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Elliott Smith

Elliott Smith
An Introduction To…
Domino Records

Seven years has passed since Elliott Smith’s untimely death (Suicide? Murder? Who knows…) and so it’s probably the perfect time to acquaint those too young to have appreciated him when he was around with the immense body of work Smith created. I’m sure there are also many who were aware of the singer/songwriter but never took the time to appreciate his work. Since Smith passed away, there have been two other major releases which undoubtedly held more interest for existing Elliott Smith fans than this latest one – ‘From A Basement on The Hill’ and ‘New Moon’. Those releases both included a hefty amount of previously unreleased material from the musical genius with ‘From A Basement…’ comprising much of the material that was intended for his next studio album. ‘An Introduction To…’ is more for those who never really had a chance to appreciate Elliott Smith’s music and need a good place to start. And a good place to start it is.

Even containing a fleeting nod to Smith’s debut release ‘Roman Candle’ with the inclusion of ‘Twilight’, this introductory collection of songs unsurprisingly features almost half of the tracks which appeared on ‘Either/Or’ – the album which brought his first real taste of commercial success. This type of success proved to be more bitter than sweet for the artist as he descended into prolonged periods of drug and alcohol abuse. Also related to the ‘Either/Or’ period and featured on this new collection is the song ‘Miss Misery’, albeit an early version of the track. ‘Miss Misery’, along with several tracks from ‘Either/Or’, was featured prominently on the ‘Good Will Hunting’ soundtrack and even earned Smith an Oscar nomination which led to him performing at the Oscars themselves. By all accounts, he was not so comfortable with this state of affairs. Despite the uneasiness Smith felt with the extreme success of his career at this point, he continued to grow as an artist and later inclusions on this compilation include ‘Waltz #2’ from ‘XO’ and ‘Pretty (Ugly Before)’ from the post-humously released ‘From A Basement on The Hill’.

There are omissions (strangely, there are no songs from fan favourite ‘Figure 8’ on this release). But that’s always going to be the case when you boil down the work of someone so talented and prolific as Elliott Smith to a mere 14 songs. The people who picked the ones on this release have done a fair job at proportionally representing the career of a true songwriting genius. Just don’t stop with this introduction.

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Foxy Shazam

Foxy Shazam
Foxy Shazam
Sire Records

On first appearances, the members of Foxy Shazam replicate a modern day Addams Family, unfortunately misplacing Uncle Fester and the Thing. Supporting the image of six un-groomed individuals from Cincinnati, Ohio, it is almost a little difficult to take the American rockers seriously. Once the music begins and Eric Nally steps up to the microphone, the rawness of his vocals guide you through the parallel universe that is their self-titled major-label debut. You will not believe your eyes when you view yourself reaching for that repeat button.

If Foxy Shazam was a cocktail, its ingredients would be as follows; 25ml of facial hair, 50ml of diabolical passion, a slice of lyrical genius and the leading drive of Freddy Mercury. Add that magical technique on blending this infectious mix together and you’ve let yourself in for something that’ll change your views on the world – well, maybe after about six or seven more. Don’t believe me? Put their work of art into your music player and hit the ‘play’ button accompanied by a brutal level of volume so that your neighbours can enjoy the album too – let’s not be selfish. After all, caring is sharing!

From start to finish you can hear an eclectic mix of influences ranging from the raw punk era of the 70s through to the pulsating sound of soul-inflamed vocals from the 90s. Whether it’s the climatic chorus of ‘Wanna-Be Angel’ that draws you in (and it will), or the rhythmic combination of beats and female backing vocals on romantic ‘Connect’, the sextet have seriously thought about the direction of their album; aiming to hit all four corners of the globe – and no doubt the FS globe actually contains four corners.

It is patently obvious that this is not an album that’ll inspire you to get romantically involved in the bedroom, but it is the poison that fills your veins on first listen. The moment the melodic sound of camp-inspired rock ‘n’ roll gets into your system; you’re continuously searching for that sense of release and freedom. Hint: the only antidote is witnessing this tribe of beauties live.

At the end of the day, if you don’t admit publicly that you like Foxy Shazam, Nally et al will most definitely commit social suicide!

