The Wombats - Tokyo (Vampires & Wolves) - 27.09.2010

I was a big fan of The Wombats around 2007-2008, and they have returned with a new single, here's my take on it:

It seems like an age ago since we last heard of The Wombats. It is now almost three years since we were treated ‘A Guide to Love, Loss and Desperation’; a vastly entertaining indie rock record that brought the band to the country’s attention. Their latest release, single ‘Tokyo (Vampires & Wolves)’ shows the Liverpudlian trio adding to their reputation though.

Their style was characterised by the alternative guitar rock feel and energetic performances, both of which are there in abundance in the new single. Matt Murphy’s triumphant vocals take me back to The Wombat’s bouncing display at Isle of Wight two years ago. But this time, we hear the undeniable melody with a catchy keyboard backing, giving it more of a club dancefloor vibe.

A very enjoyable song, the same Wombats pace with a dash of maturity and the new album promises to be an anticipated release. Murphy, drummer Dan Haggis and bass player Tord Overland-Knudsen made a big impact with the impressive ‘A Guide To Love, Loss and Desperation’, which spawned many indie anthems such as ‘Moving To New York’, ‘Kill The Director’ and the brilliant ‘Let’s Dance To Joy Division’, and it’s good to hear them back.

The new album, scheduled for a late November release, will have to be hugely remarkable to beat its predecessor, but if ‘Tokyo’ is just a taster of what’s to come, we could be in for a treat. Watch this space.

Look out for the new album, and here's the entertaining video for 'Tokyo (Vampires & Wolves).

NWR

Mark Ronson & The Business International - Record Collection - 27.09.2010

I'll admit there's not a lot of people I despise, but 'super-producer' Mark Ronson is one of those people. Here's what I thought of his latest release:

I’ve never been Mark Ronson’s biggest fan. I am part of that select group that believe he ruined The Zuton’s Valerie and Kaiser Chief’s Oh My God with his over-production ‘skills’ and took all the glory for it. It made me smile to see Amy Winehouse’s recent comment about Mr Ronson, claiming he is ‘dead’ to her after taking the credit for her album for himself, the first time I’ve ever agreed with her. So I made sure I had a listen to his latest release, mainly to slate it. But I must say I was a little disappointed, finding myself even liking parts of it.

Under the guise of ‘Mark Ronson and the Business International’, Ronson’s third album ‘Record Collection’ once again sees him link up with a number of collaborators. Amongst these, Boy George and Duran Duran singer Simon Le Bon feature, alongside the likes of rappers Wiley, D’Angelo and Q-Tip. And the result is a slightly disjointed record that gets stuck deep in your head.

Lead single and first track ‘Bang Bang Bang’ is the perfect choice to introduce the album. Featuring an almost undeniable hook and happy 80’s synths, it is one of the highlights on the album. Follow-up single ‘The Bike Song’ fails to live up to its predecessor, with a simple but uncertain melody, but nonetheless you find yourself singing it an hour later.

Boy George’s contribution on ‘Somebody To Love Me’ makes it more than it would be without his passionate vocals, and Le Bon’s chorus on ‘Record Collection’ fit in well on a well-worked melody. The sinister ‘Introducing The Business’ sees the album takes a more R’n’B twist; with an inticing chanted chorus, rapper Pill’s forceful vocals and an atmospheric involvement from the London Gay Men’s Chorus.

Ronson himself actually takes to the microphone this time; supplying some skilful vocals to ‘Record Collection’ and the chorus of the record’s highlight ‘Lose It (In The End). His downbeat and wistful voice contrasts well to the powerful Ghostface Killah rapping, and coupled with a faster pace, make for the album’s best track.

But the highs are matched by the lows. ‘The Colour of Crumar’ is the best of four forgettable instrumentals, with ‘Circuit Breaker’ sounding like a poor GameBoy soundtrack on a loop. ‘Hey Boy’ has too much going on by the end of a tough few minutes of confused keyboard pop, and ‘Glass Mountain Trust’ isn’t saved by a good performance from rapper D’Angelo.

