Dan Le Sac Vs. Scroobius Pip – Letter From God To Man

Book marked by a sample from Radiohead’s ‘Planet Telex’ where “everything is broken”, Dan Le Sac and Scroobius Pip stage a philosophically-inclined message from a ranting God to us mere mortals, in which our Lord and Maker explains his actions and his absence. But the original instrumentation here is basic, practically non-existent. Also, despite the rapper’s vocal dexterity, the “insight” here is as deep as a Religious Education argument in which it is established that God gave his creations autonomy and they, predictably, made their own choices – some of them bad! (God says: The last time I sent down a message you nailed it to a cross / My teachings were taken out of context / Religion became a tool for the weak to control the strong / I just laid the groundwork, it was you who you built the towers / It was you that invented bombs and the fear that comes with them / It was you who invented money and corrupt economic systems.”)

By Ryan Daff

The Death Set – Worldwide

The Death Set are a new indie band from Baltimore who have just released their debut album “Worldwide.” The Death Set are a hard band to pigeon hole and I was not even doing them justice by calling them just an “indie” band. They throw you elements of punk, electronic, metal and some of the finest lo-fi noises you will hear this year.

The band are not afraid to incorporate as many different sounds and styles into one song. Like on the early track “Listen To This Collision” starts with a robotic and then turns into this loud wall of noise. It is like an anti pop song. “Negative Thinking” sees a diversion to something a little bit more structured with a vocal in the background so fuzzed out and the occasional sample. “Impossible” then moves the album into a 8bit hardcore hybrid with an intense one minute track.

“Worldwide” is a short, fiery and punchy record that never takes a second off. It covers 18 tracks in just over 25 minutes. There is enough variation in the record so you won’t end up with a lot 8bit screaming mess. A must grab for those into the indie/hardcore/8bit/punk scenes out there.

By John Siwicki

Computer Vs. Banjo – Computer Vs. Banjo

Computer vs. Banjo has a bit of fame due to their full feature website and popularity on Myspace. Much of their fame can be owed to a pong game on the band’s website. The game is re-themed for the band. Their music has been described as digital folk. The songs have a folk, blues and country influence that is blended with synthesized electronic sounds. There is a mix of experimental and pop songs. Other songs on the album head towards an adult contemporary Coldplay feel. The band formed in Nashville, Tennessee by founders Johnny Mann and Beau Stapleton. Both Mann and Stapleton are members of other bands. The band sometimes goes by the abbreviation CVB. They released their self titled debut album on June 17th.

Track by Track

1. Jubilee – This song features a piano joined by special effects and bits of guitar sound. The focus is a blues/folk vocal. After a little bit the drums kick in and the band develops more of a pop sound. This song has a nice experimental sound but is a little repetitive. Unfortunately, the repetition kills much of its replay value as a pop song.

2. Guitars need a Sinner’s Touch – This is CVB’s first release. The song is one of the albums best tracks and a good choice to be a single. It also may be a glimpse into the future of where this bands sound might head towards when they record future albums. Everything comes together nicely for the band on this one.

3. Give up on Ghosts – This is the best song on the album. The chorus is very alt rock over blues country guitars. There is a rock tempo, the drums are turned down. This should be a single on the album. The vocal variation on this album along with a more upbeat tempo makes this a stand out track. If you don’t purchase this album, you should at least check out this song.

4. Outer space – Space like special effects start the song off. The solo singing in the beginning is much better on this track than others. The airiness on of the vocals almost sound like John Lennon’s as a solo artist. Computerized melody accompanies the special effects. The chorus is bright and catchy. It’s a solid track for the album. With a bit of tweaking this possibly could have been a very good single.

5. Low – Very experimental. Bright synthesizer keyboard is accompanied by a syncopated drum sound. The drums are very similar to the drumming found on Radiohead’s last couple of albums. There are bits of chorus and random Flamming Lips type special effects thrown in for good measure. Unfortunately this would probably only be a b-side for the above mentioned bands. I like where Computer Vs. Banjo is heading on this song and would like to see them get more experimental.

