Tag Archives: LP

The Scissors : Look Good In Cheap Clothes, LP released December 2018

This excellent third full-length LP from Cambridge four-piece The Scissors pushes their sound into new territory musically and features words and ideas that chime with modern day concerns…

1. Plug Me In Kicking off with a chord from the soundtrack of a western, the sinister guitar of the verses is balanced by the organ-drenched chorus and it all ends very abruptly.

2. Parking Cars More of a rocker, driven by a pulsing bass riff. Not sure how the title line fits in but it is certainly catchy ‘…parking cars…you got to do it right…’

3. Death Engineer A moody song about built-in obsolescence, suggesting that it is the responsibility of the title character. Around this lyrical resignation a Doors-sounding electric piano and rolling cymbals ominously threaten.

4. Look Good In Cheap Clothes A surreal monologue, spoken by frontman Stewart Harris as the band play freely with the structures and sonic textures. This is a companion to the disturbing artwork of the album front cover (which itself brings to mind the notorious Beatles ‘Yesterday And Today’ sleeve?)

5. I Dream In X-Ray Vision In case you thought the Scissors of old had disappeared this impressive track is a pounding reminder of their trademark sound, with unrelenting unified riff, dissonant guitar and even the theremin gets a look-in. The lyric of course has enough ambiguity and imagery to satisfy the diehard fan.

6. Edgelands Picking up the ‘edge of the world’ theme from the end of the previous song, this loose psychedelic americana is echoing and atmospheric, driven by a roving guitar and accordion.

7. When Is A Boy Not A Boy? A cinematic, sweeping track; a guitar solos plaintively over exciting drumming weaving in with a strong vocal performance.

8. Ufotopia This mid-tempo song is the longest on the album and features a subtly uplifting band sound with the questioning and resigned reflections from the narrator. A guest saxophone solo steals the show at the end.

BONUS TRACKS
9. Glossy Magazines (EP ‘b’-side) This noisy staple of their live set is given a more introspective feel here, piling on the paranoia as the music moves in all sorts of unpredictable directions.

10. Electric Line Terminus (EP ‘b’-side) Another previous release and storming live track, this again has a Doors feel, a sort of doom-laden cataclysm of blues-based garage rock.

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Bouquet Of Dead Crows, Blue Moon, Cambridge, 24 November 2018

Live at the Blue Moon, this was the launch show for the second long-player from Cambridge rockers Bouquet Of Dead Crows, with the promise of playing the whole album in order for the first and only time….

1. Faultlines An epic track probably destined to be the band’s permanent ideal show opener with the long build-up introduction, Eno-esque synth textures, a stately guitar/bass prelude (reminding me of Pink Floyd’s ‘In The Flesh?’) then finally the bass kicks off a blazing, simple but effective riff and the soaring vocal enters. With much more to come that’s just the first two of the seven minutes of this epic piece, definitely one of my favourites.

2. The Devil’s In The Detail Sounding great live, see full review of original release at https://cambridgemusicreviews.net/2018/09/09/bouquet-of-dead-crows-the-devils-in-the-detail-single-released-september-2018/

3. No Tomorrow With the smoke machine activating the venue alarm, things were clearly hotting up; this track starts off deceptively lightly but has a big chorus and a reflective vocal with some guitar fireworks at the end.

4. Slow Motion Ghosts This new album has the feel of a concept piece; the very different sounding tracks seem to slot together into a coherent whole and the title ‘Motus Octo’ (eight movements) gives a clue towards a linking theme. Possibly. This pivotal track is a grand anthem with dense, textured instrumentation and a show-stopping vocal, built around the phrase ‘…time passes by so slowly…’

5. Fragments (Black Hole Eyes) A concise all-out rocker, a jumpy time signature in the main riff and the telling discomfort of the line ‘…I’m suffocating in your black hole eyes…’

6. Cold Inside With a spectacular performance so far, it was time to debut the complexity of this superb prog-rock flavoured eight and a half minutes. There was so much going on here; stealthy and sinister bass-driven verses alternate with an addictive chorus. Finally the track resolves into a guitar (and piano on the recorded version) arpeggio instrumental which would fit well on an early Genesis album. High praise indeed.

