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Monday, 8 August 2011

Viva Brother - Famous First Words - 01.08.2011


Well, I've been talking up the lads from the start of the year, so here's what I thought of Viva Brother's debut album.

So this is really crunch time. The talk has been building up all year, from the word go Viva Brother were the return of guitar music to the charts, the much-heralded Britpop revival that we all desperately needed. But after a delayed release date, a few immeasurably catchy tunes and an enforced name change, does ‘Famous First Words’ walk the walk?

Unfortunately, the problem is we’ve heard all the best songs. ‘Famous First Words’ makes no attempt to hide its influences lie very much in the 90's British heyday and makes no claim to be the smartest album released, it’s about hooking guitar melodies and fist-in-the-air shout ‘em loud choruses. So let’s start with the good side.

The singles from the album are unstoppable and irresistibly catchy. Starting from first track ‘New Year’s Day’, the Blur-esque feel is clear but you cannot deny the jangling riff and euphoric release of the chorus. It’s the same for bright and soaring ‘Still Here’ and the instantaneous ‘Darling Buds of May’, which still stands out as a guitar anthem for the year. Album ender ‘Time Machine’ stands out as the best moment; moody guitars, a brooding riff and swelling chorus from Britpop at its best.

But we’ve heard all of them before. Delving deeper, add ‘High Street Low Lives’ to the must-hear list with a boisterous charge, energetic bounce and the excitable line ‘This is real, and I’m free/This is what I wanna be!’. Then their attempt at a Champagne Supernova-moment, ‘Electric Daydream’, with a slower and more arms-waving-hug-your-mates vibe, and guitars wailing in and out, does hit the spot. After that though, it gets a bit barer and every song starts to sound the same.

‘David’ is their transparent attempt at a Tracy Jacks/Digsy’s Dinner throwaway without as much success, while the latter half of the album all blends into one. Beginning with the lumbering ‘Otherside’ (with possibly the best example of the questionable lyrics throughout with chorus ‘Cos’ I got a job, but I don’t work/And I got a car, but I don’t drive/So I’ll see you on the other side’), ‘Fly By Nights’ attempts to be hooking but by this point, the Gallagher-like slurred vocals are waring thin and the guitars all wail in the same way. ‘False Alarm’ also makes little impression; it all melts into one Brit-rocky mess at its worst points.

So let’s get this into perspective. Viva Brother were talked up to be the best thing since sliced bread, the lads talking themselves up as much as anyone, and unfortunately ‘Famous First Words’ hasn’t lived up to the hype. But that’s wrong; they have written some irrepressible tunes, guitar tracks that are much better than anything in the charts and their live show is one that has to be seen. So, through all the talk, Viva Brother aren’t the saviours of British rock, just a good new band who have made a solid debut album.

Slightly disappointed but you still cannot deny those tunes, and here's the best, 'Time Machine'.

NWR

Monday, 1 August 2011

Wolf Gang - Suego Faults - 25.07.2011

Coming up through the ranks of new music are Wolf Gang, and here's what I thought of the debut album:

In the latest in a long line of spritely synth-laden indie prodigies, Wolf Gang are the latest to put their case forward. Specialising in the gleaming Technicolor pop that MGMT brought to the masses, the project led mainly by Max McElligott have been slowly building up a reputation – supporting Florence + The Machine and Editors, touring extensively on the London scene and playing at the NME Awards Show. Now, ‘Suego Faults’ is the first proper evidence of their talents.

Summery and shimmering, ‘Suego Faults’ is the direct descendent of MGMT’s glittery psych-pop; gloriously symphonic and brilliantly hooking in places and flawlessly produced throughout. In fact, producer Dave Fridmann worked on MGMT’s output as well as Mercury Rev and Flaming Lips, and his kaleidoscopic expertise is here for all to see.

There are plenty of pleasing moments; opener ‘Lions In Cages’ makes for an exciting start, borrowing the beat from ‘Time To Pretend’, pounding electronics and a grand feel to welcome in the record. Single choice ‘The King and All of His Men’ is an instant hit, catchy indie pop with a pulsating rhythm, and a tale of terrorists ‘bringing their fight’ to the UK, and the MGMT falsetto vocals compliment the almost Adele-like piano ballad that is the title track.

The album also finishes on a high note – ‘Planets’ developing into an Elton John or Beatles type meandering piano waltz to see you off. ‘Midnight Dancers’ is a touching tale of two lovers in Paris, while the best moment comes in the sure-bet for the next single, ‘Stay And Defend’. A paranoid expression on modern society – ‘Everybody always seems to talk about/The sun setting in the West/Do we give up, just enjoy the lights?/And say we tried out best?’ – immediately connects with a bright, driven and extremely catchy melody.

But for all the pleasing moments, some just drift by; overflowed with the generous synths and drowned in atmosphere. The wide-eyed bubbling pop of ‘Something Unusual’ is too lightweight; ‘Back To Back’ is more understated and mysterious but trundles a bit too much; whereas both ‘Dancing With The Devil’ and ‘Where Are You Now?’ slide by in the same hi-resolution and shiny way without much impact. These do slightly detract from the finish product; taking it from great to good.

Max McElligott is a talented guy, and has written some undeniable tracks. ‘Lions In Cages’, ‘The King and All Of His Men’ and especially ‘Stay And Defend’ are fantastic and grabbing melodies, but ‘Suego Faults’ sometimes falters from over-production and never drifts too far away from the MGMT formula, despite brief glimpses at Elton John balladry and David Bowie variety. A fine debut effort, but with room for improvement.

Good LP, and here's my favourite track 'Stay And Defend'.

NWR