San Diego’s Delta Spirit return to the Europe for the second time this year on mission to get their name heard, this time armed with a more extensive tour schedule. In the UK word has yet to peak about their refreshing take on alternative country, while support slots with Clap Your Hands Say Yeah and Cold War Kids have gone some way to raise the bands US profile. Ticket sales tonight have resulted in Bathgate indie Topshop oiks The Harringtons being promoted to headline slot. Still on tonight’s evidence it wont be long before Delta Spirit are selling out venues like King Tuts, and The Harringtons are but a distant bad memory.
Delta Spirit appear your typical alt. folk band facial hair and plaid shirts intact, but do not let that fool they bring a original sense to the whole scene. Frontman Matt Vasquez’s rough croak is as unique as it is engrossing as he creates a feel reminiscent of singers from ‘60’s folk movements. It does not stop with the former busker, Vasquez is backed by an equally equipped band whose tendency to break into triple percussion attacks only add to bands live appeal.
The band seem excited to be back at Tuts being more than encouraged by recognising faces from two months prior. The returning crowd members share a similar excitement and are thoroughly rewarded when they break into outstanding cover of Tom Waits ‘San Diego Serenade’, which Vasquez proudly announces is about their hometown.
Closer the protest era Dylan-esque ‘People Turn Around’ starts off slowly but builds up to see the band leave on high before, The Harringtons lower the tone. The bands performance tonight will certainly draw many more of the crowd back to see them on return to Glasgow, and with festival season just around the corner they will certainly be on the list for one to look out for.
Monday, 30 March 2009
Sunday, 15 March 2009
Lily Allen @ Academy 14/3/09
It seems a day never goes by where Lily Allen is not in the public eye, the latest celebrity slagging or new love interest which ever apparently matters to us most at that specific time. But with all this attention it seems to have been forgotten why she came to the publics attention first of all, her music. Debut album Alright, Still’s sunny ska-pop sound brightened up the summer of 2006 leaving people from all over the musical spectrum with a smile on their face. Latest offering It’s Not Me, It’s You sees a new slimmer, more glamorous Lily take a more electronic path. Yet, while maintaining that poppy appeal it lacks the sunny freshness that the debut brought.
Tonight sees Lily in her usual stage capacity as she exchanges words with the crowd like they are friends down the pub, while sipping from a wine glass containing what appears to be cider. Onstage she maintains her refreshing ignorance to the attention that is thrust her way, it all seems to by pass her as she chats about tomorrows forthcoming cup final.
Disappointingly the set is short of older material as only three pre-It’s Not Me It’s You tracks make it in, even classic LDN is harshly cut short as they try jam every song from the new record into the show. The new songs do not lack appeal but you do find yourself longing for a Friday Night with each new track leaving you appreciating how good her debut was. Lily herself is on her game as she struts about in her now trademark trainers and dress willing her ‘friends’ to sing along to every word.
The show itself is strong and most, like the press, seem to be lapping up everything Lily does. Yes, the old songs are few and far between but the new songs have their charm and the lack of a brass section might not do the older tracks justice. Still the gig taken on first hand is highly enjoyable and closing on her superb yet trouble-ridden cover of Britney’s Womanizer ends the set on a high. Let’s face it could have been much worse, she could have played Alfie.
Tonight sees Lily in her usual stage capacity as she exchanges words with the crowd like they are friends down the pub, while sipping from a wine glass containing what appears to be cider. Onstage she maintains her refreshing ignorance to the attention that is thrust her way, it all seems to by pass her as she chats about tomorrows forthcoming cup final.
Disappointingly the set is short of older material as only three pre-It’s Not Me It’s You tracks make it in, even classic LDN is harshly cut short as they try jam every song from the new record into the show. The new songs do not lack appeal but you do find yourself longing for a Friday Night with each new track leaving you appreciating how good her debut was. Lily herself is on her game as she struts about in her now trademark trainers and dress willing her ‘friends’ to sing along to every word.
The show itself is strong and most, like the press, seem to be lapping up everything Lily does. Yes, the old songs are few and far between but the new songs have their charm and the lack of a brass section might not do the older tracks justice. Still the gig taken on first hand is highly enjoyable and closing on her superb yet trouble-ridden cover of Britney’s Womanizer ends the set on a high. Let’s face it could have been much worse, she could have played Alfie.
Friday, 6 March 2009
Franz Ferdinand @ Barrowlands 5/3/09
Tonight is the second homecoming night for a band needing to justify who is the biggest Glasgow band, and with the illustrious ballroom that is the Barrowlands they could not ask for a more ideal location. Tonight does not come with the excitement it could following a new album that could so easily have passed under the radar and with Franz being a common sight around the city, despite two of them residing outside Glasgow. Still the prospect of hearing the tracks that won over almost the whole country is enough to sell out the venue twice and surely more.
