Album Review: PJ Harvey - Let England Shake

On this, a poignant date on the calendar (I starting keying this review yesterday), particularly in New York from where I type, it's somewhat fitting that I review an album which drew upon the horrors of 9/11/01 as a catalyst for its recording. This albums theme goes deep under the scab of war and represents the much larger picture. The subject matter ranges from the lack of leadership and ulterior motives of war to the non existence of accountability. ‘Let England Shake’ is an album that delves deep in to the murkiness of war as well as its continual appearance throughout England’s past, present and future. 

When, Polly Jean Harvey burst on to the scene and very much in to public consciousness in the early 1990s, her distinct, gritty voice mixed with disturbing lyrics provided the alternative rock world with something a little different . Harvey’s early work is still among the most raw guitar music from that era, but, as she frequently promises, she won't repeat herself and has delivered on that promise on ‘Let England Shake’.

Title track, ‘Let England Shake’ has xylophone as an introduction before the haunting vocals set the scene - “The West’s asleep, let England shake”, Harvey sings in an unnerving tone similar to that of a horror movie presenter. The very first line of this album paves the way for the singer to spend the remainder of the recording shaming, horrifying and rousing it into action. The blend of keys, drums, soft guitar and the impressive vocals show promise for the remainder. ‘The Last Living Rose’ has a  more subtle tone and feel beginning with a tribal kind of drum beat and bluesy guitar riff. The music sounds somewhat tranquil, foggy and ambiguous, which perhaps represent the English singers outlook of her homeland - "Damp grey filthiness of ages, fog rolling down behind the mountains and on the graveyards and dead sea captains" she sings on this radio rock sound that is, ‘The Last Living Rose’.

‘The Glorious Land’ opens and continues with an incessant military like trumpet sound deliberately and purposely out of time and tune with the rest of the song. Is it a call for the cavalry? - "How is a glorious country bestowed?" This track has a liveliness, hosts a great jingle and again, the lyrics are immense. 'The Words That Maketh Murder' is embedded in distorted electric piano and a folky drum beat and sound. Harvey details, 'The Words That Maketh Murder's' battlefield with bold honesty - "I've seen soldier fall like lumps of meat...arms and legs were in the trees" and begs the question - "What if I take my problem to the United Nations?" (from 'Summertime Blues') perhaps jabbing fun at an often futile organisation.

'All And Everyone' settles things down a little and for me, this is the first time in the album I am thinking of Scandinavian singer, Bjork. It's a well placed song in terms of drawing back from the aggression and dark subject matter that we've heard to date. 'On Battleship Hill' establishes a familair sound that's rich and extremely varied. This, to a large part, due to long time collaborators John Parish, Mick Harvey and producer, Flood. This track meanders along, before breaking into ear-piercing, harmonising falsetto. The percussion on this one worthy of special mention as it accompanies Harvey's - "Cruel nature has won again".

'England' is a wonderful acoustic effort that again has me harking back to, Bjork from the very beginning of the track. The song itself continues with a dark, dank and depressed view of the world in general and more so, the despair that her homeland has followed suit. It unearths a sad evolution of what the country she loves so dear has become. 'In The Dark Places' has a sound to it that sounds oh so familiar, but I can't quite put my finger on it. The riff reminds me of some indie track on my play list. This has a softer tone, but a harsh and serious sentiment resonates as she describes our young going to war.

'Bitter Branches' changes the mood again with a faster, more rousing folk-rock sound and hollering vocals from, Harvey as she speaks of soldiers at war in foreign lands. Crashing drums and fast paced guitars describe the confusion and chaos of the situation. From here, we fall upon the most delicate sound and song on the album, 'Hanging In The Wire'. Not my favourite on the album, but again the keys and vocals combine to good effect.

'Written On The Forehead' is probably the most interesting song on, 'Let England Shake' as Harvey introduces the sample of reggae singer, 'Niney The Observer’s' ‘Blood And Fire’. The concept is not in tandem with the rest of the album, but when the sample is used, it rings out to great effect. The mood this juxtaposition creates is odd, but the beautiful melody well placed lyics describing people trying to escape rioting city. 'The Colour of The Earth' ends the album with a sultry sound talking of a mystical figure, Louis. The jingle of tambourine and soft lyrics combine to describe blood drenched battlefields.

