Jacques Greene – After Life After Party EP

Theo Bird

Back in 2011 Azealia Banks burst onto the scene with 212. Remember it? Of course you do. You may even remember loading a lyric website to make sure you hadn’t missed a syllable of filth from an undeniably lewd song. What you may have missed however is the incredibly uninspiring man in specs, who stares at the camera in the music video. He seems content with just bopping his head throughout, almost dead behind the eyes. That man, as it turns out, is Jacques Greene (JG).

In the context of the DJ world, we know surprisingly little about such a young, rising star. He was born as Philippe Aubin-Dionne in Montreal, started DJing when he was 16, and headwear-wise he loves a 5-panel. Now 24, he’s living in New York, focusing on producing EPs through LuckyMe records. I first discovered JG through his EP, On Your Side and after building up an inexorable play count, decided to look back through his work. I soon realised that although JG was undoubtedly a house producer, the sound he created felt a much more thought-out & colourful item altogether. It doesn’t matter whether it comes from the vocal harmonies or the tasteful synths, his music has soul.

After Life After Party is EP number seven for the Canadian in a series that has yet to truly disappoint. Yet listening through the four track record, for perhaps the first time, I remain unconvinced. It’s not as if he has broken free from his sound in a brave attempt to reinvent himself: After Life After Party is still very much JG, just…without the soul. The track on which the EP is named has an identity crisis, in that I cannot pin-point the ideal environment in which to listen to it. Would I rather be fully immersed in the track through the medium of a nightclub sound-system, or would I rather have it as atmospheric soundtrack to a lazy Sunday afternoon? The very fact this question can’t be answered means it denies the listener any chance of connecting with the record. The Suicideyear remix does little to solve this dilemma, and although the Sei A remix goes some way to finding a solution (for me it leans slightly towards an early nightclub set, for those who care) I feel all three tracks fall short of the mark.

Before I even begin to talk about the second track, 1 4 Me, open a new tab and watch its music video online. Wtf, right? JG is heavily involved in all of his album artwork, promotional posters and music videos – stating that for him, it’s all intrinsically connected to the music. The video in question supposedly explores the thrill of new materialistic purchases, making a mockery of the internet trend of “Nike TN Dipping”, in which people destroy their new trainers, often in a bath. I will always appreciate an attempt to break free from the traditional music video formats – but in this case, I just feel it doesn’t work. Four minutes of what looks like a poor-man’s Marshall Mathers, indecisively submerging himself into a swimming pool, with a pair of sneakers on. Perhaps I’m too narrow minded, but for me it is more budget-art project than use of creative licence. It’s a shame, because 1 4 Me is the stand-out work on the EP: a slow-paced, progressive track, its long rolling synth notes and scattering of drums are as expressive as the JG I first discovered and loved.

For me, After Life After Party is his first real disappointment, which is a true testimony to how talented I believe this artist to be. It is just very average. If this is your first knowledge of JG, backtrack to the EPs Concealer & On Your Side and give them a listen. He’ll be back, hopefully quashing the criticism as he does, but in the meantime, perhaps he should call Banks for some more acting work.

5/10

Mercury Awards – Who’s Who?

GoGo Penguin – v2.0

The Manchester trio arrived with much promise in 2012 with a short, but exceptionally well crafted debut, Fanfares. The highly anticipated follow-up v2.0 is anything but disappointing. After the debut album, the bassist, Grant Russell, left to pursue personal interests. His replacement comes in the form of Nick Blacka. A long-time friend of pianist Chris Illingworth & drummer Rob Turner, Blacka’s technical ability cannot be doubted and the trio play off each other which such ease (sorry Grant).

Don’t for a second just dismiss this album because you don’t like Jazz, because this album has so much more to offer. Drawing influences from Jon Hopkins to Massive Attack and everything in-between, it should come as no surprise that they have been described as more Aphex Twin than Miles Davis. GoGo Penguin have created a powerful 50 minutes of music which not only deserves an open mind-set, but demands one. Get your air-piano out.

