Saviour – Canterbury

There is a lesson to be learnt here kids, hard work can pay off.  Canterbury have spent years touring, gave away their first album for free and have honed their songs to within an inch of their lives.  So with the impending release of album number two, Heavy In The Day, one can only assume superstardom beckons because Canterbury are surely destined for it.

What makes me so sure of this?  Well, take a listen to new single Saviour and it is hard to imagine a world in which they are anything less than massive.  As the feedback soaked intro gives way to reveal the throbbing bass line, Saviour erupts with the kind of immediate sugar rush few songs manage these days.

Coming on like a poppier version of The Jesus And Mary Chain, Canterbury bury indie melodies under some alt. rock fuzz to create something exciting and instantly memorable.  Ready Yet? came out earlier in the year to introduce the new material, Saviour has now set that excitement level to fever pitch.

Jules says…

For more info on Canterbury click HERE.

Flashfires EP – Flashfires

My decision to quit actually making music, or rather the day I conceded I was, how can I put it, piss poor, seems to be more and more justified.  When I receive CDs from irritatingly young but rather good bands like FlashFires it puts into perspective how far off the mark I would have been.

More commonly associated with the number of roundabouts they have as opposed to any kind of musical heritage, FlashFires call Basingstoke home but have not let this hold them back.

As with many young bands they wear their influences proudly on their sleeves, most notably Arctic Monkeys, both lyrically and musically Turner and Co. can be felt throughout the EP.  However FlashFires have far more to offer than just a homage to the Sheffield quartet and the five tracks on offer are an intriguing mix of indie edginess with some rock guitar.

Apart from sounding like it should be a bloody brilliant movie on the SyFy channel, Manshark is an instantly catchy indie number with a hint of ska, big chorus and nifty guitar solo and sets the tone perfectly for the EP.

Caught Up In Youth is an apt title for track three as this feels the weakest link for me, the chorus suffers from the clichéd 60s psychedelic tinge but finds its feet slightly by the end with a delicate guitar outro.

Hitting their stride once more with Cezanne this has some stellar work from drummer Toby and chorus that reminds me of Dolly Parton’s Jolene.  It offers an intriguing blend of influences and makes pigeon holing the band tricky.  Final track You Say Nothing owes a debt to another legendary Sheffield export, Pulp, opening as it does with a guitar line reminiscent of Babies before sharply heading back to more Arctic Monkeys infused territory.

I have been sent a few ‘rough’ demos lately so it was a joy to receive FlashFires CD, a band who clearly have a definite idea of their sound and what they want to be.  The indie/rock cross over genre appears to be gathering momentum and a number of young bands seem to be embracing the indie chic with a rockier guitar sound.  I am certainly all for it and look forward to hearing what comes next from FlashFires, I have high hopes for them.

Jules says…

To find out more about FlashFires click HERE.

The First Season – Gone Til Winter

Goth Rock Metallers Gone Til Winter have spent the last few years developing their sound and tinkering with the line-up before reaching their current incarnation.  The First Season mini album showcases both the band’s rock and acoustic sides, featuring six full on electric cuts alongside several more mellow recordings.

The loud ushers in the album with the double bass drum assault and crunching guitars of Solemnise, introducing Talena’s magnificent vocals from the start.  There is a slight sense of holding back on the track but this is soon dispelled with track two.  Heat Signal opens with apocalyptic drums before the rhythmic unison of the guitars burst from the speakers, with hints of the uniformity of a classic Rammstein riff.   The guttural rumble of the bass underpins the verses over which Talena’s vocals swoop and soar in equal measure.

Kill Me takes a more progressive rock route, the chiming harmonics of the guitar layered over the rhythm section display a more melodic side to the band but the chorus is still bruising enough for the metal crowd.  Utopia and Deep Sleep return to the more gothic edged rock and once more each one benefits from the stunning vocals of Talena.

