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Jimmy Eat World

Invented
Interscope Records

With Invented, Jimmy Eat World have won back my undivided attention. For some reason, Chase This Light fell a bit flat but this latest album takes on some of the vigorous and almost sinister tack that Futures took. There’s also some more expansion into the sounds explored with Stay On My Side Tonight.

Jimmy Eat World are a band that often kick off their albums with the most stunning of their material but Invented sees the band bury the gems within the body of the record. Heart Is Hard To Find is a pleasant opener and a great introduction track but it’s the thrilling riffs of the songs that follow which start to send chills down your spine in a way that only JEW can do. A pattern throughout seems to be the relative gentle pacing of verses played out against a more searing onslaught of riffs when bridges and choruses kick in. Evidence is the perfect example of this as the huge-sounding main riff bursts in with an overwhelming presence in between vocalist Jim Adkins’ perfectly pitched melodies. The production is punchy as ever, really bringing out these juxtapositions in dynamic.

Movielike has an anthemic feel with a lilting goodness that leads into a group “woah” vocal. Coffee And Cigarettes is a particular standout track and perfectly creates a nostalgic feel. It also employs the use of the boy/girl vocal which the band most heavily featured on their self-titled album. Action Needs An Audience features guitarist Tom Linton’s vocals in his most highlighted vocal presence since fan favourite Blister which appeared on the band’s 1999 album Clarity. And it’s sure to become another firm fan favourite. There are some epicly long tracks here with Invented (7 minutes) and Mixtape (6.5 minutes) rounding off the album. Some bands can’t get away with dragging a song out this long but hey, JEW wrote the epic 15 minute long Goodbye Sky Harbor and that’s a masterpiece of songwriting so they’ve certainly got the skills to pull it off.

All in all, there are really too many standout tracks to single them all out and that’s really the mark of a brilliant album. Jimmy Eat World have meshed together elements of all their albums throughout the years to create another outstanding collection of songs that fans will be putting on their stereo (or iPod) and singing along to for years to come. This is a band that have really solidified their reputation as accomplished songwriters whose songs mean so much to so many.

Winegums

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Grinderman

Grinderman
Mute Records

Mental breakdowns and crises can occur at any point in an existing person’s lifetime, most commonly when confronted with the concepts of existence, or indeed a limited time in which one can be alive and exist. Shit, I’m constantly surprised that we’re not in a constant state of anxiety-ridden madness, I know I’m flirting with the idea just writing about it. And listening to the latest disc of fuzz-fuelled fantasy and anti-serious garage rock from Nick Cave’s Grinderman project almost tempted me to indulge in a balls-out illicit affair with insanity.

That is not to say that Grinderman is Cave’s outlet to just lose his shit; though shoving on some Roman garb and thrusting lasers at the earth while a wolf circles a girl in a bathtub would almost have you thinking otherwise. And I’m certainly not going green-text imply that The Bad Seeds isn’t the music he truly wants to make. What Grinderman 2 is, is an informed soundtrack of celebration for the natural impulses that linger in our sub-conscious that make us occasionally want to thrust lasers from our dick while wearing armour and shout ‘HERE COME THE WOLFMAN’ while walking into a cinema. It’s the reason why we celebrate Halloween.

Musically, it’s bitter, gorgeous and somehow more sonically expansive then the first collection of impromptu sleazy, visceral rock. Cave’s absurdist saturation of sexual, violent, hilarious lyrics penetrate harder than ever as he scowls on Worm Tamer, ‘My baby calls me the Loch Ness Monster, two great big humps and then I cum’ while the perpetual bass fuzz makes you want to just get up and throw shit. One can only imagine how fun the Grinderman recording sessions are as they surf through high and low culture on an impossibly badass selection of bluesy riffs and guitar noise that can only be made by the monster that lives in the garages of tacky US horror flicks.

So dive in and embrace the wonderful breakdowns that are imminent when listening to one of the most raw albums you’ll hear in 2010. And if you thought your big husband would protect you, YOU WERE WRONG.

The Wolfman

Grinderman – Heathen Child by Crossfire Music

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Aeroplane

We Can’t Fly
Wall Of Sound

Establishing themselves as the demi-gods of underground Italo disco scene, Aeroplane first caught our attention with their spacious & glacial re-works of Friendly Fires Paris and Grace Jones William’s Blood. This duo it seems could do no wrong. And the debut album, we assure you, does not disappoint.