Jungle – Jungle

Fronted by the duo J & T, this 7-piece from London have released their debut album and it’s an opinion divider. Before listening to this album it is essential you distance yourself from their name. No 90’s drum & bass, OK? Now that’s sorted, what is to be expected? It claims to be mid-tempo 1970’s-style funk (make of that what you will). However, amongst the animal sounds, the sirens, the whistles and a splattering of sexually driven groans, this album can be whatever you want it to. This is where it shines; it would make fantastic background music at a friends’ BBQ, or could equally make an entire festival tent bounce along to the likes of Busy Earnin’.

Agreed, some of the tracks lack individuality; getting lost in amongst a cocktail of synths and 4/4 beats. But take nothing away from the mood created when listening. It’s undeniably positive with funk running through its veins, yet beautifully atmospheric. This unique musical project makes for fantastic listening and rightly holds its own among the nominations.

Anna Calvi – One Breath

Anyone else get a sense of déjà vu? In 2011 Calvi released her eponymous debut album after years of production. That year, her album was nominated for the Mercury Prize. A new producer and 3 years later, here we are again with One Breath, except she made this album in only 6-weeks! Don’t allow that figure to result in pre-judgement of a “rushed” album however, as One Breath is anything but flung together on a whim.

Syncopated guitar strikes in Tristan and heavy key-clashes in Piece by Piece are a deliberate, creative way for Cavli to create a gothic sense of unease and anticipation. Of the album Calvi said, “One Breath is the moment before you’ve got to open yourself up, and it’s about how terrifying that is. It’s scary and it’s thrilling”. It’s a brave album taking you through the motions, but is unlikely to be a winner this year. Three times lucky, Anna?

Royal Blood – Royal Blood

What a ridiculous year for these two. The band formed almost exactly a year ago, releasing their first single on 11^th November 2013. In the time it has taken for the earth to orbit the sun, Royal Blood have had the fastest selling rock debut rock album since Noel Gallagher, played to crowds tens of thousands strong at festivals & had a UK tour sell out in 2 minutes. Not bad, chaps.

The album is every bit ridiculous as it is genius. The first thing you hear of this album is the intro to Out Of The Black which is as raucous as it is effective. “To us it was a bit stupid, like cartoon rock,” said Kerr of the song. Rock through to the core, loud & proud, I still haven’t comprehended quite how only 2 of them created such a depth of sound. The single Figure It Out has blasted the FM airwaves for months now and, like the hype surrounding the band, shows no sign of dwindling.

East India Youth – Total Strife Forever

It would be fair to say that the last few years have been unpredictable for William Doyle. Finding the bass/guitar/drum
format both restricting and exhausted, he called time upon the promising Doyle and the Fourfathers, opting to enter the
world of atmospheric electronica through his East India Youth solo project. Following on from his 2013 debut, Hostel EP, Doyle’s debut LP Total Strife Forever finds you emerged in a concoction sounds and melodies that bring together an intriguing combination of ambient, krautrock, drone and synth pop. The title track presents the show piece for the album, being stripped down into four parts across the LP, where Doyle takes inspiration from the likes of Daniel Lopatin combining spectral ambience and reverb-soaked vibrations before a Fuck Buttons’ esque finale. An extremely promising debut that carries variety and personality, East India Youth may be the competitions dark horse.

Kate Tempest – Everybody Down

On her debut solo album, rap artist Kate Tempest brings to the life the realism of societal entrapment felt by many as they go through the motions of life. The hip hop based album plays as a narrative, following the lives of a number of characters, as they try and free themselves from the shackles of society in search of a better life. Each track representing a chapter in their lives as they go on a journey of tragedy, fear and hope as they yearn to escape to their individual problems. The production shifts and morphs with Tempest’s delivery, which creates an album that moves dynamically as the style is chopped and changed.

Young Fathers – Dead

It would be fair to say that Young Fathers have came along way since they first appeared in 2008.  Having done away with
their generic pop formula and synchronised dancing, the hip-hop trio from Edinburgh have turned up the aggression, darkened the mood and stripped their beats to the bare bones. On the back of two successful mixtapes, they released their debut LP, Dead, which turns out to be an unpredictable mish-mash of sonic and lyrical styles, with essences of Antipop Consortium, Clouddead and Massive Attack. The album’s highlights are to be found in darker, more manipulated tracks such as Hangman and Just Another Bullet where the trio play a man and his demons that plague him. Experimental hip-hop is a genre beyond saturated, however, it’s their versatility as rappers, producers and singers that make Young Fathers one to watch.