Although not billed as an unplugged number, Distant Places leads the EP into the acoustic section of the collection and each track brings the melody to the fore.  With both the vocal display and instrumentation handled with restraint it goes to prove that the distortion is not there to cover up any song writing short comings.

It is inevitable that Evanescence, Within Temptation and even Kobra And The Lotus are name checked when reviewing this album, the female fronted metal band has the brand leaders and, rightly or wrongly, set the benchmark to which newcomers are measured.

Whilst the above deliver a highy polished final product, Gone Til Winter seem determined to leave a few rough edges to their sound.  For me this is what holds the interest, a little texture, some grit to the proceedings.  I would hope this is something they hold onto when recording the new album and don’t fall into the trap of a ‘spit and polish’ approach in search of wider appeal.

Jules says…

For more info on Gone Til Winter click HERE.

Tricky – Sundance Festival, The Indigo Bar, London – 27/4/12 

‘Tricky performing Maxinquaye’ – a maxim only honoured (one would assume) because the alternative of ‘Tricky does the sum-total of fuck all’ wasn’t deemed particularly socially acceptable.

Utterly dire support notwithstanding, the evening’s inception should have been interpreted as a morbid portent of the evening to come.  The opening track wobbled its way through for approaching ten minutes, vocals sporadically taking place when he remembered to put the microphone in front of the guitarists’ face; the pace and dynamics varying wildly as our eponymous frontman attempts some bizarre interpretation of conducting; resulting more in what appeared to be a shit impression of John Travolta.   And maintaining that you “know we’re waiting for Maxinquaye stuff” then moaning that “it’s all really old” claims the dubious crown of most ill-advised stage banter ever.

With the appearance of Martina, things almost approach decent. Ponderosa and Abbaon Fat Tracks writhe wonderfully in a sense of their own filth, Aftermath remains as satisfyingly bleak as ever, and Black Steel manages to ignite what enthusiasm can still be drawn from an increasingly irritable crowd.  Then it pretty much degenerates into a farce.

Overcome gets successfully aired, then for reasons unbeknownst to anyone gets started again two songs later. Brand New You’re Retro descends into Britain’s Got Talent meets Goldie Lookin’ Chain; Tricky’s brother freestyling what appears to be absolute bollocks for ten minutes. Hell is Round the Corner is genuinely appalling; the Isaac Hayes sample being vomited out by what sounds like a Casio keyboard demo; and Pumpkin’s  Alison Goldfrapp spot seems to have been filled by Tulisa from N-Dubz (although thankfully without a penis in her mouth). The realisation sinks in that not only has Mr Thawes spent more time off stage than on, but that he clearly couldn’t care less either way.

Sympathy must go out to the band; what with the mock conducting, the bollocking of the drummer for starting a song (what a bastard), and the borderline domestics that frequently erupt between Tricky and Martina – all of which consolidate to create one of the most unprofessional gigs seen since the ‘Roses at Reading in 1996.

Four songs from Maxinquaye don’t even get played, and the reputation of said album is being shat on from a great height through the complete lack of respect for the music and the fans that have paid £40 to witness such a monstrosity. A twenty minute (twenty) rendition of Vent from Pre-Millennium Tension is the crowning turd in the waterpipe, failing to endear the crowd (despite seemingly half of them being on stage throughout) and leading to a mass exodus the likes of which have not witnessed before with a headline act.

A continually absent frontman and a completely humiliated band leave the lingering and increasingly bitter taste of an utterly shambolic fucking display of gargantuan proportions. Still, it must be the easiest money he has ever made. Hopefully he feels suitably ashamed, however unlikely that is.

Matt Crane

Howard Jones Live at the O2 Academy, Bournemouth.

The O2 Academy in Bournemouth (or Boscombe as the case may be) is not what I expected, tucked snuggly into the middle of the high street, what lurks behind the inauspicious exterior is far grander than first impressions would suggest.