Now minus Stephen Fascina, this is a solo offering from Vito Deluca who continues under the name. We Can’t Fly, co-produced by Francophile Betrand Burgalat, is a mind blowing, pulse racing, heady blend of influences stemming as far and wide as Pink Floyd, Au Revoir Simone, Air, 70s soulful disc, Georgio Moroda to Jeff Wayne’s cult odyssey War of the Worlds, all laid down to big production credentials a la Trevor Horn.  Guest vocalists at hand include LA hipster Sky Ferreira and Merry Clayton who provided backing vocals to the Stone’s Gimme Shelter (I Don’t Feel) and even Moroder makes an appearance.

A truly dazzling debut accomplishment – in every essence a modern day cult classic.

Secret Squirrel

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No Age

Everything In Between
Sub-Pop

Three albums into a short yet critically lauded career, at this stage No Age would probably be forgiven a mis-step. With two great albums already under their belts the band have quickly become one of Sub Pop’s most prized assets, and the addition of Everything in Between to their discography will do this status no harm.

Unlike the band’s previous albums, Everything in Between wastes no time in getting straight into it. The usual ambient and feedback interludes are saved for the second half of the record, as we are greeted by straight up garage rock tracks, laced with more melody than ever before. The band have lost none of the warm and comforting fuzz that they’re known for, but there’s an added sheen to the production of songs like ‘Glitter’ that feels like a step forward for the band. This progression is so slight that they could never be accused of attempting to sound more radio friendly, and when they want to, as on ‘Fever Dreaming’, they still channel raw punk influences.

What makes No Age such an interesting recorded band, though, is their ability to switch it up and produce moments of shimmering instrumental beauty. The first sign of this falls seven tracks in, as shoegazy interlude ‘Katerpillar’ breaks up the record’s two halves. From here the record becomes more varied, as a trio of slow burners ‘Sorts’, ‘Dusted’ and ‘Positive Amputation’ add gorgeous texture to the record. It’s the band’s ability to switch effortlessly between the two that makes them so special, as the album finishes on the poppy duet ‘Chem Trails’.

Where exactly Everything in Between ranks next to Nouns and Weirdo Rippers remains to be seen, but it already feels like a record that could be lived in for a long time to come. In a year where indie rock has at times looked so short of ideas, No Age remain one of the genre’s bright sparks.

Sleekly Lion

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Atmosphere

To All My Friends, Blood Makes The Blade Holy
Rhymesayers

www.myspace.com/atmosphere

Using overly long names to title your releases can most definitely be a pomposity that puts people off listening to a band, but Atmosphere have managed to turn that highbrow nonsense into something so ridiculous, it’s great. To All My Friends, Blood Makes The Blade Holy means absolutely nothing, especially when put in the context the music, but then the last two albums from the Minnesotan duo were called When Life Gives You Lemons, You Paint That Shit Gold and You Can’t Imagine How Much Fun We’re Having, so what did you expect?

Title semantics aside, the music is brilliant. Basically put, it takes everything that’s fun in the duo’s Sad Clown series and some of the instrumentation of the last studio album [Lemons] and churns out 10 tracks that surpass most groups’ studio albums. Leading off with Until The Nipple’s Gone, whose seething intro crescendos  a swirling mass of sound for Slug to rap over before moving into more laid back territory with Scalp and The Major Leagues, Atmosphere lay their variety on the table.

The piano based The Best Day, a happy-go-lucky beat laid under lyrics about how crap jobs are takes things into more cheery [sounding at least] territory and Americareful has one of the most innovative Atmosphere beats in a long time. Ant’s production is definitely on point with the booming basslines of The Loser Wins which is reminiscent of Shoulda Known and some of the most far reaching in his catalogue with the almost Addams Family-esque Hope.

Slug’s cynical outlook on the need to constantly portray oneself as beautiful comes to the fore in Commodities, providing yet another example of his sharp tongue  before the EPs [technically this is a two disc job] finish up with an acoustic sound of Freefallin’ and To All My Friends, giving an idea of how their live sound has progressed their songwriting.

