This is a score Zorn composed for a Polish stage version of Nosferatu. The quartet of musicians includes long-time collaborator Bill Laswell.

There’s quite a bit of diversity throughout this hour of music. It opens with ambient sounds and textures. There are the louder more abrasive songs that Zorn is known for (although not even close to Naked City-type stuff) juxtaposed to calm quiet piano tracks. The album varies from experimental to psychedelic electric jams. There are even traditional jazz saxophone and piano pieces.

Anyway, I haven’t seen the play but the album works great on it’s own. It’s probably one of his more accessible albums and has something for everyone (disclaimer: not everyone).

‘Beatnik Angel Georgie’, filters in a country rock twist, as the slightly intoxicated vocals stumble over the trotting percussion of Pete De Lorenzo. His adroit often sets the tone. A prime example of this is the echoing pop-rock cruising title track. Featuring some humbling lyrical simplicity:

“Everybody falls, falls sometimes.”

The creepy, haunting instrumental of the light rock ballad, ‘Come Alive’ contrasts with uplifting message and represents an effective departure for a band that, at times, is in danger of being labelled too backward gazing and derivative. The slow building acoustic strummed, ‘Esmeralda’ makes for an achingly reflective interlude, before a bit of chilled out The Coral veined psychedelic flavour adds a bit of spice to the epic, people musing that’s on display. A snappier folk-pop-rock pushed ode to a special gal, ‘Jessica’ keeps the psychedelic touch ticking over. Acoustic weaving and psychedelic mystery mingles well with weary vocals for the mystical lyrics decorated, ‘Light The Sky’. Lending more variety to test the mettle of decorated producer, Ben Allen (Gnarls Barkley, Deerhunter), but he proves up to the task, as this second album stands out from the retro crowd, mainly for the ground covered and the vocal range on display.

A longing almost harrowing, bedraggled low-key rock lagged, ‘Make You Mine’. Communicates the need to be wanted and, is admirable for its Beatles-esque ability to deliver simple lyrics with belief, whilst also shrouding them in mystery. It helps to underline an accomplished second album. Already you can’t help but ponder what approach they will take when they tread boldly into third album territory? One thing’s for sure, they’ll at least get there.

The a cappella fountain flowing, continues with laboured vocal exercising, introducing the echoing blues slanted, Black-Eyed Peas cover, ‘Meet Me Halfway’. Just when you expect the song to build up towards a thrusting indie/mod twisting energetic chorus; the pedestrian pace simply continues. Given that the approach that The Futureheads have taken to these covers, makes you focus on the lyrics. You can’t help but feel that they might have chosen songs with a little more lyrical depth?

‘Flatout Surviving’, is a prime example of the pull of stirring acoustic odes. Williams’ vocals could do with being a little more expressive, as they and the song tends to feel a little one dimensional, at times. Still, he has sincerity and his endearingly wispy delivery to keep the interest levels ticking over.

“My heartbeats can be your silver lining; just listen to them.”

The ‘Henrik Schwarz Remix’, adds a fuzzy digital toe to contrast with the searching vocals. It gives a bit of a laboured lag to the number. Brun’s austere song-crafting is overshadowed a little by Gonzales’s presence. It is still apparent that she has depth and heart in abundance, though.

Additionally, Turntable is hosting two great contests leading up to the event:
Users have the chance to win an all expense trip to SXSW and VIP passes to the 3/15 event (details here).
Or leading up to SXSW, Turntable is hosting a three-day dj battle beginning March 5 with the winner getting to spin a (remote) set at Turntable’s SXSW interactive event on 3/10 as well as a swank new Ultrabook powered by Intel (details here).
Find info on Facebook here: Facebook RSVP HERE

And if you’d like to offer your readers a chance to win tickets to the 3/10 party with Flying Lotus, you can make a post with this line of language,

“To win a pair of tickets to see Flying Lotus on March 10 at SXSW, send an email to contests@theconfluencegroup.com with “Comfort Comes 3.10″ in the subject line.”

The on-site event details for Austin are:

TURNTABLE DOES SXSW 2012

Saturday, March 10 – Interactive Event (8pm – 2am)
Venue: ND (501 North IH-35), Austin

http://ndvenue.com/location/

Flying Lotus / Araabmuzik / Ki:Theory / American Royalty /
Brenton Duvall / Upper West

Thursday, March 15 – Music Event (8pm – 2am)
Venue: 1100 E. 5th St, Austin
Diplo / A-Trak / ?uestlove / Araabmuzik /
Jimmy Stack / Nick Hook / The Jane Doze

To be released in conjunction with their new a cappella album ‘Rant’, The Futureheads have announced that double A-side ‘Meet Me Halfway/The No.1 Song In Heaven’ will also be released, seeing the band transform The Black Eyed Peas’ single and the 1970s Sparks track into harmonious four-part a capellas.

Desperation and determination walk hand in hand, as this adventurous pairing adds some bite to their growing armour. This prelude to new album ‘In Time To Voices’ (V2 26/03/12), will have their growing fan-base practising feisty dance movements in eager preparation for it.

The first four tracks all step beyond the four minute mark, but still possess some snappiness. A prime example being the chiming and longing power ballad, ‘The Oceans The Seas The Rivers’. Lo-fi rocking combines a haunting vibe with feral bemusement, ‘Flash Of Light’. It uses the different hook of a faltering chorus to strangle out fatalistic feelings.

From the snappier, mystically serenading, mid-tempo rock gliding and “Radio Gaga” hand clapping moment concealing, ‘Silicon’ to the ambient percussion undercoated, paranoia pushed, pop rock cruise of ‘End Of The World’. There’s an accessible side to these careering soft rockers. Metcalfe’s vocals are at their most poignant when they are un-backed, left to get lost amidst bulleting percussion and winding guitars, ‘Glide’.

‘Of Our Own Invention’, bears out an ability to build from a stirring, light percussion spiced and longing vocal pushed beginning, to create a reflective, feeling felt, poetic epic. Sound Of Guns continues to saunter along the tightrope between run-of-the-mill predictability and distanced self-pitying. At the moment, they are keeping their balance well.