MORE THAN THE MUSIC POST: New Music Round Up - 2011 with The Next Best Thing

What a year it has been for new music. Whilst it may seem like a fairly stereotypical and staid statement to make, this year has been yet another great year for new bands, new artists and new genres. Through our first year covering new artists, the Next Best Thing has introduced 57 exciting new acts, some of which are really starting to make waves in the music world.

A key new act that have experienced a huge growth in popularity throughout 2011 is The Civil Wars. Covered by Kimberly Manderson in October, The Civil Wars are a male/female country-folk duo that have recently received press coverage from everything from Q to Marie Claire. They are perhaps set to become a household name before 2012 is out.

Jodie Marie and Lucy Rose are two female solo singer songwriters who we covered earlier on 2011, who the likes of the NME and Pitchfork are only just waking up to. These girls have their own individual sounds, making beautiful, soft, quirky and feisty music with a credible heritage and good indie credentials.

We have also covered a fair few hip indie acts over the past year, many of which are becoming very popular. Lo-fi electro indie geniuses Love Inks were covered by us at the start of the year, and could be found headlining the Garage in London by the end of the year. BBC6 Music darlings Cashier No.9 were covered by us in March and have since crossed over to the likes of BBC Radios 1 and 2, as well as releasing their debut album to critical acclaim. Chapter 24 were another ultra-cool band we covered later in the year, and the group continue to bubble through the underground, with music to alight the punk-orientated imaginations of critics and musos alike.

There have also been a number of great new acts that were not introduced directly by the Next Best Thing that were covered by other sections of MTTM. We interviewed the all-girl super-pop duo Oh My!, who are fantastic new talent, hopefully set for true success in 2012. Cults are another awesome band with an enigmatic, seductive style, covered live by Lisa Bentley. A final favourite was Ed Sheeran, who over the last 11 months has wowed us with heart-wrenching folk-pop meets streetwise hip-hop beats. We reviewed his album in October.

See this post at MTTM at: http://www.morethanthemusic.co.uk/the-next-best-thing/new-music-round-up-2011-with-the-next-best-thing/

MORE THAN THE MUSIC POST (LIVE REVIEW): 09/12/11 | The Drums – Shepherds Bush Empire, London

First impressions of this high profile live offering from The Drums is the disappointing tone of pretension heavily present in the air. The Drums are perhaps known for their slightly foppish hipster audience (yours truly included), but the sheer proliferation of posers, taking innumerate photos of themselves and not actually engaging with the music is somewhat disparaging.

It is especially disappointing because the band do a good set. The group are clearly seasoned performers, what with Jonathan Pierce and Jacob Graham having been in members of Goat Explosion, Elkland and Horse Shoes, all of which toured the US extensive in a previous life. The performance is calm and composed, yet highly accomplished musically, with subtle hints of something esoterical, ethereal and exotic. There is a quiet element of glamour to the way the group is presented especially. The lighting in particular is very interesting – there are lots of soft, atmospheric spot positioned so the group are often silhouetted against a backdrop of red velvet and curling smoke, with only the tops of their heads lit up like spun gold. None of this is accidental, and is clearly part of the general vibe of subtle, aloof artistry present throughout all aspects of their work.

The group showcase their new line-up in London tonight; having dealt with the exit of Adam Kessler at the end of 2010, The Drums have employed three new additions to the band, including members from We Are Scientists and Violens. Much of the performance, at least in a visual sense however is focused around lead singer Jonathan Pierce. Whilst sonically the group are fairly uniform, visually one cannot help but become enraptured with the quirk of Pierce’s approach. Morrissey is a clear influence on the general disposition of his performance (and to that point, the band’s music generally), which is full of wistful, aloof gestures and a vague air of melancholic nostalgia.

The literal sound quality is disappointing at times, with the bass guitar and bass drum very heavy, and the synths initially virtually inaudible. It does get better throughout the performance, and finally becomes perfect during the encore, where the band exhibit a very composed, intense synth outro, created on an analogue rack mount, full of sweeping, atmospheric sounds in original timbres. Interestingly the sound throughout the group’s performance is much more thick and heavy than anything on record. The Drums’ recorded work is known for its light, almost tinny sound, but here there is far more sonic depth and gravitas, especially within the drum kit.

Altogether then an interesting performance, full of honed musicianship, quiet magnetism and elegiac subtleties. There were some rumblings from the crowd regard the group’s disregard of their most popular track Let’s Go Surfing, but that song is over two years old, and at times such as this a band is well within their rights to give the audience what they need to listen to, and not necessarily what they want to hear.

See this on MTTM at: http://www.morethanthemusic.co.uk/reviews/gig-reviews/09122011-the-drums-shepherds-bush-empire-london/

THE GIRLS ARE POST: Introducing The Cut Outs

There can be no doubt that emerging London-based trio The Cut Outs mean serious, serious business. In terms of both their music and their presentation, this group have a really direct and honed approach – their website is professional and well maintained, their photography is precise, and their music is unapologetically streamlined. Such collective gestures leave the band’s audience in no doubt of what The Cut Outs are about – audacious rock filled with brazen grit and mettle.

The group’s core members are two guitarists who met at a session musician audition for Kylie Minogue. Deemed unworthy through fear of upstaging the pint-sized singer, the girls chose to form their own band together. Both Stevie, originally from Newcastle, and Jess, who hails from Melbourne, bonded over previous experiences of claustrophobic creative environments (ballet for Stevie, acostica for Jess), and chose rock as a far more unfettered style of artistic expression. A short while later they acquired their drummer Damian and The Cut Outs became fully formed.

The band themselves define their sound as “cock-rock”. Unarguably an unenviable task, this band are attempting to take on the stale and dated world of macho rock both musically and in terms of gender, attacking the flaccid nature of the genre and the perennial issues of chauvinism inherent. Luckily, there is a definite static, stubborn vibe to The Cut Outs, a relentless refusal to be anything other than who they are and what they want to be. Certainly, the group have definite similarities to The Runaways, they have that same tom-boy-ish spunk and sass.

Unsurprisingly, The Runaways are a key cited influence for the group, but other artists such as Peaches, The Pixies, Dead Weather, Prince and Bowie are referenced. Perhaps the likes of The Ramones and The Stooges should be considered an influence too, however. The group’s songs are short and filled with fuzz, with disparate sound clashes between high-pitched guitar pinches and thick, rough, steady and grinding bass and drums. There is a general vibe of surliness and daunting sounds that have a definite American punk basis. Ultimately there is a clear, archaic rock vibe to The Cut Outs music, but surprisingly it does not sound too dated or throwback. There are modern elements in their music coupled with polished production, which keep this act well within the 21^st century.

The Cut Outs released their debut EP Honey Where Your Mouth Is on 10 Oct 2011 on White Milk Records, combined with a video for lead track ‘Chaser’ which is available for free download. There is an album set for 2012.

See this at TGA at: http://www.thegirlsare.com/2011/11/30/introducing-the-cut-outs/ 

MORE THAN THE MUSIC POST (LIVE REVIEW): 15/11/11 | Summer Camp – Jericho Tavern, Oxford

Summer Camp emerges on the teeny stage of the Jericho Tavern to a sea of expectant and enthusiastic students. The secretive, ambiguous boy/girl duo commence with a quiet and subdued, un-miced ditty of quiet vocals and a ropey acoustic guitar. However, just when the audience starts to think that something might be awry – that there might be issues with the sound etc., a full, rich and thick backing track explodes through the empty space, supported by fully miced vocals, guitar and drums. The wealth of timbres that Summer Camp are known for – distorted, mashed up guitars, a wide variety of synths and a diverse array of samples – reverberate joyously around, making the group sound much larger and bigger than the youthful, wispy man and woman (plus drummer) that are physically present on stage. 

