Mat Motte & the People That Hate Him - 'Summer Song' & Bang Bang Romeo - 'Revolver'

Mat Motte & the People that Hate Him – Summer Song

We’re a little late on this, but as the rain bounces high off the tarmac we’ll to put it down to synchronicity. 

In ‘Summer Song’ Mat Motte may have well have struck gold, for no matter how long it takes for radio to fully get behind this sardonic ode to an English summer, it shall remain relevant. Catastrophic global warming aside; wheel it out for next year’s Glastonbury, Wimbledon or any time you wait in vain to fire-up the barbecue.

Confident rather than complacent, ‘Summer Song’ bears all the marks of an apprenticeship well served. It’s an assured slice of dirty pop with Motte’s askew (fat-trimmed) lyrics scoffing from the get-go. Motte’s return from the marshes brings a certain sense of defiance that’s most welcome and should the live shows make it north of the Watford Gap , don’t forget the invite.

Bang Bang Romeo – Revolver

Bang Bang Romeo’s ‘Revolver’ arrives hot on the heels of the well-received ‘We Were Born’ EP, that had Huw Stephens reaching for the play button, making lead track ‘Carnival’ his pick of the week. The bands roots lay somewhere between late 60’s psychedelia (think Jefferson Airplane ‘Crown of Creation’) and cinematic rock. Indeed, as Anastasia Walker belts “Your heart is holding my revolver” I can’t help but visualise flaming silhouettes of naked beauties and 007 drawing his trusty Walther PPK.

The vibrato guitar is nice, the riffs strong, and the rhythm section tight as the proverbial tick. However its Walker’s vocal that provides the real gloss here. When the power’s off her voice has low-end warmth I’d like to hear a lot more of, whilst at full tilt a belt to rival Adel, and a real sense for the dramatic.

If I have a criticism, it’s that the 4 bar chorus never doubles up, meaning I barely have time to reach for my lighter, let alone get my arms in the air.

We managed to miss them on their last visit to Manchester which is something we’ll have to remedy on their return in September.

Released 1st September

Bentcousin - Dizzy & Boy Names - Instant Ambition - Single reviews

Bentcousin – Dizzy

Hell-‘bent’ on rinsing the last drop of joy from the summer, Bentcousin pay homage to salad days and costal skylarking with sunny disposition to spare.

‘Dizzy’ is stripped to the waist uncluttered pop; free from the post-production burden forced on many a counterpart, which is exactly why it works. Amelia’s vocal, true to form, is understated and endearing; sitting somewhere between (the late great) Kirsty MacColl and Miss potty-mouth Allen. Her delivery is breezy and devoid of unnecessary frills which helps make it believable, not always the easiest trick to pull off.                                                 

 The Brighton based twins seem to understand that everything has its place and keep their arrangements neat and tidy. Even the cameo addition of a Rascalesque grime bridge fails to jar, whilst the lo-fi guitar solo that borders on the shambolic is a real pleasure.

So where does ‘Dizzy’ rank in the bent scheme of things? Well, whilst not pushing our collective buttons in the same way as the delightful ‘You Make Me Feel So Young’, it’s still worthy of a new feather in that cutecore cap, and it should prove a no-brainer for radio. We say, treat yourself to a paddle and a stick of rock, and enjoy the summer while it lasts.

Boys Names – Instant Ambition

This should be simple enough, electro pop meets RnB summer jam, does what it says on the tin right?  Well…..not quite.

It starts well enough; with bright reverb-coated guitar and finger-clicks that have you cruising South Beach with the roof down, but sadly from here on in the lines become blurred.

 

Patrick Seeburn’s vocal is breathy in a George Michael ‘Fast Love’ sort of way, but it fails to dominate proceedings as you hoped it would.  In particular the choruses lack that killer blow, the vocal choosing to meander around the guitar line rather than seeking its own melodic space.  Elsewhere, it all feels a little forced, with parts defiantly bolted together with little regard for the instruction manual. This includes a mid-song 8 bar key change that left all at Twister Towers sceptical to say the least.

That said. Its still early days for the London outfit and we’ll certainly be back to check out future releases.  As Oscar Wilde astutely noted “Ambition is the last refuge of failure” instant or otherwise, so keep the faith boys and girls.

Parquet Courts, Suzuki Method & Spector - New Releases Reviewd

Parquet Courts –‘ You’ve Got Me Wonderin’ Now’

When Parquet Courts dropped their debut album last year, folk were queuing to herald the new sound of rock ‘n’ roll. Of course the new sound proved to be the old sound, but there’s nothing wrong with that if you can pull it off. The reference points are still there, Pavement on fast-forward, a little Modern Lovers and of course The Strokes; so thankfully is the attitude.

