https://www.cluas.com/indie-music RSS feeds for CLUAS Irish Indie Music 60 https://www.cluas.com/indie-music/Home/ID/555/Bobby-Bobby#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=555 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=555&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/555/Bobby-Bobby Review Snapshot: On their self-titled debut album, Bobby have created an absorbing, multi-layered record, one that definitively disproves the oft-quoted cliché that 'less is more'. Cluas Verdict: 8.5 out of 10 Full review: In some respects, Massachusetts band Bobby have emerged from the wilderness. They were not subject to the the sort of media hype that occasionally pursues up and coming bands, often to their detriment, like a lion stalking a young zebra. In fact relatively little was known about the ensemble, save for the former musical exploits of certain group members. And for a while there wasn't even a photograph of Bobby around, which further shrouded the band and their record in mystery and intrigue. It is befitting then that Bobby's music lands as alien and mystical as the group did. It is lush and layered, complex, bittersweet and, most importantly, emotionally engaging. With album opener, 'We Saw', the listener is promptly ushered into the surreal soundscapes of Bobby. Said listener will not emerge again until the final track, 'The Shed', has run its course. 'We Saw' builds and recedes like a storm, harnassed by conflicting acoustic guitars and the repeated chanting of the track's title, in effect sounding more like some strange pagan incantation than lyrics to a rock song. 'The Shed' meanwhile, concludes the album in a similarly quasi-religious fashion. It has a church feel to it (without the unrelenting boredom), as a choir of male voices chant along gravely to the fragmented drama of Bobby's music. 'Sore Spores' is one of the more pop-oriented tracks on the album and continually swaps singing duties between male and female until the voices meet towards the track's tender finish. 'Dustbeam' is another terrific song that again bides its time before unleashing its magic. Throughout the debut album, there is a real sense of there being communal music-making behind this creation. Various tastes, tempos, voices and emotions somehow merge in the mixing pot of the album resulting in something cohesive and compelling, if not immediately accessible. The tracks have been patiently constructed and, while they do not tend to follow the formula conventions of pop or rock songs, there is still an appreciation for moments of honest melody and boy/girl harmonies. Many tracks have the ability to evolve and branch off in unexpected directions, that only become apparent in time and after repeated listens. Few albums this year will be as rewarding of effort as this is. But what is most impressive about Bobby is the group's recognition of the power of the quiet moments. The album is generous in length (over an hour long) and as such it allows the songs to breathe and develop as naturally as possible without any need for dramatic crescendoes or quickly arranged climaxes. This is a record with plenty of dead ends and odd directions along the way, down which the listener can enjoy getting lost. One of the standout albums of the year so far. Kevin Boyle Kevin Boyle Wed, 29 Jun 2011 02:05:00 GMT f1397696-738c-4295-afcd-943feb885714:555 https://www.cluas.com/indie-music/Home/ID/550/The-Pains-Of-Being-Pure-at-Heart-Live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=550 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=550&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/550/The-Pains-Of-Being-Pure-at-Heart-Live-in-Dublin Review Snapshot: Not to worry, Pains of Being Pure at Heart, it's not your fault. I don't think that the combined bill of Obama, the Queen of England, Jedward and a large hadron collider could have breathed life into the Button Factory on Wednesday night. Tough crowd. The CLUAS Verdict? 5 out of 10 Full Review: The Pains of Being Pure at Heart were in Dublin this week for their first headline gig in Ireland, having visited these shores only once before as support to The Wedding Present back in 2008. And with their energetic, chorus driven indie-pop, I was expecting quite an atmosphere. However, like a certain American preacher whose recent doomsday predictions went tits up, I was left sorely disappointed. I missed the support act through a series of unfortunate events, namely my finishing work later than I had expected and also finding a nearby pub that were serving two euro pints. But I made my way there sometime before nine to find the Button Factory comfortably crowded and took up a position near the bar. When the Brooklyn troupe wielding the most emo name in modern music made their way to the stage they were greeted not by whoops or cheers (not many anyway), but rather by half-hearted applause which turned quickly into silent judgement. Kicking off with the title-track of their second album, 'Belong', the band seemed unaffected by their lacklustre welcome and powered through the first few songs of the set with great intensity. However despite churning out established tracks like 'A Teenager in Love' and 'Heart In Your Heartbreak' the crowd never really got going. When 'Young Adult Friction' fell to a similarly muted response, we knew there was something wrong. What could have caused such untypical coldness