Heard this on soccer AM this morning. Australian. Emily Haines stylings. Thought it was worthy of an increasingly rare post.
Red Hot Chili Peppers- Tearjerker
When someone talks over the intro, you know they mean business…
“Could you turn up the track a little bit, please?”
There’s probably a lot of songs written about Kurt Cobain’s death but that this is still potent without that in mind makes it so much more than that. First dozen times I heard it I didn’t know that it was, only after I pondered what this gorgeous track was about that I realised.
Only problem with this track is that it was on One Hot Minute which, despite actually being infinitely better than you think, isn’t particularly highly revered. Just figured if one person read this and heard it it’d be worth the effort.
So there you have it! Illinois punk rock legends Alkaline Trio will headline the Mainstage on Saturday night, closing what looks to be another spectacular few days at Upcote Farm on the outskirts of Cheltenham.
Last night searching Alkaline Trio and 2000 Trees on twitter returned one solitary result, I don’t know if this guy had simply guessed and had no idea he was right or… well the alternative doesn’t bear mentioning!
It’s a bit of a different story now! Tickets will be sold out crazy soon, their fanbase is as dedicated as any out there and with good cause. They haven’t been able to release an album without it being declared a classic of whichever genre they’ve chosen to fit in at that moment.
During the middle part of their career, they did go a bit pop punk, not that there’s anything wrong with that but those fans of their original output were rewarded with albums harking back to their roots once the new decade hit.
You can probably be assured that this will be a whirlwind tour of their 19 year & 8 album career as they’re not here promoting a new album they just want a place at the best party of the year like everyone else. However, it should also be noted at the end of last year they played their two most highly revered albums Crimson & Good Mourning BACK TO BACK. Which, I mean… I don’t want to get anyone’s hopes up but just- imagine that.
I mean I’ve put some of their best songs down the bottom for you to check out but I haven’t even mentioned Private Eye or Stupid Kid I mean, if you don’t know this band you’re in for a hell of a ride and if you do you’re going to get some of your wildest dreams realised this summer.
Calling All Skeletons (2011)
This Could Be Love (2003)
Death Cab For Cutie- Kintsugi
The introduction to the album No Room In The Frame reminds me of Brixby Canyon Bridge which was one of my favourite openings after they moved into the more atmospheric second half of their career. Lyrically this is obviously about Zooey Deschanel who I’m happy to blame for their easily ignorable 2011 release which marked the first strike of Ben Gibbard‘s illustrious indie career.
The pace of the first couple of tracks is foreboding, this could easily turn into another Codes and Keys and if that is the case I don’t think anyone would argue that it’s time to call it a day.
The Ghosts of Beverley Drive is the track the fans have been most excited about. This track spans their career, musically taking elements from I Will Posess Your Heart and Sound of Settling where lyrically it could have been on We Have The Facts or Transatlanticism. It’s good, let’s hope this is a sign of things to come…
OK, Little Wanderer isn’t very good but then was on Narrow Stairs and that album is still considered flawless. This again is *sigh* about Zooey bloody Deschanel like the lyrics are so specific that he may as well have just written it for himself and kept it on his ipod for his own personal cranks. DCFC albums tend to be 11 tracks and come in at 45 minutes so when you get a filler track you’re entitled to be a little concerned.
Hold No Guns is right up there with the very worst tracks Ben’s ever written. We’re talking, Talking Bird, 90% of Codes and Keys, Little Bribes, add it to the list.
Good Help (Is So Hard To Find) is GREAT. It’s the You Can Do Better Than Me or Stay Young Go Dancing of the album in that it’s unlike their usual offerings and unexpected in the tone of the album. Nice one.
As a standalone track the finale is just that piano one that he’s insisted on putting on the last few albums. The title, Binary Sea however, says everything about the album and time we live in. The number of people who will actively listen to this album is a fraction of those that will have it on their hard drives. Maybe they’ll listen to the first few tracks which at the end of the day, aren’t entirely gripping and move on or look on last.fm for the ‘best’ tracks and just check those.
The incentive to listen to an entire album is not what it once was but Death Cab make albums. There’s no other band I’ve listened to their albums from start to finish as much as these guys. It always felt to me like their albums represented a different mood and obviously they’ve been fairly clear about where this stands on that scale. So if you’re ever feeling like filling in the cracks of your life and embracing the person they’ve made you, that’s when you want to listen to this.