The fact that PJ Harvey once more reigned at the recent annual Mercury Music Prize where a panel of music aficionados judged, ‘Let England Shake’ album of the year is no surprise. PJ Harvey’s fantastic, highly esteemed wartime concept album deservedly took the plaudits. In doing so, Harvey is the first to win the Mercury Prize twice. Her first win came on 11 September 2001, when instead of collecting her award she "watched the Pentagon burn" from her hotel room in Washington DC. This time around, she got to enjoy the occasion where she acknowledged that the events and impact of 9/11 had informed this album.

It’s an album which provides a dozen tracks of scornful criticism, heartbreaking loss and bleak resignation. It’s tragic and yet it’s beautiful. Almost two decades after Harvey’s stubborn debut, ‘Dry’ where she introduced her dissatisfied howls, ‘Let England Shake’ is potentially her best album yet. Over the past twenty years, Harvey has certainly been one of Britain’s most consistently talented songwriters with her work plentiful in terms of darkness and violence. She recently remarked, "My biggest fear would be to replicate something I've done before." Not the case here. ‘Let England Shake’ channels the best of PJ Harvey and results in a bone chillingly haunting, phenomenal album that exudes a songwriter/vocalist at the peak of her powers. Rating 8.5/10

Mercury Music Prize - PJ HARVEY: Let England Shake

PJ Harvey came up trumps yet again in the annual Mercury Music Prize where a panel of music aficionados decide upon the best British album of the year. In the past, they have often went with the front runner or popular choice such as, Suede’s debut and, Pulp’s,'Different Class', but sometimes they go way off the map and pick something 'out there' like, 'Speech Debelle'. No shocks this year though and, PJ Harvey’s fantastic, highly esteemed wartime concept album, 'Let England Shake' deservedly took the plaudits. In doing so, Harvey has become the first person to win the Mercury Prize twice. Her first win came on 11 September 2001, when instead of collecting her award she "watched the Pentagon burn" from her hotel room in Washington DC. This time around, she got to enjoy the occasion.

The competition was fairly stiff with the likes of Adele, James Blake, Katy B, Elbow and Metronomy vying for the award. From what I have heard (and plan to review very soon), Harvey's latest effort is well worthy of the gong.

Following a performance of, 'The Words That Maketh Murder', where, Harvey was adorned in a flowing white gown and feathered headdress, she accepted the award with the quiet sincerity typical of her. She then went on to acknowledge that the events and impact of 9/11 had informed her most recent album, 'Let England Shake', which for a large part, draws on the horrors of war.

 

Stay tuned for a comprehensive review of this fine album.

Album Review: YOUNG THE GIANT - Young The Giant

‘Young the Giant’ is an American five piece rock band with an eclectic feel in Sameer Gadhia, Jacob Tilley, Eric Cannata, Payam Doostzadeh, and François Comtois. A quintet of Persian, Indian, British, and French Canadian descent hailing from Newport Beach, California is something a bit different. The band is currently signed to Roadrunner Records. ‘Young the Giant's’ sound is as uniquely diverse and eclectic as its five members. It’s a merger of international names and assorted backgrounds that combine to produce a refreshing brand of sun soaked Indie rock. With thriving experimental compositions complimented by subtle pop hooks and somewhat restful vocals, it is a sound all their own. That said, they are perhaps yet to find their definitive sound. 

Their self titled debut was released in the US on the 25^th January this year, with UK release following some months later on the 2^nd of May.

English singer of, ‘The Smiths’ fame, Morrissey declared, ‘Young The Giant’ as one of his favourite new bands. That said, Morrissey is in a fairly strong run of some fairly ‘out there’ views, so I’m not sure if his critique is trustworthy. Another, currently hot band, Incubus has put their faith in this band by having them join on their current tour.

First track, ‘Apartment’ is easy listening, chilled music with lyrical delivery somewhere between Paulo Nutini and Chris Martin. Not an outstanding opener, but good enough to listen a little further. The next tune, ‘My Body’ is the track that enticed me to review this band. Whilst loosely watching the recent MTV Video Music Awards (where limited videos were actually shown), this band were the only guitar band to perform and the performance was both enjoyable and refreshing. The track itself is lively with, Kings of Leon type guitar chords, rhythms and crashing drum beats complemented well with front man, Gadhia fantastic in the lyrical department. It’s a happy summer tune…an anthem in every sense. The KOL comparison continues in the opening riff of, ‘I Got’, although to be fair, it’s perhaps a little more, Strokes. It’s a dreamy little track that lacks any real edge.

‘Cough Syrup’ could again, very easily be a song by Scottish pop singer, Paulo Nutini in the manner in which, Gadhia pronounces the lyrics and quivers his voice in this love song - “One more spoon of cough syrup now, woah-oh oh”. ‘God Made Man’ struts along in what has become the usual laid back fashion, before exploding in to a wall of aggression from the front man that I wish I heard more frequently.

