Audio Bullys - Higher Than the Eiffel (Cooking Vinyl)

Despite being a permanent fixture on festival circuits and the lineups of warehouse party all-nighters, you might be surprised to learn Higher Than the Eiffel is Audio Bullys' third album. They've had some substantial single success with the likes of We Don't Care, Gimme That Punk and, of course, the Nancy-samplin' Bang Bang (My Baby Shot Me Down) but their first two albums failed to find a wide audience. Will Audio Bullys' Eiffel tower over previous incarnations? Unfortunately, the dancefloor duo look beyond said dancefloor and, rather than constructing a set of quick-fix club bangers, they've tried to make an album of differing shades . Commendable effort maybe but the risible ballad Daisy Chains and watered-down disco of Dynamite recall the likes of Just Jack rather than a translation of the in-your-face live force this act can conjure. Not even a cameo from Suggs and his harmonica on ska-tinged (what else?) closer Goodbye can save the day, and even the floorfillers - aside perhaps from the fluid menace of London Dreamer - lack memorable hooks despite blending elements from dance genres as diverse as breaks, hip-hop, grime and house. Give me Daft Punk indeed: catch these guys in a boozed-up tent this summer instead. 4/10

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Posted on 31 March 2010 by Luke McNaney

The Resonance Association - Clarity In Darkness (mrs.vee recordings)

The problem with serial killing psychopaths is they don't always appear to be nasty people. That's why their victims get in cars with them or help them with heavy shopping. If they were running about with their cock out (painted purple - obviously) whilst brandishing a carving knife - people would give them a wide berth. The same is true of this album by The Resonance Association - at times it's being friendly, playing with a kitten, making some fudge and then without any warning it's tearing out your spleen whilst dressed as Blakey from On The Buses. Yet it's this schizophrenic flipping that makes it so exciting: it does shredding, it does doom, it does prog and it does all of them spectacularly well. It's an album born of tremendous creativity that makes a distinct emotional connection throughout - even if sometimes those emotions may make you want to hide under a large cushion. 7/10

Posted on 31 March 2010 by Adrian Mules

Robyn Hitchcock & The Venus 3 - Propeller Time (Sartorial Records)

The poet of weird returns with one of his more fully realised albums in a long while, Propeller Time. With a whole host of guest musicians including R.E.M.'s Pete Buck, Scott McCaughey of Young Fresh Fellows and Ministry's Bill Rieflin (billed as The Venus 3) as well as John Paul Jones, Johnny Marr and Nick Lowe, this album reminds us just what a top-notch lyricist Robyn Hitchcock is. Commencing with the folksy 'Star of Venus', the album's ten tracks have a dreamy, introspective quality delivered in Hitchcock's incomparable tenor which always sounds like he's got his tongue firmly lodged in his cheek. The 'Afterlight' is another winner, the music ambling along at a steady clip to Hitchcock's wonderfully bizarre lyrics: "Everyone is made of meat / They're full of life and life is sweet." 'Ordinary Millionaire', with its sad mournful oboe, is one of the most beautiful songs he has written, his wry vocals perfectly juxtaposed with the song's haunting melody:"To say you're only human / to say you're just a man / what does that mean?" 'John In The Air' and title track 'Propeller Time' hold the things up a bit with the mushy lacklustre melodies, but the pace picks up again with the lovely 'Primitive' and the rollicking 'Sickie Boy.' The album closes with the marvelous 'Evolove': "What you call God, I call evolution / What you call fate, I call mum and dad." Though perhaps not as stunning as his past work, this album still showcases Robyn Hitchcock's razor sharp wit and excellent choice in friends. Besides, it's always good to hear what he has to say. 6/10

Posted on 30 March 2010 by Olivia Schaff

Let's Go To War - Karmageddon (Last Gang Records)

The electro brilliance of ‘Burn Down The Disco’ kicks Karmageddon off with a bang and bodes well for what should be an album of stomping dancefloor fillers. After such a superb start that initial promise rapidly fades away as the dirge-like 'The Whole City’s Got a Cold' introduces Karmageddon’s favoured formula: bad rapping, sexist lyrics, pointless profanity. I’m assuming the lyrics are supposed to humorous or ironic which is OK up to a point but their continued use becomes boring very quickly as the appalling ‘Internet Pornstar’ shows to such tragic effect. The really unfortunate thing is Let’s Go To War have an obvious talent for making really fantastic music - they just need to grow up and give us some lyrics that don’t sound like they were written by an overly hormonal teenager. 4/10

Posted on 30 March 2010 by Greg Belton

Dakota - Heart and Soul (GRL Records)

Unmistakably 80s, the debut album from Dakota is a pop opera of heartbreak, longing and eventual acceptance. Sort of like Kuble-Ross’ On Death and Dying performed by the cast of We Will Rock You. Heart and Soul follows front man, Ben Talbot through a passion-heavy break up which finds him one minute making petty remarks about what a slut she is and the next begging her to love him. It is in this honesty that the album really shines. Universal subtleties, like the process of reinventing your image of the person who just broke your heart, are laid bare and before long Talbot’s break up becomes our break up. The music has a wide pallet of inspiration, but locates itself in a very solid sound. It has moments of Placebo’s earlier stuff, but is more consistently reminiscent of a collection of Spandau Ballet ballads. Forthcoming single, ‘We Get Along’ would make perfect sense sung by Wet Wet Wet by a poolside with fake tanned bare chests and perfect hair. The albums ‘Closure Song’, or in Kuble-Ross’ terms, the acceptance piece, is brilliant. It truly feels like an emergence from agony. There is a newfound maturity and cleanliness. The only concern is that it might take our narrator, Ben Talbot, to endure another life crisis before we get a follow-up. 6/10

Posted on 29 March 2010 by Joe Nockles

Three Trapped Tigers - EP3 (Blood and Biscuits)