from an Irish audience? Maybe a case of early summer lethargy? Perhaps we were all puckered out from the welcomes afforded to the too cool for school president of the world and the 'not as much of a bitch as we initially thought' Queen? Whatever the case, the Cead Mile Failte was found desperately lacking. The crowd were even treated to an intimate version of 'Contender' from the band's debut album played alone by front man Kip Berman. It's a brave man that confronts an unenthused crowd, armed with only a guiter and a melody. The payoff must have been considerably less than he had expected. They finished the night on an old favourite 'Everything With You' and were gone with as little fan fare as they had arrived. And I left the Temple Bar venue feeling that it just wasn't the gig that it might have been. Through no fault of the band, the evening had been a bit a little disheartening. Gig goers, get your act together.   Kevin Boyle Thu, 02 Jun 2011 20:53:00 GMT f1397696-738c-4295-afcd-943feb885714:550 https://www.cluas.com/indie-music/Home/ID/540/Wild-Palms-Until-Spring#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=540 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=540&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/540/Wild-Palms-Until-Spring Review Snapshot:  Despite occasional glimpses of promise, the debut album from British band Wild Palms loses its way somewhere between ambition and execution. The Cluas Verdict? 5 out of 10 Full Review: There is a lot to like about Wild Palms brand of music. Whilst drawing on an array of influences and blending genres as traditionally opposed as pop rock and shoe gaze, the group still manage to arrive at their own unique sound, a characteristic sorely lacking in many of their contemporaries. As well as having an imitable voice in lead singer Lou Hill, the album is also littered with catchy hooks and clever musical experimentation. So why then, having given the record fair chance, did I find myself so unmoved by the experience and even a little frustrated? Well for one thing the group don’t appear to have settled on a direction. There is an imbalance between simple, radio-friendly pop tunes and long, drawn out tracks that fluctuate in intensity only to arrive at an anti-climatic and unfulfilling conclusion. The final track on the album ‘Not Wing Clippers’, for example, is a fourteen minute epic (epic in length only) that begins as a fairly customary pop song, only to plunge into four minutes of unfathomable silence (this is fashionable amongst certain groups these days, personally I blame Sigur Ros) before it finally picks up again into a bit of good old fashioned post rock. This track alone demonstrates everything that is good and bad in Wild Palm’s music. The lead single from Until Spring, ‘Delight in Temptation’, is another Jekyll and Hyde type of song that develops nicely with a basic guitar hook and slight lyrics from the front man before surrendering to a terribly predictable, and consequently uninteresting, chorus. With this song, as with the entire album the promise of Wild Palms is belied by their brash execution. ‘Caretaker’ is one of the few songs on this record that works from beginning to end. And it works because it doesn’t try to be epic or sweeping. It is a quiet little track where Hill’s voice soars above the music, rather than competing with it as happens throughout much of the album. The overall tone of the album is a little too melancholic, which would be fine if the melancholy being put forward seemed genuine. But it doesn’t and the whole thing just ends up sounding forced, uninspired and confused. That said, however, they are a talented group who will perhaps come back to wow us with a much improved second album. We shall see. Kevin Boyle Kevin Boyle Thu, 26 May 2011 03:52:00 GMT f1397696-738c-4295-afcd-943feb885714:540 https://www.cluas.com/indie-music/Home/ID/226/The-Decemberists-The-King-is-Dead#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=226 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=226&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/226/The-Decemberists-The-King-is-Dead A review of the album 'The King is Dead' by The Decemberists Review Snapshot: Casual listeners to the Decemberists will be glad to learn that the group's sixth album, ‘The King is Dead’, is a return to their folksy beginnings, combining the group's not inconsiderable musical talents and country rock sensibilities with the inimitable voice and witticisms of front man Colin Meloy. And without an enchanted forest or pantomime villain in sight, perhaps we can all get back to liking them again.  The Cluas Verdict? 8 out of 10 Full Review: It required a decidedly hardcore Decemberists fan to remain loyal to the Portland outfit following the inexplicable 2009 album ‘Hazards of Love’. A concept album about a forbidden relationship in a forest of the lead singer’s imagination, 'Hazards of Love' was an unremittingly self-indulgent project by the group that only served to repel the occasional listener and furthermore give the bands detractors, who had dismissed them as an arrogant bunch of sods, a fair amount of credibility. Of course it is not difficult to understand the band's flirtation with the concept album. After all, Meloy’s ability to spin a yarn is essentially the band's chief strength. The problem with ‘Hazards of Love’ however, was that it was outrageously complex and at times pretty boring.  