Review: Scarlette Fever – The Great Expectations EP
An eerily ambient hand clapping accompaniment paves the way for the Regina Spektor being interrupted by Sheryl Crow vocals, as the expressive Scarlette Fever ponders the meaning of significant others, ‘Hour Of Sunshine (Remix by Cenzo Townsend)’. The versatility of the vocals is celebrated proudly here. They can take on a low-key pleading touch when needed and, then build up to a full frontal pop push when the twinning guitar led and rustling percussion instrumentals increase in volume and heart.
‘Cheatin’ Man (Live Mix By Ashley Howes)’, shows an ability to lean in a more blues country direction, possessing the vocal clarity of a Thea Gilmore. Scarlette Fever bears out her bleeding heart well enough, without appearing too self-pitying. Striding guitar backing and a shattering percussion touch that’s trodden over by a rumbling bass edge sets the scene perfectly, for some reassuringly assertive gospel backing. ‘Good Day (Live Mix by Ash Howes)’ , oozes with peaceful serenity as Fever hovers her vocals to deliver a romance backing ode that coasts along, on top of a trickling key-led instrumental.
In revisiting songs that have raised her profile and stripping them down to bear out the lyrical punch that may have previously, not been fully appreciated. This ranging songstress, ironically, illuminates the point that there is a lot left in this locker and fans will have to keep guessing about her future direction. It could go anyway!
Review: Mull Historical Society – City Awakenings
It’s little more than a few notes into the chiming percussion and trotting guitar led instrumental to opener, ‘Must You Make Eyes At Me Now’. That you realise how much this band, once voted twelfth greatest Scottish band of all time, have been missed during their lengthy hiatus. When the strained and genuine vocals of Colin Macintyre kick in, then a pondering stirring, blues layered intro, makes you just want to yell “welcome back guys!” at your IPod or choice of music playing medium. It blends neatly into the churning, more vocal grizzle inclusive attack on false lovers, ‘Can You Let Her Know’.
‘Must You Get Low’, shows that the old school indie bands are still the best at the pace chilling, slow-burning and stirring ballad, as this concept album that explores the importance of cities takes a bracing nostalgic pit-stop. A lively, digitally toed edge ups the tempo for ‘Honey Pie’, as Macintyre’s vocals take on a more dramatic, strained edge and increase in profile to match that of the instrumentals. It shows that eclectic adventure is still within them.
Of course, the lyrics still hold meaning, heart, reflection and food for thought. With the slow, stirring and nearly wooing backing spiced, ‘This Is Not My Heart’ being a prime example of this:
“Love letters of stone won’t set alight: I am alone in your lie.
I was awake just thinking of you.”
Usually when an evergreen, what some people would call veteran band reunites six plus years after their last album, it makes you question their motives and even desire. Are they doing it because all other avenues have led to a dead end? No, not in this case; Mull Historical Society still has something to say and some cities to explore.
CasioKids – Golden Years
Chiming orchestral pondering with a playful pop backdrop and the sincere low-key cry of Ketil Kinden Endresen sets the scene for a reflective glide, ‘Golden Years’. Nordic nostalgia contrasts with a rumbling rhythm base, allowing part of the mind to wander and the other bit to focus on a pressing matter.
More bass is added to and an almost lounge vibe takes hold of the ‘Bathers Remix’, before morphing into a rhythmically rousing samba skirting sojourn. This release, as a whole, is more focused and less incongruous than the previous pop distorting foray, ‘Det Haster’. Seen together, these tracks highlight the potential spice, variety and adventure of this instrumentally nimble outfit.
Mike Patton – The Solitude of Prime Numbers
Mike Patton’s new album is another film score. Kind of. It’s “music from the film and inspired by the book,” which from my understanding means that it’s music from the score and the stuff that was left on the cutting room floor.
Solitude of Prime Numbers is an Italian film that looks like it won’t be released in the States. It’s a bit of a shame, because I’d like to hear the music in the context it’s meant to be heard in. So I tried to read the novel which is extremely depressing. Which I’m fine with, but didn’t really find much depth in the characters outside of being lonely and miserable.
But the music is very good. Quite different than his last two scores. This one’s a bit more somber and ambient. Very string and piano laden synths. Looking through the credits, Patton thanks Carpenter which wasn’t immediately apparent, but makes sense thinking about it now. I guess the best way to describe it is as one of those artsy albums that I probably won’t think to listen to a lot, but will enjoy very much when I do.