Three Trapped Tigers have been making a bit of a rumble recently. Numerous shows across the length and breadth of the UK, and two well received EPs have established them as ones to watch. EP3 will only do them more favours. A chaotic flurry of white noise, off-kilter drums and melodic vocals open thingsup, descending into some lush electronic beeps and whirrs. The rest of the record continues into schizophrenic twinkling, and prog-sounding synths while Tom Rogerson's vocals act almost like an instrument themselves, adding another textural layer to their already complex sound. Industrial and mechanical sounds crash under the surface, at times making them sound like a harsh and heavy Battles. This is the closing chapter in their series of EPs, so one can only wonder what they'll bring to the table when they get around to releasing a full-length. Very exciting indeed. 8/10

Posted on 29 March 2010 by Freddy Palmer

Limozine - Evil Love (Open Plan Records)

Evil Love, second album from London band Limozine is perfect for those really bad days. Days when you don't want the poignant and pretentious lyrics of someone like Thom Yorke moaning about how shit everything is in his lovely little falsetto. Yes, we know that. The earth is dying, the economy is in shambles and we're probably all going to lose our jobs. That is why Limozine's irrelevant power chord stomp is such a relief. Sure it's a half-assed rip-off of The Ramones, Sex Pistols and Buzzcocks, but it is a good half-assed rip-off, and loads of fun. Don't worry if you can't understand the lyrics, you won't need to while you're pogoing around your living room. There are some real gems here. Take The Ramones flavoured 'Good Cop Bad Cop', title track 'Evil Love' or 'Goin' To A Party': "She got the pills / and I got the booze / it's a one-way ticket / gonna kill them blues." Brilliant. Take that Thom Yorke. 6/10

Posted on 28 March 2010 by Olivia Schaff

Gabriella Cilmi - Ten (Island Records)

Ten is an interesting, albeit deflating, change of tack for one of 2008's biggest sellers. Gabriella Cilmi's Lessons To Be Learned was a brilliant debut of rootsy, crossover pop that showcased her beyond-her-years voice in any number of radio-friendly formats. The follow-up is far more anonymous, typified by recent single 'On A Mission', and seems to ride the coat-tails of the now long-in-the-tooth 80s revival. Far too synth heavy, it's as if her production team were aiming for futuristic but ended up creating something of a retro piece, while the departures into sugary ballads ('Defender') aren't anywhere near the standards Cilmi set herself two years ago. While her debut was an inventive, mature and daring introduction to the then 16-year old singer, Ten is a much more basic pop record that unfortunately sees her flounder in a sea of unremarkable young women all chasing the same end. Record company utterly destroys young talent? Plus ça change. Damn 'em. Damn 'em all to hell. 3/10

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Posted on 26 March 2010 by Colin Polonowski

Boe Weaver - Boe Weaver (Vu Records)

Boe Weaver are a secretive bunch from that hotbed of instrumental weirdness, The Isle of Wight! This, their debut album, opens with 'Deadpan', a beautifully textured piece that would not be put of place in the soundtrack to a schlock horror film from the 1970s. Album highlight, 'Ghouls', follows and is a psychedelic freak-out that seeps in to your brain and just refuses to leave. Sadly that is as good as it gets as the rest of the album just meanders along with no real purpose or bite. That may be fine for a film or TV soundtrack but on album, where the ability to pull the listener in for repeated listens is essential, it just doesn’t cut the Colmans. It is clear that Boe Weaver have skill in abundance but they fail to live up to their potential on this rather schizophrenic debut. They need to tighten things up considerably or get on the blower and find themselves a proper soundtrack gig, otherwise obscurity beckons.
 5/10

Posted on 26 March 2010 by Greg Belton

Black Tambourine - Black Tambourine (Slumberland)

Sometimes you've just got to throw your hands up in the air and admit that, no, you've never heard of a band. Described as 'seminal' in the accompanying literature, Black Tambourine were, it turns out, merely a side project featuring members of only nominally bigger bands (Velocity Girl, Whorl) so perhaps we can be excused for not feeling like we missed out, VU-style. Anglophiles at heart, The Tambo's (as we liked to call them back in the day ...) successfully mimicked the underground UK fuzz pop of the late 80s (early MBV, Pastels, Shop Assistants) with a goodly dose of Mary Chain feedback and the adonyne (that's a compliment!) voice of Pam Berry sitting perfectly atop. With only a few singles and compilation appearances to their name before their demise in 1991, this disc rounds up all their contemporary material plus a few unreleased demos and, intriguingly, some newly recorded material which is indistinguishable from that recorded two decades ago. Fans of Vivian Girls, etc. will lap this up no problem, but to claim Black Tambourine as a significant influence on the current wave of lo-fi popettes is perhaps overstating the reality. 6/10

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Posted on 25 March 2010 by Douglas Baptie

Suicidal Tendencies - Live at The Olympic Auditorium (Suicidal Records)

Back in the day Suicidal Tendencies were a force to be reckoned with, a violently explosive mass of underground riffage which inspired a million skatepunk crowdsurfers to go out and form their own bands. If that is your abiding memory of the band then do yourself a favour and stop reading now because I’ve seen the present and it ain’t pretty. Age has not treated Mike Muir and the gang well and, while the DVD has all the grainy, bootleg aesthetic you’d expect, it can’t hide the paunches. It feels rather tragic to see these middle aged geezers puffing their way through formerly potent tunes and the fact that they open with a song referencing the long-dead ex-President Rocket Ronnie Reagan just adds to the pathos. Musically there’s no light and shade to the performance, it’s a straight ahead plunder through the archives, with the barest of concessions to the fact that the gig is being filmed for posterity. The reason they elected to get this show on tape, by the way, is because the venue was due to be converted into a Korean church the next day and the promoter wanted to send it off with a bang. Personally, I’d rather watch an hour of the Korean worship than suffer this disc again. 5/10

Posted on 25 March 2010 by Steven Burnett

Hanoi Janes - Year Of Panic (Captured Tracks)