You basically needed a degree in English and a s**t load of time on your hands to get what the story was about and when you did the payoff didn’t seem worth it. At the end of the day there is nothing wrong with a bit of ambition, but don’t take the piss.  We can forgive them one blunder though and accept that 'Hazards of Love' is to the Decemberists what a gap year is to a student. And to their credit the group seem to have learned their lesson with ‘The King is Dead’ retreating to safe ground and a more conventional format.   Peter Buck of REM was brought in for three tracks and his involvement does not go unnoticed. The opening riff of ‘Calamity Song’ is quite similar to that of REM’s ‘Talk about the Passion’ from their seminal album ‘Murmur’ all those years ago, while lead single ‘Down by the Water’ sounds like a cross between the aforementioned rock pioneers and Springsteen. It is as awesome as a mixture of those two ought to be.  At times the album feels light and breezy with the sing a long ‘Don’t Carry it All’ and ‘All Arise’, only to turn deeply intimate and touching with the ballads ‘January Hymn’ and ‘June Hymn’ which are arguably two of the group's best songs to date. They really ground the record before it gets a little too light and breezy and floats out of mind. It is also a good deal more country sounding than previous records, with harmonica and steel guitar making appearances from time to time. But the Decemberists could play death metal and still be distinctive so unique is the voice and lyrics of their front man. For example on ‘Rox in the Box’ he sings:  “Get the Rox in the box / Get the Water right down to your socks / This Bulkhead’s built of fallen brethren bones” It is difficult to imagine anyone else writing those lyrics about the workaday world and have it taken seriously. But there is sincerity to the offering, as Meloy sings throughout about finding your way through this mean old world. The record is instantly likeable and more so with each listen. Even when placed beside past glories, ‘The Crane Wife’ and ‘Picaresque’, their latest holds its own. There was a lot riding on this album for the band and in fairness to them, they really have delivered. And so another chapter is written in the annals of the Decemberists: They came, they saw, they conquered, they made a concept album and then they conquered again. Kevin Boyle   More ... Kevin Boyle Fri, 14 Jan 2011 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:226 https://www.cluas.com/indie-music/Home/ID/232/Silje-Nes-Opticks#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=232 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=232&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/232/Silje-Nes-Opticks A review of the album 'Opticks' by Silje Nes Review Snapshot: The Norwegian singer’s second album, Opticks, is a triumph in delicacy. The Cluas Verdict? 7.5 out of 10 Full Review: Alongside flat packed furniture and, eh, I don’t know, fish, Scandinavia has also been exporting its fair share of singer songwriters over the last decade. And despite my blatant ignorance of the region, I do at least know that they tend to follow something of a formula. Scandinavian music, with notable exceptions of course, is often characterised by distant, dreamy voices and meandering musical pieces, usually involving minimal guitar riffs. And a fair amount of these folks have been classically trained. Ólöf Arnalds sophomore album received a glowing review on Cluas earlier in the year and she was classically trained in violin and singing. Silje Nes was classically trained in piano. The point is that these are talented and well educated artists. Opticks is born of this great Scandinavian tradition, it is fragmented, deceptively simple and like a wardrobe from Ikea, it takes a little time to piece it together. All crass Scandinavian conventions aside, this really is something of a hidden gem. The artistic strength - and consequently the commercial weakness - of the record is its subtlety. Nes’ voice rarely rises above a whisper and it has the rare ability to sound at once distant and at the same time immediately intimate, drawing comparison to the style of Hope Sandoval of Mazzy Star. ‘The Grass Harp’ is the finest album opener of any album I have heard this year. It begins as fragile guitar picking and gentle humming before turning into a beautifully controlled chorus. Throughout the album Silje Nes shows remarkable talent for conjuring charming choruses out of nothing, ‘The Card House’ is a particular highlight. Opticks is for a bus journey as you stare out the window, occasionally deep in thought but for the most part happily vacant. It is not quite the heart-on-the-sleeve brand of songwriting that has been prevalent in many of this year’s releases (Band of Horses, Kings of Leon, Midlake), preferring a more introspective examination of love, romance and escape. But it really isn’t about what she’s singing, rather how she is singing it. The romantic notions are amiable, though not all that poetic. What is poetic though is her soft voice over the lazy guitars and considerate percussion, lulling the listener into a trance like state, where the words no longer even matter. ‘Symmetry of Empty Space’ and the final track ‘Ruby Red’ are other highlights, though isolated from the album they would be diminished in their impact somewhat. After all Nes seems to be an artist who still reveres the sanctity of the album format and as a result this flows as a piece very well. Opticks will not end up in many of the esteemed end of year lists that folks make. Nor will it likely make a killing on album sales, or even enjoy the fleeting popularity that alternative artists with softly sung songs sometimes achieve (like Bon Iver or Damien Rice). However it is a beautifully created album that deserves attention.   