7. Incessant Desire Another pre-released taster single, this punching rocker has a spiky signature line which the whole band play to fine effect. At this hectic pace it all gets a bit steamy musically and lyrically ‘…incessant desire…I can see the whites of your eyes…it drives us wild…’

8. Undone This cinematic, heavyweight finale is a bold showcase of the instrumental and vocal might of the band in an unforgivingly intense lyric and unrelenting steady and powerful backing.

After this excellent performance of the album the enthusiastic crowd of course wanted more so the celebratory tick-tocking pop-rock of earlier single ‘Bunched Up Bradley’ rounded the evening off satisfyingly. (See review at https://cambridgemusicreviews.net/2018/05/22/bouquet-of-dead-crows-bunched-up-bradley-single-released-may-2018/)

https://www.bodc.live/

With support from War Waves https://www.facebook.com/warwaves/
and Burning Codes https://www.facebook.com/burningcodes2018/

Fightmilk : Not With That Attitude, LP released November 2018

Following on from two tasty EPs recently collected with bonus tracks onto the compilation ‘Both Types Of Hay Fever’, feisty London four-piece Fightmilk deliver their first full album of guitar power pop…..

1. How You Move On A recent single to preview this new album, the teasing guitar intro heralds a big band crash-in and a tale of relationship failure where the dominant legacy is an ill-judged tattoo. The clever and surprising lyrical trick here is that the inked ‘stupid tree’ design becomes the complete theme of the song, with a fade out of ‘…lasers are painful but I think you need it…’

2. Get A Grip Neat twisty bass work on this companion piece to an arrogant character in an earlier song (‘Jesse’). I greatly enjoy the stop-start middle eight (‘…you’re Twitter famous…whatever that means..’)

3. Lucy Driven by a sustained riff à la ‘Sweet Child O’ Mine’ this is the shortest track; a compact blast with belting chorus and melody, one of Lily’s best vocal performances.

4. Summer Crush It’s that bass again, jumping around under plenty of guitar tricks in this summery anthem with a bittersweet lyrical undertone ‘….a six week sugar rush….‘ that implies it is not all good.

5. Dream Phone ‘… I fell in love at the dial tone…’; beginning with that evocative sound, yes, I probably have fallen in love with this track already, recalling Blondie Hanging on the Telephone and ELO(!) on their Telephone Line. The third of the trilogy of pre-release singles this is a real grower, with pacey backing, great hookline and a strange dreamy atmosphere due to some adventurous electronic drum patterns and echoing guitar.

6. Not Going Anywhere With a superb descending chord sequence, this seems to be an irony-free evocation of childhood insecurities and family life. As on many of these tracks the guitars do so many nuanced but loud twists and turns to make this a great listening experience.

7. Four Star Hotel Trying to rescue a relationship by holidaying in Amsterdam is turned into a tale of regret and paranoia ‘….and all the cyclists were staring…’ (should have come to Cambridge, the cyclists are too polite and reserved to stare…). The nihilistic sentiment is set to a rollicking tune with excellent drumming. This also features another trademark of the band’s vocals, the ‘Greek Chorus’ call and response at the end for emphasis.

8. Over An anthemic love song, straight into ‘…I’m gonna fall for you, over and over…‘ with dense layers of backing, a bit of guitar solo and enormous drums. The repeated overlapping hookline makes the meaning very clear.

9. Solving Crimes In Sweden With acoustic guitar and piano, it is a bit of a contrast on this imaginatively themed opus. Cold climate ‘…five hours of sun a day, we stay in anyway…‘ and escaping into neverending detective work make this scandi-drama sound like an attractive date;‘….this time I’m not coming home, I want to see the snow…’

10. Your Girlfriend Previously released but re-worked for this new album, this musical tour de force is a superb song, stealthy and sinister with minimal verses giving way to a singalong chorus. Dissonant guitar, caustic lyrics in a turmoil of mixed emotion and another fine middle eight, ‘..I don’t have a pencil case but if I did I’d write our names…’. The band are on top form for this epic with another great vocal too.