FKA Twigs – LP 1

It appears that FKA twigs can do no wrong at the moment as the dancer, turned recording artist, fast becomes a global star through her blend of sex driven R&B. Tahliah Barnett’s debut album, LP1, emerges the listener into a world of sex, lust and ecstasy as she opens the door on her previously mystery cloaked personality. The album showcases both her production and vocal abilities, as the tracks range from stripped down melodies to experimental, synth induced fractured formats. Now very much at the forefront of pop culture, Twigs has released both Two Weeks and Video Girl  from the album and is included on Radio 1s ‘Sound of 2014 longslist’, making her a strong contender to take home the prize.

Damon Albarn – Everyday Robots

Perhaps one of the most talented musicians, not only of his generation, but that this country has ever produced. The once jaded teenager from Blur, turned musical impresario, possesses a back catalogue containing some of the highest selling and most critically acclaimed records of modern times; stretching from Brit-Pop to electronica, trip hop to opera. With a career that has cast him as writer, multi-instrumentalist, singer and producer, Albarns’ debut solo LP, Everyday Robots, stands testament to his unerring and innate musical capability. Brimming with natural charm, Albarn’s voice floats softly over trickling pianos and decorated string arrangements throughout, as the album leads a journey through the musings, desires, love, loss and regret of the 46 year old. It is true that nothing original is presented here, but what the album lacks in ingenuity it returns in unadulterated emotion, with the contents of Albarn’s heart laid out for all to bare. Subtle, simple and relatable, it pulls on the listener from start to finish and should be considered a real contender.

Bombay Bicycle Club – So Long, See You Tomorrow

There have been few bands whose ascent I’ve followed so intently over recent years at Bombay Bicycle Club. Their rise from the secondary school students who I witnessed play to a meagre 100 fans in a small puppet theatre, back in 2008, to potentially one of the UK’s most excitable young prospects, has been a somewhat interesting one. Three albums have appeared throughout this period, all varied and beautifully sculpted pieces of work, but none have really propelled band from their position of cult young indie status. Much of the bands success is owed to lead singer and writer, Jack Steadman, whose awkward nervousness and apparent social dysfunction come hand in hand with a profuse amount of talent and artistic creativity, much like many artists who have gone before him. After an 18 month break from recording and a long period of cultural exploration, Steadman decided that for their last album, ‘So Long, See You Tomorrow’, he would take over production duties. The decision proved to be a excellent one, as the quartet added to their already well established song writing capabilities, elements of Bollywood, electronic and a more refined dance edge. BBC have always had a superb ability to write songs capable of thrusting the band toward international stardom, ‘So Long…’ proves that now they may be ready to fulfil that potential. A Mercury Music Prize in the waiting you would think.

Nick Mulvey – First Mind

This is not the first time Nick Mulvey has been nominated for a Mercury music prize, back in 2008 playing the Hang – or ‘UFO’ as it is often affectionately called – in the Portico Quartet, he found himself in the spotlight. Fast forward six years; a course at a music school in Havana, Cuba, a degree in ethnomusicology at the London School of Oriental and African Studies and two solo EP’s, Mulvey finds himself in the same position again. A product of its time, First Mind contains obvious stylistic likenesses to fellow folk influenced acoustic acts such as Ben Howard, Keaton Henson and Benjamin Francis Leftwich. But, Mulvey’s LP offers much more also, with entrancingly delightful musical arrangements that draw from Latin American percussion and rhythm, songs that possess a Celtic eeriness and beautifully layered guitars throughout, the album is a spectacle from start to finish. Lyrically there is nothing which blows the listener away; however the familiar constructs of the genre, love and relationships and the minimalist style of vocal, lend itself to the intricacies of the music combining to make an end product which is both delightfully textured and easily accessible. A truly blissful album which all can enjoy.

