Adrian's Album Reviews

Independant Artists

Disclaimer : Bombs By Night, Balloons By Morning ***
Disclaimer Guy Theme / Your Bird Is Going To Fly Away / The Imaginary Thing / Clockwork Drudgery / Five Mile High / Life In Detail / The Decipherment Of Linear B / Billy Morgan / Unopposed / Ultra XX Living Soley On XY / Bet She's Not Your Girlfriend / Maybe Today He'll Explode / Punch-Out / Why Are They Laughing / Similar To Sugar Pill

Disclaimer is Chris Williams, with help from his friends. A home recording effort which intially gives off impressions of sounding like The Magnetic Fields in places, They Might Be Giants in other places. Ultimately, thanks to the character of the music and lyrics, they do forge an identity for themselves. The album proper begins after a brief drum and electronic keyboard theme. 'Your Bird Is Going To Fly Away' which follows is pretty damn great! The vocals are off in the distance in places, the drums rattle and roll along, but the mixture of the electronic noises in combination with an incredibly catchy melody ensures the song is a winner overall. 'The Imaginary Thing' has a flood of lyrics and a chorus that probably is the sole reason I made the comparison above to 'They Might Be Giants'. In any case, the chorus is wonderful and brings a smile of joy to your face. The song is less than two minutes in length. Overall we have fifteen songs amounting to just over forty three minutes running time. The songs are on the whole, catchy, concise, well thought out melodically. The lyrics are fine, self depreciating in places but never clumsy given the vocal performances and style of singing. This isn't a 'vocal' album bar a delightful Beach Boys style harmony part that appears much later on the record.

'Five Miles High' is interesting lyrically and supported by a guitar line that strums and goes along merrily and quite cheerfully in contrast to the dark lyrical matter. This combination of happy music and dark lyrics just happens to be something I really love. Both The Smiths and Belle And Sebastian make a habit of it, so...that's fine by me. I happen to be a huge fan of both. 'Life In Detail' passes by inoffensively but the ending and flow into the next song is offensive! Well, offensive is perhaps too strong a word. But, it really does sound like your CD player has a severe skipping problem. I understand the idea - the end of one song forming the beginning of the next but the execution here isn't quite there. The actual song 'Decipherment Of Linear B' is pretty decent though. A haunting keyboard/piano sound, atmospheric noises and a weary sounding vocal mixed low and alluringly. The song is a bit on the short side in this case. Where other songs here are short rightly so, they sound fully formed, this 'Decipherment Of Linear B' I would have been happy to hear for another few minutes or so. The longest song here 'Why Are They Laughing' is similar in feel to 'Decipherment Of Linear B' and contains many lovely moments melodically. The lyrics here are pretty great if you pay attention to them and its a highlight of the record in terms of spine chilling atmosphere. This is certainly a style i'd like to hear more of from them.

We have a number of cover versions all perfectly respectably done but lacking the character of the original compositions. 'Bet She's Not Your Girlfriend' for example seems slightly more throwaway than some of the other songs but even this features a great tinkling musical hook! The final song? Well. Its possibly nothing serious, its certainly happy sounding. What makes it for me is the little 'wooeee oooh' vocal harmony parts! The lyric is celebratory overall, the whole thing is wonderful. A great song to close which is always a good thing. I've made a comparison to The Magnetic Fields. There isn't actually any obvious similarity - the album just reminds me of them in places. Its a complimentary comparison - much of whats here is better melodically than plenty of groups with major recording contracts.

For futher information regarding this release please visit disclaimerband.com

Agree/Disagree?

To create this web-site, I need a form of easy identification to jump to the particular albums on any given page. I usually use the first letter of each word in the title of the album in question. Eg, 'Exile On Main Street' will become 'eoms' in the HTML that's buried beneath the words you're reading on the screen right now. For this new offering from Disclaimer, we have an actual word formed, 'talk'. Several of the songs here lyrically describe a relationship breakdown, so the word 'talk' seems perhaps appropriate. 'The Airbags Lipstick Kiss' is an album with depth, with lyrical meaning and messages. It's an album that makes the listener believe that it matters, an album that you'll keep listening to regularly for years, rather than months. I'm impressed with the sounds created here. The overall sound is relatively lo-fi, but the invention beneath the surface of the production, the attention to detail through many of the songs introductions, very impressive. 'Vending Machine' contains voices and melodies and vocals layered over each other and becomes a very fascinating thing. There's an increased use of electronica or dance technology, the 'bubbles' sounds that introduce the intriguing 'Backside Of A Bulmic's Teeth' are a great touch. 'Generic Shoulder Blade Tattoo' is a very pretty track musically and vocally - clever lyrically. 'Mufasa Kisses', one of the more challenging pieces here, would go down well on BBC One DJ John Peels show, this mix of electronics, noise and melody the kind of thing i'd describe as 'intelligent' dance music, music that is electronic based but that you want to listen to and think about, rather than just mindlessly dance or bounce your ahead along to!

One of this reviewers personal favourites here, along with the distorted guitars of the enjoyable 'You Ruined Everything', is 'Wrong For The Right Reasons'. A wordy song with a fast tempo and a rush of melody, something you really enjoy trying to sing-along with and end up wanting to learn all of the words, even though there's so many, because the tune is just that attractive! The last song proper before the hidden bonus features guest vocals and synth bass by one Joe Hinchcliffe, and I must say, I'm impressed. Uneasy harmonies with voices shifting over each other, yet the effect is absolutely glorious. In a perfect world, 'Please Pardon Our Progress!' and 'Generic Should Blade Tattoo' would be hit singles. We don't live in a perfect world, but the quality and intelligence of 'The Airbag's Lipstick Kiss' indicates to me that Disclaimer really are onto something here.

Agree/Disagree?