This utilisation of the backing track works really well. Sometimes live performances with a tape accompaniment can feel a bit like stale karaoke, but not so with Summer Camp. The backing track adds a huge amount of value, working with the band as a unit to create a consummate performance. It also conveys the sounds of the original recordings well. A performance without the track would have been very stripped-down, and purposefully different to what their audience are used to hearing from the group.

Having said that, there are difference between the band live and the band on record. Live Summer Camp feel less archaic and throwback. On disk you cannot ignore the band’s surf rock meets C-86 influences, but live, the obvious lo-fi quality is to an extent lost – not necessarily a bad thing as it lends the music a fresher, more contemporary quality. 

The band provide a very upbeat, positive performance, full of charisma and commitment. There is a natural enjoyment and revelry in their music is clearly evident, as is the close relationship between the two performers. Jeremy Warmsley, who sings and plays the many guitars and synths present throughout the performance has a pleasant, subtle coyness about him, and he is clearly a talented musician with a good voice. Pulling focus, however is his accomplice Elizabeth Sankey, who offers a sultry and unabashed vocal performance. Not dissimilar in style to a less flamboyantly made up Karen O, Sankey is unashamedly yet subdued sexy, with a stage presence that is filled with alluring, provocative flourishes.

The band swoop between upbeat, lo-fi pop numbers and sombre, bluesy tracks. Whilst the more effervescent items are very popular with this young crowd, for me the dark tracks are just as successful artistically, as they give Sankey the opportunity to fully express her fantastic voice, which can have a rich, jazzy quality. These alternative tracks also have a denser character, and feel like a more harsh assault on the senses, which is always a feat.

Summer Camp have provided their audience tonight with a consummate and diverse performance, which is something a little out of the ordinary, both in general terms and in regard to what we are all used to hearing of the band on their album/EP. The audience are left wanting, and one feels this burgeoning band still have a huge amount of undercover talent still to offer.

See this at MTTM: http://www.morethanthemusic.co.uk/reviews/gig-reviews/151111-summer-camp-%E2%80%93-jericho-tavern-oxford/

MORE THAN THE MUSIC POST (LIVE REVIEW): 31/10/11 | Patrick Wolf – O2 Academy, Oxford

Patrick Wolf is somewhat of an enigma. Recognised as a highly creative, theatrical and intriguing character, Wolf’s music flirts with both the dramatic and the accessible. Indeed, throughout his latest album, Lupercalia, he has demonstrated some significantly longwinded moments of mellow, commercial pop, even gaining a playlist slot on very middle of the road BBC R2 with some of the album’s singles.

Wondering how this conundrum of a performer would transfer on stage, I was at first slightly disappointed by the distinct lack of spectacle (on this most gratuitous of nights) when Wolf appeared on stage, wearing a simple black leather jacket, with a fairly understated string of garlic draped over his mic stand. However, when the music starts, there is almost a visceral, electrifying vibe that descends on the crowd, conveyed through the instruments, through Wolf’s voice, and through his inspiring charisma.

The initial impression musically, which pervades throughout the performance, is the richness of the general sound and each instrument’s individual timbres. The backing band are all excellent performers, offering a luscious, deep collective of sound on both the sparser, more stripped down tracks, and on the more heavily laden tracks. It is a surprise how “folky” the general sound of the performance is tonight – there is much more audible grain on the violins and violas, a deeper resonance from the steady bass drum than on record. The rhythms of the music also cement the traditional folk vibe, so that at times Wolf almost seems like a replication of a young Peter Murphy. That is not to say that the performance is low-key folk affair, however. Whilst there are more subtle moments interspersed, there is a wealth of drama, of heavily contemplative, romantic music, twisted with spurts of alt pop and lashings of electronica.

Whilst the music is fantastic, it is Wolf’s innate, subtle talent as a performer that ultimately steals the show. His presentation is full of grandiose gestures and heartfelt earnestness, and his deep and vibrant vocals resonate richly and emotively throughout the room. Wolf physically drifts like a zephyr from instrument to instrument, flirting now with piano, now with harp, now with ukulele. This is done with such an endearing nonchalance, like every performer is a natural multi-instrumentalist who just happens to play the dulcimer.

Initially fairly quiet with his audience, Wolf opens up about half way through the performance by detailing quite personal information on the ideological conception of the single Time of My Life, which like most tracks from Lupercalia originates from positive romantic developments in Wolf life. From then on, Wolf becomes chatty with the audience, and at times seems genuinely touched by the sincere reception he has received. The audience have been highly positive and heart-warmingly keen throughout the performance, but by the end of the gig they are positively in raptures, especially after Wolf’s perfect encore, which was filled with plenty of clapping, smiles and dancing.

It really is a beautiful sight to witness an artist, not only of incredible technical and creative talent, but also one who genuinely transfers his own personal, exhilarating, unabashed romanticism and happiness upon the audience. With another musician these sentiments might be over earnest, tired, and sickly sentimental, but with Wolf they combine, musically, intentional, and personally to create a deeply rich, vibrant, diverse, accomplished, and above all effortless experience. Utterly, utterly wonderful.

See this at MTTM: http://www.morethanthemusic.co.uk/gig-reviews/31102011-patrick-wolf-o2-academy-oxford/

MORE THAN THE MUSIC POST (ALBUM REVIEW): Surfer Blood – Tarot Classics

Tarot Classics is the new EP from indie rock quartet Surfer Blood. Out on 25^th October, Tarot Classics is the first release from the band since their debut album Astro Coast released in 2010, which saw the West Palm Beach four-piece gain a huge amount of critical acclaim from the likes of Pitchfork, as well as notable kudos from the whole indie spectrum.

Surfer Blood follow on from Astro Coast in much the same mode as previously, creating guitar driven, alternative indie rock with a strong American flavour. Mixing large amounts of garage rock and pop-punk, the group still have that fun, quirky vibe to their music, perhaps even more so than before, but there is also an element of self-awareness, tinged with a hint of insecurity. This geeky affability is probably partially why the group have been compared to Weezer in the past, but similarities between the bands are also evident in Surfer Blood’s music, from chord progressions and key signatures, to guitar timbres, to vocal delivery and lyrical content.

Surfer Blood’s music throughout this EP could also be compared to that of Cake; in fact, you could probably make associations with the work of Surfer Blood and a whole plethora of US 1990s/2000s alt rock acts, including Fountains of Wayne, Motion City Soundtrack and The Rentals. That is not to say that the group are stuck in a musical vacuum – their music does not sound dated. There is simply a clear genealogy to their sound. The music throughout Tarot Classics could also be compared to many hip and progressive contemporaries on the indie scene, such as The Drums, Tennis and Local Natives. There is notability less aloofness in Surfer Blood’s music to that of these acts however. Whilst they share a Morrissey influence with The Drums, especially on tracks such as Drinking Problem, each song on Tarot Classics has a subtly upbeat, whimsical side.

Like the group’s previous work, this EP is guitar centric, with a whole host of guitar sounds at the front of the mix. Twangy chops mix with wails and distorted segments, and the odd bit of shedding makes the occasional appearance. Numerous guitar parts are combined together in a highly harmonious fashion. The guitar is the focus throughout, which is refreshing, especially as it is done well. There are some synth sounds involved at times however, as well as interesting percussion and odd flecks of orchestral strings placed subtly, intricately and cleverly in the general texture of the track.

Tarot Classics is a nice little release from Surfer Blood then, and hopefully they might manage an LP at some point in the not too distant future.

See this at MTTM: http://www.morethanthemusic.co.uk/album-reviews/surfer-blood-%E2%80%93-tarot-classics-ep/

New Music: Chapter 24

Chapter 24 are a new art punk band with plenty of exciting Riot Grrrl and first wave punk influences. This four piece band, consisting of two girls and two guys, are making significant waves in the underground indie scene, and with an eponymous EP released earlier in the year, along with an imminent US tour, the band are surely destined for success.

