautiful lament of ‘Concrete Heart’, where the impassioned vocals make a connection your soul. Flowing along elegantly giving the feel of a desolate island covered in nature’s beauty. The peaceful solitude is disrupted by the gentle rock of ‘She Comes To Me In Dreams’, not a bad song in itself but somewhat out of place. … Continue Reading
Passion Pit - Chunk of Change
Originally intended to be a Valentine’s Day gift, this lo-fi collection of six electro pop songs has been gaining more and more interest.
Antony & The Johnsons
The lead single off The Crying Light (and possibly the album’s finest moment) sees Antony & The Johnsons making a bold statement; maybe somewhat uncomforting, albeit one it’s hard to disagree with.
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