‘Record Collection’ is an apt name for this album. It is a collection of different artists singing on songs that have little link, the only similarity being the hybrid synth-rap-R’n’B style of the record. There is a very disjointed feel to parts of the album, and a few instantly forgettable songs thrown in. But I can’t loathe it as much as I hoped I would, there are four or five enjoyable moments where Ronson’s ability shines through. He has got rubbish hair though.

The blonde hair is terrible Mr Ronson, but the album is okay. Here's my favourite song, 'Lose It (In The End).'

NWR

Bombay Bicycle Club - Rinse Me Down/Dorcas - 20.09.2010

One of my favourite bands of the moment, Bombay Bicycle Club, have a new single out and here's my opinion:

Bombay Bicycle Club are an impressive band. Their first single ‘Evening/Morning’ was released just over two years ago, and they have accomplished a lot in that time. They have released two studio albums; firstly the impressive ‘I Had the Blues But I Shook Them Loose’ and the second the extremely impressive acoustic ‘Flaws’, while also winning the Best New Band award at this year’s NME Awards and gaining a small but loyal group of fans.

Their distinctive sound is heralded by the indie vocals of Jack Steadman, but they added to their blossoming reputation by adding the folksy-acoustic ‘Flaws’ to their back catalogue. A quite brilliant album, and latest single ‘Rinse Me Down’ is the lead single from that modern masterpiece.

Upbeat from the first note, ‘Rinse Me Down’ bounces along happily, with a light-hearted indie-folk feel, full of momentum for an acoustic number and good cheer for Steadman’s low voice. A fine choice for the album opener and a decent choice for a single which, along with the slightly sinister instrumental ‘Dorcas’, will hopefully add to the hype surrounding the London foursome.

In an age when a lot of indie bands come and go, I for one hope that Bombay Bicycle Club are here to stay. Their two releases so far have stood head and shoulders above other similar releases of the past year or so, and if they continue to pick up followers as they have been doing, we should be hearing a lot more about them.

Probably my hottest tip of the moment, and here's the song.

NWR

Manic Street Preachers - Postcards from a Young Man - 20.09.2010

I'm going to see the Manic Street Preachers later next month, so here's my review of their latest album 'Postcards from a Young Man':

Not many bands make it to their tenth studio album. Manic Street Preacher’s first attempt was 1992’s ‘Generation Terrorists’, and their unique brand of modern rock and political angst is still with us almost two decades later. This is no mistake as the Manics have built a loyal following for their music, and they have branded ‘Postcards from a Young Man’ as their ‘one last shot at mass communication’. You know what, they may have just pulled it off.

You instantly know when you’re listening to the Manic Street Preachers. Whether it’s the powerful vocals of James Dean Bradfield, the intelligent lyrics of Nicky Wire or the theatrical rock sound of the Welsh trio, it hits you early on in a track before anyone needs to tell you that it is in fact the Manics. And that is the case with pretty much the entire album.

Lead single and album opener ‘(It’s Not War) Just The End of Love’ is a well-built guitar pop song with a memorable chorus that will stick in your head and a sweeping grand feeling that covers the entire record. The song ‘Postcards from a Young Man’ opens to an orchestral epiphany and develops into a far-reaching melody, as does the jubilant ‘Some Kind of Nothingness’ and the bright ‘Hazleton Avenue’.

Like all of Wire’s words, there is a message amongst the guitar hooks. The title track ‘Postcards from a Young Man’ assures fans ‘this world will not impose it’s will/I will not give up and I will not give in’. Elsewhere, ‘All We Make is Entertainment’ shouts ‘we were part of the grand illusion’, while the boldest statement song ‘Auto-Intoxication’ proclaims ‘disaster isn’t coming/It’s already arrived’.

The latter is probably the most different song on show; dreamlike vocals are met with an angrily heavy chorus and a powerful statement making for the most varied melody on ‘Postcards from a Young Man’ and therefore probably the most appealing. ‘The Future Has Been Here 4 Ever’, heartfully delivered by Wire, has odd arrangements and ‘I Think I’ve Found Out’ has a distinct mandola opening, but the style of the album is set as grand guitar pop from track one.

