Category: Buzz Chart

When I think of a Night Terror the music that can be heard on this album doesn’t come to mind. Helms Alee‘s first release is far from a terror, it’s a 10 song long soundscape that takes you on a journey comparable to Lord of the Rings. The songs range from being fuelled by heavy guitars and drums to quiet “twinkly” riffs. The high contrast of music on this album is both compelling and mesmerising.

The band share vocal duties between two of them, one being a lower male voice often bellowing out words, the other words are sung beautifully by a woman, which can completely change the tone of a song! Not only that but it’s a very rare occurrence when you hear a woman’s voice on this type of music, and its scarcely heard when such a good voice can accompany such loud music so well.

One band that springs to mind when listening to this album is Converge, mainly their more ambient music when they experiment with different vocal techniques. Night Terror is another release on Hydrahead Records and fans of the label should definitely like this band, they encompass the sound you’d normally hear from a Hydrahead band but also add a completely new depth to the music by experimenting with a variety of different techniques.

In the song Grandfather Claws the music stops, the drums play a different beat and for a moment I felt like I was listening to a stadium anthem, then it kicks back in with more ferocious guitars as if nothing had happened! This is a great technique that I’ve never heard by a band like this; although it’s only for a few seconds it added a whole new level to the song.

Other songs equally as impressive were Rogue’s Yarn, Paraphrase and Wild Notes (which uses only a piano and vocals, adding even more eclecticism to this album), these were the three that stood out the most to me. However the whole album is definitely a great piece of work and a hell of a lot of thought must have been put into it! The songs are narcotic, the music is innovative and all around impressive, this band are definitely worth the time of day.

Jonathan Teggert

The first thing I noticed about this band was the fact their press release said A.J. Mogis produced them; it also said that he produced Bright Eyes and Cursive. Straight away I knew this band could be very good, and I wasn’t wrong! Fake Problems‘ new album It’s Great to be Alive is an array of instruments put together to make a great folk/punk/indie album. Working with A.J. definitely pulled off!

The album kicks off with 1234, which is short and sweet at only 73 seconds long. It’s a great opener that kicks the album off to a great pace. It has brass instruments, what sounds like a xylophone and a catchy chorus, what more do you want from an album opener? It then continues into The Dream Team which is even catchier and has an easily singalongable chorus. The bridge even has a cowbell and clapping, with that you can’t help but sing along.

A few of the songs have religious undertones to them and other lyrical content brings a really nice traditional quality to the band. Everything seems to have a certain groove about it, which will surely be filling the dance floors. Sometimes the band ditches their orchestral amount of instruments and goes back to good old humming, although it might sound odd written down it works well with the music. One more thing about this band that impresses me is how short some of the songs are, a lot of the time bands like to extend their songs with egotistic build-ups to choruses and long bridges instead of just cutting to the chase and delivering the music. Fake Problems definitely do deliver.

Fake Problems definitely seem to have mastered how to write a good catchy song and make it their own. Upon listening to older songs on their myspace I can tell how much they’ve evolved musically, going from more generic indie songs into a genre of their own, no double-barrelled word can sum up this band! If you are a fan of folk/punk/blues/indie/rock anything with anthemic quality then It’s Great to be Alive is the album for you.

They use instruments in their plenitude, guitars, drums, trumpets, trombones, saxophones, xylophones, violins, organs, if you can think of an instrument it’s probably used on here. This album is definitely in a league of its own against its competitors and I’m sure the effort will pay off. It’s uplifting, catchy, innovative, original and fresh, what more could you really ask for?

Jonathan Teggert

It’s been a long time coming, but London five piece Lights Action have hit the ground running with debut album ‘New Cold World‘. After winning funding from Slice The Pie, the band holed up in Yearle Mill in Northumberland to start writing, returning to London to record and mix. ‘Battle of Lovers‘ is our first taster of their debut, and if it’s anything to go by, it’s certainly been worth the wait.

Combining uptempo guitars with rock sensibilities and an unnervingly catchy chorus, ‘Battle of Lovers‘ is a radio friendly attack from a band that have shown that hard work and determination can really pay off. Front man Patrick Currier has a wistful resonance to his vocals, backed up by a powerful and infectious melody and pulsating bass line that’ll have your toes-a-tapping within moments. Lights Action have captured a sound that neatly straddles the line between rock and pop, without caving into either, producing a great introduction to their new album.

With festival appearances at Download, T in The Park and Leeds under the belt, this is a young band hungry for success, and armed with ‘New Cold World‘ 2009 could be the year for them. The album is released on 16th February, but you can swipe a free download of ‘Battle of Lovers’ on 18th February for one day only at www.newcoldworld.com – turn it up loud and enjoy!

Dee Massey.

When you hear a band named Zozobra with a record called Bird Of Prey you can’t help but be bemused by what it’s going to sound like. Not only does the name captivate you, the cover art of an Eagle entangled in what looks like a Snake with arrows penetrating it also does. So far I’m already impressed and I haven’t even listened to the album!

