https://www.cluas.com/indie-music RSS feeds for CLUAS Irish Indie Music 60 https://www.cluas.com/indie-music/Home/ID/242/Lucknow-Pact-Open-Your-Arms#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=242 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=242&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/242/Lucknow-Pact-Open-Your-Arms A review of the album 'Open Your Arms' by Lucknow Pact Review Snapshot: An enjoyable effort that crosses the epic/pop divide, while for the most part negating the more tedious components of that style. The Cluas Verdict? 7 out of 10 Full Review: Of late there has been a flurry of bands offering up a sense of the majestic in mainstream music. From the lamentable (The Killers) to the appealing (Glasvegas), and often crossing over with a shoegaze aesthetic, the sound has manifested itself across the board, from pop to post-rock. Lucknow Pact should be counted as another edition to the cult of “the big sound.”  Open Your Arms is composed of songs that sound like contained epics, with everything expected of that aesthetic: trails of echo, synth swathes and drums that sound monumental. The containment comes from the short length of each song, which prevents lapses into overindulgence. But when they display an epic flourish, Lucknow Pact don’t hold back. The opening track, “Seagulls,” with its rolling drum patterns and soaring vocals, comes from the same stylistic stock as Glasvegas; music made for the stadium rather than the club. Some tracks progress from this short epic formula to an atmospheric style reminiscent of Seventeen Seconds-era Cure, evidenced by the combination of drum machines, acoustic guitar and high basslines. “A Guide & A Promise” showcases this aspect of the band’s sound particularly well, but it runs through the album, manifesting itself through darkly ethereal electronics and echo effects; maybe it’s due to the band’s home country of Sweden, but one can’t help but think of adjectives like “icy” or “glacial” when listening to Lucknow Pact’s forays into the late post-punk style. It’s easy to focus entirely on this aspect of the album, but encased within the encompassing production there are definite hooks and catchy melodies.  “A Few Drinks Later” is driven by buoyant guitars and piano, but lyrically is typical of this pessimistic album; while the refrain “we shine, yes we shine” is joyous in the context of a successful relationship, it turns to a plead to the past when the same relationship goes sour and the two are “now enemies,” the other half talking like they “never knew” the anguished vocalist. The album’s deft combination of indie-pop and towering production is a successful combination for the most part, but this marriage always runs the risk of dissolving into a hazy pulp; while they stave this off for the majority of Open Your Arms, on a full listen the album begins to flounder toward the late middle point. When taken alone each song makes for intriguing listening, but as a whole the production and aesthetic become slightly characterless. Open Your Arms can’t be dismissed based on this alone – such pitfalls come with the style the band works in. When it works (a lot more often than when it fails) it lends a pleasing counterpoint to the melodic tunes that form the core of the album. From the “contained epics” to the pleasingly poppy, Lucknow Pact deliver a gratifying listen that works better on repeated, closer listens, the nuances of each song revealed when separated from one another. Pádraic Grant Lucknow Pact - A Few Drinks Later by Playground Music More ... Pádraic Grant Mon, 23 Aug 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:242 https://www.cluas.com/indie-music/Home/ID/244/Yosei-The-Wind-Up-Waltz#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=244 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=244&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/244/Yosei-The-Wind-Up-Waltz A review of the album 'The Wind-Up Waltz'by Yosei Review Snapshot: A beautifully restrained album, an exercise in the art of cool playing and the emotion that can be generated through the subtle rather than the loud. The Cluas Verdict? 9 out of 10 Full Review: The large number of semi-folk bands present in the alternative music scene is a good thing (for me at least, it being one of my favourite styles of music) their very prevalence can be slightly overwhelming. Working from a similar, constraining stylistic map, a set of clichés have led to a sense of unoriginality creeping in when listening to certain acts. From either deliberately wacky or maudlin introspective lyrics to the standard reliance on either bland minimalism or an over-produced string/horn section, folk bands without new ideas can be enjoyable, but never inspiring. The Wind-Up Waltz defies this trend. Built on a folk foundation laced  with jazz influences, the latter heard intermittedly in both the