Kevin Boyle Silje Nes - Branches by FatCat Records Silje Nes - Crystals by FatCat Records More ... Kevin Boyle Sat, 04 Dec 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:232 https://www.cluas.com/indie-music/Home/ID/260/The-National-High-Violet#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=260 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=260&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/260/The-National-High-Violet A review of the album 'High Violet' by The National Review Snapshot: High Violet is the fifth album from the National and the group's most eagerly anticipated record yet. This time around the Brooklyn based band have the added burdens of worldwide exposure and greater critical scrutiny to deal with, though it appears that such pressures have either been openly embraced or actively ignored, such is the confidence with which this record is approached and realised. The result, a poignant exploration of 21st century anxieties, carefully crafted and delivered with an admirable sincerity. The Cluas Verdict? 9 out of 10 Full Article: Few bands it seems take the long road to success anymore. What with the information super highway and the like, an outrageous hairstyle, an investment in treadmills, or even a spirited Paul Weller impression (yes, that’s a swipe at The Enemy), might just get you where you want to be. The National however, adopt a more old-fashioned approach to making music. Their incremental ascension to indie-rock stardom has been the product of hard work, strong albums and touring the arses off themselves. After Boxer (2007), the group have made their way to the precarious summit of alternative music. Those who may have feared how Berninger and co. would handle such dizzying heights need not have bothered. High Violet is the most assured album from these guys yet. It is dark and brooding from the offset, with ‘Terrible Love’ exhibiting Matt Berninger’s sombre baritone over the inimitable guitar duelling of the Dessner twins. ‘Sorrow’ follows, beginning with the line “sorrow found me when I was young. Sorrow waited, sorrow won”. And on in such a dark vain the album continues. It might be gloomy, but it is never dull. There is a refreshing honesty about the songs which makes them entirely absorbing. The National’s albums always have a deeply personal feel to them, probably since the anxieties Berninger communicates aren’t exclusive to the front man of a rock band. He sings about tenuous relationships, financial woes and feelings of alienation and paranoia.   The tracks on this record are meticulously constructed. You can just tell that the lanky lead singer has wrestled with every word he sings, every lyric written and rewritten until deemed suitable. Similarly the music is complex and bittersweet. The instrumental arrangements are the most delicate and evocative from the band to date. ‘England’ in particular showcases their musical strides, building slowly to a stirring refrain. ‘Afraid of Everyone’ and ‘Conversation 16’ are further musical triumphs, with Matt lending his signature self deprecation to the latter, muttering “I was afraid, I’d eat your brains…..because I’m evil”. Lyrics like this are not unfamiliar to fans of the band, but whereas on Alligator that line might have been a guttural roar, on High Violet there is an uneasy restraint to both the vocals and the music.   There has been no effort to radically venture a different course on this album. The band tackles introspective matters in the same way they have always done, channelling feelings of disillusionment and fear, with their distinctive voice. Instead the emphasis has been on refining the sound that has taken a decade to form. And they do it with flying colours on High Violet. It is perfectly paced, getting the balance just right between slow paced growers (Runaway, Lemonworld) and instant toe tappers (Anyone’s Ghost, Bloodbuzz Ohio). They have managed to once more improve on their previous album, which is an incredible feat considering how good Boxer was. Unrelenting in their quest to push the boundaries of their talent, it remains to be seen just how far the National could yet go.   Kevin Boyle More ... Kevin Boyle Tue, 11 May 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:260 https://www.cluas.com/indie-music/Home/ID/261/Jonsi-Go#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=261 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=261&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/261/Jonsi-Go A review of the album 'Go' by Jonsi Review Snapshot: The falsetto flaunting front man of Sigur Rós embarks on a solo career with ‘Go’, an inspired nine track record swelling with more enthusiasm and optimistic sentiment than a Christian choir on Prozac. The Cluas Verdict? 