Tyne-side four piece Little Comets have certainly had an arduous journey towards the release of In Search of…, which has finally come out on indie label Dirty Hit, after an acrimonious spilt with initial label Columbia in early 2010. Little Comets produce a familiar blend of upbeat indie pop, combined with graduate style introspective lyrics. They have an “everything but the kitchen sink” approach to their influences, stating Debussy, Ella Fitzgerald and Roald Dahl amongst many other artists significant to their work.
Little Comets have regularly been likened to Vampire Weekend, but for me, upon listening to In Search of…, the group’s work seems much more similar to pop acts such as The Wombats. Their music is beyond upbeat, guitar laden, with typical indie-pop vocal delivery – staccato and punchy. This poppy, cheerful approach makes everything on the album initially seem a bit carefree and even facile. Underneath this album’s blithe exterior however, there are some genuinely interesting aspects to the music. The production of the whole album has a rough and loose feeling, which lends it a real and honest quality especially notable at the beginning and end of tracks. This is a really nice characteristic for the album to have, as even some of the quirkiest alternative recordings have production laid upon them, sounding over-produced and clinical. Additionally, the guitar parts are complex and enjoyable, and the singer has a good range with a lot of expressivity, often peaking in dynamics, sounding strained, passionate and authentic. There is also some interesting usage of samples and found sounds, synths and various percussion.
Within this album the upbeat tracks are better – it just feel more natural and comfortable for the group, and is clearly fun to play and enjoyable to listen to. With the more contemplative tracks however, success is varied – songs such as Her Black Eyes are delicate and interesting; others, like Isles have a melancholic, negative edge that after the upbeat jollity of previous tracks does leave a sour taste in the metaphorical mouth. Mostly though, this is an enjoyable album. The complexity of the group’s influences unfortunately has not yet been fully expressed, and I would certainly classify it under fusion pop and not alternative indie as some might suggest. In Search of… is not stupendously deep or innovative, but providing that’s not what Little Comets are aiming for, then this is a fine album full of enjoyable moments and good musicianship.
See this review at MTTM at http://www.morethanthemusic.co.uk/album-reviews/little-comets-in-search-of-elusive-little-comets/
Monday, 31 January 2011
Thursday, 27 January 2011
HERE COMES EVERYONE POST: Playlist of the Week - The Best of the 80s, Really.
Ah, the 1980s, a music decade of questionable taste and decency. Some of it was awful, but some of it was utterly fantastic. Unfortunately, when record companies, clubs, radio stations and TV channels compile their “Best of the 80s” playlist, they always churn out the same tired old staples that we’ve all heard a hundred times before. My best of the 1980s playlist is obviously going to be better than the usual shit. No more “Sweet Child of Mine”. Get lost, “Take My Breath Away”. Fuck you, “Livin’ on a Prayer”. Here’s some wide-awake, awesomely deep, adventurously eon-spanning tunes:
1. “Go Wild in the Country” – Bow Wow Wow
Bow Wow Wow were very 1980s new wave hip, and whilst their music is well-known by indie types, you hardly ever hear their stuff played these days. This track is beyond up beat and very fun. People under the age of 25 may remember it being used as the theme for the TV Cavegirl, but don’t let that put you off – as if it would.
2. “Borderline” – Madonna
This was one of Madonna’s first singles, and as such has a quaintly naïve and unassuming quality that is so unlike most of Madge’s work. The synth tag line is sooo 80s, but very catchy.
3. “Cool for Cats” – Squeeze
Another dirty little gem from squeeze, with a nice, fast pace and c-c-c-c-catchy lines.
4. “Shoot to Thrill” – AC/DC
From the biggest and bestest AC/DC album, Black in Black, “Shoot to Thrill” is fast paced, with a typical AC/DC content and vibe. Not as renowned as it should be.
5. “A Forest” – The Cure
Ah the Cure – how I love thee. The Cure have a great many wonderful tracks, but “The Forest” is a cracking example of their beautiful song writing. Not as ubiquitous as “Friday I’m in Love”, nor as depressing as “Cut Here”, “The Forest” is dark, deep and enchanting.
6. “Eye Know” – De La Soul
Gentle, happy and mellow, this is a typical De La Soul song, seamlessly mixed.
