#307: dressmaker - Glass (EP review)

dressmaker

Glass

June 23 2014 (self-release)

9.5/10

A running-time of seven minutes is ambitious for any single, let alone for a band's debut release, but with 'Skeleton Girl' that is exactly what London's dressmaker did last year. For lesser bands that might have been fatal, for these four from Hackney, however, it was a stroke of genius.

This review was originally written for Little Indie Blogs. Click here to read in full.

#301: Felt Tip - Simple Things (EP review)

Felt Tip

Simple Things

June 9 2014 (Fierce Panda)

7/10

As Brits go, angular, somewhat self-deprecating indie has always been a penchant of ours, right from the genre's inception in the '80s. Thirty years later, and it's still as strong as ever, with new bands proving time and time again that one of alternative music's main tributaries isn't likely to run dry soon. At least not if Felt Tip have anything to do with it.

This review was orignally written for Little Indie Blogs, Clock here to read in full.

#297: Alice Boman - EP II (EP review)

2014 has been a busy year already, at least as far as Swedish songstress Alice Boman is concerned. Festival appearances and an EP release have seen her profile rise somewhat dramatically over the last few months and one can’t help but think it’s likely to rise even more. Her 2013 debut EP, Skisser’(‘Sketches’), was a collection of tracks home-recorded for the benefit of Boman herself, however when Adrian Recordings first heard the record “time stopped” and the Swedish label knew they were on to something. Fast forward almost exactly a year, and Alice has just released her follow-up, EP II, six tracks of fragile, Scandinavian folk-pop that shimmers with the icy allure of the surroundings in which it was conceived. 

This review was originally written for The Real Music. Click here to read in full.

#279: Elastic Sleep - Leave You (EP review)

Elastic Sleep

Leave You

April 28 2014 (Big Tea Records)

8.5/10

When I first heard Cork-based dream-poppers Elastic Sleep last year, they only had one song - 'Anywhere' - uploaded online at the time, but it was one that left me clamouring to hear more. Thankfully, forthcoming EP 'Leave You' not only sees Elastic Sleep having built upon their sound somewhat, but also having managed to pique the interest of the likes of BBC 6 Music it suggests that 'Leave You' might very well be the release that the lifts the band up a league.

This review was originally written for Little Indie Blogs. Click here to read in full.

#278: Doe - Sooner (EP review)

Doe

Sooner

March 28 2014 (Keroleen Records)

9/10

For a band who have only been together little over a year, London three-piece Doe have recorded and released an impressive amount of material. Bringing in the New Year off the back of a handful of well-received releases, the trio's blend of stripped-back punk and lite-twee has quickly gathered momentum, the overall package tied off neatly by a sugary female vocal. Sweet as it is, however, it is not without a certain degree of bite, furthering the band's DIY approach, and giving extra weight to their punk credentials.

This review was originally written for Little Indie Blogs. Click here to read in full.

#269: Darwin & the Dinosaur - Remus (EP review)

Darwin & the Dinosaur

Remus

7^th March, 2014

7/10

In what is almost certainly a bid to distance themselves from the likes of You Me At Six or Paramore, Norwich's Darwin & the Dinosaur are purporting themselves as an alternative post-punk outfit. And while that may be true to a minor extent, they have more in common the aforementioned than they do, say, The Fall. Genre discrepancies aside however, and D&TD are a solid band that will undoubtedly go on to appeal to fans of the likes of Pierce the Veil or Deaf Havana; their most recent EP Remus feeling like a fusion of contemporary emo, pop-punk with lavish elements of post-hardcore ferocity. It's nothing we've not heard before, but when everything is wrapped up and tied off as neatly as it is here, it definitely doesn't have to be.

Comprised of five tracks and at fifteen minutes long, Remus is a perfect introduction to D&TD. Begining with the blistering 'I Said Goodbye', the record goes for jugular straight off the bat; an incendiary Alexisonfire-style intro eviscerates listeners before they know what's hit them, before slowing down completely into a melodic verse, again akin to Alexisonfire. It's an uncompromising way to start an EP, but it hooks you in instantly.

Following track 'Evergreen' is a less polished, more melodious track in which dual vocals bring to mind early Silverstein, the slightly out of key nature of them only adding to the tracks overall feel. This almost-punk feel is something that runs throughout Remus and is what lends the band their power-pop qualities. The record isn't without it's heavier side though, the final two tracks 'Forever May I' and 'Stalemate' both eschewing the punk vibe in favour of more emotionally charged, albeit mellow post-hardcore.

As mentioned previously D&TD aren't a band who have set out to break any boundaries and as such those of you looking for something a little more left field are probably best looking elsewhere. However should one be looking for a band who wear their hearts on their sleeve and who don't come across as a whiny carbon copy, then they needn't look any further. Will Darwin & the Dinosaur be gracing the pages of magazines such as NME anytime soon? It's doubtful. Will they, and they should be plastered across the pages of Kerrang! and Rock Sound however? Most definitely.

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#266: Brown Brogues - Zoloto (EP review)

Since moving from Wigan to Manchester, scuzzy two-piece Brown Brogues have developed somewhat of a cult following over the last four or five years with their fusion of guttural garage rock, bluesy vibes and punk ethos. Think the MC5, jamming with The Stooges by way of The Black Keys, all wrapped up in the spit’n'sawdust surrounds of one of Manchester’s many dive bars, and you won’t be far off the mark. With Record Store Day 2014 just around the corner, it seems justifiable that such a cult band should want to celebrate the occasion by releasing Zoloto, their first EP since 2012′s Born to Lose.

