Album Review - In Love With Oblivion, Crystal Stilts

Written for and published on the ever so amazing Amelia's Magazine.

The new album from Brooklyn based Crystal Stilts is out now on Fortuna POP! The Joy Division comparisons are impossible to shake off, but we're still impressed by this second outing.

I was hoping to be able to stay away from the Joy Division comparisons while writing this review of New York band Crystal Stilt’s new album In Love With Oblivion, but like many before me I’ve found it basically impossible – the influence of Ian Curtis flows through the band’s second album like a vein of precious metal. It’s singer Brad Hargett’s drone-like vocal that does it, strongly recalling Curtis as well as the similarly enigmatic Jim Reid of The Jesus and Mary Chain. (And now I won’t mention the J D words ever again…promise.)

In fact quite a lot has been written about Hargett’s singing style, sometimes scathingly, and his vocals are a little monotonous. There are points on this record when I really wanted him to surprise me by stepping out of the echo chamber to give some these songs a bit of extra punch. On Silver Sun for instance, the whole band are doing some pretty great stuff – the guitars and the organs and the jangle of the tambourine but Hargett maintains his monotonal drawl. There are few upbeat tracks on this record and if Hargett switched his style up a bit on some of them, it would lift the whole album.

But perhaps I’m missing the point, this appears to be an album that is more concerned with creating atmospheres or feelings than totally nailing each individual track. Hargett’s obvious attachment to the echo effect and the whole lo-fi approach towards recording and production makes this album sound dreamlike, almost as if you could be listening to it underwater, and to over-produce or clean up the sound would mean losing some of this otherworldly charm.

There’s also a kind of filmic side to the album, thanks to the murky sound and doom-laden lyrics, not forgetting the use of sound effects. Songs open and end with gusts of wind, car crashes, and crickets – it’s totally atmospheric and a big hint that Crystal Stilts aren’t your average Brooklyn-based hipster garage band.

Illustration by Stephanie Thieullent, see more of her amazing work on her blog, here.

The band clearly includes some skilful musicians, the Johnny Cash-inspired guitar licks of opening track Sycamore Tree provides as good an introduction as any – this is a track that sounds like it’s been around for the last 50 years. In fact there are clear 1960s influences throughout and pretty convincing in places, like the band went to sleep in 1964 and woke up in 2011 and continued making music like nothing had changed, which for someone like me, who happens to love the music of the 1960s, makes this album a really interesting prospect.

There are peaks and troughs with this record though, the seven minute Alien Rivers is a needless addition but those that follow like stand-out track Flying Into the Sun is a fantastic listen and includes the inspired lyrics “There’s a black hole/ behind these eyes/ takes everything with it/ when it dies.” Like the album title suggests there is a bit of an emo vibe running through much of Hargett’s songwriting.

This is the kind of album then, that may well find itself providing the soundtrack to a whole host of late night gatherings and post-party hangouts, and I suspect could sound even better when you’re burnt out but not ready to go to bed just yet.

Crystal Stilts are playing in XOYO in London on June 21 – their only UK date and by the sounds of it, well worth getting down to.

Live Review - Edward Sharpe & The Magnetic Zeros, Old Vic Tunnels, 12/03/11

I’d been desperate to see this band of beautiful hippies as soon as I heard their magnificent track ‘Home’ and I admit, I immediately bought into the barefooted, long haired, guitar-strumming-round-the-camp-fire universe of Edward Sharpe (actually Alexander Ebert) and his Magnetic Zeros (see, here).

The venue for the night, the Old Vic Tunnels, is one of the most magical places I’ve ever visited. Bursting with an eerie, Ripper-tinged atmosphere – I’d already been exposed to the maze of cavernous tunnels near Waterloo station when I went to the premier of Banky’s film Exit Through The Gift Shop so I knew it was going to be a special night.

It didn’t disappoint! A beautiful giant moon hung in the void of one of the tunnels (below); burlesque dancers winked in the pop-up Texan Tavern, and all kinds of performers mingled with the crowd. One guy dressed as a cowboy pressed a suspicious cling-filmed brown square into my palm, that got me in trouble with the Mars police and meant I had to be searched, “is you brain organic?” he said before popping a sweet in my mouth.

Among the band’s ‘proper’ support acts were a harpist and two amazing beatboxers but the best of the bunch was Rocco DeLuca. He stood alone on the main stage – highlighted by just single light, his trademark silver Dobro glinting – and completely mesmerised the small audience with his Jeff Buckley-esque vocals that echoed around the arches.

Then the time came for Edward Sharpe & The Magnetic Zeros to take to the stage. The distant echo of chanting and bells announced their arrival and soon they were pushing their way through from the back of the crowd in a long line of beards and smiles. ‘40 Day Dream’ got us off to a good start and the excitement didn’t dwindle throughout the lengthy set. In the crowd we were squeezed together to within an inch of our lives, but we bellowed along to every track from the album ‘Up From Below’ and stood trance-like for the tracks that were new. I felt as if I'd finally been let into their 1960s throwback universe and the undeniable charisma of Alexander Ebert (or at least, in his guise of alter ego Edward Sharpe) pulsed through the underground audience. At midnight exactly it spilled out onto the street and into the night…

Album Review - Skin & Bones, David J Roch

City Sessions_Film Two_David J Roch from City Sessions on Vimeo.