Fuzzed guitars, discordant lead lines and a guitar solo that sounds like a stylophone on steroids, all delivered with the sort of easy swagger only obtainable when you just don’t  give a s**t, a skill not easy to achieve. 

  

“Toothache's better than heartache baby, I've figured that much out

And I thought I knew a thing or two about the blues, but you've got me wonderin' now”

Parquet Courts' spiritual home would surely be New York’s CBGB’s. Sadly no more, we suggest you find a dark venue where your feet stick to the floor and wait for their arrival; we have a feeling you won’t have too long to wait.

Suzuki Method – ‘Sherbet’

When Suzuki Method introduced themselves via debut release ‘Country Cousins’ back in May

there was little doubt the Salford outfit had embraced their musical heritage, and we liked it.  Five months on and the follow up ‘Sherbet’ certainly shows signs of development.

The mancunia electro and 80’s house vibes are still present and correct, but added  is a lushness in production and greater regard for dynamics. The interwoven looping guitar lines and synth are suitably delay-drenched and a real pleasure. They give way to falsetto vocals and a fully fledged chorus, where the hook, although still subtle, is a little more to the fore than its predecessors.   It has a touch of ABC (that’s 1980’s Sheffield sophisti-poppers not the Jackson 5 1970 hit) about it, all-be-it with strong dance floor leanings.  In ‘Sherbet’ Suzuki Method have taken a large stride in the right direction, but one can’t help feeling they are still one killer hook away from dance floor domination; that’s should they want it of course.

 Spector – ‘Decade of Decay’

There was a time not so long ago when Fred Macpherson’s confidence seemed to know no bounds, always something to say, always ready with a witty quip. So read into it what you will when I tell you Spector’s return sees Macpherson call for reinforcements. They come in the shape of Dev Hynes, (better known as Lightspeed Champion to you and me) to share the writing duties.

Dev has of course written for the likes of Florence and the Machine, Diana Vickers and The Chemical Brothers on their 2007 Grammy award winning album ‘We Are The Night’. So what has Mr Hynes bought to the Spector party. In truth it’s hard to say. The tune’s pleasant enough and sees Fred plumbing the depths of his lower vocal range, supported by pulsing bass, synth sweeps and the usual scratchy guitar fare. The descending ghostly backing vocals are a nice touch and as you’d expect the hooks are pretty strong. 

That said, ‘Decade of Decay just doesn’t stir my passion one way or the other. I would neither rush to change the station nor reach to crank the volume up. 

As I check to make sure the song’s abrupt ending is indeed the ending and not just a ghost in the machine, I find myself hoping for Spector’s sake that this is not a portent of things to come? 

Falling Off Maps, Babyshambles, The Drives & The Minx - Single Reviews

Falling Off Maps –' Honest'

In a another time and space, Falling Off Maps plotted an altogether more predictable set of coordinates in a previous guise as Headway; even managing to sync the track ‘Lord Knows’ to the ever popular TV series ‘ER’. Listening to tracks from their forthcoming album ‘A Seaside Town in Winter’ you wonder if life in that erstwhile incarnation had been a bruising experience, such is the vulnerable qualities of their current material.

‘Honest’, due for release Aug 12^th is a case in point:  Perhaps a little Elbow (circa 98 to 2000), a touch of Death Cab for a Cutie certainly, whilst the Thom Yorke associations will be hard to ignore.  References aside, nothing deters from the fact that this is refined piece of writing. There’s a real organic feel to ‘Honest’, and despite the song’s compact structure, a real sense of freedom too. David Wright’s vocal is cradled sympathetically by understated strings and spectral backing vocals, and seems to have avoided all technical tampering which is a bona fide breath of fresh air.

If we’re to have a grumble which is our want, it’s that Joe Watts’ delicate looping guitar line is used just a little too sparingly. Now that wasn’t too bad was it?

Babyshambles - 'Farmer’s Daughter'

This has got to be the best thing to come out of the Doherty camp for what seems like an age. Now we don’t have a hotline to the Babyshambles Bat Cave but this record genuinely sounds like young Peter may have finally got his s**t  together; for  if it’s possible for a voice to sound healthy then this is it.

As Doherty sings;

"You've been travelling on a dusty road, break some bread with me.                                              Wife and donkey on dusty road, break some bread with me"

Not for one instance do we think he’s found religion, but perhaps this is a rebirth of a kind.

The guitar lines are erudite, with perhaps just a touch of a ’Sweet Jane’ introducing  a verse that builds to a belter of a chorus which has indie anthem written right through it like a stick of Brighton rock.

