The CLUAS Archive: 1998 - 2011

Entries for 'Kevin Coleman'

01

A review of the album 'Against Karate' by Let Our Enemies Beware

Let Our Enemies Beware - Against Karate

Review Snapshot:
Chatham (UK) based group Let Our Enemies Beware have been labelled a “Post Punk/ Rock Band” and have admirers with credentials, Zane Lowe among them. They describe themselves as “Noise Terrorists”. As an album “Against Karate” is as intriguing as it is tedious to listen to at times.

Cluas Verdict? 6 out of 10

Full Review:
“I am Lono” kicks the record off. It's a brash thumping affair with chunky bass lines and screeching vocals. They make no bones about they are about early on. It’s not bad. It becomes clear after the short scream that is “Pow Right in the Kisser” (a reference to the old WWF commentator Gorilla Monsoon), that LOEB are not a punk band. If anything there is more of a heavy metal feel. The visceral rhythm section coupled with the meticulously delivered lead guitar drive this home on “Personal Space Invaders”, perhaps the best song on the album. The screeching vocals throughout the album can eventually grate the listener a little. However there are some fine tracks on offer regardless.

“Between Us and the Sun” is an example of the band's merits and how all forces can pull together. A thunderous penetrative rhythm section powers as the undertone to clean guitar picking, with a haunting vocal overtone. Musically it goes from meek to outright aggression in an instance and personifies the band's visceral approach to their music. This is where the album becomes a little long in that the familiar sound of the songs catches up.

With only nine tracks on the record it’s snappy but the songs begin to repeat each other. This is the biggest drawback of the album. Perhaps LOEB should have considered an EP with choice tracks from this collection as many of the songs sound like variations of the other. “Momento Mori”, the final track on the album runs at 8 minutes 14 second. It’s a long, long way to end the record.

All in all, LOEB show signs of promise and are very competent musically. More time should be spent crafting the songs and perhaps a taste of different sounds and influences may help them on their way. “Against Karate” is as intriguing as it is tedious to listen to at times. Try for yourself.

Kevin Coleman


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07

Imogen Heap Cluas Snapshot:

Often beautiful with delicate vocals yet at times infected by cretinism lyrically, Ellipse is a mixed affair. The album is littered with whispy harmonies with keyboards, cellos, clarinets and whatever chopped up cuts and beats were left in the studio, Heap doesn’t make it easy for the listener and the album takes at least 3 listens to get any sort of feeling from it. The drivel that served up as lyrics doesn’t help either.

The Cluas Verdict?: 4.5/10

Full Review:

“First Train Home” opens with cool velvet vocals. It has immediate appeal with its snappy verse and catchy chorus. It’s a winner and casts no doubt over the decision to have the track as lead single. However there was more than a sniff of a mid - nineties Donna Lewis hit in the chorus melody. “Wait it Out” follows, a track dominated by keyboards and a combination of different instruments, the layered vocals help to make it a catchy number. The hopping "hmms" and “do dos” and soft keys however make the song sound like it’s been deliberately written for a shampoo advert. It’s not bad. “Earth” is next, and it’s a jab at a conceited house guest, lover or whatever…..lyrically it’s a bit pretentious given the subject matter and the high-low keys and harmonies give more than a hint of that castle bound billionaire Enya. That’s a straight red card in this reviewer’s eyes.

It gets worse. Lyrically “Little bird” is like a first year English students one page essay describing various imagery in different rooms in a house as seen by a (you’ve guessed it) Little Bird. It’s over the top, and deliberate attempts at ambiguity based on a clear and simple situation just make Heap sound like a fresher eager to please the lecturer.

“Little bird, little bird, little bird,
Where are they now?
Day time tv lounge
A carriage clock, a mantle piece
A family wiped up, j cloth cleaned
Unsaid, festers in the throws of the sofa”

It’s turgid. Maybe I don’t get it but at this point I am thinking Heap should do an Elton John. Find a decent lyricist and concentrate fully on the musical aspects. It would serve her well as the next track “Swoon” illustrates the other end of the scale.
“Your name in lights vibrating to your ring tone, my world begins to dance”. The bouncing dated sounding sampled beats make it a tired affair. The repeated verse through out goes as follows:

“Let me be the great Scott
Tip top pit stop in your ocean
I could be the shipmate's wife
Got you down and dirty with the lotion!”

Enough said on this. It is with open arms this reviewer welcomes the opening sound of “Tidal”. The song opens with grand strings before quickly retreating behind a quiet gentle voice. Alas, it’s more of the same whimsical boring melody and bland keyboard backing track. “Between Sheets” depicts the blissful careless scene of two lovers. Lyrically it’s an improvement however the tune is forgettable and passes without incident.