rhythm and instrumentation of the album, the combination is a consonant one, one genre trope complimenting the other. In this respect Yosei keep their sound fresh and different from other orchestral folk acts. Their sound evokes an updated take on the jazz-folk fusion of acts like Pentangle or Wooden-O, a tendency that is sadly overlooked in the scene. Opening with “The Raven,” Lina Lagendorf’s voice sets the tone of the entire work – measured but engaging. The same song also makes it clear that this album is truly thought-out and performed to a tee; the interplay between the instruments is crafted superbly, the flute solo that tops it off sober and well-placed. While the jazz influence is a strong one, as previously mentioned another inspiration is early 70s folk. This can be heard in “The Raven,” but “Lily” trumps that song, with flute lines reminiscent of the best bands of the Joe Boyd milieu. Alongside these, Lagendorf’s voice has the qualities of Linda Perhacs or Shelagh McDonald. A constant shifting of mood pervades the album, with “Fisherman’s Song” an exemplar of this trait. Dusted with eerie, shimmering instrumentation, the song flits between contradictory feelings of solitude, threat and romantic awakening. While the narrator relates a story of loneliness and the accidental arrival of a shipwrecked sailor, the instruments move behind her, switching from ethereal backing to more assertive rhythms as the song moves from verse to chorus. The Wind-Up Waltz stands as an album that remains interesting despite its almost constant lulled-out tempo. That the band achieves this through subtle mood change and invocation of the cool and collected approach to composition, rather than succumbing to the temptation of over-orchestration, makes listening all the more enjoyable. Utterly charming, the only complaint that holds any muster is that the laid –back sound can start to sound a little monotonous, the very subtly that makes the album so intriguing also contributing to its biggest flaw. But this is a small complaint, almost entirely forgettable when set against the refined beauty of The Wind-Up Waltz. Yosei’s greatest challenge now is how to strike the balance between retaining their current style of writing and refraining from stagnation. Their next work, then, will be fascinating because of both that task and the promise of yet more pleasurable listening to come. Pádraic Grant More ... Pádraic Grant Wed, 18 Aug 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:244 https://www.cluas.com/indie-music/Home/ID/299/VV-Brown-Travelling-Like-The-Light#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=299 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=299&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/299/VV-Brown-Travelling-Like-The-Light A review of the album "Travelling Like The Light" by VV Brown Review Snapshot: A continually interesting album using older influences in a modern manner, placing VV Brown head-and-shoulders above the "soul revival" stratum. The Cluas Verdict? 8 out of 10 Full Review: In the past few years there has been no shortage of pop artists willing to dig into the past for inspiration, drawing from classic sources for songwriting ideas. Like most things in music, this has provoked some fierce debate; are the modern artists legitimately drawing influence from previous musical styles, or pilfering the ideas of the past to cynically create a brand identity? While the truth is likely to be somewhere in between (few artists truly disregard the power of presentation) one question arises either way: does the retro fascination produce creative, enjoyable music? Like the question of authenticity, it can go either way; for every faithful summoning of soul (music and emotion!) there is a sterile creation wrapped in nostalgic clothing. Travelling Like The Light is possibly the most joyous sounding album from this musical tendency, built around the mesh of a retro music base and modern production gloss immediately familiar from antecedents such as Duffy and Winehouse. Brown’s reach is wider than other semi-revivalists however, with the artist listing relative oddities like VGM (Video Game Music, apparent in the prominent synths) as influences, while the older inspirations stretch beyond soul into doo wop and early Rock n’ Roll. “L.O.V.E” encapsulates this approach best, veering from polyrhythmic percussion to a chorus built around the archetypal rockabilly bassline. Such moments of sheer homage are scattered throughout the album, brash clichés that have fallen out of use in mainstream pop and are a joy to re-discover in new surroundings. Another triumphant track indulging in similar impudence is “I Love You,” with its somewhat precise title. However, the music itself is anything but played out - a crisp evocation of early 70s Motown balladry that stands as an exquisitely cool-handed effort on an album mainly