‘12 Fingers’ and ‘Strings’ that follow have me thinking of an English band called, ‘Embrace’ who gave me the same feeling when they made some strides in the musical press a decade or two ago - decent, the band are fairly talented, but it’s a little hollow. I want more and I think they have it, but they’re not exposing it yet.

‘Your Side’ is in the, ‘Cold War Kids’ locale of sound. Some really cool sounds on this one which is a well composed piece. Very listenable…like radio music, but failing to grab me by the scruff of the neck and demand more. ‘Garands’ hosts some cute little guitar riffs and crashing drum beats that liven things up a bit. ‘St. Walker’ starts off with a great little tisk tisk tisk drum and fantastic slide guitar line, before the lead man goes on to talk through the life of a prostitute. This is certainly one of the stronger tracks on the album. Really interestingly pieced together…it’s like three songs in one, but works. 

‘Islands’ has a haunting sound throughout and again, beautifully delivered lyrics from the talented front man. It’s a huge variation to the closer, ‘Guns Out’ which is as danceable and anthemic as, ’Sit Down’, or, ‘She’s a Star’ from, James of 80’s/90’s fame.

Something of indistinctness pervades this album. I do like the sound, but often want myself wanting more. The explosiveness of, ‘My Body’ and ‘God Made Man’ are something I feel that they should focus on as well as sounds like the clever and smartly named, ‘St. Walker’. All too often on this debut effort, nicely distorted guitars meander and stir, but never conclude in anything special. I do think the band need to focus on a sound and form a trademark, but there are positive enough sounds on this debut that has me intrigued for the follow up. Rating: 6/10 (with room for rating review)

Album Review: YUCK - Yuck

This is another band that was on my hit list for Austin’s SXSW last year, but I never got the opportunity to see, ‘Yuck’. The self titled debut studio album the English indie rock band, ‘Yuck’ was released on 15th February 2011 in the US and a week later in the UK. It’s taken me a while to get to it, but I’m glad I have. 

To form something of a background, Daniel Blumberg (lead vocals and guitar) and Max Bloom (lead guitar and vocals) started writing what would be, 'Yuck' material shortly after leaving their previous band, ‘Cajun Dance Party’ in 2008. Adding, Jonny Rogoff on drums and, Mariko Doi on bass the band released two singles on vinyl only in, ’Rubber’ and ,’Georgia’ early in 2010 before the group proceeded with recording this, their debut album, ‘Yuck’.

They start out with, ‘Get Away’ which I (as with my previous review of Smith Westerns) I hear one of my favourites of the 90’s, ‘ Ash’. It opens with a fuzzy guitar riff and thumping bass lines by, Doi, It’s a fairly low paced tune and perhaps a mid-paced, discreet introduction to the rest of the album. The lyrical delivery of lead man, Blumberg does resemble, Tim Wheeler of the aforementioned, ‘Ash’. The next track, ‘The Wall’ is lazy and hazy, but has a great sound to it…nothing complex, just an honest, good sounding track. The distortion and screeching guitar which are accompanied by the scorched repetitions of, "tryin’ to make it through the wa-a-all" work really well here.

‘Shook Down’ takes things down a peg or two and remind me very much of a New Order song (not sure which one…I wasn’t a fan, but my brother played them back to back for years and we shared a bedroom). This is the first evidence that this band is very diverse and perhaps has not pinned down there sound or where they want to go just yet. It’s downbeat and mid tempo with a sound somewhere between, Weezer and, REM of, ‘Out of Time’ stage. The tables are thrown over once again with, ‘Holing Out’ where a lo-fi sound and screaming feedback alongside languid lyrics work to emphasise a relationships communication problems.

 

‘Suicide Policeman’ goes back to the tender side of, ‘Yuck’. It’s the backbeat of, The Beatles with some well thought out lyrical content and some sweet sounds and vocals. ‘Georgia’ which follows continues in the similar vein with a guitar riff that has me humming, “Friday I’m in Love” by, ‘Cure’. This track flits with pop, but the distortion here puts pay to that to bay. Illana provides wonderful backing vocals on this fun little track. ‘Suck’ is very slow, with an acoustic melody and a little steel guitar. This one could be a, ‘Snow Patrol’ jingle. 