They say “a fool and his money are easily parted” and with that in mind we’re not holding our breath,  as experience tells you to be prudent where Doherty is concerned. But the signs are that Babyshambles may have made a record worth reinvesting your time, money and love in.

The Drives – ‘It Might Have Been’ EP

The internet is both a wonderful and dangerous beast, just ask the folks at Wikileaks. In music terms it’s become the indispensable tool for artists and punters alike, as much part of the fabric as TV’s out of hotel windows, huge major label deals and Top of the Pops ever were.

For all artists, the opportunity to communicate directly with their fans, promote their brand and sell their wares has become a truly powerful weapon. With such a weapon at your disposal, the pressure on young bands to pull the trigger is often overwhelming. If you’re not posting, tweeting, updating or adding content it must feel like you’re standing still, the tendency then, is to rush.

The Drives (as far as we can tell) have been together a little over a year, with ten or so gigs under their belts, and yet we find them releasing their debut EP ‘It Might Have Been’.

It feels like it’s just too early to make such a statement, does no one make demos anymore?

As demos these recordings would be quite exciting, with ‘’Circus’ (a little Joy Division, a little Strokes) and ‘Of Age’ being the highlights. The latter like an early Libertines covering Dinosaur Junior’s ‘Freak Scene’.  As a fully-fledged release however, they lack the skills that only come with time. There’s a sense that Joe Perrott is yet to fully discover his own voice and how it’s best placed, whilst some of the transitions feel jarred, and the recordings themselves lack that sparkle and finesse that’s associated with the finished article.

‘It Might have Been’ in parts shows real promise, but The Drives will make better recordings and probably write better songs than this, and I suspect they know it. So, why the rush boys?  

The Minx – ‘Hey! Mr Warden’ EP

The Minx have been busy boys since we last caught up with them, so apologies to readers for our tardiness in putting fingers to keyboard, but patience is a virtue after all.

There was a glorious period in the late 70’s when the lines between punk, new wave and hairtrigger mod revival seemed to get wonderfully blurred. I remember those salad days of a tribal London Kings Road with great fondness. If like me you’re old enough to remember such times, it’s likely that The Minx new EP ‘Hey Mr Warden’ can spirit you back in the blink of an eye.

The Minx are true standard bearers for something of worth being a sum of its parts: From Haddon’s nasal sneer, to Robinson’s simple hooks, McIntyre’s flourishes or Stuttard and Evans’ driving rhythm. In the world of Minx everyone has a job to do and they’re comfortable doing it.  Be it pushing the issue, reining it in, or putting the cherry on top, it just works.

It’s ‘Forest Bank’ that’s getting them the breakthrough radio play with its elementary earworms and a chorus driven to within an inch of its life, but ‘Hey! Mr Warden’ offers much more than just its lead track. ‘Walking On My Grave’ sees Stuttard take the helm with a bass line that puts us in mind of The Jam’s  Mr Foxton  circa ‘Eaton Rifles’ period, whilst  ‘Out The Other Ear’ (although tipping more than a wink to The Stranglers ‘Dagenham Dave’) could easily have fronted this release. Complete with surfing safari backing vocals and terrace chant chorus, it delivers a bolt of undeniable energy.

In short, The Minx are producing punk pop that’s as infectious as a dose of chickenpox in a playground; catch it now!

Gaoler's Daughter, Scouting for Girls, Shambles Miller, Crybaby Special - Singles Reviewed

Gaoler's Daughter - 'Cordelia'

Indie is surely an obsolete word these days, whether in relation to labels (most bands don’t have them) or genre, I mean where do you draw the line? I only raise the question because Gaoler’s Daughter ‘Cordelia’ would assuredly sit comfortably alongside the likes of Two Door Cinema Club or Bastille on mainstream radio; and with the gentlest of nudges that’s likely where they’re heading.

John Sterry’s vocals are easy on the ear and take little to digest, whilst the rhythm section cajole and probe in all the right places. It's Alex Mahood’s considered chiming guitar, awash with reverb and on a charm offensive that really lifts the song though. If this man is not a fan of a certain Mr Marr I will promptly buy a hat for the sole purpose of eating it.

It may not be a giant leap in musical exploration, but take a quick look in your crystal ball and you’ll probably see bigger stages and even bigger smiles for all concerned.

Scouting for Girls - Millionaire

We really thought we’d seen the last of Scouting for Girls, but just when it looked safe

to go camping again; it seems the Jamboree is back on.

The release of Millionaire is the precursor to a greatest hits album which only begs the question why? Well, money obviously and/or unfulfilled label commitments, but that’s beside the point.

