Kings Of Leon - Supersoaker / Arctic Monkeys - Do I Wanna Know?

Two of the bands who seem to have outlived the mid-2000's guitar band boom and are now building to even bigger and better things, but how do the two compare?

Both Arctic Monkeys and Kings of Leon have graced our ears for around a decade now, being two of the best bands to have been produced by the mid-2000's 'indie' boom, but both of course have taken very different routes. The Monkeys, four cheeky lads from Sheffield, re-wrote British guitar bands with their exemplary first two albums, and by way of Josh Homme and desert rock, have grown into one of the biggest bands these shores have produced, with very little drama along the way. On the other hand, the Tennessee rockers Kings of Leon blitzed us with five albums in seven years, trademarking a uniquely Souther rock sound before spectacularly blowing up in 2011, with the band sighting exhaustion and alcohol problems. Now both are back.

Kings of Leon probably have the more to prove. Lead singer Caleb Followill's very public breakdown (as he slurred his way through gigs on the ill-fated 'Come Around Sundown' tour') capped a troublesome period for the five-piece; as the more stadium-gleamed sound of fourth album 'Only By The Night' and the backlash for uncertain fifth record 'Come Around Sundown' ended their previous streak of music invincibility. Now, fresh from rehab and with the batteries recharged, new single 'Supersoaker' sounds like Kings of Leon aiming to refind their signature sound.

Heralded by scuzzy guitars and a drumbeat lifted from 'Taper Jean Girl', 'Supersoaker' is bright and summery, with that reassuring presence of a crawing Followill vocal. It shimmers like the 'Aha Shake Heartbreak'-era sound, and is a welcome hark back to their best period rather than a shameless attempt to recapture their old style. Lyrics such as 'I see through smiles on every face/I don't believe it' and 'I don't know my home/I don't know my place' show that some of the old tensions may not have completely disappeared, but - complete with an effectively simple melody and a feel-good outro - it feels like the band are happy to be a band again. All points towards a better vibe ahead of sixth album 'Mechanical Bull', due for release in the autumn.

Arctic Monkeys' journey to their fifth album has been a lot less dramatic. No rehab, no signs of breakdown at all for Alex Turner and Co. as they have maintained an almost unstoppable rise and rise to the top of British music. First, they re-wrote indie music for the Noughties, and have since become the premium guitar band of these lands, opening the 2012 Olympics and headlining Glastonbury. So there is understandably a different mood in the camp ahead of fifth album 'AM', heralded by single 'Do I Wanna Know?'.

Starting with a unstoppably seductive guitar riff, 'Do I Wanna Know?' continues the good work of 'R U Mine?' by coupling the hard rock edge of 'Humbug' with the bright and romantic melodies of 'Suck It And See' to devastating effect. Turner again croons over a seemingly unrequited love, singing of 'this tune I found that makes me think of you somehow and I play it on repeat' and how 'the nights were mainly made for saying things that you can't say tomorrow day'. It's the sexiest the High Green boys have ever sounded, from the killer riff to Matt Helder's falsetto to the mid-tempo strut, and it continues a winning streak that doesn't seem destined to end anytime soon for Turner.

So in the battle of the tracks it's the Monkeys who come out on top with the seductive 'Do I Wanna Know?'. Alex Turner seems like a man who can do no wrong, as many struggle to name a poor track even among B-sides of the Arctic Monkeys output, and new record 'AM' seems set only to add to that catalogue. 'Supersoaker' is a summery delight, and will go down as a welcome addition to the Kings of Leon's live set, but it is better served as a reassurance that the Tennessee boys are not quite finished just yet.

Two good tracks, but the Arctics just take the win. So, here's their victorious track, 'Do I Wanna Know?', live at Glastonbury no less, for your listening pleasure. Enjoy.

NWR

Lose Yourself To Dance - The Return of Turn Up The Sun

Well, hello people. It's been a long time, but it's time for a new start. While I have been very busy getting a full-time job and moving in with the girl, music has been moving at it's same old hasty pace. We've seen a couple of blockbuster albums, new bands breaking through, the return of some old favourites and many more. So, I believe it's time for the wheels to start a-turning yet again on this grand blog, and let's see what happens shall we?

First up in a short series of refreshers for the year gone by is my summation of this year's Glastonbury. Yes, we all know it was to be the year of the Stones, but was that so?

