Russ Poole - Face To Face EP

Using the word 'honest' in a discussion on the music and lyrics of a singer/songwriter can be risky.  I mean, it's easy to say a song is a masterpiece, just be applying the word 'honest' to an explanation of the theme of lyrics/tone etc.

But, the word tends to lose its meaning and value when overused.

When writing this review for Gloucestershire based songwriter Russ Poole's EP Face To Face, I tried my hardest not to surrender to the clutches of temptation, and tired my utmost to steer away from adding the word 'honest' onto the ends of my sentences.

No matter how hard I tried, I just couldn't.  In fact,  I picked up the rawness and truthful quality of Russ' lyrics and thought-provoking themes, upon first listen.  The 'story' of the EP is of Russ' impending reunion with an old friend/lover, after a significant amount of time.  It also depicts the inner struggle one goes through, leading up to it.

For example, in the third track on the EP, 'Better', Russ describes how he sees himself, as well as how he appears to those around him.  This conflict seems to be built firmly on self deprecation and a jaded image of himself .  This is evident in the track's opening line, as Russ questions the song's subject on whether they believe he has changed, "Were you expecting to see a better version of me, or just more sober".

Later in the same song, Russ expresses that "I won't be the last to care, 'bout not getting anywhere. There's so much more I wanted to say, but it's too late". This is Russ at his most sincere,  accepting the loss of something, or someone, great through idleness and self pity. Reflecting on the past allows him to uncover the truth and is able to see what he truly is, and what he could be.

Russ's use of gentle guitar work, supported by soft piano and drums throughout, really enforces this idea and sets the intense tone of the EP wonderfully.

The second track 'Seven Bottles', acts as the 'picking-yourself-up' part of Russ' journey through self pity. The song illustrates the twisted logic of having lost, and turning to drink for solace. "I know I'll be ok, seven bottles all empty....I'll say that now, and I'll think I mean it".  This more up tempo track is an oddly comfortable presence on the EP, but successfully sums up the faux hope, after being left behind.  This I'm sure we can all admit to having experienced.

Russ also seems to imply that being honest to yourself isn't always enough.  In the opening lyrics to the EP's title track, Russ confirms "All I have is everything to me. All I want is everything to you". This suggests a confidence in one's self, but also an awareness that the song's subject sees this as a limitation.

Built on Russ' deep vocals and a rolling  guitar melody, the song acts a step by step account of one's thoughts leading up to the important reunion and a sincere prediction on how he will act upon finally seeing the object of his affection again.  This works well with 'Better' before it,  and continues the theme of deep self analysis, "She stays the same, and I'm bound to change. I'll loose control,  when I meet you face to face".

In the EP Face To Face, Russ Poole has managed to construct 4 intense, yet gentle songs, which act as a meditation on the pure components of his very being.  Russ remains persistent in letting the listener hear the truth about him throughout. "Look a little closer, and you might see, not everything is perfect.  This was meant to be", as he claims in opening track 'Take Your Time'.

And that, I would say, is pretty damn honest!

Benjamin Gibbard - Former Lives (2012)

 

