Monday 23 May 2011

This weeks 3...

Every week now ill give 3 offerings of cool new tracks for you to enjoy, then you can enjoy them for the rest of your lives!

  Bleeding Knees Club - Have Fun



                                                                    ^--- free download ere http://triplejunearthed.com.au/bleedingkneesclub        <-----^

Atmosphere - She's Enough


PJ Harvey - Written on the Forehead - from 'words cant describe how awesome it is' album Let England Shake.


Enjoy


Sunday 22 May 2011

Music Video Review - Bears Killing Bears - Too Familiar

http://vimeo.com/24005350  <<----- The video :) 


                                                                     ^---- The Band :) 

Up and coming talent will be another aspect to the ‘daveygreviews’ blog, and with that announcement, I bring you the first music video release from Leeds based rock outfit, ‘Bears Killing Bears’.

Once again, as a purist, I believe a live music video should be included in a bands portfolio as early as possible. It should capture their spirit, realize their drive and show fans what to expect from a live performance. Given the abundance of early potential that ‘Bears’ have, the first music video would be a delicate and difficult operation. The spirit of the band would mean a video that gets right amongst them in full flow. This video has achieved all of the above.

Bears managed to enrol the senior photographer of Whitelines Snowboard Magazine, Dan Medhurst, who shoots the band playing in their Hyde-Park-student-house-basement. It begins with said basement, barely lit, and full of the bands fans, a tribal-like gathering of their disciples whos faces are painted white with skull-like black eyes. It’s eerie, hardcore and brilliant. Medhurst puts himself dead centre and follows the proceedings as if he himself were moshing as hard as every one else in the room. A great idea to capture Bear’s spirit.

The video is a four-minute onslaught that is hard to take your eyes away from, particularly with the lead singer Andy Harley who has the charisma and voice that will set this band apart from others. The fact the band share the skull-like face paint symbolise the band are as much fans of the music they create as every-one else in that cramped basement. The oneness between band and fan is evident.

The prospect that Bear’s could be the best thing to happen to this brand of British Metal since ‘Gallows’ is all to obvious now, and the luck seems to be on their side with Dan Medhurst on board. (A glimpse of a Gallows t-shirt clad fan in the ‘Too Familiar’ video represents a wealth of potential fans yet to discover Bears Killing Bears).

In producing Bear’s first video, Medhurst achieves his objectives and the viewer will be enticed to delve deeper into Bear’s brand of metal. It will be interesting to see where Bears Killing Bears can go creatively with their music video offerings in the future, but for now, the musical offerings provide ample satisfaction. A full review of their first EP is on the way. 

http://www.facebook.com/pages/Bears-Killing-Bears/260275548987 <----more bears music on ere. 

Lykke Li - Wounded Rhymes



The wonderful thing about Sweden is its capacity to produce special music and artists. Lykke Li has been considered another special artist since her first album ‘Youth Novels’ was released in 2008. A wholly well received album, although music critics noted an element of tentativeness towards the sound she was trying to create. If anything, this simply created more anticipation for her second outing, ‘Wounded Rhymes’, as her sound would surely mature with age and experience.

At 25, Lykke Li has produced an album with a swaggering confidence that never hesitates in its delivery. And swagger is the key word with this album. Tracks like ‘Get Some’ and ‘I Follow Rivers’ will give you an insight into exactly what Lykke Li wants from her music. It’s cool and refreshing, and outmuscles all the misconceptions about any tentativeness in her music.

‘Like a shotgun, needs an outcome, I’m your prostitute, come and get some…’

Get some is the stand out track on the album. Mainly due to the plethora of violent and sexual images that she spits out, and the tribal drums that perfectly compliment her aggressive lyrical content. It seems this is the sound Lykke Li, her fans, and her critics have been waiting for.

The album gives the impression that Li will throw herself, whole-heartedly, into everything she tries. The melodies she creates are beautiful and tender, particularly on ‘Sadness is a Blessing’, which adds another element to her growing repertoire. Her lyricism is passionate and heartfelt at times, ruthless and sexual at others. It still has the element of youthfulness that fans of the first album will be expecting, but a maturity that will pull in fans who don’t just know her from Twilight: Full moon or New moon or whatever.