Support tonight comes from the latest California buzz band The Soft Pack whose main column filler has come from a controversial name change. Formerly The Muslims they changed their name following violent attacks from idiots who believed them to be either racists or terrorists. The band has won praise for their music too drawing comparisons with lists of illustrious acts. Either way they have gained a name for themselves and their current tour schedule goes some way to prove it, with this support slot is followed by full US and UK headline tours, and dates at SXSW, ATP and Primavera.
Tonight the band seems bedazzled by an almost static crowd impatient to see their heroes. They appear rigid and unenthusiastic as if they had given up on winning over the audience, possibly down to a poor reception the previous night. However they get through the set without expelling too much energy and get off as fast as they can, that is not to say they were bad possibly in their own environment a band like this would thrive. You can see evidence in their songs where comparisons with bands like Pavement and The Strokes have come. It is easy to see how tracks like closers ‘Parasites’ and ‘Nightlife’ could be loved by those who have adopted that alternative indie scene. Tonight The Soft Pack do themselves no justice and the majority of the crowd wont go as far as learning their name.
Franz as expected enter to the complete opposite reception, it is as if you are back in 2004 when they won over multitudes of fans with their sing-a-long brand of post punk. Just the word ‘Glasgow’ leaving Alex’s lips are enough to draw a euphoric response from the crowd as if the city is welcoming home its own kings.
The set itself is its usual enjoyable yet shambolic Franz Ferdinand affair, but that is what it always was. The band flows through a set of old and new with each song receiving an up roaring retort from this excitable crowd. The odd duff note and Alex not being able to hit notes he would have five years ago go almost unnoticed as the crowd sing along to every word. The thing is, in Glasgow at least, Franz will always be forgiven these mistakes it is the way they have always been. Now they are getting old some pushing forty, they can be given even more scope but what they have done for the reputation of Glasgow music will assure they are always loved. As I leave a show packed full classic tracks and joyful hero worshipers it is clear who Glasgow’s biggest band are, and I think the band knows it too.
Support tonight comes from the latest California buzz band The Soft Pack whose main column filler has come from a controversial name change. Formerly The Muslims they changed their name following violent attacks from idiots who believed them to be either racists or terrorists. The band has won praise for their music too drawing comparisons with lists of illustrious acts. Either way they have gained a name for themselves and their current tour schedule goes some way to prove it, with this support slot is followed by full US and UK headline tours, and dates at SXSW, ATP and Primavera.
Tonight the band seems bedazzled by an almost static crowd impatient to see their heroes. They appear rigid and unenthusiastic as if they had given up on winning over the audience, possibly down to a poor reception the previous night. However they get through the set without expelling too much energy and get off as fast as they can, that is not to say they were bad possibly in their own environment a band like this would thrive. You can see evidence in their songs where comparisons with bands like Pavement and The Strokes have come. It is easy to see how tracks like closers ‘Parasites’ and ‘Nightlife’ could be loved by those who have adopted that alternative indie scene. Tonight The Soft Pack do themselves no justice and the majority of the crowd wont go as far as learning their name.
Franz as expected enter to the complete opposite reception, it is as if you are back in 2004 when they won over multitudes of fans with their sing-a-long brand of post punk. Just the word ‘Glasgow’ leaving Alex’s lips are enough to draw a euphoric response from the crowd as if the city is welcoming home its own kings.
The set itself is its usual enjoyable yet shambolic Franz Ferdinand affair, but that is what it always was. The band flows through a set of old and new with each song receiving an up roaring retort from this excitable crowd. The odd duff note and Alex not being able to hit notes he would have five years ago go almost unnoticed as the crowd sing along to every word. The thing is, in Glasgow at least, Franz will always be forgiven these mistakes it is the way they have always been. Now they are getting old some pushing forty, they can be given even more scope but what they have done for the reputation of Glasgow music will assure they are always loved. As I leave a show packed full classic tracks and joyful hero worshipers it is clear who Glasgow’s biggest band are, and I think the band knows it too.
Sunday, 1 March 2009
David Byrne @ Royal Concert Hall 31/3/09
‘Does anybody like Dumbarton?’ I heard shouted at Connect a couple of years ago, why anybody would do such a thing? The answer is simple: David Byrne. Tonight I got to see exactly why this man could bring somebody to like a place such as Dumbarton without even visiting the place.