The group have had excellent press from the NME, Artrocker, Downed in Sound and The Other Woman amongst many others, perhaps because their sound is so fresh, compelling and direct. Chapter 24 create a sparser style of punk than what has been typical over the past few years, instead offering stripped down instrumentation full of front. Major audible influences on their work include original UK punk acts such as The Clash and Crass, and fairly obvious similarities to The Slits have also been drawn. That is not to say however that Chapter 24 are simply 1976 wannabes, romantically recreating music from a by-gone era. Their music also contains elements of twee, Afro punk, surf rock, garage punk and grunge, to make a far more electric and modern sound than you might expect.

This hip band are making some very cool music, which has a genuine, not imitation, punk edge, full of punchy nihilism and a hint perhaps of insolence. They are however still upbeat, with a vague, accessible pop edge, which helps stop the music from getting too heavy and aggressive. The London based quartet do not currently have any further shows lined up in the UK at present, but Chapter 24 do have a AA side single set for release on 28^th November.

See this at MTTM at: http://www.morethanthemusic.co.uk/the-next-best-thing/new-music-chapter-24/

MORE THAN THE MUSIC POST: 11/10/11 | Gruff Rhys – Sub 89, Reading

Quite an old crowd grace this long-standing Reading venue – mostly late 20s to mid-40s grown-ups who think it is acceptable to attend a gig wearing a fleece from Millets. You know, people who have mellowed. This attendee demographic would initially make sense when placed in cursory context of Gruff Rhys’ musical career. At 41, he is not particularly young himself, and (arguably) reached the height of his fame back in the mid-1990s with Super Furry Animals.

However, when I first heard Rhys’ new material from Hotel Shampoo, the artist’s third solo effort release in February 2011, I thought it was some of the freshest, most exciting and original music I had heard all year. His music has a light indie-folk veneer that on paper might not seem particularly innovative, but in practise Rhys’ music is clever, interesting, observant, and subtle, (all the adjectival hallmarks of hip genres du jour, such as chillwave and post-dubstep, for example). It is therefore a surprise that there are not more Reading scenesters here to sample Gruff Rhys’ juicy musical offering.

Rhys transfers all the complex subtleties and insightfulness clearly inherent in his creative mind into a performance full of multi-faceted artistry and consummate conceptual effort. This performance feels like an occasion – it is highly captivating, and above all professional. Rhys has three technicians, one purely dedicated to providing a real 16mm film slideshow as a visual backdrop, which has images tailored to each track. No images are recycled, and reel is constantly being maintained. There are also plenty of apt sound effects and recorded announcements, as well as visual props, including Rhys’ now renowned “applause boards”, which the artist coyly holds up at intervals throughout the performance.

Rhys offers a full set, with plenty of tracks from his back catalogue. He starts simply with Gwnmi Wn, a track with solid harmonies and a beautiful piano/keyboard part. He then ploughs through a variety of tracks, from calmer, softer, more melodious songs to the heavy, distorted mess of In a House with No Mirrors. Rhys performs a fair few of his Welsh language tracks, which surprisingly (for a staunchly southern English audience) go down well. These tracks in general have a slightly more folky vibe, but they should not be mistaken for trad-folk music. These tracks still have a good degree of oomph, and often feature a cool, eerily modal vibe, solidified by the visual and light displays. The inclusion of these Welsh tracks works – it does not feel alien, it just feels like good music.

Rhys finishes the night with Skylon, which runs like a complex, audio-visual play, featuring aeroplane sound effects, costumes, perfectly placed visuals and a complex narrative, all synced up in a very consummate and considered way. In a way this track is a good metaphor for Rhys’ entire performance, and indeed approach to music in general. He offers the audience an entire artistic experience, with a polite, pleasant confidence and diverse, perfectly executed music, in terms of sound, style, technique and presence. An excellent performance and a warm, though-provoking experience.

See this at MTTM at: http://www.morethanthemusic.co.uk/gig-reviews/111011-gruff-rhys-sub-89-reading/

GOD IS IN THE TV POST (Album Review): Future Islands – On the Water

On the Water is the third full-length release from Baltimore’s synth-pop aficionados Future Islands, and this new effort sees the group return with a far more reflective, mature, and introverted effort than anything previously offered. Unlike the group’s earlier work, which was typically catchy, quirky and upbeat, On the Water is deep, cool and dramatic, and times even borders on sombre and melancholy. Quite literally more downbeat, fans of Future Island’s earlier work may be disappointed – the entire album features an undercurrent of pulsating, visceral, coldly menacing synths and calm, impassive ambient segments with little of their previous irreverence or positivity.

On the Water is an ambitious statement however – the album is darkly grandiose, precise, powerful and captivating. The group have drawn far more on ambient artists and new wave synth-pop influences than ever before, and far fewer rock and indie elements are present. Bowie circa the Berlin trilogy, Brian Eno, OMD, and The Pet Shop Boys are all very heavily present in the music, from the choices of synth and guitar timbres to the deep, staccato vocal phrasing. The result is that Future Islands sound unlike anything contemporary, but conversely, the group are not necessarily doing anything new or innovative either. Where before their work was more an experimental fusion of past and present, 80s’ synth-pop and currently alt-indie, with On the Water Future Islands mostly sound like an 80s throwback band. Each timbre replicated is catastrophically accurate and representative of its 30-year-old influences, so much so that at times the music is simply a pastiche – a replication of music past. On the Water is not a 2011 reimagining of late 70s/early 80s synth-pop, and as such it often feels like an exercise or project rather than true artistic development.

There are some interesting moments, however. When tracks have more of an ambient vibe rather than a synth-pop vibe, the music can be quite curious and beautiful. These soundscapes, built from music, samples and found sounds work well together and sound fresh. Indeed, there does seem to be more of a focus, especially in these ambient sections on how the music is constructed than Future Islands’ previous work. Tracks such as ‘Tybee Island’, ‘Where I Found You’ and ‘Close to Me’ almost have an almost pastoral, ambient collage vibe at times. The also sound more modern and innovative.

On the Water has some very nice moments, and at times the quieter, colder, enigmatic vibe works, adding to the Future Islands catalogue of musical styles. The lyrics are also very nice throughout, offering quietly romantic and aspirational sentiments about life and love. But one does have to ask the question of what exactly the band are trying to achieve with this effort. It is far less interesting or developed than their previous work, with only small elements of curiosity. Superficially the album might seem more serious and mature, but in reality the album offers little artistic or musical progress. It is instead a pastiche, and ultimately a fairly mediocre one, with only hints of Future Islands’ usual personality or charisma. 

See this at GiitTV at: http://godisinthetvzine.co.uk/index.php/2011/10/10/future-island-on-the-water-thrill-jockey/

MORE THAN THE MUSIC POST (ALBUM REVIEW): Lisa Hannigan – Passenger

A Mercury Prize nomination can sometimes be a poisoned chalice. You receive wonderfully positive press coverage, immense demand, and probably a slot on Later With Jools Holland, but in return you owe the press, your new fans and Jools a truly unbelievable follow up album. So it would be fair to say that something pretty top notch is expected from Lisa Hannigan’s sophomore effort, Passenger.

Despite the folk veneer of Hannigan’s songs, her vocal style fits somewhere between Eliza Carthy and Leslie Feist. Her music throughout Passenger sits comfortable amongst more traditional folk styles, though elements from the very base of her music have an almost jazz-like vibe, with brushed drums and double bass permeating gracefully throughout. This combination of styles was also apparent with her debut album Sea Sew, which was frequently up-tempo and warm. With Passenger, however, we are presented with something that is cooler, evoking sentimentality and themes of homesickness, which add a somewhat darker shade to this new music.

Recollection is not the only theme in Passenger. With the track Safe Travels (Don’t Die), Hannigan’s anxiety flows beautifully between the double bass and ukulele combination (which frequently acts as a point of inception for many songs in Passenger). Hannigan and her accomplished band often start the music light, but it builds, typically climactically, to something that is startling and rich. This is especially notable in the title track, which finishes with a wonderful trumpet and violin combination that frequently adorned tracks on the Sea Saw.

