#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.

#201: The Battles of Winter - Standing at the Floodgates

The Battles Of Winter

Standing At The Floodgates

November 4 2013 (self-released, digital)

7.5/10

Though plagued with “derailments too numerous to mention”, London-based The Battles Of Winter have, after several years of self-reinvention, finally released their debut album 'Standing At the Floodgates'. Where lesser bands may have broken under the pressures that beset the recording process, the finished product here is an album that feels as coherent as it is concise. Though made up of only eight tracks, '...Floodgates' is a record in which their tenacity, paramount to said recording process, is palpable in each and every track, with the band exhibiting a sense of confidence and self-assurance that could only stem from overcoming the obstacles they've faced over the last few years.

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

#199: Tess Parks - Blood Hot

Album review: Tess Parks - Blood Hot (2013)

This review was originally written for Muso's Guide. Click here to read in full.

#195: Kilto Take - Resolute

Kilto Take

Resolute

November 25 2013 (Medical Records)

8/10

Like many bands of the last 12 months, Kilto Take have an appreciation for all things 80s. However, what separates the Herefordshire three-piece apart from their nostalgic contemporaries is their refusal to bend to the current trends within the industry. Unlike their peers, their appreciation of the era stems from the likes of early-U2, and Echo and the Bunnymen to name but two, and as such they eschew the reliance on synth and 80s club beats in favour of a more traditional, guitar driven aesthetic. Indeed, their penchant for a more traditional sound provides the band with an air of maturity that far outreaches their years. However, while they're obviously indebted to the sounds of the 1980s, Kilto Take refuse to simply ape the era's indie royalty and instead find themselves drawing from a wealth of more contemporary influences, such as Muse and Interpol.

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

#191: The Witch Hunt - Little Book of Hate (EP review)

The Witch Hunt

Little Book Of Hate

October 31 2013 (Dead Young Records)

8/10

Fresh off the back of a summer filled with festivals, Leeds duo The Witch Hunt (comprised of Louisa Osborn and Chris Mulligan) are set to release their debut EP 'Little Book of Hate' to an already burgeoning fanbase. Now, having filled support slots for the likes of Veronica Falls and Wolf Alice, as well as gracing the stages of Reading and Leeds and Tramlines to name but a few, the pair have taken the experiences and opted to fill out their sound by the addition of drums and other such percussion to accompany the driving synth already behind them, providing added texture to an already rich and layered ensemble, making Little Book of Hate the band's most fleshed out endeavour yet.

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

#189: Lay It On The Line - Vigilance (EP review)

London’s hardcore punks Lay It On The Line are a band with an impressive amount of releases under their belt given their short time as a band; undoubtedly something that can be attributed to the DIY aesthetic that goes hand in hand with hardcore, and the energy and work ethic it brings with it; ‘Vigilance’, the forth release from the band, is a perfect example of how hardcore should be: intense, brutal, militant and emphatic.

This review was originally written for Punktastic. Click here to read in full.

#188: Los Campesinos! - No Blues

Album review: Los Campesinos! - No Blues (2013)

This review was originally written for Muso's Guide. Click the link above to read in full.

#185: Future of the Left - How To Stop Your Brain In An Accident

Future of the Left

How To Stop Your Brain In An Accident

October 21 2013 (Prescriptions)

9/10

Formed after the dissolution of seminal post-hardcore band mcklusky (and the lesser known Jarcrew), Cardiff's Future of the Left have been nothing less than prolific in their musical output, releasing on average an album every 18 months since their 2007 début, not counting the plethora of EPs and singles. Now, coming just over six years since their inception the band, in what can only be described as yet another fan-funded success, are set to release their fourth studio album How To Stop Your Brain In An Accident.

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

#183: Kevin Devine - Bulldozer

Album review: Kevin Devine - Bulldozer (2013)

This review was originally written for Muso's Guide. Click the link above to read in full.

#179: Cults - Static

Cults

Static

October 14 2013 (Columbia)

7.5/10


Despite being recorded amidst the throes of a romantic break-up between Madeline Follin and Brian Oblivion, the forthcoming album 'Static' from New York duo Cults lacks any of the underlying bitterness expected from an album that's the product of a parting of ways. Indeed, rather than air their own personal grievances, the duo have opted to make a record that, like it's predecessor, is sweet, sugary and encased in a veneer of silky smooth production. However, whilst 2011's self-titled début was full of twee pop twinkles and xylophone fills, 'Static' offers a far less saccharine listening experience, as Follin's trademark sweetness is offset by a more mature undercurrent, particularly on the latter half of the record.

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

#178: Dave Hause - Devour

Album review: Dave Hause - Devour (2013)

This article was originally written for Muso's Guide. Click above to read the full review.

#177: Dark Bells - Want (single review)

Dark Bells

'Want'

October 21 2013 (RIP Records)

8/10

Like their name suggests, there's a distinct melancholic beauty that surrounds Aussie trio Dark Bells. Building on a variety of aesthetics, the band's blend of psych and shoegaze has already earned the favour of the likes of Line of Best Fit or The Quietus and now, with their second single 'Want', Dark Bells look set to make a whole new host of people fall in love with them.