The Royal Concert Hall has a bizarre feel to it as a gig venue. Entering through a bewilderingly large foyer into what appears to be an airport check-in, expensive bar and gift shops with complete with ‘no food of drink past this point’ signs. The hall itself feels more like a conference room than a venue for a pop concert. This is all forgotten when the lights go out and the homecoming hero enters the stage.
Byrne and his band appear dressed in all white as if there is something all round clean and innocent about them, and there is as Byrne just appears a nice old man. Byrne addresses the crowd with his intent for tonight’s show, announcing the set will consist majorly of songs produced with Brian Eno. Crowd interaction is clearly not Byrne’s forte but that is not what he is here to do, and when he bursts into the set you instantly get why he is so highly regarded. His singing voice is as unique and wonderful as it ever was, and for man pushing 60 he gets about the stage.
Still by two or three songs in you feel there is something missing, the famous Talking Heads dance moves or the orchestra that has been with him through recent solo touring schedules, maybe. However it is just as you start to think this that the surprise is unleashed, as Byrne and co. hit into their next track three dancers emerge. The dancers go on to produce a mesmerisngly energetic, superbly choreographed routine throughout the set. It is not just the energy and routine that is engages about the dancers, they seem to be genuinely having the time of their lives and their engagements with the backing vocalists makes for quite an eye-catchingly chaotic show. This coupled with the use of wheelie chairs and the involvement of Byrne himself all add up to create as superb a visual experience as it is musically.
The set itself draws from Byrne’s expansive yet brilliant catalogue of material; the tracks produced with Eno are arguably the best of his work. Only one song from a non-Eno era is squeezed into the set in Talking Heads single ‘Burning Down the House’. Byrne himself is endearing while remaining constantly entertaining as he cuts through old and new, points out his family members, and keeps coming back with three encores.
The highlights of the set for the majority of the crowd are Talking Heads tracks, which are not played sparingly. Arguably the stand out moment of the set is when Talking Heads’ classic tracks are played back to back in Remain in Light’s ‘Once in a Lifetime’ and Fear of Music’s ‘Life During Wartime’. Creating enough of a spark in the room to draw the majority of the crowd to their feet, simultaneously tearing a new energy level on the stage.
It may be for reminisant purposes that the majority come and see David Byrne, but unlike so many older acts who have returned to the stage he does not let down. It is not exactly the same of course this is not Stop Making Sense but it is a man who equally and clearly knows what he is doing as much as he loves it.
The Royal Concert Hall has a bizarre feel to it as a gig venue. Entering through a bewilderingly large foyer into what appears to be an airport check-in, expensive bar and gift shops with complete with ‘no food of drink past this point’ signs. The hall itself feels more like a conference room than a venue for a pop concert. This is all forgotten when the lights go out and the homecoming hero enters the stage.
Byrne and his band appear dressed in all white as if there is something all round clean and innocent about them, and there is as Byrne just appears a nice old man. Byrne addresses the crowd with his intent for tonight’s show, announcing the set will consist majorly of songs produced with Brian Eno. Crowd interaction is clearly not Byrne’s forte but that is not what he is here to do, and when he bursts into the set you instantly get why he is so highly regarded. His singing voice is as unique and wonderful as it ever was, and for man pushing 60 he gets about the stage.
Still by two or three songs in you feel there is something missing, the famous Talking Heads dance moves or the orchestra that has been with him through recent solo touring schedules, maybe. However it is just as you start to think this that the surprise is unleashed, as Byrne and co. hit into their next track three dancers emerge. The dancers go on to produce a mesmerisngly energetic, superbly choreographed routine throughout the set. It is not just the energy and routine that is engages about the dancers, they seem to be genuinely having the time of their lives and their engagements with the backing vocalists makes for quite an eye-catchingly chaotic show. This coupled with the use of wheelie chairs and the involvement of Byrne himself all add up to create as superb a visual experience as it is musically.
The set itself draws from Byrne’s expansive yet brilliant catalogue of material; the tracks produced with Eno are arguably the best of his work. Only one song from a non-Eno era is squeezed into the set in Talking Heads single ‘Burning Down the House’. Byrne himself is endearing while remaining constantly entertaining as he cuts through old and new, points out his family members, and keeps coming back with three encores.
The highlights of the set for the majority of the crowd are Talking Heads tracks, which are not played sparingly. Arguably the stand out moment of the set is when Talking Heads’ classic tracks are played back to back in Remain in Light’s ‘Once in a Lifetime’ and Fear of Music’s ‘Life During Wartime’. Creating enough of a spark in the room to draw the majority of the crowd to their feet, simultaneously tearing a new energy level on the stage.
It may be for reminisant purposes that the majority come and see David Byrne, but unlike so many older acts who have returned to the stage he does not let down. It is not exactly the same of course this is not Stop Making Sense but it is a man who equally and clearly knows what he is doing as much as he loves it.
