Reviews of recent releases from CLUAS writers http://www.cluas.com/indie-music/Album_Reviews/tabid/87/BlogId/18/Default.aspx en-US editor@cluas.com Mon, 15 Mar 2010 00:41:21 GMT Mon, 15 Mar 2010 00:41:21 GMT http://backend.userland.com/rss Blog RSS Generator Version 4.0.0.0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1345/Pet-Shop-Boys-Pandemonium.aspx <h2> A review of the live album/DVD 'Pandemonium' by Pet Shop Boys</h2> <p>  </p> <p> <u><strong>Review Snapshot:</strong></u> Over 100 minutes of pure bubble-gum pop, absorbed in a rainbow of multi-coloured lighting, with a combination of clever choreography, making this CD and DVD an aural and visual spectacle from the start.</p> <p> <u><strong>The Cluas Verdict?</strong></u> 8 out of 10</p> <p> <u><strong>Full Review:</strong></u> Love them or loathe them, you can’t help but have admiration for the Pet Shop Boys. Over 25 years in the music business and they still continue to come up with fresh ideas, both in their music and their presentation.</p> <p> <img alt="'Pandemonium' by Pet Shop Boys" src="/indie-music/Portals/0/Blog/Files/18/1345/PSB.jpg " style="width: 240px; float: right; height: 240px" /></p> <p> Last year they released their 10th studio album, had another no. 1 on the Billboard Dance Charts, were awarded the Outstanding Contribution to Music at the Brits, and now they’ve released a CD/DVD of their Pandemonium Tour at London’s O2 Arena, barely six weeks after it was recorded.</p> <p> Wearing coloured boxes on their heads for the opener ‘Heart’, it’s a bowler hat and shades for Tennant as they mix their back catalogue with recent singles ‘Love Etc’ and ‘Did You See Me Coming’.</p> <p> ‘Building A Wall’ winds the clock back 30 years replicating Pink Floyd’s memorable gigs just down the road at Earls Court, as the large brick wall crashes to the ground at the finale of this number. From track 1 (Two Divided By Zero) on Please, to songs from Yes, this is a greatest hits live collection that spans their whole career ranging from ‘Suburbia’ and ‘Always on My Mind’ to ‘It’s A Sin’ and ‘Go West’.</p> <p> It’s not all pop though; there’s plenty of art here also, with lesser known gems like ‘Closer to Heaven’, ‘King’s Cross’ and ‘Jealousy’ included in the set. There’s also a medley of hits mixed in with a great version of <a href="http://www.cluas.com/music/albums/coldplay2.htm">Coldplay</a>’s ‘Viva La Vida’ which Neil performs dressed as a king, complete with crown and cape, and they finish the gig with their swan-song ‘West End Girls’.</p> <p> If the combination of CD and DVD weren’t value for money already, there’s 30 minutes of extras on the DVD. First up is a cover of the Madness hit ‘My Girl’, a rare performance of ‘It Doesn’t Often Snow at Christmas’ (complete with dancing Christmas trees), and the three music videos from the 'Yes' album.</p> <p> And if that wasn’t enough there’s even a shot of Chris Lowe actually smiling, the full Brit Award performance featuring <a href="http://www.cluas.com/indie-music/Gig_Reviews/tabid/96/EntryId/300/The-Killers-Budapest.aspx">Brandon Flowers</a> and Lady Gaga, and an audio commentary from Neil and Chris. Now who says the Pet Shop Boys are constantly being boring? Not on this performance.<br />  </p> <p> <strong><em>Mick Lynch</em></strong></p> <br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1345/Pet-Shop-Boys-Pandemonium.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1345/Pet-Shop-Boys-Pandemonium.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1345/Pet-Shop-Boys-Pandemonium.aspx Sat, 13 Mar 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1345 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1346/Norah-Jones-The-Fall.aspx <h2> A review of the album 'The Fall' by Norah Jones</h2> <p> <u><strong><img alt="'The Fall' by Norah Jones" src="/indie-music/Portals/0/Blog/Files/18/1346/norah.jpg " style="width: 240px; float: right; height: 240px" /></strong></u></p> <p> <u><strong>Review Snapshot:</strong></u> A lot has changed about Norah. There is a real notion that she has grown up, and she wanted this to be heard in album number four. Produced by Jacquire King, who produced Tom Waits' 'Mule Variations', this album has a sound entirely new and long overdue. It may even reach some new followers who had previously ignored the presence of the docile piano and abundance of love ditties.</p> <p> <u><strong>The Cluas Verdict?</strong></u> 6 out of 10</p> <p> <u><strong>Full Review:</strong></u> Followers of Norah Jones usually say it’s her velvet voice that started their love affair with her. Her voice may well be the only thing people will recognise on Norah’s latest release. Gone are the love tunes tinkled on piano, welcome is a much rockier, guitar-heavy mix of angry, bitter tunes. This, of course could be contributed to her split from long-time partner (and band mate) 18 months ago.</p> <p> This absence is sincerely felt in the lyrics:</p> <p style="margin-left: 40px"> <em>“Now all the stars have gone,<br /> Faded into the cracks of dawn<br /> And I’m still waiting here,<br /> Waiting for you to come home” </em></p> <p> ‘Norah Jones: Singleton’ is felt right through this album, particularly in songs like 'Back to Manhattan', where she discusses having to choose between two partners living on opposite sides of the river. She has also lost her image of innocence, as she shows us in 'Stuck', a song about a drunken night in New York:</p> <p style="margin-left: 40px"> <em>“I just lost the plot, got a little caught<br /> In a little knot<br /> I just hit a wall, had a little fall,<br /> Felt the swinging wrecking ball.” </em></p> <p> 'Chasing Pirates' is a perfect upbeat opening with a hook that will spin in your head for days. The keyboards and drums are an unusual addition on this album, and particularly on this track, and it works wonderfully. 'You’ve Ruined Me' has the sadder tone of someone who has lost a love. Ruined she may be but this songs provides an excellent guitar and drum combination, and her voice sounds as caramel-smooth as ever.</p> <p> The closing of the album shows her wicked, charming sense of humour. 'Man of the Hour' talks about the man she does finally choose, when she <em>“couldn’t choose between a vegan and a pothead”</em> she chose her dog, who doesn’t have<em> “any baggage tied to his four feet”:</em></p> <p style="margin-left: 40px"> <em>“Though we’ll never take a shower together,<br /> I know you’ll never make me cry” </em></p> <p> Overall this album is definitely worth a listen. It’s great to hear her doing something new and I hope it brings a whole new genre of fans.</p> <p> <strong><em>Elaine Peppard</em></strong></p> <br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1346/Norah-Jones-The-Fall.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1346/Norah-Jones-The-Fall.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1346/Norah-Jones-The-Fall.aspx Sat, 13 Mar 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1346 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1342/David-Bowie-A-Reality-Tour-Live-in-Dublin.aspx <h2> A review of the album 'A Reality Tour Live in Dublin' by David Bowie</h2> <p> <u><strong><span class="Apple-style-span" style="font-weight: normal; -webkit-text-decorations-in-effect: none; "><img alt="David Bowie - A Reality Tour, live in Dublin" src="/indie-music/Portals/0/Blog/Files/18/1342/david-bowie-reality-tour-dublin-cd.jpg " style="cursor: default; float: right; width: 400px; height: 400px; " /></span>Review Snapshot:</strong></u> Possible the last ever Bowie Concert to be captured live, before an Irish audience who play their part in helping him deliver an outstanding performance of greatest hits and album classics. </p> <p> <u><strong>The Cluas Verdict?</strong></u> 8 out of 10</p> <p> <u><strong>Full Review:</strong></u> Just over six months after this live concert was recorded, Bowie suffered a heart attack and has since been taking it easy, so what we’ve got here could be one of his last official live recordings, and if it is, what a way to bow out.</p> <div id="cke_pastebin"> Recorded over two nights at Dublin’s Point Depot in November 2003 during his Reality Tour, Bowie gives a thumping performance consisting of his greatest hits and tracks from his recent Heathen and Reality albums.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> The DVD edition of this concert was released a few years ago, but now for the first time we get a double cd of 33 tracks, three of which didn’t make the DVD version.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> “We hope you got your sleeping bags and tents because this might be a really long show tonight” proclaims Bowie at the start of a fantastic night’s entertainment.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> CD1 opens with the classic Rebel Rebel and continues with a mixture of well known gems [Fame, The Man Who Sold the World] and recent album tracks namely New Killer Star and Reality.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> “You’re not too old for a sing-a-long are you?” he jokes before introducing All the Young Dudes, and there’s a cover of the Pixies ‘Cactus’ thrown in amongst the Bowie compositions.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> The highlights here are a supreme version of Under Pressure, (a duet with the legendary Gail Ann Dorsey) which Bowie claims makes the song her own, and not a Jedward in sight. This is followed by a slowed down haunting piano-version of Life on Mars which will have the hairs standing on the back of your neck.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> The second disc opens with 80s classics Ashes to Ashes and Loving the Alien, the latter in a stripped down version which sounds beautiful. Changes and Heroes are mixed in with lesser known, but equally as good tracks including the Reality single Never Get Old and Bring Me the Disco King.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> For those that have the DVD of this concert, there’s the inclusion of three previously unreleased bonus tracks to cherish, the best of these being Breaking Glass, and the superb China Girl on which Bowie sneaks in the f-word.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> What makes this a great album, is not just a brilliant band, or a great production, but we get to hear the real Bowie also as his banter between tracks is sincere and enjoyable, and with the thin white duke suffering a heart attack only months after this performance, this could be the last time we get to hear him live on record. As it says on the cd sleeve, this concert was recorded “in front of emotionally charged audiences” and on this evidence Bowie is giving as good as he’s getting.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> <em><strong>Mick Lynch</strong></em></div> <br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1342/David-Bowie-A-Reality-Tour-Live-in-Dublin.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1342/David-Bowie-A-Reality-Tour-Live-in-Dublin.aspx#Comments 1 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1342/David-Bowie-A-Reality-Tour-Live-in-Dublin.aspx Wed, 10 Mar 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1342 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1343/Marina-the-Diamonds-The-Family-Jewels.aspx <h2> A review of the album The Family Jewels by Marina & the Diamonds</h2> <p> <img alt="MATD The Family Jewels" src="/indie-music/Portals/0/Blog/Files/18/1343/matd-family-jewels.jpg " style="border-style: solid; border-width: 1px; width: 240px; height: 240px; float: right;" /></p> <p> <u><strong>Review Snapshot:</strong></u> Put a striking Greek girl in Wales who grows up to have a <a href="http://www.cluas.com/indie-music/Blogs/French_Letter/tabid/80/EntryId/1337/London-and-Paris.aspx">London</a> accent and you get Marina Diamandis, better known as Marina & the Diamonds. Her long awaited debut ‘The Family Jewels’ is a shameless pop album, mixed with a hint of indie and sprinkled with some eccentricity. This, it turns out, is a winning combination.</p> <p> <u><strong>The Cluas Verdict?</strong></u> 8 out of 10</p> <p> <u><strong>Full Review:<br /> </strong></u></p> <p> Having recently been put on almost every ‘One to Watch for 2010’ list Marina & the Diamonds had a lot to live up to with ‘The Family Jewels’. Detailing the world around her and the apparent perils of being a woman in the 21st Century (<em>“Girls are not meant to fight dirty/Never look a day past thirty”</em>) makes for an interesting listen.