And when I put the C.D on play I’m definitely not disappointed. The album opens with “Emanate” which bursts straight into what I can only call a doom metallic hardcore epic. With rolling bass drums lasting throughout the majority of the song and heavily distorted guitars accompanied by loud deep growls and hypnotizing singing this sets a good pace for the rest of the record.

The songs range from what you’d normally expect on a Hydrahead album to the song “Big Needles” which is 2 minutes and 9 seconds of experimental noise but nonetheless is still pleasing to the eardrums. It’s no surprise when you hear that Caleb Scofield, one of the men behind Cave In and Old Man Gloom is one of the driving forces of this duo. With the other force being Aaron Harris, the drummer of Isis you can tell what type of doom and gloom this band’s going to spit out.

Although this band sounds similar to both members’ other efforts, that isn’t necessarily a bad thing. Hydrahead Records has clearly made a big impression putting out bands similar to this and Zozobra are definitely near the top of the list in Hydrahead’s plethora of acts. Not failing to disappoint in the areas that are expected of these bands and also delving into new more experimental depths of music, Zozobra are both exciting and have a bit of freshness to them.

Tracks that standout for me are the 7 minute long closing track “Laser Eyes” which combines all of the styles the album has used and serves as a fitting ending to the album. Other songs that catch my ears are “Sharks that Circle” using riffs and singing to the bands advantage. Alongside tracks like “Heavy With Shadows” and “Heartless Enemy” this has proved to be a very good effort from Zozobra. After listening to the CD quite a few times I have nothing but praise for this band and I’d advise that if you saw this album in a shop you empty your pockets for it!

Jonathan Teggert

One of the best things about this new track from actor Jason Schwartzman’s musical incarnation Coconut Records is that it uses the phrase ‘Out of control’ in the very first line. I would say that’s in the Top 5 Best Things About The Track. Actually, I’ll go so far as to list what these things are:

1. The soothing voice of Jason Schwartzman
2. The lo-fi acoustic sound
3. The use of the phrase ‘out of control
4. The use of a lilting repeated refrain in place of a full-blown chorus
5. The characteristically sweet lyrics of Schwartzman

The song is lifted from forthcoming album ‘Davy‘ and you can bet that the full-length will be every bit as good as Coconut Records’ touching first album ‘Nighttiming‘. Since the release of ‘Nighttiming’, the existence of Coconut Records has been seeping into the consciousness of indie lovers in the UK and I have yet to know someone who has heard the music and does not love it.

The songs are understated yet beautifully crafted and sincere. ‘Microphone‘ is no exception. It is a wonder how Schwartzman’s music has not become the most popular thing since sliced bread. It’s certainly one of the best things since that famed invention.

Winey G.

The Computers are one of the few recent acts that have emerged out of the dirty underground of UK hardcore and entered a more mainstream alternative music scene in England. Alongside other acts such as Gallows, Fucked Up and Dead Swans, with these bands being the focal point of many magazine pages in the past year. However with a sound akin to their peers in Gallows and Fucked Up its no surprise that The Computers are hitting the mainstream. Taking a more traditional, fast, aggressive hardcore style and sexing it up a bit with some rock and roll riffs and some experimental beats The Computers have a lot more depth to them than just a hardcore band.

With their album “You Can’t Hide From The Computers” coming out on indie favourites Fierce Panda Records, it doesn’t sound like something you’d expect to come out of a label that discovered acts like Coldplay and Keane. These 7 songs of fast paced music manage to get in your face but also charm you at the same time. Not since I heard Refused’s “The Shape Of Punk To Come” have I heard a hardcore record this experimental. Using a harmonica in the track “Teenage Tourettes Camp,” benefiting from the use of dual vocals and with the last song “City Ghosts” sounding more like an early 70s blues-rock band accompanied by the shrieks of singer Alex it makes you realise what musical potential this band has.

They haven’t been around all that long however they have a recent UK tour with Cloak/Dagger and a European tour under their belts. They’ve been praised by Kerrang, Rock Sound and Big Cheese already and probably have a lot more praise where that comes from. The Computers seem like the kind of band that could cater for fans of a whole plethora of alternative music. Sometimes they sound like Black Flag, sometimes they sound like Black Sabbath, sometimes they sound like Led Zeppelin and sometimes they sound like Jimi Hendrix with a little bit of Fucked Up thrown in. Appreciators of the many genres of alternative music should be able too appreciate The Computers.

My favourite song is “City Ghosts,” which you can hear above, as it sounds almost nothing like anything I’ve ever heard on a hardcore record and it’s extremely refreshing! “Teenage Tourette Camp,” and “S.O.S” are also ones to watch out for. “You Can’t Hide From The Computers” is not only a good effort from a fresh new band but also a refreshing burst of energy to a genre of music full of tough guys and breakdowns. After hearing this album I can’t help but wonder if this really might be the shape of punk to come?

