The Hungry I – Beginning is the End
The Hungry I is basically the brain of young genius Jon Stolber. “Beginning Is The End” is the follow to his “Birthday” single released some time ago. The sound for the group has always been this Board of Canada meets Mogwai and Radiohead in a back dark alley. The new single does nothing to change that. The song does tend to go slightly to the post-rock side with the songs crashing and scaling walls of sound being thrown at your face and the incredible delicate and sad intro. The song is a powerful slice of persistent post rock music from our young genius.
By John Siwicki
Radio 4 – Enemies Like This
Following the post-punk meets dance movement that has blasted its way out of New York, a small band named after a P.I.L. song has grown and is growing into increasing popularity. “Enemies Like This” is Radio 4′s fourth album release, and provides more of the distorted guitars and heavy bass beats that are perfect for underground stages as well as the dance floor.
The strongest track on the album is the namesake, “Enemies Like This.” It is a perfect combination of post-punk and dance. The repeating guitar melody is distorted, fast-paced, and would have no problem finding its way into heavier rock. Wrapped around this however is a bouncy, ever-present yet forgotten bass-line and light, quick drum riffs. Slapped over the top are simple rhythmic vocals that are more pop than anything. The total effect is an interesting mix of indie rock, dance, and pop. While interesting, it is not unique, and reminds one of recent bands such as The Bravery or The Killers. The bassline to “As Far As The Eye Can See” for example is almost a rip-off of the one in The Bravery’s “Public Service Announcement.”
Despite this, Radio 4 mixes many different styles and genres in the album, and several can be found in a single song. “All In Control” includes a standard rock-riff guitar, but also features a bass beat similar to tribal drums that are matched by rhythmic vocal chants The overall effect is a pleasant blend of modern rock and an almost Africa-like tribal groove. Another example, “Ascension Street
Adem – Love and Other Planets
There’s a guy and he’s releasing a new album. It’s largely acoustic, he’s singing from the heart and he’s not too offensive to look at. On the face of it, it would be all too easy to label him the new James Blunt, write this review and move on.
With the music industry bursting at the seams with these types of performers at the moment, you could almost be forgiven for suspending your excitement about this album, the second from former Fridge member, Adem Ilhan.
It’s a concept album about space and the cosmos, which is apt because it’s an album that would sound great listening to late at night, in the open air while looking up at the stars. Alternatively, for those more suited to city life and looking for and album to come back and unwind to after a heavy night out on the town, this could be what you need.
From the first listen it gets right under your skin, with it’s folky undertones and gruff vocals that bring to mind memories of the Badly Drawn Boy debut album, rather than anything produced by Blunt and his many sound-a-likes.
Stand out tracks include the album opener, “Warning Call
Withdrawal – The Perfectionist Blacklist
Debuts are tricky things. New bands trying desperately to find their place in the musical world, to gain a larger audience and possibly even pick up a bigger record label. In many cases this makes a band’s first CD jumbled and confusing, touching on a variety of different musical styles, trying to reach out to a variety of different listeners. Withdrawal’s debut album, “The Perfectionist Blacklist