6. San Joaquin – Reminiscent of Robert Plant’s more recent work. The slow rhythm makes the song drags a bit and can be slightly uncomfortable. The sound is very much an old country blues folk sound that could have fit on the soundtrack to the film ‘O Brother, Where Art Thou?’

7. Magazine Queen – Interesting blend of early folk with synth pop. The melody is just as catchy as the chorus. The inclusion of overly simple drumming is a bit humorous.

8. Stone – The awkward vocal whispers in the beginning of the track lead into a nice nineties alternative rock style chorus. There is odd syncopated beats in-between chorus. This is quite a good song and a little reminiscent of Radiohead musically. The vocals during the chorus are among the best on the album.

9. 2heavy2hold – The piano sound makes this track more enjoyable than it otherwise would be. The change in vocal volume during the lead up to the chorus is some that the band should experiment with more on future tracks.

10. Concealed – There is a lot of instrumentation and special effects on this song. This song is one of the more experimental tracks. It’s reminiscent of the Flaming Lips. The change in drum rhythms is engaging from beginning to end. The band really shines on this song.

11. Lost – This song has an eighties sound. The synthesizer and guitars work well together on this song. The song lyrics are too repetitive at points and the vocals feel a little week on this one.

12. Signs of Passing Time – This is an airy folk rock song with lyrics about the changing times. This song is similar to some of Led Zeppelin’s folk rock from their third album. The song never goes anywhere and feels incomplete.

Criticism

This album is a good start for a new band but their songwriting isn’t yet good enough. The band can play, the vocals sound good, the lyrics are interesting, but the songs overall come off as a little dull. The band needs more bright spots in their songs and some more passion in the singing. The album as a whole is a bit of a downer and there is mild variation between tracks. More work on the vocals would make this album a lot better. The singers are more capable vocally than what they have shown us thus far. The band is somewhat experimental but hasn’t quite found their sound yet and the album comes off a schizophrenic. The first tracks are very strong but the album trails offs.

Final Thoughts

Keep an eye on this band. They have a lot of creativity and loads of unfulfilled potential. The band shows tremendous promise and could have many future hits. The band needs to solidify their musical direction and song dynamics. The album is good overall but slightly disconnected. With this album the band proves that they are more then just a novelty act. If you are a fan of mild electronic folk or adult contemporary experimental music, then Computer Vs. Banjo may be the new band you are looking for.

If you would like to purchase the album click on our link

By Jonathan Cohen

Accolade – Keep Your Distance

Bradford, England is the hometown of the hot new unsigned 5 piece Accolade. For an unsigned group the record sounds very clean and very well produced. “Keep Your Distance” has the making for a huge hit track. The song is powered by its anthemic hooks and its powerful guitar riffs that make the song just as viable as any other pop/rock track out there. “Still Fall Down” is the “ballad” of the album but surprisingly this is the band at their finest. The track is very simple and it doesn’t pull out any surprises but it is heartfelt and emotional and just lays it all out for you. Thats what you want in a ballad like song a track that is just simple and effective. “Confidence Trick” is another one of the
“slower” tracks in the bands lineup. But, the true start of the show is “Still Fall Down.” The three songs from the band are a great start and I am sure over the coming months and years we will be hearing some things from these young guys.

By John Siwicki

Hour of Shipwrecks – The Hour Is Upon Us

When the first chords of “The Hour Is Upon Us” start with its dark and moody sound you would not think that this band was from LA. The band do take some elements from the post rock and shoegazing world but they bring a lot more vocals to the table than you would find from any bands in those genres. The vocals also have these really dark harmonies that border on times sounding slightly gothic at times. The record starts with the massive “The Chandelier Suite.” The track really shines in that finale minute as it just takes you by the hand and whiskers you away in this blissful and soothing collection of organs and drums. “Soft Napalm Pillow” is the track that had all the makings for that one classic song on the album but the vocals are times are just to quiet.

The band have a strange hybrid on the record. On one hand the record is does show a lot of beauty and grace and it comes out a pretty record. But, a lot of the songs do tend to blend together and just leaving the record on a for awhile before you know it you will be at the end. They do have a really good formula that could produce some amazing results down the line.