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

#176: Mikill Pane - Blame Miss Barclay

Despite being a fan of hip-hop and rap, my experience of writing about and reviewing it is fairly limited. It's with this in mind that I approach my review of the début full-length from Ed Sheeran championed rapper Mikill Pane, with caution. Blame Miss Barclay is 15 tracks of sun-soaked hip-pop that paints pictures of life in the country's capital through often upbeat and optimistic lyricism that's occasionally offset by an austere edge that manages to propel Pane just beyond the commercial pitfalls that befell the likes of Dizzee Rascal's later releases. As a result, this leaves an album that's got a raw, gritty candour about it whilst managing to maintain a commercial quality that will appeal to even the most fair-weather rap fans.

The eponymous 'Blame Miss Barclay' is a solid way in which to kick off proceedings; a rap/metal fusion that packs more than it's fair share of punch and is an ode to a high school teacher to whom Pane credits his love of language, something which becomes evident in later tracks. Conversely, following track 'Roll On' couldn't be more different. Produced by dubstep/grime ensemble True Tiger, the track is a laid back, blissed out dub that features the expected upstrokes and excellently integrated brass that make the track a true Summer beat whilst track three 'Summer in the City' continues the albums high quality and warm vibes even if again, it brings a completely different aesthetic to the table. A chilled out and upbeat affair that brings to mind tracks like Dizzee Rascal and Lily Allen's 'Wanna Be' though thankfully, not as cringey. It's also the first instance in which Pane's lyricism drops somewhat, though only with the occasional bar and never anything worth mentioning specifically.

Though the first few tracks on Blame Miss Barclay are upbeat, celebratory tracks with Pane's humour permeating each, it doesn't take long before his more serious side begins to show through; it's here that the true level of his lyricism begins to become more pronounced. Tracks such as 'No-one Gets Left Behind' or 'Rooftops' seem confessional rather than celebratory and it doesn't seem to matter whether the stories Pane spins are true or not, such is the calibre of his penmanship 'You Don't Know Me' in particular address racism in a narrative that comes across like a less violent Plan B.

It's the juxtaposition of upbeat joie de vivre and confessional yet universal angst that sets Blame Miss Barclay apart from other rappers at the moment but it's never going to a contender to less commercial social commentators such as Akala. That said the commercial viability of the record is obviously an intentional facet and one which will allow Mikill Pane to find fans across the board. Trite rhyme schemes such as one which revolves around beer will deter the most stringent of rap fans, who'll dismiss it as pop music whilst the flow and wordplay on tracks such as 'Dirty Rider' do enough justice to suggest that there's far more to Pane than his poppier elements/

Whilst it's not a perfect album, there's enough going on with Blame Miss Barclay to give it repeat listens were rap your thing. Clever wordplay and a solid flow is occasionally offset by more shakier elements such as easy rhymes or poor schemes but as a whole it's obvious that Pane enjoys what he's doing and he's clearly good at it. The choruses of certain songs seem as if they've had at least some input by the aforementioned Ed Sheeran which isn't strictly a bad thing when the verses they separate are as solid as they are. Definitely an album worth checking out particularly if you have an interest in groups like The Streets or The Mitchell Brothers, there's far worse you could be listening to out there.

This article was originally written for Ears On. Click here to check out what else they've been up to.

#175: The Barmines - There's Never Any Romance (EP review)

In a city musically overshadowed by northern contemporaries such as Manchester and Liverpool, Leeds-based four-piece The Barmines are stirring things up by brandishing their no-nonsense blend of garage rock and rousing indie with a wild and reckless abandon. After a couple of years honing their sound, the quartet, comprised of two sets of brothers (Rob & Liam, Liam & Andy) are set to unleash their début EP There's Never Any Romance on the world.

northern contemporaries such as Manchester and Liverpool, Leeds-based four-piece

At a little under ten minutes long, the four tracks featured are a short, sharp, shock to the senses, and introduces their no frills attitude brilliantly. Kicking off proceedings is 'Feel Good' a scuzzy, gritty track in which guitars wail with a corrosive fuzz amidst singer Rob Burton's signature snarl. It's straight to the point, and grabs listeners instantly, effortlessly drawing one in to the rest of the EP.

Perhaps the most stand out track on There's Never Any Romance comes in the form of third track 'Hey Runner'. Equal parts punk and indie, the track, like the record it's taken from, is brief, yet still manages to pack a significant amount of punch as a buzz saw rhythm guitars form an abrasive and distorted back drop whilst Rob Burton's trademark vocal is effortlessly draped over it. It's straight up dirty rock 'n' roll, and it's appeal lies in it's simplicity. This isn't music that's going to break boundaries, but when it's as honest and as down to earth as this, it really doesn't need to.