If this is how great they are for their EPs, imagine how incredible their next album will be!

Ichiban Waifu

Atmosphere – Freefallin’ by Crossfire Music

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Black Mountain

Wilderness Heart
(Jajaguwar)

This is the album Canadian psych-demons Black Mountain have been threatening to make since they first unleashed themselves upon the world in the middle part of this decade. Previous albums ‘Into The Future’ and their self-titled debut were littered with moments of unarguable genius, but ‘Wilderness Heart’, their latest excursion into the studio is packed from beginning to end with bona fide stand-out classics throughout. And what makes this album stand out from the pick of the current wave of stoner rock ramblers (see also Black Angels, Dead Meadow, Tame Impala etc) is Black Mountain’s ability to make every song stand on it’s own two-feet, rarely repeating themselves and rampaging through 50 plus years of rock n roll to strike out with an album that drips cool and sublime melodies from every pore.

The duel male/female vocals of Stephen Mcbean and Amber Webber effectively melt together like never before and the sheer variety of styles on here stops this album from ever getting dull. From the balls out Judas Priest (I kid you not) metal attack of ‘Let Spirits Ride’ to the dreamy, ethereal shoe-gaze stoner sway of ‘Buried By The Blues’, Black Mountain have all bases covered. And with songs like ‘Old Fangs’ and ‘The Hair Song’ adding to the sprawling psychedelic journey that is ‘Wilderness Heart’, Black Mountain have created what could possibly be the album of their career. And this year.

Don’t miss them when they play Shepherds Bush Empire in London on October 7th.

James Sherry

Watch the video, listen to and download ‘The Hair Song‘ for free below.

Black Mountain – Hair Song by Crossfire Music

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Weezer

Hurley
Epitaph Records

weezer.com

The release of Weezer’s last album ‘Raditude’ seemed to pass by with a bit of a whimper following the initial excitement at the brilliance of its album cover. We liked it but many didn’t. An album that divided opinion, if you will. Therefore, it’s really quite exciting to see the buzz of anticipation that has surrounded the release of the band’s eighth studio album. This has been fuelled by their incendiary appearances at Reading and Leeds festivals, a solid first single from the record, a bizarre choice of album title and cover and the band’s newfound affiliation with an independent record label (for the first time) – the mighty Epitaph Records.

I think it’s safe to say that many Weezer fans dare not get themselves too excited about any forthcoming release from the band. Despite never failing to have a few amazing singles on each record, the band have been known to fall short of many people’s expectations in the album department. That’s not to say that any of them is bad per se, but expectations are always going to be ridiculously high for a band that started their career with the master stroke of genius that is The Blue Album. However, Weezer have persevered. And thank god. Rivers Cuomo seems to have gotten over the insecurities that have plagued him on and off throughout the band’s career and is now just thoroughly enjoying himself. This enjoyment is really evident in the new album which sees the band using a bit more grit and guitar-driven oomph in comparison to their last two albums. If you had to compare it to any of the band’s previous full-lengths, I think it would be fair to say that ‘Hurley’ fits in well with the Green Album era of sound. Although there are marginally fewer straight-up guitar solos and rather more rocking riffs.

The first single ‘Memories’ kicks it all off in an adequate fashion, though this is far from the best track on the album. It’s evident from the outset that Weezer have started leaning further back towards their roots for this record and this is something that everyone’s no doubt going to embrace. Things get really interesting on ‘Unspoken’, a track which starts off kind of mediocre and slow and then really kicks in with scuzzy guitars and a step-up in tempo halfway through. There’s definitely something thrilling about this song as it goes against all the neat and tidy pop-rock songs which Weezer have become known for (and loved and loathed in equal measures for). ‘Where’s My Sex’ continues the rather out-of-the-ordinary song structuring with some further wild changes in tempo. Yes, it’s a bit ridiculous. But nobody’s going to begrudge these veterans of rock music the chance to go off on a tangent every now and again. It’s what has kept their career fascinating, if a little inconsistent, for all these years.

The ending track ‘Time Flies’ is a little bit of a disappointment in comparison to the rest of the album and leaves us on a slight downer. But really, ‘Hurley’ is the sound of a band back at their very-nearly-best. They’re still going to get out of control and surprise you every now and again. But they are back to writing some of their best material yet. Now let’s just hope for some serious touring because we all want more of what went down at Reading and Leeds. And I don’t think anyone would complain if they added a few more songs from ‘Hurley’ into the mix once we’ve all had a chance to learn the words. Bring on the singalongs!