   As the weather turns and the leaves fade to brown, I find myself yearning for a more atmospheric and introspective tone in the music I lend my ear to. I really don't know why, but this seems to satisfy me. Maybe it's the wistful arrangements that somehow create a warmth as the nights grow cold, or maybe its the intelligent lyrics that help me make sense of the darker nights.
   Ok, so it's clearly not that dramatic (what was I thinking?).
   Perhaps a better explanation is that I tend to crave a style of music that rests in a down-turned comfort, as the gloomy weather sets in, apparently.
   For example, I find myself listening intently to the likes of Radiohead's In Rainbows (2007), Super700's Under The No Sky (2012), Map's We Can Create (2007), Interpol's Our Love To Admire (2007) and Death Cab For Cutie's Transatlanticism (2003), as they all seem to hold this essence for me.
   With this in mind, I finally got round to listening to Benjamin Gibbard's début solo album, Former Lives (2012), in the hope that this would also fall into this rather niche category, as does his long-time band's 2003 album Transatlanticism.
   However, it unfortunately fails to hold the same warming charm.  That's understandable.  I mean, Benjamin Gibbard didn't create the album to suit my mood at this particular time of the year and certainly wouldn't have been considering my feelings when writing the lyrics (what a bastard!).  So, it would be unfair of me to dismiss this album, on this rather fickle basis.
   That being said, and time of the year aside, I feel Former Lives fails to stand up amongst the strong body of work Benjamin Gibbard has built with his previous projects; Death Cab For Cutie and The Postal Service etc.
   Former Lives is a more gentle effort from the songwriter and seems to illustrate feelings of loss and regret in a softer and more whimsical way.  The album's achingly twee a cappella opener 'Shepherd's Bush Lullaby' sums up the singer's mood in this album, as he swoons "And I hope you can hear me, in dreams be near me, as you sleep an ocean away.  And know that I love you, my every thought is of you.  Oh the clouds are begining to break".  The album then falls into a somewhat boring and comfortable groove, through the waddling guitar strumming indie pop of 'Dream Song', 'Teardrop Windows' and 'Oh, Woe', before the momentum halts completely with the jingly-jangly guitar based croon on 'Lily'.
   At this point, Former Lives acts more like an over friendly hug from a Christmas jumper wearing relative, than a truly warming and thoughtful glance from a loved one.  It's annoyingly cheery and slightly cheesy, in places, and doesn't conjure much inspiration or intrigue.
   There are moments, for example in the twinkling, invigorating tale of separation in Aimee Mann collaboration 'Bigger Than Love', the wonderfully crafted waltz of 'Something's Rattling (Cowpoke)', and in the dreamy tale of woe of 'Lady Adelaide', where Ben Gibbard's true musicality and lyrical genius shines through, much like in some of the more poignant moments of Death Cab's Narrow Stairs (2008).
   But, even with these, the album tends to be devoid of the charm and intelligence of Gibbard's previous work and seems to be pandering to a more, dare I say it, relaxed and content audience, which is unlike him.  As with most of Gibbard's work, there is an abundance of  honesty flowing through Former Lives, with numerous nods to his perspectives on growing older and coping with declines in relationships (see 'Broken Yolk In Western Sky').  However, the raw intensity and texture that can be found in the formerly mentioned Transalaticism, Narrow Stairs and even The Postal Service's Give Up (2003) are nowhere to be seen in his solo work, which is a great shame.
   All this aside, I would recommend Former Lives to fans of Benjamin Gibbard and of course Death Cab For Cutie, as it is a good clean reflection on how the singer/songwriter has matured and developed his craft.  Also, unlike me, you may find it the perfect cheery soundtrack to brighten those dark Autumn nights. You never know.


Ben Hawling

The Cheltenham Underground's 100th show - Thursday 3/4/14

On Thursday 3rd April 2014, The Cheltenham Underground celebrated their 100th show in The Frog & Fiddle in Cheltenham.  I regularly attend the shows hosted by the Cheltenham based promoters and so popped along to check out their centenary event.

In short, the 100th show lived up to the special and celebratory stature that the title implies. The night was a huge success and one to be proud of.

Ok, before I go any further, I can appreciate the argument that I may be somewhat biased in favour of The Cheltenham Underground and their achievements; having attended many of the shows they've put on over the last 6 years, having also played at some of the shows, having been friends of both Dan Base and John Madden, the event organisers for many years.  But then again, every person at a Cheltenham Underground show is obviously going to feel something different, whether its the 1st show, the 50th, or 100th.  And that's not necessarily anything to do with their affiliation with the event itself. So, therefore, I will write this review from the perspective of the individual. The gig goer. An attendee of the 100th show.

I arrived shortly after 8pm when the doors opened, expecting to have arrived early.  However, there were already around 20 people in the Barn room at The Frog & Fiddle. We all knew each other, in one way or another, mainly through seeing each other at gigs in Cheltenham, most often at Cheltenham Underground events.  We had all arrived for this special night.  The mood was that of a reunion; I hadn't seen some of these people for a while. But everyone was happy.  Everyone was smiling. Friends together again.  I felt like I was already part of an institution, a community born out of shows and nights like this over the years. The atmosphere was soo warming, that I think I would have felt welcome, even if I didn't know anybody. And this was before the first band had taken to the stage.

Sam Green and the Midnight Heist were the first band of the night, kicking off their set with a track full of foot stomping, rhythmic guitar work and harmonised vocals.  If I'm honest, this wasn't my cup of tea and I started to draw apologetic comparisons to the likes of Mumford & Sons. However, the London/ Reading band seemed to change from this to a more raw and powerful blend of blues and rock. This worked really well, with each instrument in the band being used effectively to generate the wall of sound from the band as a whole, especially with the addition of the double bass.

The next band up were Fight The Bear from Shropshire, who seamlessly managed to keep the party going following the explosive start from Sam Green and the Midnight Heist.  They had several people in the crowd bouncing with their rock/indie/ska set.  The band came across as very professional, which really brought an energy to their performance.