German company Haribo have been supplying sweet treats to children (and adults) since 1920, and it appears fellow countrymen Hanoi Janes are similarly hell bent on pushing their confections to anyone needing a quick sugar rush. Year Of Panic is a blast of two minute bubblegum pop treats, equal parts Helen Love and Ohio Express with a sprinkling of bedroom Joe Meek-ery, ramping up the reverb and employing whatever honks, parps and toots were to hand. Behind the seemingly ramshackle nature of the recording (8-track recorder, one mic) there lies a sophisticated pop brain, however and the kitchen sink arrangements do their very best to squeeze as much as they can into each technicolour moment. That's 100% pure sherbert running through the likes of 'Crystal Veins' and 'Hey Julia' is NYC power pop writ large. While our attention is inevitably caught by the glamourous dudes currently riding the lo-fi pop wave from the USA, Hanoi Janes are doing pretty much the same thing, minus the hype. Fun on the Rhine is all right, all right! 6/10

Posted on 24 March 2010 by Douglas Baptie

Jawbox - For Your Own Special Sweetheart (De Soto)

Jawbox's third album, 1994's For Your Own Special Sweetheart, saw them run the gauntlet of existing fans after jumping ship to the supposed security of a major label, threatening their reputation as darlings of the post-grunge underground. For the most part, their brand of melodic Dischord label post-hardcore survived the transition and, if anything, the extra budget allowed them to ratch up the tension even further, the guitars delivering gut-wrenching blows to the uh, ... gut, the rhythm section relentless in their drive. Nominal band leader J. Robbins continued to deliver lyrics of an abstract nature, marking Jawbox as one of the more cerebral acts of the moment but Atlantic found them difficult to market and mainstream media support was lacking. Jawbox have never had the same level of recognition this side of the ocean, perhaps because Robbins' vocals lack the personality to distinguish the band from the many others following a similar path, despite the music being a notch or two above their contemporaries. The remastering on this new edition serves the album well and students of the period are encouraged to discover it for themselves, if only to ensure they know the difference between Jawbox and Jawbreaker come exam time. 7/10

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Posted on 24 March 2010 by Douglas Baptie

Yrsel - Requiem for the Three Kharites (Aurora Borealis)

The excellent Aurora Borealis once again release some genre-splicing extreme music, this time in the form of Requiem for the Three Kharites by Yrsel, a collaboration between The Austrasian Goat and Ondo. Doomy atmospherics and dark ambience are on the menu for today, with three meaty tracks that span over 50 minutes. Taking in funereal piano, and swathes of dark synths, each track takes the listener on a journey of haunting yet blissful electronic music. Tracks such as 'The Tears of Euphrosyne' are punctuated by echoey, whispered vocals and all manner of soul quivering sounds, making this record truly scary at times, but emotionally provoking at others. If you like both the drone-doom of Sunn O))) and the electonic ambience of Fennesz then this could be just what you need. Snap this one up quickly though, as it's limited to just 500 copies! 7/10

Posted on 23 March 2010 by Freddy Palmer

Extra Life - Made Flesh (Loaf)

Made Flesh from "experimental" (i.e. don't really know what the f*ck they're doing) rock band Extra Life is so painfully bad it might be a kindness to all involved if we just left it there. Alas, we must persevere. Think Spinal Tap's 'Stonehenge', complete with minuscule stone circle replica and dancing midgets, and you will have a very good idea of what to expect from this...this...whatever the hell this is supposed to be. The brainchild of New York musician Charlie Looker, the band combine aspects of Medieval chant, folk and progressive rock in an attempt to create a cohesive whole. But it doesn't work.The album sounds like a bad Yes/Rush mash up with lots of cheesy keyboard and random power chords thrown in with Looker's lifeless droning vocals skating just above the din. Songs like 'Voluptuous Life', 'Ladder' and 'Made Flesh' attempt to incorporate of New-Age music with progressive rock, much as the Seventies mega bands tried to do. Even back then it wasn't a good idea, but at least they had the musical muscle and balls to carry off, whereas Looker's attempt sounds decidedly childish and annoying. One exception is the rather sweet 'Black Hoodie' when Looker dispenses with the OTT Rick Wakeman keyboards and ridiculous chanting and concentrates instead of creating a simple and lovely tune that better suits his rather weak vocals. It is wonderful when musicians attempt to push the boundaries of music. Combining radically different genres can result is some very exciting musical experiments. Or, sadly, it can result in an album like Made Flesh. The dancing dwarves would have been an improvement. 3/10

Posted on 23 March 2010 by Olivia Schaff

Motion City Soundtrack - My Dinosaur Life (Columbia)

American punk-pop bands seem to have died a bit of a death over here in the UK. Green Day's latest seemed to do well on release and then sink without a trace, and with Fall Out Boy now on an indefinite hiatus the path has been cleared for some of the lesser bands to let themselves be heard. My Dinosaur Life is Motion City Soundtrack's fourth album, and as expected holds no surprises in it's pop-punk salvo. Plenty of jaunty rockers, full of love-lorn lyrics in tracks like 'A Lifeless Ordinary', and bouncy guitar riffs on tracks such as 'Delirium'. But altogether theres nothing really new here, and nothing anywhere near as catchy as tracks from their previous albums like 'Everything Is Alright' off Commit This To Memory. While this will probably please exisitng fans, this is not the shot up the arse that pop-punk could have done with. 5/10

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Posted on 23 March 2010 by Freddy Palmer

Jack Rabbit Slim - Hairdo's & Heartaches (Western Star Records)

Twangy guitar? Check. Slap Bass? Check. Quiffs? Check. With the checklist complete, we can proceed safe in the knowledge that Jack Rabbit Slim have all the mandatory elements in place for a rockabilly album and with Hairdo’s & Heartaches, their fourth album, they must be hoping to crossover to a far bigger audience than the current UK rockabilly scene can provide. The musicianship on display is excellent but sadly some of the songwriting leaves a lot to be desired. Odes to the art of masturbation are few and far between, for obvious reasons, yet with ‘Skin’ Jack Rabbit Slim have produced a cringeworthy example that leaves a particularly sour taste. If you can ignore some of the more crass lyrical foibles then Hairdo’s & Heartaches provides a reasonably entertaining album - but not one that is likely to reach too many new hearts.
 5/10

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Posted on 22 March 2010 by Greg Belton