<br /> <br /> The second track on the album, ‘Shampain’, has an <a href="http://www.cluas.com/music/ten/eighties.htm">80s</a> glam feel and slight similarities to Ladyhawke’s sound. She proclaims that <em>“sleep is not my friend”</em> with swirling vocals and an array of synthesisers. The song is extremely catchy and seems to document a hedonistic existence, but ends quietly on a high note, sounding innocent in contrast to the exploits described and the up-beat tempo in the rest of the song.</p> <p> <br /> ‘Girls’ sounds <a href="http://www.cluas.com/cinema/tarzan.htm">Disney</a>-esque at the beginning, due to the fantasy style instrumentation and the looming sound of the drum beat. In a case of things that shouldn’t work, but somehow do, an accordion is thrown into the mix temporarily, and all of a sudden it seems like you’ve been transported into the back streets of a tiny town in Rome. She expresses dissatisfaction and boredom in being around girls, singing that <em>“I fall asleep when they speak of all the calories they eat”</em>. All of the lyrics in this song are amusing but also an observation of modern life, and in some instances, similar to <a href="http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/607/The-Last-Shadow-Puppets-Age-Of-The-Understatement.aspx">Alex Turner’s</a> lyrical abilities. Impressive? Very much so.<br /> <br /> The humorously titled ‘Hermit the Frog’ begins with strings, and sounds like it wouldn’t be out of place on a James Bond soundtrack. Then it launches into the first chorus and displays the quirky and eccentric style expected of Marina. Though at times the track can get irritating, most notably just before the third verse where there’s a piercing <em>“oh oh oh”</em> line. Otherwise, it adequately shows the aforementioned song writing skills and the slight insanity which seems to enhance this album.</p> <p> <br /> ‘Guilty’ is a  strong closing track with a pulsing drum beat and an altogether atmospheric sound. It shows her excellent vocal ability, and is glossed with the escapism featured throughout the album. It’s a perfect ending to ‘The Family Jewels’, displaying vulnerability which isn’t as apparent throughout the rest of the album, with lyrics such as <em>“I was just a kid/And all I wanted was my father.”</em><br /> <br /> Overall, this album is fun and a bit odd, which only adds to the mystique of Marina Diamandis. She’s a revelation, with an at times astonishing vocal ability and unabashedly cutting lyrics.</p> <p> <strong><em>Aideen O'Flaherty<br /> </em></strong></p> <br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1343/Marina-the-Diamonds-The-Family-Jewels.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1343/Marina-the-Diamonds-The-Family-Jewels.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1343/Marina-the-Diamonds-The-Family-Jewels.aspx Wed, 10 Mar 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1343 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1340/Yeah-Yeah-Yeahs-Its-a-Blitz.aspx <h2> A review of the album 'It's a Blitz!' by the Yeah Yeah Yeahs</h2> <p> <u><strong><img alt="Yeah Yeah Yeahs" src="/indie-music/Portals/0/Blog/Files/18/1340/yeah-yeah-yeahs-its-a-blitz.jpg " style="border-bottom: 1px solid; border-left: 1px solid; width: 300px; float: right; height: 300px; border-top: 1px solid; border-right: 1px solid" />Review Snapshot:</strong></u> Have Karen O’s NY art-rock knuckleheads sold their guitars and bought turntables?</p> <p> <u><strong>The Cluas Verdict?</strong></u> 7.5 out of 10</p> <p> <u><strong>Full Review:</strong></u></p> <p> <em>“It’s Sh*t!”</em></p> <div id="cke_pastebin"> It’s not quite actually. It might have been a title worth a (mild) chortle if that were the case. However if you’re already a fan it could be your initial reaction. Those familiar with their brash and rattling sound, roughly cut between the dusty granite canyons of New York and inspired by the “avant-punk” of sultry lead singer Karen O’s Ohio, may feel this lightning bolt of an album singe their senses and offend their rock sensibilities.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> It is an alien discomfort, the reverse to seeing your beloved nerdy bestest-friend you used to play war-games with come home from college recast as a woman-melting Don Juan. In "It’s Blitz!" the band pump voltage into their previous experimentation with studio sorcery.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> TV On The Radio magi Dave Sitek is tossed into the blender as producer. As for Nick Zinner, to some the “best guitarist in rock’n’roll right now”, out goes his ogrish six-string (almost). Instead he wields a dizzying array of bleeps, blips and synth sound waves, unrecognisable to Zinner’s early frustrated guitar licks: all fuzz, dirt and restrained sexual energy.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> This continues a recent neon-streaked trend. Jumping the packed bandwagon that recently rolled out of an 80s wormhole with La Roux et al, Karen O unveils her love of the Giorgio Moroder-mastered disco of Donna Summer. Funky opener Zero, an essensual (eh, is that clever? How otherwise does a language evolve) new party tune, and Dragon Queen ecstatically demonstrate her penchant for dance and orgasmic screeching.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> Just as the buzz-cut commentary of Dull Life and Shame and Fortune hint at recidivism and a return to guitar, the album zaps back into a mix of I Was A Cubscout-esque soft electronic balladry that the YYY’s hinted to in the past with the likes of Dudley.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> The band continue their creative ascension with closer Little Shadow. Although it’s not the immediately accessible, sand-blasted diamond of their earlier garage racket, the band ask you to “follow” Karen and co as they climb that “ladder to the sun”, exploring the bionically-boosted vestigial reaches of their talent.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> Lead single Zero could prove a catchy call-to-arms for a new generation of electro-punks to get their disco-rock “leather on” and the striking album cover is sure to go down as an important still in the great TV wall of noughties’ images. The painted-nail fist crushing the egg is powerful and ludicrous, perhaps symbolic of the band’s sound: shopping feminine strength to male brutality and creating a luscious over-kill of noise.</div> <p> <strong><em>Ciarán McCollum</em></strong></p> <br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1340/Yeah-Yeah-Yeahs-Its-a-Blitz.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1340/Yeah-Yeah-Yeahs-Its-a-Blitz.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1340/Yeah-Yeah-Yeahs-Its-a-Blitz.aspx Tue, 09 Mar 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1340 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1323/Bat-for-Lashes-Two-Suns.aspx <h2> A review of the album 'Two Suns' by Bat for Lashes</h2> <p> <u><strong><span class="Apple-style-span" style="font-weight: normal; -webkit-text-decorations-in-effect: none; "><img alt="Bat for Lashes - Two Suns" src="/indie-music/Portals/0/Blog/Files/18/1323/bat-for-lashes-two-suns.jpg " style="cursor: default; border-top-width: 1px; border-right-width: 1px; border-bottom-width: 1px; border-left-width: 1px; border-top-style: solid; border-right-style: solid; border-bottom-style: solid; border-left-style: solid; float: right; width: 240px; height: 240px; " /></span>Review Snapshot:</strong></u> ‘Two Suns’, released by Bat for Lashes in April 2009, was recently nominated for a Brit award. From the first song a haunting sound, almost hymnal at times, is created. It's not an initial jaw dropper of an album however it will grow on you. Soon enough you’ll find yourself wandering around humming the songs off this album unknowingly. Lyrically beautiful and musically underrated, it is deserving of much more praise than it has received. An album that rightly propels this songstress into the limelight. </p> <p> <u><strong>The Cluas Verdict?</strong></u> 8 out of 10</p> <p> <u><strong>Full Review:</strong></u> Bat for Lashes is a one woman show; Natasha Khan is the singer/ songwriter and multi instrumentalist behind the name and she recently received a much deserved nomination for Best British Female Solo Act at the 2010 Brit awards. ‘Two Suns’ - her second album - was released back in April 2009 and slowly, but surely, has been rising in popularity. I’ve grown to love it over the last nine months and the recent Brit nomination is my excuse to review it now.  </p> <div id="cke_pastebin"> Inspired by her travels and composed across the globe - from the Joshua Tree desert in California to the hills of the Welsh Country side to the hustle and bustle of New York and London - ‘Two Suns’ invites us to join the protagonist on her travels from a cityscape to a countryscape which is particularly evident from ‘Two Planets’ and ‘Travelling Woman’. The album begins softly with ‘Glass’ as she immediately draws us into the haunting atmosphere that envelops it and doesn’t stray far from this temperament throughout. Voice is Khan's primary instrument, it inviting us into her world from the get-go with a soft vulnerability that enthrals the listener. The opener begins acapella, draws us in hook line and sinker (“I will rise now / And go about the city”).</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> ‘Daniel’ is relatively up tempo in comparison to the rest of the album. My favourite song, I even found myself singing the chorus over and over again not just to myself but to strangers with that name. The first single release, it is about her childhood crush, Daniel LaRusso from the Karate Kid.  </div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> She talks a lot throughout of Pearl, her alter ego. She distances herself from this character while at the same time acknowledging that Pearl is one side of her personality. Again this mirrors her city/ country scape juxtaposition. ‘Siren Song’ and ‘Pearl’s Dream’ - both of which have Pearl as their protagonist - are lyrically beautiful, portraying the sense of loneliness, longing and bewilderment that oftentimes accompanies one on their travels.  </div> <div>  </div> <div> The final song on the album, ‘The Big Sleep’, features Scott Walker and the only instrument is a piano. It has a hymnal quality to it (as does much of the album) and leaves the listener back to where they started.</div> <div id="cke_pastebin">  </div> <div id="cke_pastebin"> I thoroughly enjoyed this album however it’s a grower. Upon first listen it is quite forgettable but once it has been through the CD player a few times it will be very difficult to take out.  The haunting sound of Natasha Khan's voice, consistent throughout the album, has what it takes to give the willing listener a healthy bit of escapism. </div> <div>  </div> <div> With the recent Brit nomination received by Bat for Lashes it seems that Khan's efforts as a composer, vocalist and instrumentalist haven’t gone unnoticed. With any luck she will gather some attention and praise, much deserved.</div> <p> <strong><em>Teresa Loftus</em></strong></p> <br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1323/Bat-for-Lashes-Two-Suns.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1323/Bat-for-Lashes-Two-Suns.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1323/Bat-for-Lashes-Two-Suns.aspx Tue, 16 Feb 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1323 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1305/Midlake-The-Courage-of-Others.aspx <h2> A review of the album 'The Courage of Others' by Midlake </h2> <p> <u><strong><span class="Apple-style-span" style="font-weight: normal; -webkit-text-decorations-in-effect: none; "><img alt="Midlake - The Courage of Others" src="/indie-music/Portals/0/Blog/Files/18/1305/Midlake-Courage-of-Others.jpg " style="cursor: default; border-top-width: 1px; border-right-width: 1px; border-bottom-width: 1px; border-left-width: 1px; border-top-style: solid; border-right-style: solid; border-bottom-style: solid; border-left-style: solid; float: right; width: 240px; height: 240px; " /></span>Review Snapshot:</strong></u> Texan band Midlake are a rare find. The lead vocals are strong, yet haunting, mellow yet powerful. “The Courage of Others” is the band’s long awaited third album, following their 2006 concept album “Trials of Van Occupanther”.