First things first. It's always nice when you get a mail from a new group wanting you to review their recordings. Of course, it works both ways. They receive some promotion and hopefully extra sales ( you can buy this CD from amazon, by the way ) and you get a free cd of hopefully good music to listen to. So, is it good then? Well, I haven't poured over the bands web-site, haven't asked the guitar player any great personal details, so I can't go and do a bio here. I like to judge new bands on the music alone, sometimes. There is a picture of the guys on the back of the CD sleeve, and they all look like nice kinds of fellows, but beyond that..... what does the music tell us? Well, it tells me that the opening 'North Beach Drifter' is a stone cold wonder and a real potential hit single if only it could gain exposure and radio play. By the way, if your eyes drift downwards to the bottom of this page you'll notice i've put up REM and Midnight Oil as 'related pages'. The voice of the singer reminds me of Midnight Oil in places, it's not a dead ringer or anything of the sort, but it's a reference that makes sense to me. The REM thing? Can you mention 'Metropolis' in the same breath as REM albums? Well, it's better than 'Monster', that's fair to say! And maybe the Mineral Kings music will appeal to REM fans? I'm an REM fan and it appeals to me. 'Vanish' has cool driving guitar parts, 'Scared To Death' opens with an anxious and nervy rhythm, the vocals are sympathetic and understanding before bursting into a full and catchy chorus. There are harmonies through a number of songs and everything is very accomplished and charming. The guitar player can really play, 'A Lot Like You' benefits from the solo that arrives around the two minute mark, for just one.

Ooooh! I love the guitar introduction for 'Please Don't Take It So Bad', very distinctive and another potential hit is born. These ringing guitars repeat at various points through the song - a song that places images of sunshine and beautiful girls with blue eyes and blonde hair into my mind. A high harmony part is another nice touch and 'Please Don't Take It So Bad' has been a song i've listened to a lot recently. The Mineral Kings can do softer material as well as they can do catchy rock material. 'Sweet' is aptly named, 'Jack O Latern' has more ringing and interesting guitar patterns and the closing 'The Prize' the same, within a harder kicking rock song. Another mention for the vocals throughout this album. The singer really has a great voice, which isn't always the case with many of these kinds of groups trying to make their way in an industry that's lost interest in signing and promoting any new group that isn't a current fashion or a trend. As far as I know, nobody in the Mineral kings is dating Gwyneth Paltrow, but that doesn't mean this album isn't utterly listenable and full of hooks well worth your time checking out. You can visit the groups web-site at www.mineralkings.com.

Agree/Disagree?

I have Flitwick Records to thank for this. I signed up to get a free Fall single but was so impressed with the idea of a bunch of people giving records away FOR FREE I kept in contact with them and joined their mailing list. Visit their web-site and take a look. What I wasn't expecting was to receive something as good as this! A new band that show a lot of potential even if they haven't quite nailed down a particular style as yet. We open with 'Kissing And Missing' and it introduces itself Fall style with clattering drums and primitive keyboards. This and the following track are both under two minutes long - fast and uptempo. 'We Meet Over Bridges' has a great guitar introduction and the music here reminds me of that legendary band from Leeds 'The Wedding Present'. The vocals do a little too - pretty decent vocals here actually. And, 'Broken Man' is just wonderful! Really, this is a good song melodically and the singer suddenly echoes Morrissey in places. Only in places :) The singers pretty damn good actually. I like his voice. And, this is just such a catchy song, I find myself singing along and the little musical interlude in the middle section features great weird sounding keyboards and guitar.

'All I Know' is another Wedding Present type of song. The keyboards that run throughout and underneath many tracks are effective and the mixture of keyboards, guitars together with charmingly pavement/fall type drums should be kept. Well, they can do what they like of course, but I for one like the sound! Not all the songs are great. Most are pefectly respectable though and the closing 'Tranquilliser' is entertaining. I'd like to see them try more slower songs as well. 'Forbidden' is taken at a slower tempo than many of the songs here but actually is no less biting or entertaining for it.

Agree/Disagree?

Readers Comments bebepopeye@onetel.net.uk I think its rubbish - I really do. Thank fuck the band have split up.

Debut EP here from the promising Kat Flint, a singer-songwriter with an ear for a good lyric. The tunes are folky with a hint of pop music, mature songs, especially for a new talent. 'The Secret Boys Club EP' was recorded in a living room, apparently. There's a lot of warmth and natural ambience. It sounds very well recorded, actually. Kat has recently toured the UK with lauded folk-singer Cara Dillon, although Kat reminds me more of another of my favourites, Fairport Convention discovered Thea Gilmore. The song-writing is especially notable. 'London Lullaby' and 'Headrush' are my personal picks from the bunch here, 'London Lullaby' opening with a pretty melody and especially captivating lyrical hooks. 'Headrush' is arguably the most addictive tune of the EP, although i'm sure you'll have you're own favourites, not a single one of the six tunes here are at all weak. An artist we should all be watching out for, then? I'd say so, it's extremely rare to come across a new artist that already seems such an accomplished writer, whilst at the same time sounding so natural and enticing. Please visit www.myspace.com/katflint for free downloads and purchasing information.

Add Your Thoughts?

Readers Comments terry rattigan terry.rattigan1@btinternet.com saw her live with cara dillon, her voice was outstanding. A great selection on this EP, combining light and dark.

Now here's something to put me to the test....... file under Latin/World/Flamenco it says on the little printout i've got. Hurrah.... er. Right. Now, I can appreciate any kind of music, there are universal qualities. If the vocals aren't in English I can still appreciate the feel and emotions they give, because those are universal qualities. The subtle nature and twists and turns of the music may cross cultural boundaries less easily, but anybody can usually get a gut feeling whether something speaks to them, or not. There is another aspect. Flamenco guitars? Are they well played? Well, are they played better than other Latin Flamenco cheap holiday in the South of Spain guitars? Maybe, maybe not - it's not really that important - any album should be able to stand on its own. 'Los Ninos De Sara' evolved from a group called 'Alabina' who looked like this....



That blonde one was the singer, who left, voila! Los Ninos De Sara are born, risen from the ashes of 'Alabina' and hurrah! They are apparently a cross between The Gipsy Kings and Buena Vista Social Club, only they don't have any of the grace, natural feel and soulful vocals of Buena Vista Social Club, but maybe Latin and Flamenco isn't about soulful vocals? The vocals are fine by the way - one of the better aspects of this album. The guitar is nifty in places, check the little solo all through 'Santa Maria'. No, please, do! These guys can play, they can all play well - but the sound simply isn't to my liking. The vocals sound like someone is anguished, or rather playing a role and acting at being anguished - it doesn't come across as genuine for a single second, although for the four minutes fifteen seconds of 'Romance Anonimo' the singer digs into his memory banks and expresses genuine emotions of longing, loss and desire - in some kind of lonesome fashion, and I can enjoy this a little.