The theatrical rock theme is at its best in the anthemic ‘The Descent (Pages 1 & 2), while ‘Golden Platitudes’ is a thoughtful ballad and ‘A Billion Balconies from the Sun’ is a fast-paced rock number. It is an older sister of ‘Send Away The Tigers’, the old Manic sound with a mature vigour from a band now nearly twenty-five years into its career, and with arguably their best release since ‘This is My Truth Tell Me Yours’ in 1998. Album ender ‘Don’t Be Evil’ thumps this home; a confident flashy guitar rock song to seal a bold record.

Pure and simply, Bradfield, Wire and drummer Sean Moore are the masters of the theatrical rock sound and it doesn’t seem to tire, even twelve songs in. The Manics are back on form on the enjoyable ‘Postcards from a Young Man’ and should gain plenty of fans for the effort. It seems their claim of ‘big radio-friendly hits on this one’ has been validated, and it doesn't look like Bradfield & Co. are done just yet.

A great album from the Welsh trio, and here's leading track and first single '(It's Not War) Just The End of Love' for your enjoyment.

NWR

Feeder - Renegades - 13.09.2010

I'm a big fan of Feeder ever since my mind was blown by their Isle of Wight Festival 2008 performance, and here's what I think of 'Renegades', the second single from the album of the same name.

It has always been a bit of a mystery how Feeder have never truly broken into the mainstream of music. They have got some of the essential modern rock songs in ‘Just A Day’ and ‘Buck Rogers’, while have also written some truly epic indie anthems in ‘Just The Way I’m Feeling’ and ‘Tumble and Fall’. It may come as a surprise that the trio have never scored a number one album or number one single, and ‘Renegades’ is not going to break that tradition.

Returning to the earlier, heavier and less commercial Feeder sound, ‘Renegades’ thunders along well; very catchy, full of momentum and with a rousing lyric about rebellion and revolution – ‘things can be different, we can belong’. Much like most of frontman Grant Nicholas’ work, it is the recognisable metal-pop style that we immediately associate with the Welsh band, with a typically Nicholas vocal.

After their brief side-project as Renegades, the return of Feeder was a relief for the die-hards, but the album has only sold respectively. In fact, it was their first effort since the grungy ‘Polythene’ in 1997 not to make the top ten, and neither this single or the similarly rocky first release ‘Call Out’ received much airplay. But they are Feeder songs, another good addition to their collection and will form another part of any big fan’s back catalogue.

In an ideal world, ‘Renegades’ would be on Radio One, it deserves to be for its sheer difference in a world dominated by Jason Derulo, Taio Cruz and Roll Deep and could probably attract a new legion of fans. But for now, us Feeder fans can enjoy it in our relative seclusion.

And here for your listening pleasure, is the song 'Renegades'.

NWR

Weezer - Hurley - 13.09.2010

I was lucky enough to see the very entertaining Weezer live show at this year's Reading Festival, so was eager to hear the new album and here's what I thought of it:

Thank God for Weezer. They will never be a band who philosophize, offer their musings on the purpose of existence or even give much of a political stance in the state of world affairs. But what they will do is give you a laugh and a catchy song about the life of a young nerd in America. And they’re blooming good at it.

The pioneers of geek rock, Rivers Cuomo and Co. have always been about hook-heavy melodies that are light-hearted and pure fun to listen to, and ‘Hurley’ is pretty much that. Just from the choice of lovably innocent ‘Lost’ character Hugo ‘Hurley’ Reyes as the album artwork shows that this record isn’t that serious. It’s just about what Weezer have always been about: the life of a Californian nerd, and it's very hard to find faults with it.

Lead single and first track ‘Memories’ is a retrospective catchy sing-a-long, with Cuomo reminiscing about the band’s early experiences and a touchingly anthemic ‘how can we make it back there?’. Quite an honest message, and there are more hidden in the pleasing guitar pop riffs. ‘Unspoken’ contains one of the angriest ever Cuomo lyrics about a chance being taken away, while the deceptively solemn ‘Run Away’ shows a thoughtful reluctance to an inevitable change much like the more optimistic ‘Brave New World’.