Currently touring with these excellent new songs (and some oldies too!) the band are a formidable live attraction…

https://www.facebook.com/fightmilkisaband/
https://cambridgemusicreviews.net/2018/06/01/fightmilk-both-types-of-hayfever-ep-collection-released-may-2018/

Jo Ash : Constellations, LP released October 2018

Jo Ash is a singer and keyboard player from Ely, releasing her first LP of self-penned compositions. It is an album of introspection, intensity, imagination and above all of confident, well-structured song writing.

The first two tracks have a broad cosmological theme as referred to in the album title, with ‘Otherworldly’ a strong opener to the collection with its orchestral introduction before the acoustic piano and voice drive the song and lift its haunting chorus. Jo’s piano style is rich and compelling on many of these tracks, on ‘4D Journey’ it adorns a stealthy synthesiser bass pulse and another arresting chorus.
If the album generally tends towards slower tempos, in contrast the spirited ‘Story Behind Your Smile’ dances along briskly, ably supported by guesting guitar, bass and drums.

‘Adrift’ and ‘I See You’ are stately ballads where Jo gives full range to her clear, pure voice. ‘Her Eternity’ is a waltz led by some darker piano textures and tempo changes. ‘Smoke And Mirrors’ is a progrockish concoction with marching orchestra, spiky strings and a complex many-section arrangement.

‘Embers’ is a favourite of mine; with minimal piano and backing voices it still achieves a lush, emotive sound and it features one of Jo’s best vocals. ‘Blue Heart’ uses the repeating waltz rhythm of the echoing piano to great effect to counterpoint the abstract sentiments of the words.

For the final song a foreboding drum beat underpins a dark lyric musing on the inevitability of time passing and the idea that we only have ‘30,000 Days’ of life? The sombre chorus drives the song, ‘…here I am walking this Earth….’.
It is an unusual and haunting end to an impressive debut album.

http://joashmusic.com/

Ember Rev : Premonition And Ruin, LP released Summer 2018

Cambridge four-piece Ember Rev are currently finalising their third LP, but this excellent previous release from early summer this year is well worth considering first. It is a concept album inspired by the state of the nation, with a feel of reflective and thoughtful protest.

1. Bring It Right Down Based on overheard conversations during train journeys by band leader Dan Ecclestone he has distilled the sentiments and current attitudes to political developments into a disruptive, edgy opus of powerful and personal imagery. The instrumental spikes are partly tempered by the rocking accordion of Chris Peckham and Dan’s vocals remind me of Tom Robinson at his protesting finest.

2. The Fear Another track where you can’t quite pin down the time signature this one broods into a descending guitar figure and hookline of paranoia and warning. There is a good featured voice contribution from Romy Gensale too.

3. Something Almost Imperceptible Relaxing acoustic instrumental passage with guitar arpeggios, glockenspiel and piano but with a sense of foreboding threading through. It is like something from an early gothic/pastoral Genesis album (eg Trespass)

4. Papillon The title is a reference to a quotation from Alexander Pope;’Who breaks a butterfly upon a wheel?’ and famously referenced when Mick Jagger and Keith Richards were given a prison sentence in 1967. Mix those allusions in with a stately strolling accordion rhythm, loping bass, spacious drumming then suddenly a huge chorus crashes in. The pensive, questioning lyrics lead the song to its downbeat conclusion.

5. My Sentiments Exactly
The polyrhythmic undercurrents of much of the album are given free range here, with complex drumming driving the jazzy feel of the tune and another excellent vocal performance from Dan Ecclestone.