So what of the song itself? As with much of SFG’s previous work it leaves us utterly unmoved. It’s an overly sentimental slice of acoustic pop that would best serve on a soundtrack of a Richard Curtis rom-com. Whether it’s a premeditated attempt to hitch a ride on a particular bandwagon or not, it still comes across like saccharin-coated Ed Sheeran or a Badly Drawn cast off left on the studio floor.

 

Scouting’s frontman Roy Stride has recently penned a song for teenie darlings One Direction. Perhaps had this offering emerged from their camp it may have made more sense.

Shambles Miller – Deadpool

It’s a little hard to explain, but often when you listen to a new artist you get a sense of where they’d like to be. Does their music suggest a bid for stadiums and world domination or just a need for someone, anyone to care?

If Shambles Miller were to place a personal ad in his local paper (I’m not suggesting he needs to by the way) I’m guessing it would read something like this:

Male singer songwriter seeks women/men, GSOH essential, for debates and musical soul mates, to share nights out and good times.

You see, listening to Shambles Miller’s ‘Deadpool’ there is no sense of a man desperate for pop acceptance, overreaching for the next run on the fame ladder. It’s more a feeling of a man who just needs to get it all out, and the medium he’s chosen just happens to be song.

Shambles is a troubadour in its truest sense. The acoustic lines are simple, and because they’re simple they have charm. He is a story teller, and his witty even whimsical view of life is what draws you in.

Let’s cut to the chase. Shamble’s music will not change the face of popular music or make a full blooded assault on the charts. It’s simply music for music’s sake; and for that reason alone we should probably embrace it

http://shamblesmiller.bandcamp.com/

 Crybaby Special – ‘One Winged Bird’

Crybaby Special have been making waves, presumably by dropping a horse into their local lido. Their off kilter theatrical approach to making music will have many running for cover; but not us, we’re made of sterner stuff.

To say that Crybaby Special are uncompromising is probably an understatement. In pulling no punches the chance of mainstream radio is pie in the proverbial sky, but a shoe-in for 6 Music we’ll wager.

In ‘One Winged Bird’ they raise the stakes once more, with Jason Stafford’s vocals tortured and twisting from falsetto to gutter growl. Rhythmically, ska leanings have been exchanged for a waltz which only adds to the slightly demonic fairground feel.

In short it’s like Space and Captain Beefheart have been put in a blender, which either makes it utterly f**ked up or very clever indeed. We’ll let you decide.

Pink, Sisteray, Bridie Jackson & the Arbour, Kings of Leon - Single Reviews

Pink – ‘True Love’

When Pink arrived on the scene in the early noughties  there was a sense that she was willing to push boundaries, bend the rules a little, if not quite ready to break them. Fast forward 13 years and she seems content to plough the pop-rock furrow and reap the rewards of a tried and tested formula. Perhaps marriage and child have mellowed her, blunted her once feisty blade.

“I was extreme... from skateboarder to hip-hopper to rave child to lead singer of a rock band - I did it all, and all at the same time…. You can’t move mountains by whispering at them.”  The singer once said.

Whilst there are few signs of such attitude in ‘True Love’, there is no argument from us that it’s going to be a universally massive HIT. ‘True Love’ is supremely well-crafted pop, with an arms aloft chorus and a natty video in tow for good measure. Even Lilly Allen’s cameo flows seamlessly, which all points to Pink still being an artist riding the crest of the wave.

Sisteray – ‘Take it Away / Happy Endings’

Hear at EarTwister Towers we love a bit of dirty garage Rock ‘n’ Roll as much as the next

man/woman .  So it was with much excitement that we started downloading Sisteray’s double A side release whilst reading their press release.

‘They bring together all the sounds of the greatest Rock ‘N’ Roll bands to the table with their own style and attitude.’

Wow, hurry up download.

‘They’ve sold out legendary 100 Club through word of mouth alone; a feat that has previously been achieved by The Sex Pistols.’

Bloody hell, get it on; hold on a minute, it is on….  “Ever get the feeling you’ve been cheated”

All 278 of their Facebook followers will undoubtedly be baying for our blood after reading this, but that won’t change the fact that Sisteray are one dimensional copyists and not very good ones at that. Our You Tube search doesn’t help matters; revealing a rehearsal room vid of the London four piece attempting a half arsed cover of the Arctic’s ‘I Bet That You Look Good on the Dancefloor ‘ at the top of their listings.

You may have fooled the Romford Recorder and Croydon Radio boys but there’s no local bias or charity at work here.