A track that will find a place in many a listener’s heart is track eight; ‘I Know Places’ which recalls all the end of the party moments that you will have had in you college/university days. Her voice and the accompanying guitar have a certain lethargy that sets the perfect atmosphere and suits the lyrical content beautifully.

As always in my reviews, I tend to shed some light on the negative aspects at the end, my reasoning’s for this… I don’t know.

Something that crops up occasionally whilst listening to this album is the helplessness towards making comparisons with the other elite solo-artists. I won’t say too much about when and where on the album this occurs (at times its blatantly obvious), but it is does slightly detract from the uniqueness of both artist and record. Gritty electro pop is Lykke Li’s thing, and at times, although admirable and enjoyable, her experiments with new sounds may bear too many similarities with the elite for some listeners.

BUT, as she drones through another album with a swaggering confidence much longed for after ‘Youth Novels’, this should surely confirm her status as queen bee of the electro-pop scene. Thank you Sweden. (Tack så mycket) 

8/10

Wednesday 18 May 2011

BOOK - Ali Smith - The Accidental


Curiously and aptly, I found this book accidentally in Rayong, Thailand after we were forced to wait roadside for our mini-bus to the island of Koh Chang. It was the SongKran Water festival in Thailand, and we needed some shelter from the Finnish man on the opposite side of the road that was armed with a Super Soaker. The shelter was a second hand bookshop, and there, sat on the ‘recommended reads’ display was ‘The Accidental’ for one hundred and eighty baht.
*

The first few pages grabbed my attention, as all good books should, but in a particularly novel way (no pun intended). The narrative voice was disjointed and unique. It was literally caught between two minds. A clever device that I can’t say I’ve seen used in any novel.

‘Astrid yawns, she is hungry, she is starving actually.’

Astrid’s character is built instantly and perceived initially to be the protagonist of the story. Although Astrid’s brother, mother and mother’s husband all share equally proportioned chunks devoted to the lives they lead. A literary device I found to be pain-stakingly intriguing and thoroughly successful.

The book follows the family to their holiday home in Norfolk where they meet the mysterious ‘Amber’. Amber plays her part in the unravelling of each of the respective family member’s lives and shattering their perceptions of who they are and why they are who they are. Amber is a remarkable catalyst to the development of the characters, and key to the development of the novel. She is a character hell bent on the reformation and re-examination of everyone, including the reader.

The Accidental was a thought-provoking tale that lingers post-read with its audaciousness, poignancy and sexiness. I long to read another tale that can be as courageous as this one. Its inventiveness was second to none and I cannot fault Ali Smith’s bold approach towards the themes of truth, fate and self-perception.

I read this mostly in Northern Thailand, an area without wealth or the vast amount of issues/lifestyles contained in British society. It was curious how reminded of life back home I became during this book. Definitely worth reading, if only to remind you about all the weird and wonderful explorations you’ve had on life’s journey.

Consider this added to my ‘recommended reads’ display. 

Tuesday 17 May 2011

CD Foo Fighters - Wasting Light


Dave Grohl and co are rock gods. Its been well known for a while now as Grohl’s main project ‘Foo Fighters’ continue to deliver with there brand of alt rock/post-grunge that has sold out stadiums. The tenacity of their success can be linked to their fondness for songs that transpire effortlessly on the stadium-rock scene. This album proves no different, but is that a bad thing? My opinion = No, it’s a great thing.

The album hits the ground running. Grohl’s lungs working as hard as the guitars as he screams through the heavy intro. The first track is called ‘Bridge Burning’. (The significance of this being the first track could be due to Pat Smear’s re-involvement in all things Foo…? Just a guess) A solid first track sets the mood and leads into the first single to come off the album, ‘Rope’. A great choice for a first single (there is a lot to choose from), as the song hits as hard as any of the heavier tracks on the album, thus reminding the core fans what they are still all about.