</p> <p> <u><strong>The Cluas Verdict?</strong></u> 7 out of 10</p> <p> <u><strong>Full Review:</strong></u>  Tim Smith, with his warm vocals and poetic song writing skills have been responsible for transporting me well and truly back to 1891, where the band's second album, “Trials of Van Occupanther” is set. Therefore I was somewhat nervous about this album, fearing it would not live up to the expectations built by their previous joyous success.</p> <p> However, “The Courage of Others” has done something I prayed it would; it took the beautiful woody, sounds of the forest they  had previously established, and embellished it. Removing from it the acoustic sounds of the flute, the double bass and the bassoon and adding to it the electric buzz of guitar and autoharp. </p> <p> The themes of nature, an old way of living and the work of a community all remain in this album. Some may find it easy to criticise them for not breaking away enough from Van Occupanther, but Midlake had a winning formula that they knew they could improve upon. I see nothing wrong with taking that to the next level. Which is what they have done here. </p> <p> One distinct difference however, is a change in mood. There is a clear separation here from the upbeat, hopeful sounds of spring and summer we hear in their last triumph, leaning instead towards the forewarning of a long and cold winter.  It is here that the album begins to feel more like the bitter older brother of the inspired Van Occupanther. The result of this melancholy is that the melodies are not quite so catchy, there appears to be some vital hooks missing. </p> <p> This album is not Van Occupanther, but it is by no means a disappointment. </p> <p> <strong><em>Elaine Peppard</em></strong></p> <br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1305/Midlake-The-Courage-of-Others.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1305/Midlake-The-Courage-of-Others.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1305/Midlake-The-Courage-of-Others.aspx Fri, 05 Feb 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1305 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1304/Pilotlight-The-Post-War-Musical.aspx <h2> A review of the album The Post War Musical by Pilotlight</h2> <p> <u><strong>Review Snapshot:</strong></u> <em>The Post</em> <em>War Musical</em> is a beautiful debut record from an Irish band who have aren't afraid to explore old themes with a new perspective.</p> <p> <u><strong>The Cluas Verdict?</strong></u> 8 out of 10</p> <p> <u><strong>Full Review:</strong></u> The French philosopher Alain Badiou coined the phrase <em>inaesthetic</em> to refer to the creation of art. </p> <p> <img alt="Pilotlight" src="/indie-music/Portals/0/Blog/Files/18/1304/pilotlight.jpg " style="border-style: solid; border-width: 1px; width: 350px; height: 266px; float: right;" /></p> <p> In his <em>Handbook of Inaesthetics</em>, Badiou opined that artistic endeavours were both immanent and singular. They are immanent in the sense that their truth is given in their immediacy and singular in that their truth is found in the work of art and the work of art alone.  To Badiou, the critic and his/her analysis doesn't particularly matter.  The truth, the beauty and the merit of a piece of music exists not in my words, or the words of my kin, but in the work itself.</p> <p> That's not to say you shouldn't read what I'm about to say about Pilotlight's debut long player, <em>The Post War Musical</em>.  Indeed, I rather hope you do.  However, of more concern to me is that, having read the review, you take the time to purchase your own copy of the album, and judge for yourself.  Find your own beauty, see your own truth.</p> <p> For me, <em>The Post War Musical</em> offers a great deal of both.  Named after the British government's attempt to cheer up a populace recovering from the loss of a whole generation of young men; this record provides the soundtrack to those fleeting moments of escapism we feel during the mundane nature of our daily - wake, consume, sleep - lifestyle. </p> <p> Songs like the powerful <em>Pulling on Doors that say Push</em> and <em>Health & Safety</em> speak to the same part of your conscience that occasionally views the world in raw impressionist brush strokes.  This is a record packed full of unexpected colour and where the lines between objects and their shadows become increasingly blurred.</p> <p> Lyrically, Pilotlight (formerly Polar) explore various themes of love, loss and the fleetingness of existence while managing to find new paths to take in those well walked yellow woods.  The inevitability of death is beautifully portrayed in <em>Letting Balloons Go</em>, while the sheer heart-stopping, jaw-dropping effects of falling in love are wonderfully sketched on <em>South</em>, without every straying into sentimentality. </p> <p> However, it is the album closing <em>The Shortest Route to Happiness is a Straight Line</em> that steals this particular <em>Post War Musical</em>.  Displaying all Pilotlight's musical prowess, as well as the deft touch of super producer Karl Odlum, it is a remarkably fragile composition, best described as beautiful.</p> <p> If, as Keats would have us believe, "beauty is truth, truth beauty";  <em>The Post War Musical</em> is, indeed, "all ye need to know."</p> <p> <strong><em>Steven O'Rourke<br /> </em></strong></p> <br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1304/Pilotlight-The-Post-War-Musical.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1304/Pilotlight-The-Post-War-Musical.aspx#Comments 1 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1304/Pilotlight-The-Post-War-Musical.aspx Thu, 04 Feb 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1304 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1297/Yes-Cadets-Yes-Cadets-EP.aspx <h2>Review of EP released by Belfast band Yes Cadets</h2> <p><u><strong>Cluas Snapshot: </strong></u>Fused pop, rock n roll, art house synthesisers & jumpy vocals make YES CADETS potential darlings of the UK music scene this year. The songs are snappy, catchy and the melodies delicious. YES CADETS are going to be big. Fast.</p> <p><u><strong>Cluas Verdict? </strong></u>9/10<img height="200" alt="YES CADETS" width="200" align="right" border="1" src="/indie-music/Portals/0/Blog/Files/18/1297/YES CADETS.jpg " /></p> <p><u><strong>Full Review: </strong></u>YES CADETS formed in Belfast in 2008. Only a year in and they have on their hands a belter of an EP to flaunt their wares with. First things first, YES CADETS are not about ground breaking new styles of music. Make no mistake, there are elements of everyone from Franz Ferdinand to Gary Numan in here. The key thing for this reviewer is that the songs are quality. The EP has five tracks, and any of them could make the radio as a single.</p> <p>Opener “Rufio” is bouncing, and infectious. Sweeping synth, constant drumming and a pop vocal that drags the listener in, it’s excellent. Lead single “Canada” continues in the same vein. Nice choppy guitar and synth intro swamped with sweet jumping vocals. It’s a constant beat, and addictive. “Burial/Tongues” is a little more early eighties but with the same synthesised pop intent. “Fashionista Art Party” has all the clever bouncing vocals and melodies that would make Franz Ferdinand jealous. It’s catchy, tight and brilliant. “H.O.T” finishes off the EP in style.</p> <p>The true depth and mettle of YES CADETS will be tested with a long player release. However on these 4 tracks, they have achieved more than some acts manage in twenty. It’s vibrant, exciting altogether pleasurable stuff indeed.</p> <p><strong><em>Kevin Coleman</em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1297/Yes-Cadets-Yes-Cadets-EP.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1297/Yes-Cadets-Yes-Cadets-EP.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1297/Yes-Cadets-Yes-Cadets-EP.aspx Mon, 25 Jan 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1297 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1294/Alan-MX-Warpsichord.aspx <p><u><strong>Cluas Snapshot: </strong></u>Warpsichord is the debut from electro, experimental London based musician Alan MX. It’s different, complicated, and really very good. Electronic, dance, and occasionally pop, it’s a fine record and one to surely pick up pace this year.</p> <p><u><strong>Cluas Verdict?</strong></u> 7.5/10<strong> <img height="226" alt="Alan MX" width="170" align="right" border="1" src="/indie-music/Portals/0/Blog/Files/18/1294/Warpsichord.jpg " /></strong></p> <p><u><strong>Full Review</strong></u>: “Warpsichord” is littered with catchy loops mixed with delicate melodies and what sounds like millions of layered samples of vocals, synths, guitars, lasers, effects and whatever else he could find. If it sounds all over the place, it’s probably because it is. However each track sounds like 4 minutes of chaos that somehow pulls together. What results more often than not is altogether a pleasure to listen to.</p> <p>“Warpsichord”, “Cuckoos”, “The Captain America Video” and “Green Tea” are unforgettable. “Cuckoos” is fast paced with an orchestral overture that would not seem out of place in a James Bond themed movie tune. “Captain America Video” doesn’t disappoint either. It’s acoustic guitar driven melody is backed by a thumping percussion, it’s a winner. “Flesh Emergency” with its synthesised melody continues the impressive start to the record. “Green Tea” in this reviewer’s opinion is the best track on the album. It’s an acoustic guitar tune riddled with a relentless drum beat. It’s a piece of perfect modern pop music, the meandering vocals bounce along to the acoustic/percussion driven backdrop.</p> <p>The record doesn’t take a dive from here but the true quality lies firmly in the first half. “Frank’s Monster” is forgettable, “Strange Bird”, a life lament with a nice orchestral feel is just, well nice. “Chinese Whispers” and “God Song” complete the collection.</p> <p>So what’s the verdict? Well “Warpsichord”, “Cuckoos”, “The Captain America Video” and “Green Tea” are unforgettable. It’s hard to decide what kind of record this is with regard to genre. It seems to borrow from everything, pop to electronica, rock n roll to dance.</p> <p>Overall it’s an impressive debut and conveys Alan MX as a potentially serious player. He is extremely talented. He certainly has an open mind, anything and everything can be heard at one point or another on the album. The first half is nothing short of brilliant. Unlike the real thing, the energy levels seem to decline on the album after “Green Tea”.</p> <p><strong><em>Kevin Coleman</em></strong></p> <ul> <li>Listen for yourself at <a href="http://www.myspace.com/alanmx">http://www.myspace.com/alanmx</a></li> </ul> <p> </p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1294/Alan-MX-Warpsichord.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1294/Alan-MX-Warpsichord.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1294/Alan-MX-Warpsichord.aspx Thu, 21 Jan 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1294 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1284/Beach-House-Teen-Dream.aspx <h2>A review of the album 'Teen Dream' by Beach House</h2> <p><u><strong><img height="240" alt="Beach House - Teen Dream" width="240" align="right" border="1" src="/indie-music/Portals/0/Blog/Files/18/1284/beach-house-teen-dream.jpg " />Review Snapshot:</strong></u> <span class="Apple-style-span" style="word-spacing: 0px; font: medium 'Times New Roman'; text-transform: none; color: rgb(0,0,0); text-indent: 0px; white-space: normal; letter-spacing: normal; border-collapse: separate; orphans: 2; widows: 2; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px"><span class="Apple-style-span" style="font-size: 13px; font-family: arial, sans-serif; border-collapse: collapse">Beach House's third album is a full of gentle melodies, rich in Autumn tones, and heavy on guitar reverb. Business as usual then.</span></span></p> <p><u><strong>The CLUAS verdict?