Once we arrive the venue is filling up nicely, a mix of the nostalgia addict and ardent fan milling around and waiting expectantly.  Nostalgia is a strange word really; it feels more like clinging onto the past rather than celebrating it.  Let me put it this way, when you talk about an 80s act touring this is usually deemed as nostalgia, but if you listen to The Beatles or Led Zeppelin this is still seen as the height of good musical taste.  But I suspect this is a different argument altogether so back to the show in question.

Howard Jones is embarking on an ambitious tour, playing his first two albums back to back, in full. It is not unusual for artists to do the ‘album playback’ shows these days, but to do TWO albums in full takes a certain amount of confidence in the material and the audiences desire to hear them.   Thankfully for Howard, this was actually the idea of the fans anyway and ‘Human’s Lib’ and ‘Dream Into Action’ spawned no less than nine Top 20 UK singles (with a small amount of artistic licence that is) so even the more casual attendee will know a good portion of the set.

I actually interviewed Howard last year (read the full transcript HERE) and as we discussed the structuring of the show, he confessed that there was some tinkering with the track listing to ensure the flow of the shows, a decision that, on the strength of this evening, was the perfect move.

Starting with the Dream Into Action album (saving Human’s Lib for the second half due to the fact it was the more successful UK release) the intro pounds before Howard takes to the stage to delight of the crowd, clearly paying homage to his 80s persona by wearing what looks like Michael Jackson’s Thriller era red leather jacket.

Joined by drummer Jonathan and additional key tickler (and master of the ‘boom sticks’) Robbie, the stage is sparse but the sound is deep.  The electro beats pulse and throb all night, far from the sometimes tinny sounds of the 80s keyboards, modern technologically allows for a far more immersive experience and noise.

Throughout the night Howard breaks to talk to the huddled masses, reminiscing about the days when his Mum (Thelma) ran his fan club before dedicating Look Mama to her and all the mothers in the room or admitting that a record label actually got something right when they made him write a ‘hit’ for the album.  Having been told that Dream Into Action contained no ‘hit singles’ (OK, so they weren’t entirely right) Howard was asked (although told is more likely) to pen a smash, which he duly did with Life In One Day.

Finishing the first half of the night off with a storming run through of Like To Get To Know You Well, the mood is definitely set for his return and the album clearly everyone has been waiting for..

So after a short break Howard returns, resplendent in new attire and ready to tackle Human’s Lib.  Once again the revised running order works nicely, Condition is followed by the crowd pleasing single Pearl In the Shell and any apathy from the interlude is instantly brushed aside as the audience start dancing around once more.

Whilst not there in the flesh, Howard Jones’ partner in crime from those early 80s shows, Jed Holie, makes a guest appearance all be it only on the large video screen behind the stage.  This is greeted with warm approval from the faithful gathering and is a fitting tribute to Howard’s early accomplice and adds an extra sense of poignancy to Equality.

Hide And Seek signals the build-up to the end of the set and as a rousing version of What Is Love? gets the crowd going, Howard parades the stage conducting the masses in the sing-a-long, seemingly genuinely touched by the response.

Returning for the encore and finale of the Human’s Lib experience, New Song is greeted with an eruption from the jubilant throng and dancing breakouts throughout the room. Playing with the lyrics Howard addresses his faithful once again and with a wry smile slips in ‘Thanks for sticking with me for 30 years’, to huge cheers from the fans.

So rather than looking at this as a nostalgia trip, let’s see it as a celebration of two classic pop albums. Although at times they have some of the trappings of the 80s sound, the singles are still electro pop gems and the full album playbacks reveal a strength and depth lacking in many acts considered current.  Having two albums that can be played complete to a room full of adoring fans, perhaps the 80s were not so bad after all.

Jules

All photographs (C) TAPEtoTAPE 2012.

