MORE THAN THE MUSIC POST: Charlie Boyer and the Voyeurs - Clarietta

Clarietta is the first full-length release from east-London darlings Charlie Boyer and the Voyeurs, out now on Heavenly. This debut effort from the all-male five-piece features lashings of sexy, dirty rock ‘n’ roll delivered with plenty of dapper charisma. Title track Clarietta follows on from the album’s lead single Be Glamorous, released on May 20th, along with an additional couple of singles released in late 2012.

Clarietta could easily be accused of being highly derivative – what with its clear channelling of all things seventies. From NYC art punk to glam rock – influences are palpable even to the untrained ear. There are more than subtle hints of Television, T-Rex, Sparks and the New York Dolls throughout this release, and within the group’s style in general. Certainly, with their direct and almost simplistic style of rock, Charlie and the gang are not forging paths into anything particularly new or innovative.

Ultimately though this album’s strong influences, combined with its simplicity, and strength of purpose, are the root to its charm. The group’s clear influences solidify their message – they are all about charming, primitive rock ‘n ‘roll with a wealth of blues and glam thrown in for good measure. This is music with crunchy bass lines, distorted guitars, heavily set phasers and punched up effects units – plain and simple.

Make no mistake, however, Boyer and the Voyeurs are no pastiche. The group offer music that is a little toned down, less excessive, more subtly exuding sex and glamour than their 70s counterparts. There is a notable fusion of genres at play too, with elements of proto-punk and the sloppiness of grunge and garage punk thrown into the mix to create a clever, well presented vision of sound.

When the ultimate message of Clarietta is so clear-cut, individual elements matter little. Melodies and chord progressions are simple. Vocals are a vaguely constructed, hansom drawl. What is important is what it ultimately offers – tasty, alluring and convincing rock, with clear 70s references familiar enough to appeal to a larger audience.

See this at MTTM at: http://www.morethanthemusic.co.uk/charlie-boyer-and-the-voyeurs-clarietta/

THE GIRLS ARE POST: Ms Mr - Secondhand Rapture (album review)

Secondhand Rapture is the first full-length release from the hot new duo of commercial glitch pop Lizzy Plapinger and Max Hershenew, AKA Ms Mr. There has been much anticipation circling around this debut LP, and indeed around the band itself, with the pair finding themselves originally shrouded in all forms of succulent, attention grabbing mystery, to now being heralded as the first superstars of chillwave.

It is therefore slightly disappointing (and poignantly apt, given the album’s title) that this album kicks off with not one, but three tracks that have all been released before on the duo’s debut EP,Candy Bar Creep Show. Indeed, lead album track ‘Hurricane’ has now been released three times all on its own – as the group’s debut single, on their debut EP, and now on their debut album. True, ‘Hurricane’ is an utterly fabulous track that arguably deserves as much coverage as possible, and yes, the moderately cynical ploy of major labels treating the EP as a “soft release” before the main album is becoming ever increasingly common, but for anyone who has loved this band from the very start, there is a slight feeling of grumbling dissention as the why there couldn’t be some more new stuff on this release.

Putting the politics aside, it must be said that Secondhand Rapture is a fine album, full of grand timbres, atmospheric soundscapes, and a dark vibe that is heavy, sombre and complex, yet retains a strong degree of commerciality. True, Ms Mr are heavily rooted in alternative New York scene, but the album has been sculpted in a highly professional and finely tuned fashion that will be palatable to a mass audience.

This album is not soulless or synthetic, however. Secondhand Rapture is awash with beautiful timbres cleverly layered, with coolly despondent melodies that tug on the heartstrings. This music is intelligent and dynamic, yet sits comfortably and whole-heartedly within its chosen niche of dark, melancholic alt-pop. The ultimate lynchpin for this dark wave of sound is perhaps rooted in Plapinger’s vocals. Her style of vocal dynamism is expressive yet effortless, with a little attitude and a vague element of surly sultriness that is highly reminiscent of Marina and the Diamonds, Florence and the Machine, and most potently of all, queen of Hollywood sadcore herself, Ms Lana Del Rey. Indeed, the dramatic yet refined vocal style of Ms Mr, combined with the discordant millpond of coldly prepossessing lyrical themes apparent throughout Secondhand Rapture are so perfectly delivered that Del Rey may have competition for that hallowed crown.

With this debut full-length release, all the potential Ms Mr have offered has come to fruition perfectly, even if some tracks are already fairly familiar. This could be one of the first great alternative pop albums of 2013.