</strong></u> 6 out of 10</p> <p><u><strong>Full Review:</strong><br /> </u>Teen Dream sees the proverbial “double edged sword” swinging right back in Beach House’s direction with the same amount of force and velocity that Devotion, their sophomore album, generated in 2008. That’s the drawback of having a sound so distinctive - escaping it can be problematic. On album number 3 they all too comfortably slide back into their groove, creating an album that sounds like a straight forward continuation of their previous work.</p> <p>Like an old pair of slippers that become so familiar you couldn’t remember what colour they were without taking a sneaky glance, Teen Dream fits the band a little too snugly. Their trademark sound of cheap organs, heavily-reverbed guitars, drum machines and Victoria Legrand’s pretty and unmistakable voice are all still present and all still sound great. So much so that I feel a little harsh giving it a somewhat negative review, seeing as it’s an equally strong set as their previous album, which whirled around my CD player as much as any disc in 2008. My relationship with Devotion was the classic romance. Love, infatuation, plenty of good times and, ultimately, break up – all within a couple of months. I’ve since moved on, only spinning the album occasionally for nostalgia. But Teen Dream feels like the lover who just can’t let go.</p> <p>That’s not to say there isn’t plenty here to admire. The production quality continues to improve album to album, and is richer than ever before. The opening three tracks may be the strongest the band ever laid down next to one another. Opener ‘Zebra’ sets the tone with Alex Scally’s optimistic guitar loops, and Legrand’s punched out vocals on the chorus. “Any way you run, you run before us. Black and white horse arching among us,” she croons with the sweeping intensity the lyrics suggest. Regaling the listener with their hazy, autumn charm has always been effortless for Beach House, and they are uniformly brilliant on the reverb saturated ‘Silver Soul’ and ‘Norway’ which benefits greatly from an increase in tempo. </p> <p>Frustratingly the second half of the record struggles to impose itself, and the band begin to sound like they’re in autopilot. A common side-effect of a lack of growth is the assumption that following the same formula that has worked in the past is guaranteed to succeed. Not so. ‘Lover of Mine’ for instance sports a well worn melody that’s lazily sung and Scally’s wishy-washy riff is totally forgettable. Likewise, the gentle taps on an out-of-tune piano does little to leave an impression on ‘Real Love’. Side B isn’t without a highlight though, and what a highlight! ‘10 Mile Stereo’ follows the “quiet to loud” formula, opening with shimmering guitars and Legrand’s elegant melody before escalating to a dreamy, cymbol heavy wonderland, the singer’s wonderful vocal never allowing itself to be drowned out by the epic arrangement.</p> <p>So while Teen Dream often satisfies, my main gripe is that it treads much the same lines as its predecessors. Indeed, ‘Used to Be’ dates back to 2008 but effortlessly slides into position here without damaging the album’s continuity. Beach House are trapped in a cage of their own creation, becoming robotically efficient at creating good, but similar albums, seemingly fearful of wandering too far from the winning formula. When this happens inevitably your affection is always centred on the first one you discovered – Devotion in my case. But this is their first release on indie powerhouse label Subpop and will undoubtedly shift more units that their other records, meaning the beginning are many more great love affairs. For me, there is no movement in any direction here. Without movement bands – like relationships – will inevitably shrivel and die. </p> <p><strong><em>Dean Nguyen</em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1284/Beach-House-Teen-Dream.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1284/Beach-House-Teen-Dream.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1284/Beach-House-Teen-Dream.aspx Fri, 15 Jan 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1284 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1285/Various-Artists-Dublins-Unsigned-the-Best-Of.aspx <h2>A review of the compilation album 'Dublin's unsigned: the best of'</h2> <p><u><strong><span class="Apple-style-span" style="font-weight: normal; -webkit-text-decorations-in-effect: none; "><img alt="Dublin unsigned best of" width="170" height="170" border="1" align="right" src="/indie-music/Portals/0/Blog/Files/18/1285/Dublins-Unsigned.jpg " /></span>Review Snapshot:</strong></u> "Dublin's unsigned: Best of" showcases the raw talent of Dublin music's underbelly with a selection of hard working bands. Shining a light on parts of the Irish music scene that are too often overlooked. A good reminder, for those that need one, that there is more to Irish music than U2, and soppy boybands.</p> <p><u><strong>The Cluas Verdict?</strong></u> 7 out of 10</p> <p><u><strong>Full Review:<br /> </strong></u>For many outside of Ireland Dublin remains associated with one band, U2, despite having spawned other great bands like Thin Lizzy and er… The Boomtown Rats. What many don't realise is that there are many fabulous bands lurking in the shadows, working away, all baying for even a fraction of U2's success. To showcase some of these bands' talents, Fatfux records, with the support of the Arnotts project, Phantom FM and IMRO, have put together a compilation of Dublin's best unsigned acts. </p> <p>With 14 tracks, the album is a fair representation, despite a few notable absentees, of unsigned acts in Dublin (there is always volume two for those who didn't make the cut).</p> <p>The second track is undoubtedly one of the strongest on the entire album: The Spikes' "Painted on Gold". A catchy number, it lifts the tone of the compilation after opening track "Coin Box" by Killer Chloe, which is a good song, but falls more under the bracket of "average".</p> <p>There are very few weak songs on the album, and a handful which are set apart from the rest, they having a more individual sound. More Tiny Giants are one of these unique bands. With their song "Hocus Pocus" they sound like the love child of The Coral and The White Stripes. The most outstanding band on the album is Noise Control, an intriguing electro outfit emerging from  the woodwork. They secured a supporting role for The Prodigy when they played in Dublin during December, and when you listen to the track featured on this album, you will see why the pioneers of hardcore rave gave them the chance. "Steel" is already a popular song, by underground status, and is often played at Dublin's favourite indie night "No Disco" in the Academy 2.  </p> <p>Many of the bands that have come to the foreground in Ireland in the last few years seem to be clones of one another, Delorentos and Director spring to mind, so it is satisfying to learn from "Dublin's unsigned" that there are different breeds lurking in the underground. </p> <p>Overall the compilation is somewhat of an eye opener. Anyone involved or interested in Dublin music will know that it is grossly overlooked. Maybe this album can lay down a marker for an overdue surge of wider interest in Dublin's healthy music scene.</p> <p><strong><em>Claire Kane</em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1285/Various-Artists-Dublins-Unsigned-the-Best-Of.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1285/Various-Artists-Dublins-Unsigned-the-Best-Of.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1285/Various-Artists-Dublins-Unsigned-the-Best-Of.aspx Fri, 15 Jan 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1285 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1278/Various-Artists-Twilight-Saga-New-Moon-Music.aspx <h2>A review of the 'Twilight Saga: New Moon Music' soundtrack</h2> <p><img width="240" height="240" border="1" align="right" alt="Twilight Saga, New Moon Music" src="/indie-music/Portals/0/Blog/Files/18/1278/Twilight-Saga-New-Moon-Music.jpg " /><u><strong>Review Snapshot:</strong></u> An album that would most likely be passed over by many because of the film it comes from, this soundtrack is an extremely pleasant surprise. With tracks from Death Cab for Cutie, <a href="http://www.cluas.com/indie-music/discussion/tabid/63/aff/3/aft/6546/afv/topic/Default.aspx">Thom Yorke</a>, <a href="http://www.cluas.com/music/albums/brmc2.htm">Black Rebel Motorcycle Club</a> and <a href="http://www.cluas.com/indie-music/Gig_Reviews/tabid/96/EntryId/1151/Grizzly-Bear-Telepathe-Bill-Callahan-live-in-St-Malo.aspx">Grizzly Bear</a> (to name a few), this soundtrack is for fans of music, not just fans of the Twilight extravaganza.</p> <p><u><strong>The Cluas Verdict?</strong></u> 7 out of 10</p> <p><u><strong>Full Review:<br /> </strong></u>This album is a complete surprise for many of us with preconceived notions about the Twilight franchise. The mentions of "sparkling" vampires and teen love are the subject of many a jeer from those above such nonsense, so when someone says: "the soundtrack for New Moon is actually quite good", it's fair enough to be a more than a little disbelieving.</p> <p>The opening track, and theme tune to the movie, is "Meet me on the Equinox" by Death Cab for Cutie. The song, having been written for a vampire romance, is a tale of love - "<em>Let me lay beside you darling / Let me be your man</em>" - but also warns ominously that "everything ends".</p> <p>The album continues to impress with second track "Friends" by Band of Skulls, a somewhat more upbeat track, and "Hearing Damage" by Thom Yorke.</p> <p>Thom Yorke on a Twilight soundtrack? Yes, it is quite remarkable, and this previously unreleased song is somewhat different from his usual, possibly in the hopes to appeal to a wider audience. Perhaps the many teenage girls that will buy this soundtrack? Abandoning irregular time signatures and strange effects, Yorke opts instead for a more subtle approach and the result is a haunting, low pitched piece with the ability to resonate with any listener.</p> <p>Then, we arrive at track four: Lykke Li's "Possibility". There's a possibility that this is my personal favourite song on the album (cheesy pun definitely intended). The repeated crashing of piano chords, and her echoing vocals tell the tale of love's end, a similar story to the opening track. An extremely emotional song, "Possibility" could leave you with shivers - assuming you have a heart.</p> <p>The album continues with a song from <a href="http://www.cluas.com/Music/gigs/killers_oxegen.htm">The Killers</a>, which is much like the rest of their work, and will be liked by fans of the band. "Satellite Heart" by Anya Marina is a beautifully simple acoustic, and definitely worth more than one listen.<br /> The entire album is extremely well done, particularly when you consider the film it comes from. However, the first half definitely overshadows the second, and after Muse's "I Belong To You" (which, quite frankly, left me a little cold), the album seems to drift away. It is saved by the fact that <a href="http://www.cluas.com/indie-music/Gig_Reviews/tabid/96/EntryId/656/Bon-Iver-live-in-Dublin.aspx">Bon Iver</a> and Black Rebel Motorcycle Club both contribute a song, and there is of course "No Sound But The Wind" by <a href="http://www.cluas.com/music/gigs/editors-dublin.htm">Editors</a>, which is wonderfully epic.</p> <p>Unfortunately, they simply had to throw in a bit of an instrumental piece at the end, to remind us that this did, in fact, come from a film about teenage vampires. On the subject of "The Meadow", well, if you have the CD, don't bother listening to this bit of orchestral nonsense. If you download the album? Delete it.<br /> <br /> <em><strong>Aoife Kiely</strong></em></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1278/Various-Artists-Twilight-Saga-New-Moon-Music.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1278/Various-Artists-Twilight-Saga-New-Moon-Music.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1278/Various-Artists-Twilight-Saga-New-Moon-Music.aspx Sat, 02 Jan 2010 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1278 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1276/Channel-One-Sound-To-Light.aspx <h2>A review of the album 'Sound To Light' by Channel One</h2> <p><u><strong><img width="301" height="269" border="1" align="right" src="/indie-music/Portals/0/Blog/Files/18/1276/channel_one.jpg " alt="" />Review Snapshot:</strong></u> The intriguing and likeable blend of electronica and shoegazing by this Dublin quartet will attract listeners from all points of the indie compass. It's forceful enough to make a good first impression and subtle enough thereafter to keep you hooked.