So, how to sum up? ‘Take It Away’, YES PLEASE, and ‘Happy Endings’, We doubt it very much.

Bridie Jackson & The Arbour – Prolong

There is no doubting that Bridie Jackson has an exquisite voice, and in ‘Prolong’ it is both transcendent and tender and in the right setting quite magical. So take our advice and choose carefully where you choose to listen to Bridie’s brand of ethereal folk, it could make all the difference.

 As luck would have it I’m listening and writing in my garden. The sun has just dipped behind the neighbour’s large red Maple tree and dappled sunlight skips across the lawn as poppies dance in the faintest breeze; perfect. I wouldn’t necessarily recommend the tube though, not unless it’s at a standstill.

Kings of Leon – Super Soaker

It’s not always easy this reviewing malarkey; in particular when all you have to go on is questionable

(in quality) You Tube footage from recent London shows. So, we’ll tread a little carefully until we hear the studio version, but what do we make of Kings’ return thus far? For those of you clamouring for the glory days of 2004’s ‘Aha Shake Heartbreak’ we suspect you’ll be a little underwhelmed.

OK, so it doesn’t quite carry the stench of stadium tat that’s been served up on recent outings, but nor does it hark back to the days when parental advisory stickers were required on album sleeves. In truth it sounds a little halfway house. We may well be wrong; in fact we hope we are. All will be revealed when the band release their ‘’Mechanical Bull’ album later this year; fingers crossed.

Franz Ferdinand - Taylor Swift ft. Ed Sheeran - Paul Mclinden - Kitten Pyramid SINGLE REVIEWS

Franz Ferdinand – Right Action

Franz Ferdinand announce their long awaited return in no uncertain style. Still present and correct are the astute overlapping guitar lines and sharp lyrics, riding a Disco-esque romp that’s reminiscent of Blondie’s ‘Heart of Glass’ in a pub brawl with Blur’s Girls & Boys. The result is a well-crafted piece of writing that gets directly to the point with no diversions.

   

I think it’s fair to say that on their last outing Franz were sounding a little punch-drunk, so after such a lengthy sabbatical a strong opening round was a given.  In ‘Right Action’ they may have landed a decisive knockout blow in this preliminary bout, whilst the bell was still ringing in doubters' ears. Next up however, the album, an altogether trickier opponent. Seconds out, Round 2.

Taylor Swift ft. Ed Sheeran: 'Everything Has Changed

I would recommend that anyone with a weak stomach or a pathological hatred for the Andrex puppy

 steer well clear of the video for ‘Everything Has Changed’. So sickly sweet is this all too predictable pop folk ditty and its accompanying images, that it’s akin to eating Vanessa Phelps’ weight in profiteroles. I can testify to this, having only made it half way down the bowl before power vomiting my way into the record books. So; an unequivocal massive HIT then.

One can only presume that it will bolster Ed’s profile stateside, otherwise we fail to see the point. NEXT

Paul Mclinden – Fix

There is nothing my better half enjoys more than a stroll amongst the stalls of a good foody fair or market. I on the other hand often find a tomato tastes like a tomato. When presented with fifty different varieties of said fruit I become paralysed by indifference, unable to muster the energy to wade through the quicksand of subtle contrasts. This dilemma however pales into insignificance when compared to young artists trying to enter the singer songwriter market, let-alone navigate its overcrowded waters.  Reviewing such artists presents similar difficulties, not helped by Glastonbury leaving me Odell and Ben Howarded out. The trouble is; when force fed a diet so bland, everything starts to taste bland. It makes you want to chew on a bucket full of Trinidad Scorpion Chillies.

So how does Paul Mclinden fare, faced with so much flotsam? Well, whilst there’s no doubting his skill level, songs like ‘Book Burning’ and ‘Footnotes’ do little more than tread the muddied waters. In ‘Fix’ however there is promise, a sense of some urgency  and a slightly bigger set of balls. Mr Mclinden, we can only urge you to take this fork in the river and steam full ahead, slowing only to broadside Odell on your way.

Kitten Pyramid - Uh Oh

Sometime in the 1990’s Manchester I drank some particularly strong mushroom tea. A poster of

Michael Angelo’s David spoke to me:  the Poplar trees in Ladybarn Park lay on their sides, I was held hostage by a grinning MG Midget on Clyde road, before having a conversation with some pink spiders made from cotton thread in my then girlfriend’s bedroom. Kitten Pyramid’s ‘Uh Oh’ puts me in mind of said night; I’ll leave it to you to decide whether or not this is a good thing?

Kate Nash, The Strokes & Primal Scream Single Reviews

After the snooze-a-thon that was the BRITs 2013 we are in desperate need of a musical shot in the arm, so it’s back to the coal face in the hope…actually, just in hope.