Thursday, 26 February 2009
Titus Andronicus @ King Tut's 25/2/09
It is ten to ten when the New Jersey quintet takes the stage, and before assaulting the eager crowd with a dose of their punk inspired indie rock they take time to apologize for missed trains. Albeit, when the band breaks into their set catching a train the last of anyone’s worries as the energy the band expels is breathtaking, it is as if the band are zapping their strength straight from the audience.
Titus Andronicus blast through a set packed full of could be underground classics, as they successfully manage to translate the quality of their debut LP into a quite awe-inspiring live show.
The sets stand out track comes in their anthemic self-titled effort, which draws the crowd into frenzy with its catchy howled vocals and lively harmonica bursts. This comes perfectly straight after treating them to a sing-a-long cover of Weezer hit ‘Say It Ain’t So’.
Unlike the play from which they lift their name there doesn’t seem to be tragedy in this Titus Andronicus only a huge celebratory feel. Certainly is one to look out for in the future.
Titus Andronicus blast through a set packed full of could be underground classics, as they successfully manage to translate the quality of their debut LP into a quite awe-inspiring live show.
The sets stand out track comes in their anthemic self-titled effort, which draws the crowd into frenzy with its catchy howled vocals and lively harmonica bursts. This comes perfectly straight after treating them to a sing-a-long cover of Weezer hit ‘Say It Ain’t So’.
Unlike the play from which they lift their name there doesn’t seem to be tragedy in this Titus Andronicus only a huge celebratory feel. Certainly is one to look out for in the future.
Saturday, 31 January 2009
Interview: Crystal Antlers
Chimney sweeping wont even enter your mind when you think of California; the states sun baked roofs surely don’t need fires and if they do chimneys are near extinct. Still this is what you could find one of the states best up-and-coming bands doing, now is not the time to find them though as the much-hyped DIY act Crystal Antlers are kicking into their first European tour.
Excitement is high as for the majority of the band this is a first trip to Europe, Scotland seems to hold some significance as like so many American’s they believe they have a distant Scottish heritage. Evidence of this heritage is pretty well hidden, drummer Kevin Stuart’s shocked reaction to gulping from a can of Tennents provides evidence of this. The band arrived in Glasgow for the first time on the back of four nights in London where I am assured there was no Dick Van Dyke-esque rooftop dancing, but playing to near sold out shows every night.
The Long Beach act find tonight’s gig just as highly anticipated as the London shows with the venue having to stop selling tickets early in fear of an overflow. Appearing an unorthodox mix with appearances as varied as their part time job is rare but the band are linked together through their fussy, funk enthused punk sound. After the sound check I caught up with frontman Jonny Bell to chat about the new album, Bad Brains, Pitchfork, and ‘the dying trade’ of chimney sweeping.
This is your first European tour and for the majority of the band a first visit to Europe. Is there anywhere you are particularly excited about visiting or playing in while you’re here?
We were all really excited to come to Glasgow as some of us have Scottish heritage, at least we think. Kevin (Stuart, drummer) defiantly does. Our manager Phil and our friend Michael, who’s making a movie with us, have been to Europe hundreds of times but have never been to Glasgow.
Have you managed to see much of Glasgow?
We’ve only been here about four hours, (laughs) all we’ve really managed to see is the hotel and the rain. We went into a shopping centre; it wasn’t much different from ones in America. We generally don’t get to see much more than the venue when we are on tour; we’ll get the occasional night off but not tonight, hopefully we’ll get to see more when we come back after the album is released.
On the subject of the new album Tentacles is due out in shortly. It has been said to ‘detail the fragmentation of nature and its destruction from humankind’, is this a theme behind the record?
I think that was just something in a press release, I don’t really know where they got that from. The album has a lot of the same elements that were on our EP. It has a kind of loose feeling, but with a lot of parts that are more concise, and we have a lot of ‘noise’ sections that were worked out is specific ways to sound like noise, but they’re not. It’s a progression from the EP overall, there are more vocals and the writing process was a lot more collaborative.
Everyone seems to be struggling to nail down an accurate description of your sound. You’ve been described as various crossovers of styles, or random genres that seem to have been thrown together. How would you describe your sound and influence?
I try not to describe our sound; I’m not really going for something specific. As for our influences, all of us were in punk bands; we come from a real punk background. Damian (Edwards aka Sexual Chocolate, percussion) and Andrew (King, guitar) played with H.R. from Bad Brains so there is a lot of punk influence. We tried to expand on that. Myself, I was really into old soul music, Miami ‘60's type stuff.