Glenn Meling - Sometimes A Bigger Heart

Sometimes A Bigger Heart, debut album from itinerant Norwegian pop troubadour Glenn Meling is a lovely collection of very pretty songs; light, breezy and delivered in Meling's lush tenor. The Corr's like 'When The First Rain Falls' opens with pan flutes and acoustic guitars giving it a slightly exotic air. 'All You Can Do' and title track 'Sometimes A Bigger Heart' are fairly basic adult contemporary pop standards, whereas 'Pan', with its cool synth intro, and 'The Thought Of You', with Meling's Bono-esque delivery, have a distinct U2 feel to them. The mid-tempo 'The Drunk Norwegian' is surprisingly tame given its subject matter: "The sky turned black / and the thunder roared / while the bets were placed / the drunk Norwegians screamed." The atmospheric 'Caligula' livens things up and is definitely one of the album's highlights with Meling's strong impassioned delivery moving the song along at steady pace. The album ends with the moody 'Spin Around', another strong track, it is elegant and to the point with the main focus being Meling's beautiful voice. If this album has a weakness it is the profusion of unnecessary excess that weigh the songs down. Meling's fine tunes could have been more enjoyably and much more interesting without the syrupy background singers and over-production. Instead you have to plow though all the fluff to get to the heart of the album. Sometimes A Bigger Heart is a fine debut and will no doubt please those just wanting a little pleasent distaction to get them through the morning traffic, but I think Glenn Meling is worth more than that, and I hope he does too. 5/10

Posted on 22 March 2010 by Olivia Schaff

Kah - More Than Dawn (Joy Lane Music)

After the creepy synth begins at the start of More Than Dawn opener 'Wanting to Be Haunted', the first thing you'll notice is the unique sound of Kah's voice. A soft, yet almost worryingly knowing voice which seems to crawl inside you and create a sense of uneasiness and unfamiliarity. Kah is a London-based singer-songwriter that fuses her singular voice with some well crafted electronica. 'Goose Girl' is an eerily twinkling piece, with looped and layered vocals and dramatic violin, while 'July Boy' is a faster-paced track that sees slightly out of place beats and vaguely industrial sounding synths coming to the fore that don't really gel well her vocals. At times the textures and sounds she employs can overpower her brilliant voice and this is unfortunate. The quieter and more haunting tracks, such as 'Kite' and Architect' are where Kah really succeeds, creating a gentle, sweet yet unnerving atmosphere which draws you into her detailed world of elegant beauty and on occasion, subtle fear.
 6/10

Posted on 21 March 2010 by Freddy Palmer

Goldfrapp - Head First (Mute)

The best thing about a new Goldfrapp album is you never quite know what you're going to find. Is it the dreamy, quirky Goldfrapp of Felt Mountain? The glam of Supernature? Or even the folky, acoustic feel of their most recent record, Seventh Tree? For their fourth album, Will and Alison once again reinvent themselves, and head back towards the disco, albeit one taking place in 1988. This is upbeat, unashamedly pop album. Lead-off single, R'ocket', is the suggestive stompings of a group who've been in Van Halen's synth drawer and like what they've found. 'I Wanna Life' is an obvious single - again if it was 1988, while standout track 'Alive' has a hint of the Scissor Sisters and a glamorous 70s disco feel, and 'Shiny and Warm' bounces along like Satin Chic's long lost cousin, but the big choruses aren't anywhere near as prevalent as 'Rocket' might lead you to believe. There's not much room for the experimental Goldfrapp of old here, although the abstract album closer 'Voicething' with its sampled, cut up vocals and no actual lyrics could almost have found a home on Felt Mountain. Alison's voice is still striking, but this short collection is just too light on memorable tunes.
 6/10

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Posted on 20 March 2010 by Mike Gray

Jonas Reinhardt - Powers of Audition (Kranky)

Jonas Reinhardt is not one man but a group of four, none of whom are called Jonas Reinhardt. Jonas Reinhardt is four men who are not called Jonas Reinhardt, but who LOVE playing with synthesisers. Keep up at the back! Their latest full-length, Powers of Audition, revels in its datedness, right through from the cascades of motorik drums and waves of pulsating, proggy synths all the way to its grainy cover art. The juddering 'Atomic Bomb Living' could be the closing track from a sci-fi cop show from the 80s, while 'Only You Can Achieve Nitrogen' is so blissed out it could have fallen off the back of a Now That's What I Call New Age! compilation. Elsewhere, the darker 'Near a Mirrored Pit Viper' bears the influence of Vangelis's film soundtracks. This is a record geared toward very particular tastes, and fans of the likes of Tangerine Dream may find plenty to enjoy, but the majority will probably find that this effort dips into cheesy territory far too often. 6/10

Posted on 19 March 2010 by Simon Harker

Serena Maneesh - No 2: Abyss in B Minor (4AD)

Precious few albums are recorded in caves so thank heavens for Norwegian shoegazers Serena-Maneesh who follow up their critically acclaimed 2006 debut here with the, literally, grotesque Abyss in B Minor. It’s not a hugely promising start however as the album embarks upon an epic, eclectic, industrial Krautrock noisefest which does little more than heighten the relief felt at the arrival of the MBV pastiche of ‘I Just Want To See Your Face’. There’s no escaping the obvious late 1990’s reference points but, thankfully, Serena-Maneesh have the essential sparks of wit and originality which lift Abyss above the inhabitants of the humdrum, soul sapping conveyor belt of indie nostalgia. ‘Melody For Jaana’ thrusts the claustrophobia of the cave to the fore, a woozy headfuck experience which is like listening to a vinyl copy of Revolver backwards on a knackered turntable. It’s not all blessed out psychedelia however and, to underline the point, the fabulously titled cacophony of ‘Blow Yr Brains in the Mourning Rain’ unveils itself in front of your eyes like a terrible farmyard accident involving Can, The Stooges and an angry bullock. Norway is where it’s at: Winston Churchill, Maggie Thatcher, your fey, shoegazey bands took a hell of a beating. 7/10

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Posted on 19 March 2010 by Steven Burnett

March Of The Raptors - March Of The Raptors (Essential Music)