I was lucky enough to see David J Roch at the launch of exciting film/music venture City Sessions, which has been set up by the lovely Matthew Lawes (@mattylawes if you’re on twitter.) The video I’ve included is one of the installments from Matt and co’s City Sessions, check the rest out, here. Anyway, more about that another time, what follows is my review of Roch’s album, originally written for The 405, published here.

Say what you want about David J Roch but one thing is for sure; he possesses a pretty impressive set of pipes. Pretty outstanding actually, he can switch from bluesy baritone to soaring falsetto with not so much as a second thought – making his debut album one that can’t fail to make you sit up and listen.

The first track, ‘The Lost Child’ is as good a showcase of this as any. It starts quietly, just an electric guitar and Roch’s voice residing very much at the higher end of the scales – almost piercing, but as instruments join in so Roch’s voice warms up, leading to an impassioned chorus of “all I’ve got is love.”

Roch definitely appears to have adopted the wear-your-heart-on-your-sleeve approach to songwriting. For example, in ‘Hour of Need’ he sings, “I’m so ashamed of what I’ve done and yet so afraid of what’s to come, you gave me up to be lonely with another boy” – making for a heartwarming and honest listen.

The comparisons are many and varied; Damien Rice is one, and there’s something Michael Stipe-esque about his delivery in songs like ‘Bones’. British Sea Power also come to mind, so it’s unsurprising then that Roch provided support for British Sea Power on their most recent tour and I can only imagine won himself a few fans in the process.

‘Lonely Unfinished’ is especially atmospheric mainly because of the use of a church organ, “love is splendid agony” goes the refrain, like a tortured medieval lullaby, and Roch uses his higher range to perfection on this track.

‘Dew’ is reminiscent of some of the more recent sounds of say, Zola Jesus or Hurts both of whom manage to make current music with clear 80s and 90s influences – proof that Roch has more than one string to his bow. ‘Devil Don’t Mind’ harks to a southern gospel sound and Roch has admitted he is a fan of this style of music and indeed jazz. Of course, he has put his own slightly macabre spin on proceedings here as everywhere, which results in the killer line, “there’s no point in being well behaved, when you’re stood in your own grave.”

These gothic undertones are common throughout the album and Roch is clearly a bit preoccupied by thoughts and ideas surrounding mortality – ‘Bones’, ‘Skin and Bones’, ‘Devil’ – all are darkly romantic and yet thrillingly uplifting. ‘Skin and Bones’ has single written all over it – close enough to anthemic folk to perhaps permit it some serious radio time ala Mumford & Sons.

Album Review - The King of Limbs, Radiohead

Published originally over here by The 405.

This album, to me, is one of two halves, although the use of echo, and the decision to let Thom Yorke’s lyrics almost take a back seat, creates a relationship between each and every track.

The first half of the album is characterised by its agitated rhythms – a slightly aggressive tone even, such as on second track ‘Morning Mr Blackbird’ where Yorke asserts, "you’ve got some nerve coming here.” This section of the album seems to be where the band is really stretching the limits and experimenting with their sound.

The second half, especially the last three tracks, is easier to listen to and perhaps picks up where In Rainbows left off. ‘Codex’ is my personal favourite, cool and ethereal and including a really beautiful use of brass. This mellow vibe continues on ‘Give Up The Ghost’ and on ‘Separator’. The last song on the album, ‘Separator’s’ refrain of “wake me up” is fitting because when The King of Limbs finished you almost feel as if you’ve woken up from a deep and wonderful dream.

My very lazy top 3 albums of 2010

Time for the obligatory 'my best albums of the year' post. Usually I don't bother, and yet the world manages to remain spinning on its axis, so why this year? Well, actually I was a bit intrigued. And I'm more than a bit lazy. So I just checked out my 'most played' on itunes and it yielded quite a good representation of my favourite 2010 albums and my year in general. Also a lot of favourites that had nothing to do with 2010, but I'll stick to the brief.

Yeasayer's album Odd Blood came top. And just to keep things super neat their track 'ONE' was my number one most played track, which makes me think that deep down maybe I'm not an 'organised chaos' kinda girl but actually more psychotically OCD than anyone could imagine. Now, it would have been at this point that I'd have pointed out that the video below was one of the weirdest music videos of the year, but since Klaxons came along with their 'Twin Flames' video, Yeasayer's efforts may as well be an episode of Playdays.

I got to enjoy seeing Yeasayer perform earlier in the year and tracks 'ONE', 'Ambling Alp', and 'I Remember', still make me hop about excitedly if they come on in a bar. All-in-all a worthy choice for the top spot.

Arcade Fire is up next with their spectacular album The Suburbs. In contrast to Yeasayer, this was definitely not an album that got me throwing shapes all over London, but rather one that helped put my brain back together after all the shape throwing (and sometimes, throwing up) was done. In fact the lilting melodies and shimmering instrumentation of this Canadian band are partly responsible for getting me through the final stretch of my Masters. Having just been annouced as the winner of HMV's album of the year I'm ready to admit that I might not be alone in cherishing this particular release.

