https://www.cluas.com/indie-music RSS feeds for CLUAS Irish Indie Music 60 https://www.cluas.com/indie-music/Home/ID/236/Gregory-and-the-Hawk-Leche#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=236 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=236&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/236/Gregory-and-the-Hawk-Leche A review of the album 'Leche' by Gregory and the Hawk Review Snapshot:  Leche is the third studio album from Meredith Godreau or, as she is better known, Gregory and the Hawk. The quirk that can be heard in her previous albums and EPs remains an overwhelming character in her latest release but that could be the problem here; little else has changed either. And instead of leaning on her influences, it sounds like she’s just copied them.  The Cluas Verdict? 4 out of 10 Full Review: The opening song ‘For the Best’ has some really excellent lyrics, something fans of her will be familiar with. One problem with this song is it’s heavy similarity to anything ‘early Tori Amos.’ “I really want to find a bar, and mix some fear up with a friend …and give you skull tattoos in pen”    It goes on to talk of her curiosity about how her lover or hopeful lover might feel.    “I want to know, do I dance inside your head… I really want to go to bed with a feeling in my chest that we’re lost again, but this time for the best”.    The real gem of this song isn’t that it will be in your head for days, but rather that the lyrics make you smile, even if you won’t remember them.    ‘Over and Over’ also has copycat syndrome but this time it sounds more like a live “Tegan and Sara” session. Of course there's nothing wrong with Tegan and Sara, on a Tegan and Sara album.  It’s a perfectly fine song with the same cute lyrics we’re used to.  But there’s nothing particularly heartening or real about this song.  A trait that runs through out the album.    'Soulgazing' is one of the few songs to really enjoy and breathe in. She opens with a lyric a lot might relate to; “I was doing fine missing the marks, missing the rhymes.” Ironically this is the only song on the album that does hit the mark. It is catchy, it does feel alive and entirely ‘Gregory and the Hawk.’ So far, skip to track number 4 would be the advice for the album.    ‘Olly Olly Oxen Free’, as well as having an adorable name, has one lyric that jumps out. It makes you think and that can’t be slighted. “I’ve never been one for chasing stars on a starry night, it just seems too easy. I’m going to be fine when you want me.”  That’s all that can be said here. The phrase “When you can’t say anything nice don’t say anything at all” springs to mind here.    There’s nothing particularly wrong with this album. But there’s certain words that come to mind when describing it that any fan of music, or anything else for that matter, will agree aren’t complementary. Those words are ‘fine’ and ‘nice’. Both are words she has been described as before, I’m sure. The other word that comes to mind that is most definitely insulting is ‘boring’.    Elaine Peppard   Gregory & The Hawk - Leaves by FatCat Records More ... Elaine Peppard Sun, 14 Nov 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:236 https://www.cluas.com/indie-music/Home/ID/239/Kings-of-Leon-Come-Around-Sundown#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=239 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=239&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/239/Kings-of-Leon-Come-Around-Sundown A review of the album 'Come Around Sundown' by Kings of Leon Review Snapshot: Come Around Sundown is the 5th studio album from Tennessee Rock band  Kings of Leon. After a previous release that was less than impressive, anticipation was high. And Come Around Sundown does not disappoint. It feels like a super-album, taking all the best bits from their previous releases and combining them to give fans something they have never heard before. The Cluas Verdict? 7 out of 10 Full Review:The single from the album is “Radioactive.” It was a weak release considering the standard of the rest of the album. It also doesn’t entirely fit in with the album’s sound and though it’s a great song on it’s own, it shouldn’t be used as the benchmark for the rest of the album.   A much stronger single would have been “Pyro”. This chorus-rich song tells the story of man who decides to leave his family, for fear that he has become their “cornerstone” . “Bury all the pictures and tell the kids that I’m ok. Even if I’m forgotten, you’ll remember me for a day”   “Mary” is a real standout. The verses are so different from anything we have ever heard from the Kings before, while the heavy guitar backing means it fits in perfectly with what fans know them for; hard rock.    “Back Down South” sounds just like it’s name suggests. It’s as if they wanted us to hear the sounds that had inspired them as musicians in the first place, something they were clearly trying to get back to themselves. The song ends with raucous cheering and laughter, adding to the joy and warmth of this tune.     “If you wanna go, I’m goin back down south now,  Go and take my hand I’m goin back down south now”   “No Money”, along with “Pickup Truck” sound like a nod to long time fans, both sounding like they had been written originally for “Because of the Times” but landed on the cutting room floor. It manages to be both ‘old school’ and progressive at the same time, something not to be laughed at.    “Come Around Sundown” does something fans won’t have heard before. Each song can be traced back to a previous album where we had heard that sound before, meaning it’s almost impossible to hate it. There is no ‘new’ sound on this album, just all the ‘new’ sounds they used on their previous releases merged perfectly into one.    Elaine Peppard More ... Elaine Peppard Sun, 24 Oct 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:239 https://www.cluas.com/indie-music/Home/ID/249/Little-Children-In-Silence#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=249 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=249&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/249/Little-Children-In-Silence A review of the album 'In Silence' by Little Children Review Snapshot: Linus Lutti or his musical alias Little Children, has been known as the quiet antithesis of the screaming, noisy model that had been previously established. This low-key approach can often be more astounding, more lingering, than you could ever imagine.  The forthcoming album, “In silence” will stay with you long after it ends.  The Cluas Verdict? 8 out of 10 Full Review: “Demons” opens the album and it is the perfect introduction to a voice that will stop you in your tracks. Sparse guitar and a gentle flute accompaniment compound the sadness that drifts through this song.   “With heavy steps I follow, pray for love, pray for sorrow, don’t go, don’t go, baby the walls are shrinking faster”    “Hold On” introduces a more upbeat sound to the album with pulsing bass guitar throughout. This song focuses much more on instruments with few lyrics. The flute once again runs throughout the song, adding a gentler sound to a harder rhythm.    “In Silence” is a mystifying tune, with the same heart-stopping vocals that grabbed us in the beginning.  It is heavy with bells and haunting lyrics, traits that become familiar throughout.    “What is lost can be found in the silence around. As we speak, I see it all clear”    “Salvation” is a stand out song. The power of his own vocals is something he is clearly aware of, as this song consists of little accompaniment. The chorus introduces one simple piano chord, with a strumming of guitar, nothing more is needed.    “When everything is lonely, and your body prays, make sure you ache in the middle of it”   Like a musical dream team, Linus Lutti has taken (perhaps not on purpose) all the best bits from singers in his genre. Bon Iver, Midlake and Nick Drake can be heard in moments of each song, making this an all together magical album.  Elaine Peppard Little Children - In Silence by Playground Music More ... Elaine Peppard Thu, 05 Aug 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:249 https://www.cluas.com/indie-music/Home/ID/253/Ten-Kens-For-Posterity#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=253 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=253&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/253/Ten-Kens-For-Posterity A review of the album 'For Posterity' by Ten Kens Review Snapshot: 'For Prosperity' is the second album from Toronto Four-piece Ten Kens. The album is a heady mix of psychedelic rock and meditative melodies.  If Jeff Buckley’s ‘Grace’ and Metallica’s ‘Black Album’ had a baby, this would be its offspring.  The Cluas Verdict? 4 out of 10 Full Review: ‘Johnny Ventura’, the first track from ‘From Posterity’  opens with sunny guitars and cymbals but quickly takes a turn down a darker path, something which becomes familiar throughout the album. The album is drenched in heavy guitar riffs that help establish the intensity of the record and, throughout, the foursome’s musical talent is apparent.  ‘Summer Camp’ opens on 15 seconds of silence followed by the acapella voice of Workman. His voice is so high and smooth that without backing, this song could easily be heard in a church choir, something which adds its own dark undertones. Once again the lyrics might as well not be there, since they really can’t be understood; so much so that I think the band didn’t want them to. This is extremely annoying.  In ‘Grassmaster‘, we hear everything from heavy metal shouts, grunge-like moaning and that eerie, recurring vocal. However it is the drum beat that grabbed my attention throughout, as it becomes ever more frantic and domineering.  My favourite song on the album is ‘Style Wars.’ Finally the vocals become the lead instrument with a great guitar riff beneath. This is where the beautiful, more meditative psychedelic sound comes into its own. It’s easy to imagine this songs playing in the background during an acid trip in an indie film. Its length too, standing at an impressive 7 and a half minutes, makes it reminiscent of classic Pink Floyd.  