7. “Ghosts” – The Jam
The Jam have a number of good but over-used tracks. “Ghosts” is beautiful, yet rarely heard outside of a Best of… collection. It is a delicate and haunting track with a beautiful guitar part.
8. “On My Radio” – The Selecter
A great example of the excellent ska music that was produced by the UK in the early 1980s. With a buoyant vibe, peppy female vocals and an excellent organ timbre, this is a great track.
9. “Turning Japanese” – The Vapours
This track only ever seems to be used when something is set in Japan, but it is a great song in its only right. With very interesting vocal delivery and a nicely punky vibe, this is often neglected goodness just waiting to be over-used.
10. “Genius of Love” – Tom Tom Club
The music in this track is really interesting, quirky and draws on a lot influences. Very very funky, and sampled an awful lot, this is a forgotten treasure.
11. “Crazy Train” – Ozzy Osborne
Arguably the only good song Ozzy did outside of Black Sabbath, “Crazy Train” is very accessible and renown the world over as the theme to The Osbornes. Why don’t you ever hear it at a cheese night? Who knows.
See this post at HCE: http://t.co/N1n6Qxt
1. “Go Wild in the Country” – Bow Wow Wow
Bow Wow Wow were very 1980s new wave hip, and whilst their music is well-known by indie types, you hardly ever hear their stuff played these days. This track is beyond up beat and very fun. People under the age of 25 may remember it being used as the theme for the TV Cavegirl, but don’t let that put you off – as if it would.
2. “Borderline” – Madonna
This was one of Madonna’s first singles, and as such has a quaintly naïve and unassuming quality that is so unlike most of Madge’s work. The synth tag line is sooo 80s, but very catchy.
3. “Cool for Cats” – Squeeze
Another dirty little gem from squeeze, with a nice, fast pace and c-c-c-c-catchy lines.
4. “Shoot to Thrill” – AC/DC
From the biggest and bestest AC/DC album, Black in Black, “Shoot to Thrill” is fast paced, with a typical AC/DC content and vibe. Not as renowned as it should be.
5. “A Forest” – The Cure
Ah the Cure – how I love thee. The Cure have a great many wonderful tracks, but “The Forest” is a cracking example of their beautiful song writing. Not as ubiquitous as “Friday I’m in Love”, nor as depressing as “Cut Here”, “The Forest” is dark, deep and enchanting.
6. “Eye Know” – De La Soul
Gentle, happy and mellow, this is a typical De La Soul song, seamlessly mixed.
7. “Ghosts” – The Jam
The Jam have a number of good but over-used tracks. “Ghosts” is beautiful, yet rarely heard outside of a Best of… collection. It is a delicate and haunting track with a beautiful guitar part.
8. “On My Radio” – The Selecter
A great example of the excellent ska music that was produced by the UK in the early 1980s. With a buoyant vibe, peppy female vocals and an excellent organ timbre, this is a great track.
9. “Turning Japanese” – The Vapours
This track only ever seems to be used when something is set in Japan, but it is a great song in its only right. With very interesting vocal delivery and a nicely punky vibe, this is often neglected goodness just waiting to be over-used.
10. “Genius of Love” – Tom Tom Club
The music in this track is really interesting, quirky and draws on a lot influences. Very very funky, and sampled an awful lot, this is a forgotten treasure.
11. “Crazy Train” – Ozzy Osborne
Arguably the only good song Ozzy did outside of Black Sabbath, “Crazy Train” is very accessible and renown the world over as the theme to The Osbornes. Why don’t you ever hear it at a cheese night? Who knows.
See this post at HCE: http://t.co/N1n6Qxt
Saturday, 22 January 2011
MORE THAN THE MUSIC ARTICLE: “It’s Not Interesting Unless You Have a Girl” – How Women are Still an Anomaly in Music
Earlier this week, I came across the above quote from Jack White about music – that it is just not that interesting unless there is a woman involved. This statement was made a few years ago, and whilst I have heard of it before, I had never really thought about what it truly meant. At face value, the statement is clearly complimentary, indicating that female involvement in music, and especially the indie, bluesy, rock-y music that Jack White creates, makes the whole package different and interesting. White quite astutely summarised an unwritten rule within the music scene – that having a woman present, especially a beautiful, quirky and talented woman, generates an air of femininity and glamour that juxtaposes the masculine nature of many musical styles perfectly. Whether you are talking about hip-hop, rock, blues or indie, men and masculine desires have for decades dominated most styles of music (pop and R&B are the only exceptions I think). The appearance, therefore, of a woman playing bass or drums, mastering the turntable or dropping some rhymes was initially very unusual – jarring even.