 

It’s kind of misplaced, but decent all the same. ‘Stutter’ follows this mid album down and depressing theme in what sounds like a heartfelt pout. Again, it’s a decent track in its own right, but almost ill fitting in this album. Following this brief downside, ‘Operation’ rocks in with something of a darker, ‘Yuck’ sound and to be candid, it’s by far my favourite on this debut album. It starts off as it means to continue with buzzing bass, hammering drums and crunching guitar. The vocals are distorted in perfect manner. This is right down my street.

‘Sunday’ chills things out again and sounds somewhat 60’s, but still manages to burn a 90’s Manchester vibe…almost Stone Roses like. The repetition of lyrics like “I’ve got a choice now, I’ve got a voice now” and “cold winter bugs and I’m thinking of you, hanging out with me” fit exquisitely with the guitar harmonies. ‘Rose Gives A Lilly’ is a well constructed instrumental prior to the seven minute long closing drone that is, ‘Rubber’ which is a more than suitable jam to end this strong deubt .

It’s abundantly clear that this London four-piece loves the 90s sound. This debut stirs up sounds of indie bands from the era hailing from both sides of the pond…from, ‘Dinosaur Jr.’ and, ‘Pavement’, too, ‘Teenage Fanclub’ and, ‘Ash’.  ‘Yuck’ are well worth a listen for their familiar yet likable and distinct indie rock sound. Rating 7.5/10

Album Review(s) SMITH WESTERNS- ‘Smith Westerns’ and ‘Dye It Blonde’

The ‘Smith Westerns’ are an indie rock band hailing from Chicago, Illinois and note inspiration from the likes of, T. Rex, David Bowie and Marc Bolan. Their self-titled debut album was recorded (for the most part) in lead guitarist, Max Kakacek’s basement and released in mid 2009. Their most recent album, ‘Dye It Blonde’ was released in January of this year. I plan to review both, the most recent a little more comprehensively than their debut.

This Chicago group scour through 1970's glam rock, Phil Spector teen-pop, and garage-punk with the youthful excitement of kids on Christmas morning. The ‘Smith Westerns' self-titled debut exudes an honesty almost as pure as its recording levels which are eardrum blowing. Their simple, sweet choruses about boys and girls in love are earnest and well composed. With well delivered lyrics by lead man, Cullen Omori, his bassist brother, Cameron, second guitarist Max Kakacek, and drummer, Hal James more than match with their tunage and do more than make themselves heard over the bands vintage sound.

From the initial track, ‘Dreams’ my first thought is “incredibly lo-fi”. With blurred out xylophone and crashing drums on the frenetic opener, this sounds rough cut, but promising.  A happy little back beat and sweet melody follows on, ‘Boys are Fine’ and the, ‘Smith Westerns’ turn to a more light hearted theme. ‘Gimme Some Time’ is reeking of 60’s glam rock and ‘Girl in Love’ that follows immediately has me thinking of the, T. Rex classic, ‘Get it On’. It’s a raunchily produced glam rock bop which seems to strive to address the naivety and briefness of youth. 

‘We Stay Out’ allows lo-fi to take over with a guitar line that sounds like a helicopter rotator underwater. I love the opening guitar riff on, ‘Tonight’…it’s simplistic, but screaming. The sound becomes very, Rolling Stones. In fact of the more modern era, it sounds a little, ‘Black Lips'. ‘Be My Girl’ is another, string laden ballad which softly perforates an innocent hook with some edgy, humorous and bordering perverted pick-up lines. In ‘The Glam Goddess’, Omori sings along in a desirable, Marc Bolan/Bob Dylan like fashion to a bump cha cha beat and mellotron strings.

‘Diamond Boys’ has a 70’s piano similar to that which, Bowie would use in his retro experimental phase and it’s here that the bands scratched glam harmonies sound fresh and vivacious. ‘My Heart’ is crammed with tense rhythms which work well and is completely different to the heavy, dirty guitar sound that we’ve become used to on this debut album. This is perhaps a sign of what’s to come on the follow up.  

This album stirs up hot, grungy garage rock out of the. Marc Bolan, Rolling Stones and even The Beatles playbook. It’s youthful music that reminds me, ‘1977’, the debut album from Irish rockers, ‘Ash’. It’s raw and noisy and was recorded while the band members were still in high school. I like the lo-fi sound and enthusiasm of this vibrant guitar band. Rating 7/10

For the follow-up, ‘Dye It Blonde’, the band found themselves in a New York City studio, with a real producer, Chris Coady who had produced the ‘Yeah Yeah Yeahs’ and ‘Beach House’ among others. The leap is audibly significant, yet follow up, ‘Dye It Blonde's’ marked success is not solely the result of its production values and ambition. This bands ability to cut melodies was evident from the start and now they have grown with their resources. In an interview shortly after the album's completion, Omori suggested that the new set of songs was influenced by Oasis, Teenage Fanclub, and Suede…I’m fine with that.