March of The Raptors is a hardcore, albeit melodic, thrash album from a gang of London metallers who’ve been together for barely a year. It may be early days for the Raptors yet they have conspired to cobble together an album that is tighter than David Beckhams’s hamstring, and all this achieved not in the studio but in bedrooms and basements across the Capital. It’s an uncomfortable listening experience, splattered with gruesome vocal growls dredged up from the stygian gloom, but then that’s exactly what you’d expect from an opus which embarks with a number inviting the listener to ‘Perish in Flames’. Slayer are an obvious reference point and fans of the old skool classics like the chugging Testament or mellifluous Maiden will equally at home here as the nu-metal crew that were raised on Slipknot. The lyrics apparently deal with the ‘inescapable horror and anxiety of our daily lives’ so, being unable to decipher them, one imagines that they focus largely upon Adrian Chiles regular appearances on The One Show. An essential purchase for fans of the genre or those that just really fucking hate their neighbours. 7/10

Posted on 18 March 2010 by Steven Burnett

Lou Rhodes - One Good Thing (Motion Audio)

Although singer with trip-hoppers, Lamb, Lou Rhodes' solo work sits in the folk category. One Good Thing is her third album and is nothing more than her pleasantly rough voice, acoustic guitar-picking and subtle strings. Rather than that overly pretified style of folk, it is musically stark and downbeat. (Nick Drake is stated as an influence.) Add to this that some tracks are apparently inspired by the death of her sister and you may be surprised that the main theme here seems to be quiet hope, perhaps best expressed in 'There For The Taking', 'Why Wait For Heaven' (a message to would-be suicide bombers) and the title track. One Good Thing might not exactly grab you by the throat, but it's impressive in its restrained, thoughtful celebration of life. 6/10

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Posted on 17 March 2010 by John Donnelly

Various - Asseteria! Live From Uranus (mixed by Chriss Vargas) (Nervous)

'Asseteria! is the name of a New York Sunday club night that features seven-foot tall trannies, fashion models hiding from the paparazzi and world class DJs.' Sadly, little of the excitement is bottled in this underground house set, or at least it does nothing to differentiate itself from many mixes of its type. Stand out tracks (such as the sexy vocal house of 'Fake' or the crazy, acid-styled 'Do It') are few and far between and the climax is definitely a case of a sigh and 'Is that it?'
 5/10

Posted on 16 March 2010 by John Donnelly

We The Kings - Smile Kid (Virgin)

Perky Florida pop-rockers We The Kings return with Smile Kid, their second album of melodic and upbeat ditties that will surely appeal to teenage girls everywhere. The guest appearance of Camp Rock star Demi Lovato on ‘We’ll Be A Dream’ is a clear indication of the audience We The Kings are targeting and while there is no problem with such ambition, to do so with barely a nod towards any other market sector bodes poorly for their long-term future. The majority of the songs on Smile Kid are bland and instantly forgettable but one particular tune stands out - for all the wrong reasons. ‘The Story of Your Life’ is a shockingly bad attempt to recapture the brilliance of the spookily similar ‘The Story of My Life’ by Social Distortion, a band with more talent in their little fingers than is ever likely to be seen from the blander than bland We The Kings.
 3/10

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Posted on 15 March 2010 by Greg Belton

Ian McNabb - Great Things (Fairfield)

Having spent years wandering the wastelands of indifference, former Icicle Works front man Ian McNabb returns with some of his strongest and most consistent material of recent times. After trying, and failing miserably, to capitalize on previous success, it would seem that McNabb has finally put his ghosts to rest. Instead he has focused his creativity on the present and has come up with a handful of pretty decent songs.

If you can make it past the X-Factor schmaltz of opening clunker 'Great Things' the rest of the album holds up fairly well. 'Empires End', with its cool bass intro and jazzy piano, is a winner and definitely the album's highlight while the sole rocker 'All About A Woman' has a punch and a kick not heard in McNabb's work for a while. Mid-tempo numbers like 'New Light and the Allan Parsons Project sounding 'Stormchaser' are strong tracks and beautifully showcase McNabb's glossy baritone. The cheesy shoo-wop retro 'Pinin'' is best forgotten but album closer, the ever so modest 'I Can't Help It If I'm Great', saves the day. With just acoustic guitar, soft piano and McNabb's lovely voice crooning away this song will make you ask "Why doesn't he do this sort of thing more often?" Well, hopefully he will. 5/10

Posted on 15 March 2010 by Olivia Schaff

Chris T-T - Love Is Not Rescue (XTRA MILE)

The new stripped back, introspective mood favoured by Chris on his latest single Nintendo proves to be indicative of a comprehensive stylistic overhaul from a man who promises that this is a new beginning. The aforementioned single opens the album and sets a thematic tone in which Chris casts a weary, perhaps despairing eye over the twenty first century values which find us driven, lemming like, to spend our every waking hour telling strangers about the tedious minutiae of our lives on the web (‘Elephant in the Room’) and having little ambition beyond getting a job and buying a Nintendo. Post-modern life is rubbish, but there’s still an abundance of hope in delightful tunes such as ‘Market Square’ in which our protagonist spends an eternity unsuccessfully trying to find a rabbit at the market before ultimately discovering an abundance of the fluffy creatures while out walking on the heath. It is a deeply reflective and often personal album which nevertheless should resonate strongly with the great unwashed, particularly when it comes to the open-heart honesty of tracks such as the heartbreaking ‘Tall Woman’ from which no-one escapes unblemished. We are not left to wallow in misery for too long however and the album closes with a sparkling ‘Words Fail Me’ which tips a musical nod to the fab four’s ‘I’m Looking Through You’ and finds Chris defiantly promising that new beginning. Love is Not Rescue is a remarkable album which, if solo male singers ever become fashionable again, should see Chris T-T become somewhat of a household name. 7/10

Posted on 14 March 2010 by Steven Burnett

Deadmau5 - At Play Vol. 2 (Play)