The production is fantastic, as you would expect. The album was recorded fully on analogue recorder, in a garage, which owes more kudos to how good the record sounds. Grohl sings about death, re-invention, sex, time and loss. The writing is well suited to the heaviness of the album. You can almost picture Grohl in front of eighty thousand people screaming every word from start to finish.

It would be unusual for someone to buy this album without having listened to at least one other Foo album before in his or her life. Therefore, Grohl’s delivery will be unmistakeable.

Although it is heavy, it has great production, it has powerful writing and it is Foo Fighters, a part of me knows they’ve done the greatest hits and I’ve been listening to them for years and it feels like it has a, a little bit of, like a bit of a….no don’t say it…a rewind, a safety that will guarantee a headline act at most of the festivals and a stadium tour.

But is that a bad thing?? NO…its definitely not….

After all they recorded it in a garage for gods sake. That’s rock and roll.
Stand out tracks are ‘Arlandria’ or ‘These Days’. Which peculiarly are two of the most melodic and stadium-in-mind tracks. As I say, this is a GOOD thing and is what Dave Grohl would have wanted.

7/10 

Insidious - DVD Review.


I’m not sure why, but I was certain this film was a 12A. Seconds before it started I was informed that it most definitely wasn’t and it was incredibly scary. Stories began to emerge such as, ‘yeh my mates girlfriend was in tears half way through cos it was so scary’ and ‘its made by the producers of Saw and Paranormal Activity’. I had to prepare myself for something apparently much more horrifying than a 12A. What was I thinking?

Ten minutes in and I could understand how potentially scary this would be. A family whos young son has fallen into a mysterious coma that bewilders doctors, and unusual events taking place in the new house. The ‘haunted new house’ situation was all too common; which unfortunately led to a lot of presuppositions about how to rest of the film would pan out. It followed suit for a while. The wife was scared. The husband was sceptical. An argument ensues.

Although it was actually quite frightening in the beginning. The ghostly schoolboy was a little much for me and caused some incessant nose itching (my clever trick for easy eye-coverage should something scary happen). James Wan (Director) uses camera angles that accentuates the jump-factor, and the softly, eerie lighting adds well to the ‘modern horror’ vibe that comes with such production.

It felt like a slow burner, but unfortunately it burned out very fast, and went from frightening to ludicrous. The comedy-duo mid film will confuse the audience and have them wondering what genre Wan is really going for. The ambivalence continues with the ‘other world’ scene that felt like something out of ‘Clash of the Titans’ with the weird hoofed/bird/devil thing. On the whole I felt disappointed. Because at the end, it was closer to a 12A, as the horror factor was lost to nonsensical crap that left nothing to the imagination. Which is a key quality to a good horror film, right? If this is the love child of two of the most successful horror franchises in film, then it’s a real shame, as it was neither here nor there.

It will never be a classic, but it will entertain and quite possibly give people quite a scare, particularly in the first half of the film.

Wait for it to go to DVD and rent it.

4/10

Simmons says – Load of wank like a money bank yo!!!
2/10

Sunday 15 May 2011

Jonathan Jeremiah - A Solitary Man



The Adventures of Jonathan Jeremiah! Jonathan Jeremiah and the Amazing Technicolor Dream Coat! 

Great name. The album title, along with a picture of him....(being solitary)....on the front cover made it all so easy to remember. Nice work Island Records. 

He resembles Joseph, his soulful baritone and sincere lyrics are amazing, but he doesn't wear a technicolor dream coat (Seamless). He is in fact a very serious artist. My mum asked me if it was Chris Rea, then said....'No...no! Its Tom Jones!', after I finally convinced her it wasn't Tom Jones, Dad came in the room and asked me if it was Teddy Pendergrass. All good guesses, and in fact very complimentary, especially Teddy P. 

The first song introduces the extremely well produced and beautifully arranged strings that appear throughout the record, whilst demonstrating JJ's baritone at its best. Heart of Stone is track two. It joins the title track as best on the album, and gives the listener a sense of excitement for the next album, as this is easily the coolest, and hopefully a musical avenue JJ will continue down. Timeless. 