Electric Warrior (Deluxe Edition) – T.Rex

Once upon a time children there were popstars.  I don’t just mean the ‘singers’ of today that run around in the latest gear and warble, I mean popstars.  Those people who seemed to be from another world entirely, the likes of David Bowie with his androgynous alien appeal or Jim Morrisson with his filmstar looks.   Glam rock overlord Marc Bolan sits proudly amongst these characters that appear larger than life, mysterious, glamorous and certainly not going to be living in a two bed terrace down your street; at least that is how it felt.

But here we are in 2012, the pop world has changed over the decades so does Marc’s persona still hold the thrill it once did? Empathically yes.  Just take one listen to Electric Warrior and you will be hooked all over again.  Remember this album is now over 40 years old and the impact is even more impressive.  2012 sees the release of the ‘Super Deluxe Edition’ of the album which contains the remastered album plus bonus tracks, demo CD and DVD featuring rare 1970s Top Of The Pops performances.  Combined this really does offer a sumptuous collection.

There is little that can be said about the album that has not already been written by a thousand mightier pens than mine, but with the addition of the Number One Hot Love along with the original B-side tracks (not on the original album – but on the Rhino reissue sometime back) this now provides a comprehensive snap shot of T.Rex circa 1971.

The singles Jeepster and Get It On (Bang A Gong) still sound incredible, 40 years on and there are still bands that would kill to sound like this.  Cosmic Dancer has the sixties hangover hippy appeal whilst Rip Off still rocks with a barrage of sound that was really a few years ahead of the curve.  Electric Warrior still stands as one of the finest albums of the 1970s and defined a new era for T.Rex, gone were the folk leanings of the past, glam rock and superstardom awaited.

The demo disc offers up plenty of ‘previously unreleased’ tracks and unlike so many rarities discs, the sound quality is really high.  The most striking thing is how complete many of the demos sound, take the electric demo for Jeepster, rough, ready but the essential elements are there.  The acoustic version of Get It On is endearingly raw, little more than Bolan strumming away and capturing the vocal melody.

There are even glimpses into the private world of the studio with the Life’s A Gas (working version) featuring the studio banter and drummer Bill Legend complaining he couldn’t hear anything before Bolan helpfully informs him it is because ‘nothing‘s happening that’s why, no one’s playing anything!’.

For the completists and enthusiasts alike, the disc offers up a plethora of treats and you can pick out the subtle differences, changed lyrics and evolution of most of the Electric Warrior tunes from this collection to your heart’s content.

The DVD acts as a fascinating time capsule, a window back to a time when T.Rex were one of the biggest bands around.  They were the only band to have TWO number one singles in 1971, back when a Number one actually meant something to.

Bowie and Bolan were friends and friendly rivals, Bolan’s appearance on TOTP in March 71 caused some controversy for his androgynous dress sense and between him and Bowie they would test the boundaries of the time throughout the early part of the decade.  The Christmas special from 71 where the band performs Get It On also features a cameo from Elton John on the piano, sparking some confusion as to whether he was now to be part of the group.

There are also the previously unreleased ‘blue screen’ performances for the German Beat Club tracks along with the official promo cuts for Get It On and Jeepster.  The two tracks taken from the Empire Pool Wembley are particularly interesting, Bolan sat crossed legged on the stage, playing a battered (and out of tune) acoustic but clearly with the crowd hanging on every glittery note.

There is nothing worse than a half arsed ‘Deluxe Edition’, something scraping together some grainy footage and a distorted demo just to shift a few more units.  Electric Warrior Super Deluxe however is far from this, the DVD provides some stunning quality tracks (both audio and visual) and the demo disc is a glimpse into the world of Bolan we didn’t get to see that often.  As a casual fan, this has got me hooked and I’m willing to bet I won’t be the only one either.

Jules says…

The Super Deluxe Edition is released on Monday 23rd April via UMC / A&M Records.