I wanted to touch on the promotion the band has been receiving from Pitchfork. What is your perspective on the promotion they give to bands like yourselves, and what affect it has?
It’s pretty amazing how much affect and power they have over the music industry. It’s particularly interesting to us, as none of us had ever heard of Pitchfork when they reviewed the EP, it was up in their best new music section, we had no idea what that meant. At that point we didn’t have a label or distribution, it was all done through mail order with my house as the return mailing address, all the CDs were hand made. Then we were reviewed on Pitchfork and I had to spend pretty much the next week making CDs and shipping them out. So, yes it was good for us as it all expanded from there, but it does seem kind of unrealistic and unfair to a lot of bands. Also, a lot of the bands they champion I don’t necessarily agree with.
Finally just to clear something up, I read that three of you met while you were chimney sweeps, is this true or a complete myth?
Well, we didn’t meet as chimney sweeps but we did all work as chimney sweeps. I suppose it is a pretty rare thing to do, especially in California, it’s a dying trade in a way. I actually still work as a chimney sweep when I’m not touring.
You’ll have heard all the Mary Poppins jokes then?
(laughs) well the company we worked for was actually called Chim Chimney. So, (laughs) yes!
Excitement is high as for the majority of the band this is a first trip to Europe, Scotland seems to hold some significance as like so many American’s they believe they have a distant Scottish heritage. Evidence of this heritage is pretty well hidden, drummer Kevin Stuart’s shocked reaction to gulping from a can of Tennents provides evidence of this. The band arrived in Glasgow for the first time on the back of four nights in London where I am assured there was no Dick Van Dyke-esque rooftop dancing, but playing to near sold out shows every night.
The Long Beach act find tonight’s gig just as highly anticipated as the London shows with the venue having to stop selling tickets early in fear of an overflow. Appearing an unorthodox mix with appearances as varied as their part time job is rare but the band are linked together through their fussy, funk enthused punk sound. After the sound check I caught up with frontman Jonny Bell to chat about the new album, Bad Brains, Pitchfork, and ‘the dying trade’ of chimney sweeping.
This is your first European tour and for the majority of the band a first visit to Europe. Is there anywhere you are particularly excited about visiting or playing in while you’re here?
We were all really excited to come to Glasgow as some of us have Scottish heritage, at least we think. Kevin (Stuart, drummer) defiantly does. Our manager Phil and our friend Michael, who’s making a movie with us, have been to Europe hundreds of times but have never been to Glasgow.
Have you managed to see much of Glasgow?
We’ve only been here about four hours, (laughs) all we’ve really managed to see is the hotel and the rain. We went into a shopping centre; it wasn’t much different from ones in America. We generally don’t get to see much more than the venue when we are on tour; we’ll get the occasional night off but not tonight, hopefully we’ll get to see more when we come back after the album is released.
On the subject of the new album Tentacles is due out in shortly. It has been said to ‘detail the fragmentation of nature and its destruction from humankind’, is this a theme behind the record?
I think that was just something in a press release, I don’t really know where they got that from. The album has a lot of the same elements that were on our EP. It has a kind of loose feeling, but with a lot of parts that are more concise, and we have a lot of ‘noise’ sections that were worked out is specific ways to sound like noise, but they’re not. It’s a progression from the EP overall, there are more vocals and the writing process was a lot more collaborative.
Everyone seems to be struggling to nail down an accurate description of your sound. You’ve been described as various crossovers of styles, or random genres that seem to have been thrown together. How would you describe your sound and influence?
I try not to describe our sound; I’m not really going for something specific. As for our influences, all of us were in punk bands; we come from a real punk background. Damian (Edwards aka Sexual Chocolate, percussion) and Andrew (King, guitar) played with H.R. from Bad Brains so there is a lot of punk influence. We tried to expand on that. Myself, I was really into old soul music, Miami ‘60's type stuff.
I wanted to touch on the promotion the band has been receiving from Pitchfork. What is your perspective on the promotion they give to bands like yourselves, and what affect it has?
It’s pretty amazing how much affect and power they have over the music industry. It’s particularly interesting to us, as none of us had ever heard of Pitchfork when they reviewed the EP, it was up in their best new music section, we had no idea what that meant. At that point we didn’t have a label or distribution, it was all done through mail order with my house as the return mailing address, all the CDs were hand made. Then we were reviewed on Pitchfork and I had to spend pretty much the next week making CDs and shipping them out. So, yes it was good for us as it all expanded from there, but it does seem kind of unrealistic and unfair to a lot of bands. Also, a lot of the bands they champion I don’t necessarily agree with.
Finally just to clear something up, I read that three of you met while you were chimney sweeps, is this true or a complete myth?