Listening to this may feel like i've crossed into Eurovision song contest territory at times, but the Eurovision song contest is funny. This music here isn't. It's sunny, happy music but with slightly sad lonesome disonnected vocals - rather strange. It's the kind of music i'll probably end up killing myself to. The nice fellows at intencity.com are worth contacting if any of this interests you at all. They sent me a copy free, promising me it would fit in happily in my Jazz/Misc section. Well, but of course! And there was me wanting to put it in the Hard Rock category all the time! And, yeah. I was gonna give this a '2', it's a '2' all over, bar the lovely guitar sweet folky and romantic sad feel of the closing 'Mi..Angel' - which given I don't know what the hell i'm talking about is some kind of success for the guys at Intentcity records!

Add Your Thoughts?

We don't start off too well. The opening song is by far one of the worst here, more in terms of sound than anything else, I blame the keyboards that root this to the Eighties, hardly a good sound to be rooted to. Still, a word of explanation first. James Donnellan may be better known to Love fans in particular, as Jay Donnellan, he played guitar for them on 'Four Sail' and half of the album that followed. I was rather taken with his guitar playing on 'Four Sail', and he contacted me via e-mail thanking me for my words during that review. Some time later, I received this album through the post. I think that the first song put me off for a good while - I really don't like it, it's very anonymous and doesn't feature any noticeable guitar, although guitar is there. The voice of James Donnellan is fairly decent, by the way. Nothing super exciting, but fairly decent and strong, all the same. You see, after the opening song, we get ourselves a genuinely good song, dylan influenced - the weighty 'To The Hopeless Romantic' - decent lyrics, etc, etc - and something of an event. As the album progresses, good guitar and mostly mid-tempo songs, but good singer-songwriter songs, serious heartfelt songs, the cumulative effect of all the songs does impress. I dig 'I Will Walk' where instead of Dylan, we get Neil Young as a vocal influence. 'Half Way To You', like many of the songs here, is kind of relaxed, but it's classy and it's nice listening.

I don't know - when so many albums are recorded these days seemingly purely as a career move, and not out of any love - it's nice to have an album that comes across so genuinely. It's a world removed from the music he recorded with Love, by the way. Love fans won't necessarily dig this - although it's so nice and peaceful - yet searching through the lyrics. Well, maybe not searching - but there are far worse things than to sound like than as if you think about life. Thinking is good. 'A Promise' opens with folky guitar, 'Wooden Ship Glass Bottle' opens with bluesy guitar - never a note out of place. The vocals are lyrics aren't the best EVER - but then, whose lyrics are? Well, insert name of your own favourite band here, I suppose. Well, anyway - what I was trying to say was 'Wooden Ship Glass Bottle' has lovely guitar and mellow vocals and it's a nice thing, relaxing but not so relaxing it doesn't mean anything - it's high quality and so is the album.

Add Your Comments?

Laroca present us with a mix of live instrumentation and dance beats perfect for a summers day. A heady mix of blissful chillout, a hint of Latin, Asian and other exotic themes. This wide range of flavours provides interest, colouring the well constructed, carefully layered mix of beats and live instrumentation underneath. Sensibly for a debut, Laroca set their stall out early. Following the brief 'La Douleur Exquise', the superb 'Looking For Lions' really captures the imagination. Vocals pop up, wordless hints of the East. Flute passages decorate a musical backing with plenty going on, yet it never sounds fussy. 'Looking Like Lions' is a genuinely impressive piece, something you would expect to turn up in the soundtrack to a Hollywood film. This high standard continues with 'Generalife', a soothing track with just enough going on. A very nice melody forms the bedrock to the tune. Taken together, 'Looking Like Lions' and 'Generalife' provide a very good indication of what we can expect from 'Friends In Faraway Places' in general. It's a good title for the album, incidentally, from beginning to end it sounds like a journey and gets the visual imagination going. Very picturesque music with the detail to make the scenes come alive. Another highlight during the first half of the record is the Hip-Hop based, complete with effective rap sections, 'What's Odd About Chess'. Very cool bass lines, decent stuff.

'The Daa Daa Shuffle' is a song i'll be picking out as a highlight too, actually. If you can imagine a chillout, beats based version of Jethro Tull fit for the sand, sea and sun rather than the cold British countryside, you'll have some kind of idea. A strange idea, probably. Let's just imagine the flute from Jethro Tull lilting and floating away over an extremely effective, mid-tempo beats filled backing. That's better! 'Theme Flamboyant' returns the album to cinematic soundtrack territory, the closing 'All Jam And Bread' ( great song title! ) vibrates to another deeply cool, blissful bass line. I like decent bass-lines, I love music that places images in my mind and sends me to places. Delve in my friends, the water is cool. A very promising and enjoyable debut overall.

Add Your Thoughts?

Readers Comments John. County Kildare john.j.doyle@nuim.ie Purely on Adrian's advice, I'm checking this one out. Sounds very tempting, and Adrian has such a wonderful way with words, that I just can't resist. Okay, here goes.....

First things first, visit here to listen to more Daniel Fjall songs. Send him an e-mail, ask him for a copy of this EP, whatever you wish for. I'm sure he'll come to some sort of arrangement so that you too can enjoy this music. And yeah, it's worth tracking down, the man has voice. One song of his I heard reminded me a little of Tom Waits. The opening song here includes the sound of cars passing by a homegrown recording with simple acoustic guitar patterns and simple lyrics, but the voice has a quality and class about it, and class is the right word to use. The opening track here is just over a minute long, second song 'Runaway' features quite beautiful Piano work, always a favourite instrument of mine - and when Daniel opens his mouth, all gravel, all lonesome and crying into his beer sounding - it's just so very affecting. 'The Drapes' is a stone-cold classic and the best song here. You know, think what you like about a group like Dire Straits, but they make lots of money, sell lots of records and have a fanbase that enjoys their records. The songs here, especially the glorious melodies and vocals displayed all through 'The Drapes' could sell hundreds of thousands if the name Mark Knopfler was attached to it. Really. Oh, 'Runaway' features a bluesy guitar solo that's pretty accomplished and it really adds to the song. It's a lovely song - the Piano comes back in........ you wanna cry listening to this song. After 'The Drapes', Piano returns for the closing song, and it's beautiful. I dearly wanna hear a sequenced full length album by this guy, and PLEASE visit his web-site and listen to the songs. 'Like Me' sounds a little Dylan, a little Dire Straits. The lyrics aren't Dylan quality, let's be frank about it, but Daniel is at the beginning of something here, and it seems to be a beginning well worth sticking around for. I hesitate to give an EP by any unsigned act a maximum five stars, but this guy just really has something. I can't help myself. Call me a fan.