‘Weekend’ kicks the album off with an ice cream van like melody before guitar takes the fore. As in the first album, the theme is often girls, love and teenage dreams. It’s a happy go lucky start with a drunk on love feel. Cullen Omori's voice is far more distinguishable in this more produced effort with brother, Cameron's bass lines supporting to great effect.

‘Still New’ floats in with some gentle guitar interplay before, Kakacek rips in with a guitar line so huge it effectively serves as a chorus. It kind of doesn’t belong in the same song, yet works a treat. In ‘Imagine Pt. 3’ the progress of the band is immediately there for all to hear. Synths and guitar work to great effect. Kakacek’s guitar fuses perfectly with the front man’s lyrics as opposed to battle them as they did on the previous track. 

‘All Die Young’ sounds a little ‘Mind Games’ or perhaps even ‘Oh Yoko’ The album's centerpiece is a ballad turned hymn when it its closing moments, Omori sings - "Love is lovely when you are young." Indeed towards the end, I somehow here British glam rockers, Slade and ‘Cum On Feel The Noize’. ‘Fallen in Love’ that follows is an enjoyable tune with the frank lyrics that we have come to expect from this young Chicago quartet.

‘End of the Night’ crunches in with screeching guitars that sounds similar to the opening credits for a motor racing program. In the middle we are offered a brief soberness with a piano section and Omori singing in delicate fashion - “everybody wants to be a star on a Saturday night”. ‘Only One’ that follows starts with a brilliant guitar riff harking back to, The Kinks or, The Animals. This one has a very 60’s/70’s feel to it. In fact it is more, The Animals…I’m hearing a bit of, ‘There Is A House In New Orleans’ (great tune). It then becomes more like the 90’s Manchester sound by the end of the track. Great diversity and range in the space of four minutes.

‘Smile’ is a slight change in step and a little more of an acoustic track. This seems to be something autobiographic in substance, but I guess most of this bands content is. This is pretty deep stuff and becomes psychedelic while again using almost gospel like chorus lines. ‘Dance Away’ is a little disco and definitely feels like a summer song. It puts me in mind of ‘The Thrills’ and their hit, ‘Santa Cruz’ from album, ‘So Much for The City’. ‘Dye the World’ closes the album with a sweet whining sound. It’s a bit ballady and shares Oasis like riffs and bass.  

‘Dye It Blonde’ does have shades of classic, T-Rex Oasis, Suede, and, John Lennon, but it is far from backwards looking. The albums elements may not be terribly original, but the way they are brought together is a sheer pleasure.

It's fantastic to hear an album from a band who begs you to enjoy their music. While the melodic foundation was already evident in the bands self titled debut, producer, Chris Coady deserves some plaudits for transforming a previously rough cut diamond in to a far more polished gem. Rating 8/10

Album Review: FOSTER THE PEOPLE - Torches

The young American indie pop band formed in Los Angeles, California just two years ago are made up of, Mark Foster, Mark Pontius and, Cubbie Fink. Foster initially named the band, ‘Foster & the People’, but in time, people starting referring to them as, ‘Foster the People’ and the name stuck.

‘Foster the People’ are a band currently receiving a lot of attention and buzz both state side and in the UK. With highly praised performances at SXSW, the hype only heightened. A couple of catchy tunes and a growing reputation for active live shows, this L.A. trio are already being pigeon holed as upbeat West Coast indie pop, drunk on disco infused tequila. Their debut album, ‘Torches’ is an interesting, if not novel concept with trippy, catchy tunes not unlike ‘Passion Pit’, ‘Phoenix’ and ‘Daft Punk’, where their strength is perhaps their music as opposed to their lyrics. The songs dart and meander stylistically and rely on foraging pop history to complete their sound.

Their song, ‘Pumped Up Kicks’ is best known and was recently used by the UK mobile phone company, ‘O2’ for their commercials. ‘Foster The People’s’ falsetto alternately evokes Jamiroquai and Mercury Rev, while keyboards are more akin to 90’s dance pop and share more recent similarities to Brooklynites, MGMT. They succeed in the ability to write a chorus so brazen yet plain that you can hear it once and sing it for a fortnight, a tactic that has already made aforementioned , ‘Pumped Up Kicks’ relatively big hits.