8 out of 10 Full Review: It is hard to believe, but it will be thirteen years this August since Sigur Rós released their debut album Von. And it is even harder to believe just how successful the Icelandic group have become over that time, given their tendencies towards long, drawn out musical progressions and vocals sung either in Icelandic or, more commonly, a made up jargon. And yet there was something in Agaetis Byrjun (1999) and in particular Takk (2005) that seemed to strike a chord with music followers of various tastes, leading to impressive album sales and well attended tours. But with the news earlier this year that the band were on hiatus, it seemed that such patrons would have to look elsewhere for their belly warming melodies (and that RTÉ would have to seek out a new source of dramatic musical accompaniment to their sports advertisements). Enter Jonsi Birgisson.   Even without his band behind him, Jonsi creates quite a large sound. This is due largely to the involvement of composer Nico Muhly, who brings a stirring orchestral energy to the process. Last year Jonsi released an album with partner Alex as ‘Riceboy Sleeps’. Although it was a moving experience, the album was notable for its lack of vocals, which was unusual, given that Jonsi’s voice is arguably the most potent ingredient in the entire Sigur Rós mixing pot. Fortunately, order is restored with ‘Go’ and we can once more marvel at one of the finest, gender deceiving voices in popular music.   Album openers ‘Go Do’ and ‘Animal Arithemtic’ are so lively and genuinely heartfelt that you cannot help but be drawn into the singer’s utopian convictions. And for once we can understand what he is singing about as most of the album was written in English. It is difficult to know whether this is such a good thing. Perhaps the predominant allure of Sigur Rós – and maybe all wordless ambient music - is the blank canvas that such ambiguity affords us, leaving us free to make of it what we will. It doesn’t help either that in the very first song the lyrics include “Tie Strings to Clouds” and “Make your own lake - let it flow”. Followed in the next song by a chorus of “We should all be oh alive”, which makes Jonsi Birgisson sound like a six year old, so unnaturally good natured that he could only exist in Bala-f**king-mory.   And yet that is exactly what makes the album great. The gloriously innocent lyrics and rousing musical pieces are enough to win over even the most cynical of listeners. ‘Tornado’ is one of the albums more subdued and somber numbers and seems to bring the singer down a bit, so he launches into “Boy Lilikoi” and we are returned to a state of inspirational frenzy.   In short, the album is a joyous celebration of nature, relationships and life, beautifully crafted by one of the most influential artists of the last decade. Kevin Boyle More ... Kevin Boyle Thu, 15 Apr 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:261 https://www.cluas.com/indie-music/Home/ID/126/The-Decemberists-live-in-Vancouver#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=126 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=126&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/126/The-Decemberists-live-in-Vancouver The Decemberists (live in The Vogue Theatre, Vancouver) Review Snapshot: The Decemberists are an unusual band. They have a knack for integrating theatre into their music in a way that many bands attempt to, but few actually accomplish with the same gusto as the Portland outfit. Far too often this merging of ideas tends to take away from one or the other and more often than not it is the music that suffers. The audience that packed into The Vogue Theatre in downtown Vancouver last night, however, were treated to a feast of over the top storytelling and live music. The Cluas Verdict? 8.5 out of 10 Full Review: An anticipative crowd queued outside the arena in the unforgiving Canadian sunshine for a good two hours before being admitted. The Vogue is an intimate venue and perfect for a band as interactive as The Decemberists and was comprised of a ground floor and balcony, both of which were seated. In relation to Irish venues it was only slightly bigger than the Academy, but boasted better sound and easy access to the bar.  The headline act appeared to attract a fairly motley bunch. A number of people nestled quietly into their chairs with a good book, some casually played Nintendo DS, whilst others sat decked head to toe in Decemberists inspired clothes (the Winter Queen was in attendance, sporting a crown fashioned from leaves) and waited patiently for the show.  Up first were support act Blind Pilot who played a short set to a surprisingly receptive response. They were proficient players, but none of their songs were out of the ordinary. My cousin commented that it was music you would listen to on a train going somewhere you didn’t really want to go. Comparisons were immediately struck with Damien Rice, though Blind Pilot certainly lacked a Blowers Daughter or Volcano.  The Decemberists quickly followed and their opening set was comprised of their latest album, The Hazards of Love. The album was done as a story and the tale was re-told live for about an hour, pretty much non stop, with the exception of brief pauses for sips of wine or the changing of tambourines. It did however drag along at times, and just as I was about to borrow a DS from the girl in front of me for a quick game of Pokemon, the set ended and they retreated for an intermission.  