Well, we didn’t meet as chimney sweeps but we did all work as chimney sweeps. I suppose it is a pretty rare thing to do, especially in California, it’s a dying trade in a way. I actually still work as a chimney sweep when I’m not touring.
You’ll have heard all the Mary Poppins jokes then?
(laughs) well the company we worked for was actually called Chim Chimney. So, (laughs) yes!
Thursday, 1 January 2009
Best of 2008
10.
Lil Wayne
Tha Carter III
(Cash Money)
The biggest selling album of the year seldom means greatness but Lil Wayne’s latest offering is certainly deserving of all the units sold. The self-proclaimed ‘best rapper alive’ put the work in to get his name around, countless guest appearances, and an endless collection of mix-tapes helped keep bloggers pages filled. Yet the New Orleans born MC has topped it all, C3 is remarkable as the eccentric Wayne brings all his tricks to the table producing his best work so far. It seems Wayne is justifying the bold brags he spits in both his lyrics and personal life some nine years after his debut.
9.
Vampire Weekend
Vampire Weekend
(XL)
Tipped as one of the hottest prospects for 2008 Vampire Weekend set the bar high early on. In their self-titled debut the well-educated New York kids give nods to African pop, much like influence David Byrne had before them. But the band doesn’t outwardly wear their influences; they appear a preppy easily dismissible indie band. However, it is how these ideas and influences are used which makes VW shine. The album dazzles with pop sensibilities, a happy uncomplicated listen that will keep you coming back for more. VW’s bright sunny feel makes it the ideal summer record, leaving a feeling that it came a little too early.
8.
Portishead
Third
(Mercury)
Portishead’s return was almost as unexpected as it proved refreshing eleven years after their last release. Arguably the elite of trip-hop’s return comes long after the death of the scene they led. The Bristol trio have obviously seen this happen, and while Third holds slight similarities to past work the majority is left smartly back in 1997. Gone are the heavily moody trips instead a pacier almost psychedelic feel is left. The recognisable feature of Beth Gibbons’ inspired quiver is almost the only resemblance. Still the stunning weirdness Portishead always had remains but this time it comes in a somehow starker reality than a decade ago.
7.
Atlas Sound
Let The Blind Lead Those Who Can See But Cannot Feel
(Kranky)
It has been a packed year for Bradford Cox; his bands third LP, countless blogged demos, and his solo debut. Cox sees Let The Blind… as his psychedelic dream but it is easy to see Atlas Sound as a deeper impression of his personal self. Cox’s band Deerhunter carry a powerful impression, but there is something awkwardly personal about this record. Wondrous eerie stories told through disturbed isolated lyrics that could be easily linked to Cox’s illness ridden past. Still, as Atlas Sound, Cox has created a superbly distinctive minor pop record full of ambient instrumentals and cool haunting psychedelica that could complete some estranged dream.
6.
The Bug
London Zoo
(Ninja Tune)
Noise artisan Kevin Martin has been kicking about the UK dance underground for a good time; during this time he has varied his projects through many subgenres. Martin’s latest release under alias The Bug finds him drawing these subcultures together more than ever before. London Zoo, his second album as The Bug, finds Martin drawing plenty from current British dance movements, merging them in with his own dancehall mastery effectively drawing British dub directly into the 21st century. Yet Martin cannot take all the accolades as he called on a wealth of vocal talent for this record, however it was him who marshalled this to create possibly his most accessible work to date.
5.
TV On the Radio
Dear Science,
(4AD)
As one of the years most eagerly awaited albums Dear Science, does not let down, TV On the Radio have produced another outstanding effort in follow up to 2006’s Return to Cookie Mountain. In Dear Science, they have released as optimistic a record as will be heard this year, an album hugely varied in style and sound. TVOTR make their cautiousness about gaining huge popularity clear through dark stories and their never immediate catchiness. Despite this Dear Science, holds down musical and production excellence with notes of joy managing to break through, adding to the appeal of one of the most exciting indie rock bands of recent times.
4.
No Age
Nouns
(Sub Pop)
The L.A. duo took a more ambitious route to follow up last years Weirdo Rippers, and it has paid off emphatically, as Nouns sees No Age break more accessible ground than ever before. Lead single ‘Eraser’ being the biggest example of this complete with its frenzied chirping guitar introduction. The tracks have changed from the riff driven debut in favour of a more coherent thoughtful sound, with the band still managing to keep the droney appeal that won over their initial audience. Simultaneously they are crafting minor vocal hooks behind the constant sound barrage that will keep their audience interested and continue to attract new fans.
3.