Post A Comment?

Another five songs from the glorious vocal chords that belong to a Mr Daniel Fjall. I was initially a little put off by the Mark Knopfler vocal stylings of 'All We Got' - but the guitar parts get to you. A few more listens, and the vocals hit home too. I should really review Dire Straits, shouldn't I? It'll be fun!! I do like them, by the way. Well, that's for later discussion. 'Most Of All' is beautiful, and it suddenly hits home how good these songs are - seriously. It can be a little tricky reviewing music by someone whom you actually know, if only through various internet conversations - but i've been sent music by loads of people for review. Some good, some okay, some ugly. One of the CDs I got sent was by a reasonably well known musician now striking out on his own. The songs here, are better. And Daniel is just some guy recording at home, or wherever he records, but somebody give this man a record contract, NOW! And Daniel? Give us all an album to enjoy, please. Please? Ah, let's carry on. More good guitar parts feature in 'Soft And Clear' and fantastic blues guitar in the appropriately named 'Blues #73', although, why #73? It doesn't matter. And! More astonishing VOICE of Daniel Fjall continues, a voice to fall in love with. I was blown away the first time I heard one of his songs, and I remain blown away by his voice - it's such a damn good voice. 'Say Goodbye' is a little heartbreaking - all the songs here are good, and the only reason I give it less than the previous EP is the fact there is arguably nothing here quite as affecting as 'The Drapes'. Although, remember. The important word here is 'arguably'. And, thanks, Daniel.

Post A Comment?

'The Drapes' remains as stunning as ever, a song of genuine and real quality that makes you wonder what other relatively unknown talented artists are out there in this world? Oh, and if you visit this sites downloads section, you can listen to 'Most Of All' from Daniel's 'Tramps Like Us' EP. Listening to that will give you a good idea of what to expect from the wonderfully titled 'Transparent Melodies' album. It sounds like the title of a Stereolab album, or something. I'm rambling a little I know, but 'Transparent Melodies' will do me as a title. Anyway, yes. The voice of Daniel Fjall is showcased via a further nine songs. The same delicate and love-lorn and lost romantic quality that made 'The Drapes' so very fine is also present in a few other songs here. The second song, delicate guitar melody, a vocal that sounds like it's a vocal projected from a beer glass full of tears. It's quite something, it's special and sends goose-bumps all over me. Yet, not everything here works as well as perhaps it should. 'From An Open Sky' I would have loved to have heard with a semi-country treatment, the kind of thing Will Oldham does so well. It's a simple song, perhaps too simple this time around. The lyric isn't as engaging as usual and the music isn't as evocative as needed to hold the listeners attention, although it does have its moments here and there, a few sounds here and there that are nice touches.

'What Would You Want' joins 'The Drapes' and 'Would It Be So Bad' in being a highlight of this debut album set from Daniel. It's as simple as simple can be, a vocal and an organ sound, that's all you're getting, more or less. Simplicity works very well sometimes, especially when a brass instrument appears out of the blue and both the vocal and lyric are something to be cherished. This is a late night listening gem. Piano for 'Ride The Train', uptempo guitars for the opening number, yet I would have liked perhaps a bluesy thing, a little more variety across the album as a whole. 'Transparent Melodies' has a few wonderful songs that continue to indicate that Daniel is, and has, a real talent, yet i'm sure there is more to come in the future and that 'Transparent Melodies' isn't the height of what he is capable of.

Post A Comment?

Here's an interesting piece of work. An unsigned band, but one with class and credentials enough to ensure that situation is quickly rectified. 8mm are Sean Beavan ( famed for production work with Nine Inch Nails and Marilyn Manson ) and a singer named Juliette Beavan. Yeah, a little husband and wife team. It's the vocals Juliette brings to the equation that really mark out 8mm as a band to watch. I was surprised when I first heard the music contained on this EP. Pleasantly surprised. It wasn't at all what I was expecting. 8mm are managed by Shannon O'Shea, who was the founder manager of Garbage. Add that to the fact Sean Beavan is known for assisting in the aggressive musical sound-scapes of Nine Inch Nails - to be presented with this mix of Massive Attack and Portishead was something of a pleasant surprise. 8mm are no mere amalgamation of their influences, however. Track five 'Crawl' has a ghostly utterly haunting guitar solo, for example. The vocals on 'Crawl' are whispered and seductively presented by Juliette. She's really got something with her voice, her voice frequently provides this EPs most magical moments.

So, 'Never Enough' is something a dark pop ballad with enticing and layered musical backing. 'Save Yourself' has the strongest hook of the six tracks here, it's a song revealing that 8mm have good commercial potential and a way with melody. 'Give It Up' doesn't quite resemble Nine Inch Nails, but makes sense of the fact Sean was involved with them. 8mm are a band quite capable, it would seem, to move off in several directions. To cover all sort of musical bases and appeal to a wide range of people. Bearing that in mind, 'Opener EP' is certainly an audacious beginning.

Post A Comment?

Sam Winch is 35 years old, this is his debut album and apparently he was born in a bowling alley. That's about the only information I have for him, and perhaps, none of it is true! Perhaps it's all true, I don't really care, because trawling through various records by artists who have very kindly sent me their CDs, I came across Sam Winch and immediately it struck me as being striking and different. I liked the acoustic guitar and I loved his voice. The title track perhaps showcases it best. A country influenced track, his voice coming across as Dylan/Springsteen/Humourous. This is kind of funny music, in a laugh out loud way. Sam Winch sounds like Lou Reed, with a sense of humour, transported to Nashville. It's quite something! It's weird circus music, it's weird, funny inventive lyrics and it's different. That last word is something I look for endlessly amongst the procession of artists and bands all sounding the same as each other. Ah, 'Graduation Day' has this quiet delicate piano going through it, a trumpet popping up quite delectably at one point and a vocal of nuanced calm and story-telling. I love it, absolutely adore it, and is Sam Winch in the Billboard Top 200? No, but he should be! In a parallel universe, with people who have good taste in music ruling what's in the charts, 'Graduation Day' would be a big hit all through the year.