Those who had raced to the front of the stage retreated to their seats and took out the bookmarks. There really is nothing quite like getting a good read of Twilight in while your waiting for your favourite artfully theatrical alternative indie band to resume. The band’s second set contained tracks from earlier albums, including the hits O Valencia and We Both Go Down Together. It was frantic and made all the more enjoyable by lead singer Colin Meloy’s witty crowd banter. 16 Military Wives was arguably the best received song of the night, particularly when Meloy divided the room and assigned each section with singing duties.  The show finished with an entertaining re-enactment of the founding of Vancouver, which involved band members entering the crowd and standing on drums, pretending to be Native Americans and Norwegian sailors. All in all it was an unforgettable performance by one of the great theatrical acts around today. Kevin Boyle More ... Kevin Boyle Fri, 24 Jul 2009 11:29:00 GMT f1397696-738c-4295-afcd-943feb885714:126 https://www.cluas.com/indie-music/Home/ID/318/Manic-Street-Preachers-A-Journal-For-Plague-Lovers#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=318 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=318&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/318/Manic-Street-Preachers-A-Journal-For-Plague-Lovers A review of the album 'A Journal For Plague Lovers' by Manic Street Preachers Review Snapshot: Fourteen years ago Richey Edwards, the then lyricist and rhythm guitarist of the Manic Street Preachers, went missing at a well-known suicide spot on the Severn. And despite a handful of alleged sightings of the former Manic, was in November of last year announced dead. And now in 2009, A Journal for Plague Lovers adds another chapter to the legacy of one of Britain's great songwriters. The Cluas Verdict? 8 out of 10 Full Review: For those of us inclined to sentimentality, the Richey Edwards saga has been an ongoing source of enchantment, never allowing us to stray too far from Manic album releases, on the admittedly slight chance that the tragic lyricist might return. Sadly, since it has been well over a decade since his disappearance, it would seem unlikely that such a scenario might arise and so A Journal for Plague Lovers serves as the next best thing. The use on this album of a folder of poetry left by Edwards is a source of controversy that has split opinion amongst even the most hardcore fans of the Manic Street Preachers. For some it is a worthy homage to the band member who supplied so much of the content that made 1994's 'The Holy Bible' such a mesmerising and quintessential rock offering. For others, the folder of poetry left behind embodies the most intimate of details written by the troubled icon in his darkest moments and question whether it is advisable to put these words to music after so much time has passed. According to the band themselves, the lyrics were simply too good to be left unreleased. From the instant that the opening track 'Peeled Apples' kicks in, you get the impression that this is the Manics back to their best. There are the movie snippet sound clips that have become a common feature of their albums, followed by thumping bass lines and the familiar grungy guitar riffs of James Dean Bradfield.  On this album the Manics are typically outspoken and meddlesome. The first track explores the role of brands and consumerism as Bradfield roars out: "The levi jean will always be stronger than an uzi" and "A series of images against you and me trespass your torment if you are what you want to be". And without time for so much as a breath, the second song on the album kicks off. 'Jackie Collins Existential Question Time' is arguably the strongest track on the album, combining the various elements that over the years have merged to define the Manics, such as the anthemic guitar riffs, caustic lyrics and the inimitable vocals of Bradfield. A Journal for Plague Lovers has, in parts, an uncomfortably overwrought feel to it. The lyrics are that of a confused, emotional mind struggling to get a grip on the multiplicity of mysteries in modern society.  'She bathed herself in a bath of bleach' for example, is a fairly cynical insight into the pitfalls of love and lust. Despite the gritty and often forlorn nature of the album, it enthralls from start to finish. Undoubtedly there is enough quality on the album to whet the appetites of the now almost famished Preachers' fans (their last album 'Send away the tigers' wasn't all that great) and enough to re-ignite the interests of those who were often sitting on the fence in relation to the Welsh band. With the ominous sounding riffs and frenetic vocals, A Journal for Plague Lovers sounds more like a follow up to The Holy Bible than any other Manics release. Kevin Boyle More ... Kevin Boyle Thu, 11 Jun 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:318 https://www.cluas.com/indie-music/Home/ID/345/Wild-Beasts-Limbo-Panto#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=345 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=345&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/345/Wild-Beasts-Limbo-Panto A review of the album 'Limbo, Panto' by Wild Beasts Review Snapshot: 'Limbo, Panto', the debut album from British band, Wild Beasts, a theatrically over the top record about sex, sin and struggling soccer teams. A genuinely strong and enjoyable debut. The Cluas Verdict? 