The production of this album was obviously taken very seriously, the band locked themselves in a small studio, entirely submersing themselves in the music. The result is a tight, intense sound that is impossible to ignore. While this album is not in line with my usual interests, the musical talent of Ten Kens is unmissable.   Elaine Peppard More ... Elaine Peppard Wed, 28 Jul 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:253 https://www.cluas.com/indie-music/Home/ID/255/Jack-Johnson-To-The-Sea#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=255 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=255&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/255/Jack-Johnson-To-The-Sea A review of Jack Johnson's album 'To the Sea' Review Snapshot: Jack Johnson - famous for his soft, laid back sound and how he’s the perfect accompanist for a holiday - has released his fifth studio album. With it comes nothing particularly new or unexpected, but not particularly unpleasant either. The Cluas Verdict? 6/10 Full review: The opening track “You and Your Heart” will be familiar to almost all Johnson fans, as it open with an upbeat acoustic sound. My first thought is that it could comfortably be heard in the ad for a new orange juice. Turn it on when you’re packing for a summer holiday. Nothing new there. The title track fits perfectly with Johnson’s own explanation of the album title. "I guess it's a reference to a father leading his son to the sea, with the water representing the subconscious. So it's about trying to go beneath the surface and understand yourself". The most prominent lyrics in the song are “run my dear son, we’ve got to get the sea.” “When I look up” is a really lovely bite-sized track. It talks about a pleasant walk home one night, and the feelings evoked from the stars and the moon; but the gem of this song is the backing. It’s the beautiful soft gospel choir that adds a real touch of magic to this song. “Only the Ocean” is one of my favourite tracks on the album. It’s got a much mellower sound. There’s a momentary departing from summer here, to some drab rainy day in October (or July, if you’re reading this from Ireland). It has a sad, lonely feeling to it. The lyrics seem to play with the theme of the ocean that runs: “It's only the ocean and you You don't want You don't wait You don't love but you don't hate You just roll over me And you pull me in” “Red Wine, Mistakes, Mythology” is a feel-good track with an echoing of true bluegrass. The lyrics are great but the real winner in this track is the harmonica, guitar and piano accompaniment. Those who find Jack Johnson too happy-go-lucky and sickly sweet won’t find anything more substantial in this album. Those strong fans or folk like me who think he’s ‘nice’, will find this a perfectly acceptable album-inoffensive, soft and altogether Jack Johnson. Elaine Peppard More ... Elaine Peppard Wed, 23 Jun 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:255 https://www.cluas.com/indie-music/Home/ID/99/Josh-Ritter-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=99 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=99&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/99/Josh-Ritter-live-in-Dublin Josh Ritter (live in Grand Canal Theatre, Dublin) Review Snapshot: Josh Ritter played to a packed Grand Canal Theatre last night. A night of funny, yet entirely irrelevant stories, a suspected bouncing disorder, a whole lot of tweed, and great music. One to remember. The Cluas Verdict? 7.5 out of 10 Full Review: Having known very little about Ritter and his music before the gig, his first impression on me was positive: he was bouncy, enthusiastic, and not at all bored by performing to yet another packed venue. His smile was one that said he couldn’t be happier, or more amazed, that he was making a living out of this. Joined onstage by his Royal City Band, Ritter launched himself into 'Southern Pacifica' from the new album “So Runs the World Away”, bouncing around like a toddler on ecstasy. His energy made him instantly likeable. He was however let down by the intensity of the amplification at the beginning which meant we lost the sharpness to his vocals, but this slowly ironed itself out as the night progressed.   What I loved so much about the set list was the mixture of utter rock and roll (giving Ritter the chance to snap a drumstick or two) and raw beauty and emotion that songs like “Wait for Love” and “Lantern” convey.   When his band suddenly walked off stage and the lights dimmed, we were treated to just Josh. He stepped away from the mic and moved towards the crowd. What followed was an acoustic performance of “Lark” that made the hairs on my neck stand up. His voice flowed over the crowds and balconies, entirely unamplified. He took pleasure in leaving us hanging on his every note and it was, for want of a lesser cliché, magical.   Another treat of the evening was “Curse”, a song that has gained some recent radio play. This was where the band really came into their own and I found myself more focused on their movements and contributions than on Josh, who submitted himself to a dream-like state of mind throughout.   