Polar Bear – In Each and Every One

The title track of Polar Bear’s fifth album, ‘In Each and Every One’, begins like the awakening of a dream. Transported to the extraterrestrial, wistful strings and keys work over the top of faint birdsong, conjuring the sort of electronic escapism commanded by bands such as Boards of Canada. Once awake from that dream the reality is somewhat different. Be Free starts a journey of experimental jazz for which Polar Bear have become infamous. With Peter Wareham and Mark Lockheart laying down estranged tenor and baritone saxophones, over cut up drum sections and sonically erratic electronics. Just when the album slips in to a recognisable groove, the five-piece catapult you back in to some form of LSD-induced descent into musical cataclysm. It is testament to the bands ability that through this disorganisation there is narrative and intensity. The soundtrack to one night spent in a twisted ‘Shangri-La’ bar in Soho full of sexual fantasy, dystopian futures and narcotic hedonism…Safe to say it’s not for all but certainly worth the ride.

Albums That Should Have Got a Mention:

Mogwai – Rave Tapes:

The bands 15^th studio album but nevertheless one of their most progressive pieces of work in years, perhaps overlooked due to the bands sheer plethora of similar work in favour of including new, fresh and younger artists into the shortlist.

Chvrches – The Bones of What you Believe:

Released on the 20^th of September last year, Chvrches burst onto the modern pop music scene with their debut album and its brand of raucous electro-pop. Perhaps the album was overlooked due to its release date or maybe the panel didn’t like the ultimately annoying ‘v’ for ‘u’ transition, who knows, but definitely well worth the shortlist.

Actress – Ghettoville:

Actress aka Darren Cunningham released fourth album Ghettoville this year, following up three previous releases of well renowned critical acclaim and sonic exploration. Ghettoville deals in noise, drone and distortion, the dark recital of the twisted mind, with beautifully arranged keys played through familiar rap constructs. Well worth a listen.

Daniel Avery – Drone Logic:

Avery’s album Drone Logic was, one of the stand out electronic albums of recent years. Packed full of channels, it is pounding and relentless but addictive and introspective, perfect for bedroom and for dance floor. Unfortunately the music panellist’s lack of desire for creative techno

Pulled Apart By Horses – Blood

Matt Readett

As a teenager I could never quite comprehend the development of bands. Trace your fingers along the timeline of most outfits and you’ll find they came from heavier beginnings. My childhood was spent watching artists I adored, conceivably ‘sell out’ – in my eyes anyway. Of course, as you grow older you realise that, not only do bands lose the youth and emotion they once possessed, forces at work within the music industry make conformity a natural process. That said, as the recent, so called ‘mini-revival’ of mainstream British rock, led by duo Royal Blood shows, there is always a climate for a band that brings their own brand of innovation and energy to the table.

There are few that more accurately fit this description than Pulled Apart By Horses. The four-piece from Leeds began to circulate the local pub scene back in 2008, quickly creating a name for themselves and their live performances. A self-titled LP followed and it did not disappoint. Boasting titles such as Back to the Fuck Yeah and I Punched a Lion in the Throat, the record plays out like a war between each of its counteracting parts. A triumph of experimentalism, made with energy, confidence and critically, a solid ‘don’t give a fuck’ attitude. The band sent ripples through British music, just as the likes of Gallows and Enter Shikari had before them.

The problem is that since they’ve been on a search of personal identity. As is often true within music, a ‘don’t give a fuck’ attitude doesn’t tend to last for too long and works for less. The best bands, in fact, are the ones who portray that image without ever really following it. After the success of their debut, Tom and co quickly realised the obvious question, ‘where do we go from here?’ The aspects that made the first album such a success – namely its multiple elements – now worked against the quartet. In an era where bands are constantly assessed, criticised and pigeon-holed, PABH were forced to effectively ‘cardboard box’ themselves. Unfortunately, they seemed to have little clue as to what box that would be, or seemed reluctant to accept any. Since, they’ve toured with bands spanning from Biffy Clyro to Rolo Tomassi back to The Bronx; even being offered a support slot on a number of Muse tour dates. But have struggled to truly find their place. Second album, Tough Love, battled fiercely to secure more answers.  The result was a polished record of undoubted prowess, but not an answer to the Yorkshire group’s underlying questions.