Nicholas Coren

Foxy Shazam – Wanna-Be Angel by Crossfire Music

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Belle and Sebastian

Write About Love
Rough Trade

I remember sitting on the edge of a friend’s questionable and crusty bedspread watching a collection of exciting new scene videos around the time when higher production values didn’t necessarily mean higher costs or higher creativity, and asking the owner of these foul sheets the following question: “mate, are skate videos ruining Belle and Sebastian or are Belle and Sebastian ruining skate videos?” Thankfully, that question isn’t at all relevant now regardless of what the early PWBC episodes may suggest but one thing was for certain, the Scottish band then were becoming a little too twee and to an extent obvious and annoying. Many of us had grew up associating with their pure honesty and irreputably superb songwriting abilities reminiscent of that ‘golden’ era or whatever you want to call it, and to see them actually turn the volume down themselves and fade into clichés of clichés of clichés that even critics couldn’t keep up with was somewhat upsetting. So here we are, four years after their last album which had that shitty little frog song on it (ok, I like it, whatever, but it’s very silly), and with Write About Love it seems that the band have returned to their original maturity with such grace I feel bad for ever doubting them.

Album opener ‘I Didn’t See It Coming‘ more or less argues my own reaction for me in the title. It’s a stunning piece of work, from the shimmering keys to the hopeful drums to Sarah Martin’s sudden and uplifting vocal to intelligent, honest, emotional lyrics that are peppered perfectly across this shiny disc of wonder and aural nostalgia. All the cutesy nonsense that made a certain writer on this very site pen work with an equally cutesy and lame pseudonym has been replaced with something human, something longing and something all fans of tremendously crafted music can relate to. So please, video editors out there, don’t ruin this one. It’s an album that works without any additional context, and that’s a bold statement to be made about any album in the consumer-heavy infomoretion generation. Brilliant, brilliant stuff.

Stanley

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Bring Me The Horizon

There Is A Hell Believe Me I’ve Seen It, There Is A Heaven Let’s Keep It A Secret
Visible Noise

After their previous album Suicide Season well and truly stamped BMTH as bonafide heavyweights in the UK [and then beyond], it was always going to be interesting to see what they were going to come up with next. Juggernaut songs like Chelsea Smile and The Comedown weren’t easy to follow and yet, from the very first drop on opening track Crucify Me, the message has been confirmed: This album is going to be huge.

Not only do the Sheffield band open with a track over six minutes long, but they mix into the track acoustic guitars, strings, female vocals and crescendos like never before. But if that wasn’t enough to whet the whistle, The Anthem which follows is an unrelenting banger which will surely go down as a crowd favourite in years to come with the battle cry “hate to say I told you so, but fuck yeah I told you so!” and raucous “get the fuck up!” on the breakdown.

The more electronic side of production that appeared in the previous album has been ramped up here too to great effect in a way that adds to the guitars, rather than juxtaposing awkwardly, a trap that they could easily have fallen into. Not to say that it overwhelms the guitars in anyway, as Fuck and Alligator Blood prove with visceral intent. The band are able to mix things up though with It Never Ends and Home Sweet Hole both showcasing songwriting talent for melody and Don’t Go utilising the vocals of Lights to perfect effect.

With this album, the five piece show absolutely no signs of letting up and indeed promise to dominate the metal landscape for a good while to come. Any detractors they may have had need to clam up, ramp the volume on this and let is destroy their cynicism. This one is fucking huge.

Abjekt

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ZZT

ZZafrika
Turbo Recordings

ZZafrika is the third release to come from ZZT in four years, an analogue-heavy leftfield techno project that resulted from the collaboration of two headachingly awesome omnidancemusic producers Zombie Nation and Tiga. This less-is-more release pattern is often as hard to wrap your head around as the records themselves. ‘Lower State Of Consciousness‘ blew up thanks to heavy inclusion on mixes during 2007’s electro takeover and sowed the seeds of anticipation for ‘The Worm‘ which cemented their current reputation of releasing the most refreshing tech-house record (that’s confidently lightyears away from the saturated minimalstepwave scene) every year they release something. I’ll forgive them for slacking in 2009, as Tiga’s Mind Dimension 2, Zombie Nation’s Mystery Meat Affair and his remix of Tiga’s ‘What You Need‘ collectively made up for it. I should probably be demanding an official apology from the pair to compensate for the amount of the braincells I lost freaking out to each.