Winegums

Weezer – Memories by Crossfire Music

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Magic Kids

Memphis
True Panther

Containing several members of In The Red Records’ signings The Barbaras, the new seven-strong collective, Magic Kids, summon a combination of musical talents to create a layered sound that’s so sweet it’s near impossible not to tap your toes and hum along.

Memphis was recorded over several months in the Deep South with Doug Easley, and sounds surprisingly less Country-tinged Tennessee than you’d expect and more West Coast feel-good vibes. These twee 20-somethings have clearly been raised on a saccharine-laden diet of Belle And Sebastian, Beach Boys and a healthy dash of Motown’s back catalogue for good measure.

Dropping just in time for the closing days of summer, the album is packed with eleven polished gems of retro-pop perfection range from tales of wide-eyed innocence to those first exciting moments of young love. It’s more than just nicey nice, it’s downright…well, magical. Their ethereal ‘60s flair is underscored by the dual boy-meets-girl vocal harmonies of Bennett Foster and Alice Buchanan, a kind of sonic homemade cherry pie.

Album highlight ‘Hey Boy‘ sums it all up rather neatly; it is 2010’s happy-go-lucky soundtrack to those hazy summer evenings that seem to last forever and ever.

Mark West

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Tweak Bird

Tweak Bird
Souterrain Transmissions

Taking one look at the brothers Tweak Bird, and you might expect a band of their making to be a nerdy bedroom indie project.  Within seconds of hitting play on their self titled debut, however, those first impressions are obliterated by one chugging guitar riff after another. Channelling the spirit of Tony Iommi and Bill Ward, these two kick up quite a racket but also have a unique ear for melody.

Unlike the bulk of heavy guitar based records that get passed around this office, Tweak Bird have songs that are impossible to forget as they buzz around your head for days. Ever since this record first graced the stereo at crossfire HQ, it’s been impossible to escape the likes of ‘Lights in Lines’ and ‘Tunneling Through’, whether it be via the speakers, or staff whistling the tune as they walk through the door.

Much more than just catchy set of songs, though, Tweak Bird delve into, dare-I-say-it, prog territory on past single ‘A Sun / Ahh Ahh’. Their use of theremin and saxophone are potentially risky moves, but prove to be surprisingly successful additions as the band show off their invention and craft.

As last song ‘Distant Airways’ brings the record to a close, the only reservation I have is that it’s all over too soon. Clocking in at just under half an hour, the band avoid the droppings that progressive rock can so easily fall into, and leaves you thirsty for more.

Sleekly Lion

Tweak Bird – Lights In Lines by Crossfire Music

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Klaxons

Surfing The Void
(Polydor)

klaxons.net

The wait for the follow-up of Myths Of The Near Future, even for those not interested in the second step in the on-going journey through sound and space for London’s 2007 hot-topic Klaxons, was made all the more lengthy by talks of a radical shift in sound. For those of you expecting another series of hang tens on the new-rave wave can leave those hopes at the door now, go home and listen to the first album and forget Klaxons exist in another context. Those that will be disappointed with the new sound (and those people WILL be disappointed) are also victim to being ignorant towards the natural progression all band should make. From beginning to end, Surfing The Void is an album that – amazing spacecat artwork aside – oozes maturity, a refreshing lack of arrogance but maintains the meteor crashes of personality and that same childlike exploration that made their first demos so special.

Though the sense of humour is lost, those that withstand the galactic waves of intentionally messy guitar tapestries, soaring harmonies and good old fashioned noise will be greatly rewarded. The intergalactic pussy on the front guards a shiny disc that’s vacuum packed with curious Midnight Juggernauts-inspired electro-space-rock. There aren’t any laughs here, but if we accept Gravity’s Rainbow and Atlantis To Interzone both have their own cemented purpose in the past and accept the fluid songwriting that’s moulded into Echoes, Flashover and the title track then you’ll be left with a warm collection of music that may not be groundbreaking, but why break ground when you can surf the void and float through the motherfucking universe?

Bellend Sebastian