7.5 out of 10 Full Review: At first listen, you would be forgiven for thinking that Wild Beasts were a satirical cover band of The Smiths spliced with 18th century opera. Lead singer Hayden Thorpe has a camper singing style than Morrissey. Just think about that for a moment. Camper then flower flinging, blouse wearing, falsetto singing Morrissey. At times Thorpe’s voice is comically operatic and on other occasions it is a guttural growl, wandering where it pleases, without consideration for the taut bass lines and energetic guitar strumming, hopelessly trying to keep up. There is a raw charm to his voice, but one that will not be to everyone’s liking. It is so incomparable and alien it will have the effect of polarising opinion on the band. You’ll love it or hate it, but definitely won’t be indifferent. There is certainly a novelty aspect to this offering from Wild Beasts, in the way the record is presented, sung and indeed the topics sung about. But there is a whole lot more to it besides. It is an unobtrusive album, that doesn’t aim to blow the listener away, but instead coaxes you in with every listen you afford it. And after awhile the rewards come in the form of initially misunderstood lyrics, where you had mistaken wit for pretentiousness. What is remarkable about Wild Beasts is their ability to transform the mundane into the epic, or at least bravely attempt to do so. The most notable example of this coveted skill comes four tracks in with 'Woebegone Wanderers' a song about the plight of a non-league football team. It sees Thorpe at his most flamboyant and in spite of this, or maybe as a result of it, the song actually works. Proof again that fantastically unnecessary sentimental lyrics alongside great pop rock music can work. There is a lot to admire about this unusual album. It offers ambiguous lyrics and disjointed musical pieces yet has the potential to appeal to a wide audience. 'The Devil’s Crayon' is the track that showcases Wild Beasts ability to take on a pop song and master it with clever lyrics and catchy guitar work. It’s loud and epic with contrasting singing styles from Thorpe. At times, Wild Beasts' debut sounds like it was produced with the view to soundtracking a Tim Burton animation. It is eerie and theatrical, particularly 'Please Sir', and 'His Grinning Skull'. The latter is the probable highlight of the album as it saunters along at its own pace with delicate guitar strumming. The bawdy side of Wild Beasts rears its head on a number of occasions, the best xample being 'She purred, while I grrred'. You can really get away with unmannerly sexual talk if you put it cleverly. It sees Wild Beasts try and nail the mystery of life with the line: “I die every day, to live every night, under the industry of her want for me in our fusty foundry”. This is a cracking album from a young group doing their own thing in a British scene clustered with indistinguishable bands. It may take a while to grow on you, but what they do they do with style.  A genuinely strong and enjoyable debut. Kevin Boyle More ... Kevin Boyle Sat, 20 Sep 2008 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:345 https://www.cluas.com/indie-music/Home/ID/352/Wolf-Parade-At-Mount-Zoomer#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=352 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=352&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/352/Wolf-Parade-At-Mount-Zoomer A review of the album 'At Mount Zoomer' by Wolf Parade Review Snapshot: Wolf Parade's follow-up to their glorious debut, ‘Apologies To The Queen Mary’, is a brave comeback by the Canadian indie five-piece, but it falls short of its predecessor by some distance. Unfortunately the high points of the record are undermined and outnumbered by the low ones, making for a bit of a mixed bag. First-time listeners to this band may find the album an exhilarating experience, but those who have been exposed to the quality that Wolf Parade can produce might just be a little disappointed. The Cluas Verdict? 6.5 out of 10 Full Review: In 2005, Wolf Parade released ‘Apologies To The Queen Mary’, their first album after two previous EPs, to a generally positive critical response. It was an album that used electronic music as an accompaniment to indie rock as opposed to attempting to merge the two. The songwriting duties were split between the two founding members, Spencer Krug and Dan Boeckner. The result was an album of contrasting styles interwoven into classic indie. It sold quite well, brought about a substantial fan base and even earned a nomination for the prestigious Polaris Music Prize, Canada's version of the Mercury. Album number two was never going to be easy. ‘At Mount Zoomer’ begins in fine fashion with the blistering ‘Soldier's Grin’, which showcases Wolf Parade's characteristically jaunty guitar riffs and whimpering vocals to great effect. However, it then slouches into the disappointing ‘Call It A Ritual’, which is far too flat and disjointed when compared to Wolf Parade's previous body of work. The song drags, and not in any determined direction either. The third track, ‘Language City’, is undoubtedly one of the highlights. It is anthemic and pulsating in equal measure and as good as anything these innovative Canadians have produced. Unfortunately there are just not enough quality tracks like this one to make the album memorable. ’California Dreamer’ is another track that will help fans of the band to keep the faith. It’s a suspiciously quiet song