Oh my god, the noisy circus rock n roll country of 'OneTwoThree' sounds like Lou Reed with a poker up his arse and a dead Gram Parsons sharing eight whiskeys with him whilst they both proceed to have a hell of a fun time. That's a strange description of anything. I realise that, so the best thing might be to track this CD down. I'm not a PR person or advertising anything, just this stuff is genuinely funny, happy grin inducing stuff! Then, other songs have depth and appear to be emotionally affecting in another kind of way. Good stuff all round. Hooray! Oh, I dig the outrageous backing vocals that are present throughout a number of songs, really off the wall yet still coming in some fine fashion. This album is fun, it's such good fun. I like it lots.

Post A Comment?

Readers Comments David dmbloome@hotmail.com I agree with you. This is one of the most original CDs I've heard in years! I love it.

Here we have an album released on the Jam Jar label in 2001. A new young band from Scotland very noticeably in with the kind of indie/alternative music played by famous BBC Radio One DJ John Peel. Indeed, he's been playing a few Hector Collectors songs on his shows in the past months. So, what do have? Well, we have lo-fi! Very lo-fi! It gives it an intimate, drinking beer with your mates kind of feel though. I mean that in a good sense, by the way. The songs support it by being fairly melodic, especially vocally. The musical backing is mostly strummed guitars with simplistic drums and odd bits of percussion. The opening 'What's The Point In Getting Up' is 'the radio hit' Its a fine song, actually, charming and winning. We have a strong opening generally. 'Laurel Park School' has lyrics that are just....well, they make you smile. Its a good thing and a fine song with a wonderful 'it would be so nice' hook in the chorus. 'Hallo Kitty' is very memorable, the next few songs less so. 'Down The Pub' has humorous lyrics in places but the song isn't perhaps quite as well executed as it may have been. Twenty songs! Fourty five minutes! It means that each song occupies only the exact right amount of time for it to make its point, charm and entertain you ( or not, as the case may be ) and then onto the next song. I do like the pace of this record.

Another highlight arrives with wonderfully silly 'It's Raining, It's Pouring' which is the sound of The Hector Collectors all over. The vocals are just so fantastically done, bearing in mind the general lo-fi sound. This lo-fi sound isn't something you should be concerned about however, it seems perfectly natural given the overall feel of the songs. It suits them, its almost impossible to imagine them sounding any other way. I'm not actually sure i'd want them to There is a run of songs on the second half starting with 'My Fiat Punto' and ending with 'O'Shanefield's Girlfriend' which seem less attractive to me than other songs here, less focused from both a writing and performing point of view. Well, 'O'Shanefield's Girlfriend' is actually a fine song with decent vocals were it not for the drunken sounding introduction! 'Sarah Sherley-Price' completely gets things back on track and manages to sound like classic Hector Collectors, if such a thing exists! We end with a five minute tribute in song to former Oasis drummer Tony McCarroll. I'm sure he'd be pleased with the sentiment. Well, perhaps... Overall this is a fine, enjoyable album that occupies its own world, but also welcomes you happily into it. And its a pretty good place to be.

Agree/Disagree?

Now, what the hell is this? Production???? Well, almost! In one single small leap, The Hector Collectors have progressed from the production levels of 'Dragnet' by The Fall to the production levels of 'Grotesque' by The Fall!! But the title song of this small, tidily compact EP remains unaffected by production, lack of, or otherwise. It's a fine happy sounding song, even if the singer seems to wearing an audible grin throughout the recording. Lots of mentions of new romantic type stuff in the lyrics of course. This is a concept EP! Got to love the 'keyboard' solo though. It's so quite plainly ridiculous you can't help yourself but smile. Second song 'When's The Tea Ready?' is quite frankly bloody awful - a Beastie Boys tribute. Nice 'twiddly' guitar part in there somewhere which made me smile, but the rest of the song failed unspectacularly to make me do anything but curse and frown. 'Billy Sloan' is a sweet one minute long song, but what's this? It was written and sung by the groups drummer, I ask you! Dagnabit.

Luckily, this slightly disapointing so far Hector Collectors release is saved quite wonderfully by songs four and five. 'Mock Around The Smock' is a thing of semi-genius. And, what's this? The sound of The Fall circa 1980? Damn right! It may well have been unintentional, I don't know, but the guitars here are simply wonderful - all jaunty and clear. The lyrics are something to behold as well, a flood of words, good words too. 'Gary Newman Needs Another Hit' is worth the price of this EP's admission alone. Very funny lyrics that are charmingly sung, very funny shouted harmonies. Very warm and affecting, it makes me go all quishy inside. 'Deepend' is a Kraftwerk parody played on guitar with completely daft lyrics. What was that? Played on guitar? How can a Kraftwerk parody be played on guitar?? It's pretty funny though, and there are keyboard parts in there as well, of course The final song ( watch out for the hidden bonus that follows! ) is pretty nice, nothing more, nothing less. Overall then? Two great tracks, two good tracks, two average and one poor. And, that's it! Stupidly, the bonus track 'hidden' at the end is better than half of the other songs! Ah well, that's why we love them so.

Post A Comment?

Readers Comments Scott Kellock s_kellock@hotmail.com Saw then live for the first time supporting HMHB. Superb, Gary Numan track is brill. Will definatley be on the lookout for their gigs and releases. Cheers guys for a great night

Our favourite Scottish indie popsters are back with a six track 7" vinyl EP, playing at 33.3rpm and released on Stolen Wine Records, PO Box 217, Wilmslow, SK9 2WB. Sigh. What we all actually want of course is a second full length LP. The Hector Collectors continue to get better and better. With the lead track here, produced by ex-teenage fanclub member Brendan O'Hare, the hectors are clearly going places! Well, name producers (?!) aside, the real reason anticipation for a new Hector Collectors album is reaching fever pitch in places as far flung as coventry is the material itself. 'Opposites' has clever, funny lyrics - very good lyrics. It also has a massive hook a fisherman could win competitions with. Cute vocals are a feature of both the second and third songs. The hectors quote Joe Meek's 'Telstar' musically during the latter tune, the former song is just so nice, daft, yet utterly brilliant. I want a bloody CD copy, it's a pain in the ass for me to listen to vinyl records these days. Lack of equipment, you see!

The second side kicks off with 'BA Robertson', another song with catchy melodies and great funny lyrics. Four winners in a row? Well, yeah. Two more to go? Yeah, actually. The Hector Collectors and principal songwriter Adam Smith produce their finest piece of plastic yet here. The closing 'Alison Goldfrapp' is just as nice, affecting and well put together as anything else here, by the way. Do yourself a favour, visit hectorcollectors.co.uk and discover this band. They sound little like them, but they're catchier and just as addictive listening as Franz Ferdinand, who went top ten!!