</p> <p><u><strong>The Cluas Verdict?</strong></u> 8 out of 10</p> <p><u><strong>Full Review:<br /> </strong></u>The members of <a href="http://www.myspace.com/channelonesound">Channel One</a> come from a background of punk and rock bands but together they make a sound that draws on electronica, post-rock and shoegazing. The Dublin-based foursome have already built up a live following and played at SXSW, CMJ and other international festivals. Now, after a couple of singles and EPs since 2005, we have their first album. And it's quite good.</p> <p>The reference points are easy to identify - <a href="http://www.cluas.com/indie-music/Gig_Reviews/tabid/96/EntryId/1148/My-Bloody-Valentine-Deerhunter-Tortoise-live-in-St-Malo.aspx">My Bloody Valentine</a>, <a href="http://www.cluas.com/indie-music/Gig_Reviews/tabid/96/EntryId/971/Mogwai-live-in-Dublin.aspx">Mogwai</a>, <a href="http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/748/Sigur-Ros-Med-sud-i-eyrum-vid-spilum-endalaust.aspx">Sigur Ros</a> and <a href="http://www.cluas.com/indie-music/Blogs/French_Letter/tabid/80/EntryId/565/M83-new-album-Dublin-show.aspx">M83</a>, amongst others. Layers of hazy guitars contrast with clean electronic beats, and any vocals are performed head-down and mumbling like a shy schoolboy asking out a cheerleader. There are plenty of bands trying for this sort of atmospheric wall-of-sound whatever and most of it is downright boring. How is Channel One's effort any better?</p> <p>Well, let's work our way up from the album's weakest point. That would be 'Okinawa', whose very title gives it away as pseudo-soundtrack blandness riffing on vague existential angst in some Oriental metropolis. It's unoriginal and uninteresting - <a href="http://www.cluas.com/indie-music/Blogs/French_Letter/tabid/80/EntryId/1245/Air-two-Dublin-shows-in-February.aspx">Air</a> spent most of <a href="http://www.cluas.com/music/albums/air-pocket-symphony-2435.htm">'Pocket Symphony'</a> doing this but with added gloop. (We can damn Channel One with faint praise here: 'Sound To Light' is better than the last three Air albums.)</p> <p>Happily, this one mis-step serves to emphasise the personality and inventiveness that's abundant throughout the rest of the album. '8/13' and 'Not For The Last Time' are closer to conventional songs and should attract anyone approaching this album from the indie-rock side. More abstract tracks than those two feature distinctive instrumental figures and melodic hooks strong enough to draw in the listener - the echoing piano of 'Taiga', the chorus-like synth riff of opener 'Soubresaut' and the discordant blips and crackles of 'Three Stars' all give colour and identity. The complexity and subtle craft of the arrangements mean that repeat listening is rewarded. And the rising intensity of 'Soubresaut' hints at this band's live power.</p> <p>All in all, 'Sound To Light' is an impressive debut album that will appeal to a wide spectrum of alternative music fans. No need to zap any further than this channel, then.</p> <p><strong><em><a href="http://www.cluas.com/indie-music/Blogs/French_Letter.aspx">Aidan Curran</a></em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1276/Channel-One-Sound-To-Light.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1276/Channel-One-Sound-To-Light.aspx#Comments 2 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1276/Channel-One-Sound-To-Light.aspx Thu, 31 Dec 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1276 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1262/Switchfoot-Hello-Hurricane.aspx <p>  </p> <h2> A review of the album 'Hello Hurricane' by Switchfoot</h2> <p> <img align="right" alt="Switchfoot Hello Hurricane" border="1" height="240" src="/indie-music/Portals/0/Blog/Files/18/1262/switchfoot.jpg " style="cursor: default; " width="240" /></p> <p> <u><strong>Review Snapshot:</strong></u> After jumping ship from major label Sony and creating their own indie label called lower case people Switchfoot have returned with 'Hello Hurricane'. While there are tracks identical to their previous releases it's still an interesting and conflicting album.</p> <p> <u><strong>The Cluas Verdict?</strong></u> 7.5 out of 10</p> <p> <u><strong>Full Review:</strong></u> I really like Switchfoot. They're great, but they're predictable - there's always a 'heavy' rock track, an almost ballady song and the rest are a bit samey. Not necessarily a bad thing - you know what you get when you purchase a Switchfoot album, like a fateful friend you can always trust will only change slightly in the space of a decade or two. There are no surprises here, but after every band on earth proclaiming that their most recent album is 'different' it's really refreshing that some still know what they're great at, and don't feel the need to dramatically change their sound or style to somehow prove themselves as musicians.<br />  <br /> Jon Foreman, the lyricist and lead singer for Switchfoot, embarked on solo career after the release of 2006’s ‘Oh! Gravity.’, and returned for ‘Hello Hurricane’. It’s apparent from the first listen that this is definitely a Switchfoot album, there’s no one else who could possibly make an album like this. Which is why it’s easy to forgive the predictability, because even though they only make slight tweaks with each album their music is hard to mistake.<br />  <br /> Their first single from ‘Hello Hurricane’, ‘Mess of Me’ is the 'heavy' rock track on this album. And it’s brilliant. The opening riff is nothing short of attention grabbing and Foreman’s voice is in top form. It contains the self-deprecation that’s essential to fit with the at times aggressive music, but there are also glimpses of positivity as is key in most of Swithfoot’s songs. If you were to listen to this track for only one reason it should be to hear Foreman’s voice almost combine with the guitar near the end, it’s not to be missed.<br />  <br /> ‘Free’ is perhaps the most powerful track on this album. It’s dark, angry and affecting. Foreman proclaims that <em>“inside this shell there’s a prison cell”</em> while violins, guitars and drums decorate the rest of the song with an atmosphere of angst and hopelessness. What’s not to be loved?<br />  <br /> Closing track ‘Red Eyes’ is the perfect ending to ‘Hello Hurricane’. It’s somewhat comforting and emotive. It’s passionately honest, admitting that <em>“nowhere feels safe to me/nowhere feels home/even in crowds I’m alone”</em>. I may have some issues with similarities in their songs styles throughout the years but one thing I can’t fault are Foreman’s lyrics. Every time I hear a Switchfoot song it always begs the question "how does he do it?"<br />  <br /> ‘Hello Hurricane’ has some obvious similarities to Switchfoot’s previous albums, ‘Beautiful Letdown’’s ‘Meant to Live’ is ‘Hello Hurricane’’s ‘Mess of Me’, ‘Oh! Gravity.’’s ‘Let Your Love Be Strong’ is ‘Hello Hurricane’’s ‘Sing It Out’. But they still have yet to release a bad album. Despite my criticisms I have never listened to a Switchfoot album and not been affected by it. ‘Hello Hurricane’ may not be unique to Switchfoot’s back catalogue, but their songs always churn out the perfect measure of optimism and despair which are crucial for making an album succeed.</p> <p> <strong><em>Aideen O'Flaherty</em></strong></p> <br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1262/Switchfoot-Hello-Hurricane.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1262/Switchfoot-Hello-Hurricane.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1262/Switchfoot-Hello-Hurricane.aspx Sun, 06 Dec 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1262 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1256/The-Beat-Poets-The-Making-EP.aspx <h2>The Beat Poets 'The Making' E.P</h2> <p><img width="170" height="175" border="1" align="right" src="/indie-music/Portals/0/Blog/Files/18/1256/beat-poets-the-making.jpg " alt="Beat Poets - The Making EP" /><u><strong>Cluas Snapshot:</strong></u> They have the earnest heart on sleeve lyrics, big sound and bigger choruses; The Beat Poets are poised to be the finest purveyors of stirring rock in a long time. If it’s your thing, check them out.</p> <p><strong><u>Cluas Verdict?</u></strong> 7/10</p> <p><u><strong>Full Review:</strong></u> The Beat Poets are on the up. Their latest offerings have been picked up by MTV USA and the BBC amongst others. The title track “The Making” is getting a lot of airplay on the radio. Things are going good for the band touted by some to be potentially the biggest band from NI since Snooze (sorry Snow!) Patrol.</p> <p>So what’s the E.P like? Well if a pumping rhythm, honest emotive lyrics and an audible yearning for a big sound is your thing? It’s great actually. If you don’t, it’s awful. It’s that simple. The title track “The Making” has elements of The Verve, U2 amongst others in the sound. It’s perfectly crafted as a popular rock song. A steady penetrative build up, culminating in a catchy melodic, big chorus. It's a definite radio hit, and if anything personifies the bands competence in song construction. Quite often there are bands with all the raw talent in the world, but have no idea how to construct a song. The Beat Poets are no such act. Despite the fact that the emotive lyrics may grate a little, the songs sound cohesive. It makes for good listening. <br /> <br /> An acoustic version of one of the bands favourites “Bloodline” follows. Again it’s constructed perfectly, building verses around a melody on the up and then a chorus that hits the heights. “Race” could be on any U2 record between 1980 and 1983 and it’s no shame. This track’s strong point is the pulsating rhythm section. The bass line in particular drives the song. It’s more of the same style touted in the opener. It’s not bad at all. <br /> <br /> If you like your stadium rock, and you want your front man to wear his heart on his sleeve then this is for you. Ok it’s not U2, but it’s not Snow Patrol either. “The Making” hits download and stores November 30th. In this reviewers opinion it’s worth a download, if even for curiosity, altogether solid stuff.<br /> <strong><em><br /> Kevin Coleman</em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1256/The-Beat-Poets-The-Making-EP.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1256/The-Beat-Poets-The-Making-EP.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1256/The-Beat-Poets-The-Making-EP.aspx Thu, 26 Nov 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1256 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1253/La-Roux-La-Roux.aspx <h2>A review of La Roux's debut album</h2> <p><img width="240" height="240" border="1" align="right" alt="La Roux, cover of debut album" src="/indie-music/Portals/0/Blog/Files/18/1253/la-roux-debut-album.jpg " /><u><strong>Review Snapshot:</strong></u> Electro-pop duo La Roux’s debut album is filled with the haunting vocals of Elly Jackson and the <a href="http://www.cluas.com/opinion/roland_massacare.htm">synthesized beats</a> of Ben Laingmaid.  Though catchy and quick, the album fails to hold the intensive energy of their singles and becomes disappointingly lacklustre. A record that lacks real staying power over its full length - it slowly begins to wilt from about the half way point</p> <p><u><strong>The Cluas Verdict?</strong></u> 6 out of 10</p> <p><u><strong>Full Review:</strong></u><br /> When electro-pop band La Roux first appeared on the scene with the single "Quicksand" in December 2008, it seemed to miss its mark entirely.  However, when "In the Kill" blasted over the airwaves, they finally found their audience.  <br /> <br /> The band's principle interests are drawn <a href="http://www.cluas.com/music/features/eighties.htm">from the 80s</a>; bands such as <a href="http://www.cluas.com/music/gigs/dave-gahan.htm">Depeche Mode</a> and Yazoo, while the androgynous appearance of lead singer Elly Jackson emulates that of Annie Lennox or even <a href="http://www.cluas.com/music/gigs/david_bowie.htm">Ziggy Stardust</a>. They could be likened to the Danish band "Alphabeat" who managed first to bring the electro sound successfully to this century. <br /> <br /> The opening tune, "In for the Kill" is a catchy, synth-heavy swell of Elly’s high vocals and infectious lyrics.