By John Siwicki

The National – Virginia EP

Last year, The National released their third album “Boxer” which saw them grab universal acclaim and saw their stock keep rising. The band are release a two disc set. The first disc is “A Skin, A Night.” This is a documentary about The National by French filmmaker Vincent Moon, who followed the group during the creation of their acclaimed 2007 release “The Boxer.” “The Virginia EP”, which contains twelve tracks of demos, a cover, live versions, a radio session, and b-sides. For the fans out there you do get a grab bargain as you can grab all of these for a few bucks more than your average album.

The biggest knock on the EP is that you don’t seem to get anything in the way of unreleased or completely brand new. So, it doesn’t feel like you get a lot of extra material here. Like the track “Mansion On The Hill” is the exact same live track that is the bside to “Apartment Story.” The demo version of “Slow, Show” was a cool listen and the live copy of “Fake Empire” was a stunner and really makes me angry for missing the bands live show.

The EP is a hell of a bargain as you get a lot of material with it. But, after a listen it leaves me a little cold. It is not a good representation of the band that can do so much more on a record than this EP shows. It does make sense as these are bsides for a reason.

By John Siwicki

Feeder – Silent City

Ah,Feeder,long time no hear from this band.The single release We Are People,is the first track on this album,Feeder’s first since 2006.This song is simple singable and will no doubt be given sufficient airtime on XFM and chart without too much effort. Grant Nicholas’s voice is as good as ever,leading this anthem with confidence,backed up adequately by guitars and drums and progressing into a slightly Muse-like chorus which ends with a subtle line-”we are one,we are family.”

The second track is Itsumo,again with that Muse-ish style to this song,but with Feeder’s bulky sound and reliable drums/guitars mix. It’s definitely Feeder,not Muse,(who are more flamboyant anyway). I liked this track and felt that if Feeder play Glastonbury this year it should be a singalong favorite-it has just the right groove to be so.

There are ten tracks on this album,all excellent. On Miss You,the pace is fast and furious,its catchy and rocky,with some Foo Fighters type guitar work and controlled vocals. A possible second single release?

With each track I’m convinced that this album will chart highly. The next song,Tracing Lines,doesn’t disappoint either..”all my life I can’t believe it-tracing lines but no-one sees it.I wish that I could take a rest.” A nice guitar bridge in this song leads to a good chorus and a positive ending.

Nothing pappy or shallow about this band,they are genuinely good and have much depth to their music.

On Silent Cry,the title track,slight tinges of Editors’ style shows,but too subtle to be plagiarism. The song, however,is rather depressing and perhaps best not listened to if you’re on a downer. Still a fine track though.

Fires, follows again some nods to Editors guitar work in the intro and backing,but again the song has much depth to it. A lovely track, anthemic and very suitable for playing at festivals.

I also liked Heads Held High,which has an acoustic and synth intro …”Read the papers as the sun began to rise-unbroken by the news-cos there’s no logic in our negativity-but there’s a way,if we believe”. Spiritually positive,this one,but without being preachy.

8.18 is quite a dark song,rather mysterious and secretive,followed by the penultimate track Who’s The Enemy,which is reflective,soul searching and questioning with plenty of musical meat in there.

Into The Blue- now THIS was a clever move-leave this track to the last one on the album. In my opinion its the best track on the whole CD-a rocking lovesong. This one for a second single,please!!

By Juliet Robertson

Steve Morgan – Calmer Than Karma

“Calmer Than Karma” is a great example of never to judge a record by its cover or the name of the album. One look at that cover and I wanted to run away. Inside the EP is collection of five rustic and rough acoustic tracks that will surprise you with the depth and the emotion in each track. The first track is the title track. This song has a great laid back feel to it. The music is very raw and Steve sounds like he is singing his troubles away at the local pub. “Whiskey” was the next stand out track on the release. It shows that Steve sounds almost better live than he does in the studio. The flute by Emma Buxton on the track was a welcomed change of pace. When it comes to the folk and singer/songwriter world I am picky but Steve gives you the best of both worlds but still tries to keep things fresh. More flute Steve.

By John Siwicki

Coldplay – Viva La Vida or Death and All His Friends

Viva la Coldplay! I think there’ll be a few reviews starting or ending with that phrase in the next few weeks, but rest-assured, Coldplay have actually earned it.