Jawws, Alex G, The Miseries, Birdcloud, Bloods, Built By Snow, Carnival Kids, Happyness, The oOohh Baby Gimme Mores, The Vaccines, The Bad Lovers, Kevin Devine, Lucette, Summer Cannibals, The 69 Cats, Baby Bee, Bad Cop, Well Hung Heart, Ian Moore, The Snaz, Twin Peaks, Dellacoma, Ume, JPNSGRLS, BORNS, King Charles, HOLYCHILD, Amsterdamn!, The Zombies, Rebecca Perl, Spring King, The Prettiots, Bleachers, Heyrocco, Greighwolfe, Port Juvee, In-Flight Safety, Genevieve, Hamish Anderson, Indevotion, The Magnettes, MC Lars, Death Valley Girls, Air Bag One, The Wind & The Wave, Gifted |007 of RAW, The Bros. Landreth, The Accidentals, Kosha Dillz, Girl Pilot, The Delta Riggs, Walking on Cars, Armstrong Leigh, Hooka Hey, Quiet Company, Night Terrors of 1927, Moon Honey, Hector Bizerk, Skylar Spence, Hawthorne Heights, Chaos Chaos, Agosto, People’s Blues of Richmond, Nive Nielsen & the Deer Children, Guy Blakeslee, Schaffer the Darklord, B. DOLAN, Cold Mailman, Yip Deceiver, Intimate Stranger, Dear Boy, The People The Poet, Adil Omar, Great Ceasar, The Family Crest
Posted in Uncategorized | Tags: Adil Omar, Agosto, Air Bag One, Alex G, Amsterdamn!, Armstrong Leigh, B. DOLAN, Baby Bee, Bad Cop, Birdcloud, Bleachers, Bloods, BORNS, Built By Snow, Carnival Kids, chaos chaos, Cold Mailman, dear boy, Death Valley Girls, Dellacoma, Genevieve, Gifted |007 of RAW, Girl Pilot, Great Ceasar, Greighwolfe, Guy Blakeslee, Hamish Anderson, Happyness, Hawthorne Heights, Hector Bizerk, Heyrocco, HOLYCHILD, Hooka Hey, ian moore, In-Flight Safety, Indevotion, Intimate Stranger, Jawws, JPNSGRLS, Kevin Devine, King Charles, kosha dillz, Lucette, MC Lars, Moon Honey, Night Terrors of 1927, Nive Nielsen & the Deer Children, People's Blues of Richmond, Port Juvee, Quiet Company, Rebecca Perl, schaffer the darklord, Skylar Spence, Spring King, Summer Cannibals, The 69 Cats, The Accidentals, The Bad Lovers, The Bros. Landreth, The Delta Riggs, The Family Cr, The Magnettes, The Miseries, The oOohh Baby Gimme Mores, The People The Poet, The Prettiots, The Snaz, The Vaccines, The Wind & The Wave, The Zombies, twin peaks, Ume, Walking on Cars, Well Hung Heart, Yip Deceiver
Idlewild // We Are The Ocean //
The Subways (Thursday Headliners), // And So I Watch You From Afar //
Black Peaks //
Acollective // Creeper // Great Cynics // Blaenavon // Lloyd Yates //
Jake Isaac //
Get Inuit // Rebecca Clements // Bare Knuckle Parade
Some bands just grab you, you know. You might listen to Glasgow’s The Amazing Snakeheads’ recently released debut album Amphetamine Ballads and enjoy it but not be totally sure why.
That they are playing 2000 Trees this summer is both a testament to the ear for quality the organisers have as well as a sign of the sway they hold on huge upcoming acts.
If you asked people who were listening to Wu Lyf a year or two ago and asked why they liked their music they’d have been hard pushed to give an answer that weren’t just vague references to the personae that NME had created around them. Due credit though, they had a certain passion which brings me onto a certain Dale Barclay…
Passion is what frontman Barclay has in truckloads, the kind you can’t fake or put on for the cameras. He’s sure as hell riled up about something. Their live shows have become amazingly intense adrenaline fuelled pageants that are so close to boiling over your brain is telling you you’re not safe there, but how the hell are you supposed to turn away from this spectacle?
Indeed he is the only remaining member of the original line up and if the human race comes down to a bar fight for survival he’ll be sticking around a long time after the rest of us are left with wine bottles lodged in our throats.
There’s elements of hardcore (the raw instrumentation punctuated by repeated snarled lines) but Snakeheads see themselves as Rock & Roll, the purest kind- the kind you take intravenously. The brass is a surprise inclusion but just as menacing as the guitars, vocals and lyrics and adds another element to proceedings.
When the bass is bedding sparse drumming, the guitars are squirming and the brass haunting your soul you wouldn’t be far off comparing such aspects of their debut to some of Nick Cave’s more menacing moments.