‘Hang On’ is a well-dressed reassurance to a dear friend, while the lo-fi country-esque album ender ‘Time Flies’ shows Cuomo at his most sensitive; and wistfully looking back – ‘time flies when you’re having fun’. They may be set to a back-drop of instantly-recognisable alternative guitar tunes, but they speak the fiercly loyal fan base that the LA foursome have built up.

It’s not all looking back and moving on though; ‘Ruling Me’ and ‘Smart Girls’ are upbeat indie rock toe-tappers and are immediately pleasing, while ‘Trainwrecks’ is a marauding rebellious tale of juvenile laziness. But the ultimately fun and faultlessly ridiculous ‘Where’s My Sex?’ sees Weezer at their brilliant best. The heavy yet immediatley lovable pop-punk track is recognisable instantly with the band, and Cuomo is now a personal hero for getting the lines ‘gosh dang’ and ‘prehistoric screwball’ into a song.

It was never going to be a shining beacon of musical brilliance and variety has never been Cuomo’s thing, but it will draw critical and commercial praise and is a fun album from a very talented band. From the front cover, to the fact the stars of Jackass sang backing vocals to ‘Memories’ and comedy actor Michael Cera did the same on ‘Hang On’, it’s all about being immature and although it's not their best work, it is a fitting advert for who Weezer are. For die-hard fans, it’s another first-class record for the collection. For others, it will hopefully make them go look back at Weezer’s previous exceptional work. And compared to some of the music out at the moment, what a welcome break this is.

Well worth a listen, and here's the video for lead single 'Memories' with the cast from Jackass here. This just about sums them up. Brilliant.

NWR

Brandon Flowers - Flamingo - 06.09.2010

As a huge Killers fan, I like many others was looking forward to lead singer Brandon Flowers' first solo release 'Flamingo'. Here what I thought of it, and I'll try and keep all Killers references to a minimum:

Brandon Flower’s debut solo album is exactly that: a very solo album. There’s no opportunity to miss how much the eighties-pop era has influenced ‘Flamingo’, just the same as there’s no chance to miss the religious imagery that has been packed into the fifty-minutes or so of synth-laden soft pop, fused with elements of indie rock and eighties anthems. And with ‘Flamingo’ being one of the most eagerly awaited releases of the year, he doesn’t disappoint his legion of fans.

The style of the album is set from the off in opener ‘Welcome to Famous Las Vegas’. Already he’s speaking about his hometown in Nevada, but within the first verse we hear references to ‘God’, ‘Disciples’ and ‘Hosanna’. Flowers has made no secret of the importance of religion on his life, but ‘Flamingo’ is crammed with everything from ‘dreamers, harlots and sins’ to ‘redemption, devils, angels and sacred roads’. And all to a soft-pop background. But it’s not as overwhelming as it may seem.

‘Las Vegas’ works well as the first track; atmospheric from the first note, sung soulfully and building into a powerful pop song laced with soft indie rock. Flowers dips into his childhood frequently, referring back to his childhood and early memories, and that is mirrored by ‘Only The Young’. Again filled with religious and personal metaphors, it’s a soulful ballad that builds with every listen and will make a good second single.

Followed by a quicker duet with Jenny Lewis (of Rilo Kiley) ‘Hard Enough’, ‘Flamingo’s’ opening three songs build momentum brilliantly for ‘Jilted Lovers and Broken Hearts’. Instantly memorable, it builds into a pacy and catchy guitar pop song that we have come to relate to Flowers and is the album’s highlight. It would make a great third single.

‘Jacksonville’, with a Pet Shop Boys feel, has a darker and seductive beat that entices and album ender ‘Right Behind You’ has a beautifully touching vocal, while ‘Crossfire’ now reveals itself as a good choice for a lead single. The synth-laced ballad, filled with religious imagery and a catchy chorus, sums up ‘Flamingo’ well. The church-styled hymn ‘On The Floor’ is also well worth a listen, and country-influenced ‘The Clock Was Tickin’’ is an entertaining toe-tapper.