characterised by its effervescence. Like most records defined by their more immediate, sprightly songs, Travelling... has an undercurrent of wistfulness, in this case the disappointment of a failed relationship. “Leave!” screams angry despondency, Brown opining that “the one you loved is a fool,” her tale of disillusion accompanied by the gently-sighing backing vocals ubiquitous in American pop music of the pre-Rock n’ Roll era (and even creeping in to Rock as the music grew more commercialised). In a similar vein, “Shark In The Water” brings to mind the Motown girl groups with its formula of lovelorn lead singer backed by cooing vocals and gently-careering strings. Despite the emphasis placed on Brown’s older influences, Travelling... is constantly underpinned by bubbling synths and drum machines. While these instruments are prominent throughout, at times they blend with the organic elements so well that they are almost subliminal, only recognised because of a stray note at the end of a song or a breakdown featuring only the unmistakeable sounds of programmed percussion. The effect is positive, an exclamation point making it clear that Brown isn’t pining for the past – a far cry from the other soul revivalists, whose music is constructed in a similar manner but cloaked in enough stagey artifice to suggest otherwise. Travelling Like The Light comes off as much more than a series of exercises in subverting the kitschy, over-familiar sounds of early Rock n’ Roll and Soul (even if some of the enjoyment of this album is in how these sounds have been resurrected and presented so blatantly). VV Brown has made an album largely free from listless nostalgia, aided by the fantastic melding of various retro styles with a modern, glossy production (with each element complimenting the other in subtle reciprocation) and the buoyant songwriting that forms the core of the album. The last decade has demonstrated that the use of retro elements is a perilous one that can often result in an empty mining of the past; Travelling Like The Night does not fall into that trap, but uses each over-obvious component as just that, an interesting component rather than a source to leech off. Brown’s has succeeded in creating an instantly impacting pop album that manages to stand head and shoulders above most of the crowded “revival” stratum. Pádraic Grant More ... Pádraic Grant Wed, 16 Sep 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:299 https://www.cluas.com/indie-music/Home/ID/314/Florence-The-Machine-Lungs#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=314 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=314&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/314/Florence-The-Machine-Lungs   A review of the album 'Lungs' by Florence & The Machine Review Snapshot: Although Florence Welch may have garnered the press attention, the album's arrangement and production work ultimately makes Lungs a worthy listen. The Cluas Verdict? 7 out of 10 Full Review: For over a year, Lungs has been hyped to high heaven, propelled by a combination of four strong singles and bandleader Florence Welch’s press-baiting off-stage antics. Musically, the media have leapt on the combination of soul and indie-pop that supposedly characterises Welch’s music , the latest in the series of British blue-eyed soulsters that have made their mark with a deft eye on both retro and contemporary pop. Indeed, one could make a case for Welch simply continuing that trend: she’s certainly got the voice, and the songs could reasonably be transformed into 60s soundalikes if a Ronson-type so desired. More important than such comparisons, and what most of the year-long hype seems to have forgotten, Welch’s work also contains large doses of negativity, doubt and despair, rendered not only in her lyrics, but evoked through the despairing timbre of the instruments accompanying them. What Lungs encapsulates is the power of texture, as well as the strength of the mood often teased out by spot-on production. “Dog Days Are Over” opens with a mix of soul-power vocals and beautifully-embellished stomp-pop that effortlessly appears to justify the pre-release hype. While opening tracks are formulated to convince sceptics that the other tracks are worth listening to, “Dog Days Are Over” works because it emphasises the best aspects of the material that follows; Welch’s voice is spot on, the production is bright and the song is structurally sound, each dynamic change strategically placed to surprise and command attention. Following “Dog Days,” the remainder of Lungs faces a depressingly familiar test: either each song will reach the high stature of the opening track, or they will fall beneath the expectations it engendered. “Between Two Lungs” exceeds these expectations and exemplifies the album’s strengths. One of the few tracks where both songwriting and production excel, in this case with a flurry