up to the point where it explodes into the chorus of “thought I might have heard ya on the radio/but the radio waves were like snow”. It is a sweeping track and reminiscent of ‘It’s A Curse’ off the band’s first album. One of the worst features of ‘At Mount Zoomer’ is how poorly it flows. There are no good tracks together. Songs like ‘Call It A Ritual’ and ‘An Animal In Your Care’ act as little more then album filler. It’s not a particularly long album - only nine tracks - and yet there is an unacceptably high proportion of mediocre material on it. At no stage does this second offering reach the chaotic majesty of its predecessor. There are no equivalents of ‘Dear Sons And Daughters Of Hungry Ghosts’ or ‘I'll Believe In Anything’. But it is still a decent album. ‘Apologies to the Queen Mary’ was a diamond in the rough. ‘At Mount Zoomer’ is more like quartz in a quarry. It’s kind of nice, but not all that remarkable. Kevin Boyle More ... Kevin Boyle Sun, 17 Aug 2008 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:352 https://www.cluas.com/indie-music/Home/ID/354/Fleet-Foxes-Fleet-Foxes#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=354 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=354&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/354/Fleet-Foxes-Fleet-Foxes A review of Fleet Foxes debut album Review Snapshot: Fleet Foxes have emerged from the crowded ranks of Seattle’s indie music scene with an uncompromisingly indulgent debut of the same. Glorious vocal harmonies accompanied by rousing, anthemic instrumental pieces combine to result in one of the great records of 2008. The Cluas Verdict? 8 out of 10 Full Review: Thus far, 2008 has been a year dominated by a horde of worryingly similar guitar groups, striving to become the next Strokes or Arctic Monkeys. And so, as this flood of mediocrity threatens to engulf us all (I actually listened to a Pigeon Detectives album a while back), the appearance of Fleet Foxes album came as nothing short of a lifesaver. The album opens with the delightfully simple track, Sun it Rises, a song that speaks of the impending rising sun. Not really Bob Dylan lyrics here, or at all in the album. In fact, the subjects of the songs are so simplistic and inconsequential that they appear to act as hangers for the vocal harmonies, which are the most remarkable aspect of what Fleet Foxes do. There is even a point in the album where they disregard lyrics altogether. On the track Heard them Stirring, there are just vocal harmonies of nonsense sung over endearing guitar riffs. After Sun it Rises, the album launches straight into the majestic White Winter Hymnal. It is at this point that the listener realises that Fleet Foxes possess something unique and special that sets them apart. The song is comprised of a litany of “I was following the, I was following the” and so on, by front man Robin Pecknold, over energetic acoustic strumming. There is no real stand out track on this album. That may sound like a bad thing, but it is actually the strength of the record. They are all of a similarly high quality. Each song rolls into the next with flawless fluidity. It is essentially an eleven-track journey that enthralls the listener in this surreal world of nature and aesthetics, as a good Mercury Rev album does. After a couple of listens I felt at one with nature. Had I lived near I field I might have ran through it and danced with badgers and the like. But I didn’t live near a field, so instead I just listened to the album again. Fleet foxes' debut is at times slow burning, but never dull. It is filled with sentiment, but never consumed by it. One slight criticism is the similarity in the voice of Robin Pecknold to that of My Morning Jackets Jim James. However the music could not be more different and consequently Fleet Foxes maintain their originality. If you were attempting to try and assign Fleet Foxes to one particular genre, you might be torn between country and alternative rock. It is likely that Fleet Foxes have amassed inspiration from a variety of musical sources and have subsequently set up their own stall with this album. One of the truly special moments of what is generally a special album occurs about two and a half minutes into Blue Ridge Mountains. Pecknold thrusts into a mesmerising chorus which goes “in the quivering forest, where the shivering dog rests, I will do it grandfather, wilt to wood and end”. I have no idea what it means, but I like it. Oliver James is the final song on the album and it has the effect of winding down what has been an enjoyable little trip. It is basic acoustic guitar picking in the background to the vocals of Pecknold. In the end, the guitar is rendered unnecessary and the album is completed by a lone voice singing, “Oliver James washed in the rain, no longer”, a couple of times and then its all over. But more then likely you will just put it back to track one and start again. Fleet Foxes have announced themselves in fine fashion with this debut album. It just goes to show that on occasion, wouldn’t it be better to concentrate on making really nice song, instead of searching for lyrical perfection and letting the melody suffer in the process? Why not just sing melodically over some fine music and make an album about meadowlarks and mountains? Just a thought. Kevin Boyle More ... Kevin Boyle Tue, 05 Aug 2008 23:41:00 GMT f1397696-738c-4295-afcd-943feb885714:354