Sea Sew set a precedent for Hannigan, which she has managed to exceed without disregarding her original sound. With Passenger, she has written songs and music that sound as if they were cultivated parallel to her initial crop of heart warmers – this new music is the same quality, with the same vibe and the same charm as it ever had. The new album is a testament to Hannigan’s song writing as well as her creativity. Hannigan has not rested on her laurels; instead she has driven her music further and stretched her songs, her lyrics and her musical prowess to something that is both personally innovative and beautiful.

See this at MTTM at: http://www.morethanthemusic.co.uk/album-reviews/lisa-hannigan-%E2%80%93-passenger/

GIITTV POST (Album Review): Tubelord – R O M A N C E

R O M A N C E is the hotly anticipated sophomore album from Kingston (upon-Thames) based band Tubelord. The group have become renowned for their incredibly diverse, changeable music through a number of EP releases and their debut album, Our First American Friends, which was released to critical acclaim in 2009.

Whilst the group’s music is perhaps best described of as post-rock, throughout R O M A N C E Tubelord twist and turn through an assortment of music genres, creating a complex, confusing, and sometimes frustratingly diverse variety of sounds and styles. For example, the album’s opening track, ‘Over in Brooklyn’ cites heavy American influences, mixing melodic rock, pop punk and emo to create a sound disturbingly similar to the likes of My Chemical Romance and Panic at the Disco. This quickly changes in track however to a more indie-pop vibe, with some prolific nu-prog and alternative indie elements. The track immediately becomes more feisty, quirky and interesting, but also morphs into a slightly bewildering bricolage of mixed sonic messages.

This song is a fairly accurate microcosm of the album in general, which features multiple stylistic traits. Evident as well as emo, pop-punk, prog and a variety of indie styles are synth pop, piano ballads and 80s’ power pop. Indeed, R O M A N C E as a body of work is relentlessly, almost monotonously diverse. The problem with including all these influences, however is that depending on your musical tastes and prejudices, you might find you like one moment (and one set of influences) in a song, then the next its gone, lost in a whirl of sound.

R O M A N C E examples a catalogue of instrumental timbres, mostly based around the battle of supremacy between synth parts and guitar sounds. Guitar riffs are catchy and genre specific, treading along atypically, whilst synths vary from disgusting 80s saw-waves to cute Nintendo blips, and everything in-between. Vocal styles are mixed too. Whilst the often-present lead vocals are a bit too whiney and purposefully strained, there are soft moments with attractive backing vocal harmonies. The tracks ‘Charms’ and ‘Never Washboard’ are particularly good examples of the effectiveness of this more subtle vocal style, and how it should be used much more frequently on the album.

R O M A N C E is certainly a feat of variety, but it is almost too complex to simply sit back and simply enjoy. The music is in constant competition between heart and head, rhythm and concepts, synths and guitars. The album is an enigma, and never fully settles into anything direct or autonomous.

See this at GiitTV at: http://godisinthetvzine.co.uk/index.php/2011/10/05/tubelord-r-o-m-a-n-c-e-pink-mist/ 

HERE COMES EVERYONE: Band of the Week – Bitter Ruin

Made up of classically trained musicians Ben Richards and Georgia Train, Bitter Ruin are purveyors of dramatic folk noir. The duo’s music has been described as weird, unique, brilliant and disturbing, and the group have had a huge amount of praise for their up-coming single “Trust” from the likes of Stephen Fry and Tim Minchin to name but a small, small few. Bitter Ruin have released a number of albums since their creative conception in 2007, and have accumulated a significant number of fans. Curiously though, they have yet to find a record deal.

The Brighton-based duo met at music school and are both highly classically trained musicians. Unsurprising then, the likes of Mozart and Beethoven crop up in their list of influences, alongside Regina Spector, Jeff Buckley and Kate Bush. The most significant, audible influence in Bitter Ruin’s sound, however, is The Dresden Dolls, and the general cabaret noir scene. In fact, the group have even toured with Amanda Palmer (the marvellous lead vocalist of The Dresden Dolls).

The result of their collective influences is a dark, cold, sparse, kooky and macabre sound with lashings of blues, jazz, mariachi, folk and classical. The focus is on the vocals (with especially good pipes from Train), with only acoustic guitar and piano as occasional backing. This is accoustica with energy and anger – truly frenzied yet aloof, and understatedly dramatic.

See this at HCE at: http://www.herecomeseveryone.org/_blog/journal.php?id=307

MORE THAN THE MUSIC POST: Introducing Foreign Office

Foreign Office are a London based four-piece who originally hail from Great Yarmouth. The group have self-released a number of EPs over the past 18 months or so, with a new extended play dubbed Alaska after the studio they recorded it in, set for release shortly. The group have also had a recent string of successful touring date, appearing on stage with the likes of Erasure and Carl Barat respectfully.

The group’s work blends a curious mixture of soul, funk and post-punk, to create a sound that is decidedly retro and decidedly new wave. Foreign Office’s music simply screams 1980s, both in the phrasing, timbres and style instrumentally, and in the vocal style and content, which is high reminiscent of the work of The B-52s frontman Fred Schneider. Indeed, the music Foreign Office make is like a modern day mash of The B-52s, The GoGos, Tom Tom Club and Devo, essentially being very catchy alternative rock-pop.

As you might expect, the instrumentation is fairly standard – traditional guitar, bass, drums and piano lead the way. There is however some interesting synth and percussion sounds scattered about which gives the music a slightly more modern vibe, not dissimilar to the recent work of Field Music.

Foreign Office create quirky, witty pop-rock with tightly phrased lyrics. Very upbeat, fun and certainly throwback, but enjoyable with it. The group’s new EP is set for release on their own label Quite Life on 17^th Oct 2011. Their other EPs, On Repeat and Leaving the House/Voices, are avail to download from their Bandcamp page.

See this at MTTM at: http://www.morethanthemusic.co.uk/the-next-best-thing/new-music-foreign-office/

MORE THAN THE MUSIC POST (ALBUM REVIEW): Red Hot Chili Peppers – I’m With You

I’m With You is the 10^th studio album by the Red Hot Chili Peppers, released by Warner Bros. on 26^th August 2011. It has been five long years since the group’s last release, and with the exit of guitarist John Frusciante in 2009, there were suspicions that the group may not record together again. Instead however they have emerged with this fresh offering, embellished with lavish (and expensive) details, such as a global listening party streaming the entire album, and cover art by courter of controversy Damian Hirst.

The album has received a fairly lukewarm reception critically, and to be honest, this album does fail to ignite like many previous RHCP albums. I’m With You is a relatively smooth and mellow album, and remarkably less punchy, aggressive and ballsy than previously. The music still has the classic Chili’s vibe – there is Anthony Kiedis’ instantly recognisable voice, Flea’s archetypal funk-rock bass adventures, and Chad Smith’s solid, unobtrusively fantastic drums – but that vibe is embedded somewhat in a wash of solid mediocrity.

The guitar is an obvious area for presumed disconcertion, but actually the Chili’s new guitarist Josh Klinghoffer’s style is fairly inoffensive. That’s not to say he makes a huge impression on the music either, his style just politely fits the general sound of the RHCP, and of this album, with a few nice licks and some interesting heavier work from time to time.

For me though the departure of Frusciante is a greater loss on the beautiful vocal harmonies that the Chili’s have created in their more recent albums. John’s falsetto backing vocals combined with Keidis’ lead created some of the most utterly beautiful, goosebump-inducing harmonies, and in this album have now disappeared. They do attempt a resurface on I’m With You, but they are mostly supplied by overlaid female backing, and just do not feel as organic and heartfelt as when it was created directly by the band’s own vocal chords.