“2-1” comes next. The song apparently is named after the ratio of water to pollyfilla in the making of pollyfilla. Absolute genius. Dylan is sh*tting himself. The thing about Heap is, lyrics seem to mean a lot to her and each track tries to tell a story of sorts. However, she is a rubbish lyricist in this reviewer’s opinion. The lyrics come across as basic and there is nothing wrong with basic. If basic is what you are going for. Two minute pop songs are fine with short basic easy lyrics. However it is all out of shape with Heap. The lyrics are sung with purpose but not since Oasis' second record has this reviewer heard such ridiculously rubbish lyrics sang over a half decent tune with such purpose.

“Aha” and the awful “Bad Body Double” (which is like a Phoebe from Friend’s effort) depicting a “fun” look at self loathing drag this record on. A surprisingly bright instrumental “Fire” and “Canvas”, perhaps the finest song on the album lead the album to the forgettable “Half Life” and it’s all over. Heap may think she is a poetic tuneful revelation but on this offering she appears nothing more than a pretentious Dido Armstrong sound alike. And with Grammy nominations and 12 years in the business under her belt she should be doing a lot better. No doubt the masses will love it. It’ll sell like cheap loo roll in a recession but this record for my money is lazy, unimaginative and dated already.

Kevin Coleman


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17

A review of the album 'The First Days of Spring' by Noah and the Whale

Noah And The Whale

Review Snapshot:
The Twickenham based folk outfit return with a heartfelt second album. It proved a difficult second album, not in music terms but more in the feeling in the theme, which proves thankfully, that Noah and the Whale are here, for a while at least

Cluas Verdict: 8/10

Full review: The first thing to note about “The First Days of Spring” is that Charlie Fink is sole vocalist.The second is that the record is definitely not like the first by the group, and the third is that the theme is not a happy one.The record opens with the title track. A strings intro accompanied by a clean electric guitar hook, immediately sets down the tone for the album. What strikes this reviewer is the incredible similarity between the sound of Fink’s vocals and those of David Kitt. Its no bad thing. The theme of the song is the potential for what should be a new beginning, hounded by a heartfelt break up. “My life is starting over again Well the trees grow, the river flows” he sings with purpose, but in the end of the track he repeats, “I'll come back to you, in a year or so And rebuild ready to become, Oh the person, you believed in or the person that you used to love”. These lines set the theme for the entire record. It's a break up album, or more to the point an album about the disillusionment of a break up.

And so the album continues into “Our Window”. It's a good melody continuing the theme as Fink reminisces and still hankers for “her light”. “My broken heart” is next, again a slow electric guitar intro, with a beating drum, “You can give up anything when your following your heart” Fink sings. There is a nice orchestral string accompaniment to the song. “I’ll be laughing again” he sings defiantly as the sound of a trumpet brings the song up in tone. It’s most definitely the nearest thing to a radio friendly song so far on the album. Like I said, it’s not like the last record.

At the halfway point in the album there is an instrumental interlude. “Instrumental I”, the joyous “Love of Orchestra” and “Instrumental II” provide the affirmation for Fink to come out of his emptiness and despair. Not for long though, “Stranger” opens slowly again with a clean electric guitar intro.“Last night I slept with stranger for the first time since you’ve gone” he sings. It’s back to wallowing and self reflection. The music is slow moving and Finks vocals are soft and easy to listen to. However the over analytical nature of the theme and the self wallow and reflection can be a little overwhelming for the listener. At times the listener can become vexed and feel like telling him to move on! Such is this reviewer’s intolerance of listening to a stranger’s problems!

“Blue Skies” raises the mood a little and is a slow building melody, breaking through to the end with a haunting backing vocal. It’s more positive and finally Fink looks like he is out the gap…It could be a potential single. The layered drum and electric departure on the album is further personified in “Slow Glass”. “I never tried to change you, honey I’m your biggest fan” he sings as he reflects on the hurt his (famous)lost love has caused him. The album closes with “My Door is always Open”. It's the final resolution. “I will only let you only down, but my door is always open” he sings. The country slide guitar and light vocals bring the album to a slow reflective end. “First Days of Spring” has to be listened to in full, and the radio cuts are few are far between. However as an album, it's a story of a bitter break up with some beautiful music for company and well worth a listen. It proved a difficult second album, not in music terms but more in the feeling in the theme, which proves thankfully, that Noah and the Whale are here, for a while at least.

Kevin Coleman


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11
Being play-listed on BBC Radio One, an album recorded in France with a top class producer (David Odlum- The Frames, Gemma Hayes), glowing critical praise; after eight years together Pocket Promise are...

