March 17, 2008
Stone Gods - Burn The Witch
Burn The Witch is like the bastard child of Iron Maiden and AC/DC which means if you’re still reading this you’ve more than likely worn your hair long & greasy, cut the sleeves off a band t-shirt, combined leather & denim in obscene ways and chosen partners based only on how slutty they’ll look standing next to you impressing your mates – so let’s talk ROCK.
The lead tracks stands out as well suited for grabbing your attention by the balls to ensure you listen to the rest of the EP. You Brought A Knife To A Gunfight then throws Motley Crue into a pit with Skid Row and a thousand weekend rockers with too tight trousers and hairbrush mics, it even has a “Fuck You” chorus making it almost impossible for the true Rocker to dislike it.
Thin Lizzy get their chance next as the over-whelming influence on Breakdown and then we wind down to a too soon end with the obligatory lighter-in-the-air ballad of Heartburn. Stone Gods galloping through every genre of hard & heavy rock they can in four songs possibly just to prove that they aren’t The Darkness any longer. The guitar solo’s even almost manage that neat trick of reaching inside you, tieing your guts around the E-string and ripping them out as the riffs soar onwards to that last power chord. Almost but not quite, give me a few jacks & marlboro, turn it up to eleven and I’m sure I’ll be standing there arm raised high ready to crash down on that air guitar as I scream into the night…
Burn The Witch is a damned fine debut EP, there’s nothing new here, but there doesn’t really have to be in this genre, all that’s required is that you do it well and strike the right pose with the right attitude as you do so. Stone Gods manage to tick all the boxes needed to land squarely in Fucking Great Rock Band territory.
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Late Of The Pier are a band that I had always overlooked and never bothered to listen to, I’d heard them name-checked too often by music journalists and scene bloggers – always a good sign that the band won’t be to my taste! Based on this single I’d say that my cynical disdain may well have been misplaced.
The Bears Are Coming is rather a seesaw ride – initially struck by a cool percussion intro, interested piqued by that weird honking sound rhythm and then disappointed by plain old normal vocals only to be excited again by the scratchy instrumental melody. We’re only 45 seconds into the track so far but the ride continues right the way through and I’m constantly switching between loving it, hating it and going “ooh, I like this bit”. Three and a half mintues and I feel like I’ve been on an album’s worth of journey, I’m looking for a media player that allows me to skip parts of a song in the way I ignore poorer tracks on albums!
So maybe those music journos & bloggers know a thing or two after all – I enjoyed the chaotic indie pop of “next big thing” Late Of The Pier afterall – who’d have thought it!
November 17, 2007
The Weakerthans - Reunion Tour
Beautiful story telling narratives are a rarity in rock music, but that’s exactly what The Weakerthans have provided us with here—again. The vocal tricks and dexterity John K. Sampson uses to weave his poetry-prose into the band’s folk styled rock is quite wonderful in it’s apparent seamless ease and make The Weakerthans something pretty special and beloved to their fans.
It’s been a long wait since 2004′s Reconstruction Site but the album here is still very familiar and The Weakerthans as already known—there isn’t anything much in the way of new other than the stories the songs tell. In my mind that’s enough, when you have such a perfect sound for your art why go changing when you still have the imagination, empathy and talent to tell these new tales. Reunion Tour is however, overall, a more melancholy album than previous outings, the wistful nature of the tracks still somehow manages to be uplifting rather than totally depressing though. Is there such a thing as happy melancholy?
Starting out with the tale of a love sick bus driver, Civil Twilight is a song for anyone who has ever lost anyone and wandered, wondering. The thrumming bassline of Hymn of the Medical Oddity carrys over into Relative Surplus Value while it then turns down the folk and turns up the Rock to full tilt for a tale of exhausted failure. After a brief jaunt into the world of curling for Tournament of Hearts, Virtute the cat makes a return appearance (after having her plea on Reconstruction Site), this time round it’s a heart-breaking ballad of her life and regrets after leaving, reminiscing “I’d knead into your chest while you were sleeping. Shallow breathing made me purr.”
Elegy for Gump Worsley delves into a more spoken word style with minimal melody and instrumentation. Sun in an Empty Room has the happiest guitars of the album, jangling away while moving on from an old shared apartment room. Night Windows may regretfully be an attempt to be more radio-friendly than necessary, sounding the most commercial and ending up with the lyrics seeming disjointed at times. The albm then rolls into a song superficially about Bigfoot! with the haunting intro & outro try to convince you it’s only about some big hairy ape-like creature but the lyrics are written so well that there’s undertones of much, much more. Finishing up the album with the marching drums and plodding life-on-the-road guitar of Reunion Tour and finally the end of show wind down of Utilities won’t leave you in a joyous mood, but wistfully happy. It’s what The Weakerthans do best and do better than anyone else. Simply beautiful.
November 15, 2007
Milburn are four mates from Sheffield who are not the Arctic Monkeys. I couldn’t care less about the Arctic Monkeys or whether this second album from Milburn helps to distance them or stamp their own individual identity down on vinyl (“vinyl” just sounds a better word when saying such things so lets gloss over any digital age inaccuracies) so lets forget that comparison now. Writing a full albums worth of all new material just a year after their debut, Well Well Well says something, probably something good, about the band. Especially one touted as at their best performing live.
And the album is okay. On second listen it’s quite fine. Third time round and aye, I’m admitting that it’s good. The initial impression is set strongly by first single, What Will You Do (When The Money Goes)? with it’s stabby guitars flowing into The Shadows styled twangs. The themes remain similar throughout the rest of the album; Wolves At Bay has some great stop-start stuff going on in there, again very Hank Marvin; Lucy Lovemenot ups the pace slightly to get the head nodding and foot tapping; Sinking Ships slows down into a competent ballad moment for the guitar to get lovely and bassy; Count To 10 manages some good vocal melodies. Cowboys And Indians is a great stand out track, a jumpy, spiky fun and playful anthem for live shows.
On first listen I’d written that the album tried to update the sixties and incorporate that into today’s indie rock pop but failed due to the sixties being a bit rubbish without it’s required tacky retro kitsch. But after a couple more plays I am won over and the sixties influence on the record has become quite endearing. These Are The Facts is a grower.