Skip forward from the genesis and early years of these genres, and one might assume, what with equality for men and women burgeoning in other industries from medicine to banking, that women’s involvement in music would be a lot more widespread, that we would be considered equals among instruments. Sadly of course, we are not. Whilst it is true that over the past two or three years, women artists have become much more widespread, talented and legitimate solo artists (insert anyone from Marina and the Diamonds to Florence and the Machine here), women are still sadly lacking in involvement in other musical areas. Men out number female hip-hop stars at a ratio of ten to one. Very few indie and alternative bands have female members, and I cannot even think of a current all-female band.
This is why White’s statement is a kind of backhanded compliment – yes us female musicians do add charm, artistry and intrigue, but the only reason we make such an input and seem so beautifully alien is that there are still so few of us out there. A woman, in a band of talented and innovative men is still a significant and notable anomaly. Why women still lack involvement in musical endeavours is uncertain, however. Clearly the female mind is perfectly capable of music creation – we can produce songs and music of true candour and passion as well as any man. It is also not through a lack of access or resources, because women in the developed world are presented as equal, and would generally have the same access to guitar lessons or music degrees. Yet women just do not involve themselves in musical exploits to anywhere near the same extent as men. When I was little, just as many girls as boys learnt musical instruments at school. By the time I was in sixth-form, half the boys were in bands, or learning to play the guitar, where only a handful of girls were doing the same. By the time I completed my degree in music, only two other women graduated with me, in a class of forty men.
Part of the problem with female involvement is clearly that music, especially rock, hip-hop and indie, are a bit of a boys club, and many women find relations with men tedious, strained and even threatening at the best of times. The thought of doing band practice with four sweaty, aggravated men is therefore understandably unappealing to many women. Ultimately though, I think the reason that so few women continue their involvement in music is down to the simple, uncomfortable fact that we are still living in a male dominated society. Yes, women can get jobs, but they have to be jobs for women, such as assistants, secretaries or nurses, or unisex jobs like sales assistants or administrators. I think that most women just do not think of even attempting to play music or join a band, because it is so thoroughly implied that music is what men do, not women.
There is no quick solution to the lack of female involvement in music. Influences and inspiration are a significant part of the problem, so hopefully with the increase in female solo artists, more girls and women might pick up some instruments or try out their vocal chords, and attempt to break into the boys club. Regrettably, however, for the meanwhile we will have to simply enjoy our positions as the exotic, unusual quirks within the industry, and look forward to the day when we are considered regular and banal.
See this article at MTTM at http://www.morethanthemusic.co.uk/features/%E2%80%9Cit%E2%80%99s-not-interesting-unless-you-have-a-girl%E2%80%9D-%E2%80%93-how-women-are-still-an-anomaly-in-music/
Skip forward from the genesis and early years of these genres, and one might assume, what with equality for men and women burgeoning in other industries from medicine to banking, that women’s involvement in music would be a lot more widespread, that we would be considered equals among instruments. Sadly of course, we are not. Whilst it is true that over the past two or three years, women artists have become much more widespread, talented and legitimate solo artists (insert anyone from Marina and the Diamonds to Florence and the Machine here), women are still sadly lacking in involvement in other musical areas. Men out number female hip-hop stars at a ratio of ten to one. Very few indie and alternative bands have female members, and I cannot even think of a current all-female band.
This is why White’s statement is a kind of backhanded compliment – yes us female musicians do add charm, artistry and intrigue, but the only reason we make such an input and seem so beautifully alien is that there are still so few of us out there. A woman, in a band of talented and innovative men is still a significant and notable anomaly. Why women still lack involvement in musical endeavours is uncertain, however. Clearly the female mind is perfectly capable of music creation – we can produce songs and music of true candour and passion as well as any man. It is also not through a lack of access or resources, because women in the developed world are presented as equal, and would generally have the same access to guitar lessons or music degrees. Yet women just do not involve themselves in musical exploits to anywhere near the same extent as men. When I was little, just as many girls as boys learnt musical instruments at school. By the time I was in sixth-form, half the boys were in bands, or learning to play the guitar, where only a handful of girls were doing the same. By the time I completed my degree in music, only two other women graduated with me, in a class of forty men.