The bands newest record, Blood, rather than an answer to these, only raises a whole series of new ones. If the first record can be seen as a war, this is a tea party in comparison. For a band that’s central motif is originality, so much of Blood feels borrowed, the forced work of artists not expressing themselves fully. Its reliance upon grunge, or ‘dirty blues’ structures, are neither innovative nor interesting. Tom’s shrieking falsettos and raucous lyrics have been reduced; lines such as ‘young dumb and full of cum’, perhaps anthemic chants on their first release now bring little but a wince for their lack of conviction. The similarities to Nirvana are far too easily drawn here. Aspects of ADHD in HD and Hello Men share the same dulcet whines of Kurt, along with his distinctive loose, dropped chords and signature bends. With a rhythm section that could easily have been siphoned from early demos of the bands ill-fated fourth album. Relief is brought in the form of Bag of Snakes, a thrashing punk anthem, written by drummer Lee Vincent; but comes far too late for the listener who has by now long lost interest. For a band that builds there support from the stage rather than recording studio, I struggle to see how this album will conjure the same results from crowds its predecessors did. If it doesn’t carry the same weight previous attempts have on stage, you’d expect something more polished for radio airplay, but this offers neither, drab and monochrome throughout, few tracks jump out as single material.

It became acutely evident how far PABH had altered from their original incarnation when, last week, TV Presenter Davina McCall – of Big Brother fame – exclaimed her love for the bands new track on Twitter, with the line ‘Pulled Apart By Horses track is amaaaaaazing.’ Davina liking your music doesn’t make it automatically bad, of course not, but it proves how much this group of artists have lost sight of who they are and with it sight of everything that made them work. The title Pulled Apart By Horses refers to an old torture technique whereby the persecutor would have their limbs tied to one end of a length of rope with horses at the opposing end, pulling at the victim until death. The title is meant to represent, not only the brutality of PABH’s music and live show but, more significantly, it is to act as a metaphor for the bands chaotic creative process. As they admit themselves in early interviews, only in this constant state of acrimony will their best material made. For some bands growth and development is necessary, in the case of PABH nothing needed to change, unless they realise this I fear nothing but fading insignificance for a band that once promised so much.

4/10

Royal Blood – Royal Blood

Theo Bird

On the Saturday of Glastonbury in 2013, Arctic Monkeys put on a stellar performance as they headlined the festival for a second time. It was one of the most important gigs of their lives, carrying more stature and definitely more expectation than the first time they walked on arguably the most famous stage in the world. The drummer, Matt Helders, wore a Royal Blood t-shirt whilst on stage. Most people wouldn’t clock it, myself included, but that wasn’t the point. It was a gesture to the band, a nod of support, and perhaps most importantly, a message on behalf of Royal Blood: “Watch this space.” Over a year down the line and we have finally had their debut album to tuck into, and what a feast it is.

The Brighton duo recently played Reading & Leeds festival’s NME tent, and are said by organisers to have easily attracted the largest crowd outside of the main stage. They were on at 2.15pm. Two-fifteen!? Most people have barely stumbled out of their tent, had a half-arsed wet wipe shower and washed a flattened sausage roll down with a warm beer by then. This band is causing a stir, a serious stir, so what makes them such an exciting prospect? In a musical world seemingly dominated by Pop, EDM and 5SOS, new and talented rock bands can be extremely refreshing. Rock duos seem to be ‘in’ at the moment. Leading the way for a few years are the Black Keys and it’s hard not to make comparisons between Royal Blood and Drenge. Two pairs breaking onto the scene with a sound not heard by many for a while. But, when listening to the two debuts, I lean towards Royal Blood, and here’s why.