Agree/Disagree?

If you happen to be a new male singer songwriter and solo performer, it's difficult to get your music heard these days, unless you happen to be Sting, or somebody. Thankfully, Richard McGraw isn't Sting. What is he then? Well, he's of the folk school, but rather more the Leonard Cohen school of folk than anything strictly traditional. Information about Richard McGraw can be found on his official web-site here. You can listen to selected tracks from this album at CD Baby. You could even buy it at the same time, if you liked. But before all of that, let's give you something a bit more to go on, something to get your teeth into, so to speak. The album is loosely grouped into four parts sub-titled 'Intro', 'Various Secular Struggles', 'More Facts' and 'Conclusion'. This thematic structure doesn't at all interfere with the listening enjoyment. The album works on several levels, actually. On the one hand we have very melodic playing and carefully put together backing tracks with the likes of opening 'Judas Disguise' for example. The bass sounds good, the strings and harmonies are attention to detail, a rich musical backing with the sound of an acoustic guitar and a vunerable, but still strong, singing voice surrounding the music. Another way this album works is through paying absolute attention to the lyrics, all of which are intelligently poetic and well worth paying attention to. The second song here, 'Leaving You Forever' is absolutely heart-breaking - a lone violin plays in the background whilst Richard McGraw sings ( beautifully ) a selection of beautifully poetic lyrics in that clear, strong but still vunerable voice of his. I should make clear this singing voice isn't akin to Leonard Cohen's, in case you wondering about the comparison I made at the start of this review! Just a certain intelligence in the music and lyrical matter, a certain air about it all. Listening to 'Plans To Escape My Programmed Heart' makes you wonder a little though. The lead vocals apart, this could have come straight from Cohens 'Songs From A Room' album, and that absolutely is a compliment, this is a truly lovely, short song.

'Various Secular Struggles' opens with 'Sidetracked' and for now the embellishments in the way of violin, bass etc disappear to push the lyrics to the fore. 'A Poem/Confession' is well worth listening to for it's every word, 'The Currency Of Labour And Demand' another piece of heartbreaking beauty in the vocal department - it tugs at your heart strings and the addition of faint accordian sounds is a nice touch. 'More Facts' opens with 'These Wholes In My Body On South Street' and again, the attention to detail in the musical backing is a thing to behold. I'm speaking of 'knowing' where to add the right embellishments, in the right places - and not to overdo anything. He never does, thankfully. The sound is fairly pared back throughout the record, but as i've been saying - the violins, bass etc really do make your ears stand up. Beautifully recorded music, this. Moving through the tracks that make up the six song 'More Facts', even though all of the songs are relatively short suddenly becomes too much of a good thing. What I mean by that statement is that he starts to repeat himself, not lyrically but certainly with the sound of the record. Maybe it's just I don't care too much for 'Following Love' in particular? I didn't get the same feeling listening to that, it seemed a little colder in feel and atmosphere - just a personal feeling of mine. This is a very personal sort of a record, actually - very up close and warm. 'The Wealth Of My Position' sees Richard set his vocals to a Piano backing, which works very well to break up the sound of the record at this point. 'No More' has some nice acoustic guitar playing, 'Prophet Song' and the very short but utterly fascinating 'Sympathy For The Pervert' closing the record. An enjoyable record too, an admirable record in the current music business. It deserves to be heard by many more people than it almost certainly has been. Whilst the second half of the album doesn't maintain the quality of the first half in terms of great tunes - there is still more than enough here to get quietly impressed and excited about.

Post A Comment?

Music is a strange thing at the moment. With every year that passes, there's more music made and it becomes more and more difficult to assimilate it all. Well, we needn't bother and nobody generally does. There's too much music. A glance at either the top 40 singles or album charts is fairly disturbing, though. If so much music is being made, where's the good stuff? At any one time, I might decide there's two or three 'top 40' albums worth having. Albums 41 through to 100 often consists of clones of the top 40 albums, or sometimes, worthy stuff that only appears in the charts for just a couple of weeks. Where is all the good new music? Why must the public assume if something is unknown, it can't be any good? We all know the good stuff doesn't automatically rise to the top, we accept some bands have bigger marketing pushes. There seems to be an assumption however that a great songwriter must make some kind of impact somewhere, so if we haven't heard of said songwriter, why take the risk and investigate? Too much rubbish produced you see, so people naturally take safe routes and stick to what they know. Richard McGraw doesn't reinvent the wheel, that's not required anyway. He 'just' writes great songs. Still, when great songs are in short supply, he's something of a rare commodity. How many other guys are out there writing great stuff we may never hear? Well, we'll never know, will we?

You know, I've heard of 'Sufjan Stevens' who makes good records. Have I heard of this Richard McGraw geezer? Where's his Rolling Stone review? So and and so forth and i'm labouring this point for a reason. It's terrific as a record reviewer when you receive an album through the post that's actually good and surprises you. I reviewed the first McGraw album, here's the second, is it any good? Short answer is yes, but I guess you may require further explanation. I know the public are tough and jaded these days. Why does Richard McGraw deserve your hard earned cash? Well, I shall attempt to explain. Packaging. The album arrives in a lovely cardboard sleeve with a proper, well printed thick lyrics booklet. The package looks like some care has gone into it and immediately that's attractive. Contents within? Put the CD into the player, hit play. A slow, mournful song comes out with hints of a country influence. Hmmm. Still, what's this? These lyrics are absolutely excellent. Still, what's this? Repeated plays of this slow, powerful tune results in 'Butter Hill' sinking into your soul and Mr McGraw has scored point 1. Open your album on a strong note. The music here and across the album as a whole is more or less how you'd expect a singer/songwriter LP to be, it's based around Richard McGraw and the various instruments he plays. The arrangements are never overly fussy and the album retains a natural sound. Yet, it delights me that when a handclap or a bass line pops up to join Richard and always in exactly the right place. You know, you're listening away thinking, 'wouldn't it be great if a little bass line pops up here' and then it does! Ah, 'St Anthony' is such a great little tune.