When a band returns for its encore, we are often given one song and sent on our merry way; but not with these guys. Opening with an almost untouched version of the classic Moon River, we also heard the amazing “Wait for Love” where we saw the band (and what appeared to be the entire stage-crew) embrace on stage while drinking pints.   It would be wrong of me not to mention the venue as a key player in the night. The Grand Canal Theatre is truly huge. Sitting in row five, even I felt intimidated by the crowd if I turned around. The magnitude of the venue was not lost on little Josh, who spoke of how “there are too many balconies to remember what I have to say”. Despite being mainly designed for ballots and orchestras, Josh and his crew filled and lifted this place. Elaine Peppard More ... Elaine Peppard Fri, 30 Apr 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:99 https://www.cluas.com/indie-music/Home/ID/101/Mumford-and-Sons-Live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=101 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=101&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/101/Mumford-and-Sons-Live-in-Dublin Mumford and Sons (Live in The Academy, Dublin) Review Snapshot: From an excessive three warm up acts and technical problems to egotistical roadies, my trip to see Mumford and Sons was not the folksy, joyful event the band’s image suggests. I was already indifferent to these fake folksy wannabe’s and the gig moved it from indifference to dislike.  The Cluas Verdict? 4/10 Full Review: I arrived at The Academy on Middle Abbey Street at about 7:50. When I reached the top floor where the band would play I heard the sounds of a sleepy American boy whining into his microphone and moaning on guitar. It might sound harsh but really, you’d agree. The following warm up act was so dull I have actually forgotten them. The warm up show didn’t really kick off until Oh Emperor, a folk/rock band hailing from Waterford. Though it was hard to find originality in their Muse/Jeff Buckley influenced work, they were charming and could really handle their instruments. My issue was this; each warm up act had supplied their own set. This meant that after every group finished, the stage was dismantled and reassembled, all taking 15/20 minutes each. People were antsy, we were warmed up an hour ago, bring on the band. When they did finally arrive at 9:15, they certainly played with a raucous energy I’ve only seen in children. Boy do they make you get up and shout. They opened with the beautiful “Sigh No More”, Marcus Mumford’s unstrained vocals rising high above the basking crowd. And the audience of folksy wannabe’s joined in the rousing chorus “Love will not betray you, dismay or enslave you, it will set you free.” Their boisterous energy isn’t all they have going for and they proved this with the stirring “White Blank Page”. Emotion filled the ring when the chorus began. “But tell me now, where was my fault In loving you with my whole heart Oh tell me now, where was my fault In loving you with my whole heart” One more complaint about the whole event was how much they wanted to talk, and how little they wanted to sing. They asked the crowd how their Patrick’s Day had been no less than three times, and told us in many different ways where they had been and what they got up to, and how people waited outside to buy a ticket and told them they had been sold out for months. I found their egos; they’re accents and their general style too annoying to watch live and only marginally less to watch in video. Though they play with serious energy and really know how to get the crowd going, the overall experience was messy and the three warm up acts led to far too much standing around or heading to the bar. The venue itself, which doubles as a nightclub, felt far too clunky. Maybe buy the album, don’t buy the concert ticket. Elaine Peppard More ... Elaine Peppard Sun, 28 Mar 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:101 https://www.cluas.com/indie-music/Home/ID/268/Norah-Jones-The-Fall#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=268 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=268&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/268/Norah-Jones-The-Fall A review of the album 'The Fall' by Norah Jones Review Snapshot: A lot has changed about Norah. There is a real notion that she has grown up, and she wanted this to be heard in album number four. Produced by Jacquire King, who produced Tom Waits' 'Mule Variations', this album has a sound entirely new and long overdue. It may even reach some new followers who had previously ignored the presence of the docile piano and abundance of love ditties. The Cluas Verdict? 