This review was originally written for Far Out Magazine. Click here to read in full.

#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.

#250: Ninetails - Quiet Confidence (EP review)

Ninetails

Quiet Confidence

March 10  2014 (Pond Life)

7.5/10

Liverpool's Ninetails aren't a band whose sound is easy to pin down; their unusual amalgamations of ambience and art pop sees a whole host of atypical instrumentation brought to the fore, distinguishing the band from any of their contemporaries, almost immediately. Their debut release, 2012's 'Slept and Did Not Sleep', earned the band considerable critical acclaim and now it seems  they look set to build on their reputation with 'Quiet Confidence', their second EP.

This review was originally written for Little Indie Blogs. Click here to read in full.

#248: Puppet Rebellion - No Means Yes (EP review)

Puppet Rebellion

No Means Yes

February 25 2014 (self-release)

9/10

They've been a band for barely a year, yet Manchester's Puppet Rebellion are already making waves both in their city and further afield, thanks in no small part to the depth of their musical prowes and intelligent lyricism. Last year's 'Chemical Friends' EP caused something of a buzz amongst bloggers and fans alike, with the eponymous track even featuring during half time at Old Trafford. With such lofty praise being heaped on the band almost from the word go, it was a worry that any further releases might well not live up to the expectations set out by their first. Fortunately, such worries are quickly done away with, as the band's second EP, 'No Means Yes', not only builds on the foundations laid last year, but exceeds the expectations set at the same time.

This review was originally written for Little Indie Blogs.Click here to read in full.

#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.

#235: Abe - Heave Ho (EP review)

Abe

Heave-Ho

December 2 2013 (self-release)

8/10

So named after one of the original Playstation's most flatulent, yet otherwise charming mascots, Sheffield-based trio Abe have, in December at least, released their first “real” EP in the form of 'Heave Ho'. The culmination of several years' effort from the band, 'Heave Ho' is five tracks of ambitious melodies, off-kilter instrumentation and vocals wrought with emotion that, all in turn, beg the question, why haven't we heard of them yet?

This review was originally written for Little Indie Blogs. 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.

#223: Ecstasy - Exhale (EP review)

Ecstasy

Exhale

December 9 2013 (National Anthem)

9.5/10

Though it's coming late to the game, Exhale could very well be one of the best EPs I've had the pleasure of reviewing this year. Marking London quartet Ecstasy's debut release on National Anthem (Haim, Chvrches), it comprises four tracks of irresistible dream-pop atmospherics and sugary synth loops that sound, somewhat fittingly, like Chvrches would do after a weekend on the band's namesake pharmaceutical (which, by all accounts, is never a bad thing). There is more to it than that, however, and despite there being very little information on Ecstasy at the moment (no bad jokes, please) Exhale feels like the record that's going to get more than a select few excited about them.

This review was originally written for Little Indie Blogs. Click here to read in full.

#219: Art Class Sink - Illa (EP review)

Art Class Sink

Illa

November 25, 2013 (New Level Music)

910

Having shared stages with the likes of Skaters and Temples it seems that Oxford-based four-piece Art Class Sink are well on their way to earning the same kind of recognition that the aforementioned found this year. And well they should. Having featured the band earlier in the year, I was eager to hear how far they've progressed in the six months since then and with the release of their most recent EP Illa, it's clear that the band have matured, tightened and built upon every aspect of their sound.

Beginning with 'She', the record begins with a moody and atmospheric aesthetic that feels like being welcomed back to familiar territory. Built almost entirely around impactive instrumentation, the track feels like a statement of intent, hinting at what's to come, and while it ends on a rather heavy note, the opening vocal melody of second track 'Time To Go' offsets the weight brought on by the ever-present freneticism of the drums.

'A Cry For Help', on the other hand, offsets the energy and relentlessness of the previous two tracks, replacing it with a sense of melancholy that, rather atypically, isn't juxtaposed against an inherent optimism Art Class Sink purport in other tracks. It's quite a restrained track, but it's a welcome restraint, providing some brief respite from their driving guitars and pounding percussion.

The crowning point of Illa however, it's zenith if you will, comes in the form of the final track 'Someone to Try For'. Featuring some seriously blissed out grooves, it's the band mellowing, as much as they can mellow, and is the perfect soundtrack to a festival evening, a couple of months the wrong side of summer.

With Illa, the band have expanded on a sound that was already head and shoulders above most of their contemporaries. A fusion of different ideas and aesthetics, the EP brings that many different aspects of Art Class Sink to the fore, it's difficult to even label it. Relaxed and laid back indie-pop is nestled in side by side with moodier tracks that are, in turn, fitted in perfectly next to shoegaze elements in a combination that one wouldn't think would work. It never feels erratic or disjointed though, and that's the beauty of it, the band manage to create a huge sense of space and of openness, whilst never lacking the drive nor energy to keep things interesting, definitely a band to watch out for as we go into 2014 and beyond.

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#213: Casual Sex - The Bastard Beat (EP review)

Casual Sex

The Bastard Beat

November 25 2013 (We Can Still Picnic/Tri-Trone)

8/10

The Facebook page of Glaswegian quartet Casual Sex, declares the music the band are making as 'sleaze' - nothing more, nothing less, and it's easy to see why. 'The Bastard Beat' EP is chock-full of dirty basslines, off-kilter grooves and lyricism that harbours all the bite and snarl of punk. It's dirty and guttural, but in the best kind of way.

This review was originally written for Little Indie Blogs. Click here to read in full.