Lyrically The Barmines are fairly straightforward too; there's no Shakespearian-esque wordsmithery at play, but that only serves to add to their chosen aesthetic. It's straightforward guttural indie that's made for filling venues with heaving masses of dancing bodies, something The Barmines will undoubtedly achieve with There's Never Any Romance and while some listeners will understandably comment that they've “heard it all before” the fact of the matter is that rarely will they have heard it done to this standard. Each track hits home and hits hard, pummelling listeners with 2 minutes of raw abrasion before moving on to the next slice of distorted and danceable indie, begging the question why haven't this four-piece from Leeds joined the likes of Kasabian or the Arctic Monkeys in the hallowed halls of indie royalty.
 

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#173: Hello Frisco - Ain't No Devil, Only God When He's Drunk

Formed from the ashes of the ill-fated yet ultimately well-received pop-punk band Not Katies, Hello Frisco are a no-nonsense genre-warping amalgamation of punk, country and rock 'n' roll that manipulates generic conventions, contorting them to suit their atypical needs. On paper, it's a weird concept and one that might seem somewhat forced or as being different for different's sake. The reality of it though, is a very different story. Punk and country sensibilities are fused together seamlessly and instead of the mish-mash it could have been, Hello Frisco's début album Aint No Devil, Only God When He's Drunk comes across as cheeky and charming and acts as a reminder that you don't have to take yourself too seriously in order to make good music.

This article was originally written for Punktastic. Click here to read the full review.

#172: Haim - Days Are Gone

Haim

Days Are Gone

September 30 2013 (Polydor)

7/10

Often, when there's a buzz surrounding your début album, it adds certain pressures; pressures, it seem, that can make or break an album. When that pressure is having won the BBC Sound of 2013, having fended off the likes of AlunaGeorge and Chvrches to do so, a whole different kind of pressure is brought to the fore. Thankfully, LA's sister act Haim's much anticipated début Days Are Gone was recorded, seemingly oblivious to hype that was mounting around it and is an effortless display of 1990s r'n'b cool, alt-folk melody and subtle yet staple classic rock influences.

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

#171: dan le sac Vs. Scroobius Pip - Repent Replenish Repeat

Album review: dan le sac Vs. Scroobius Pip - Repent Replenish Repeat (2013)

This article was originally written for Muso's Guide. Click the link above to read the full review.

#168: Chvrches - The Bones of What You Believe

Album review: Chvrches - The Bones of What You Believe (2013)

This article was originally written for Muso's Guide. Click the link above to read the full review.

#167: Plainview - Years From Now (EP review)

Lancaster's Plainview are a band brought together, not by a shared appreciation of a certain genre but by a mutual ethos that merges aspects and elements from a plethora of musical stylings and a variety of previous experiences. This fusion of genres has allowed the band to create a sound that's not only fresh and varied but also wistfully nostalgic. There's a certain romantic energy about the ideas the band have, after all, why should a band be pigeon-holed in to playing just one kind of music when there's so much more at their disposal? And whilst most of the tracks from most recent EP Years From Now were available online prior to it's release, it's not until the songs are paired next to each other in EP form than the diversity at play really begins to reveal itself.

It's clear from even an initial listen that Years From Now aims to take listeners on a journey from genre to genre. First track, 'Golden Sound', is an indie-pop anthem which sees suitably jangly guitars paired with crashing symbols to make for an infectious and ultimately accessible introduction to the world of Plainview whilst other tracks on the record, such as 'Drift Away' eschews the youthful optimism of other tracks in favour of a darker, more matured and stripped down aesthetic. A clearly discernible bass guitar rolls the track forward, and lends some weight to the otherwise floaty vocals and guitar work of singer Darren Leadsom. It's a fine example of the musicianship within the band and one which iterates the lack of generic convention across the record brilliantly.

The records climax comes in the form of 'Warmth of the Sun', a five minute grungey shoegaze affair that features dreamy vocals from Leadsom and a particularly effective wall of noise forming the backdrop on which the lyricism can paint. Melodic vocal harmonies compliment what guitar can occasionally be picked out of the caustic tumult it creates. It's blissed out shoegaze at it's most commercial and yet a further example of just how little regard the band have for musical confines.

When bands try to give every track from a record a different vibe or aesthetic, it often comes across as fragmented and forced, tracks never truly roll in to each other one feels they should. That isn't the case with Plainview. What the band have done is create a record which showcases the band's influences without aping them. It blends them together in a decade spanning amalgam that builds on elements of 60s pop, jazz, rock and countless other genres in to one accessible and radio-friendly collection of tracks. It feels as if these songs belong next to each other, despite their differences and it's this that is the key to the band's appeal. Rarely does anything feel out of place and rarely does an EP this varied come off as tight as this one does, Plainview are clearly a band destined for bigger things.  

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#166: Exit Calm - The Future Isn't What It Used To Be

Exit Calm

The Future Isn't What It Used To Be

September 23 2013 (Club AC30)

7/10


From the first moments of opening track 'Rapture' it's clear that Barnsley's Exit Calm are a band with an exceptional amount of talent and an inordinate amount of ideas. New album The Future Isn't What It Used To Be is a record that defies any sort of categorisation. From the optimistic and anthemic exhibited in the likes of 'When They Rise' to the frenetic break-beat appreciating 'Albion' each track offers something different, something new. Rarely can a band merge this many influences and ideas in a record and still come across this coherent, this natural.

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