Blunderbuss – Jack White

Solo efforts – the disconcerting last bastion where musical and comedic ideas gasp their last before being relegated to yellowing notebooks hidden beneath the guest bed.  Cohort-based restraints are removed and anything goes – ranging from the plain weird (Noel Fielding’s Luxury Comedy), to the plain shite (Scott Weiland, Dave Navarro, Jerry Cantrell).

Jack White has always appeared to maintain an almost totalitarian control over everything he has been involved in, so the chances of anything decent going to waste are unlikely.  This does beg the question as to what his solo debut is actually going to consist of, if not half-baked pap and ideas that the drummer thought was rubbish.

Missing Pieces is a bizarre opening gambit – a twisted combination of mellotron, Consolers of the Lonely era Raconteurs and a warped, multi-layered White hitting mild surrealism within two minutes; and a blink-and-you’ll-miss-it solo and fantastic piano wig-out breeding the comforting familiarity that comes with any of his most entertaining work.  Sixteen Saltines (for all its pubescent charm) is an unashamed rocker heavy on the keyboards, lacking in anything approaching subtext; and Freedom at 21 skims from a Mellow Gold meets Elephant intro into an insidious riff underpinned by a single channel sinister whisper into your right ear.  With air-punching shouts and everything.

Love Interruption (for all its charms) measurably destroys the flow of the first half of the album – it’s delicate clarinet assiduously deconstructing the pacy opening; especially followed by the title track’s Nashville-infused shuffle.  However, such gear-changes seem inherently symptomatic of an artist who has forged a career from idiosyncrasies, and can be taken without too much baulking.  Even the almost gratuitous rinky-dink of Hip (Eponymous) Poor Boy doesn’t sit too heavily, falling just the right side of music hall – a blessing for an album heavily based around piano riffs (see also the shit-kicking piano solo on Trash Tongue Talker).

It’s an album, despite the huge confluence of styles, actually functions brilliantly as a coherent work.  The stammering solo of Weep Themselves to Sleep sits comfortably next to the borderline glam parody of I’m Shakin, even with the latter’s somewhat dubious backing vocals and the utterly beguiling “I’m noi-vus” refrain.  Regardless, it’s a satisfying effort, and made all the more intriguing by its lack of side project status.  A solo album without a sniff of noticeable self-indulgence is a rare thing.  Enjoy it.

Matt Crane says…

For more info on Jack White click HERE.

HOLY DIVER/LAST IN LINE/SACRED HEART – Dio

The last time I saw Ronnie James Dio he had just come off stage after performing a visceral show with Heaven and Hell at the Gods of Metal Milan.  ”Makowski, you WANKAH!!”, he bounded over and gave me a huge hug.  Full of energy, eyes beaming, there was nothing there to suggest his tragic demise less than a year later.

Larger than life itself with a voice that launched a thousand fantasy themed melodic rock bands; Dio was an artist who carried his heart and convictions on his sleeve, which is why even when some of his songs and lyrics went beyond the realm of musical parody his fans (including myself) would salute his efforts with ‘devils horns’ two prong salute.

I have followed Ronnie’s career first hand since watching him supporting Deep Purple with Elf.  Already you could see his talents and ambitions were bigger and bolder than his bandmates and I was not all suprised when the uber talented axe genius Ritchie Blackmore gazumped for his solo project Rainbow.  A classic band with a classic line up with three classic albums and one classic live album-they could have reached heady Zeppelin-esque heights but unfortunately imploded.

I have to admit with the exception of the rather marvellous Heaven & Hell my dalliance with RJD became patchy and felt that his solo efforts were overshadowed by Rainbow and H&H.  How wrong could I be.  These three remastered/expanded with bells, cloven hoofs and whistles reissues demonstrate while both Rainbow and Sabbath seemed to lose direction in the mid Eighties Dio remained solid and focussed throughout producing a body in music that still sounds potent and vital (let’s forget about the visuals).  While a lot of this has to do with to do with Dio’s instantly recognisable gargantuan vocal range, it’s also his choice of musicians which include former Ozzy cohort Jake E Lee and up and coming emerald guitar slinger Vivian Campbell.