Kate Nash - 3am

Kate strikes a blow for strong women here with an altogether predictable take on the break-up song.

“You are the one I think of all the night and all the night it feels so right.                                                                   

 I miss your arms, the way you kiss me, the way you pull me in so tight.                                                                               

 It makes me sick the way we fight, but I want you so bad tonight, yeah baby “  

So the machine gun delivery of lyrics straight from the back pages of an exercise book are sure to strike a note with any teenage girl nursing their first broken heart, but what of the music? For our two-penneth worth the melody is not of the calibre we’ve come to expect from Miss Nash. In fact, I’d go as far as to say it’s rather like a Housemartins cast off with the needle stuck in the groove. If you’re feeling down in the dumps Kate, my advice is to put down the ice cream and listen to Kirsty MacColl’s ‘Free World’, I did and I feel much better now.

The Strokes – All The Time

There had been murmurings of discontent in some quarters that The Strokes had lost their way somewhat, straying a little too far from the path of righteousness. Thankfully, it seems last year’s Christmas crackers (along with the novelty ring and spinning top) delivered that all important compass to go with the best of A Ha album left under the New Yorkers’ tree.

If you’re fans of the ‘Is This It’ era, you’ll be glad to hear that the boys have used said compass to navigate their way from the kitchen, with all those experimental ingredients, back to their spiritual home of the garage.  ‘All The Time’ is The Strokes getting back to basics. The guitars are dirty, melodies strong and Casablancas’ vocal sounds great. If you’re lucky enough to own a convertible the chorus will have you dropping the roof and demanding the sunshine. For the rest of you, you’ll just have to be content that in wading in at under three minutes you’ll be reaching for the repeat button soon enough.

Primal Scream - 2013

I first heard this song as a set opener thundering from a PA in Heaton Park whilst on Stone Roses reviewing duties, the Scream of course were supporting. I’m sure (unsurprisingly) it was then called 2012 and clocked in at the business end of nine minutes, this then is clearly the radio edit.

In truth the hatchet job for commercial radio has done the song no favours. It somehow detracts by confining the songs power; in short, the full length version has bigger balls and sharper teeth. That said, in comparison to the impotence on offer at the annual industry back-slapping carousal it’s a breath of fresh air.

Over contorted trumpet and a discord of phased guitars, Gillespie’s politicised rhetoric works up a sweat, and fans of 2000’s ‘XTRMNTR’ may once again be in business.  There’s certain to be a few wordsmiths and cynics who cry “hackneyed” and in itself that only means they’re missing the point.

If I could change one thing, it would be to have had this song written and performed by some young guns prior to accepting the BRIT for best British breakthrough act from David Joseph. I mean; surely it’s the job of 50 year olds to f*#k up the world, not try in put it to rights. Come on kids; pull your bloody fingers out.

Tribes , Exclamation Pony and Willy Moon (Singles Reviews)

Tribes – How the Other Half Live

We like Tribes here at Twister Towers and it’s safe to say that their debut album ‘Baby’ was a triumph, in particular with Mrs Twister who placed it high on her summer playlist last year. It’s with a slightly heavy heart then that we have to admit to being a tad disappointed by their latest offering.

It’s by no means without appeal, with the verses in particular delivering the melodic strength to which we have become accustomed from the Camden boys. Still, you have to ask yourself where ‘How the Other Half Live’ would have ranked as a single choice had it been up against its predecessors from the aforementioned ’Baby ‘.  After several listens we’d have to say it falls a little short of the euphoria of ‘We Were Children’, the straightforward pop bluster of ‘When My Day Comes’, and the falsetto charms of ‘Sappho’ .

Instead, the song is driven by a bluesier  guitar vogue that we’re told is part of a ‘bigger and more mature sound’, whilst in structure, ‘How the Other Half Lives’ is simplicity itself. Intro gives way to verse-chorus, verse-chorus, solo, and a Rolling Stones-esque outro that only needs a few woo woos and bongos for that ‘Sympathy’ feel.

So what’s the verdict?  Well, Tribes are far from off our Christmas card list, and as Johnny Lloyd belts  “Give-it, give-it, give-it, you gotta give it more time”, we’re more than happy to do so.. That said, if this is indicative of maturity, then a shot of puerile wouldn’t go a-miss.

Exclamation Pony – Rumours

So with the Cribs taking a break how has Ryan Jarman been filling his time? The answer it seems is Exclamation Pony, a collaboration that's seen him up sticks and move to New York to work with Jen Turner, once of Thom Yorke’s favourite Brooklyn indie kids Here We Go Magic.