Previously the biggest band in the world, but by no means the best, the four members of Coldplay agreed to split their song-writing fees equally from the start, despite Chris Martin writing at least the skeletons of everything the band have ever released. As such, it is rumoured that bassist Guy Berryman and guitarist Johnny Buckland are among the richest men in Britain (but not Chris Martin or the drummer, Will Champion – they must have splashed out on mansions and speed boats or something). But are Coldplay really worth such a rabid following and shed-load of money? My previous answer to that question was always a no. While undoubtedly talented pop musicians, the band wrote seemingly endless miserablist love ballads (‘Yellow’, ‘The Scientist’, ‘Fix You’ or the dreary ‘The Hardest Part’); or, when they wanted to get deep, songs with cod-philosophical lyrics that probably mean nothing at all (‘Don’t Panic’, ‘Clocks’, ‘Square One’). The musicianship was always predictably tried-and-tested too – plaintive piano chords alongside hushed acoustic guitars, or Radiohead-inspired Telecasters adding atmosphere and ambience.

Finally then, on ‘Viva La Vida’, Coldplay have expanded their musical palette, and Martin has written much more colourful and evocative lyrics. Even better, the results are generally original to Coldplay (well, as original as any art can be these days). There is a hint of the familiar influences – the guitars in the middle of ‘42’ are pure Radiohead, while the lavish Brian Eno production inevitably invests these songs with a U2-esque, reverb-soaked, stadium-filling quality. Martin also seems to have found new favourite bands, with ‘Lovers in Japan’’s grand melodrama – all pounding drums, choppy guitar and mandolin strums, underpinning reverb-heavy vocals and keys – borrowing heavily from The Arcade Fire’s ‘Keep The Car Running’. ‘Life in Technicolor’ reaches cosmically high, minus any lyrics, a la Explosions in the Sky. But elsewhere, the band dabbles with world music elements to create a textured, more sonically interesting album than their previous efforts. Drums are repeatedly supplemented with tom toms and other less traditional drum sounds, as on (free online) advance single ‘Violet Hill’, while the title track ‘Viva La Vida’ finds the band augmented by a string section and church bells. Also, while guitarist Buckland would usually rely exclusively on his telecaster and pedals for adding colour, there are musical components from all over the globe here; such as the African sounding guitar line on the joyously nostalgic ‘Strawberry Swing’, the flamenco handclaps on the haunting ‘Cemeteries of London’, or the Middle-Eastern violins on slide-guitar rocker, ‘Yes’.

The album also eschews the traditional verse-chorus-verse structure that dogged the band’s previous ballads. ‘42’ switches unpredictably from melodic keys to sparring guitars and then back again (though the lyrics aren’t great here: “Those who are dead are not dead, they’re just living in my head”). ‘Lovers In Japan’’s controlled clatter segues into the pretty piano twinkling of ‘Reign of Love’, while summery closer ‘Death and All His Friends’ takes its time but winds up reaching suitably skywards, before calming to an almost trancelike lullaby, aptly titled ‘The Escapist’. ‘Violet Hill’, ‘Lost!’ and the brilliant ‘Viva La Vida’ are probably the most full-on anthems here, all with rich, probably part-fictional lyrics. For instance: ‘Violet Hill’’s ruminations on sinking ships, and soldiers buried in armour; or on ‘Viva La Vida’’s regal sounding tale of a fall from grace (“I used to rule the world, seas would rise when I gave the word / Now I sleep alone, sweep the streets I used to own”). Whatever the inspirations, Coldplay definitely just got more interesting.

By Ryan Daff

Dirty Pretty Things – Tired Of England

Well you never hear a pro England songs at all so it was nice for Dirty Pretty Things to get back behind their country and let it out. But, the song comes across as more “tired” than anything else. It seems to forced. Once the song got to about a minute and half I had my fix and wanted to shut it off. The lyrics are downright childish at times “With the blues, the greys, the green, the brown, To lonely nights uptown Don’t let them bring you down.” It seems to be just a weak attempt at a summer anthem. They went for the feed good vibe and it ended up sounding like a bside that was a minute to long.

By John Siwicki

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