</p> <p><em>"We can fight our desires / But when we start making fires / We get ever so hot / whether we like it or not"</em><br /> <br /> The album, however, has a much darker sound than the one we got acquainted to from their singles.  Many of the lyrics are pregnant with obsession. Take "Tigerlily" (opening with the lyrics: <em>"Well tonight out on the streets I’m goin’ to follow you"</em>) which apparently describes a jealous and passionate friendship, although it hints at unrequited love.  However, the songs almost destroys itself with a horrible spoken piece which genuinely sounds like a scene from <a href="http://www.cluas.com/opinion/michael_jackson.htm">Michael Jackson</a>’s "Thriller", interrupting what could have been a perfect tune.  The darker theme continues in the song "Quicksand" (<em>"I’m the obsessor, holding your hand / it seems you have forgotten about your man."</em>)<br /> <br /> The album does have some tunes that break this trend, some which so are addictive you will find the lyrics spinning in your head at the oddest times. Particularly songs like "I'm not your Toy" and "As if by Magic" which have a much more upbeat, almost bubblegum-pop sound to them. <br /> <br /> In terms of album play order there is, unfortunately, a sense that something was amiss. There is a real lack of flow which can make the album less comfortable to endure.  The opening track "In for the Kill" may have been a killer single (pun not entirely intended), I’m not sure how well it works as an album opener considering the tone of much of what follows.<br /> <br /> My biggest criticism of this album, however, is its lack of real staying power.  The truth is that the album slowly begins to wilt from about  the half way point and by the end it verges on annoying and self indulgent. It was unfortunate that the songs some might start out loving soon became sickening and more than a little annoying.  It is definitely worth a listen but sadly that may be about as often as you will want to hear it before the high pitched screech of Elly Jackson begins to slowly grate on your ears and mind.</p> <p><strong><em>Elaine Peppard</em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1253/La-Roux-La-Roux.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1253/La-Roux-La-Roux.aspx#Comments 3 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1253/La-Roux-La-Roux.aspx Sun, 22 Nov 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1253 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1248/Biffy-Clyro-Only-Revolutions.aspx <h2>A review of the album 'Only Revolutions' by Biffy Clyro</h2> <p><a href="http://www.cluas.com/indie-music/Gig_Reviews/tabid/96/EntryId/968/Spinnerette-live-in-London.aspx"><img width="240" height="240" border="1" align="right" src="/indie-music/Portals/0/Blog/Files/18/1248/Biffy-Clyro.jpg " alt="Biffy Clyro - Only Revolutions" /></a><u><strong>Review Snapshot:</strong></u> The Ayrshire trio Biffy Clyro return with an album filled with explosive riffs and lyrical genius, featuring<a href="http://www.cluas.com/indie-music/Gig_Reviews/tabid/96/EntryId/968/Spinnerette-live-in-London.aspx"> Josh Homme</a> and a surprisingly suitable string section. It has all of the incredible hallmarks of a band headed for arenas, but still maintains some of the 'underdog' traits that originally made Biffy Clyro alluring in the first place.</p> <p><u><strong>The Cluas Verdict?</strong></u> 9 out of 10</p> <p><u><strong>Full Review:<br /> </strong></u>'Only Revolutions' is... interesting. The album title was taken from a novel of the same name by Mark Danielewski, which requires you to flip the book upside down frequently to read two different narratives usually on the same page. Just from this detail it's easy to see why 'Only Revolutions' is a suitable title for Biffy Clyro's latest release, at times it feels as though you're cascading through a variety of unrelated songs which somehow have a consistency.  <br />  <br /> 'Bubbles' features Josh Homme's legendary guitar skills, his input on this track is exceptional and in no way detracts from the rest of the song. Instead of being 'Josh Homme's moment on the album' it's a clear collaboration between him and the band, making it set for arena-filling status.  <br />  <br /> I previously mentioned that 'Only Revolutions' is a fitting title for this album, 'Born On A Horse' is proof of this. You'd be forgiven for thinking that it wasn't a Biffy Clyro song as it's free from heavy guitars and crashing drum beats. It's more relaxed and slightly, well, <em>funky</em>. That said, it still is a key track on the album. By no means is it an assault on your ears, it's actually unexpectedly suited to Biffy Clyro. Much to their credit, there aren't many bands that can (successfully) be that versatile. Rest assured, the last chorus sees a return to the anarchic Biffy we know and love. <br />  <br /> 'Shock Shock' begins with vocalist and guitarist Simon Neil's usually dark but engaging lyrics: <br />  <br /> <em>"Well you scratch and you scratch <br /> 'til your face comes away <br /> Replaced by a hole, <br /> A vortex just waiting to play" </em><br />  <br /> It's reminiscent of early Biffy Clyro, and probably wouldn't go amiss on their 2002 debut 'Blackened Sky'. It has all of the chief characteristics that define Biffy Clyro (angsty, loud, affecting..) but doesn't seem far removed from the rest of 'Only Revolutions'. <br />  <br /> The creatively titled closing track 'Whorses' leaves listeners in no doubt as to why Biffy Clyro are becoming so successful. It's Biffy at it's finest, with pertinent drum rolls and jagged guitars accompanying Neil's wavering lyrics, <em>"I don't want to be alone again... I don't want to be born again." </em><br />  <br /> Truthfully, I wasn't expecting Biffy Clyro's follow-up to their previous album <a href="http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/214/Biffy-Clyro-Puzzle.aspx">'Puzzle'</a> to be particularly good. I suspected it would either be a rehash of 'Puzzle' or a bad shot in the dark at genre switching. Happily, I've been proven wrong. This album is just as excellent as 'Puzzle', if not even more so. Take note - this is how to successfully return after a critically acclaimed album, and prove that you deserved all of the reverence you received.</p> <p><strong><em>Aideen O'Flaherty</em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1248/Biffy-Clyro-Only-Revolutions.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1248/Biffy-Clyro-Only-Revolutions.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1248/Biffy-Clyro-Only-Revolutions.aspx Sat, 14 Nov 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1248 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1241/The-Antlers-Hospice.aspx <p><strong><u>Cluas Snapshot:</u></strong> The Antlers’ second album is different. It’s a concept. The theme is tragic and complicated. It’s also phenomenally engaging musically and while one of the most difficult it’s also one of the interesting albums you’re likely to hear this year.</p> <p><u><strong>The Cluas Verdict?</strong></u> 8/10</p> <p><u><strong><img width="200" height="200" border="1" align="right" src="/indie-music/Portals/0/Blog/Files/18/1241/hospice.jpg " alt="Hospice" /></strong></u><u><strong>Full Review:</strong></u> Hospice tells the story from Prologue to Epilogue of a couple’s journey through terminal illness, struggle, regret and grief amongst other things. It’s heavy. It’s very heavy in fact. The record opens with the grey overtone “Prologue” and even from this early stage, it’s clear the album could serve as a soundtrack for a movie. In fact a movie could be written using the story of the album. It slides gently into “Kettering”. The song describes one partner finding the other filled with tubes in a cancer ward. The “morphine alarms” sing and keep her sleeping. It narrates the anger felt by the patient towards the carer. It ends with one partner finding out the illness is terminal.</p> <p>“Sylvia” begins in the same vein and then suddenly busts into life. Lyrically it’s virtually impossible to understand what’s been sung. The vocals are extremely low and this is my biggest criticism of the album. Musically it’s flawless but lyrically it’s impossible to engage with at times. I had to research the lyrics to find out what’s going on. Apparently it’s about the poet Sylvia Plath (the writer and poet who committed suicide by sticking her head in an oven and turning on the gas). This is described as detailed as this in the song. Musically it’s up and down, aggressive percussion and big horns, guitars and a charging rhythm. It’s actually a really catchy melody.</p> <p>“Atrophy” is long, really long. 7 minutes 42 seconds long. It’s a slow mover. Again virtually impossible to hear what is being said. And for a concept album that is supposed to tell a story, it’s bloody annoying I can tell you. The listener wants to know what’s going on and musically it’s conveying the themes but the lyrics are inaudible at times.  Again through research I discovered a beautiful lyric that summarises the song well:  <em>“I’m bound to your bedside, your eulogy singer”.</em></p> <p>“Bear” is the first single off the album, and it’s incredible. It describes the couple in question going through the decision making process on whether they are capable of looking after a new baby.</p> <p style="margin-left: 40px;"><em>“There’s a bear inside your stomach, a cub’s being kicking from within.<br />  He’s loud without the vocal cords; we’ll put an end to him.<br />  We’ll make all the right appointments; no one ever has to know, <br /> And then tomorrow I’ll turn twenty one, we can script another show”.</em></p> <p>The song goes on detailing the reality of a conflict between the couple regarding their maturity at handling the responsibility a baby brings. OK, so Silberman clearly doesn’t do things by halves. Thankfully the lyrics in this tune are audible, and mercifully so. It’s a fine song. “Thirteen” passes without incident.</p> <p>“Two” however doesn’t. It’s a musical masterpiece. The acoustic intro draws the listener in, and the high low vocals of the verses merge with the drums as they kick in, fantastic. It’s the moment the doctor tells him that there is no hope for his partner and that “Enough is enough”. The song then compares how she had an eating disorder when she was younger and nobody noticed and excuses were made for it, her Dad was “an asshole”. It then goes on to describe their lives together, constant fighting in their room/home and marriage.</p> <p style="margin-left: 40px;"><em>“There’s two people living in one small room, from your two half-families tearing at you,<br /> Two ways to tell the story “no one worries”, two silver rings on our fingers in a hurry, </em><br /> <em>two people talking inside your brain, two people believing I’m the one to blame,<br /> two different voices coming out of your mouth, while I’m too to care and too sick to shout”</em></p> <p>“Shiva” comes right after death. “<em>Suddenly every machine stopped at once, and the monitors bleeped one last time. Hundreds of thousands of hospital beds, all of them empty but mine</em>”. It continues musically in the same vein, acoustic guitar and stirring vocals. It’s nearing the end of the road. “Wake” is the end. It’s the celebration or marking of her passing. Letting people in to remember and say goodbye.</p> <p>It’s a very heavy record, and very thoughtful. At times it can be frustrating. It isn’t made easy for the listener, but the challenge is worthwhile. It’s one of the finest albums this reviewer has heard this year.</p> <p><strong><em>Kevin Coleman</em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1241/The-Antlers-Hospice.