There are some plus points however; as expected the album has been fanatically produced by Rick Rubin, and I’m With You features a sound that is slick, tight and clear yet enveloping. This is without doubt the best produced album I’ve heard all year, and possibly has the best literal sound quality of all the RHCP’s albums. There are some nice moments in the music too – Annie Wants a Baby has some pleasant, fairly ingenious guitar parts, and Monarchy of Roses is a catchy upbeat track.

Unfortunately however, the best tracks on I’m With You do not even reach the standards of common album tracks from the likes of By The Way and Californication. Also, considering the theme of the album is “Life and Death”, I’m With You does not have any of the raw pain and potency of all their previous albums. Simply and emotionally put – slow tracks do not make the heart bleed, and faster tracks do not excite the feet like they used to.

See this at MTTM at: http://www.morethanthemusic.co.uk/album-reviews/red-hot-chili-peppers-%E2%80%93-i%E2%80%99m-with-you/

HERE COMES EVERYONE: Band of the Week #3 - Volkova Sisters

The Volkova Sisters are a super hip new band combining elements of jazz, blues, funk shoe-gaze and American folk to create a kind of bizarre yet pleasant type of electronic ambient noise-pop. Hailing from Budapest, these guys are a key part of the burgeoning Hungarian DIY scene (which you of course knew about months ago), and have drawn their band name from king of cyber-punk William Gibson’ book Pattern Recognition.

The Volkova Sister’s claim to be highly influenced by 80s’ dark wave band such as My Bloody Valentine and Cocteau Twins, but in reality their music is much more complex and varied than these sources might suggest. Whilst the group’s work does retain elements of a more dark, disconcerting atmosphere, the band also have solid beats within their work, which often feature some quirky, pop-like splashes. This is not pop music though; there is a solid DIY vibe that permeates through their work, making it sound almost purposefully budget and authentic. The timbres and techniques of both voice and instrument are also rather twisted; with tracks typically featuring twisted effects and retro-futuristic synths.

The Volkova Sisters have an EP, Venus Robot, due for release on 24^th Oct 2011, with an EP launch party in London at The Drop on the 11^th September. These guys also have a fantastic website – which you really should check out:

See this at HCE at: http://www.herecomeseveryone.org/_blog/journal.php?id=301

MORE THAN THE MUSIC POST: Introducing M+E

M+E are a new electro-pop duo, recently signed to Monotreme Records. The duo consists of 19 year old Michele Ducci and 22 year old Alessandro Deli Angioli, hence the name M+E – Michele + Alessandro. This pair of Italians are starting to make big waves on the independent scene, and are scheduled to release their debut album things.yes on 7^th November 2011.

M+E have an interesting approach to their music. Firstly, although this group is a duo, they should be really thought of more as two musicians co-existing and creating together, rather than directly collaborating directly. Additionally, as well a having a literally homemade aesthetic (they recorded the entirety of their forthcoming album under a mansard roof), they have rather unusual lyrics, which are often inaudible or sound like nonsense. This concept is apparently due to the group’s Italian nationality, and of typically listening to English-language pop music with the vocals occurring simply as an instrument, instead of as a force for the track’s narrative. This technique is perhaps a little unorthodox, but it does work, and the results are quite pleasant and do not detract from the absolute beauty of M+E’s music.

Their current lead track Liko Leme Lisa has a number of interesting sounds and samples layered into a collage, creating a pretty, understated, happy, and pleasantly offbeat vibe. There are lots of pretty little ditties, interlaced with plucked violins, mellow, jazzy brass licks and on-trend dream-pop synth concoctions that work well together, creating a developed, happy and good-natured sonic experience.

M+E create music that is pretty, quirky, friendly and clever – it really feels like it is pushing boundaries, creating something new and exciting, yet it is charming enough to be accessible. There are a lot of samples in their work, but this music is not simply pluderphonics – it is dream-pop, IDM and electro-pop as well. M+E are making wonderful new music, and are a very interesting new group.

See this at MTTM at: http://www.morethanthemusic.co.uk/the-next-best-thing/introducing-me/

THE GIRLS ARE POST: Introducing The Kindest Lines

Kindest Lines are an emerging synth-pop band from New Orleans, made up of Justin Blaire Vial, Brittany Terry and Jack Champagne. Currently signed to Wierd Records, the band had their debut album Covered in Dust scheduled for its imminent UK release on 20 June 2011, which follows the release of their initial eponymous EP, released in 2010.

The group create dreamy synth-pop in a very literal sense, in that they try to create a musical soundscape where songs are dreamt up from a collage of undulating synth sounds. They very much subscribe to the Phil Spector style of music creation, with a thick wall of analogue synths permeating subtly through the vast majority of their music. Whilst Kindest Lines openly cite Spector as a key creative influence for their music, the group are also very much indebted to bands like The Cure and Echo and the Bunnymen, from the varied synth and drum machine timbres, to the guitar sounds, which are jangly and reverb heavy, with plenty of modulation and flange effects laid across most of the guitar parts. Such guitar styles are particular evident in key tracks such as ‘Baltimore’, and their recent single ‘Destructive Paths to Live Happy’.

Whilst Kindest Lines describe themselves as synth-pop, unlike the work of artists like Holy Ghost! or LCD Soundsystem, Kindest Lines utilise synth sounds whilst containing with more traditional instruments. When this instrumentation is combined with Brittany Terry’s soft, cool, despondent and distant vocals, Kindest Lines’ music in reality sound much more similar to dream-pop, reminiscent in particular with the likes of Au Revoir Simone and The Hundred in the Hands.

Kindest Lines create music that is essentially cool, calm and contemplative, without being overtly cold, negative or down-beat. It is an obvious comparison to make perhaps, but the Kindest Lines’ work is in a way very similar to the history of their home town of New Orleans – containing smatterings of positivity, through their invention of jazz and the New Orleans Mardi Gras, mixed with sober trials and tensions that permeated from the BP oil disaster and hurricane Katrina.

Kindest Lines have no concrete plans for any tour dates in the UK, but they have a number of gigs scheduled throughout the rest of 2011 in the US.

See this at TGA at: http://thegirlsare.wordpress.com/2011/08/31/introducing-kindest-lines/

GIITTV POST (Album Review): Big Deal – Lights Out

Lights Out is the impending debut album release by new boy/girl duo Big Deal. The group are formed of American boy Kacey Underwood and British girl Alice Costelloe, who in a very “White Stripes” kind of way like to retain an enigmatic degree of mystery over the status of their personal relationship with each other, and how exactly the band formed. This is all superfluous to the release of their album however, which is more focused on the trans-Atlantic vibe of their music, which is unapologetically filled somewhat paradoxically with US style guitars and UK subtlety and subdued vocals.

Lights Out is mostly constructed of guitars and vocals, with only the very occasional usage of pad-synth strings constructed on GarageBand. This album is not mellow, drab accoustica however; there is a wealth of guitar parts in each song with a huge variety of timbres, most of which are electric. There are also some distorted interludes present which are fairly reminiscent of pop punk, post-rock and grunge. Much of the guitar parts have these all-American influences, but in more subdued moments there is a definite folk-cum-Britpop vibe, evident through stripped-down, starker timbres and quieter styles of playing. The significant presence of guitars throughout this album is very refreshing when one considers how little the guitar as an instrument has been focused on in indie music over the past couple of years. It is also very refreshing to hear very little overt influences from older generations of music, with Big Deal focusing much more on 90s/00s influences instead. Indeed, many of the timbres used throughout Lights Out should encourage at least a small degree of nostalgia from anyone in their 20s or 30s of guitar musics past.

Whilst many of the tracks here have heavier elements within the individual guitar timbres, this album is essentially a mellow and delicate affair. Tracks such as ‘Chair’ and ‘Swoon’ seem to work particularly well, where Big Deal attempt to embrace the obvious simplicity of their work instead of trying to transcend it with too many thick flangey overdubs. These more subdued tracks also focus on developing the melody of the song well, creating beautiful vocal lines with quietly curious harmonies.