Length, the album lasts exactly the right length given the fact there's a lot to digest in terms of lyrics and so forth. If the album was any longer than it was, we'd be risking taking away from the overall effect rather than adding to it. That's a lesson old Sufjan could learn, actually. Still, I've mentioned a couple of tunes as highlights, saving my favourite highlight until now, 'Natasha In High School'. 'Natasha In High School' is pure pop gold. The way it opens is, and I hate to use such phrases because they are more or less meaningless, 'mccartney-esque'. The lyric is witty and funny, rhyming panties with pantries and much more besides. There's a 'la, la, la section', too. You can't go wrong with it, really. I need to finish the review now, because otherwise this review won't be exactly the right length and i'll be describing song after song. In summary then? It's a quality record, buy it today and be rewarded with real and lasting listening pleasure.

Post A Comment?

You may remember Adam and Martin Smith from such groups as The Hector Collectors, and such support slots as that of supporting Half Man Half Biscuit, whom shamefully, I haven't got round to reviewing yet. Initial differences to the Hectors, then? Well, that jingle-jangle, sweet guitar has been replaced in many cases with actual ROCK guitar. Oh my, oh my. Well, it took me a couple of listens to get my head around, because I really did like Hector Collectors rather more than was probably healthy to do so. Anyhoo, what about this wonderfully titled album here? Well, it's huge fun, endlessly inventive and silly lyrically. I recommend you buy it, I really do. Link provided at bottom of page, you know, free downloads! The opening 'We R Franz Ferdinand 2' is a comment on the influx of bands pretending to be Franz Ferdinand when actually they are Kaiser Chiefs, or whatever. This is a distorted guitar thing with 'whoa ohh!' backing vocals. Switching from distortion to a song right in the Hectors mode, we have second song 'Could I Be Loved?'. A wonderful track, very funny lyrics and a rather sweet, sing-a-long chorus. I do like the variety present on this album, actually. It's by far the most rounded, consistent recording project ( eg, EP or album ) that Adam and Martin have been involved with. Hence, the acoustic 'Someday', the guitar+electronics of 'Plimptons Rap', the Kinks+Hectors silliness of the brilliantly joyful 'Jolly Top Hat'.

Other delights this album has to offer then? Well, 'John Major' is surely a tongue-in-cheek, brilliantly un-political parody of some of the less interesting political figures of the recent past. Plus, you know, Margaret Thatcher being 'their man'. And the end of the song, Adam and Martin promise not to do any more silly songs and that Paddy Ashdown, former leader of the Liberal Democrat party, actually didn't pull the singers pants down. I hope not! Anyway, of course, after promising not to do any silly songs, 'William Shatner' arrives next. A one and a half minute speedy guitar thing that seems to be telling us that Captain Kirks/TJ Hookers ( delete as to preference ) wife is dead. Terrible news! Oh, 'Chix N Comix' is just so hard to resist with it's sing-a-long chorus and the closing 'Realm O Majick' has keyboards and softer vocals, an interestingly put together track showcasing the continued development of these bunch of guys who really should be selling large quantities of records. The currently oh so dour music scene really needs them.

Post A Comment?

Being a dead unfamous record reviewer, I get sent quite a few CDs through the post from various record labels and up-coming and unknown bands. In the four years i've been doing this site, nothing sent through to me has struck me quite as hard as the opening track on this CD. You know, i'd been briefed on The Tindersticks aspect. Indeed, the strings wail and soar quite dramatically. Besides that however, well. What a glorious opening number! Ditching guitars for Violins or "life will so much better when you throw those guitars down" as the singer pleads, and I quite agree. The current musical climate reduces musical ambition. We've got this drums, bass, guitars thing going on with numerous new bands all sounding very similar to each other. Not so with 'The Sharp Things'. My initial first impression listening to 'There Will Be Violins' was that a sober Shane MacGowan from The Pogues had somehow stumbled into a room full of classically trained string players. Cool, I thought to myself. Ah, but there is more on offer on this excellent CD. '50 Heads Over High Street' kind of nods towards brit-pop and indeed, includes guitars and very Talk-Talk type, elegant vocals. Albeit, over a soaring musical backdrop including guitars yes, and also strings. Also, much energy. Some very beautiful songs are dotted around the tracklisting of this CD. 'Slay The Night' is very lovely indeed and that elegant word crops up again. '95 St Marks Street' includes jaunty piano and very well strung together lyrics. A pop song that Neil Hannon would have been proud of, although with a string section sounding, dare I say it, better employed than on several of those lovely Divine Comedy albums.

Ah, i'm throwing names of bands at you, because perhaps you haven't heard of 'The Sharp Things'. I suggest you invest in a copy of 'Foxes And Hounds', not because it's the best album ever made by anybody ever, but just because it is indeed very good. Ah, '95 St Marks Street' was surely written for a lover of beautiful music? There's a great instrumental section where suddenly 'The Sharp Things' sound like 'Pet Sounds'. Just for a few seconds, but it's enough. Perfectly melded into the song. I won't get overly excited, because there are perhaps a couple of songs too many on the album. It runs to 59 minutes length with a few songs merely repeating other songs but not quite so well. Still, sterling work from The Sharp Things on the whole, a band i'll certainly be paying attention to in the future.

Post A Comment?

Readers Comments John, County Kildare john.j.doyle@nuim.ie Yet another band that have caught my eye (or eye to be more precise) through Adrian's site. Has anybody got anymore info on them?, as there shore is some mightaay fine potential here folks!

I like putting down my emotions with little thought to editing. I like these reviews to come across as pub conversation. Yeah, i've got something to tell you, baby. The last time I came across The Sharp Things they were promoting 'Foxes And Hounds' and kindly lent me a copy. It chimed with my mood at that time, particularly the opening track with talk of throwing guitars down and picking up violins. Well, this ensemble have moved on for their 3rd LP. Their press-release mentions they have no one to please but themselves, and I like that. The Sharp Things are ignoring fashion to pursue a calling. Their calling involves being an eleven member strong ensemble, recording with orchestras and numerous other musicians. It involves, for this LP, expanding their sound. I made comparisons before to Tindersticks, to Scott Walker and The Divine Comedy. This album stands quite alone and doesn't make me think of anybody else but them. There's also a couple of songs I want to talk about that resemble nothing less than pure soul music, glorious in emotion. That much is new.