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1241/The-Antlers-Hospice.aspx#Comments 2 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1241/The-Antlers-Hospice.aspx Sun, 01 Nov 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1241 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1235/Idlewild-Post-Electric-Blues.aspx <h2>A review of the album 'Post Electric Blues' by Idlewild</h2> <p><img width="240" height="240" border="1" align="right" src="/indie-music/Portals/0/Blog/Files/18/1235/idlewild-Post-ElectricBlues.jpg " alt="Idlewild - Post Electric Blues" /><u><strong>Review Snapshot:</strong></u> One could be forgiven for thinking that this latest offering portrays Idlewild growing old gracefully, but realistically this is the sound of a band who are trying to reinvent themselves. It doesn’t come close to the indie rock genius of the “The Remote Part” and the happy-go-lucky <a href="http://www.cluas.com/music/albums/idlewild-make-another-world-1734.htm">“Make Another World”</a>, or the intrigue of the confused “Warnings/Promises”, but rather depends on several different influences to produce a fresh sound. Does it work? Yes, but only just. </p> <p><u><strong>The Cluas Verdict?</strong></u> 6 out of 10</p> <p><u><strong>Full Review:</strong></u> As the album opens with “Younger Than America”, you instantly notice this is truly & recognisably Idlewild, a vicariously riffed tune, and one that will once again accuse them of being, albeit in a good way, influenced by REM circa the Document era. Add to that, an effective backing vocal by our own Heidi Talbot (who aided and abetted Roddy Woomble’s 2006 solo country-ish effort “Secret Of My Silence” to magnificent effect, more on that later).  <br /> <br /> More of the same on “City Hall”, classic Idlewild. Baring in mind this is their 6th album, it still works in so far as the song exudes their undying zest for what they do. “Dreams of Nothing” echoes sentiments of “Century After Century” from the “The Remote Part”, picking on what made them underground greats while avoiding overdependence on it. <br /> <br /> Nevertheless, the album is not without its pitfalls, “Readers & Writers” is chart-popped up to an ultimately ineffective extent with oversold bombast on its chorus; it’s only the album’s second track and in early listens, you worry that Idlewild may be trying to become commercial - which just isn’t them. The same could be said of the late-on “All Over the Town”. It would <a href="http://www.cluas.com/music/gigs/idlewild2.htm">sound great live</a> but forces little effect elsewhere. Another poppy effect on “Circles in Stars” features a distorted doubled up vocal that asks "why, why, why?" Woomble’s vocals have always been charismatic enough without having to resort to this sort of thing. <br /> <br /> Perhaps the most disconcerting aspect of this album is the alt-country influences evident from Woomble’s solo effort that are breaking & entering their way through here – it doesn’t work on “(The Night Will) Bring You Back to Life”; it’s lyrically weak and the music doesn't sounds like anything like the Idlewild we’ve come to know and love. It improves on the album’s outro though as “Take Me Back in Time” features jangly guitar and a hum-drum backing vocal that possibly betrays the album as a whole but nonetheless remains a pleasing ending. <br /> <br /> While the album’s blessing is that “Take Me Back To The Islands” is undoubtedly one of the best tracks on offer, the fact that it sounds like it was hand-picked from “Secret Of My Silence” is also a distant curse - you can’t help but wonder if these contrasting influences are pulling the sound of this band and its lead singer in opposite directions. <br /> <br /> All in all, there’s enough here to satisfy dedicated fans and a lot of experimentation and credit to them for that; after all, bands who don’t reinvent themselves inevitably fade into the background or fade away altogether (just ask any <a href="http://www.cluas.com/music/gigs/strokes.htm">Strokes</a> or <a href="http://www.cluas.com/music/albums/garbage.htm">Garbage</a> fan). <br /> <br /> Definitely Idlewild’s weakest offering since the Remote Part, but a satisfying listen at the end of the day. <br /> <br /> <em><strong>Jimmy Murphy</strong></em></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1235/Idlewild-Post-Electric-Blues.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1235/Idlewild-Post-Electric-Blues.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1235/Idlewild-Post-Electric-Blues.aspx Thu, 22 Oct 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1235 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1233/Mumford-Sons-Sigh-No-More.aspx <h2>A review of the album 'Sigh No More by Mumford & Sons</h2> <p><img border="1" align="right" style="width: 359px; height: 315px;" src="/indie-music/Portals/0/Blog/Files/18/1233/sighnomore.jpg " alt="Mumford & Sons Sigh No More" /><u><strong>Review Snapshot:</strong></u> This London folk foursome presented their first album, 'Sigh No More', at the beginning of this month, following in the footsteps of the contemporary <a href="http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1153/Noah-And-The-Whale-The-First-Days-Of-Spring.aspx">Noah and the Whale</a>, and echoing the forlorn vocals of <a href="http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/239/Neil-Young-Live-At-Massey-Hall.aspx">Neil Young</a>. Mumford & Sons' unique brand of indie-folk, with edgy lyrics and widely varied music, will not be everyone's favourite, but for the more eclectic, this is an absolutely brilliant debut from a promising band. </p> <p><u><strong>The Cluas Verdict?</strong></u> 8.5 out of 10</p> <p><u><strong>Full Review:<br /> </strong></u>I readily confess that I’m not a huge fan of folk music. I’ve never really considered the banjo as a serious instrument, and had someone asked me what I thought of the genre, I would have raised an eyebrow and said that I wasn’t that into it. I was surprised, then, by this album, which I immediately liked. It mixes traditional-sounding introductions with thunderous climaxes, replete with roaring distortion and the ever-present banjo (which really does work in this context). The acerbic lyrics are at odds with the often bright and bouncy music. In all, it’s an interesting and accessible record, even for those who aren’t normally into folk.<br /> <br /> ‘Sigh No More’, the first track, opens up with tranquil guitar and chorus, and builds up to a powerful crescendo. The refrain,<br /> <br /> <em>“Love, it will not betray you, dismay or enslave you, it will set you free,<br /> Be more like the man you were made to be”</em>,<br /> <br /> is invigorating and refreshing. ‘The Cave’, once again edgy and innovative, combining a pleasing hook, a bright melody, and unnerving lyrics: <em>“I will hold on hope and I won’t let you choke on the noose around your neck”</em> is typical of the sort of contrast Marcus Mumford, the lead singer, draws throughout the album. ‘Winter Winds’ is similar, exploring the theme of insincere love and loneliness, to a warm, cheerful tune. <br /> <br />  ‘Roll Away Your Stone’ is a brisk, buoyant ballad, with the same gloomy undercurrents. ‘White Blank Page’ is much darker, with a wistful tune and embittered lyrics, this time in waltz-time. ‘I Gave You All’ develops the melancholic strain further, recalling the beginning of the first track with the similar chorus.<br /> <br /> This record is one of those that gets better as it goes on. ‘Little Lion Man’ is much more energetic, but still sinister; it’s also my favourite track on the album. Mumford & Sons seem to like playing with rhythms, and the syncopation of the guitar makes this an interesting song rhythmically as well as anything else. ‘Timshel’, easily the shortest song on the album, is puzzling and interesting. Motifs run throughout this record, and the idea of brotherhood and unity, first mentioned in ‘I Gave You All’, forms the refrain of this track. ‘Timshel’ reads like a poem, and it isn’t alone; it’s because of this that I think they have great potential.<br /> <br /> ‘Thistle and Weeds’ is an epic piece, beginning with the quiet gloom of the past few tracks and building up to a storm of desperation and darkness. Once again, we see artful repetition: the refrain in this song, <em>“I will hold on hope”</em>, echoes exactly the chorus in ‘The Cave’. ‘Awake My Soul’, then, seems incongruent, with its mellow tune and seemingly innocuous lyrics. It is this very discomfort that this band are so capable of exploiting.<br /> <br /> ‘Dust Bowl Dance’ is another desperate ballad, that uses interesting blues-rock and psychedelic guitar in a tasteful and completely unexpected manner. ‘After The Storm’, the last song and a subdued but uplifting summary, resurrects once more the refrain of the introductory track, nicely tying the album together.<br /> <br /> I am greatly impressed by this band: not only is their debut album lovely to listen to, it’s also a real work of art. They have already created their own style, distinct from, if closely related to, their influences and contemporaries, and they have certainly proven their ability to write good music. Mumford & Sons are poets, and I’m already looking forward to their next release. If you’re already into the folk scene, or if you’re looking for something refreshing, this album is a must-buy. If not, then please don’t complain that it isn’t mainstream enough.</p> <p><strong><em><a href="http://www.cluas.com/indie-music/Social/tabid/112/asuid/4565/Default.aspx">Philip McDonald</a></em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1233/Mumford-Sons-Sigh-No-More.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1233/Mumford-Sons-Sigh-No-More.aspx#Comments 1 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1233/Mumford-Sons-Sigh-No-More.aspx Wed, 21 Oct 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1233 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1231/The-Swell-Season-Strict-Joy.aspx <h2>A review of the album Strict Joy by The Swell Season</h2> <p><img width="240" height="240" border="1" align="right" alt="The Swell Season - Strict Joy" src="/indie-music/Portals/0/Blog/Files/18/1231/Swell Season.jpg " /></p> <p><u><strong>Review Snapshot:</strong></u>  At times underwhelming and familiar, 'Strict Joy' brings nothing new to the table and deals with much of the same subject matter as The Swell Season's previous albums. While people who were already fans will probably find this album enjoyable it did very little to grab the attention of this reviewer's ears.</p> <p><u><strong>The Cluas Verdict?</strong></u> 5 out of 10</p> <p><u><strong>Full Review:</strong></u>  Since the success of 2007's <a href="http://www.cluas.com/indie-music/Blogs/French_Letter/tabid/80/EntryId/445/Once-France-says-encore.aspx">'Once'</a> Glen Hansard and Markéta Irglová, aka The Swell Season, who both starred in the film and composed the soundtrack, have become highly regarded members of the Irish music scene. Hansard, portraying a struggling <a href="http://www.cluas.com/opinion/buskers.htm">busker</a> on Dublin's Grafton Street, and Irglová his love interest and a fellow musician in 'Once', raised their profile considerably and garnered much international attention, particularly in America. Their Oscar winning track from the 'Once' soundtrack, 'Falling Slowly', is a beautiful, memorable song which has received wide radio play. However, their follow-up 'Strict Joy' is quite a different affair altogether.</p> <p>While 'Strict Joy' can at times be affecting, a lot of the tracks seem more akin to pub songs, to rouse an excitable and inebriated crowd who aren't entirely coherent. While I'm sure this could be classed as a good thing by some people, I strongly doubt that this was the sound Hansard and Irglová were hoping to achieve. <br />   <br /> 'In These Arms' displays Hansard's usually lowly singing. It has the air of a song that was written instantly in a fit of emotion - and is all the better for it. With Hansard professing <em>"Maybe I was born/To hold you in these arms"</em> with seemingly fragile guitar playing and powerful vocals, it's both thought-provoking and emotive. It's a stand out track on the album, combining both sombre but sweet tones in a way only The Swell Season can. <br />  <br /> On the sixth track on the album, 'Paper Cup', Hansard continues the age-old tradition of writers penning pieces to inanimate objects. In such an instance writers tend to offer an interesting insight into their opinion of the object, or how they'd desire to live as simple a life as the object. Instead, Hansard decides to use the word 'paper' as a kind of prefix - <em>"paper saint", "paper plane", "paper bird"</em> not really offering an insight into anything or being particularly engaging. Essentially, 'Paper Cup' appears to be filler without any real purpose or defining composition. <br />  <br /> Irglová makes only two distinctively notable vocal appearances as the lead vocalist on 'Fantasy Man' and 'I Have Love You Wrong'. On 'Fantasy Man' Irglová's voice is perfectly suited to the track, she sings passionately with a soothing instrumental accompaniment. At times, 'Fantasy Man' has similarities to <a href="http://www.cluas.com/music/albums/damienrice.htm">Vyvienne Long's </a>style of composition and singing, but still retains a quirky uniqueness which is hard to pigeon-hole. 