The hype for ZZafrika was on the enormous Merriweather Post Pavillion scale of hyperbole and fanboy circlejerks. But the live rips just couldn’t be wrong, and as the gorgeously warm chords sift around an expertly crafted beat (as with any record the disco-sampling, MPC-wizard Florian Senfter appears on) it almost feels like they’re making a sly poke at the hype machine’s nature to build up things more tediously than a self-proclaimed progressive house producer. But when the Motherland inspired funk comes in the club should already be punching the air. As for the drop – even twenty or thirty listens later it still feels like being stung by a swarm of killer bees whose stings contain liquid awesome. I can actually feel my brain melting when the final switch up comes around the four and half minute mark. Oh my word. Wo-WOO indeed.

So far, ZZT have made my favourite record of the year every time they release something. ZZafrika does not break this trend and the hyperbolic build up courtesy of the blogosphere is just part of the ultimate ride to a drop only these two can deliver.

Stanley

ZZT – ZZafrika by turborecordings

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The Wonder Years

The Upsides
Hopeless Records

Pop-punk. Is that a dirty phrase? I’m almost loathed to even use it in this review but it’s kind of difficult to avoid with The Wonder Years. There is a clear leaning towards that world in the band’s music. But the band draw upon the influences associated with pop-punk in the very best possible way. They’ve brought the genre bang up to date with an album that unsurprisingly focuses on the upsides in life. The band members have had some bad luck along the way but they haven’t let this get them down and seem to have channeled all frustrations into one of the feel good albums of the year.

What makes The Wonder Years stand head and shoulders above many of their peers is the care they’ve clearly taken to avoid making a one dimensional record. Sure, it’s melody-driven, there are gang vocals, singalong moments and punky drumbeats, but that’s not all there is to it. The gentler approach on ‘Hey Thanks’ sees vocalist Soupy picking up the ukulele and also features female vocals. The Wonder Years’ approach is refreshingly honest. They’re clearly not trying to be anything they’re not. And it just so happens that what they are is a group of people with something to say, great melodies and the ability to craft one hell of a singalong.

Chirps Galore

You can stream ‘The Upsides‘ in its entirety over at the band’s Purevolume page.

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Dinosaur Pile-Up

Growing Pains
Friends Vs Records

What’s the music world lacking in right now? Some straight-up, awesome new rock bands. Dinosaur Pile-Up do a damn fine job of bringing back the gritty yet catchy rock tune with debut album ‘Growing Pains’. Packing a humungous punch through hooky riffs, hard-hitting drum-patterns and some of the most addictive vocal harmonies ever to be heard, ‘Growing Pains’ is a record that begs to be heard by the masses. Because it will no doubt be loved by all and sundry.

Current single ‘Mona Lisa’ is certainly one of the highlights, surging forth with such assured melodic brilliance that it jumps out at you like a lightning bolt. In fact, the majority of the album is decidedly loud and electric. The only respite from full-on rocking comes just before the very end of the record with ‘Hey You’ which sets out very softly softly but ends in a characteristically crashing climax. Another anthem-in-the-making comes in the form of ‘Love To Hate Me’ – dark themes are offset by a chorus melody so brimming with exuberance that you can’t help but smile as you sing along. Singing along is inevitable with Dinosaur Pile-Up. Experimental they’re not, but this is a band so endearingly focused on producing the very best rock tunes they can that you can’t help but get swept up in the wave of rocking riffs and pure melody they so expertly purvey.

Chirps Galore

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Loadstar

Link To The Past / Rapidas
Ram Records

It’s always a source of nervousness when two producers get together to form a collaborative project – will it be amazing or will it career into the gutter with too many styles vying for their place on the track? Thankfully, Lomax and Xample’s Loadstar proves to be very much the former. Already both hyped in their own right, the duo have released Link To The Past and Rapidas on the ever-brilliant Ram Records and have delivered two slabs of banger.