of harmony and inspired instrumentation, it also calls attention to the album’s faults, as demonstrated by “Kiss With A Fist.” Although enjoyable in an average sort of way, its idiosyncratic garage rock sound is formulaic and draws attention to the more irritating aspects of Welch’s vocals; when her voice works it is attention-grabbing in the best possible way – warm and powerful – but when she takes her foot off the pedal it falls into the death-trap of Nashesque accent fixation. The press may have emphasised Welch herself, but Lungs is shaped by the massed production efforts of Paul Epworth, James Ford and Steve Mackie, a trio that has crafted a significant portion of the British indie scene in recent years. Here, they work to create an album that can be enjoyed on a textural level, where the intricate arrangements are often more interesting than the “main” melody or vocal line. The various audio motifs that permeate the album, from glistening harp augmentations to pummelling drums, work to add a peculiarly ethereal touch to what would otherwise be a straightforward indie-pop album. Thanks to this attention to arrangement, the album is peppered with highlights: “Drumming” is distinguished by its lolloping drums and similarly intense lyrics. Those same cascading drums combine with synth bleeps and gently-arching strings to bring the album to an official (and ambitious) close with the final original song, “Blinding.” Like “Between Two Lungs,” “Blinding” is both excellently composed and a stylistic aberration - in addition to what should be the starting point for Welch’s next release. By the album’s end it is clear that the stand-out musical device is in the arrangements. While many tracks are gloriously melodic and the lyrics dark enough to justify further investigation, Lungs simply wouldn’t work as well without the sylvan, Gothic atmosphere conjured up by the recurring harps and strings that run throughout. On the few occasions where this approach is eschewed (such as “Kiss With A Fist”) the result simply isn’t as compelling. However, should Welch continue with the prevailing style on show here, with some growth her next release could be a strange touchstone – like modern indie-pop filtered through a lens of soul and Vashti Bunyan. Normal 0 false false false EN-GB X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} Pádraic Grant More ... Pádraic Grant Thu, 09 Jul 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:314 https://www.cluas.com/indie-music/Home/ID/372/Panic-At-The-Disco-Pretty-Odd#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=372 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=372&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/372/Panic-At-The-Disco-Pretty-Odd A review of the album ''Pretty Odd'' by Panic At The Disco Review Snapshot: A badly-misjudged attempt to break free from the emo standard that collapses under the weight of its own platitudes - every sub-genre of sixties pop music used on Pretty Odd has been tackled before, and in ways vastly superior to this effort. The Cluas Verdict? 3 out of 10 Full Review: Normal 0 MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} It was a few years ago that a wave of bands, loosely connected by nothing more than a misused genre name, broke out from the marginal sidelines and became exceedingly popular. Amongst them were Fall Out Boy, Funeral For A Friend, My Chemical Romance, The Used, and perhaps most popularly of all, Panic At The Disco. While fans of original emo hardcore bands like Rites of Spring rightly pointed out that little connected the “scene” (that had all the hallmarks of a press-created subculture) except for clichéd lyrics of disquiet and despair, it quickly caught on as a genre description apt for misapplication. The stereotype that these groups write only of misery and maladies may disintegrate under further listening, but still the perception remains the same, despite the repeated denials of members that they are part of any genuine emo movement. At times though, it seemed like the bands brought it upon themselves. Panic At The Disco’s debut album was the commercially successful, critically maligned A Fever You Can’t Sweat Out. This reception sums up well its amalgam of unimaginative standard instrumentation, by-the-numbers electronic elements and crowd-pleasing, self-referential, swept-in-romance lyrics. Like a formulaic film designed to soothe rather than challenge, it sold in large numbers to those eager for instant gratification, but for the most part fell flat with critics taking a more analytical approach to its content. So what of their next release, Pretty Odd? Does it follow a different path, more original and daring? The answer is: not really – ostensibly the outer trappings are completely different, but the end result is much the same. What it does show is a band eager to destroy any association with the fabricated