6 out of 10 Full Review: Followers of Norah Jones usually say it’s her velvet voice that started their love affair with her. Her voice may well be the only thing people will recognise on Norah’s latest release. Gone are the love tunes tinkled on piano, welcome is a much rockier, guitar-heavy mix of angry, bitter tunes. This, of course could be contributed to her split from long-time partner (and band mate) 18 months ago. This absence is sincerely felt in the lyrics: “Now all the stars have gone, Faded into the cracks of dawn And I’m still waiting here, Waiting for you to come home” ‘Norah Jones: Singleton’ is felt right through this album, particularly in songs like 'Back to Manhattan', where she discusses having to choose between two partners living on opposite sides of the river. She has also lost her image of innocence, as she shows us in 'Stuck', a song about a drunken night in New York: “I just lost the plot, got a little caught In a little knot I just hit a wall, had a little fall, Felt the swinging wrecking ball.” 'Chasing Pirates' is a perfect upbeat opening with a hook that will spin in your head for days. The keyboards and drums are an unusual addition on this album, and particularly on this track, and it works wonderfully. 'You’ve Ruined Me' has the sadder tone of someone who has lost a love. Ruined she may be but this songs provides an excellent guitar and drum combination, and her voice sounds as caramel-smooth as ever. The closing of the album shows her wicked, charming sense of humour. 'Man of the Hour' talks about the man she does finally choose, when she “couldn’t choose between a vegan and a pothead” she chose her dog, who doesn’t have “any baggage tied to his four feet”: “Though we’ll never take a shower together, I know you’ll never make me cry” Overall this album is definitely worth a listen. It’s great to hear her doing something new and I hope it brings a whole new genre of fans. Elaine Peppard More ... Elaine Peppard Sat, 13 Mar 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:268 https://www.cluas.com/indie-music/Home/ID/103/Midlake-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=103 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=103&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/103/Midlake-live-in-Dublin Midlake (live in Vicar Street, Dublin) Review Snapshot: Everything from the way the instruments sounded to the almost perfect set list, it was a night to remember.  Vicar Street was the perfect venue for this walking anachronism. Bigger than their previous Dublin venue (the Village) but not so big that it made us feel like strangers to them. Midlake: another act for concert lovers to add to the list of bands who are great live. The Cluas Verdict? 9 out of 10 Full Review: The opening act, Texan woman Sarah Jaffe, was the perfect warm-up for the main act. Her tones smooth and inviting, the drums a harsh and exciting contrast. The crowd of mainly students in grungy jumpers was only just beginning to form.  Shortly after her set Midlake ambled on. Unassuming, shy, even awkward, there was a real sense that the crowd’s welcome was unexpected. Their previous Dublin gig drew a much smaller crowd (which guitarist and vocalist Eric Pulidio joked about, saying “I’m glad to see you brought some friends this time”). Vocalist Tim Smith slowly led us into ‘Winter Dies’ from the new album, followed by the whispering opening of ‘Small Mountain’ on flutes. The flutes, in fact, were out in force. Something welcomed with open arms. The set list included just the right amount from Van Occupanter. Each track however, sounded new. Gone were the gentle intros on bass and snare, enter the screaming, electric guitar and forceful beats of the drum. ‘Bandits’ kicked in with fervor. They had led us down their path and now we were theirs. ‘Young Bride’ followed but then came the highlight ‘Roscoe’. Played with terrifying passion, it was as if they had forgotten we were there. We now felt less like concert-goers and more like the fly-on-the-wall at a personal Midlake jam session-play off, even.  The last song of their main set, ‘Head Home’, was a treat. When they left the stage it was clear the crowd were going nowhere.  Their encore was perhaps the most exciting event of the night. Not just because we knew we’d be in for something special, but because for the first time we saw boy-like excitement light up their faces. Playing a delicious and romantic version of ‘Branches’, the band members looked at one another with a smile of contentment. Lead singer Tim Smith stood back at one point and surveyed his band-mates, proud and in awe. They had not expected a crowd like this in Dublin. Perhaps they feared it would be a repeat of last time. They did not let us down, but we didn’t let them down either.  Elaine Peppard More ... Elaine Peppard Tue, 16 Feb 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:103 https://www.cluas.com/indie-music/Home/ID/273/Midlake-The-Courage-of-Others#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=273 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=273&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/273/Midlake-The-Courage-of-Others A review of the album 'The Courage of Others' by Midlake  Review Snapshot: Texan band Midlake are a rare find. The lead vocals are strong, yet haunting, mellow yet powerful. “The Courage of Others” is the band’s long awaited third album, following their 2006 concept album “Trials of Van Occupanther”. The Cluas Verdict? 