Endorsed by Ronnie’s Widow,  Wendy, each album features a bonus CD and booklets annotated by the very ‘eavy, very ‘umble Malcolm Dome.

Apart from the three classic albums highlights include King Biscuit sessions featuring a rather robust rendition of Children of the Sea, a searing slice of Stargazer from the Pink Pop Festival and a lacerating lashing of Long Live Rock’n'Roll.  Not forgetting the meaty mega morsel known as Man of the Silver Mountain.

Altogether an excellent tribute to one of Heavy Rocks premier vocalists and all round nice guys.
God Bless Ronnie James Dio……

Peter Makowski says….

For more info on these releases click HERE.

Bag Of Bones – Europe

Returning with their ninth studio album, their fourth since their post millennial regrouping and resurgence, ‘Bag Of Bones’ is a full on classic rock record.  Uber rock producer Kevin Shirley is at the helm and has helped Tempest & Co to create an unashamedly huge stadium rock album.

All the rock clichés are present, the fist pumping anthems, air guitar inducing riffs and the lighter waving power ballads but delivered with such irresistible style it is virtually impossible not to be swept away by it all.

Opening with ‘Riches To Rags’, Europe draw their line in the sand right from the off.  Built around a rolling riff, Tempest’s voice is as commanding as ever and there is a blistering guitar solo thrown in just to remind you this a long way from the euro rock of The Final Countdown.

Heavily influenced by Zeppelin, first single ‘Not Supposed To Sing The Blues’ is a mini musical autobiography, signposting many of Europe’s influences and those that shape the sound of the album.  Shifting things up a gear, ‘Firebox’ has a considerably harder edge to it that you may be expecting from a Europe track.

Wunderkid Joe Bonamassa adds some beautifully restrained guitar to the title track.  If Springsteen had ever done hairspray and spandex, it wouldn’t be far from this.

‘Doghouse’ is made to test your shoe leather, just try listening to the driving riff without tapping along, it is virtually impossible and is as devastatingly simple as it is effective.

Closing on the big emotive power ballad, ‘Bring It All Home’ keeps the histrionics to a minimum and is all the more affecting for it.  A slightly misty eyed homage to the journey the band have been on and a ‘Thank You’ to those who have helped them along.

When asked, drummer Ian Haugland says that ‘If Bag Of Bones was a dinner menu at a restaurant, it would get 5 stars in the Michelin guide’.  In truth ‘Bag Of Bones’ is not really fine dining, it is meat and potatoes, not as pretentious as haute cuisine but infinitely more satisfying.

Jules says….

For more info on Europe visit their official website HERE.

Giftes 1&2 – Antlered Man

It’s not often I play an album which leaves me wondering what the hell has just come out of my speakers, but Antlered Man’s ‘Giftes 1&2’ has done just that, and in the best way possible!  This album has been knocking about for a year and I’m pretty annoyed at not hearing it sooner, but hey the best things come to those who wait!

The album is full of some amazing riffs, bass driven craziness, an onslaught of power house drumming and some incredible song structures.  It’s safe to say that these guys are more than happy to deviate from the verse-chorus-verse styling’s that so many bands are content to stick with.  On the first listen I had no idea where any of these songs were going.  On the second listen, I still hadn’t got it – I just knew I loved it!

Single ‘Surrounded By White Men’ has a slight System Of A Down feel to it and there’s the occasional hint of QOTSA, but don’t be fooled in to thinking that these guys are ripping anyone off because this is easily the most original album I’ve heard in a long long time!

Add them on Facebook or Twitter or whatever, but be sure to get hold of this album if you’ve been hiding under the same rock as me for the last year!

Kev says….

To find out more about Antlered Man click HERE.