Understandably, the other major focus of this album is Underwood and Costelloe’s vocals. Both sides of the duo have lovely voices that are delicate, warm and rich. The lyrics are also a key focal point in each track. Whilst the lyrics do often deal with teenage angst such as homework or episodes of identity crisis, there is little over-laboured dramatisim in its sentiment or delivery. Instead, the sweet innocence within Big Deal’s concern and despondency actually has a very universal edge, and certainly does not alienate their work into the disconcertingly melancholic area of emo.

Lights Out is a very pretty, contemplative, heartfelt, considered and delicate album, and is delightful in its innocence and simplicity. However, it is not overwhelmingly different or exciting, however, perhaps due to its sparseness it might has the strength to grow on you, as subtle music often does. But there are certainly some weaker, filler tracks present in this album, which at times make mostly fine album a little bit staid and disappointing.

See this at GiitTV at: http://godisinthetvzine.co.uk/index.php/2011/08/22/big-deal-lights-outmute/ 

MORE THAN THE MUSIC POST: New Music - Electricity In Our Homes

A couple of weeks ago I saw Electricity In Our Homes perform at Rough Trade East, promoting the release of their recent single Aching, Breaking, Shaking For You. I had been interested in the group, and made some effort to follow their developments since they first emerged in 2008, but this was the first time I had seen the group perform live. I have always been aware that their music was cool, pleasant and hip, but live the band really revealed themselves as utterly fantastic musicians, creating really interesting, intoxicating music.

Electricity In Our Homes describe their music as a discordant, dissonant, confused, mingling funk, but in reality their work is much more complex than that. They clearly have funk based influences, especially with the complex rhythm section (which exhibits some exuberant drum patterns and elaborate bass playing), but they also draw from a lot of marginal art-rock influences, especially from the 1980s. They also have elements of progressive rock and the avant-garde within their work, with a covert vibe of the likes of Captain Beefheart and Frank Zappa deep within their sounds.

The trio, made up of Paul Linger, Bonnie Carr and Charles Boyer, are all fantastically talented musicians, with a charming, nonchalant air to their energetic performances. There is a fast and furious speed to their work, especially in a live setting, but this speed is more based in excitability than aggression. This lightness in the group’s work is anchored by the curiously innocent dynamic between the male and female vocals, which often sing in a pleasant, pleasing chorus.

Electricity In Our Homes have taken the typical alternative route with their releases, putting out a number of singles and EPs, released on vinyl and MP3 only, on a variety of smaller labels. They have their debut album, Dear Shareholder, in the pipeline, which will hopefully be released later in 2011.

See this at MTTM at: http://www.morethanthemusic.co.uk/the-next-best-thing/new-music-electricity-in-our-homes/

MORE THAN THE MUSIC POST (ALBUM REVIEW): Beirut - The Rip Tide

The Rip Tide is the third full-length release from Beirut after their recent hiatus. Their last release was way back in 2007, and the group’s sound has changed somewhat since then. Where The Flying Cup Club was filled with an almost innumerate amount of instruments, from cellos, accordions, ukuleles, violins, saxophones and euphoniums, this new album has a much more stripped down feel to it, focusing instead on brass, piano and vocal parts. Whilst The Rip Tide clearly features the work of other members of the Beirut collective, the album once again feels much more focused around Beirut’s major Svengali – Zach Condon. This feels like a very personal and considered release, focused instead around Condon’s key musical and instrumental passions.

Brass instruments are still the clear focus, however, which is typical of Beirut’s work. The brass are complex, harmonious and varied, and are laid over with interesting effects to create a very enticing, dynamic approach, at times powerful, in others dreamlike. The general vibe and influences of the instrumentation is also your usual Beirut fair – there are still major influences from Balkan folk, mariachi music, and French chanson pop. These styles are sampled and proliferate throughout the album, but there are also new elements such as Irish folk. The track Payne’s Bay in particular sounds not unlike The Pogues circa Rum, Sodomy and the Lash, both in the technique of the violin parts and the tracks general melody.

The Rip Tide has a slightly more pop inspired vibe than previous releases – it is certainly more accessible and light-hearted than some of Beirut’s earlier work. This is not a pop record, but there is more of a general vibe of quiet positivity, indeed, at times the music is light-hearted and sunny even. Unlike many of Beirut’s world-folk influenced contemporaries such as Arcade Fire and Bon Iver, there is less obvious sobriety and darkness in the music on this album. Even in quieter songs, there is an only vague hint of melancholy; tracks such as Port of Call and the album’s title track are genuinely beautiful, touching and enjoyable, as opposed to being drenched in sorrow. They occur as a polite change of pace, rather than acting as a deliberate downer.

This album is short, and at 33 minutes it is Beirut’s shortest release so far. Its length is a good marker of the sedate, unobtrusive nature of this album – it is a perfectly good body of work, but it is not particularly innovative, groundbreaking or different. It is however perfectly pleasant, and at times beautiful, heart-warming and moving, and always, always an engaging listening experience.

See this at MTTM at: http://www.morethanthemusic.co.uk/album-reviews/beirut-the-rip-tide/

THE GUARDIAN (ZEITGIEST): Weezer – Weezer (The Blue Album)

Released in 1994, this debut album from Weezer is still perhaps considered by fans and critics as Weezer’s magnum opus, with only their second album, Pinkerton, vying for alternative supremacy. The album went three times platinum in the US, produced three hit singles in both the US and the UK, and was re-released in its deluxe incarnation in 2004. At the time of release though, it provided a refreshing sense of charming humour and geeky vulnerability against the general gloom of grunge. This first Weezer album was influenced by the likes of Nirvana and The Pixies, but they also introduced a strong power-pop vibe (gained in no small way from the work of Cheap Trick) that gave their music a more uplifting, perky indie rock sound, that was a real step forward in the alternative rock scene.

The album is not soft or flat however – it is very riff heavy, with fat, grating guitar chords, at times dissonant and shredding, immediate and hard. But within this guitar orientation, there was a clever nerdiness, especially present in the lyrics and vocal style. The album demonstrates complex harmonies and falsetto vocals, similar in style to barbershop quartet, and they also have a wry vulnerability to them. The lyrical content, whilst quick and sharp, also displays real, genuine insecurities, and deal with fairly harrowing concepts, such as ‘Say it Ain’t So’ which focuses on Rivers Cuomo’s attempt to make sense of his parent’s divorce, and ‘My Name is Jonas’, whose topic is the aftermath of Cuomo’s brother being in a serious car accident. The lyrics are also well constructed as well as emotive, with Cuomo creating perfect, neat little vignettes within every narrative.

This album is literally chock-full of generation defining songs, with a distinctive style that is still infectious. The group also retain a huge following too big to be considered cult. I was first introduced to Blue in sixth form, ten years after its original release, and its presence amongst my peer group, too young to have caught the album in 1994, was huge. Weezer were everyone’s favourite band, and Blue was a good contender for the most popular album. As we start to approach the album’s twentieth anniversary, I am sure its popularity is still retained by newer and older listeners alike. The album received numerous accolades, including being listed in Rolling Stone’s great 500 albums of all time, and Pitchfork’s best albums of the 1990s. Weezer’s eponymous examples how fantastic guitar music in America was in the 1990s, and is one of my favourite albums of all time.

See this at the Guardian online at: http://www.guardian.co.uk/music/album/c7b245c9-8099-32ea-af95-893acedde2cf?commentpage=last#end-of-comments

THE GUARDIAN (ZEITGIEST): Nedry – Condors

Condors was the first (and to date only) official release by Nedry, and was re-released in 2010 on Monotreme Records after an initial short run in 2009. The trio, who formed in 2008, is made up of two guys and one girl, who throughout Condors created an intriguing, original and unusual mixture of post-rock, dubstep, post-dubstep and electronica, using guitars, laptops, voices and synths. They have had their work compared to the likes of Bjork, Burial, Battles and The XX, which should give you a clear idea of the kind of complex, diverse music Nedry have created with Condors.