The result it has to be said is not a million miles away from the Cribs. Perhaps the most obvious contrast may be Jarman’s upbeat demeanour. He fairly skips through the all-be-it barbed lyrics, supported by breezy backing vocals that suggest spring is just round the corner. One can only presume there is more to this collaboration than just mutual musical appreciation.

How long Ryan’s sabbatical from his brothers is set to last may become apparent as Exclamation Pony ride into town for some UK dates this month, but by the sound of it he’s actually enjoying himself.

Willy Moon – My Girl

Is it just me, or has the wait for Willy Moon’s debut album taken a lifetime? Currently on a month long tour of America, his return will herald the release of the single ‘My Girl’ before the album ‘Here Comes Willy Moon’ finally sees the light of day.

So what of ‘My Girl’? Willy has stated that he was trying to make ‘something really simple and stripped back, a dumb pop song’; I think we can say without fear of legal action it’s mission accomplished Willy.

'My Girl’ is sixties pop kitsch meets big breaks head-on, and dam the consequences. The lyrics are saccharin, the melody familiar to the point of déjà vu; all that’s missing are the hand-claps. It really does have the feel of a cover version, yet it’s a Moon original and I fully expect him to get away with it. In fact, I fully expect it to be playlisted just about everywhere. This is a full-blooded assault on the masses and I suspect it will succeed whether you like it or not. As the impending album title declares, ‘Here Comes Willy Moon’.

TWERPS - Kelly Clarkson - Two Door Cinema Club - Childhood (Singles Reviews)

TWERPS – Work it Out

In times of austerity saving money is a prerequisite for most of us. However most of us are also aware that the cheaper option can often prove to be a false economy, breaking after five minutes and making you wish you’d opted for the real deal in the first place.

Hold on a cotton-pickin-minute, the cost of downloads don’t vary that much do they?  Bear with us whilst we do some research………….

Right, we’re back and here’s the deal. Twerps ‘Work it Out’ and B side ‘He’s in Stock’ will set you back £1.58 on iTunes (other stores are of course available). Velvet Underground’s ‘Stephanie Says’ and ‘Who Loves the Sun’ will set you back £1.78.

Ok, it’s slightly more expensive and we have to be honest, you actually get 8 seconds less music with the Velvet’s option. However, they will last you a life-time and unless you’re dead from the neck up, satisfaction is pretty much guaranteed.

So, the choice is yours; there’s nothing particularly wrong with the cheaper version but it is nearly Christmas so take our advice and treat yourself.

Kelly Clarkson – Catch My Breath

Does anyone remember Steve Brookstein? No? Well you’re not alone, and that’s the trouble with talent shows. The sort of people whose idea of pop music is to curl up on their sofa every Saturday  spending money voting for their favourite wannabes are not often the sort of people who’ll back those fragile careers once they've created them.

Brookstein (if you need reminding) was the first winner of ITV’s X Factor some 8 years ago, and has long since faded from the public’s radar. Perhaps voters are different in America, but a unanimous Twister Towers double take was in order when we realised it had been 10 years since Kelly Clarkson won the inaugural American Idol crown.  So what has Kelly done right that so many who've followed have got wrong? Well for one, she hit on a winning formula and has strayed little from the recipe ever since.  This is evident in spades when it comes to her current offering ‘Catch My Breath’. Understated verse builds into a trademark foghorn belt of a chorus, repeat to middle eight which shows we understand dynamics, chorus builds to chorus with flourishes, end.  We've not seen the video yet but if they've haven’t got the wind machine out of mothballs we’d be surprised.

It’s not our thing, but that doesn't seem to matter to the masses, who cry in unison, ‘If it’s not broke don’t fix it’. All we can do is heave a collective sigh

Two Door Cinema Club – Sun

One can only imagine the Two Door boys are feeling quite content with life at the moment. Sun, the current offering from the so called difficult second album ‘Beacon’ has transcended boundaries and seems to be play-listed and synced just about everywhere you turn.

There are those who criticise the boys for playing it safe and they may have a point.  But what indie hacks seem to be forgetting is this is pop music pure and simple, so why the urgent need to break a successful mould so early in a career? What I do know, is that ‘Sun’ is currently right up there as one of my good lady’s favourite sing-a-longs at present, which indicates to me they are making more new friends than they are losing so get over it.

Childhood – Blue Velvet

Hot on the heels of, and fresh from supporting the super hyped Palma Violets, comes Childhood with debut single ‘Blue Velvet’.  Much like the Violets the reverb is awash here creating more than a whiff of nostalgia.