As an album, Royal Blood is fantastically loud and not afraid to be so. It is beyond me how Mike Kerr manages to makes so much noise with only his bass. I would think no less of anyone listening to the crescendo towards the end of Figure It Out or the chorus of You Can Be So Cruel if you believed a rhythm and lead guitar had been thrown in the mix. The depth of sound in each progression from only the two of them is truly a musical triumph. The first thing you hear of this album is the intro to Out Of The Black which is as raucous as it is effective. “To us it was a bit stupid, like cartoon rock,” said Kerr of the song. “When we recorded that intro we thought it was funny… so obnoxious, loud and silly.” It certainly catches your attention and some of these riffs sound Queens of The Stone Age or Rage Against The Machine inspired.

The golden trait of this album is its ability to keep you engaged from the very beginning to the one elongated note at the end of Better Strangers. Granted, it’s just a smidge over half-an-hour, but to not have a single filler or lapse in concentration is not something to be underestimated. Each track surprises you, and you’re happy to let it do so. Few riffs on the album can match the core of Little Monster, and the drum beat in Better Strangers has enough presence to be catchy its own right. Lyrically, I can’t see either of them being announced as the next Poet Laureate. Recycled themes of a lost lover, loneliness and a middle-finger up to society dominate; but who cares? This album wasn’t made as a musical Dear Diary; all the emotion is channelled through two talented musicians and this absolute plethora of sound they make.

Royal Blood have entered the scene with a powerful debut which lives up to the hype, becoming the fastest selling rock debut-album in three years and swiftly reaching number one a few days ago. It will be very interesting to see how the band develops their sound. Surely they have to slow down at some point? Regardless, Royal Blood have arrived, and they are here to stay. Let’s just say Matt Helders called it.

9/10

FKA Twigs – LP1

Jack Lines

Tahliah Barnett’s rise to a pop stardom has been a strange one. Originating as a dancer, she first appeared in the public eye as a backing dancer for artists such as Jessie J and was renowned for her distinctive look and the way her bones clenched. It wasn’t until the release of Barnett’s second EP, simply titled EP2, that her identity, as the better known FKA twigs (Formerly Known As twigs) was introduced, through the beautifully weird video to lead track single, ‘Water Me’. EP2, saw Twigs collaborate with experimental, beatmaker Arca who is most famous for his production on Kanye’s Yeezus album although, in my opinion showcases his finest work to date, through his ‘&&&&&’ mixtape. The result was a four track EP that is both fluid and fractured, a confluence of ambient glitch, trip-hop and modern R&B that allowed twigs to stand apart from the rest. Each track includes an official video, highlighting her desire to create a unique image for herself that resonates through her music and can be seen on billboards worldwide. Like EP2, her debut LP, has been released through Young Turks, who are constantly challenging the negative connotations towards pop focused music, producing artists and records that are accessible yet innovative.

Despite such a small discography, Twigs’ persona as a performer and musician is far from unknown, receiving commercial airplay and sitting alongside artists such a Sam Smith and Elle Eyre on Radio 1s ‘Sound of 2014 longslist’. As a result, the release of debut album LP1, was surrounded by both high anticipation and maybe unfairly, expectation, due to the success of her previous productions. It would have been remarkable easy for Barnett to have ridden such hype into LP1; employing Arca as sole producer to produce an album with all but guaranteed success. However, with LP1 you get the sense that this is her opportunity to create personality behind the image, allowing access the real FKA Twigs in a manner that shows her character from many different angles. Perhaps it is therefore fitting that the album opens with perhaps the strangest track on the LP, Preface, where delicate vocal layers intertwine as she whispers ‘I love another, and thus I hate myself’  over ambient synths and robotic male vocals that wouldn’t look out of place on BoC’s Tomorrow Harvest. Throughout LP1 there is a clear running portrayal of lust, sex and ecstasy. For example in lead track, Two Weeks, Twigs writes, ‘I can fuck you better than her’ and ‘My thighs are part for when you’re ready to breathe in’ and performs with utter conviction whilst still maintaining a certain intimacy with the listener. Lights On carries similar structure and theme and may include the catchiest chorus on the album as her vocals glide over snarling bass and snare, the trademark of producer Arca.