6. England’s Finest Hour The finale of the album unifies many of the musical styles we have heard previously. The forthright lyric links a historical context to the present day with the resigned multi-lingual words expressing solidarity with the European continent.

https://www.facebook.com/EmberRev

The Sunbathers : A Weekend Away With…., LP released September 2018

Acoustic indie band The Sunbathers release their debut LP ‘A Weekend Away With …..’, featuring a sea-related theme threading through the 15 tracks. As the duo hail from the East Midlands the geographical distance to all coastal areas adds an extra longing in the references to far-off places as the answer to yearnings and melancholic reflections. Beginning with wave and gull sounds the opening track ‘It Doesn’t Matter If It Rains’ sets the tone of wistful nostalgia explored in later lyrics.

The instrumentation consists of Paul’s sparkling acoustic guitar, with delicate arpeggios and multi-layered harmonic structures. An occasional ukulele and percussion fades in at times, with a melodica giving a reassuring DIY simplicity too on ‘Big Boy Now’ and ‘Shifting Sand’. The chance meeting in ‘If Only’ is a sad lament for a past relationship possibly given new life by a day at the sea, ‘…the wind sweeps in across the bay and takes my breath away and I’m willing you to stay…’.

The waltz time of ‘Girl You Left Behind’ gives an upbeat musical gloss to a brilliantly restrained lyric of disappointment, delivered with subtle emotions by vocalist Julie.
‘Don’t Go Home’ is a plaintive real-time cry from the heart over shimmering echoing guitar, as on many tracks the voice and music complementing each other perfectly.'(Waiting) For Trains’ is a realistic summary of long-distance relationships ‘…what can I do, now I’m a slave to engineering works at Crewe….I wish that one of us could drive, it might just be the only way our love survives..’ ‘Warmth Of The Sun’ closes the album with some sort of redemption from emotional insecurity, having finally arrived at the sea…

It is a beautiful, involving album to escape into, fragile and carefully crafted. Discovering its quiet secrets was a bit like hearing Nick Drake’s Pink Moon for the first time and I can’t recommend it higher than that.

http://www.thesunbathers.co.uk/

Elma : Dreamland, LP released September 2018

Retro duo Elma revive and re-interpret many aspects of sixties pop genres on their long awaited debut long-player ‘Dreamland’.
The title track sets the agenda with its sparse instrumentation, a leisurely waltz time, smooth melody and of course a lyric of regret and longing sung by the golden voice of Ellie Gillett. It conjures up the russet shades and faded grandeur of the deserted fairground and art-deco cinema on the album sleeve. Some of the tracks have been released before as inviting aperitifs to this full collection; the glorious stomp of ‘California’ and their four-track EP including the heartbreaking ballad ‘Butterfingers’.
(as reviewed on this site previously at https://cambridgemusicreviews.net/2018/07/01/elma-california-single-released-june-2018/ and https://cambridgemusicreviews.net/2017/11/05/elma-slo-mo-ep-released-october-2017/)

Mark Ellis orchestrates a full band sound with plenty of brass for anthem of independence ‘On My Way’ (featuring another fine middle eight and instrumental break).
‘The Game’ is a beauty, the atmospheric introductory waltz creating an image of a rainy London street in the 1960s or a black and white TV detective series theme, then the jazzy vocal takes control and lifts it to another level, with a big chorus suddenly appearing.

Then the album ends with two excellent and contrasting tracks; ‘All I Want’ is an appealing and effortless lounge-music vignette, the voice floating above lighter-than-air electric guitar work, bass and brushed drums, with a piano solo too.
Finally, if ‘Butterfingers’ left the listener in emotional turmoil, then ‘Late To The Party’ has surpassed it with lines like ‘….you did all that you could boy, you wrote our names in the clouds, too bad that I wasn’t looking up…..’. Over simple and effective acoustic guitar chords, Ellie delivers a show-stopping vocal performance of nuance and emotion, worthy of this superb song.

Elma are launching the LP with live dates featuring a full band, including a show at The Portland Arms in Cambridge on 27th September….

https://www.facebook.com/elmaband/