The album kicks off with a drumbeat and darkness that sounds promising, but gets poppy very quickly in, ‘Helena Beat’. The music and beat is addictive, but the lyrics soon have me thinking back to, Jermaine Stewart and ‘You Don’t Have to Take Your Clothes Off’ of the late 80’s. Their most renowned, ‘Pumped Up Kicks’ follows and this is an undeniably brilliant pop song.  It’s catchy as hell, yet quirky enough for the cool kids to get down to.  It’s not too dissimilar to, Daft Punk’s, ‘Around The World’ from their debut album, ‘Homework’. I envisage this song kicking in on DJ sets around the globe and everyone in the place doing whatever they do in clubs.

‘Call It What You Want’ is another fun little track with interesting beats and sounds before, Foster appends his fairly simplistic lyrics. Already I’m thinking this band missed their calling in the late 80’s/early 90’s. With, ‘Pumped Up Kicks’ being by far the standout on, ’Torches’, ‘Don’t Stop (Color on the Walls)’ falls not too far behind for me. It’s a mix of, ‘The Dandy Warhols’, with some, ‘Supergrass’ harmonies thrown in for good measure and vocals a little along the lines of my old favourite, John Power of, ‘Cast’ and ‘The La’s’ fame.  

‘Waste’ is very chilled and puts me in mind of Cambridge, Massachusetts based, ‘ Passion Pit’ who had some cracking tunes out a year or so ago on, ‘Manners’, but have since fallen off the face of the earth. ‘I Would Do Anything For You’ sounds a little, ‘Phoenix’ which I do like, but, ‘Foster The People’ grind a two line melody into the ground on this one and never really build upon it - “Ooh la la, I’m falling in love, and it’s better this time, than ever before” is bubble gum pop at its very best/worst.

‘Houdini’ is home to melodies so catchy it has you ready to hit repeat, but unfortunately, Mark Foster’s delivery can oftentimes sound a little, ‘Maroon 5’ which is a bit off putting as far as I’m concerned. I do love the sound though. ‘Life on the Nickel’ begins with keys and xylophone sounds that have an almost, ‘Toploader’, dancing in the moonlight theme before applying those high pitched backing vocals. There’s a repetitive melody that references ‘Alex Party’, and their huge hit, ‘Don’t Give Me Your Life’ in the 90’s. The high pitched vocals continue in, ‘Miss You’ and share some similarities to a current band hot on my playlist, Portugal. The Man. ‘Warrant’ which closes the ten track debut begins with choir like harmonies before descending in to a house like beat with more mushy lyrics.

 
The hooks are so big, blunt, and persistent, but on this album, that can act as a weakness as much as a strength. That said, the band have enjoyed rapid successes in the form of a major record label deal, a Billboard top 10 debut and a coveted slot at music fest, Lollapalooza. No denial, ‘Foster The People’ are a wonderful pop band, and the production of, ‘Torches’ works well to accentuate each clap and harmony to maximum effect. Truth of the matter, I am not mad about pop and this is one where, like MGMT, I will enjoy a couple of their songs while sitting in a bar or perhaps on a TV commercial, but no more than that. I currently have no real desire to see them live or pick up their music, but which them all the very best in their pop adventure. Rating 5.5/10

Initial Thoughts: Noel Gallgher's High Flying Birds

Unfortunately, I don't have time to compose a fully baked review today, so I am instead introducing and providing my inital thoughts on, Noel Gallagher's evolution in life without, Oasis. With younger brother, Liam already releasing his bands effort with, 'Beady Eye' who I have reviewed here - http://scoaustin.blogspot.com/2011/03/album-review-beady-eye-different-gear.html and given my approval, the focus is now on, Noel and his new band to showcase their skills. The first song from their upcoming album, 'The Dreams We Have As Children' (set for release on October 17th) is a week away, August 21st and is aptly named, 'The Death of You And Me'. From the few listens I have given the track it is typical of, Noel Gallagher with something of a 'Dig Out Your Soul' theme. It is very much of the same theme and sound as, 'Little By Little' from, 'Heathen Chemistry' which was the fifth of, Oasis' studio albums. My candid thoughts are that this is good, honest music from, Noel, but it's a little hollow. I expected him to take something of a new direction working on his own, but from, 'The Death Of You And Me', it does not appear so.





Gallagher has indicated that the band will begin touring a week after the release of the album - "We're going to go out on tour a week after the album is out. We're going to start off slow in small theatres (Dublin, Glasgow and London mentioned). If it's good enough to get bigger than that then it'll get bigger than that. I don't think there'll be a huge great big tour this year. I think this year it'll be a quick whizz around the world and try and do the major cities and then it will probably be a bigger tour next year."


