#257: Barstow Bats - Self-Titled (EP review)

Dumfries quartet Barstow Bats haven't, in the grand scheme of things, been a band for all that long.Formed in 2012 and signed a year later, it seems things have worked in the bands favour from pretty much the word go and while their sound isn't all that original, it doesn't have to be. Built on a foundation of 60s pop influences, contemporary indie and typical Scottish weather, the band's debut self-titled EP is four tracks of appropriated genres, gritty vocals and an untapped energy that runs riot across the record's reasonably short run time.

First track 'Play Piano' is a loose, jangly garage rock anthem that rattles towards it's conclusion with the same style and swagger as an early Strokes record. This, coupled with a romanticism that smacks of Dundee's The View, makes for an engaging opening track that encourages listeners to delve a little deeper. Similarly, 'Heartbreak Kicks' is a straight-to-the-point bluesy number complete with wailing guitar and chunky bass riffs. With nothing fancy at play, no opulent ornamentation, it's straight up, balls to the wall rock'n'roll that drips with the same swagger as it's predecessor.

Final track 'Marcitrio' is where the EP gets really interesting. With the first three songs upholding an almost reckless punk aesthetic behind the guitar licks, 'Marcitrio' is where you feel the wings of Barstow Bats begin to unfurl. A slow and mournful lament, the track relies almost solely on the vocal stylings and lyricism of Andrew Rendall, the instrumentation forming an ominous canvas on which the lyrics paint. It's a stark contrast to any of it's predecessors, but it suggests a deeper musicality can than anything it proceeds, and a maturity within the band collective. Great stuff.

Barstow Bats don't care if they're cool, and as a result, they fucking are. Drinking from a wealth of influences, their output certainly isn't as original as some might hope (with the exception of 'Marcitrio') but when it's put forth and brought to the fore with as much confidence and conviction as it is here, originally really doesn't matter. What does, is energy, and the clear enjoyment of the band in question and with the bucketloads of both that Barstow Bats come armed with, you really could do far worse than checking them out.

This review was originally for Listen Up Manchester. Click here to visit their site.

#254: The 1957 Tail-Fin Fiasco - Cruise Control (EP Review)

The first thing that struck me about Essex pop-rockers The 1957 Tail-Fin Fiasco, aside from a name that staggers and stumbles rather than rolls off the tongue, is that the wrong Beech has been asked to review them. Indeed, it seems the task of critiquing the band should have fallen to my dad (whose appreciation of music ranges from the downright questionable, to the fantastic). Fitting then, that the band purport themselves as “proper grown up pop music”, as after just one listen of their Cruise Control EP I can already hear my dear old dad crooning along to them after a glass [Read: bottle] or two of Cab Sav.

With their target demographic clearly established, I go in to this review tentatively; at 23 I would hardly consider myself part of the band's target audience, which is what makes this review so difficult. The first track, the eponymous 'Cruise Control' does just that, it effortlessly glides towards it's conclusion, the smooth and glossy exterior juxtaposed against it's frenetic and high-tempo nature. It's obvious why the band chose this as the lead track from the EP, an early highlight, it's the track that harbours the most universal appeal.

From here on out though the “grown up pop music” really begins to make itself known. From a personal perspective, there's not a huge amount here that grabs me. Second track 'The Legend of Josi and the Juke' is an off-kilter bluesy affair in which a sleazy guitar is paired against crisp keys, and comes off sounding like one of the most competent pub bands you've ever heard whilst following track 'List Song' is a far smoother, softer outing featuring some exquisite production.

Lyrically the band perch precariously above a chasm of cliché; not quite falling, but coming dangerously close. Lyrics such as “If love is the answer, I love no-one” are wrought with a triteness that you wouldn't expect from a band who, musically, are as solid as they are. Final track 'Breakfast of Kings', whilst being another highlight, also sees the band ticking every box on the How to Write A Pop Song worksheet, and whilst “I'll take a drink with ya, I'll take one without...” might well be a lyric perfect the track's aesthetic, that or a variation on that, has also been perfect for a plethora of tracks before it.

The problem with music journalism, is that it's a purely subjective genre. Okay so most people can tell a good song from a bad song (or not as a lot of the charts suggest). But when you get down beneath the flesh, in to the blackened lungs and the failing kidneys of the genre, it all boils down to taste. There's a lot going on with The 1957 Tail-Fin Fiasco that is worth merit, but not a lot of it that appeals to me on a personal level, which (personally...) all my favourite music does. That said however for those who dig “A mix of 70s East Coast strut, post-punk British pop and West Coast Americana” they could probably do much worse than spend some time with The Cruise Control EP.

This review was originally written for Listen Up Manchester. Click here to check them out.

#239: The New Ages - Piper Man (EP review)

Despite having only been a fully-realised band since the formative days of last year, Birmingham-based alt-funk outfit The New Ages have been slowly gathering momentum over the course of the last twelve months, culminating in the release of their debut EP Piper Man which earned them such praise as “...as if Flea and co. found themselves in a room jamming with Arctic Monkeys”. Not bad going for a band who, at the time, had been together less than a year.

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This review was orignally written for Listen Up Manchester. Click here to read in full.

#234: The Bedroom Hour - Themes (EP review)

The Bedroom Hour

Themes

May 17, 2014 (self-release)

8/10

So often these days, when a band finds itself surrounded by a buzz, they rush to release their first EP, or even album, eager to appease hungry press and even hungrier record labels. There are those bands, however, that rather than bay to the obvious pressures they're under, choose not to rush out their material in hopes of being the 'Next Big Thing', but rather wait, hone their trade, cut their teeth, however you want to phrase it, and the fact of the matter is that most bands benefit from their patience far more than those who would rather ride the hype train.

One such band, it seems, are London-based five-piece The Bedroom Hour who, despite having been a band for quite some time now, are set to release their debut EP Themes, on May 17th. Having been following this band for around a year now it's clear that, as the buzz around them has grown, their ambitions and their energy have grown with it. With a steady stream of tracks making their way on to the band's social media pages, each track feeling more accomplished than the last, it was only a matter of time before the inevitable first EP; and it's an EP that sets the bar inordinately high.

Beginning with 'Shadow Boxer', it's clear that the time that the band has spent honing their skills hasn't been in vain. Huge U2-inspired verses suggests an overt penchant for anthemics, whilst an understated bass suggests a firm understanding of spacial awareness within their music that belies the band's relatively young age.

Coming during the latter half of the record, 'Midnight Game' is a particular highlight, and one which brings to mind current Manchester buzz band MONEY. Slow and impactive, and packing far more candour than your average indie band is capable of, 'Midnight Game' once again suggests a maturity within the band, something which is further cemented by closing track 'Slow Motion Cinema' and the almost-tangible emotion that goes with it.

It's rare for a band such as The Bedroom Hour to exhibit the kind of musical maturity that they do, but their savviness towards the industry, and their almost endless supply of patience has enabled them to create one of the strongest début releases I've ever heard. From the rousing vocal harmonies to the elegant guitar work, nothing featured on Themes seems out of place or forced, and it's this kind of release that will surely get those who have had their head buried in the sand for the last 12 months, well and truly excited.

This review was written originally for Listen Up Manchester. Click here to check out their site.