But as albums always do, there are a few dull moments. Bright and bubbly ‘Was It Something I Said?’ is the first throwaway song, followed swiftly by the instantly forgettable ‘Swallow It’ and ‘I Came Here to Get Over You’ leaves no impression at all. But three poor tracks out of fourteen isn’t bad.

All in all, it’s a very solid first solo effort. It is refreshing to have Brandon back; his lyrical talents and recognisable melodies that made the Killers are something that the charts miss and we are returned to them here, showing just how much influence he has on his band. The religious images and themes may grow a bit tiresome towards the end and sure, there are a few duds on ‘Flamingo’. But it’s mostly Killer and only a small amount of filler (see what I did there? I apologise for the terrible pun). A strong start and good finish ensures that this lives up well to the anticipation heaped on it.

And here is, in my opinion, the best song on the album, 'Jilted Lovers and Broken Hearts'. Enjoy.

NWR

Muse - Old Trafford - 04.09.2010

I was lucky enough to have seen Muse's latest gig at the Lancashire County Cricket Ground and here's what I made of it:

For anyone still wondering whether Muse are one of the greatest rock shows around, the euphoric reaction to ‘Knights of Cydonia’ blows any doubt out of the water. Having ripped through twenty of some of the finest songs the 21st century has to offer, ranging from the beautiful ‘Butterflies and Hurricanes’ to the raucous ‘Time Is Running Out’, Matt Bellamy and Co’s latest stand surely cements their place as one of the biggest bands currently in action. From start to finish, they brought their infamously spectacular musical experience to an ecstatic Manchester crowd, with a greatest hits set tinged with recent releases.

Support came from the critically acclaimed Pulled Apart By Horses, Band of Skulls and melancholy trio the Editors; with the latter drawing the biggest cheers with powerful crowd pleasers ‘Munich’ and ‘Blood’. With the mood well and truly set, Muse then emerged triumphantly onto the stage, promptly thundering into the racing ‘Uprising’ and the jagged but nevertheless pleasing ‘Supermassive Black Hole’.

It is for ‘Newborn’ and ‘Butterflies and Hurricanes’ that we are first introduced to the true stretch of Bellamy’s musical expertise; watching the slow classical beginnings of each song evolve in front of us to roaring expanses of guitar rock that stand proudly alongside Muse’s biggest offerings. ‘Hysteria’ and their sublime cover of Nina Simone’s ‘Feeling Good’ were tailored for stadiums, and they fill the bowl of Lancashire County Cricket Ground to the brim. The sheer noise coming from just three men defies physics.

Their latest album, the politically-active ‘The Resistance’, sold respectively and the tracks sit alongside the classics well; ‘Guiding Light’ and the ever-evolving ‘United States of Eurasia’ are just about topped by the platinum-selling ‘Undisclosed Desires’. But the highlight of their most recent record is the commanding ‘Resistance’, justifying its selection just before the anthemic ‘Starlight’.

The band’s two encores just about sum up the brilliance of Muse. First we start off with the beginning of Bellamy’s captivating Exogenesis Symphonies, successfully enticing the crowd with wired orchestral wonderment. Bombing straight into the heavy yet touching ‘Stockholm Syndrome’, they finish an exceptional set with two of their best, the huge ‘Plug In Baby’ and ultimate finale ‘Knights of Cydonia’.

The progressively growing reputation of Muse has been built on their mind-blowing live performances, and the spectacle of this latest effort shows they have no intention of letting that title slip.

NWR

..walking to the sound of my favourite tune...

Hi, I'm a 19-year-old Media Studies student and quite possibly my two biggest passions in life are music and football. Elsewhere in the wonderful world of Blogspot you will find my football opinions blog, but here is where you shall find my music blog.

On here, I shall be discussing a number of things: reviewing albums and singles that I have heard, reviewing gigs that I have been too, talking about the music that I am currently listening to and occasionally putting my oar in on issues concerning the music world at the time.

So, enjoy, leave as many hurtful comments as you would like and tell all your friends :).

NWR