Part of the problem with female involvement is clearly that music, especially rock, hip-hop and indie, are a bit of a boys club, and many women find relations with men tedious, strained and even threatening at the best of times. The thought of doing band practice with four sweaty, aggravated men is therefore understandably unappealing to many women. Ultimately though, I think the reason that so few women continue their involvement in music is down to the simple, uncomfortable fact that we are still living in a male dominated society. Yes, women can get jobs, but they have to be jobs for women, such as assistants, secretaries or nurses, or unisex jobs like sales assistants or administrators. I think that most women just do not think of even attempting to play music or join a band, because it is so thoroughly implied that music is what men do, not women.
There is no quick solution to the lack of female involvement in music. Influences and inspiration are a significant part of the problem, so hopefully with the increase in female solo artists, more girls and women might pick up some instruments or try out their vocal chords, and attempt to break into the boys club. Regrettably, however, for the meanwhile we will have to simply enjoy our positions as the exotic, unusual quirks within the industry, and look forward to the day when we are considered regular and banal.
See this article at MTTM at http://www.morethanthemusic.co.uk/features/%E2%80%9Cit%E2%80%99s-not-interesting-unless-you-have-a-girl%E2%80%9D-%E2%80%93-how-women-are-still-an-anomaly-in-music/
MORE THAN THE MUSIC POST (ALBUM REVIEW): Wild Palms - Until Spring
After a busy 2010, filled with tours, festivals and lots of recording, 2011 sees the release of Until Spring, the debut album from ultra-hip alternative-indie band Wild Palms. When I heard Wild Palms for the first time at Offset Festival in September 2010, my first thoughts – or should I say feelings – were that I was just utterly overwhelmed by the beauty, intrigue and complexity of their music. Upon listening to their debut album, I was again engulfed by their music’s formidability; its intelligence, intricacy and elegance that has been captured so well throughout Until Spring.
The music on Until Spring at first aural-glance appears to have all the hallmarks of typical music from the alt-indie scene; quiet melancholy, souring soundscapes, sensitive production and perceptive lyrics. Do not however confuse this amazing album for indie “paint-by-numbers”, for it is much more than the sum of its parts. The lyrics are evocative, sensitive and insightful. Poetic even. A gentle grain delivers them with an unassuming yet steadfast vocal presence. The drums are understated, but thick, dynamic and precise. The guitar and bass work perfectly together, with the bass often taking the lead on haunting, captivating sections that are at times reminiscent of Mike Oldfield’s work circa Hergest Ridge. The guitar timbres are also reminiscent of other artists; most notably the likes of The Hundred In The Hands and Slow Club – very fresh, precise and now. Finally, the production embellishes, enhances and connects all parts superbly. The numerous effects layered on the tracks are rich, original and completely unformulaic, creating awesome, epiphanic moments of creative clarity.
This music is clever, and clearly written by contemplative minds that have developed and ruminated over their music. That is not say however that there is no warmth or fervour in this album – it is not at all mapped out, cold-heart perfectionism. These songs are full of deep, real emototivity, where angst, despondency, desperation and ecstasy are loaded in every word, guitar wail, bass-line and cymbal smash. Much of this album does have a minor approach, but it is not all introspection and head-music. There are cute ditties, upbeat tempos and catchy lines. Carnations and Delight in Temptation illustrate this beautifully. Until Spring is a stunning debut, and shouldn’t just be left in the cool kids’ arsenal – it should filter-down and proliferate to as large an audience as possible.
See this review at MTTM at http://www.morethanthemusic.co.uk/album-reviews/wild-palms-%E2%80%93-until-spring/
The music on Until Spring at first aural-glance appears to have all the hallmarks of typical music from the alt-indie scene; quiet melancholy, souring soundscapes, sensitive production and perceptive lyrics. Do not however confuse this amazing album for indie “paint-by-numbers”, for it is much more than the sum of its parts. The lyrics are evocative, sensitive and insightful. Poetic even. A gentle grain delivers them with an unassuming yet steadfast vocal presence. The drums are understated, but thick, dynamic and precise. The guitar and bass work perfectly together, with the bass often taking the lead on haunting, captivating sections that are at times reminiscent of Mike Oldfield’s work circa Hergest Ridge. The guitar timbres are also reminiscent of other artists; most notably the likes of The Hundred In The Hands and Slow Club – very fresh, precise and now. Finally, the production embellishes, enhances and connects all parts superbly. The numerous effects layered on the tracks are rich, original and completely unformulaic, creating awesome, epiphanic moments of creative clarity.