Link To The Past kicks in soon after the intro begins with its gritty bassline’s crescendo, unrelentingly humming over the crisp beats underneath it. Having already been dropped by numerous DJs including their label boss and highly influential Andy C [who showcases their talent in his upcoming Nightlife 5 mix], it’s easy to see why this track gets so much love in the clubs. Four minutes is gone in no time which is testament to the powerful throb of the track and leads perfectly into the second track on the CD.

Rapidas is slightly more of a bubbler with an understated intro kicking off proceedings before the vocals enter the fray. As ever with big D&B tunes, as important as the build-up is, it’s all about the drop and Rapidas manages to include such a drop whilst not veering off into the thunderous b-line of its predecessor. An altogether mellower track, it still packs a punch and has plenty for the headphone listener to pick up on.

This is just a taster of what’s to come from Loadstar and 2011 promises to be a big year for them both.

Ichiban Waifu

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Deerhunter

Halcyon Digest
4AD

This may be only the third proper Deerhunter album, but in modest indie terms Bradford Cox has become something of a star. Whether it be under his own successful solo moniker Atlas Sound, or fronting Deerhunter, Cox has made a name for himself as both a gifted songwriter and music obsessive. As with any new recording baring his stamp, then, Halcyon Digest comes carrying the heavy weight of expectation.

From the noisy experimentation and psychadelia found on their debut Cryptograms, to the critically acclaimed indie rock found on 2008’s Microcastle, Deerhunter have covered a lot of ground in a short space of time and Halcyon Digest continues this trend. The band’s trademark reverb laden guitars are back, giving the record the feel of a lost gem from a past decade. The appropriately named lead single ‘Revival’ is a good example, with a warm and simple sound that feels far removed from the heavily distorted guitars of the band’s earlier work.

In a way I miss the band’s experimental edge, which had up until this point contrasted with the more stripped back approach of Atlas Sound. However, the songwriting here is unsurprisingly top notch, and there shall undoubtedly be plenty more twists left to be taken in the Deerhunter story.  While the band may have sacrificed some of their experimentation since Cryptograms, this has allowed for perfectly refined songs the likes of which could only be possible once those excess layers of fuzz are removed. ‘ Helicopter’, for example, is built around the simplest of chord progressions, but such care has been put into its construction that it needs little else. As Cox’s voice melts into the song’s chorus he strikes upon a melody that no level of pedalboard wankery could match, singing, “Oh these drugs played on me in terrible ways, they don’t play like they used to play”.

While it’s true Deerhunter’s latest is their easiest on the ear by a long shot, the band has lost none of their strength in depth. By cleaning up their sound they have managed to produce a set of crisp nostalgic pop songs, but still with thick layers of ambience to discover and enjoy. Whether this is as good as Cryptograms or Microcastle, I’m unsure, but this could be any other songwriter’s masterpiece.

Sleekly Lion

Deerhunter – Revival by Crossfire Music

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The Sleeping

The Big Deep
Victory Records

The Big Deep as an expansive, thoughtful record. Every nuance is clearly carefully considered and vocalist Doug Robinson delivers with as much passion and intent  as he always has. Whilst perhaps not as immediately and obviously catchy as the band’s previous efforts, this album ingrains itself in your memory after a few listens and you can really appreciate the band’s new depth of thought in songwriting. Not that any of their other albums are lacking thought. There’s just something more serious about the band’s approach this time. They mean business and set out to make a record that will stand the test of time. They may have achieved just that.

There are more keyboards winding their way through the fibres of the music than there have been on The Sleeping’s previous bodies of work. There’s certainly a distinct sinister feel to both the lyrics and music with tracks like Beautiful Gloom wending their way between conflicting feelings of doom and positivity. Retiring Spies (Change Your Life) taps into The Sleeping’s ability to create an original riff-led groove yet still keep a heavy focus on the melody.

The Big Deep is an album of many layers. It is demonstrates the more somber side to The Sleeping perfectly but despite the prevalence of slower jams on this record, there’s still plenty to get excited about in terms of melodic content and riff-led brilliance.

Winegums