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27

U2 live in Croke Park, Dublin

U2 Croke Park DublinReview Snapshot: Well what's more fun than 80,000 people chanting anthems in Ireland's sporting Mecca on a summer's evening? A lot if you read the papers this week. Despite worries about the stage not being fully utilised, the prospect of preaching from "St Bono's Book of Glib", and an album still seeking its place in the wider public's consciousness; it was a blistering performance musically, if a little short. U2 seized the day and won out in the end. 

The Cluas Verdict? 7.5 out of 10

Full Review:

Are U2 the biggest and best band in the world? Are they a corporate entity living on past glory? Or are they an incredible group of perennial live performers who don't know when to quit trying to be relevant and just enjoy the show? The answer is probably a little of each of the above. This reviewer doesn't believe the much written garbage from certain elements of the Irish media who slate the latest offering as useless. No Line on the Horizon is not without its merits and contains a number of tunes that could live comfortably with any of their contemporaries. 

The crowd are predictably various in age. It makes for an interesting atmosphere. There is a large multinational presence with flags from all corners in the crowd. U2 are global, like no other. The first thing that struck this reviewer was the impressive stage structure. The gargantuan orange fingers of the "Claw" jutted out of different points in the crowd.  Unfortunately the second thing that struck me was the empty grey concrete stand of the Hill behind the stage. Despite what others may say, it did take away from the aesthetics and visual impact of the stage structure, especially if you had a pitch vantage. 

Dublin's four most famous living people take to the stage at 8.50. "Breathe" kicks off the night. It's an energetic and curious opener. The song itself is average on the record, but as with U2, live it gets a new lease of life. Plus, Bono's voice is in great nick. The title track from the new record follows. From a personal point of view, this should have been a single from the record. It's in the chorus of "No Line..." that the crowd starts to buzz. Admittedly there isn't very much "singing along", indicating the intentions of the crowd to hear the choice cuts from the U2 songbook. 

"Get on your Boots" while probably not one of the bands strongest hits, gets a boost live. People are jumping. Its meandering guitar riff and thumping rhythm get the capacity crowd going. "Magnificent" is up next and as widely perceived as the highest point on the new record it goes down a storm. It's clear the band are extremely well rehearsed and there are no hitches. Bono's voice comes to the fore and there is a sense of purpose in his voice. "I was born to sing for you" he says and the fans believe it. 

U2 have never been a band to shirk from selling their wares, and have the guts to try new things. Hence the opening four tracks coming from the Luke-warm received (critically) new album. It's sort of ironic that the next track "Beautiful Day" is the song that brought the band back in from the half empty stadiums of the POP tour.

Its infectious melody lifts the spirits of everyone there and it is indeed, beautiful! 

"This song is dedicated to Sinead O Connor", Bono says as the Edge lays the opening wah wah lick of "Mysterious Ways". The entire stadium goes nuts. Taken from the band's richest phase creatively it reminds everyone of why U2 are history makers. 

Bono even serenades a young Chilean fan who asks cheekily where he lives…."It's in Kiliney, speak to the missus, she's very understanding" he says to laughter and cheers. "I Still Haven't Found What I'm Looking For" begins and falls into "Stand By Me". The atmosphere is beginning to peak. It's an 80,000 plus karaoke session. "Angel of Harlem" with a hint of Michael Jackson's "Don't Stop T'il You Get Enough" continues the mass sing along. "In A Little While", a gem from "All You Cant Leave Behind" rings out. It's a beautiful little tune and it leads into the loudest screams of the night. "The Unforgettable Fire" burns a hole in the night sky. It's a poignant moment for many older members of the crowd. It's impressive stuff. Bono is in full flight. The ramps at the sides of the stage are used to full effect. "City of Blinding Lights" and "Vertigo" follow with a bongo ridden remix of "I'll Go Crazy If I Don't Go Crazy Tonight".  

The stadium was electric. "Sunday Bloody Sunday" is rung out to the visuals of protests in Iran. The fans go wild. It's a wonderful song and the most popular one of the night so far. Bono ad libs "Rock The Kasbah" through the end of the song which gives it added punch.

And that's when it happened. One hour and twenty minutes in, and Rock Star Bono took a breather for a cigar and a rum and coke while St. Bono emerged. Every charity this side of Rio was sound, checked. A video played showing Burmese democratically elected leader Aung San Suu Kyi who is under house arrest. The cause is admirable, and it's well meaning on U2's part. However getting people to walk around a stage at a rock'n'roll show they paid a lot of money to see, wearing masks is outrageous and crass. It got worse. St Bono wouldn't leave it at that. The "One" organisation got its dues. And then a recorded message from Desmond Tutu (no I didn't think he was in U2 either) followed. It's part of U2's fabric and this reviewer appreciates that, but flogging your charity at people during a rock'n'roll show is crass, inappropriate, and nearly ruined an otherwise impeccable performance. 