This music is clever, and clearly written by contemplative minds that have developed and ruminated over their music. That is not say however that there is no warmth or fervour in this album – it is not at all mapped out, cold-heart perfectionism. These songs are full of deep, real emototivity, where angst, despondency, desperation and ecstasy are loaded in every word, guitar wail, bass-line and cymbal smash. Much of this album does have a minor approach, but it is not all introspection and head-music. There are cute ditties, upbeat tempos and catchy lines. Carnations and Delight in Temptation illustrate this beautifully. Until Spring is a stunning debut, and shouldn’t just be left in the cool kids’ arsenal – it should filter-down and proliferate to as large an audience as possible.
See this review at MTTM at http://www.morethanthemusic.co.uk/album-reviews/wild-palms-%E2%80%93-until-spring/
Tuesday, 18 January 2011
MORE THAN THE MUSIC POST: Interview with Vessels
When we found out that Leeds-based band Vessels were releasing their second album and about to tour the UK (including Ireland for the first time!) we decided to catch up with guitarist and singer Tom Evans to talk about these progressions.
MTTM: Your new album, Helioscope, is due for release in February – what can we expect from it?
Tom Evans: A tidy slice of toe-tapping, finger-snapping, chin-thrusting postprog with some instrumentals, some songs, and lots of ridiculously massive endings.
MTTM: The new album was recorded in Dallas, and your first studio album was recorded in Minneapolis. Why have you chosen to record your albums in the U.S.?
TE: Partly because that’s where the producer lives, and partly because you can get a better studio for less money in the States, especially one big enough for us all to lay the tracks down together in the same room. We like to capture everything as live as possible, as opposed to recording everything separately.
MTTM: Both your studio albums were produced by John Congleton (who has produced the likes of Modest Mouse and The Walkmen in the past) – what is it about his work that you’re drawn to?
TE: We were big fans of his work before we did the first album, especially the Explosions In The Sky and Appleseed Cast albums, so we were chuffed he wanted to work with us as well. He always captures a very natural sound, and he doesn’t compress the shit out of everything so the recordings have a lot of personality. His work also never sounds like a generic Pro-Tools rock production, which is good as that is something we’re definitely not going for. He also makes the loud bits sound monumentally big.
MTTM: You’re doing a pretty intense, compact tour throughout February and March – do you like to tour? Is it an exciting adventure or tedious and stressful?
TE: It’s great to get out and share the music with people, as opposed to being holed up and only playing it to each other. It’s also a lot of fun meeting everyone and building relationships with the people who keep coming back to see us year after year and who are the reason we can keep doing this. It is 90% tedium though, but usually worth it for the 10% awesome release of playing the gig We have a lot of gear (about a tonne) to lug around before and after every show, and soundchecks are generally a headache, so I guess the answer is that it’s all of the above – a tedious, stressful exciting adventure!
MTTM: Your European tour diary reads like a real diary – you cover everything from the gigs and the music, to the beauty of what you saw and the complexities of what you felt. Do you take such a conscientious, poetic approach to life in general or just in regard to your art?
TE: I don’t know – I think that the more you find art in everyday life, the more appreciation you can have for life in general. And the only way to find it is to keep your eyes open and look for it. Allow yourself to be inspired by things that you wouldn’t expect to inspire you, or angered by the things that you could ignore, or saddened by things that don’t affect you. It all matters. Not that any of us are creative and poetic all the time, of course, but you need food for the soul as well as the belly sometimes.
MTTM: Much of your work has a collage style approach to music creation, with lots of layered sounds, yet is still essentially indie based. What do you find is more of an influence on your work?
TE: Recently, we’ve been writing a lot of the music on sequencers, recording ideas and messing with the structures on the computer (as opposed to developing jams into full pieces, which is how most of the first album was written). Lee writes a lot of the music, and he’s been obsessively writing techno and electronica for the last 8 years, so that’s had quite an influence on our sound and approach. I certainly wouldn’t call what we do dance music, but it is definitely possible to dance to some of the new stuff.