The third and final act of the evening were Cheltenham Underground regulars, Captain Accident & The Disasters.  From their opening track, right through to the end of their set, every track was dripping with a feel good reggae/ ska/dub vibe. By this point, the crowd, with beers in hand, were smiling along with the Cardiff based band who complimented the raw energy created by the two previous bands, with such a smooth groove.

I'd been stood towards the back of the room for most of the evening, drinking, chatting with friends, but more importantly, witnessing the effect of the bands on the doting audience throughout the night. It would be wrong to class any of the bands as 'better' than the others.  By this, I mean that there was no clear support acts and no clear headline act, in my opinion.  I felt that all three bands brought something unique and different to the night.  Each band created a different vibe and atmosphere, from their respective genres of music, which carried the audience effortlessly.  In the interests of the night being a special occasion, the bands certainly delivered.

With the bands taking care of the vibe in the room, the crowd followed suit and in turn, made the whole night seem electric.  I can't remember a point where the atmosphere wasn't warm and embracing.  This was certainly ceremonious and special.  With all these elements combined, the 100th show was by no means just another Cheltenham Underground event, it was a pure party!

And this was on a Thursday night!!

As I said before, I know John Madden and Dan Base well and I know the amount of energy and time they put into to every Cheltenham Underground show, including the now legendary (yep, that's right, I said it) 100th show. But I would be immensely proud, if I were them after last Thursday night, for creating the perfect testament and celebration for their milestone event. And if you appreciate what I have said in this review, or you were at the show, or you know the feeling of being at 'that gig' where the sound and the atmosphere came together, you'll know that you don't have to know the promoters or the people in the crowd to know that something is right.  From an individual gig goers perspective, the night was, quite simply, right.

Nicely done sirs, and here's to the next 100 shows!!!

Ben Hawling

SPARE PARTS: 1 = CD = We Are Scientists - Brain Thrust Mastery

 

THE STORY

Ok, so I bought Brain Thrust Mastery by indie rock band We Are Scientists in the summer of 2008 from the now defunct book shop Borders, in Oxford.  I'd loved their previous album, With Love And Squalor, as it had sound tracked my carefree heady 18 year old days before university. So, naturally I thought that i'd enjoy their next offering.

Unfortunately, my head was in a bit of a girl related mess at the time, so I neglected the album and only gave it one listen, and then swiftly cast it aside, like so many others. There's some kind of poetry or irony in there somewhere, but I'll probably come to that later.

LIKES

When I first listened to this album 5 years ago, only a few tracks stood out, such as 'Chick Lit' with its Daft Punk 'Robot Rockesque' rhythmic hook, as well as second track 'Lets See It'. Everything else tended to fade into the background and didn't seem to add value.
However, this album is definitely a 'grower'. Upon further listens, the remaining tracks on the album really come to life and have identity.
For example, I seemed to miss the driving melodic indie rock brilliance of 'After Hours, which is arguably the most modest yet anthemic track in this collection.  Similar to Spinto Band's 'Oh Mandy' I found. Another track that leaps out and hits the listener in the face is the albums midpoint, 'Tonight', which harks back to familiar We Are Scientists territory, with its busy drums and bass, and crunching guitars, laced with catchy vocals.
One of my favourites is the album's closer, 'That's What Counts', which somehow stands separate from the others in the collection. Perhaps because it appears to have more room to breathe than the preceding tracks do and kind of turns from the otherwise awkward tone and leaves on an optimistic note.


DISLIKES

I do think that this album is a step in the right direction for the band, but that does have its potential drawbacks also.
Like with other indie rock bands of their ilk, We Are Scientists tend to lend themselves more to the energetic indie clubness of their earlier work, and tend to that much better, in my opinion. In some cases on Brain Thrust Mastery, it feels as though the band are trying to hard to show that they aren't just the indie fop one trick ponies.  But that doesn't necessarily fly if the sound doesn't suit the band (I'm looking at you Arctic Monkeys!).
For example, the band sound physically uncomfortable during the gentle lullaby of 'Spoken For', which is a lovely song, but simply lacks conviction.  This can also be heard in 'Impatience', where the song tends to lumber on, trying to be something that it isn't, but doesn't quite get there.  I'd like to point out that this isn't a criticism, as these are actually good tracks.  Its just that they simply don't sit well in this collection, which weakens it slightly