GLASTONBURY - BATTLE OF THE HEADLINERS
The scene was all set for the Rolling Stones to take the headlines and the plaudits yet again. Almost unbelievably for the band that has done everything, they had never appeared at Worthy Farm, and for the first time in a very, very long time, they almost had something to prove - with Jagger and Richards keen to join that illustrious group of bands famed for their Glastonbury headline spots (Pulp, Blur, U2, Oasis, The Verve to name but a few). And did they do it?

Well, kind of, yes. Admittedly, I wasn't there so I cannot really judge - I, like millions more, only caught the second half of their performance after a lengthy negotiation with the BBC and may have missed the euphoria only felt to those present. And yes, the opening of their set could have been phenomenal. But from what we saw, I found the footage .... cringworthy. What we saw was not the grandfathers of rock powerfully reasserting their place at the top of their game, it appeared to be a set of OAP's struggling to keep up with the pace of live music with some weakly delivered songs. Jagger appeared to be fitting across the stage, Richards barely played his guitar for large portions and drummer Charlie Watts seemed at death's door for much of the gig.

It didn't matter though. This set's place amongst Glastonbury folklore was already secure as soon as they were confirmed at the festival, a band the size of the Rolling Stones and the songs they command demand it. It meant that their performance didn't really matter, just having them there was the moment of this year's festivities. But from an objective point of view, it was clear to see why the band didn't want their set broadcast. It boarded on the embarassing on the slower, less well-known numbers, and the band was carried by the crowd on the bigger numbers, as they willed them to greatness.

So, if they were not the best headliners, who was? Was it Mumford and Sons? The tweed-clad band of brothers in love with the Worthy Farm set-up, having played every year since their inception? Big fat no. Despite the build-up and the fact the folkers somehow got the Sunday night spot, it was a damp squib. While the likes of 'Little Lion Man' and 'I Will Wait' got the flares lit and the crowd bouncing, it was the slow material that dominates 'Babel' that truly killed the mood at Glasto, to the point where even the arrival of Vampire Weekend and The Vaccines at the finale to cover The Beatles' 'With A Little Help From My Friends' was inadequate. Marcus Mumford & Co. have made the unfortunate transition from cheeky folk troubadours to arrogant and disengaged half-arsed performers, and were regrettably shown up on the big stage of Glasto.

With this considered, the Friday night headlines need only turn up, play decently and take the title of best headliner. But that doesn't seem like the way the Arctic Monkeys do things. The Monkeys have headlined before - a underestimated set in 2007 on the back of their second album - but this is an entirely different beast now. Through 'Humbug' and 'Suck It And See', the band's sound has matured and grown, and you only needed to take one glance at Alex Turner's 50's quiff to realise that they have become showmen over the years. Add these elements together, and their show was a revelation. A killer set with no weak spots, even finding space for first album tracks 'Dancing Shoes' and 'Fake Tales of San Francisco'. The Monkeys are a band of extraordinary talents that now boast a repertoire of stunning depth, and put in a magnificent performance to surely reassert their position to overtake Oasis as the nation's favourite band. Adding the touch of a subtle yet euphoric acoustic performance of 'Cornerstone' and 'Mardy Bum', the Monkeys found that special moment that sticks in the common mind of music lovers worldwide - they've got their piece of Glastonbury history.

The Stones may have the status and Mumfords may be Michael Eavis' best mates, but the undoubted winner of the battle of the headlines were Sheffield's own, Arctic Monkeys. With up-coming album 'AM' on the horizon now, the time is theirs to take the title of the land's biggest group and reach that new level we all new was possible from the first chord of 'I Bet You Look Good On The Dancefloor'. Wembley Stadium anyone?

The show was well and truly stolen by Alex Turner, and here's one of my favourite tracks from the show, 'R U Mine?' Enjoy.

NWR

Palma Violets - 180 - 25.02.2013

One of the biggest new bands of the moment, Palma Violets, release their debut album, and here's what I thought of it.

Palma Violets are the latest in a long line of bands that are being heralded as the saviours of British indie-rock, as we struggle to fill the skinny-jeaned, sweaty gig-shaped gaps left by the Libertines and the newly-quiffed Arctic Monkeys. The Vaccines are the cuurent leading candidates for the role, and as debut album ‘180’ shows, Palma Violets are not quite ready to displace them just yet.

‘180’ is a good effort for a debut, sticking closely to the low-fi garage aesthetic of the Libertines and the Strokes, and it certainly has its own charm and youthful signature. The free-flowing ‘Step Up For The Cool Cats’ and it’s repeated final line ‘you got me dancing in the sun’ is terrific, ‘Rattlesnake Highway’ sounds like ‘I Fought The Law’ from an indie garage band and ‘We Found Love’ is melodic and irrepressibly upbeat, with its inate youthfulness summed up by the line ‘gonna find myself a lady friend and stick by her until the end’.