These guys could have been around in the 80s and be seen as an underground punk band in a time where they were ten a penny and besides, you already had the best in the game back then. These days, we need people like Dale Barclay to inject some passion into us, to awaken our fury, to check if we still bleed.
Here It Comes Again
Outroversion’s Ipod Shuffle XVII
You know how we do, no skips.
Amy Winehouse– Rehab
I never really got into her sophomore album having loved Frank back in the day, too much press and hearing it played everywhere all the time rendered playing it in your own time futile as you’d just hear it again when you went anywhere in public. This was of course the headline grabbing lead single from Back to Black and there’s not a whole lot you can say about it that wasn’t either said at the time or has been attributed to it posthumously. As a song, without taking into account the autobiographical nature of it, it’s not particularly memorable. However, because of everything that came since it’s become a haunting shapshot of wasted potential.
Pete Molinari- The Ballad of Bob Montgomery
Before people were comparing Jake Bugg to Bob Dylan they were doing the same with this fellow. It’s become a fairly standard tale of hardwork followed by hype and eventually a respectable career on the road. Pete however refuses to settle into his niche and has been pushing musical boundaries with his latest album Theosophy which has taken his notoriety to all the corners you could dream of. This in a similar fashion to his genre bending live shows, this song however, is from his debut and is a little more what you would expect from a man with a guitar.
For fans of Mates of State, Denver’s husband and wife duo named after well, the passtime of tennis. It’s a pleasantly collegiate sounding ode to Coconut Grove presumably a passing on their seven month sailing expedition down the Eastern Atlantic Seabed.
I have three tracks of theirs, all from the same glorious place, the Indie Rock Playlist. Hope I bother checking out more.
Paramore– Here We Go Again (Live)
There’s a few bands that I have some of their live stuff on my Itunes because they really seem to be at their best in that setting, Paramore are one of those. This is from the Final Riot! which if you don’t really get Hayley Williams you should check out as it really showcases how that band have become what they are, the passion of her performance really is something.
Thing is, I’m not THAT into Paramore so I only know what you would probably call their most popular songs. The best thing about that is, every now and then I hear old songs of theirs like this and bam, I’ve got another sweet track to add to my semi-irregular solo P’more listening parties.
Damone– What We Came Here For
It’s times like these I feel like Itunes has a consciousness. Paramore and then Damone? Two heavyweights of the mid zeroes female fronted rock pop scene though Noelle Blanc never achieved the illustrious peaks that Hayley Williams spearheaded.
The band broke up towards the end of the last decade and Noelle went solo. They’re a nice listen but in what was becoming a diluted genre at the time their were only room so for so few at the top.
Phenomenal Handclap Band- All Of The Above
A dreadful name for a band but then it’s the only reason I remember them all these years after hearing the only song I’ve ever heard of theirs (15 to 20). Their probably best described as psychedelically tinged slow paced rock, or soul as they are indeed labelled. Bass led and borderline staccato vocals, they’re aiming for a certain mind-set and level of relaxation. I mean there’s eight of them playing mouth organs, giving it the old reverb, creepy whispering and spaced out guitar licks. You know what you’re getting.
The Notwist– Consequence
You know when you got into The Postal Service and thought, “Wow, if this is what electronic music sounds like I want to hear more”, well this was the one name that people tended to bandy around like they knew what the hell they were talking about.
he Notwist were a rock band before they changed and adapted their sound to capitalise on what was a burgeoning genre and had much new found success doing so. Jimmy Tamborello was clearly influenced by their sound and from that point of view it’s quite interesting to hear them.
This track in though, drags on and on. I’m sure there’s better examples of their work out there.
Biffy Clyro- Golden Rule
I have had a lot of Biffy Clyro inflicted upon me in my time. This is either due to the period of my life where Kerrang was my default radio station or when Truck was my default festival.
Personally, I can see why people like the band. I just don’t. Lyrically I find them very basic, musically I find them typical of the genre and well, without being racist… I find it a little difficult to really dig scottish men singing.
Chris Smee– Through It All
One of the greatest things about independent festivals is the support shown for the local music scene, encouraging and developing talent until they’re either too big to play there or indebted to the field where their careers began to the extent they’re obliged to play there every year.
As well as those lucky few and the ones who just seem to rock up every year regardless, you get to see the very earliest signs of life from artists with huge potential and likelihood to burgeon. This guy is a great example of this, bassist for Cheltenham’s Strange Things Frighten Us (STFU) who doubtlessly have a great future, here Chris Smee displays just as much confidence and competence guitaristically. Not a word? it should be.
Released this coming Saturday, a smooth and professional debut, pleasing in tone with Sheeranesque syncopated percussion. Peep dat.
Through It All