Deadmau5 At Play Vol.2 is billed as ten full-length DJ friendly tracks. So it's a shame they aren't as friendly to the ears. This compilation brings together several tracks from the Canadian, mouse-headed producer, plus a few of his many collaborations with the likes of Billy Newton-Davis and Mellefresh. The second track on the CD features the latter, and is probably one of the single most boring pieces of dance music I've heard recently, with its annoying repetition of the title ‘Attention Whore’ and its bland and unadventurous beats. The only saving grace on this terrible collection is ‘Outta My Life’, a stomping dancefloor anthem with some great soulful vocals. Unfortunately one track does not make a masterpiece. 3/10

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Posted on 13 March 2010 by Freddy Palmer

Various - Afro-Rock Volume 1 (Strut)

Originally released in 2001 on Kona, Afro-Rock Voulme One surfaces again on Strut with a bonus track from Jingo. This collection of 60s and 70s music may be African, but it's not totally alien, with seemingly half of the tracks sung in English. Fans of cool funk and psychedelic jazz - as well as the targetted world music buffs - should find something to enjoy in this obscure lot. 6/10

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Posted on 12 March 2010 by John Donnelly

Rob Swift - The Architect (Ipecac)

Rob Swift has been putting out albums since the late 1990s but this is his first for Ipecac, having previously worked with label honcho Mike Patton on the Peeping Tom project. The Architect has an oddly quaint sound, with the slower beats recalling Eric B & Rakim and the samples (B-movies and even a 'this is a journey into sound'-style affair that seemed dated in about 1990) sinister, but verging on the corny. Having had a musical epiphany in the summer of 2008 after investigating the works of Mozart, Bach and Chopin for the first time, Swift claims to have tried to apply a classical mindset to the album's construction, re-introducing refrains and themes throughout the running time. He clearly shares a love Italian giallo murder movies with Patton, the shrieking strings and brass stabs of their soundtracks providing a suitably tense atmosphere for the beats to sit under, but with the bulk of the album made up of short, two minute or less pieces, it's as if he didn't know where to take most of the tracks beyond the initial idea. His turntable skills are undeniable, but if he wants to do classical let's see him take an idea and run with it for 30 minutes. 5/10

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Posted on 11 March 2010 by Douglas Baptie

dan le sac vs Scroobius Pip - The Logic of Chance (Sunday Best)

Dan le sac Vs Scroobius Pip's sophomore album follows the law of diminishing returns. Those who bought debut LP Angles will be familiar with Pip's ranting over le sac's basic-yet-catchy beats and electronics. Sadly, this time round there are no minor cult anthems in the making; nothing as quotable as 'Thou Shalt Always Kill' or as strikingly cheeky as the 'Planet Telex'-sampling 'Letter From God To Man'. What's left is a fair amount of anger and lecturing. When Pip's not targetting knife crime and music snobbery, he's attempting to motivate the yoof towards better lifestyle choices (recent single 'Get Better' is the best thing here) and political action. There's perhaps just enough clever wordplay and hooks to get by on, but one can't help feeling this duo have come up against the limitations of their sound. 5/10

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Posted on 10 March 2010 by John Donnelly

Kris Drever - Mark The Hard Earth (Navigator)

After numerous collaborations, tours and tons of hard work Scottish folkie Kris Drever presents us with his second solo album. With Mark The Hard Earth, Drever has recorded a mixture of modern and traditional folk that covers both areas admirably, although not very excitingly. There are some fine songs on show here, with the stripped back title track opening the album in especially beautiful style. 'Allegory' has a wonderfully dark feel which is sadly not repeated elsewhere on an album that ultimately drifts along without ever completely engaging the listener. Drever is clearly a talented artist and his work with the award winning Lau is well worth investigating but Mark The Hard Earth, although a pleasant enough listen is a missed opportunity, which is a real shame. Perhaps a return to the aforementioned tours and collaborations will bear richer fruit.
 6/10

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Posted on 10 March 2010 by Greg Belton

Matthew Glenn Thompson - The Garden And The Arcade (Teddev Music / ASCAP)

The first thing that strikes you about Matthew Glenn Thompson's debut album The Garden And The Arcade is just how nice it is; not just the fact that it's dedicated to his daughter but the overall melodic and laid back sound of all nine tracks. Tracks such as 'I Get Lost' and 'January Day' sweep by on their gentle sound and know just the right place to add a soaring melody that can't fail to raise a smile for anyone in the right mood. People expecting a more substantial listen are well advised to look elsewhere because tracks such as 'Go On' might come across as being over-sentimental and cheesy but for anyone wanting a perfect soundtrack to a lazy afternoon, you can't go much wrong with The Garden And The Arcade. 6/10

Posted on 10 March 2010 by Ian Sandwell

Årabrot - Brother Seed (Norway Rat Records)

There’s a certain stigma attached to Norwegian black metal. It's the kind of thing that will get you un-invited from Tupperware parties and barred from the school play faster than you can unsheathe your sacrificial blade. Årabrot may represent the next generation of Noway’s black metal scene but don’t think they’ll get you back into the PTA meetings in a hurry.

Whilst they might be moving in different direction from those that went before them this is still a brutal affair. Unencumbered with the doom heavy armour of the past, instead Årabrot play the insanity card, with singer Kjetil Nernes yelping and growling like a throaty hobgoblin, just seconds away from tearing out your entrails and wearing them as a scarf.

The energy and urgency of the band is masterfully captured in the recording process. Steve Albini produced and recorded the album and then hurled it at his Shellac chum Bob Weston to master. Their combined talents capture the band at their most vital. The Brother Seed is an album of malevolent eccentricity which bristles with an evil charm. It’s no surprise to learn that they are named after the institute for troubled youth where they all met, taking care in the community to a whole new level. 7/10

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Posted on 09 March 2010 by Adrian Mules

Pantha Du Prince - Black Noise (Rough Trade Records)

If a tree falls in a forest and no one is around to hear it, does it make a sound? This philosophical statement questions the very nature of perception. But the modern tree isn’t interested in posing such quandaries. When no one is around you won’t find them falling over. You’ll find them making music like this.