world of emo, with no sixties sunshine motif too saccharine. It doesn’t take long before the meta-references of old arrive. “We’re So Starving” opens the album in an apologetic way: “Oh how it’s been so long/We’re so sorry we’ve been gone/We were busy writing songs for you.” These lines are accompanied by the sounds of a screaming crowd, seemingly foaming at the mouth for the return of the band. As the opening shot of the album, it likewise makes it clear where the album is heading as a whole, beginning with a guitar/strings combination a million miles away from A Fever You Can’t Sweat Out. As the album goes on, the influences become even more pronounced. The trappings of The Beatles, The Byrds, The Kinks, etc (think of any of the Summer of Love’s leading lights and they’ll fit in here) are all here; the impeccable strings, horns, random sound effects, and treated instruments adorn every song, as if rolled out from an assembly line (in fact “The Piano Knows Something I Don’t Know” includes the most obvious of touchstones, the flute mellotron). And that’s the problem with Pretty Odd as a whole: it sounds forced and formulaic, as if PATD perused a genre description of “psychedelic pop” and made an album based on their findings. This perception isn’t tempered by the contrived zaniness of lines like “Clouds are singing a song/Marching along, just like they do” or “When the sun found the moon/She was drinking tea in a garden/Under the green umbrella trees/In the middle of summer.” However, there are a few interesting moments on the record. Many of the melodies are undeniably catchy in a laboured way, and it’s hard not to like the blatant Beatles pastiche of “Behind The Sea.” The orchestral arrangements also sound fantastic in places, such as on “Do You Know What I’m Saying” and “She Had The World,” which they provide some pleasantly colourful moments. These fleeting instances of inspiration suggest that PATD could have created a far superior album, had they chosen to use such elements more wisely. “You don’t have to worry/’cause we’re still the same band” states “We’re So Starving.” It’s an honest statement from a group that comes across more as a blank canvas than a real musical collective. It would be sad if Panic At The Disco descended into Madonnaesque reinvention with no substance, as there does appear to be able musicianship in the band that could be put to far better use, but that could well be their fate judging by this album. The reality is simple: beneath the ornate instrumentation, the melodic pop hooks, and the strained attempts to emulate every sixties subgenre to a tee, there remains a gaping void where the creativity should be. A Fever You Can’t Sweat Out may have sounded cut-and-dried at the time, but every reference on this album to sunny days or clouds (a self-conscious reiteration of their plea that they are not emo?) makes me yearn for an electronic break, lovingly encased within a ridiculously long song title. It would be vastly preferable to Pretty Odd, composed as it is of vacuous songs resting within the vestige of every sixties cliché imaginable. Pádraic Grant  To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here. More ... Pádraic Grant Thu, 01 May 2008 12:59:00 GMT f1397696-738c-4295-afcd-943feb885714:372 https://www.cluas.com/indie-music/Home/ID/381/David-Turpin-The-Sweet-Used-To-Be#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=381 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=381&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/381/David-Turpin-The-Sweet-Used-To-Be A review of the album "The Sweet Used-To-Be" by David Turpin Review Snapshot: A highly melodic, easily listenable work that creates a foundation for Turpin to work upon. The disappointing aspect of the album lies in a lack of experimentation or adventure. The Cluas Verdict? 7 out of 10 Full Review: A visible trend in recent years has been the rehabilitation and adaptation of everything 1980s. From fashion (horrifically, in my opinion – big hair and legwarmers will never be my idea of style) to music, the once-reviled 80s are on the resurgence. Musically, this means for the most part the use of the ‘external aesthetics’ of music of that era. This means that the experimentation and theoretical concepts surrounding the music are all but ignored in favour of the trappings of the time. For example, when Kylie Minogue looked to Scritti Politti for inspiration in the early part of this decade, it certainly wasn’t due to an appreciation of Green Gartside’s pop deconstructionism, but the synthetic pop style he excelled in. New Pop with the external look, but none of the heart. On the other hand, David Turpin is a fine example of an artist who rejects empty co-option, embracing a post-punk attitude more in keeping with the original artists. His own ideas are comparable to the Human League as described by Simon Reynolds: “post-punk, but post-ABBA too.” Melding pop culture with the avant garde, he describes himself as “falling somewhere between The Velvet Underground and the Pet Shop Boys”, an apt description of The Sweet Used-To-Be. Songs like “White Lemonade” demonstrate this well, with Turpin’s lyrics contrasting the original source (the lemon tree) with the product it becomes, distant and unrecognisable; this is similar to the personal, emotive nature of the words emerging through the cold and atmospheric electronics. This paradoxical blending of tunefulness with cold electronics, pioneered by Moroder and Kraftwerk but perfected in the 80s by acts like Soft Cell, is the defining musical characteristic of the album, but recurring acoustic elements help to maintain interest, even if at times they sound played with the same machine-precision as the synthesisers and drum machines. These two strands are fused to excellent effect on the instrumental “Melody Of The Plains,” one of the highlights of the album. A subdued, downtempo track, it is a brief point on the album where calmness holds sway, embellished toward the end with Trans-Europe Express strings, a recurring motif on the record. “Patience” is another highlight, where Turpin’s breathy, “Sunday Morning” Lou Reed vocals work beautifully in tandem with female accompaniment to create a sparse but melodic song, a minimalist respite from the electro-pop that dominates the record. There are times when the synths are overused, where the songs are almost too mellifluous. Fortunately, Turpin wisely places interludes throughout the album, meaning the songs don’t begin to blend into one another, as is a problem for albums with a strong central musical theme. A downside is the fact that the “Velvet Underground” aspect of the music appears to disappear as the album progresses. While there are certainly dark moments on a few songs, the “Pet Shop Boys” element ultimately triumphs. This is something of a disappointment as the premise sounds very promising; hopefully something Turpin will expand on in future releases, fully using the arty side missing on The Sweet Used-To-Be. Nonetheless, David Turpin represents a promising addition to the Irish music scene. Pádraic Grant More ... Pádraic Grant Fri, 14 Mar 2008 00:47:00 GMT f1397696-738c-4295-afcd-943feb885714:381 https://www.cluas.com/indie-music/Home/ID/392/Land-Of-Talk-Applause-Cheer-Boo-Hiss#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=392 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=392&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/392/Land-Of-Talk-Applause-Cheer-Boo-Hiss A review of the album 'Applause Cheer Boo Hiss' by Land Of Talk Review Snapshot: Land Of Talk waste their bountiful talent on formulaic Indie rock - only some moments save it from the faceless obscurity it could have unfairly consigned the band to. Call this a missed opportunity rather than a disaster, a mere pit stop on the road to greater things, but Applause Cheer Boo Hiss simply isn't an interesting or engaging record. The Cluas Verdict? 4 out of 10 Full Review: The Canadian indie scene has been in full swing over the past few years, with legions of bands emerging from the country and onto bigger things. The Dears, The New Pornographers, The Stills and of course, the Arcade Fire have made an impact all over the world, suggesting a vibrant underground thriving with talent coolly beckoning the music press toward them. Land Of Talk are the latest band poised to break through to mainstream attention. The question isn’t so much if they will make it, but rather if they warrant success. This release (originally an EP but with some extra tracks bringing it to album length) sends mixed signals regarding the answer to that question. It all begins promisingly enough. The guitars have that post-punk rigidity to a tee, the bass is melodically interesting, and the drums blast with barely-contained aggression. But after that, things seem to fall flat. You see, every song is written to the same formula. That’s right - Applause Cheer Boo Hiss sees these same basic elements retained for every song. Of course, this doesn’t suggest a poor album in itself, but that’s forgetting the lack of real songcraft – many of the tracks seem to prattle on and on without direction; it’s almost as if the mere presence of the elements above should be enough to leave the listener astounded. Thus, the record sounds sapped of energy, without passion or zeal. Adding to this problem are Elizabeth Powell’s vocals, which simply don’t fit in with the aesthetic presented; that’s not to say they’re bad per se, but rather unsuited to Land Of Talk’s style as a cohesive whole. So while the music consistently treads the garage rock path, Powell weakly sings against the cacophonous backdrop; the generous double-tracking drawing attention to the problem rather than solving it. On the other hand, some of the songs are