MTTM: Your music has all the trademarks of the cool alternative scene – lo-fi production, haunting soundscapes, low mixed vocals – are you excited with the way the UK scene is progressing, and your part in that?
TE: I’m a big fan of low mixed vocals, although I get in frequent arguments when it comes to mixing vocal tunes! I’m really most excited by three specific bands in the UK at the moment – Errors, Three Trapped Tigers (who are playing at our album launch) and Zun Zun Egui. They’re all incredible live bands.
MTTM: Your work seems to trump for more natural timbres over overtly electronic fare, yet I really liked The Errors’ remix of your track An Idle Brain and the Devil’s Workshop. Do you think there could be room in your work for more electronic experimentation? Does this feature perhaps in your new album?
TE: We’ve always tried to embrace electronica influence in our sound, but we’ve never had enough money to buy the equipment necessary to take these ideas to their full potential. We’ve got a few more keyboards on stage nowadays, so it’s definitely heading in that direction. The new album also kicks off with some rinsingly-phat analogue synth-bass, so you’ve got that to look forward to if you’re planning on buying it.
See this interview at MTTM: http://www.morethanthemusic.co.uk/interviews/vessels/
MTTM: Your new album, Helioscope, is due for release in February – what can we expect from it?
Tom Evans: A tidy slice of toe-tapping, finger-snapping, chin-thrusting postprog with some instrumentals, some songs, and lots of ridiculously massive endings.
MTTM: The new album was recorded in Dallas, and your first studio album was recorded in Minneapolis. Why have you chosen to record your albums in the U.S.?
TE: Partly because that’s where the producer lives, and partly because you can get a better studio for less money in the States, especially one big enough for us all to lay the tracks down together in the same room. We like to capture everything as live as possible, as opposed to recording everything separately.
MTTM: Both your studio albums were produced by John Congleton (who has produced the likes of Modest Mouse and The Walkmen in the past) – what is it about his work that you’re drawn to?
TE: We were big fans of his work before we did the first album, especially the Explosions In The Sky and Appleseed Cast albums, so we were chuffed he wanted to work with us as well. He always captures a very natural sound, and he doesn’t compress the shit out of everything so the recordings have a lot of personality. His work also never sounds like a generic Pro-Tools rock production, which is good as that is something we’re definitely not going for. He also makes the loud bits sound monumentally big.
MTTM: You’re doing a pretty intense, compact tour throughout February and March – do you like to tour? Is it an exciting adventure or tedious and stressful?
TE: It’s great to get out and share the music with people, as opposed to being holed up and only playing it to each other. It’s also a lot of fun meeting everyone and building relationships with the people who keep coming back to see us year after year and who are the reason we can keep doing this. It is 90% tedium though, but usually worth it for the 10% awesome release of playing the gig We have a lot of gear (about a tonne) to lug around before and after every show, and soundchecks are generally a headache, so I guess the answer is that it’s all of the above – a tedious, stressful exciting adventure!
MTTM: Your European tour diary reads like a real diary – you cover everything from the gigs and the music, to the beauty of what you saw and the complexities of what you felt. Do you take such a conscientious, poetic approach to life in general or just in regard to your art?
TE: I don’t know – I think that the more you find art in everyday life, the more appreciation you can have for life in general. And the only way to find it is to keep your eyes open and look for it. Allow yourself to be inspired by things that you wouldn’t expect to inspire you, or angered by the things that you could ignore, or saddened by things that don’t affect you. It all matters. Not that any of us are creative and poetic all the time, of course, but you need food for the soul as well as the belly sometimes.
MTTM: Much of your work has a collage style approach to music creation, with lots of layered sounds, yet is still essentially indie based. What do you find is more of an influence on your work?
TE: Recently, we’ve been writing a lot of the music on sequencers, recording ideas and messing with the structures on the computer (as opposed to developing jams into full pieces, which is how most of the first album was written). Lee writes a lot of the music, and he’s been obsessively writing techno and electronica for the last 8 years, so that’s had quite an influence on our sound and approach. I certainly wouldn’t call what we do dance music, but it is definitely possible to dance to some of the new stuff.
MTTM: Your music has all the trademarks of the cool alternative scene – lo-fi production, haunting soundscapes, low mixed vocals – are you excited with the way the UK scene is progressing, and your part in that?