Hercules and Love Affair
Hercules and Love Affair
(DFA)
New York’s Hercules and Love Affair have not only produced one of best DFA LPs to date but have also paved a possible mainstream disco revival. Andrew Butler and Antony (and the Johnsons) Hegarty have shaped a lush, camp masterpiece in which a mixture of vintage styles, strong lyrics and plenty of imagination have been used to create as unique a dance album as you will hear this year. Yes, H&LA owe a debt to the ‘70’s/’80’s disco scene but this release should not leave them pigeon holed by their references. Slight pacing issues are instantly forgiven, as there are more than enough tracks to fill any forward thinking dance floor within this gem of a record.
2.
Fleet Foxes
Fleet Foxes/Sun Giant EP
(Sub Pop)
Somewhat of a buzz was surrounding Fleet Foxes even before their debut EP hit iTunes libraries. The excitement surrounding the band became justified as soon as you put these records on and enter into the wondrous world of Fleet Foxes. The Seattle five-piece has crafted a beautiful pop record with a strong folk feel combined with near perfect harmonies, which could appeal to almost any age group. The harmonies are possibly the main focal point as the record acts as a vehicle for the bands vocal talents, especially those of Robin Pecknold, who gloriously leads the Foxes. Collectively Fleet Foxes have created something original and timeless that could have easily come from west coast America in the ‘60’s, rather than from a bunch of 20-somethings in 2008.
1.
Deerhunter
Microcastle/Weird Era Cont.
(Kranky)
While Bradford Cox takes almost full credit for earlier mentioned Atlas Sound, on this his full bands third LP the band are as much accountable as himself. Undoubtedly he will carry the most of the credit, he stands out as the leader of Deerhunter and his seemingly constant stream of quality new material justify every plaudit he receives.
The Atlas Sound debut carried an almost personal feel; Microcastle however is more a retreat from the frustrations of personal life. The album feels more like it belongs to the listener than Cox’s own Atlas Sound. It takes the listener on a dreamy, emotional journey kicking off on a high and ending with crashing feeling of anger.
The second disk, Weird Era Cont. supposedly a set of b-sides, is almost as emphatic as the album itself. It does not fit together quite as well but is fierce and focused, containing tracks that could easily be considered some of the bands best. Weird Era Cont. adds to this set and the superb catalogue Deerhunter have created, leaving them credited with two superb albums within the year, and three for Cox himself.
In this 2xCD set Deerhunter do hold debts to the occasional influence, Cox’s ‘50’s/’60’s pop leaning are often sited but they are less obvious here than on earlier releases. Nonetheless, for every piece of nostalgia there is equal originality moulding together to create one of the most stunning albums of 2008.
Lil Wayne
Tha Carter III
(Cash Money)
The biggest selling album of the year seldom means greatness but Lil Wayne’s latest offering is certainly deserving of all the units sold. The self-proclaimed ‘best rapper alive’ put the work in to get his name around, countless guest appearances, and an endless collection of mix-tapes helped keep bloggers pages filled. Yet the New Orleans born MC has topped it all, C3 is remarkable as the eccentric Wayne brings all his tricks to the table producing his best work so far. It seems Wayne is justifying the bold brags he spits in both his lyrics and personal life some nine years after his debut.
9.
Vampire Weekend
Vampire Weekend
(XL)
Tipped as one of the hottest prospects for 2008 Vampire Weekend set the bar high early on. In their self-titled debut the well-educated New York kids give nods to African pop, much like influence David Byrne had before them. But the band doesn’t outwardly wear their influences; they appear a preppy easily dismissible indie band. However, it is how these ideas and influences are used which makes VW shine. The album dazzles with pop sensibilities, a happy uncomplicated listen that will keep you coming back for more. VW’s bright sunny feel makes it the ideal summer record, leaving a feeling that it came a little too early.
8.
Portishead
Third
(Mercury)
Portishead’s return was almost as unexpected as it proved refreshing eleven years after their last release. Arguably the elite of trip-hop’s return comes long after the death of the scene they led. The Bristol trio have obviously seen this happen, and while Third holds slight similarities to past work the majority is left smartly back in 1997. Gone are the heavily moody trips instead a pacier almost psychedelic feel is left. The recognisable feature of Beth Gibbons’ inspired quiver is almost the only resemblance. Still the stunning weirdness Portishead always had remains but this time it comes in a somehow starker reality than a decade ago.
7.
Atlas Sound
Let The Blind Lead Those Who Can See But Cannot Feel
(Kranky)
It has been a packed year for Bradford Cox; his bands third LP, countless blogged demos, and his solo debut. Cox sees Let The Blind… as his psychedelic dream but it is easy to see Atlas Sound as a deeper impression of his personal self. Cox’s band Deerhunter carry a powerful impression, but there is something awkwardly personal about this record. Wondrous eerie stories told through disturbed isolated lyrics that could be easily linked to Cox’s illness ridden past. Still, as Atlas Sound, Cox has created a superbly distinctive minor pop record full of ambient instrumentals and cool haunting psychedelica that could complete some estranged dream.