OVERVIEW

Brain Trust Mastery had a lot to contend with following the bands previous album, and the success it received.  However, I believe that it definitely holds its own, in the sense that it is a more honest effort and holds a more mature sound throughout, A great example of where this is clearly evident is 'ghouls', the albums opener. 
In this gradual brood build of grinding guitars and driving bass and drums, the lyrics "We all recognise that I'm the problem here" glide along, which evidently sets the scene beautifully for the resulting album. By this I mean the impending feeling of an individual preparing to own up to an array of life mistakes and perhaps an attempt at redemption.  But then again, this is just We Are Scientists way of showing how much they have grown as a band since With Love And Squalor, and exactly what they can achieve.
In any case the albums proves a triumph and certainly has more high points than low. In fact one way of viewing this album is simply to enjoy it and not to worry about the finer points (something I should certainly adhere to). The band themselves say it best in 'That's What Counts' when singing "We shouldn't think about last night, nobody's proud of what they've done. Oh, let's not argue about what's right, let's just agree that it was fun, fun!"

VERDICT        KEEP

SPARE PARTS: The Story.............

..................Ok, so I haven't exactly written anything on here for a while.
To tell the truth, I've been moving to and from new locations and have been without the Internet for brief spells. Well, that and the fact that I've clearly had nothing to write about. Don't get me wrong, I've heard a bunch of great albums and seen a bunch of great films etc, but have lacked in motivation and drive to commit them to words.  So, I've bitched and moaned about all of that, to my friends, instead of on here.

Anyway, to cut a long story short, it appears that these days, I can only be moved to express my thoughts when the shit hits the fan!

Great story alert - - So, we had a house inspection, where it was suggested that in order for the property to be more desirable, I should downsize my Cd's and DVDs. This cut deep, but I feel that I handled it well (the contractors remains are yet to be found) and agreed to actively reduce my respective collections for the greater good (the greater good....)

This is a big deal for me! I've spent years building my Manhattenesque towers of music and film in all of my bedrooms and have enjoyed watching, listening and generally staring longingly at my collection. Anyway, like any long relationship based purely on passion, I must grow up and learn to let go.................but not until after one final fling!

I have separated both my Cd's and DVDs into two piles; 'to keep' and 'to give up'. However, it is the elusive third pile which intrigues me the most, 'the final fling' pile.  This pile represents those Cd's/ DVDs that I haven't given much of a shit about over the years, and passed a fleeting judgement to after only one listen/ viewing.

Therefore, I plan to work my way through each of the items in this pile and give them only final chance; a wild card penalty shootout opportunity to prove their worth.  If worthy of my praise and respect, they shall be kept.  However, if they really have been a waste of my time and money, and storage, they shall be shunned and banished. Seems only fair.

Anyway, I thought it only fair to air my baseless opinions and decisions on here, as I rifle through this collection of respected artists work.

I plan to whip them up here regularly, so keep your eyes peeled and feel free to object/ comment/ bitch at me for my decisions and that.

Enjoy my journey through my CD and DVD collection (alternatively, laugh and judge me for wasting valuable time on sitting by myself in my bedroom instead of advancing my life somehow) Either way, its a fuck tonne better than Hollyoaks!!!

L8ers!

Passion Pit - Gossamer

When I first heard Passion Pit back in 2009, I was drawn in by their interesting take on synth pop, with their harmonic vocals and synthesised orchestration gliding over the backing of insane blippery.

This was certainly prevalent on their 2008 EP 'Chunk Of Change', but more prominently on their 2009 album 'Manners', which included such tracks as 'The Reeling', 'Little Secrets' and the more solid band based track 'To Kingdom Come'. I was really impressed and found that both EP and album ended up sound tracking my summer that year.

So, when I heard that the band had released their widely anticipated second album 'Gossamer' earlier this year, I made sure I grabbed myself a copy and had a listen. So far, I haven't stopped listening all week

Gossamer

 



It is clear from the first few minutes into 'Take A Walk' from Gossamer that Passion Pit's second album marks a transition from their previous sound. 

The trademarks of the band remain in the jaunty, punchy anthems that stretch high into the stratosphere as they did on their earlier work, along with the disjointed arrangements and 'chipmunk' style vocals that seep through at off tempo moments. Tracks such as the power pop should-be-single 'I'll Be Alright', the r'n'b Kanye Westesque lilt of 'Constant Conversations' and the stomping anthem of 'Hideaway' showcase these elements in all their glorious form.

But this album is very different and appears as a more brooding and darker collection. The album's opening track 'Take A Walk' tackles a more daunting subject matter where the narrator (Michael Angelakos as lead vocalist) tells the story of how his life has taken a turn for the worse following a series of bad life decisions.