Pantha Du Prince is a German minimalist electronic artist that has captured the sound of the empty forest. His chips and circuitry have managed to harness the natural environment. From this almost exclusively organic palette of field recordings he paints a nomads retreat from the rat race. The breeze meanders between the leaves and brushes against wind chimes. Their combined cacophony plays out like Mother Nature’s music box. His restrained use of beats or synths ensures the spotlight remains on the ecological rather than the electronic.

Like the young sapling without restraint or enforced structure this music finds its own way and forges its own path. Black Noise is a relaxing and refreshing listen that blossoms with every play. 7/10

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Posted on 08 March 2010 by Adrian Mules

Girlyman - Everything's Easy (Girlyman)

Weddings are horrible things. The stress of planning them is immense, crossing out names of people you actually like and want to come, yet keeping insane relatives that who you have to invite. And everything is so expensive! Money that could be spent on something great like ninja training is blown on flowers, orders of service and table centre-pieces. But worst of all is the music. Why on earth can’t you ever get decent wedding music?

This shower of layabouts are just the sort of band that gets booked for weddings. Your pissed Uncle Toby might try and shag the female singers, even though they politely decline his lewd, clumsy and frankly embarrassing advances. Granted their soft and gentle folky tones will surely delight the over 80s. But anyone with a pulse or a love of music may have an entirely different reaction.

If you find them playing at a wedding the only rational thing to do is storm the stage. Hurl mic-stands into the air, kick speakers over and jump in them. The racket you make banishing them will be preferable to anything on the album. You might even be asked to repeat it for the bride and groom’s first dance. Being competent does not preclude them from being shit. Their existence alone is reason enough to live in sin. 3/10

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Posted on 08 March 2010 by Adrian Mules

Kaki King - Kaki King (Cooking Vinyl)

Far from a household name in the UK, Kaki King is a multi-instrumentalist from Atlanta, Georgia with a clutch of albums to her name and a rare ability to write a catchy tune about Nazi double agents: think Charlotte Hatherley with mad guitar skillz and you won’t be too far off the mark. Junior is an intriguing album which presents a finely tuned balance between frothy indie-pop frivolity and intense instrumental pieces with incredible depth and rich texture. King is marketed as a guitar virtuoso but, thankfully, her talents lie in the creation of soundscapes underpinned by the sort of intelligent syncopation favoured by the like of Andy Summers rather than the 100Mph fretboard wankery we’ve come to expect from latter day guitar heroes. It is perhaps ironic that the real highlights of the album are utterly divorced from any guitar pyrotechnics; these being the Eno-esque ‘Everything has an end, even sadness’ and the raw simplicity of the Velvets’ groove which drives ‘Communist Friends’. It’s an enjoyable, if unspectacular album which would undoubtedly appeal to those who are bound to be turned off by the marketing of King as a ‘guitar hero’. 6/10

Posted on 06 March 2010 by Steven Burnett

Fursaxa - Mycorrhizae Realm (ATP)

The first studio sourced album from Tara Burke under the Fursaxa header after a series of lo-fi home recordings, Mycorrhizae Realm sees her further explore the outer frontiers of the acid-y folk mode, balancing the pastoral with an undercurrent of dread and drone-induced sinister. The addition of guest musicians like Helena Espvall (cello) and Mary Lattimore (harp) expands the sonic palette (see 'Well of Tuhala') and makes for a more accessible venture than previous projects, but the drones are never far away (intro track 'Lunaria Exits The Blue Lodge'; 'Sunhead Bowed'). Students of the genre should enjoy it, others may just find the overall atmosphere a little predictable. 6/10

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Posted on 06 March 2010 by Douglas Baptie

L-Mo - Got Gumption? (Gumption? Records)

The description "Jack Johnsonesque sound" is likely to strike fear in the majority of people but for those of you who aren't put off by it, then L-Mo's debut album Got Gumption? is for you. All of the tracks on the album are backed by an upbeat acoustic guitar and, at times, this is enough to pull them through. 'Simple Living', for example, is catchy and while you may not be able to describe why you like it, you'll find yourself toe-tapping along to it. However for the vast majority of the album, the vocals just don't work and are often so tuneless that it's impossible to enjoy the track, especially so when lead singer Luke Moseley indulges in beat boxing on 'Too Bad'. It could well be that L-Mo are the kind of band suited to EPs where their flaws won't be so clearly exposed over a shorter period of time. 4/10

Posted on 06 March 2010 by Ian Sandwell

The Go Find - Everybody Knows It's Gonna Happen Only Not Tonight (Morr Music)

“Here come the Belgians!” yelled Stuart Hall on TV’s It’s A Knockout. This would almost certainly be followed by someone trying to carry a bucket of water up a 45 degree incline while dressed as a giant waiter (ask your parents if you think I’m making this up). Fortunately the only assault course that this bunch of Belgians (with their mouthful of an album title) are traversing is one of musical history.

Everybody Knows It’s Gonna Happen Only Not Tonight is an atypical album from the Morr Music stable, exhibiting their trademark gentle but lush songwriting and musical delivery. The Go Find have their own style, but also aren’t afraid to declare their undying love for their musical mentors. Pavement’s later pop-heavy period is the key ingredient in their sumptuous ‘Cherry Pie. Elsewhere front man Dieter Sermeus teams up for beautiful duets – his voice intertwines with Karo on ‘One Hundred Percent’ to mesmeric effect.