brilliant, particularly those that depart from the prevailing formula. Despite the somewhat questionable lyrics (“Look at those girls so young, so young/Still piss their pants”), “Summer Special” shimmers with a catchy melody that befits its name. “Street Wheels,” however, stands out because of its cool minimalism; with the slow tempo helped along by prominent bass and glacier guitar, Elizabeth Powell’s vocals truly fit with the music, a rare feat on this record. Such moments occur occasionally throughout the record, offering tantalizing glimpses of what Land Of Talk are truly capable of. Overall, then, it’s clear that Land Of Talk have the potential to deserve the same attention as the preeminent Canadians mentioned at the start of this review, but Applause Cheer Boo Hiss simply isn’t an engaging listen. There are some interesting moments, but the songs rarely reach above competent; in fact there isn’t enough to sustain interest in even this short release. Sounding like any band with its roots in the garage-revival of the early 2000s, the playing is sufficient but bland, the vocals listenable but misplaced. However, while the band’s ample talent may be underutilized here, who’s to say that it won’t be the foundation for a masterpiece in years to come? We can only hope that further releases will see the band progressing beyond formulaic composition – only then will their music befit their technical ability. Pádraic Grant  To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here. More ... Pádraic Grant Fri, 16 Nov 2007 19:25:00 GMT f1397696-738c-4295-afcd-943feb885714:392 https://www.cluas.com/indie-music/Home/ID/393/Day-One-Probably-Art#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=393 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=393&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/393/Day-One-Probably-Art A review of the album 'Probably Art' by Day One Review Snapshot: Day One could have taken two paths: one was interesting, based in the trip hop Bristol sound, the other bland acoustic almost-indie-folk. They decided to take both. The Cluas Verdict? 6 out of 10 Full Review:  “Probably Art.” The title itself captures some of the internal contradictions of this long-awaited album. As a reflection of the world around us, is art ultimately the expression of life experiences through the mouths of those who live them? Or should it be about moving away from the daily grind, and into the realm of escapism? Day One confront these somewhat hefty questions in “Probably Art” - strange for an album defined by its tales of money, pubs, growing old, relationships, etc – but Phelim Byrne and Matthew Hardwidge see the wider importance of every day life. Does any of this make for a good record? Yes, and no. The album is a joy to listen to at times, particularly those tracks that retain the characteristics of the Bristol sound. Horns, flutes, organs, strings – when used on Probably Art, these instruments create a distinguishable sound that is both retro and forward looking. There are upbeat tracks such as “The Little Things” and “Travelcards Traveler” that provide a positive view of urban life – small joys like the habits of a loved one for example, accompanied by a fluttering flute sample – it would be hard to paint a rosier picture. As an accurate comment on modern living, it’s only right that the lighter moments are balanced by darker mood pieces. “Now I’m A Little Older,” with its omnipresent wind and recurring oriental strings, provides a wistful view of growing old, a preoccupation that has troubled so many in the past. The collaboration with will.i.am (baffling when one considers the tower block aesthetic of the duo), “Give It To Me” is similarly despairing, urban noir driven by gloomy synths but ultimately ruined by the utter repetitiveness of the lyrics. The subject matter of “Money;” meanwhile, regards the frustration of living in a world where a sense of materialism is resented, but obligatory. The music is deceptively chirpy, but the sense of discontent is palatable. As a whole, these darker songs save the album as a whole by bringing a much-needed edge to the proceedings. That edge is essential due to the uninspiring nature of a large part of the record. For example, “Saturday Siren” starts off promisingly, with an acoustic guitar/harmonica intro evoking an updated 60s folk act. However, it quickly degenerates into bland lite-indie, the guitar mutating into sub-Travis strumming, only saved by the occasional horns that grace the song. It’s a reflection of the larger problem that defines the album. When the influences of the Bristol sound are brought in, the record shines. The frequent recourse to acoustica simply drags the album down. Phelim Byrne’s lyrics are enjoyable for the most part, if occasionally trite. The subject matter is a view of urban living that moves away from the stereotypical dystopian trip hop