The darkness also shows in the attitude that the tracks assert towards a loved one, or ex lover. For example, in the sparkling dance track of 'Carried Away' the narrator apologises for the way that a former relationship ended and how things were just never meant to be, "I don't really know you, and I don't think I want to, but I think I can fake it if you can...".

In a similar manner, the very concept of love is debated and exposed as being a selfish endeavour, as opposed to being life fulfilling, in the weirdly enchanting track 'Love Is Greed', "Love is not enough to hide your voice, all this talk of love just turns to noise", "....if we really love ourselves, how can we love anybody else?".

Another important element to the change in Passion Pit's sound that Gossamer represents is the more experimented and diverse song arrangements when compared to their other material. This can be heard in the shifting tone of 'On My Way', 'Constant Conversations', the haunting album closer 'Where We Belong', but most notably in 'Two Veils To Hide My Face'; a 33 second  a capella lullaby which sounds almost angelic.

It could be argued that Passion Pit's earlier material carried a more youthful and spiritied tone to it, with its fidgety rhythms and energetic chants. If that be the case, then Gossamer represents the bands step into maturity, and with it, more 'grown up' themes and experiences. But it is important to note that somehow Passion Pit have managed to bridge the gap between their previous 'youthful' work and the 'matureity' of Gossamer with impressive ease and with complete credibility.

When comparing the bands first and second albums, it is fair to say that 'Manners' stands out as the stronger collection simply down to its confidence and spirit. But it must also be said that Gossamer has earned the band a lot of respect, which leads to further intrigue as to which phase of life they will explore next.  Whatever Passion Pit's nest venture may be, you can guarantee that it will certainly surprise you and maybe even encourage you to rethink more of life's pursuits that would otherwise be taken for granted.

Super700 - Under The No Sky

When on tour in Germany with Stressechoes recently, I spent one relaxed evening scrolling through the local television channels in my Berlin hotel room. I stumbled across a channel, the name of which escapes me now, which seemed to be dedicated primarily to showcasing a mix of recommended national bands and local DJ's.

Luckily, I had managed to join the channel just at the start of a live version of the track 'When The Evening Comes' by the Berlin based band Super700. The track seemed to rise and fall, carried throughout by a staggered yet soft rhythm, accompanied by a lilting electric guitar and a choir of harmonies to support the delicate vocal from front woman, Ibadet Ramadani. Initially, I thought that this was purely down to the fact that it was a live recording and that if I were to hear the original, I would be somewhat disappointed.

When I got home, I listened to their 2012 album, 'Under The No Sky' as I insisted that I be proven wrong.

Under The No Sky

 



From the start, this album suggests a bleak and unsettling tone that is set to run through the albums entirety.

Beginning with '21st Century Girl', the idea of the individual feeling isolated in modern day society seems to be the prominent theme, set against a 'funeral march' style accompaniment. Other tracks which follow this ethos include 'Decent Snow' which offers the closing line "I invite you all to eat my soul', and the albums closer 'Queen Of The Inbetween' where the narrator questions their own self doubt and their position in life.

But this idea changes distinctly with the uptempo sprawl of 'Life with Grace' which spreads a relatively cheery sense of hope amongst the angst of the modern age. "Space may be the place, to life your life with grace" . This strand of optimism runs through the more laid back stripped down track, 'Old Moon', a tender love song for the night sky.

In fact, the musicality and atmosphere of the album as a whole is key to note as it manages to straddle both the despair of loneliness and the hope of a better future involving love. The arrangements and sounds that Super700 create on Under The No Sky are at times murky and thumping, whereas at other moments hold a dream like ethereal quality. With this mentality, it is not far removed from early Howling Bells or 'In Rainbows' era Radiohead.

The album's title track securely binds the aforementioned see-sawing musical moods and pushes forward the concept of a bleak reality in a world without light. "Under the no sky, there'll be millions waiting, for the sun to shine".

Oh, and the album version of 'When The Evening Comes' does not disappoint with its gentle piano build, which feeds into the rumbling chaos giving way for Ramadani's soaring vocal.

This album stands as a great example of the band's work, and after having listened to this album intently, I implore you to explore the band's previous work. It also holds as a shining example of when a band can produce an adequet leveller between these emotions, yet manage to provide a soundtrack of such delicate and moving sounds to really bring it to life.

A very impressive piece. All that is left is to track them down to see if the rest of the album sounds as good live as 'When The Evening Comes' did. I expect to be proven right!