'I Have Loved You Wrong'  is a tranquil track with Irglová's swirling vocals adding a new scope to the song.  <br />  <br /> Though Irglová provides backing vocals on many of the tracks she tends to be overshadowed by Hansard and at times can fade into the background. Such occurrences make this album sound more like a<a href="http://www.cluas.com/music/gigs/glenhansard-boston.htm"> Glen Hansard</a>/<a href="http://www.cluas.com/Music/albums/frames2.htm">The Frames</a> album as opposed to a collaboration between himself and Irglová in The Swell Season. <br />  <br /> The Swell Season have been prosperous in creating an album that people who were already fans of theirs will enjoy, but I'm not so confident that they will gain many more new fans as a result of 'Strict Joy'. I can't help but feel that if Irglová had sung more solo tracks, or if she collaborated on a song with Hansard in equal measure the album could really be something amazing and diverse. I'm not convinced by any stretch of the imagination that 'Strict Joy' is a culmination of the the best songs The Swell Season have written since the 'Once' soundtrack. This album offers nothing particularly enthralling or dynamic, and could easily meld together with 'The Swell Season's back catalogue without it being obvious that it's a separate album from their two previous releases.</p> <p><strong><em>Aideen O'Flaherty</em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1231/The-Swell-Season-Strict-Joy.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1231/The-Swell-Season-Strict-Joy.aspx#Comments 2 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1231/The-Swell-Season-Strict-Joy.aspx Tue, 20 Oct 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1231 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1226/Pearl-Jam-Backspacer.aspx <h2>A review of the album Backspacer by Pearl Jam</h2> <p><img width="291" height="300" border="1" align="right" src="/indie-music/Portals/0/Blog/Files/18/1226/pearl_jam_backspacer.jpg " alt="Pearljam" /><u><strong>Review Snapshot:</strong></u> If you want the smooth waves of the surf, some rocking little riffs and more fine songwriting from Eddie Vedder, then Backspacer is for you. Die-hard fans like myself ought not to be disappointed. </p> <p><u><strong>The Cluas Verdict?</strong></u> 9 out of 10</p> <p><u><strong>Full Review:<br /> </strong></u>What's not to like about <a href="http://www.cluas.com/music/gigs/pearljam.htm">Eddie Vedder</a>? Surfer, writer, and a mysterious creature that puts forth his vision of the world with a voice that has only grown better with age. More importantly, Vedder is the iconic figure in <a href="http://www.cluas.com/music/gigs/pearljam.htm">Pearl Jam</a>, the Seattle rock band that survived the 90s and have become enriched as the group continues to play to sold-out venues. <br /> <br /> Backspacer represents a mellowing of the group, with lyrics that reflect a more relaxed Vedder. As if to prove this, the album bursts forth not with the heady rushes of a track like 'Go' , but rather with a Johnny B. Goode style blues riff on 'Gonna See My Friend.'<br /> <br /> This slice of home-grown Americana rock continues with 'Got Some,' a frantic start to a track where Vedder grunts a little, his voice acting as the addict's devil-on-the-shoulder: 'I got some if you need it / Get it now, get enough before it's gone.' This is the song to really remember from the album and at the moment it is being played on air as their second commercial single. <br /> <br /> First single 'The Fixer' is a catchy pop number that merges opposites: 'When something's broke / I wanna put a bit of fixing on it.' Its breezy vocals and Vedder's sliding vocals indicate acceptance and a willingness to grow with relationships, to water them and let them flourish. <br /> <br /> As a whole the album is a more optimistic Pearl Jam with less to prove to the world. There is no direct political song that's the equivalent of 'Brain of J' from the album Yield or 'Bushleager' from Riot Act. <br /> <br /> Indeed there is little to dislike about Backspacer. The album might not have a bone-crunching 'Porch' or 'Leash' track on it, but the simpler, peaceful songs are a welcome antithesis. 'Just Breathe' is a Buddhist mantra: 'I'm a lucky man to count on both hands the ones I love / Some folks just have one, others they got none.'<br /> <br /> From surfing on 'Amongst the Waves' to the beautiful finger-picking in 'The End' the album symbolises gratitude, with Vedder the engaging prophet. Backspacer is a worthy follow-up to previous <a href="http://www.cluas.com/indie-music/Discussion/tabid/63/aff/3/aft/6374/afv/topic/Default.aspx">Pearl Jam</a> offerings and die-hard fans will not be disappointed.</p> <p><strong><em>Niamh Madden </em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1226/Pearl-Jam-Backspacer.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1226/Pearl-Jam-Backspacer.aspx#Comments 2 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1226/Pearl-Jam-Backspacer.aspx Sat, 17 Oct 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1226 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1227/Fnessnej-Stay-Fresh-Ey.aspx <h2>A review of the album Stay Fresh, Ey by Fnessnej</h2> <p><img width="200" height="198" border="1" align="right" src="/indie-music/Portals/0/Blog/Files/18/1227/fnessnej.jpg " alt="fnessnej" /><u><strong>Review Snapshot:</strong></u> A compelling collage of sounds from a German five-piece whose name is almost impossible to pronounce. Part chip-tune, part post-rock, Stay Fresh, Ey is a playful album that offers new delights on each listen.</p> <p><u><strong>The Cluas Verdict?</strong></u> 9 out of 10</p> <p><u><strong>Full Review:<br /> </strong></u>Some song titles aren't made for memory. '1360280' is a fine example of this. But then when the artist's name appears equally scrambled, it all starts to make sense. Whisking together seemingly incongruent flavours is a speciality of Fnessnej. The quintet's music is self-described on their website as 'instrumental postkutsche rocknroll elektroge frikkelballer post blahabblaha'. Quite the mouthful. <br /> <br /> Fnessnej are masters of blending bleeps and ticks, rock riffs, synth sounds and syncopated drumming on a rich palate of musical fervour. The album's first track 'Duplex Knaller' begins playfully, with four short clownlike notes and moves towards a mood reminiscent of <a href="http://www.cluas.com/indie-music/Gig_Reviews/tabid/96/EntryId/675/Metronomy-live-in-Dublin.aspx">Metronomy</a>. There's bass, handclaps and a childlike melody on xylophone. What's not to love? <br /> <br /> We move into richer territory with the sweet tapestry that is 'Voll im Harras', which could have accompanied an early PC game like Pango or Frogger. There are deeper mute bass sections and the tune moves into more grown up territory in its second half. Succinct, organic, and without the awkward stages of adolescence, this is a track to be treasured. <br /> <br /> Further treats are in store with the dulcet acoustic nylon tones of 'Mann aus Frau' and the journey of 'Gewehrwolfgang,' which samples classical, post-rock and 1950s high school romance. And if you thought ping pong was just a bizarre sport or one of the first computer games, think again. In 'Diode' it becomes a genius melody that takes the game through bouncing and beeping heights. <br /> <br /> Fnessnej might not roll off the tongue in a recommendation to friends - but the tracks themselves are catchy, musically complex, and make offerings worthy to all genres. So far I have been recommended this album by one other - and I have yet to meet another who knows of this little treasure. German, random, and rich, this 2008 album has been a favourite of mine for the past few months.</p> <p><a href="http://www.cluas.com/writer-profiles/niamh-madden.htm"><strong><em>Niamh Madden</em></strong></a></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1227/Fnessnej-Stay-Fresh-Ey.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1227/Fnessnej-Stay-Fresh-Ey.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1227/Fnessnej-Stay-Fresh-Ey.aspx Sat, 17 Oct 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1227 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1220/AFI-Crash-Love.aspx <h2>A review of the album 'Crash Love' by AFI</h2> <p><img width="240" height="240" border="1" align="right" alt="AFT - Crash Love" src="/indie-music/Portals/0/Blog/Files/18/1220/afi-crash-love.jpg " /><u><strong>Review Snapshot:</strong></u> The Californian rock veterans make a triumphant return with their eight studio album, proving precisely why they've lasted so long and still have the awe-inspiring ability to always exceed expectations.</p> <p><u><strong>The Cluas Verdict?</strong></u> 8.5 out of 10</p> <p><u><strong>Full Review:</strong></u><br /> In 1991 in a high school in Ukiah, California, sat four teenagers eager to get involved in the punk rock and hardcore music scene. They decided to start a band and set about learning how to play instruments hoping to emulate their heroes such as the Misfits and <a href="http://www.cluas.com/Music/albums/cure.htm">The Cure</a>. Now, several line-up changes and some genre-hopping later AFI have presented us with 'Crash Love.' <br />  <br /> Their previous album, 'Decemberunderground', was by all accounts a success. It was well received by both critics and fans alike, their first single from the album, ‘Miss Murder’, garnered them some mainstream attention in the US (both ‘Decemberunderground’ and ‘Miss Murder’ were number 1’s on the Billboard Chart) and they won the VMA for <a href="http://www.cluas.com/music/ten/videos.htm">Best Rock Video</a> in 2006. To say ‘Crash Love’ was eagerly anticipated would be an understatement. <br />   <br /> Opening track ‘Torch Song’ is a cacophony of electrifying riffs and passionate singing. Musically it’s reminiscent of AFI’s early punkier, harsher sound. It’s accompanied with powerful backing vocals chanting <em>“Anything</em>” throughout the chorus. It perfectly encapsulates all of the best elements of AFI’s music, being progressive but without losing sight of what originally made their music so enthralling. <br />  <br /> ‘Okay, I Feel Better Now’ is a pivotal track on the album. Lyrically it's very strong,  <br />  <em><br /> "I cannot breath. <br /> I can't deny  <br /> that I've been faking for you,  <br /> every sign of life" </em><br />   <br /> While it's not entirely different from previous songs they've written, it's a definite departure from their previous work and is incomparable. It swiftly captures a moment of emotion and effectively invites the listener in. <br />  <br /> Another distinguished track on the album is 'I Am Trying Very Hard to be Here'. First revealed to fans a few weeks before the release of 'Crash Love' through a video of AFI <a href="http://www.cluas.com/music/features/making-of-an-album/where-to-record-3421.htm">in the studio</a> with fans assisting them with backing vocals in the chorus, it was highly anticipated. Through it is lyrically weaker than the other tracks on the album, it shows guitarist Jade Puget at his best playing excellently energetic riffs. <br />  <br /> Overall, 'Crash Love' is an admirably successful album. Though it is void of some of AFI's previous traits, most obviously no screaming from vocalist Davey Havok on any of the tracks, it is a welcome departure from 'Decemberunderground' into slightly newer territory.</p> <p><strong><em>Aideen O'Flaherty</em></strong></p><br /><a href=http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1220/AFI-Crash-Love.aspx>More ...</a> editor@cluas.com http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1220/AFI-Crash-Love.aspx#Comments 0 http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1220/AFI-Crash-Love.aspx Thu, 15 Oct 2009 00:00:00 GMT http://www.cluas.comDesktopModules/BlogTrackback.aspx?id=1220