At its best, ‘180’ is brilliantly innocent, refreshing and very British. Cheeky and cheerful, the production makes it feel live, with wild and spontaneous rockouts round every corner, while Sam Fryer’s scuzzy vocals and Pete Mayhew’s keyboards add a distinctive sound to their garage-rock style, as do the odd psychedelic moment (see ‘Last of the Summer Wine’). But as the record goes on, the bluesy ‘Tom The Drum’ and the more subtle ‘Chicken Dippers’ aside, the quality begins to wane.

‘All The Garden Birds’ is okay but instantly forgettable, while the lads have a knack of being annoyingly repetitive, as final track ‘14’ shows – the guitar riff is good, but repeating one line throughout starts to irritate. ‘Last of the Summer Wine’ takes too long to kick in, ‘Johnny Bagga Donuts’ feels underformed and ‘Three Stars’ lacks any purpose. Hidden track ‘Brand New Song’ feels like a weak afterthought and should stay hidden.

But for all the good moments and bad, it cannot hope to reach the heights of the best moment. Opening track ‘Best Of Friends’ is the stand-out moment; raucous and wild yet anthemic and structured, full of spontaneous energy and with a euphoric ending, it’s a winding indie anthem that’s up there with the best of them. It’s their calling card song and a brilliantly uplifting three minute exuberant outburst that lifts ‘180’ before it even starts.

So, Palma Violets aren’t the finished article but ‘180’ shows promise. A mixed bag of psychedelic garage-rock numbers full of potential, but without perhaps the quality and structure to match the youthful and high-spirited feel of these tracks. The four-piece promise to be a must-see live band, but they have not captured that on record just yet. 

So, a good album from the boys, and with a clear stand-out moment, 'Best Of Friends', which I bring to you here for your specific enjoyment. Hence, enjoy.

NWR

Foals - Holy Fire - 11.02.2013

Foals have never been one of the my favourite bands, but here's what I thought of their new album 'Holy Fire'.

Foals have always been somewhat an acquired taste. Always on the edges of the mainstream, labelled anything from dance-punk to math-rock, supported by a fiercely loyal following, it has sometimes seemed like hard work to really like the Oxford five-piece. But now, with third album ‘Holy Fire’, it feels like Yannis Philippakis and Co. are finally reaching out with their biggest – and possibly best – effort yet.

The big hitters on ‘Holy Fire’ do the hard work early on; lead singles ‘Inhaler’ and ‘My Number’ come in at track 2 and 3, and these huge hits act as a sure-fire route into loving this album. ‘Inhaler’ may start with a softly bobbing groove and a Yannis falsetto, but soon evolves into a winding crescendo of guitar before a thunderous riff-heavy chorus that confirms Foals’ new ambitions. Following swiftly after is ‘My Number’; extraordinarily catchy, instantly danceable, funky and upbeat, it’s the song of the summer – in February. And the beachside vibes do not stop there.

‘Holy Fire’ flows brilliantly and there is a spacious yet summery feel throughout. ‘Bad Habit’ is a bright and funky plea for a loved one to leave for their own good, while ‘Everytime’ kicks in with heavier guitars and a sparkling chorus release. ‘Out Of The Woods’ gives the impression of a summer breeze across a xylophone with a delightful bongo interlude, while ‘Milk & Black Spiders’ builds an expansive atmosphere with tight arrangements, coupled with a luscious backing choir and strings, before a kaleidoscopic mandolin-fuelled finale. It’s simply wonderful.

Two stand-out points on the album come in ‘Late Night’ and ‘Stepson’, being pleasant subversions rather than interruptions to the summery indie-pop. ‘Late Night’ may start slow and reflective, but soon turns midway into a stormy and emotional cry of ‘stay with me!’, it acts as a good half-way point. ‘Stepson’, one before the end, is simply stunning; sparse, heartfelt and sorrowful, yearning and emotional, Yannis gives his best vocal and ‘Holy Fire’ has its powerful ‘heart-strings’ moment.  

The standard of song writing and musical craft on ‘Holy Fire’ is outstanding, but if it falls anywhere its on ‘Providence’; a more urgent and heavy but repetitive track, that just about fails to be saved by a wildly aggressive rock-out. The album finishes on ‘Moon’; slow and sparse, it feels like the end and Yannis sings like it is the end of all things – ‘The world is quiet/There is nothing left unsaid’. A near-perfect end to a near-perfect album.