See this at TGA at: http://www.thegirlsare.com/2013/05/14/review-ms-mr-2/

MORE THAN THE MUSIC POST: Peace LIVE at SUB89, Reading

Peace practically emerged to critical acclaim back in early 2012, with the likes of The Guardian, The Fly and the NME immediately signalling them as a tour de force of new indie rock. This momentum has continued with the release of their debut EP EP Delicious in September 2012, and now the release of their debut full length In Love, for which this tour is supporting.

Being heralded as one of the most important bands of 2013 makes for some pretty big shoes to fill, but the sheer excitement and enthusiasm this very young, hip, and wide awake audience have for the band is palpable, and completely backs up the hype. Peace emerge to actual screams from the audience, indicative of both the audience’s age and their literal excitement at seeing this band. The crowd is further enlivened by the opening track, where the group’s 90s influenced afro-beat vibe induces dancing, hands in the air, whoops, cheers and even crowd surfing.

Visually, however, we are presented with little more than four scruffy, shaggy-looking young men, with greasy hair and a bit too much of The Stone Roses about them. They do not particularly put on a “show” either. While they are clearly perfectly competent musicians, and the music itself has plenty of energy, they are to a degree stagnant in their performance, which is punctuated only by vague mumbling addresses to the audience every third or fourth song.

Yet some how Peace really captivates this young audience, and clearly capture the zeitgeist of the current 16 – 24 year old market. The crowd are so palpably enraptured by the music, the lyrics, and generally what the band are about that there is a real, potent atmosphere created between the band and the audience that is something very special.

There is a simplicity to Peace’s music, and particularly their lyrics, which perhaps appeals to this younger mind-set. Songs are based around pretty basic concepts – happiness, love, angst and just having a good time – and the lyrical constructs are often quite basic and repetitive, allowing the audience to easily pick them up and sing along. The music itself is less simple – fusing as it does a mass of styles, genres, techniques and eras. The 90s however is perhaps the most overriding influence, no so much that it sounds throwback or pastiche, but it is the strongest vibe that floats through the way the band both looks and sounds. Looking at the audience however, with their crop tops and blenched denim hot pants, the 90s are in, especially if you cannot remember that questionable decade the first time around.

From a personal perspective, Peace have tonight given a mixed performance, with competent musicianship but a slight lack of musical conviction. They are a young band however, only performing together for little over a year. And it must be said – some tracks (typically the group’s singles) have real charisma, intrigue, and perhaps vague hints of innovation. There are even flashes of brilliance towards the end, with their final track turning into an odyssey of dramatic guitars and dry ice. But it is ultimately the way the audience has connected with this band in such as whole-hearted and complete way that is the real thing to note with this band, and is perhaps the key to their current popularity.

See this at MTTM at: http://www.morethanthemusic.co.uk/25042013-peace-sub-89-reading/

THE GIRLS ARE POST: CSS - Hangover (single)

‘Hangover’ is the upcoming single from Sao Paulo’s famous electro-indie darlings Cansei de Sur Sexy, aka CSS.

As a key element of the nu-rave scene through 2006-7, CSS were a beacon of energy and effervescence, offering listeners vibrant, exciting and unbridled music that was fast paced, humorous and sexy. Now, however, the group are in their tenth year together, are on the cusp of their forth album, and with the tumultuous exit of key member Adriano Cintra last year, the group find themselves as an all-woman outfit, with a decidedly more mellow, sultry musical vibe than before.

For those that are used to previous CSS efforts, ‘Hangover’ could be initially perceived of as a little lack lustre. The beat is tepid, the timbres are mellow, and Lovefoxxx’s vocal delivery is measured and heavy rather than manic and jubilant. This track is a slow burner, however, and through multiple listens ‘Hangover’ slowly hooks the audience in, presenting music that is as relaxed, pleasant and nonchalant as a balmy summer’s eve.

This tropical vibe is enhanced by charismatic brass hits, which are warm with rocksteady and dub influences. This new angle adds hints of the likes of Friends, Haim and No Doubt to the music, but ultimately this track is still 100% CSS. The electro vibe is perfectly evident, with plenty of gloriously diverse synth timbres splattered about in a disconnected and messy way that still totally works, and the vocals have strategically placed pep here and there, with under-developed yet charming lyrics and catchy chorus hooks.

‘Hangover’ is available from next week to download, and the new album entitled Planta, is available as a physical release and to download on SQE from 10 June 2013. CSS are due to play at All Tomorrow’s Parties, as well as a number of other UK tour dates in May.

See this at TGA at: http://www.thegirlsare.com/2013/05/01/review-css-3/