7 out of 10 Full Review:  Tim Smith, with his warm vocals and poetic song writing skills have been responsible for transporting me well and truly back to 1891, where the band's second album, “Trials of Van Occupanther” is set. Therefore I was somewhat nervous about this album, fearing it would not live up to the expectations built by their previous joyous success. However, “The Courage of Others” has done something I prayed it would; it took the beautiful woody, sounds of the forest they  had previously established, and embellished it. Removing from it the acoustic sounds of the flute, the double bass and the bassoon and adding to it the electric buzz of guitar and autoharp.  The themes of nature, an old way of living and the work of a community all remain in this album. Some may find it easy to criticise them for not breaking away enough from Van Occupanther, but Midlake had a winning formula that they knew they could improve upon. I see nothing wrong with taking that to the next level. Which is what they have done here.  One distinct difference however, is a change in mood. There is a clear separation here from the upbeat, hopeful sounds of spring and summer we hear in their last triumph, leaning instead towards the forewarning of a long and cold winter.  It is here that the album begins to feel more like the bitter older brother of the inspired Van Occupanther. The result of this melancholy is that the melodies are not quite so catchy, there appears to be some vital hooks missing.  This album is not Van Occupanther, but it is by no means a disappointment.  Elaine Peppard Midlake - Acts Of Man by Bella Union More ... Elaine Peppard Fri, 05 Feb 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:273 https://www.cluas.com/indie-music/Home/ID/283/La-Roux-La-Roux#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=283 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=283&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/283/La-Roux-La-Roux A review of La Roux's debut album Review Snapshot: Electro-pop duo La Roux’s debut album is filled with the haunting vocals of Elly Jackson and the synthesized beats of Ben Laingmaid.  Though catchy and quick, the album fails to hold the intensive energy of their singles and becomes disappointingly lacklustre. A record that lacks real staying power over its full length - it slowly begins to wilt from about the half way point The Cluas Verdict? 6 out of 10 Full Review: When electro-pop band La Roux first appeared on the scene with the single "Quicksand" in December 2008, it seemed to miss its mark entirely.  However, when "In the Kill" blasted over the airwaves, they finally found their audience.   The band's principle interests are drawn from the 80s; bands such as Depeche Mode and Yazoo, while the androgynous appearance of lead singer Elly Jackson emulates that of Annie Lennox or even Ziggy Stardust. They could be likened to the Danish band "Alphabeat" who managed first to bring the electro sound successfully to this century. The opening tune, "In for the Kill" is a catchy, synth-heavy swell of Elly’s high vocals and infectious lyrics. "We can fight our desires / But when we start making fires / We get ever so hot / whether we like it or not" The album, however, has a much darker sound than the one we got acquainted to from their singles.  Many of the lyrics are pregnant with obsession. Take "Tigerlily" (opening with the lyrics: "Well tonight out on the streets I’m goin’ to follow you") which apparently describes a jealous and passionate friendship, although it hints at unrequited love.  However, the songs almost destroys itself with a horrible spoken piece which genuinely sounds like a scene from Michael Jackson’s "Thriller", interrupting what could have been a perfect tune.  The darker theme continues in the song "Quicksand" ("I’m the obsessor, holding your hand / it seems you have forgotten about your man.") The album does have some tunes that break this trend, some which so are addictive you will find the lyrics spinning in your head at the oddest times. Particularly songs like "I'm not your Toy" and "As if by Magic" which have a much more upbeat, almost bubblegum-pop sound to them. In terms of album play order there is, unfortunately, a sense that something was amiss. There is a real lack of flow which can make the album less comfortable to endure.  The opening track "In for the Kill" may have been a killer single (pun not entirely intended), I’m not sure how well it works as an album opener considering the tone of much of what follows. My biggest criticism of this album, however, is its lack of real staying power.  The truth is that the album slowly begins to wilt from about  the half way point and by the end it verges on annoying and self indulgent. It was unfortunate that the songs some might start out loving soon became sickening and more than a little annoying.  It is definitely worth a listen but sadly that may be about as often as you will want to hear it before the high pitched screech of Elly Jackson begins to slowly grate on your ears and mind. Elaine Peppard More ... Elaine Peppard Sun, 22 Nov 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:283