Foals have not only made one of the albums of the year, they’ve put themselves up there with the biggest bands. Brilliantly upbeat and danceable, it’s both artistic and radio-friendly, deep but bright and sunny, ‘Holy Fire’ ensures Foals make that leap to becoming one of the country’s best-loved and most-popular. And who thought an album released in February would be soundtracking your summer?

A brilliant album, one that will feature heavily in the album of the year lists, and here's my favourite track 'My Number'. Enjoy.

NWR

The Beatles - Please Please Me - 50 Years On

Fifty years ago today, The Beatles took to the studio to start and finish recording sessions for their debut album 'Please Please Me'. Little did they or we know, they were embarking on a journey that would lead them to becoming the biggest band on the planet, and making them among the most famous people of all-time. The recording sessions have become the stuff of legend; the four Beatles and producer George Martin did the entire album in 12 hours, and the record went on to top the UK Charts for 30 weeks. But has that debut effort stood the test of time?

It is true that you can tell the difference in the quality of the recording, and a couple of the songs aren't among the band's greatest hits, but 'Please Please Me' contains such an innate charm, that is still easy to see how and why Beatlemania hit these shores. Bright and vibrant, refreshing and simple, with remarkably vibrant vocals and full of uncomplicated pop songs, The Beatles hit the ground running with a mixture of good covers and even better originals.

Has there ever been a better start to a debut album, than Paul McCartney's '1, 2, 3, 4!'? Probably not, and opening track 'I Saw Her Standing There' shows how vibrant and potent The Beatles already were as a live band. In a time where albums were made up of hit singles, covers and filler, 'Please Please Me' is pleasingly full of high-quality songs as the Lennon-McCartney partnership began to blossom. 'Misery' is the Fab Four at their swooning best and 'Love Me Do' is a brilliantly simple but loveable first single. 'Ask Me Why', 'P.S. I Love You' and 'There's A Place' all do the job well; it's the sound of The Beatles as they searched for originality amongst a very limited pop scene. 'Do You Want To Know A Secret' was written as a vocal workout for George Harrison, but he excels with an upbeat and strong vocal, promising much from someone very much deemed as just a guitarist. The title track is the highlight however; that unmistakeable harmonica intro, up-tempo and a hooking melody, George Martin certainly knew what he was talking about when he told the band - 'Well done boys, you've just recorded your first number one'.

The covers were mostly from The Beatles live-set, and complete a very good debut effort. The voice-shredding 'Twist And Shout' is fantastic to listen to, as you can almost hear Lennon tearing his voice over another roaring performance. Listeners get their first helping of Ringo's droll vocals on the toe-tapping 'Boys', with the bobbing 'Chains' and 'A Taste Of Honey' pleasurable if not show-stopping. Capped off with 'Anna (Go To Him)', a low-key tale of lost love with wailing vocals, and the luscious 'Baby It's You', it is a very easy listen, that still brings a smile to the face fifty years on.

There's no doubt that it now drips in nostalgia and sentimentality, and the story of the album's production is full of legend and myth, but 'Please Please Me' is beneath it all a good debut effort. It's difficult to consider now, but you can still see why this was the album that first launched Britain into a state of Beatlemania. It's true that you still hear the likes of 'I Saw Her Standing There', 'Love Me Do' and 'Please Please Me' nowadays; an incredible feat, and the songs themselves have crossed over to another level of music canon. The Beatles were going to get a lot better, but here the potential was there on their debut - and that has lost none of its shine, fifty years on.


It's still a joy and a pleasure to listen to every now and then, and as a special treat, here's the whole damn thing. The Beatles, and 'Please Please Me' - take it away, boys. 1, 2, 3, 4!!!!!

NWR

Biffy Clyro - Opposites - 28.01.2013

Biffy Clyro return with their sixth album, 'Opposites', and they've gone for an ambitious double record. Here's what I thought:

22 songs, and 78 minutes long, ‘Opposites’ sounds like a daunting task. Biffy Clyro have decided to take on the poisoned chalice of the double album - a risky move. Succeed, and it shows a band with impressive variety and talent. Fail, and it’s a nail in the coffin of a self-indulgent band. And it must be said that, apart from The Beatles’ ‘White Album’, many have tried and failed to thrive in this format. So, have the Biff succeeded or failed? Actually, they’ve succeeded.

‘Opposites’ sees the former cult favourites continue their transition to stadium-dominating rockers, and they use the double-record format to their advantage. Yes, you’ve got the ‘Many Of Horror’-esque chart-toppers here, but there are also some nods to the left-field alt-rock of their past, and a couple of experimental turns that delight instead of despair the listener.