Jonathan Teggert

It seems that over the past year, Rolo Tomassi have become a fashionable name to drop, with even the likes of the NME and Vice showing them no end of love. Not that the Sheffield quintet don’t deserve such love, mind; but you have to wonder how many hangers-on will embrace such a twisted, schizophrenic beast of an album as ‘Hysterics‘.

They will if they know what’s good for them, though, because it’s an awesome debut. One that swings from melancholic calm to sheer sonic warfare, and from beauty to savagery – often within the same song. This lot specialise unholy hybrid of twinkling electronics, metallic bludgeon, and all-out hardcore fury, and they spit it out in the form of surprisingly addictive nuggets like ‘Abraxas‘ and ‘Everything Went Grey‘. Hats off to vocalist Eva Spence for her cold croon and spine-chilling roars. That’s versatility.

It’s progressive in the best sense of the word, and – as you’d imagine from a band who count Gallows, 65daysofstatic and Horse The Band amongst their former tour mates – it makes for uneasy (but ultimately rewarding) listening. Check out the track ‘Fofteen‘ on the link above and decide for yourself.

They’ve just been confirmed for the second leg of the ‘Shred Yr Face‘ tour, alongside The Bronx and Fucked Up. Come join the fun at the following shows:

Feb 26th – Leeds Cockpit
Feb 27th – Glasgow Garage
Feb 28th – Manchester Club Academy
Mar 2nd – Cardiff Clwb Ifor Bach
Mar 3rd – Nottingham Rescue Rooms
Mar 4th – London Electric Ballroom
Mar 5th – Brighton Concorde 2
Mar 6th – Birmingham Academy

Alex Gosman

Be warned: if your knowledge of French electronic duo Justice goes no further than the ubiquitous, Simian-sampling ‘We Are Your Friends‘, then the delights on offer here will be something of a surprise (to say the least). In the live setting, Gaspard Augé and Xavier de Rosnay are not so much DJs as mad sonic scientists, gleefully splicing and re-wiring their repertoire into one of the most visceral live experiences since prime-era Prodigy, with many a gibbering, sweat-soaked, adrenalised crowd standing testament to this.

My turn came at this year’s Benicassim festival in eastern Spain, and if you’ve been lucky enough to see these guys over the past year, then the live CD (recorded in San Francisco) will bring back some fond memories. ‘Phantom‘ is distorted almost to the point of sheer sonic warfare (and then returns for a second strike towards the end of the set), ‘Two Minutes To Midnight‘ is hypnotically refined over seven-odd minutes, and the aforementioned ‘We Are Your Friends‘ is only briefly recognisable in its original form before industrial-strength riffs gatecrash the party (courtesy of Ministry’s ‘Just One Fix‘). Awesome.

There’s also the rather excellent bonus of a DVD that chronicles the band’s brief (but eventful US tour) in March last year. To summarise: Gaspard, Xavier, a gun-obsessed tour manager, a philosophical bus driver, a Las Vegas wedding, loads of excited fans, alcohol, extensive partying, police…and plenty more besides. Check it out for yourself, and get your ears around ‘DVNO’ on the link above

Alex Gosman.

UK hip hop usually gets lumped into two boxes by those not in the know. The first is the box labelled “crap” and everything gets chucked in there by people who’d rather support the likes of Bishop Lamont and D12. The second is labelled “Roots Manuva” because that’s the only other UK rapper anyone ever seems to bother with.

But what lurks behind the peripheral of these people, what sits in the hip hop Matrix, is that extra special box. This box is labelled “dope” and in it contains gems from the likes of Jehst and Smurf and Asaviour. Take a look just outside of the box and there’s a track itching to be heard, so let’s start the process by clicking the link above and getting it going.

Cee-Why’s body-shaking beat on comes in like the crazy aliens in War Of The Worlds, making your spine shiver, your fingernails dig into your palms and your eyes widen. It ain’t organ-sucking E.T.s coming for you though, it’s the sound of some ridiculous MCs – newcomer Jyager [pronounced Yay-Ger] shows himself to be able to stand up to the guests on the track – Smurf, Micall Parknsun, Joker Starr and Kyza. Only YNR head honcho Jehst stands above him, but hey, who ever gets the better of Billy Brimstone?

By now you’ll be well into the track and I can predict what you’re going to do next. You’re gonna pick up the track and place it in that box labelled “dope”. Welcome Neo, this is the shit son.

Abjekt.

On the back of their previous single Breathe, SkreinTax – the combined forces of Skrein and Dr Syntax – are back with the title track from their album Scene Stealers and a B-Side featuring rapper and why-wasn’t-he-nominated-for-a-Bafta Adulthood star Plan B.

Scene Stealers, which you can hear by clicking the player above, sees the two rappers ride of a beat by Foreign Beggar Dag Nabbit with choice cuts from DJ IQ. The duo pound the listener with punchline after punchline showing off their respective skills on the mic and give a perfect example of what to expect from the rest of the album [which is out now!].

The aforementioned B-Side, Last Dayz is a non album track, so it’s well worth picking up. Y’know to support UK hip hop n’that.

Abjekt.