I am certainly keen to hear more of Noel and his high flying birds and thoroughly look forward to future releases and particularly their album. There has been a mountain of press around, Noel of late and I was not a fan of the boxer like press conference when he announced the bands name and future plans. Noel Gallagher is heralded as a God in some circles of the UK music press and this kind of feather flaunting was, in my opinion, uncalled for.


To be continued...

Album Review: Jay-Z & Kanye West - Watch the Throne

Despite having been a fan of Jay-Z since, The Blueprint and Kanye since, Graduation, I had my doubts on this collaboration. Yes, it's father and son working in perfect harmony, or is it? I mean the talents here are both boundless and unquestionable. These are two leaders of their particular pack. In terms of personalities and profiles that each artist exudes, I have absolutely no interest, however, their music is impressive. With egos such as these, there was always going to be drama. The album release in itself was an episode with all kinds of rumours breaking over 'professional' differences of opinion and 'musical' variances in tact.

'Watch the Throne' is the recent collaborative studio album by, 'The Throne', an American hip hop duo composed of Jay-Z and Kanye West. The album will be released by Roc-A-Fella Records, Roc Nation, and Def Jam Recordings, Jay-Z's and West's respective record labels. Its digital release was August 8th, while its physical release is scheduled for August 12. An official 12-song track list, with four bonus tracks slated for the LP's deluxe version. The previously released "H.A.M." doesn't appear on the album proper but instead is earmarked on this deluxe version.

Originally intended as a five-track EP by Jay-Z and West, 'Watch the Throne' was revealed by, West to be a full-length album in an October 2010 interview for MTV. He said in the interview that they planned to record in the South of France. Production for the album began in November in Bath, England and continued during available times in, Jay-Z's and, West's respective schedules at recording locations in Australia, Paris, New York City, and Los Angeles. In an interview for Billboard, Jay-Z said that they often recorded in hotel rooms and that the album went through three iterations, as he and, West had scaled back from their original musical direction for the album. He also noted difficulties in the recording process, including arguments with, West regarding their direction. Parts of the album were recorded at the Mercer Hotel and Tribeca Grand Hotel in New York City. In an interview for Rolling Stone, Jay-Z discussed their insistence on recording in person and attributed it to the delay in releasing the album, stating "If we were gonna do it, we were gonna do it together. No mailing it in". The album features guest appearances by recording artists, Beyoncé, Frank Ocean, and, Mr. Hudson.

On July 7th, Jay-Z hosted a private listening session at the Mercer Hotel in New York City, previewing the album's songs from his MacBook Pro for a select group of reporters and music journalists. One of whom summised - "The songs were dramatic and boastful, with Jay-Z often taking the lead lyrically, and the collection showcased the differences between the two artists - Jay-Z, the technical marksman, and Kanye, the emotive chest beater".
Enough of the formalities for now...let's crack on with reviewing this widely anticipated album release. 'No Church in the Wild (ft Frank Ocean)' gets us started with a kick ass little beat, stalker of a bass, and Kanye murmuring "What's a King without a God?" before, Jay-Z rattles off a some strong verses and quickfire lyrics that we come to expect of him. Frank Ocean sings the hook through a vocoder which works in will and being produced by, West, performs the sound of his, 808's & Heartbreak' of 2008. It's a solid start and I do enjoy the bass line here. 'Lift Off' follows with a pumping keyboard/horns sound and strings/other galactic sounds before, Beyoncé sings "We're gonna take it to the moon, take it to the stars." Whether this is a reference to the album itself or some other idea, the track is fast and furious with 80's like synth. Not sure of the need for, Beyonce on this track or the album as a whole.

'Niggas in Paris' is a quirky, percolating little track with amazing sub-bass and a snare that sounds like static. This is of, Jay-Z's, Blueprint ilk and both rappers are in top form, with Jay-Z classic in his " ball so hard motherf*&%$rs want to fine me" Kanye compliments Jay-Z beautifully on this, a standout track- "I'm suffering from realness" and "Don't let me get in my zone." 'Otis' featuring namesake, Otis Redding slows things down and touch and chills things out somewhat. From the classic, 'Try A Little Tenderness' most famous for the, Redding rendition in 1966. I love the song, but not sold on its success in this format. I have my doubts with mixing certain old tracks with the new, and I'm afraid this is the case on this one.