6.
The Bug
London Zoo
(Ninja Tune)
Noise artisan Kevin Martin has been kicking about the UK dance underground for a good time; during this time he has varied his projects through many subgenres. Martin’s latest release under alias The Bug finds him drawing these subcultures together more than ever before. London Zoo, his second album as The Bug, finds Martin drawing plenty from current British dance movements, merging them in with his own dancehall mastery effectively drawing British dub directly into the 21st century. Yet Martin cannot take all the accolades as he called on a wealth of vocal talent for this record, however it was him who marshalled this to create possibly his most accessible work to date.
5.
TV On the Radio
Dear Science,
(4AD)
As one of the years most eagerly awaited albums Dear Science, does not let down, TV On the Radio have produced another outstanding effort in follow up to 2006’s Return to Cookie Mountain. In Dear Science, they have released as optimistic a record as will be heard this year, an album hugely varied in style and sound. TVOTR make their cautiousness about gaining huge popularity clear through dark stories and their never immediate catchiness. Despite this Dear Science, holds down musical and production excellence with notes of joy managing to break through, adding to the appeal of one of the most exciting indie rock bands of recent times.
4.
No Age
Nouns
(Sub Pop)
The L.A. duo took a more ambitious route to follow up last years Weirdo Rippers, and it has paid off emphatically, as Nouns sees No Age break more accessible ground than ever before. Lead single ‘Eraser’ being the biggest example of this complete with its frenzied chirping guitar introduction. The tracks have changed from the riff driven debut in favour of a more coherent thoughtful sound, with the band still managing to keep the droney appeal that won over their initial audience. Simultaneously they are crafting minor vocal hooks behind the constant sound barrage that will keep their audience interested and continue to attract new fans.
3.
Hercules and Love Affair
Hercules and Love Affair
(DFA)
New York’s Hercules and Love Affair have not only produced one of best DFA LPs to date but have also paved a possible mainstream disco revival. Andrew Butler and Antony (and the Johnsons) Hegarty have shaped a lush, camp masterpiece in which a mixture of vintage styles, strong lyrics and plenty of imagination have been used to create as unique a dance album as you will hear this year. Yes, H&LA owe a debt to the ‘70’s/’80’s disco scene but this release should not leave them pigeon holed by their references. Slight pacing issues are instantly forgiven, as there are more than enough tracks to fill any forward thinking dance floor within this gem of a record.
2.
Fleet Foxes
Fleet Foxes/Sun Giant EP
(Sub Pop)
Somewhat of a buzz was surrounding Fleet Foxes even before their debut EP hit iTunes libraries. The excitement surrounding the band became justified as soon as you put these records on and enter into the wondrous world of Fleet Foxes. The Seattle five-piece has crafted a beautiful pop record with a strong folk feel combined with near perfect harmonies, which could appeal to almost any age group. The harmonies are possibly the main focal point as the record acts as a vehicle for the bands vocal talents, especially those of Robin Pecknold, who gloriously leads the Foxes. Collectively Fleet Foxes have created something original and timeless that could have easily come from west coast America in the ‘60’s, rather than from a bunch of 20-somethings in 2008.
1.
Deerhunter
Microcastle/Weird Era Cont.
(Kranky)
While Bradford Cox takes almost full credit for earlier mentioned Atlas Sound, on this his full bands third LP the band are as much accountable as himself. Undoubtedly he will carry the most of the credit, he stands out as the leader of Deerhunter and his seemingly constant stream of quality new material justify every plaudit he receives.
The Atlas Sound debut carried an almost personal feel; Microcastle however is more a retreat from the frustrations of personal life. The album feels more like it belongs to the listener than Cox’s own Atlas Sound. It takes the listener on a dreamy, emotional journey kicking off on a high and ending with crashing feeling of anger.
The second disk, Weird Era Cont. supposedly a set of b-sides, is almost as emphatic as the album itself. It does not fit together quite as well but is fierce and focused, containing tracks that could easily be considered some of the bands best. Weird Era Cont. adds to this set and the superb catalogue Deerhunter have created, leaving them credited with two superb albums within the year, and three for Cox himself.
In this 2xCD set Deerhunter do hold debts to the occasional influence, Cox’s ‘50’s/’60’s pop leaning are often sited but they are less obvious here than on earlier releases. Nonetheless, for every piece of nostalgia there is equal originality moulding together to create one of the most stunning albums of 2008.
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