Condors is an interesting, pretty, and often dark album, ruled by glitchy textures and oppressive synth timbres. The album is effectively a plethora of these diverse synth sounds, woven together in a way that is rich, dense, and deeply convoluted, with a wide variety of complex effects that really penetrate the listener mentally and physically. The synth sounds included are clearly of laptop origin – many timbres have a stark, digital coldness and preciseness that could only have been made with 0s and 1s. Synth is typically the predominant instrument throughout the album, but there are no post-modern allusions to new wave – this is music that is thoroughly modern and grounded in the progress of the present.

Guitars also occur throughout this record, and whilst they often remain subdued their presence and input is fairly prolific, and twist the album into being indie-dubstep instead of harbouring a more traditional dubstep vibe. Timbres are unobtrusive, soft and rounded, varying from the almost classical guitar style found in ‘Apples and Pears’, to the more post-rock, Battles influenced track ‘Scattered’, with its screeching, relentless, dissonant chords. There is some paper-thin percussion and some bass parts too, but they are mostly synth derived, with warped, muddy, resonating sounds which fill the album with a subtle degree of menace.

One of the most interesting, and simple elements of Condors however is the marvellously unnerving vocals of Ayu Okakita. The beauty in Okakita’s voice is subtle and girlish, and from her wistful and breathy style to her haunting, banshee-like wailing, she demonstrates a true emotional context. The weary, sombre and measured style of her vocals is clearly reminiscent of Bjork’s work, and as exciting as the music is Okakita’s voice ground the album in more emotional terms, and stops the music for degenerating to far into the realms of pure synth experimentation.

The general vibe of the album is dubstep timbres mixed with post-dubstep ambiance. The clash of throbbing, surging, tense dubstep punches with the cooler, detached beauty of post-dubstep has created a very diverse album – at times it is overwhelming and frenzied, at others delicate and soothing. Furthermore, Condors manages this feat easily, switching approaches with swiftness and ingenuity. The album is varied, fresh and interesting, and most importantly displays some fantastic music. 

See this at the Guardian online at:  http://www.guardian.co.uk/music/album/481d6878-6c21-4afd-b22c-9c26b578c5e7?commentpage=last#end-of-comments

THE GIRLS ARE POST: Complete 30 Day Song Challenge

Day 01 - Your Favourite Song: Bow Wow Wow – ‘Lonesome Tonight’

I love the entirety of Bow Wow Wow’s back catalogue anyway due to its innovative and buoyant nature, but this track is a particular favourite of mine at the moment, due to its coldly beautiful minor melody, arresting vocal delivery and general ambience of upbeat music meets distraught lyrical sentiment.

Hyperlink: http://open.spotify.com/track/3hfNVM5BqOPgQbFLkWWCiE

Day 02 - Your Least Favourite Song: Beats International – ‘Dub Be Good to Me’

I cannot exactly explain why I dislike this Beats International song so much, as musically it is quite an accomplished, interesting song. Perhaps I have unacknowledged aural links to a negative experience that are triggered by this song, but I also dislike the eerie Ennio Morricone sample, and Lindy Layton’s despondent performance of some fairly sombre lyrics.

Hyperlink: http://open.spotify.com/track/0LatWThfKUOdIj3x6V6xKu

Day 03 - A Song that Makes You Happy: Mint Royal with Lauren Laverne – ‘Don’t Falter’

This Mint Royale track came out in a gloriously hot summer when I was very happy and very, very young, just before I first attended Glastonbury festival. Its mirage of samples work really well together to create a wonderfully effervescent sound, accompanied by Laverne’s delicate vocals and lovely, heart-warming lyrics that never fail to cheer me up.

Hyperlink: http://open.spotify.com/track/6DLwsWoXzYQf3Kbw8rKiZv

Day 04 - A Song that Makes You Sad: Janelle Monae – ‘Cold War’

Monae‘s music is so wonderfully diverse – her work swoops and weaves through all sorts of musical styles and instruments, as well as emotions and attitudes. This song has a desperately sad and angry vibe, replicating the feeling we all get from time to time, that life is just a lonely, pointless battle. 

Hyperlink: http://open.spotify.com/track/5al9is1AQnaI3lTi20DUG6

Day 05 - A Song that Reminds You of Someone: The Thermals – ‘Pillar of Salt’

A typical connection perhaps, but this Thermals song reminds me of my boyfriend and our life together – not only was it included on an early mix-tape (on a real tape) that he made me, but the lyrics also resonate, being about a couple struggling through the mundanity of suburban life, planning their escape.

Hyperlink: http://open.spotify.com/track/5dyFRTACKvmwoIg3vFLhxr

Day 06 - A Song that Reminds You of Somewhere: Bat For Lashes – “Priscilla’

This Bat For Lashes song reminds me distinctly of the first place I heard it; my dorm room in the first year of university, watching E4 Music in the morning before a lecture - it epitomizes the excitement of being in London, and university, constantly experiencing new things and new music.

Hyperlink: http://open.spotify.com/track/0AyK4Y8XBzlNnQO7yE2waO

Day 07 - A Song that Reminds You of a Certain Event: The Hundred in the Hands – ‘Sleepwalkers’

This Hundred in the Hands track has remained in my memory as it was released the week I started my first music industry job researching new single releases, and was one of the first tracks I researched that I actually heartily enjoyed.

Hyperlink: http://open.spotify.com/track/1dGVe8z9zD4NxLxLqUvtz9

Day 08 - A Song That You Know All the Words To: Yeah Yeah Yeahs – ‘Heads Will Roll’

When this Yeah Yeah Yeahs song was released it really hit a musical sweet-spot for me in a way that their previous back catalogue had not. I listened to this song repeatedly when it was released in the summer of 2009, and the words have stuck with me long after it finished saturating my listening time.

Hyperlink: http://open.spotify.com/track/3zvHOVC4jikl6jORSr6OLE

Day 09 - A Song that You Can Dance To: CSS – ‘Patins’

CSS create excellent dance music; perfectly positioned on the cusp between indie and electro, with upbeat tempos and a poly-rhythmic elements. ‘Patins’ is the perfect example of this, with an excellent guitar hook and a marvellously effervescent quality.

Hyperlink: http://open.spotify.com/track/0CYH92f3TkdxVAfWvh4Kbu

Day 10 - A Song that Makes You Fall Asleep: The XX – ‘Islands’

All of The XX’s music is beautifully delicate, soft and calm, and ‘Islands’ is my favourite track - with very unassuming timbres that just wash over you gently it is very sedating and soothing, perfect for inducing sleep.

Hyperlink: http://open.spotify.com/track/2SMn57cBVxoD4TArscpovk

Day 11 - A Song from Your Favourite Band: Au Revoir Simone – ‘Shadows’

Au Revoir Simone are my favourite ever girl band - they create really rich, complex, thought-provoking music which is innately feminine, whimsical and beautiful. ‘Shadows’ is to my mind one of their best tracks, with really interesting synth techniques and a deeper darker sound than much of their earlier work.

Hyperlink: http://open.spotify.com/track/2jZf49KpWLpIhTdvLjeCIp

Day 12 - A Song from a Band You Hate: The Saturdays – ‘Missing You’

I do not know if you could really classify The Saturdays as a band per se, but my God do I hate them. Put simply, they embody everything I dislike in both music and women – vocoders, empty lyrics and cheap midi-synths meets simplicity, ignorance, childishness and vacant sexuality.

Hyperlink: http://open.spotify.com/track/63BaAKm304qELvF2mQItBy

Day 13 - A Song that is a Guilty Pleasure: Madonna – ‘Borderline’

Although I love Madonna, I must admit that some of her back-catalogue, and especially her earlier stuff, is very cheesy. ‘Borderline’ definitely falls into this category, with its cheap synth pop and squeaky girlish vocals, but there is something very infectious and curiously almost innocent about it.