'Gotta Have It' has a decent backing vocal and beat, but doesn't really grab us. Kanye delivers some fairly deep and sarcastic lyrics at the outset with "LOLOLOL, white America, try assassinate my character." Other than this, fairly uninspiring as we reach the mid point of the album. 'New Day' produced by one of my all time hip hop artists, RZA is a quality tune. Again, an interesting topic with both rappers rhyming about raising their hypothetical male offspring. Kayne most engrossing with the powerful deliver of lyrics such as - “I’ll never let my son have an ego. He’ll be nice to everyone wherever we go, I mean, I might even make him be Republican, so everybody know he love white people.” Clearly a small reference to his famous George W Bush altercation. It's a trippy, enjoyable little track despite the perhaps slightly 'off' lyrical content. 'Prime Time' features another of my favourites on the production side with, Q-Tip aiding, West this time around. Some tender keys get us started here before, Jay-Z enters in sultry fashion with "we're in the time of our lives" and the mix scratched in from, 'Public Enemy's', 'Brothers Gonna Work It Out'. It's a slow burner of a track...of course it is – they sampled it from La Roux. It's almost a little, 'Portishead' with male rapper lyrics...an interesting concept.

'Welcome to the Jungle' has a great little twist with a, 'ABC' beat throughtout and reference to the late King of pop, Michael Jackson - "Rest in peace to the leader of the Jackson 5." The mnemonic guitar forms the backdrop here on a more poppy sound than one would perhaps expect. 'Who Gon Stop Me' ruffles us up with more with a pumping bass and rave like synths and, Kanye setting out with - "This is something like a holocaust, millions of our people lost."
"I can't stop-op-op-op-op-op". This is raw, fast, aggressive and edgy. It's more along the lines of what one would expect of two leaders in the game, Jay-Z and, West. This is among my favourites on this offering thus far. 'Murder to Excellence' is a more than worthwhile follow up. In fact, it's probably the albums centerpiece with, Kanye rapping, "Pay-per-view murder, black-on-black murder" it's a song split into two mesmorising parts. “It’s time for us to stop and redefine black power,” West declares in the first part where he compares urban murder tallies to casualties in the Iraq war and even genocide. In part two, Jay-Z appears to find some solace in prestige and wealth - “It’s a celebration of black excellence. Opulence, decadence, tuxes next to the president.” The conclusion being - “Power to the people. When you see me, see you.” With two tracks left, we finally have what we were looking for from this collaboration.

'Made It In America' features, Frank Ocean and instead of looking to the future as the pair had done in, 'New Day', this one looks back at days gone by and key figures in history. While, Jay-Z includes his grandma in his raps while rhyming with "star-spangled banner", Kanye talks about his mama and meeting his producer 'No ID' in Chicago and "getting high on my own supply". 'Why I I Love You' featuring Mr. Hudson brings the curtain down on this colloborative effort, 'Watch The The Throne'. Mr Hudson's hook sounds like a high pitched, shrieking metalheaded bombast, but I do like the tune and beat on the track. Jay-Z's rythyms and verses are pretty good, blasting, "got a pistol under my pit bull." The song, and album is aggressive and ends abruptly in the same fashion as it was delivered.

'Watch the Throne' feels like a fairly meaningful victory following one solitary listen. It is a compelling, complex, conflicted album, layered with heavy commentary on class and race. Thankfully, those anticipating a disastrous ego clash will have to wait until the pair hit the road together later this year. Many of the West co-produced tracks would not sound out of place on, West’s fantastic 2010 album, 'My Beautiful Dark Twisted Fantasy' which was among my top albums of last year. This one is good, but it's no classic. Rating 7/10 

Some other reviews:

"The album's highlight, and an instant classic, is 'Made in America,' a solid, slow-paced Frank Ocean-teamed jam about the American dream that reveals the main difference between West and Jay-Z: humility." - LA Times

"Both West and Jay-Z were vocal backers of Barack Obama during his 2008 presidential campaign, but now that America is struggling to regain its economic bearings, they rhyme about their private jets, expensive watches and supermodel escapades." - Chicago Tribune

"As a whole it’s not totally legible; there are too many ideas. It's an album with several phenomenal moments, even if it doesn’t quite add up to a phenomenal album." - NY Times

"Dig deep into Throne, past the bacchanal celebration of the finer things in life, and you'll find the album's heart: two men grappling with what it means to be successful and black in a nation that still thinks of them as second class." - Time

Track List

No Church in The Wild (ft. Frank Ocean)

Lift Off (ft. Beyoncé)

Niggas in Paris

Otis (ft. Otis Redding)

Gotta Have It

New Day

Prime Time

Who Gon Stop Me

Murder to Excellence

Welcome to The Jungle

Made It In America (ft. Frank Ocean)

Why I Love You (ft. Mr Hudson)