I was really stunned by Williams’ take on this song. After watching it about eighty times and making all my friends watch it in controlled silence, with constant visual attention, I’m still not sick of it. Check out a couple of songs from his album which came out in February 2016 here
The Lemon Twigs (see Lemon Twigs @ Hare & Hounds)
I actually found about these guys from the Song of the Week crew on Twitter. I ask myself ‘what’s not to like about The Lemon Twigs’ and the unshakeable reply is ‘nothing’. Their album has been percolating through my brain ever since and I even got to see them in November. And they got to see ME which must have been pretty awesome for them.
Thee Oh Sees
“Don’t you know how much I don’t love you” What can I say? They keep releasing mind altering music at an alarming rate, and this particular dose of Thee Oh Sees contaminated my auditory canal for some weeks. I just kept replaying The Axis like a test rat repeatedly pressing a red button to release pleasurable brain chemicals in a laboratory.
If you want to look cool at a poker game withe some hip dudes, then drop some Demon Fuzz and shut the freak up. There’s even a cover of I Put a Spell on You in the mix. That’s all that needs to be said about Afreaka!
Flute you say? I’ve got just the meatball for you. Swedish neo-psychedlia band Dungen have been around since 1999 waiting for me to discover them.
Light Enough came out in April 2016, but this track has been dossing about on YouTube since February. Ever since then I’ve had it marked as a song of the year contender
Again, Dream News was released on May 27, 2016 on Father/Daughter Records – but I’ve been returning to this track since February. Another strong SOTY contender.
Something a bit saxual. A slowly evolving masterpiece from Los Angeles producer Brian Allen Simon (aka anenon).
Nick Carter describes this remarkable album as “the culmination of a slightly obsessive idea I had about sound.” Built around heavily distorted piano backed with bass, drums, and touches of guitar and sitar, its six tracks are frequently dreamy and hypnotic (reflecting Carter’s belief that “repetitive music radiates an unusual ethereal depth”), but can also be unnervingly intense. Recorded in Bristol, England, in 1978-’79, it was pressed in a tiny run aimed at generating major label interest; when that failed to materialize, Carter left music behind. (taken from www.forcedexposure.com)
I just hadn’t heard it before and it’s beautiful, far more captivating than the better know ‘World Shut Your Mouth’ single.
“These words, these words, mean nothing to my soul”
They’re from Long Island, NY and they have waists that must make shopping for trousers extremely difficult. I remember seeing Jimmy Pages slacks in the V&A museum and thinking the same thing. Perhaps one day Brian D’Addario’s stripey flares will be hanging in a rock n’roll hall of fame somewhere in New York attracting glances from fans all over the world. In the future when seasoned fans have listened to their debut album ‘Do Hollywood’ time and time again, and new converts have heard ‘These Words’ so many times growing up that it’s ingrained in their DNA. Because, believe me, this album will last the test of time. And, just like Biann and Mike grew up listening to musical legends from across the decades, future musicians will look to them for inspiration.
What is it that makes them so great? Marty! we have to go back to the future to answer that one… get ready for some strained musical analysis from a complete layman. Ready? 1…2….3….4…. I think, non-standard time signatures play a big part in creating their sound. Or at least the transitions between tempos, the fast about-turns and graceful retardation into something completely different – the very stylistic pulse that makes it so bloody hard to dance to for more than a minute before realizing you missed a beat. I think you need music running through your veins to pull off these arrangements. Acrobatic song writing that never once stumbles and face plants the mat. It’s this, foremost, that elevates a song above just a catchy riff and a harmonious melody.
Between songs the siblings trade passive aggressive remarks. They sometimes sound a bit like the ninja turtles arguing over a slice of pizza – ‘Hey Mikey! You’ve already had two slices..what’s the next song again?’
I would say they were in need of a few extra slices of pizza, but I too was an undernourished lad at that age (17 and 19) with atrophied arms and straws for legs. A very desirable body type for people wanting to wear vintage t-shirts and have hair like an extra from Austin Powers. I would’ve fitted right in with The Lemon Twigs.
What else makes them great? Bear with me on this one… something about them is off-kilter, alien almost, and you know what that means. It means you can’t wait to see what they’ll do next. It’s like they’ve burst out of Jim Henson’s workshop and onto the stage and if you look away you just might miss that miracle.
The duos youth and physicality really pumps you up during the set – Mike was literally kicking the roof and letting the plaster fall around him. When you get that kind of display it becomes your duty to follow suit (by slightly speeding up your wiggle)
Go and see The Lemon Twigs now, before they leave you behind…
Birmingham, THE MIDLANDS. Halloween 2016. The four-piece, indie rock band from Boston, Massachusetts they call Pile is about to invade my ear and jangle my hearing gear with their soft-to-loud brand of guitar music.