view, equally presenting a positive and negative vision of urban culture. Simple parts of life are both celebrated and denigrated – the multicultural nature of modern society is celebrated in the brief character sketches of “Cosmopolita” for example – while “Feet Firmly on the Ground” sees a firm rebuke of the lure of stardom. However, the contradictions in Day One’s stance continue; despite Byrne’s blatant rejection of cynicism, can the darker critiques of society on the record be anything but critical? Is the present state of undercurrent cynicism to be simply ignored in what purports to be a representation of the 21st century? Probably Art, then, is an album of contradictions. The title track pokes fun at pretentious French films and untitled poetry – the former, for example, results in an argument with the protagonist’s girlfriend, but at the same time, Byrne shows his appreciation for the latter, and the tone is altogether comical. More importantly, it demonstrates the divided nature of this record. Mellow acoustica or dark electronics? Pop hooks or mourning strings? Realism or escapist art? This schizophrenic nature means the album sounds undefined, but as a casual listen it contains enough good points to be an enjoyable. Try to forget the bland acoustic strumming and concentrate on some of the stronger points; the occasional lyrical distinction, organ flourish or horn fanfare. It’s when Day One turn to the latter that their weaker points can be forgiven. And it’s when they forget the Indie rock pretensions that Probably Art truly shines and becomes an enjoyable listen. Pádraic Grant  To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here. More ... Pádraic Grant Fri, 16 Nov 2007 18:52:00 GMT f1397696-738c-4295-afcd-943feb885714:393 https://www.cluas.com/indie-music/Home/ID/412/Happy-Mondays-Uncle-Dysfunktional#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=412 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=412&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/412/Happy-Mondays-Uncle-Dysfunktional Review Snapshot: An interesting listen, though far from a masterpiece. Loose, funky and eclectic, the flaws are many but outnumbered by the positives. May not be destined for commercial success, but the Mondays have once again created a solid and enjoyable album. The CLUAS Verdict? 7 out of 10 Full Review: Over two decades have passed since the Happy Monday's were formed, a period during which a hedonistic career has seen many rises and falls in creative and commercial fortunes. So while their latest album Uncle Dysfunktional is not so much a make or break record, can it show Shaun Ryder rising Lazarus-like one more time? The album is informed heavily by its new make up – the only members of the original Happy Mondays are Shaun Ryder, Bez and Gaz Whelan - resulting in a sound vastly different from before. It is almost like the sound of Black Grape – loose and eclectic, with a number of musical touch points. One criticism that can be easily levelled at the album is that of over-production. The Mondays have always been a band defined by their producer, and this is true of Uncle Dysfunktional, which seems to have Sunny Levine and Howie B stamped all over it. From the horns gracing “Deviantz” to the strings on the trip hop-influenced track “Rats with Wings” each song has some prodcution value stands out. Nontheless there is a sense of cohesiveness and creativity that stops the album from falling apart under the weight of the mixing desk. One of the defining aspects of the album is the heavy bass throughout, a dub influence that permeates most tracks. Another unifying element is Ryder’s vocals and lyrics, which range from the funny to the absurd. Occasionally, the vocals can be detrimental: not gelling and degrading the overall quality of the song. Other times his voice is perfectly suited to the groove created by the band and it’s then that everything truly shines. This is most apparent on stand-out tracks like “Jellybean,” and the twisted version of Debbie Harry’s “Rush Rush.” One doesn't need the references throughout the CD's booklet to Factory and Northern Soul to know what their influences are. One can easily tell that from the music, which continues to bear the hallmark of funk, dance and dub. The personnel may have changed and the music may have a modern gloss, but the band remains the same, and there is continuity in the cover art (by Central Station Design, with a "Fact 500" designation received, care of the late Tony Wilson). Uncle Dysfunktional is an album of many flaws, but with yet more pluses – an enjoyable and always interesting listen. The dream may not have been realised, but it sounds like Happy Mondays had a hell of a time trying. Padraic Grant  To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here. More ... Pádraic Grant Mon, 10 Sep 2007 11:25:00 GMT f1397696-738c-4295-afcd-943feb885714:412