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Concept albums are difficult beasts. The fictional society portrayed from various perspectives in this debut is imaginative and colourful, but seems contrived and lacking in any real point. The songs themselves, however, are engaging enough to render the concept redundant...Admittedly, the extroverted nature of most of the lyrical material here is often just annoying, while, in terms of harmony, the album is quite adventurous, but some of its uses of chromaticism come across as psychedelic cliché. It is the record's manipulation of timbre that proves most varied and exciting. A playful, diverse attitude to sounds is evident, the results of which often resemble Flaming Lips or Mercury Rev. Quirky modulation effects that are very difficult to pull off tastefully prove surprisingly effective, as on the backing vocals of "New Horizons' and the lead electric guitar in "Eugene'. There are also very organ-like synth patches, and equally organ-like organs, and some excellent ambient electronic passages such as in "Lock Up Your Sons' or the subtle opening of "My Talisman'. Now and again, the idiosyncratic use of strange reverbs and particularly fuzzy… Continue reading...
First listening to New Surrender's opening track "The Resistance' one thought echoes in the cranium: another band jumping onto the "emotional rock' band-wagon (what else does one expect from the producer of Fall Out Boy, Yellowcard and New Found Glory?). However, this Miami-based quintet has (mostly) proved my Numbskulls wrong. Read more
How much do you like witches? Yes, they're cool and all with their broom transportation and mastery of the cauldron, but does your love extend to sitting through eight consecutive musical numbers dedicated their way? Read more
Posted in LS2 » Music » Destructors 666
Described by Mojo as "delightfully twisted', this new Yorkshire artist has successfully delivered a piece of art that's as creepy as it is wonderful. Read more
This second album from the Brooklyn six-piece is a mixed affair, veering from thoughtfully engaging lyrics of some songs to the bland, dreary moan that emerges from others. Armed with two drummers and three vocalists, It’s Frightening suffers mostly from a glib indecisiveness on how to build on the foundations of their palatable 2007 debut record Fort Nightly.
Read morePosted in LS2 » Music » White Rabbits
The boys from Morden are back with a vengeance. No Hope, No Future is full of the same stuttery strumming and riotously catchy lyrics as their debut, and, while the times may have changed (think back to the ancient history of 2007 and the emergence of Jamie T and the Maccabees) Good Shoes’ toe-tapping tunes have not. Breathe a sigh of relief.
Read morePosted in LS2 » Music » Good Shoes
I’m going to level with you. I'm not a metal fan. I went through a Trivium phase when I was 13, and the Killswitch cover of ‘Holy Diver’ was alright. Other than that, I struggle. We have a problem then, in that London quintet Mia Hope are a fair bit worse than the above bands.
Read moreWhen last we saw la belle Gainsbourg, she was mutilating herself in a most private place at the behest of malevolent directing genius Lars von Trier in last year’s harrowing Antichrist. This, hot on the heels of a near-fatal brain haemorrhage, has hardly left her in the best mindset to record the follow-up to 2006’s critically acclaimed 5:55.
Read morePosted in LS2 » Music » Charlotte Gainsbourg
It is not often that you hear an album that is totally and utterly of its time, kinda like the way The Stranger speaks about The Dude at the beginning of The Big Lebowski. Of all the adjectives that could be used to describe Odd Blood (intelligent, intriguing and uplifting, for a start), contemporary is the one that sticks.
Read moreLil Wayne loves bitches. He also has a fondness for cars and money. But hell, so do a billion other rappers. Since political rap went underground again, these businessmen/musicians have dominated the charts, MTV and the perception of rap in the eyes of the media.
Read morePosted in LS2 » Music » Little Wayne
Blame Fever Ray’s eerietronics or the bouncy synthpop of Miike Snow, but I always envisaged Sweden as a place where children would run around with synthesizers as hats and drumsticks for arms.
Read morePosted in LS2 » Music » Straight Lines
Those brackets aren't just some indiefied affectation; Field Music's first album after a three-year break and some successful side projects (School of Language, The Week That Was) is technically another self-titled effort. More than one reviewer of their first two albums commented on the band's ability to cram two albums' worth of ideas into forty minutes, so it's interesting to see what they do with an actual double album. The double is traditionally a place for successful bands to expand their musical palette and experiment...or at least fuck around and churn out filler. Fortunately, (Measure) doesn't really do either of those things.
Read morePosted in LS2 » Music » Field Music
With the ever growing commercial success of British dance music, it seemed inevitable that it would infiltrate the establishing pop sound of 2010. This album follows exactly that pattern, demonstrating a three piece band with an obvious understanding of classic guitar based tunes which, incidentally, have also had a 'dance makeover'.
Read moreStrange Boys are peculiar lads. As a group of hip young men hailing from Austin, Texas, their sound is an almost predictable mixture of 1960's dusty rock 'n' roll riffage and Brit-rock swagger of early Stones proportions. However, in recent interviews, Strange Boys have indignantly declined comparisons with Rock 'n' Roll revolutionaries such as Chuck Berry, 13th Floor Elevators and the Strangeloves, going so far as to claim the vastly influential late 60's garage rock compilation Nuggets as "filled mostly with boring stuff and horrible lyrics"? What?
Read morePosted in LS2 » Music » Strange Boys