Instead of going into too much detail about the gig, I thought I’d review their latest album offering You’re Better Than This (2015) in my own highly descriptive yet ignorant fashion. Once again, this exercise will probably do more for me as a therapeutic splurge of words – than it will benefit anyone actually wanting to learn about PILE. Nevertheless, please read on… donate your time to me. “Be my victim”
I will spare a few lines for the venue, The Sunflower Lounge (a short walk from New Street station) as this was my first time through the doors and I immediately felt at home. This was a den for music lovers and social pariahs like me. Nobody talked too loudly or disrespected my personal space. There was minimal fraternizing. 60’s garage rock oozed from the PA a few decibels too loud and Brooklyn Lager spewed from a tap at just £4 a pint (which may seem steep but consider this, they sell cans of the stuff for £5 at places like Byron bloody burger and that’s not even half a pint).
The verdict: a poky little dive that turns out to be a tardis for music lovers, provided they can get down the stairs. No wheelchair warriors at this gig. And I mean that as a criticism of the venue not a dig at the disabled.
On to the album!
The World is Your Motel
I have no idea how to review music. Having said that, about 2/3 of the way through this track I lose the ability to think in anything but a neanderthal fugue, which is a blessing for the over-thinker. Analysis is redundant. A different, slumberous drive is being awoken by the roar of vocals and the butchering chug of guitars cleaving my brain in twain. That and it sounds a bit like the Pixies. Before I was like a patient etherised upon a table, now I am twitching in time to Pile.
Just as I get up off the operating table, Mr. Fish lulls me back to my senseless sleep. I don’t dream. If I listen carefully I can hear a bed-time story with a fishy tale between sluggish guitar chords and mumbled phrases.
The chorus is like the movement from one stage of sleep to another – a more fitful and broken rest. The kind of sleep you wake up from way more tired than when you went to bed. Finally, as the song draws to an end, I remember it is just a dream. I wake up cold and sweating praising my lucky stars that I didn’t fall asleep at the wheel and kill that innocent child.
Tin Foil Hat
Hats off to you Tin Woodman, you lacked a heart but you sure made up for it by devouring the hearts of your enemies. And that’s exactly what this track makes me think. If you’re dead inside maybe the remedy you need is a syringe full of Pile. We live in a world where wearing a tin foil hat could be considered a fashion statement, we must endure these dark times and what better way to endure than soak in an acid bath of expertly off-key vocals and a guitar that sounds like a mourning wail at an elephants graveyard.
Before I summon the words to describe the imagery and emotions that Hot Breath inspires in me I want to say Rick Maguire is a singer I like. He’s not the singer I’d choose in a supergroup of my own fucked-up-Frankenstein’s-imagination (that would be Jim Morrison) but he’d definitely be invited to a Live Aid type event.
Hot Breath has more of a conga line through death row feel to it. A Seventh Seal dirge of death. Skipping to the gallows. In other words, the guitars build and decay but never lose that stride to something evil…
That will do for now. discover the rest of the album for yourself you lazy bastard. I must sleep for another 40 years and regain the mana I’ve expended on this hot mess of music writing.
Scott Walker’s score for Childhood of a Leader was bold, strident and frightening. It’s stranglehold was oftentimes the star of the show, and for a whole 115 mins I had that terrible dread you get on a roller coaster when it’s hauled up the first big hill and a world of shit is waiting when you get to the top.
Scott uses some of those hauntingly beautiful Cello sounds you get in Mica Levi’s score for Under the Skin (brilliant performance by Oliver Coates here).
Warning: the following review contains ill-informed, conspiratorial hokum
I’m pro Demarco. There’s no questioning that. I’ve been been pro Demarco since I stumbled upon ‘Rock and Roll Nightclub’ and thought ~ who is this strange, cross-dressing man with a seductive (fetishised?) voice. The kind of delivery that you can imagine in a Lynchian underground club scene with dim, red lighting and lots of cigarette smoke. It was his first album, but it left a mark, and I wanted to find out more. Fortunately, Mac Demarco 2 was already out at the time, so I was able to wallow in the tunes that really made him good…especially Cooking Up Something Good, which he played last night and which almost brought me out of my first-solo-gig-experience stupor (more on this later).
I started watching all the videos, building the Demarco legend in my mind, even taking on board some of his goofy mannerisms. Then the Mac Demarco Safe For Work Session arrived and my adoration was cemented. He was the cool. I was a devoted Demarco disciple from that day forward, spreading the new messiah’s name far and wide.
So, completely Cockersless, I marched upon Digbeth with a determined stride to see my idol. But, wait a minute, who the fuck are all these other Macolites? I thought to myself while eating a Mother Clucker burger nextdoor to the institute…who are they, and what do they want with my Mac? There was a complete sense of disassociation with this crowd – a righteous indignation that they should feel worthy of liking him. Sure, they looked cool in their haircuts and their denim, and their stupid youthful faces. But, it’s what’s inside that counts. And inside me was a deepening desire to rewatch the Not Safe For Work session I already mentioned and retreat to a world where Mac was on TV. The TV that shined only for me.
Going to a gig on your own is a lonely expedition. Sure, I’ve wandered around on my own at festivals, but always safe in the knowledge that my friends aren’t far away, and the carnivalesque nature of music festivals brings out the pack animal in everyone*.