"Walk On" and "MLK" followed, and St Bono took a hike. Good riddance.

Rock Star Bono was back. "Where the Streets Have No Name" rejuvenated the deflated crowd. The bass line still sends shivers up and down this reviewer's spine. "One" illuminates the sky and it's a rock n roll love in. All is good and beautiful. 

The band came back on for the encore. An old school mike was lowered to Rock Star Bono. He dragged on it, swung on it and paraded the showmanship and vocals that made him cool back in 1992. Oh and "Ultra Violet" was the tune! For this reviewer, this would have been a fine point to leave off on. "With or Without You" had to be played for the die hard fans though. And respect is due for the purpose and sincerity the band managed to convey during it too. 

However "Moment of Surrender" while certainly one of the highlights of the band's latest offering, was most definitely the pin in the balloon for many. As the stretching vocals reached climax in the chorus, folks began to think about where they were off to for a jar.

Like I said, U2 were never ones to shirk from selling their new wares. Still, the vocals were flaweless and the band sounded tight and very polished. The stage show was immense. U2 continue to be the world leaders in live show performances, but Bono is doing his best to spoil this for the rest of the band with his peddling of personal agendas ahead of doing what he does best.

Kevin Coleman


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24

Bruce Springsteen (live in the RDS, Dublin)

Bruce Springsteen live in RDS DublinReview Snapshot: A rain soaked, recession obsessed city is lit up by the thundering guitar of an American hero. Bruce was in town last weekend for a two night stint at the RDS. Working on a Dream, the latest offering by the Boss has done the business commercially, and there is more than a few stand out tunes to sing along to. Inevitably it's the old favourites, belted out by the show-stopping, jet-flying, limousine-riding E-Street band that folks come to see. And even in the grey & damp confines of the RDS, Bruce lit up the sky for 3 hours 20 minutes.  

The Cluas Verdict? 9 out of 10

Full Review:
I must confess the first time I was fortunate enough to see Bruce Springsteen live was as late as 2005 in the Point. It was the tour supporting the collection of Pete Seeger songs he recorded that year. It was excellent stuff too; pure blue grass with a tint of rock and roll and a collection of flawlessly talented, if varied, musicians. I must have been alone in my personal satisfaction as in the gents, grunting lads of a certain age were growling "Where's Born to Run?", and "I paid for Jungleland, what's this shite?" It was then that it dawned on me. Bruce's albums sell well, even the new releases. But when it comes to Bruce live, people buy tickets, regardless of what album or cover collection he is supporting. It's a sort of religion. It was last year I began to understand this when I saw the E-Street band for the first time.

So, with tickets obtained at the last minute, we went along to "The Boss". As usual, no support act. 8pm on the button, "No Surrender" is played to screams, chants of 'Bruuuuce!' and whistles of appreciation. Straight into "Badlands" and the entire stadium feels like it's moving. As I said before, it's sort of like a religious celebration. The crowd is a mixed bag as to be expected with a FOUR decade spanning career. "Lucky Day", "Outlaw Pete" and "WorkinG on a Dream" follow from the new record. The place is still buzzing. Remarkable, especially considering he is playing some of the "new stuff". But like his live shows, The Boss' new stuff is still pushes the right buttons for many.

A surprising rendition of "Proud Mary" leads into the 9/11 inspired "Waiting on a Sunny Day". Strangely the song takes on a temporary literal meaning in the recession gripped misery that is the modern Irish summer. Bruce then sound checks some famous Dublin spots. Burdocks & O'Donohues were amongst them. Two and a half hours in and "Born to Run" tears strips off the night sky. It's difficult to believe as he bounces around the stage like a teenager that this is a 59 year old man performing.  

The encore as with the show I had attended last year was a frenzied, screaming, dancing manic affair. “Dancing in the Dark”, “Jungleland”, “Glory days” really blew the top off the place and the entire stadium was dancing, jumping and screaming. It was pandemonium.  A surprise cover of “Twist and Shout” meant Bruce and the lads could be subject to a fine for rolling past the council curfew. Never mind Bruce, I’m sure there are many who would be more than willing to chip in and cover whatever fine will be handed out!

Kevin Coleman


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Nuggets from our archive

2000 - 'Rock Criticism: Getting it Right', written by Mark Godfrey. A thought provoking reflection on the art of rock criticism.