Throughout LP1 you really do get the impression that Twigs is very much in control and the sound you hear is exactly what she is envisaged. The production list is long and extremely varied including Young Turks colleague Sampha, A$AP Rocky beatmaker Clam Casino and Adele producer Paul Epworth. Where fellow ‘PBR&B’ artist Kelela can sometimes feel like an accessory to the production of her Fade to Mind counterparts, Twigs is the stark opposite, implying dominance on each track. The stripped back use of muted instrumentals on Pendulum allow Twigs to showcase her true vocal talent, reaching choir-like pitch as a fragile sounds voice admits she, ‘So lonely trying to be yours/when you’re looking for so more’. Perhaps the most timeless track of the album and one of my personal favourites is Video Girl, in which she describes her recognition as the, ‘the girl that’s from the video’ and how she was driven to the point of denial.

The use of synthesisers and filtered drum to produce echo laden experimental R&B isn’t a new idea and if anything is perhaps a saturated genre. However despite the obvious links to artists such as The Weeknd, with FKA Twigs’ you get a sense of freshness and intimacy, with LP1 being a piece of her, opposed to a musical project. Of course, it is far from perfect, cohesion throughout the album sometimes feels weakness and you can’t help but thing the first half betters the second, yet for a debut album it’s a brilliant effort.

8/10

Basement – Further Sky

Matt Readett

On Basement’s debut release, Songs About the Weather, lead singer Andrew Fisher and co tackle the all too familiar concepts of being an adolescent, trapped within the confines of middle class, rural England. With few outlets for his creativity, Fisher asserts on the opening track, “I’ll live but I won’t die here.” The place in question is a small town called Ipswich and is also the vehicle for mediocrity in which I was raised. It seems poignant then, that a Basement record is my first review. Not only have the band released some outstanding material over the past few years, but a feeling of shared experiences gives an almost tangible sense of relativity, whether this be on false pretence or not. This has always been a key feature to Basement’s success though, the ability to convey their strains with such sincerity that they feel personal and to lace their work with complete raw, unrefined emotion. Nothing is forced, everything authentic, there is no drama, just music.

This authenticity was mirrored in 2012, when news broke of their ‘indefinite hiatus’. The band issued a statement saying how the pull on individual members to pursue other interests, meant that this ‘creative project’ was no longer feasible. After playing two, packed-out, final shows, at The Well and Camden Underworld, Basement were no more. The aftermath saw Andrew embark on a career in teaching and Alex Henery take a position at Run For Cover Records in Boston, U.S.A; the label to which they are signed. Fast forward almost a year and, with typical candour, the band reintroduced themselves, simply writing ‘Hi’ to their followers on Twitter. After announcing their return and scheduling summer world tours, a month ago, with no media announcement and PR avalanche, a 3 track EP named Further Sky appeared upon the Run For Cover website under Basement’s name. The band, it appears, had found time in the previous months to fashion a record in secret at infamous Livingston 1 studios in London.

Never one to stand still, Further Sky marks a new chapter in Basement’s progressive, creative journey. Much like with anything new, some time to adapt is necessary and the record was the product of a fair few listens before I was completely sold.  First track, Summer Colours immediately denotes a change in course. Major chord progressions and reverb guitars usher in a band which leans less toward the elements of 00’s hardcore, melodic punk from whence it came and more toward the early 90’s indie and emo of bands such as Teenage Fanclub. At points you can picture a backdrop of sepia tones and bohemian males in cords. The second track is an altogether different beast, a punk infused, power chord heavy track called Jet. It’s an ode to the punk rock style of old, with a refrain that’s hauntingly mystical in nature. The song builds to a heavily distorted crescendo which, again, reminds us of Basement’s penchant for early 90’s British music. The last track of the trio – and probably my favourite – is a cover of Suede’s, Animal Nitrate. An early hit for the 90’s alt rock quartet, the band bring an extra dimension to a rather simplistic, brit-pop influenced track. Adding a much heavier, cleaner and fuller sound whilst leaving the core intact. The result is a very wholesome and emotive cover, the undistorted chord progressions and hooks combined with Fisher’s vocals transform Animal Nitrate into a joyous punk rock anthem.