I wanted to find a spot where I could see the stage, rest my drink/lean if I wanted to and not be jostled by the lava of unwanted human contact. Once I’d found a spot to the left of the stage with a pillar blocking too much over-crowding and a shelf for my drinks, I was very reluctant to move. Like a badly treated cat that’s just been re-homed and won’t come out from under the sofa, I stuck to my spot like my very safety depended on it.
Fast forward about an hour of time usually spent talking to friends and the support act came on.
What can I say about the support act, well it was better than looking at an empty stage, and I’d say he put the meaning in + Special Guests. He was a kind of 80s brand MTV cabaret act you might find amusing at a house party (with friends) and sure enough the crowd were lapping him up like a dog laps up his own vomit.
I’m exaggerating, it did raise a smile, but I had no idea who he was. No introduction and no self promotion. He was just the fluffer for the main act.
Fast forward about an hour of time usually spent waiting at the bar to get a few pints in before the main event. Except I was rooted to the spot. Without a wingman to save my chosen spot I wasn’t moving for love nor money. I felt like if I left my post I’d be endangering my sense of well-being beyond the point of redemption. I was like Charlie Sheen in Platoon courageously defending his foxhole from the enemy while all around him the Viet Cong happily went to the bar and ordered Becks Vier… the Vier Cong. I felt like Captain Willard sent on an errand to cut off the head of Mac Demarco and brandish it to the stonewashed crowd.
I felt like getting a drink but my legs weren’t budging. My brain had control of them and I knew it.
By the time Mac came on my legs were a bit stiff from all the stationary swagger I’d been putting them through. I showed my appreciation by doing a careful tip-toe and head raise. After introducing the band (including a new guitarist from Kings of Leon**), he went straight into ‘Another One’. Then I think he did ‘Let Her Go’ which is always a good one. It was nice to see them in the flesh but I wasn’t bowled off my beleaguered feet.
By this stage I happened to notice another solo gigger, I said gigger, who looked a little awkward, a little like someone who needed refuge in a fox hole. Someone who also didn’t belong in the mosh pit/beer shower that the Institute had transformed into to.
I let her stew in the midst of it and made doubly sure she didn’t get my spot through some trickery. I know her kind, comes with intrinsic knowledge of crowd avoidance tactics. I know because she is me. But she’s is in the lava, I’m in the watchtower.
I’m almost exultant in my advantage until I notice she has a fresh pint of beer and I’m just getting more and more thirsty.
Mac plays ‘Cooking Up Something Good’ and I have to admit it hasn’t lost any of it’s charm. That easy beat, no hang ups, don’t give a fuck style they dubbed ‘Slacker rock’. The new guitarist adds something here, maybe it was more intricate or just cleaner finger picking. I don’t know what the other guy sounded like live, but it seemed to me this guitarist was making his stamp on the band in his own hairy way.
Anyway, together they have the kind of sound that goes down like a cold beer on a hot day. Refreshing! Intoxicating! Inhibition-stifling beer. Oh how I miss you cold beer.
Mac starts a good few of his songs by making a kind of muted beat on the strings, the technical term for this is Strumming. Being such a huge fan I thought I’d be able to tell what song he was about to play, but I didn’t. This time it was Viceroy. Another classic off Mac Demarco 2
Something Mac is heralded for is his onstage ‘goofing off’ otherwise known as ‘banter’ in the great British isles. There was some convincing evidence of this on the night, but I couldn’t hear it due to the absolute c**ts who had ambushed me from behind. I think one of them was chanting “Sky Blue Army” at the top of his lungs, while another was so infatuated with Mac that he was just making a kind of orgasmic whooping sound. It was low and mewing like the disturbing noises insane people make in their sleep when their dreaming of decapitation. Let Mac do the noises. He’s a professional.
I could tell Mac was deserving of his reputation (even if I couldn’t decipher much of what he was saying) I blame myself, I really do…and to prove he deserves it…and to break me out of my deep existential reverie he performed a very goofy stage dive in the middle of ‘Together’. Then he was devoured by the baboons until just his shoe was left.
Thank you for your sacrifice Mac, I know that dive was for me and not for them.
It took a while to get my legs working [you did your job brain, we made it, but let it go now. Don’t make me push the reboot button] I stiffly made my way to the exit, and as the night air touched my parched tongue I felt free again. I glanced ahead of me and saw a slightly awkward girl walking on her own. It was the lady in the lava.
I hesitated behind her for a moment. I considered our separate existences and our sad, lonely walk home. How we were just two humans that didn’t have any friends and so had to walk a different path to everyone else. What did I do, dear reader?
I overtook her, and sprinted all the way to the train station. I’d had enough self-realization for one day ~ fuck you very much.
*I wanted to use the word carnivalesque to describe Rock and Roll Nightclub but it didn’t really fit, subconsciously my brain must have set up a challenge to use it elsewhere in the rambling discourse I call a review.
**This has not been fact checked