An overbearing proposition at first, ‘Opposites’ eases into gear with the part string-laden, part fast-tempo opener ‘Different People’ and the stadium-ready single ‘Black Chandelier’. The majority of the record follows this with a multitude of soft-rock numbers that the Foo Fighters have built their reputation on, with Biffy seemingly set to follow. ‘Opposite’, the slightly heavier ‘The Joke’s On Us’ and the up-tempo ‘A Girl And His Cat’ fit the category perfectly. ‘Biblical’ and ‘The Thaw’ are both certain single choices; the former brilliantly epic as it’s name suggests, the second touching, tenderly delivered and with ‘the secrets of the snow will always come out in the thaw’, the most poignant lyric, complete with a typical Biffy rockout.

The second side flirts with an experimental side, but still returns into their distinctive aggressive yet tight sound, and here it is at its best. The raucous ‘Sounds Like Balloons’, the thunderous ‘Little Hospitals’ and fast-paced ‘Woo Woo’ topped just about by the bagpipe-laden rocker ‘Stingin’ Belle’, but all act as reminders to the unyielding power and taut musicianship that Simon Neil and Co. have with each other. ‘Opposites’ strength lies in that; every song is well constructed, bursting with creativity and purpose and entirely listenable, making it a double album without any splurges of lacklustre filler.

Additionally, many music fans bemoan the experimental moments in double albums, but in an odd twist, ‘Opposites’ ‘ best moments may actually be these subversions. ‘Spanish Radio’ is a trumpet-led funky number with a killer chorus and ‘The Fog’ sounds like a stormy theatrical piece, but the best moment is the atmospheric, climbing symphony of ‘Skylight’, which grows into an orchestral crescendo. Never thought you’d be saying that about Biffy Clyro.

The classic ‘great single album, good double album’ argument has its point here, but every song is well worth a listen. ‘Pocket’ is an upbeat American pop-rock song, ‘Victory Over The Sun’ starts quietly but soon kicks in with a phenomenal riff and ‘Modern Magic Formula’ is booming. Biffy are given the space to breathe with 22 tracks but don’t abuse it; ‘Trumpet Or Tap’ is seductively subtle meeting a fuzz-laden chorus, ‘Accident Without Emergency’ is much like everything before and ‘Picture A Knife Fight’ is a wonderfully upbeat closer. Phew.

It is a heavy listen and ‘Opposites’ sees Biffy Clyro given the room to be quite self-indulgent, but isn’t that the point? The double album sees the Scottish trio do all they can and set out a highly impressive stall; a combination of upbeat radio anthems, their signature alt-metal sound and a couple of excellent subversions, and it’s a joy to behold. Why doesn’t every band make a double album?

So, a successful double album! Well done to Biff, and here's one of my favourite tracks, 'Biblical'. Enjoy.

NWR

The Strokes - One Way Trigger - 28.01.2013

First David Bowie, now The Strokes have made a surprise return with new single 'One Way Trigger'. Here's what I thought of it.

Rumours have been abounding for weeks and months, and finally we have the proof. The Strokes are back. The weekend brought a new song from the New York five-piece, 'One Way Trigger', and news that we are to expect their fifth album sometime this year. And if the first song is anything to go by, it could be their most varied effort yet.

'One Way Trigger' sounds like no Strokes song we've heard before; bursting into life like a Gameboy soundtrack, it's only a minute into the track that you can really tell that it's Julian Casablancas singing, so high is his vocal. Then, things start to fall into place; jangling guitars, a fast-paced and tight drumbeat and the recognisably drawn-out Casablancas voice. 'One Way Trigger' sees Casablancas fighting to break free with the lyrical highlights of 'You ask me to stay/But there's a million reasons to leave', and 'Settle down, out of town/Find a dream, shut it down', featuring some of the more touching of Casablanca's lyrics in later-day Strokes work. All things considered, a highly enjoyable track.

Sitting alongside their more recent and experimental 'Angles' style, 'One Way Trigger' is a bright and vibrant pop song that sounds almost cartoony at times, but hints that The Strokes may continue experimenting on their as-yet unnamed fifth album. But hey, it's just great to have the five lads back, complete with the lack of any B-side, the abstract single cover and the anticipation that this could be another fantastic album. They may not be the indie saviours of the year 2001 anymore, but they are now a great modern guitar band.

A very good track, but you can make up your own mind because here it is, The Strokes' 'One Way Trigger'. Enjoy.

NWR