Finally, Stornoway and their debut Beachcombers Windowsill have snuck in as my third most played 2010 album. Not surprising that there should be a folksy entry but I think one word can sum up it's inclusion in the top 3, Glastonbury.

The Park, Saturday afternoon, glorious sunshine - the stage is set for what would be some of the best moments of this year's festival. Stornoway kicked off proceedings, and then having swayed in the sun for a little too long already that day, we retreated to the shade where we heard Biffy Clyro do a storming secret gig, had a groove to Candi Staton and the original 'You've Got The Love', and regained our strength in time for Laura Marling and a night of mischief. Clearly I've been trying to recreate that afternoon ever since as 'Boats and Trains' has racked up over 100 listens.

Right, and that's it. My very lazy top 3 albums of the year. For someone as indecisive as me that was a winning formula - letting my itunes do all the hard work.

I think I'm going to go and download a Lucky Number 8 Ball app and let it choose what I'm doing in 2011.

Album Review - Long Live, Snowblink

Written for and published on The 405.

Having already become firm favourites among hundreds of music bloggers everywhere, Snowblink’s full album is finally being released.

Snowblink, made up of San Franciscans Daniela Gesundheit and bandmate Dan Goldman, have produced a beautiful album in ‘Long Live’ that brings a touch of the ethereal to the increasingly popular folk genre. Providing a link between the nature-inspired lyrics of Fleet Foxes and the pretty vocals of Leslie Feist of Feist and Broken Social Scene, Snowblink are very ‘now’ but manage to be wonderfully nostalgic at the same time.

Gesundheit’s voice is really quite mesmerising and thankfully this voice is allowed to be the focus of every song on the album, indeed in parts like ‘Divining Rod’ it is all you hear. The songs might deviate in style – a hint of gospel in ‘Sea Change’, indie pop vibes on ‘Heckling the Afterglow’ and country on ‘The Tired Bees’ - but Gesundheit’s voice forges a close relationship between each and every one. Long Live is very much one whole rather than simply a showcase of fifteen disconnected but well written tracks.

'Ambergris' is the highlight of the album, finger-picked guitars and layers of lovely instrumentation make this song quite anthemic but in the most understated way. The song has enjoyed some popularity thanks to the internet’s capacity for sharing and helped along some way by the 70’s inspired music video, which shows the band in a hippy utopia, walking among wildflowers, complete with floaty dresses and frolicking children…sounds pretty good to me! By the time ‘Ambergris’ is nearing its end with the nonsensical refrain of “I hope you find your ambergris” it has crept all the way up to spine-tingling territory.

Snowblink’s first full album is essential listening for anyone enjoying the present folk music take over, especially those who like their folk with a country twist. Twinkling melodies and understated it truly makes ears happy, ‘Long Live’ Snowblink.

Live Review - Lissie/ Ramona, Heaven

Written for and published on For Folk's Sake

Lissie played a sold out gig at London’s Heaven, but not without the help of her trusty superglue. She followed a storming set from Brighton four piece Ramona, who were first to take to the venue’s lofty stage and provided a more than satisfactory warm-up for the powerful lungs of Lissie that were to follow.

It might be a lazy comparison, but the punk-influenced musical stylings, the blonde hair, and the pouty attitude of Ramona’s lead singer Karen Anne brought a young Debbie Harry to mind. Single ‘How Long’ was another nod to a punk era gone by: a perfectly modern take on the punk-rock sounds of the late 70s, it reminded me of the Undertones’ ‘Teenage Kicks’. With the addition of 90s classic Blue Boy’s ‘Remember Me’, the highlight of the set, Ramona proved that they are a group with many strings to their musical bow.

Then it was Lissie’s turn. The atmosphere was buzzing as this much-talked about musician opened up with ‘Wedding Bells.’ It’s often a worry that a much-hyped act will struggle to live up to expectations. This was certainly not the case with Lissie. Her powerful and soulful voice – whether she’s singing softly on ‘Bully’ or belting it out on her first single, ‘When I’m Alone’ – changed my cynical mind right from the start.

Appearing totally comfortable on stage, she told a bemused audience that she had to briefly stop the gig to get some superglue. “I don’t play with a pick, I guess I should learn. I actually have this long nail…” she explained to the thoroughly disgusted crowd. But after covering her fingertip with super glue, and as if to prove her method certainly works, she played a truly magnificent and heartfelt rendition of ‘Everywhere I Go’.

The band had chosen to cover Led Zeppelin’s ‘Stairway To Heaven’, as performed on Radio 2 recently, as the ultimate finale (especially appropriate at a venue named Heaven). Lissie and her band produced a particularly magical rendition of the rock anthem, that would have brought a smile to even the most hardcore of Led Zep fans.

Having listened to Lissie’s album I wasn’t quite so sure what made her stand apart from the veritable gaggle of girly singer/songwriters currently in vogue. Actually her album Catching A Tiger just doesn’t do her justice, her powerful and soulful voice is totally unique and definitely one to see live. Lissie is one of the best singers around at the moment.