Hyperlink: http://open.spotify.com/track/4FMNpPI7mkhdeFCCk6fZiE

Day 14 - A Song that Nobody Would Expect You to Love: Lady Gaga feat. Beyonce – ‘Telephone’

For reasons unknown to me people are always surprised when they find out that I like Lady Gaga, and especially that my favourite song of hers features another incredibly mainstream pop artist – Beyonce. To me though both Lady Gaga and Beyonce are both perfect examples of powerful, modern women in pop music, creating their own controversies and some very interesting, dynamic pop music along the way.

Hyperlink: http://open.spotify.com/track/00BuKLSAFkaEkaVAgIMbeA

Day 15 - A Song that Describes You: Ida Maria – ‘Oh My God’

This Ida Maria song perfectly encapsulates both musically and lyrically my life and general demeanour at present, in that both are a whirlwind of rushing, uptight excitement; angst-ridden but yet ultimately still trying to remain positive, upbeat and optimistic against overwhelming fragility and uncertainty.

Hyperlink: http://open.spotify.com/track/22Db3cyRKuGQGOh9puBtjv

Day 16 - A Song that You Used to Love but Now Hate: KT Tunstall – ‘Other Side of the World’

Hate is a strong word, and there are very few tracks that I have truly loved but ended up hating, however, when KT Tunstall released her first album, I, along with numerous advertisers throughout the country, played this track to death. An unfortunate consequence of this is that I cannot listen to it anymore without feeling impassive, bordering on bored.

Hyperlink: http://open.spotify.com/track/4A9E08l34BkPsCDAmOpHxb

Day 17 - A Song That You Hear Often on the Radio: The Pierces – ‘Glorious’

The only place I listen to the radio a lot is at work, where the station of choice is BBC Radio 2. This track by The Pierces has been played at least two or three times a day for the past two months or so, so thank God I like it.

Hyperlink: http://open.spotify.com/track/1GhyhZ2Sm6XoAzsvgWqIZ8

Day 18 - A Song that You Wish You Could Hear on the Radio: Nedry – ‘A42’

There is a slim chance that Nedry’s wonderful brand of subtle, developed, post-rock meets dubstep might have possibly been played a little on Radio 1 or 6 Music, but it certainly was not on any radio playlists and would never be played on Radio 2. This is my favourite track of theirs and I would love to have first discovered it on the radio – what a station that would be.

Hyperlink: http://open.spotify.com/track/1aM6vHDutX0oOV4ZbRMwNO

Day 19 - A Song from Your Favourite Album: Moloko – ‘Indigo’

Favourite albums are much like favourite tracks – subject to frequent change. However, the album Things to Make and Do by Moloko has been a consistent favourite of mine for over ten years, and I still listen to it repeatedly. ‘Indigo’ is my favourite track from it.

Hyperlink: http://open.spotify.com/track/5cRLgwOYoPgbwMq8l5k5QD

Day 20 - A Song that You Listen to When You’re Angry: Laura Marling – ‘Devil’s Spoke’

Laura Marling may seem like a strange choice for an angry playlist, given her soft acoustic folk music style. I however find that much of Marling’s second album, and especially ‘Devil’s Spoke’ have a sullen, coolly angry vibe that perfectly represents that uncertain, vague kind of despondent anger often felt.

Hyperlink: http://open.spotify.com/track/4dqhnjsX69qGQ7DCMSTY7v

Day 21 - A Song that You Listen to When You’re Happy: The Noisettes – ‘Wild Young Hearts’

The Noisettes certainly fall into the more facile, pop side of indie, but they still make very upbeat, positive music that is perfectly conductive for a happy mood.

Hyperlink: http://open.spotify.com/track/5sGLBYekUu92DDD65k9BlJ

Day 22 - A Song that You Listen to When You’re Sad: Marina and the Diamonds – ‘Obsessions’

Most of Marina and the Diamonds’ debut album is upbeat with a positive message, but this track finds her blue, sombre, scathing and reflective, with softer, colder vocals, and simpler instrumentation. The lyrical content mixed with the instrumentation lend an important sense of solidarity, as well representing my own blend of sadness, which is almost always mixed with anger, concern and self-obsession.

Hyperlink: http://open.spotify.com/track/50e8ksucu6yo0cYF47xCC9

Day 23 - A Song that You Want to be Played at Your Wedding: Sublime feat. Gwen Stefani – ‘Saw Red’

Much of this song is simply the phrase “Everyday I love you a little bit more” recycled over and over, which is all my boyfriend and me choose to hear through the other more vengeful elements of the lyrics. I love Gwen Stefani for her undeniable sass, and Sublime for their infectious upbeat-ness, so this song for me is a ball of joy, perfect for such an important, happy day.

Hyperlink: http://open.spotify.com/track/3Q5pj4sEpo3nVsbqzox0La

Day 24 - A Song that You Want to Play at Your Funeral: The Shangri-Las – ‘I Can Never Go Home Anymore’

I have not really been emo enough, or indeed old enough to give this entry proper thought previously, however, when I first heard this track by The Shangri-Las a few months ago I was almost moved to tears by its desperate, disbelieving and heart-broken sentiment, and I would ideally like people to feel utterly distraught and inconsolable when I shuffle off this mortal coil.

Hyperlink: http://open.spotify.com/track/1tZgF7en4VzVpkKnhuySlR

Day 25 - A Song that Makes You Laugh: The B-52s – ‘Rock Lobster’

So much of The B-52s’ music is innately funny, not just in their chosen subject matter, but the delivery of the vocals, the quirky, stilted instrumental techniques, and their curious retro timbres. This song has got to be their funniest.

Hyperlink: http://open.spotify.com/track/3oz4aQOLZ9MXqZ4HPUeV7W

Day 26 - A Song that You Can Play on an Instrument: The White Stripes – ‘The Hardest Button to Button’

This track by The White Stripes is not a difficult one, and I can play it on both bass and guitar (and lets face it, I could probably play the drums too, Meg’s parts are not often complicated).

Hyperlink: http://open.spotify.com/track/7N3DKWBC8pKoTf0JzyYKaj

Day 27 - A Song that You Wish You Could Play: Vanessa Carlton - ‘1000 Miles’

While much of this Vanessa Carlton song has simple chord structures, the key piano riff, which I think is the lynch-pin that made this song so popular, is fairly complex to me, who barely achieved Grade 1 on piano. I even bought the sheet music to this track and got absolutely nowhere with it.

Hyperlink: http://open.spotify.com/track/2JFEZO2ZxzffY0wd9MYEu3

Day 28 - A Song that Makes You Feel Guilty: Dolly Parton – ‘Jolene’

I rarely have anything to feel particularly guilty about these days, but this beautiful, and much scoffed at Dolly Parton classic does resonate a twinge of guilt at my younger past, where I had a notable disregard for other people’s relationships, and happily flirted, lead-on and even took more than a couple of attached boys.

Hyperlink: http://open.spotify.com/track/0PYNG70wvQ3X3fCcfDWJG6

Day 29 - A Song from Your Childhood: The Selecter – ‘On My Radio’

When I was little I developed a bit of an obsession with ska; my first CD I ever bought was a compilation called This is Ska which I found in Somerfield’s, and I played it on a loop for a long, long time. This song by The Selecter was a particular favourite for my young self.

Hyperlink: http://open.spotify.com/track/3Qmtadha85zkLH1H9EGi3u

Day 30 - Your Favourite Song at this Time Last Year: Anni Rossi – ‘Machine’

This time last year I was very into Anni Rossi - my boyfriend turned me onto her after which I listened to her album Rockwell everywhere I went. Listening to this track immediately transports me back to a year ago, although I still adore her innovative usage of the viola and delicate, positive sound.

Hyperlink: http://open.spotify.com/track/2qG494XyjhPfwOlW5z4jz9

See this at the girls are at: http://t.co/ehuDVfd