The record is certainly an interesting one. After growing such affection toward colourmeinkindness, I hope the route they take does not wane too far from that. I fear also that would be detrimental to a band who I am sure do not want to be lost in the plethora of British alt rock outfits. There are trademark Basement elements here, natural passion and swooning guitars, but this indefinitely marks a change in course for the band. Fisher’s vocals no longer contain the strain of youth they once had and have mellowed in tone. Where once there was angst there is now a sense of calm, everything seems much more serene and content on the Basement front, and this translates into their music. In three tracks – with one a cover – it is admittedly difficult to translate the progression without a slight sense of disjointedness. Much like the five piece used Two Songs as a taster to I Wish I Could Stay Here, I hope Further Sky has a similar remit. A fuller medium through which to showcase their new direction is undoubtedly the desire of the members and when cast in this context the EP gains a whole new sense of credibility, three footnotes in an altogether wider story, one for which I anxiously wait.

8/10

The Gaslight Anthem – Get Hurt

Theo Bird

What is your favourite band? Annoyingly I feel there’s a lot to take into account when asked this question. However, whatever your reasoning is, most people have an answer, and mine is The Gaslight Anthem. It therefore seems fitting that my first music blog is my view on their fifth studio album, Get Hurt.

Let me start off by saying I’m not a tattooed groupie that swears everything Brian Fallon and co touches turns into audio-gold. The Gaslight Anthem have made bad songs. In fact, bar two or three tracks, I wasn’t a particular fan of American Slang, the bands third album. It lacked all the character and charm which its predecessor, The ‘59 Sound (possibly my favourite album of all time) had in abundance. But anyway, back to my point, my judgement is not clouded by my undying love for this band.

Fallon, 34, has been quite outspoken in describing this album as “very different” to any of the bands others, and because of this he expects the critics to hate it. He states his inspiration as hearing bands grow into a completely different sound (with a particular mention of U2 releasing Achtung Baby after The Joshua Tree). Therefore, Get Hurt is a testimony to the evolution of the band.

Track 1 is huge. Stay Vicious is laced with a raging guitar riff that sounds straight from The Black Keys’, El Camino album. When I first played this, I was almost hoping this would be a continuing theme throughout; that Gaslight’s new sound was a much heavier one as it certainly is a standout track.

Get Hurt is essentially, for better or worse, a break-up album; documenting his divorce from his wife of 10 years. You certainly get a sense lyrically of a much more introspective record, with “the things once in order now seem so strange” in the slightly melancholic song on which the album is named, Get Hurt. A similar tone can be found in the beautifully written Break Your Heart which agreeably slows the pace of the album down. In fact, is this the first Gaslight album ever without a single song mentioning radios? I think it probably is.

The 3^rd single released from the album along with the two mentioned above, is Rollin’ and Tumblin’, which is probably the closest sound-wise to The ’59 Sound you will get on this album. It is for this reason, and perhaps it being one of the more positive sounding tracks, it is a good choice for a lead single. Personally, I much prefer Selected Poems for that “old” Gaslight sound so many loved, particularly the solo guitar work towards the end of the track. Another track worthy of note is Helter Skeleton which I would love to see live for its change of pace throughout and undeniably catchy chorus. If you buy the deluxe version of the album, you get 4 bonus tracks. If I’m honest, they aren’t worth it. They lack conviction as well-thought through songs and come across more as fillers than bonus tracks; just elongating a story which has already ended.

Overall it’s hard to place Get Hurt amongst other Gaslight albums. It’s almost as if it is a cathartic release for Fallon, expressing every emotion bottled up from his divorce. You get the sense that he needed to make it more for himself than his fans. In fact, some of these tracks could very easily have been released under his side-project The Horrible Crowes. He was right; it’s different. Good different or bad different? I’m still undecided after 5 listens, so perhaps I’ll never work it out. Either way it’s an exciting change for Gaslight, and hopefully a vital stepping-stone to future productions.

6/10

Ps. What a truly dreadful album artwork

Best Tracks: Stay Viscious, Helter Skeleton, Rollin’ and Tumblin’, Selected Poems