Harsh critics would say the best song on the album is self-righteous, although it’s impossible to criticize when listening to it. In fact it’s impossible to say anything. Guitar players will appreciate the delicate picking. It's also a pleasant break from the strings. As a purist, Man/Woman and Guitar cannot be beaten, especially when a song is played and sung as well as this. The chorus stays with you throughout the day, and steers far clear of the all to common Tom Jones comparisons (...mum). 

Negatives are the two tracks after Solitary Man, which i've skipped over since the first listen. They feel like filler's and a tad commercial. I hope they're not singles. 

I would recommend buying the album. Don't be put off by his name or lame front cover. This guy has got soul. If you don't buy the whole album, download 'Heart of Stone', 'A Solitary Man', and 'All the Man i'll Ever Be'. 

7/10

Atmosphere - The Family Sign


True Hip-Hop fans will already be accustomed to the music of Sean Daley AKA Slug, and his DJ, Anthony Davis AKA Ant. They will also know they rarely disappoint. Renowned as one the best live acts in underground hip hop, regularly performing with equally respected and lyrically able ‘Brother Ali’ and up and comer ‘Grieves’, Atmosphere release their 7th official studio album entitled ‘The Family Sign’.
My first encounter with Atmosphere was a track called ‘God’s Bathroom Floor’. The fluidity of the lyrics, the depth of the content, the simple yet ghostly aura of the beat. Early Nas came to mind. Next track I heard was ‘Scapegoat’. The beat had the eery Mafioso piano loop you’d expect from a Big Pun track, the lyrics were aggressive and constant. It was hardcore, yet poignant. Then I got put on to ‘Guns and Cigarettes’. ‘Go to hell girl, you make me sick, I hope your new boyfriend gets cancer in his dick!’ I’ll always remember that line.
I thought for a long time that Atmosphere was one person. I’m not embarrassed to admit it. I had the same problem with Gangstarr (Guru and DJ Premier). Once I was aware it was a group name (in both cases), it taught me the importance of Premier and Ant respectively. On Family Sign, Ant shows how eclectic and creative he really can be. Demonstrating a heavier and considered use of instruments. The guitar on ‘I don’t need brighter day’s’ compliments Slug’s emotive content. The piano on ‘Your Name Here’ recaptures how Ant can make Slug’s lyrics haunt.
It seems Ant is using the success of the last Studio release to fill these tracks with every musical accompaniment Slug deserves. It seems that Slug has been waiting for this, as Ant’s lingering piano loops and powerful guitar licks enable him to connect with the listener on a deeper level, with a more personal lyrical content.
‘And I can make out every word, Cos she sing loud like a trapped bird’
The content touches on broken-families, domestic violence, losing friends. The mood is nostalgic and reflective. It demonstrates a personal struggle that has took Slug seven albums to truly explore lyrically, which speaks volumes about his modesty. A lack of self-righteousness also evokes a sense of empathy for the listener, and a united front against all Slug raps about. He doesn’t need to convince you. His poised delivery and unmistakable style has you on his side in every conflict. Everything feels ok after listening to this album. His singing on ‘Something So’ can contend with any singer/songwriter out there. Once again Ant provides a faultless accompaniment.
‘Bad Bad Daddy’ is a weak point. It feels half-hearted, and although the listener will understand why it’s in there, it lacks the creativity from both MC and DJ. The chorus is almost annoying. The guitar loop seems untouched and lacks the atmospheric licks of ‘I Don’t Need Brighter Days’. Luckily ‘Millennium Dodo’ recreates the magic straight after with one of the coolest beats on the album.
‘All around the world, it’s the same bar, wishing that the Jukebox had some Gangstarr.’
Slug’s honesty and Ant’s freedom of creativity give this album a depth that proves Atmospheres dominance as Hip-Hop’s non-commercial saviours. Slug acknowledges Gangstarr, yet his ability to consistently deliver album after album should surely now make Slug comparable with the late great Guru and set the bar for future artists who take lyricism seriously. Ant is not to be underestimated and proves how adaptable he can be with his creations.
9/10