Part shoegaze, part 60’s jangle and part republic of mancunia you’d think would be a sure fire recipe for success and so in time it may prove. There’s an ethereal dream-like quality at work here with Romans Hopcraft’s vocal softly lapping on sun kissed shores.  However, look beyond ‘Blue Velvet’ in isolation and there is plenty for the band to do before a victory can be claimed. Catch them live and you’ll struggle to define one melody from the next, finding yourself craving a little clarity of note from lines cloaked in echo-laden camouflage.  Time will tell if this proves to be their Achilles heel or just part of a learning curve.

Peace - Palma Violets - Dinosaur Jr - Spector (Single Reviews)

PEACE  - Bloodshake

The intro to ‘Bloodshake’ is booming out of Twister Towers’ office speakers as I enter the room, all breezy riffs and syncopated African-esque rhythms. In a heartbeat I leap to the conclusion that it’s a new offering from Little Comets, a second later the Maccabees, Vampire weekend and so on. In truth, ‘Bloodshake’ has neither the rhythmical nous of the Comets, the structural or vocal class of The Maccabees or immediacy of Vampire Weekend.  Don’t get me wrong, it’s not an awful record, it’s just unlikely to usurp many of their peers standings in the popularity stakes. It’s a little like having an Athena poster of tennis girl scratching her arse gracing your wall as opposed to Titian’s Danae.it serves a purpose but the novelty is certain to lose its shine given time.

Palma Violets - Best of Friends c/w Last of the Summer Wine (Rough Trade}

If you’re so inclined and can afford to read the NME these days you’re sure to have come across the Palma Violets. If you've been looking for anyone from the mag itself, they can be found on all fours kissing each and every arse of the aforementioned London based quartet. 

It’s with no little surprise then that band have finally managed to release their debut after signing to Rough Trade in May of this year. There has been after all, some concern that the band may have been crushed under the weight of the ever growing hype.

So what’s all the fuss about, well let’s start with comparisons. The Libertines, Ramones, Echo and the Bunnymen, The Vaccines, The Clash and Jesus & the Marychain are among just a few of names being touted. They are references that in some cases have merit, whilst others are simply deluded. Strangely though, there’s no mention of 60’s psych pop, which is surely where those guitar sounds at the songs core lay.

So on the innovation scale it seems the metre reading is quite low, but does it really matter? Well, probably not. As with most bands it will sooner rather than later boil down to the quality of the songs. Best of Friends and Last of the Summer Wine both have their charms, but not enough to have me dragging my house down to the bookies just yet.

The fact is, it’s too early to tell if the band is going to matter this time next year let-alone in ten years’ time, where in true Libertines fashion the NME retrospective may or may not be on the cards. The album will drop sometime next year (probably spring), and that along with touring and festival shows will give us a far better idea. For now we suggest you just enjoy it for what it is.

Dinosaur Jr – Pierce the Morning Rain

Mascis and co return with the pre-cursor to their third album since the band’s reformation in 2005, and fans of Jr’s brand of slacker rock ‘n’ roll will not be disappointed.  The boys have done little to stray from the path of familiarity; indeed ‘Pierce the Morning Rain’ could comfortably sit alongside old favourites such as ‘No Bones’ or the ever popular ‘Freak Scene’. So safe is this current offering It’s as if Mascis has taken the latter’s lyric “Don’t let me f**k up will you, cause when I need a friend it’s still you” quite literally.

Spector – Friday Night (Don’t Ever Let It End)

“The honeymoon was over, before the wedding had begun”, Friday Night’s opening sortie, and a lyric we genuinely hope doesn’t get stuck in Fred Macpherson’s throat. Coupled with the debut album christened ‘Enjoy It While It Lasts’ you really get the sense that Spector rarely leave the house without a white flag or a throwing towel just in case.

Here at Twister Towers our early enthusiasm for the band stalled after catching three unconvincing shows littered with technical woes and sloppy workmanship, all in the space of a few months. As for Friday Night, it’s more of the same jaunty indie shenanigans and the last of the obvious singles off the album. That said it’s not quite in the same league as ‘Chevy Thunder’, ‘Celestine’ or ‘Never Fade Away’. From here on in the album is built for Christmas, with stocking fillers for all the family, so new material will be needed if the boys are to keep the ball in the air.

Now, I don’t want you to get us wrong, there’s plenty to like about Spector if only the whole circus didn't seem so forced and in your face. So where does that leave us then? Well, they've almost certainly done enough to warrant a second album , but you do get the feeling that its’ release will signal if it’s to be never fade away or the honeymoon is over.  Our verdict; we still need convincing