TE: I’m a big fan of low mixed vocals, although I get in frequent arguments when it comes to mixing vocal tunes! I’m really most excited by three specific bands in the UK at the moment – Errors, Three Trapped Tigers (who are playing at our album launch) and Zun Zun Egui. They’re all incredible live bands.
MTTM: Your work seems to trump for more natural timbres over overtly electronic fare, yet I really liked The Errors’ remix of your track An Idle Brain and the Devil’s Workshop. Do you think there could be room in your work for more electronic experimentation? Does this feature perhaps in your new album?
TE: We’ve always tried to embrace electronica influence in our sound, but we’ve never had enough money to buy the equipment necessary to take these ideas to their full potential. We’ve got a few more keyboards on stage nowadays, so it’s definitely heading in that direction. The new album also kicks off with some rinsingly-phat analogue synth-bass, so you’ve got that to look forward to if you’re planning on buying it.
See this interview at MTTM: http://www.morethanthemusic.co.uk/interviews/vessels/
Saturday, 8 January 2011
HERE COMES EVERYONE POST: Playlist of the Week - Favourite Tracks of All Time
Like most people I have a lot of tracks that I consider to be my favourite song of all time. Essentially I am greedy and fickle, and I really cannot just limit myself to one favourite song forever. Even my top ten list mutates and changes; some tracks get dropped out forever, some tracks dip in and out of favour, and some always remain in my top ten, perhaps because they are just that god-damn good. I haven’t done a comprehensive top ten list for a few years, so here is my top ten favourite tracks of all-time, as it stands January 2011. The reasons for many of these tracks being in my top ten is inexplicable, and as such, in these cases I have just left them blank of explanation. Sometimes there is just simply something about the track in question that deeply resonates with me and just makes me fall in love with it. Love at first listen I guess.
1. Boston – “More than a Feeling”
I have an inexplicable soft spot for 70s rock, and this track by Boston is both the epitome and the ultimate example of this style of music.
2. Thirst – “Make a Choice”
This track has been in my top ten favourite songs list for about eight years now. Loved it from the minute I heard it. The speed, the melody progression, and the general feel of this track is perfect.
3. Red Hot Chili Peppers – “Midnight”
Again, immediately and inexplicably my favourite track from my favourite Chili’s album.
4. Bow Wow Wow – “Lonesome Tonight”
The beautiful vocal melody progression in this track literally gives me goose bumps.
5. Au Revoir Simone – “Fallen Snow”
A pretty little ditty, filled with gentle, soft positivity.
6. CSS – “Lets Make Love and Listen to Death From Above”
This song just ignites me with excitement. The track itself is exciting and curious, and emerged at a parallel time in my life.
7. The Jam – “Ghosts”
8. The Misfits – “Hybrid Moments”
I love The Misfits, and this is my favourite song of theirs.
9. The Wombats – “Moving to New York”
10. The White Stripes – “Seven Nation Army”
An immense song, probably the best of a whole catalogue of excellence from The White Stripes. Perfectly composed, perfectly executed.
See this playlist at HCE: http://t.co/uUv5cSC
1. Boston – “More than a Feeling”
I have an inexplicable soft spot for 70s rock, and this track by Boston is both the epitome and the ultimate example of this style of music.
2. Thirst – “Make a Choice”
This track has been in my top ten favourite songs list for about eight years now. Loved it from the minute I heard it. The speed, the melody progression, and the general feel of this track is perfect.
3. Red Hot Chili Peppers – “Midnight”
Again, immediately and inexplicably my favourite track from my favourite Chili’s album.
4. Bow Wow Wow – “Lonesome Tonight”
The beautiful vocal melody progression in this track literally gives me goose bumps.
5. Au Revoir Simone – “Fallen Snow”
A pretty little ditty, filled with gentle, soft positivity.
6. CSS – “Lets Make Love and Listen to Death From Above”
This song just ignites me with excitement. The track itself is exciting and curious, and emerged at a parallel time in my life.
7. The Jam – “Ghosts”
8. The Misfits – “Hybrid Moments”
I love The Misfits, and this is my favourite song of theirs.
9. The Wombats – “Moving to New York”
10. The White Stripes – “Seven Nation Army”
An immense song, probably the best of a whole catalogue of excellence from The White Stripes. Perfectly composed, perfectly executed.
See this playlist at HCE: http://t.co/uUv5cSC
Subscribe to:
Comments (Atom)