'Through With Love' is a joyous orchestral pop declaration, wonderfully arranged. Theres tick-tock, theres a beating heart, there's numerous stupendous string parts. There are many fine songs here, actually. 'Storm King' breaks your heart before the soul tunes reel it back in. 'Cruel Thing' is the one. Amy Winehouse transported to Al Green via Marc Almond. Well, something like that, at least. Oh these strings! The sparkling pop of 'What's The New Girl Wonder' is a gem and it sounds like they aren't even trying, that this just comes naturally to them. The sunshine that rides through 'What's The New Girl Wonder' matches 'Through With Love' and 'Don't U Leave Me' matches the soul of 'Cruel Thing'. 'Don't U Leave Me...' is sheer class, a heart wrenching, dramatic soulful wonder and I should wonder about running out of words. I want to listen to it again. I know ( see above ) at least one extra copy of 'Foxes And Hounds' was sold thanks to my review. Here's hoping many more copies of 'A Moveable Feast' are sold. These guys deserve your attention.

Post A Comment?

There was a Scottish band called Del Amitri that many of my readers won't be familiar with, but some of you maybe familiar with a few of their songs. They weren't a great band by any means - deeply uncool, but they had a clutch of fine songs. The opening song here reminds me of Del Amitri vocally, but far surpasses them musically - crunching guitars and a fresh lo-fi feel. I should write something here about the why and wherefore of how I came to acquire this album. I was contacted by a member of the band, and they were kind enough to send me an advance copy of this album. A handy print-out I've got lists a few pieces of info, such as the fact that 'Flagpole Magazine' hailed Soundtrack Mind as "Athens Best Pop Band", which is nice to know! Influences listed on the same information sheet i've got right here in front of me list Gram Parsons, The Jayhawaks, Satchel, Tori Amos and Paul McCartney. Now, let's delve into those. I can hear the first two, second song 'Town' is a neat little country rocker - so that's fine. 'Satchel'? I'm not familiar with them. Paul McCartney? Nah, never heard OF HIM! - a little fact of the simple melodies, nice catchy melodies present throughout may explain that one away. Tori Amos? Now, I adore Tori, but I can't hear that influence here at all. I guess they like her, and that's more than fine by me!

The slightly distorted, energetic and rather impressive guitar work that was a feature of the opening song returns for 'Really Want', and much like the album as a whole, it grows on me. The melodies are here, the vocals aren't always smooth or accomplished, not always impressive but the music nearly always impresses to some degree, and besides. The vocals are fine, a mile away from being 'bad', just not soaring and swooning...... but this chorus slamming into my face all through 'Really Want' sounds damn fine to me. Neat catchy guitar lines are a feature of 'Clean My Name', the five minute long 'Goodbye' is mid-tempo, a pop ballad but it drags a little for me. A couple of energetic country tinged rockers follow with 'If The World Falls' having a chorus to enjoy in particular. 'Can't Buy' is a ballad and a damn fine one, the vocals sound good all through this song and the lyrics are accomplished. 'Lonely Tonight' closes this modest, enjoyable and able to get subtly under your skin set of songs with great country picking and nice harmony vocals. A good song, a good album. Contact Shut Eye Records or visit the bands own site for further information.

Manchester band The War Poets evoke memories of eighties/nineties UK indie guitar bands, but i've been trying to work out who exactly they remind me of. Maybe there's a little Joy Division, the lyrics are certainly serious. The vocals are convincing and the singers overall delivery is audibly passionate. The guitars remind me of a great band The Chameleons in some places - yet when the sound is fuller and the songs a little, dare I say, poppier ( not poppier in the usual sense, just containing good melody you can hum along to ) the guitars remind me of such bands as Ride, Swervedriver. A little early nineties guitar thing is going on, but that period is generally underappreciated, because Britpop happened afterwards. Besides, I actually had to think quite hard who they remind me of exactly, and in doing so, I feel I've done them a disservice, not because they're startlingly original, in the wider scheme of things - they aren't - just that the passion of the performances combined with the texture and sound of the guitars, and the sheer quality of the songs, really do convince. Incidentally, they've toured with such UK bands as Cinerama and as far as i'm concerned, deserve to be heard. They've got a song here called 'Scott Walker', and any band that pay tribute to Scott Walker already have my attention. Needless to say, it sounds nothing like Scott Walker, that great dark ballad poet of the sixties, or that weird percussive unfriendly avant-garde Scott of the nineties, either. Still, I don't mind that, it's a good song with a strong chorus that convinces and a textured, layered guitar sound.

In a similar vein is the opening song, a highlight here, 'Painted'. I adore the guitars and drums bashing and fighting with each other, stabbing and biting and then the vocals - you wanna hear what he's saying. And then, my, the chorus - an utterly convincing chorus, wide-screen in contrast to the darkness the song initially evoked. Well, the darkness continues even through the chorus - but the chorus is akin to a shared grief. I keep expecting 'Catapult' to turn into 'Corduroy' by The Wedding Present, another UK noisy guitar band The War Poets remind me of and it makes sense of the tour with Cinerama, a band led by Wedding Present man David Gedge. I trust they went down a storm with the Cinerama and Wedding Present fans, presenting them with strong melodies on the one hand, then biting guitars and bashing drums on the other-hand. In 'Catapult', there's an instrumental section where the bass player proves he can play - he's playing melodies as well as filling out the overall sound. Too many bass players don't actually seem to DO anything, and with the astonishing success of groups like The White Stripes - maybe an endangered species! I sure as hell hope not, I love my bass guitar sounds. Anyway, i'm rambling - i'm sorry - but The War Poets do raise emotions in anyone that cares about music. This album right here is that kind of album, the kind to take seriously, and adore slightly, or even greatly, dare I say it.  Variety in sound is provided by the likes of the softer 'Re-Vamp', which boasts really good vocal parts in places. The bass guitar goes really funky through parts of the closing 'Breaking You' and 'Summers Gone' makes good use of keyboards to vary the overall sound.

There is a darkness here, but light does shine through - it shines through the vocals, always convincing - the groups strong developed choruses and way with song-structure. They deserve to be heard, I said? They do. I can just imagine the likes of 'Summers Gone' being played to a crowd of devoted fans. Music fans who like loud drums, passion - and guitars that threaten to break you in two.

Add Your Thoughts?

Readers Comments Steve Duckworth STEVESTEVELISA@aol.com I have just discovered this brilliant band, they should go very far indeed. Any gigs coming up soon? Jonathan Forbes jona_forbes@hotmail.com Very Good review, This band are awesome! Its a great album, but the live performances I saw a few years back were very memorable. Cheers Darran.