This is a record thoroughly devoid of any gimmicks, relying on song alone. Whilst it might not be pushing the musical envelope it does seal a perfumed love letter to their heroes within. 7/10

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Posted on 05 March 2010 by Adrian Mules

Frightened Rabbit - The Winter Of Mixed Drinks (Fat Cat)

For The Winter of Mixed Drinks, their third album, Frightened Rabbit have expanded to a five piece and their sound has been expanded accordingly. ‘Thing’ opens up with some glorious feedback reminiscent of The Jesus and Mary Chain and, more recently, Glasvegas and slowly builds in to a wonderful anthem. A great start and one’s hopes are raised accordingly. ‘Swim Until You Can’t See Land’ follows and uses much the same template. OK, no problem with that but as song after song continues in much the same vein one is left with the feeling that an opportunity has been missed. The craft and performances are fine but the monotony of the arrangements proves draining over the entirety. What is left is just a half-decent album. Contrary to the current norm Frightened Rabbit have been allowed to develop slowly and organically, given time to find their voice. For album number four they need to be less frightened and find a little more confidence. 5/10

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Posted on 05 March 2010 by Greg Belton

Excepter - Presidence (Paw Tracks)

A double album is always intriguing, and Presidence, apparently the eighth record in eight years from this New York City six-piece-improvisational-electronic act, is, indeed, a double, at least in the physical realm. Double LPs are frequently summed up as: 'excessive'. In length, at least. That is the case here, though add 'minimalist in execution'. Excepter are, in their own words, "esoteric". Self-awareness is a beautiful thing. Disc one is largely comprised of a "song suite" entitled Teleportation, and comprising individual pieces subtitled things like BRE, KAL, LIL, the significance of which, if any, is not immediately apparent. The music is low-key, ambient and repetitive, here and there reminiscent of Japanese synth guru Kitaro and frequently haunted by babbling voices, monastic chanting, garbled radio transmissions and general ghostly moans. The finale, 'When You Call', is the stand out, lumbering and menacing, like Sunn 0))) with synths. 5/10

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Posted on 04 March 2010 by John Weddell

Follow Your Heart - Mat Riviere (Brainlove Records)

The debut album from Norwich-based Mat Riviere is one of those records that sounds like it was designed to clear parties. We're told Mat's attempts at joining other bands failed due to him not being much of a social animal. Thus his fellow band members are now a couple of keyboards and a laptop, providing him with gloomy, sometimes catchy beats 'n' electronics to sing over in a vocal style that resembles your depressed uncle after he's had a few too many whiskies or occasionally a more docile Mark E Smith. Follow Your Heart is vaguely intriguing, but is too impenetrable to imagine its reach extending much further than masochistic fans of lo-fi art pop. 4/10

Posted on 03 March 2010 by John Donnelly

Wolf People - Tidings (Jagjaguwar)

A collection of tracks recorded between 2005 and 2007, Tidings is the first release from Wolf People, the first UK band to be signed to renowned American label Jagjaguwar, the same people to have brought us Black Mountain and Oneida amongst others. A mish-mash of bluesy guitar, kraut-rock workouts and noisy feedback, Tidings is a fitting introduction to this Bedford-born band. A distinct retro feel flows throughout this LP, with some entrancing 70s psychedelic and progressive sounds coming to the fore on tracks such as ‘Black Water’ and ‘Storm Cloud’. Each track is bathed in pops, clicks and tape hiss, only adding to the nostalgic feel, yet Jack Sharp’s vocals come through clear as day, his smooth and at times soulful voice being the perfect partner for the music. Interspersed throughout the album are snippets of studio talk, field recordings and fragments of songs, which make Tidings feel almost like listening to some long forgotten studio tape. A stunning release full of nostalgia-tinged, psychedelic gold, this is a record born in the present but firmly placed in the past. And it’s no less brilliant for it. 8/10

Posted on 02 March 2010 by Freddy Palmer

Bomb The Bass - Back To Light (!K7)

Back in the late 80s and early 90s, Bomb The Bass had a run of commercial and critical success; 'Beat Dis', a sample-heavy dance track reached number two in the charts, while the later 'Bug Powder Dust', lest we forget, took William Burroughs as its subject. Although you could be forgiven for thinking otherwise, main man, Tim Simenon, has never gone away, producing other acts and punting out occasional Bomb The Bass material to seemingly little fanfare. Back To Light is a far cry from the cutting edge early sound. Bar the final track, an instrumental with input from Depeche Mode's Martin Gore, the album never strays from dancey synth pop. While individual tracks are not without hooks, the guest vocalists are strictly adequate (think Chris Martin-bland) and the cumulative effect is rather monotonous. I wouldn't advise sitting this next to recent efforts by Hot Chip and Delphic. The most Back To Light is likely to be met with is a, 'I didn't know they were still going'. 5/10

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Posted on 02 March 2010 by John Donnelly

Sarah June - In Black Robes (Silber)

Gothic-folk singer-songwriter Sarah June's debut album In Black Robes can be a bit unsettling on the first listen. Her child-like voice, reminiscent of Johanna Newsom or Cranes' Alison Shaw, and accompanied solely by acoustic guitar sounds ghostly, haunted and decidedly eerie. Get past that however and you discover beautifully crafted songs steeped in the folk and blues tradition. 'Cowboy', 'Bluesy Melody' and 'Brand Of Bitterness' have a jazzy feel to them while 'Judgment Day' ("The hooded man with the bony hand / he pointed to me one day") and 'The Reaper' have that scary messin'-with-the-devil storyline of the old blues classics. 'From My Window High', Paper Lantern and 'In Your Chevrolet' are delightfully pure folk, June's voice transporting the songs along while adding a distinctive and original element often missing in tradition folk fare. In Black Robes is a lovely debut record, unusual and unsettling and very enjoyable, with 13 distinctive tunes that should appeal to adventurous folkies and indie listeners alike. 6/10

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Posted on 01 March 2010 by Olivia Schaff

Boys With X-Ray Eyes - Oh My! How We Terrify

More disruptive than a hand grenade in your frosties this mini-album from Boys With X-Ray Eyes is a random explosion of riotous energy and unnecessarily bloody gore. Those of a nervous disposition will be wise to turn back while there’s still time to escape the merciless onslaught of crunching riffs and terrifying vocals which emanate from a dark place somewhere well beyond the grave. The dropped tunings add to the mounting sense of doom and, while there’s nothing terribly original on offer, this album has the power and theatricality to deserve a place in your collection. Key track on Oh My! How We Terrify (available here) must be the shocking ‘Electro The Human Lightning Bolt’ which veers from formulaic death metal into a disturbing twilight zone in which Kronos is having some form of seizure over a Boyzone outtake. As Homer Simpson once wisely said, if there was a law it would be against it. You have been warned.
 7/10

Posted on 01 March 2010 by Steven Burnett