Is Tropical might not mean a lot to you, readers. In fact, before they landed in my inbox, they didn’t mean a lot to me either. Recently signed to prolific indie-label Kitsuné, the London-based three-piece is gearing up to release their debut album early next year. In the meantime, they are currently touring, notably with Mystery Jets in November.
The Is Tropical sound can be branded as somewhere between danceable indie pop, and lo-fi electronica. Their debut single, When O When, released way back in January, was quite a refreshing listen; a sort of lo-fi rock mash-up. Their follow-up, and Kitsuné debut, South Pacific starts out on a more laid-back note, but is actually foot-tappingly good electropop. It’s a little early to make assumptions on what their full album will sound like, but so far they’re brimming with potential.
Is Tropical’s South Pacific will be released November 8th.
To kick off this week, let’s take a look at what’s going down in the world of music, and more specifically what we’re looking forward to.
Belle and Sebastian - Write About Love
Scottish indie legends Belle and Sebastian are back after what seems like an eternity since 2006’s The Life Pursuit. Definitely on my ‘to do’ list, Write About Love hits the shelves today, and the single of the same title comes out October 25th. Both are released on Rough Trade, their label since 2002. Featuring the vocals of Norah Jones and actress Carey Mulligan, it should be worth every penny.
Sufjan Stevens - The Age of Adz
Despite sorely disappointing with The BQE, I’m going to give Sufjan a second chance. According to the synopsis, The Age of Adz is more of an introspective, primal album, lacking the narrative structure that makes Stevens so alluring; and it’s going to be more of an electronic album. “On the fence” is the best way to describe my feelings about this. Having already passed the ‘dreaded third album’, it’s safe to say this could just be his ‘Kele’ stage.
Magnetic Man - Magnetic Man
When you put Skream, Benga and Artwork, three of the ‘biggest’ dubstep producers in the UK (if not the world), into one project it almost gives you chills. Their debut single I Need Air was actually better than I was expecting, and spent a lot of time on repeat. Now, with the full album about to hit the shelves, it’s time to ask: “Was all that NME hype worth it?”
The Orb - Metallic Spheres
As far as collaborations goes, this possibly tops them all with ‘namedrop’ power. The now fifty-something duo of Fehlmann and Paterson teamed up with David Gilmour of Pink Floyd fame to create what, at least from first impressions, seems like yet another spacey, ambient vibe. Since this seems to be the week for collabs, it would be nice to see what the ‘old guard’ can put out when they get together.
Jimmy Eat World were once a staple on all college rock, alternative-emo, and pop-rock playlists, simply because of how catchy their brand of pop-punk was. They could fit into anyone’s music; so much so that more people can probably hum The Middle than could recite the lyrics to Lady Gaga’s Alejandro. This year, they come back with a new album, ready to possibly rock our little worlds. I’m not so sure.
Definitely playing the pop-rock angle, Invented is a very laid-back album. It doesn’t throw any amazing punches, it just has that feel-good vibe about it. I suppose it’s perfect for those long interstate drives where the music just has to be bearable enough. It’s not imposing, as even the guitar solos are subdued and simple. There’s no grandiose pomp-and-circumstance, neither is there anything of a chanting stadium-rock quality. In fact, I think that’s its saving grace. It’s not trying to be amazing, it’s just trying to be good, old-fashioned music.
Admittedly, you will listen and you will think it’s not all that special. I wouldn’t begrudge you that opinion. It’s definitely no Futures. The slow tempo makes it great background music, even though there are a few surprises that shake you out of your tranquility. Still, it won’t do anything to ruin your quiet, lake-side drive.
Overall: 6/10 - I still expect rock-and-or-roll from Jimmy Eat World. This would be more at home in my dad’s record collection. “World’s Best Driving Dad Tunes”
Top Track: Coffee and Cigarettes
Listen on Spotify
The Answering Machine - Animals
The Answering Machine have released the first taster of their new album ‘Lifelines’, with an mp3 teaser of the song ‘Animals’.
The Manchester art-rockers 2009 release ‘Another City, Another Sorry’ was met with much critical acclaim, with their melody-heavy, fizzing indie pop songs being welcomed across the nation’s airwaves. After a short stint in LA, where they were booked at every party with a pulse, they returned to the UK to work on album number two.
‘Animals’ is the first taster of ‘Lifeline’. Older and wiser, but losing none of their insatiable desire for a hook and a melody, The Answering Machine describe ‘Another City, Another Sorry’ as the finest recap of their teenage years condensed into one thrilling pop record, whilst Lifeline is the sound of a band maturing quickly.
Before releasing the album in early 2011, The Answering Machine will be playing a series of UK shows, before heading off to Europe supporting Tokyo Police Club.
The Answering Machine UK Tour
21st October @ New Slang, Kingston
22nd October @ The Soundhouse, Leicester
26th Octover @ The Deaf Institute, Manchester
27th October @ Hoxton Bar & Kitchen, London
28th October @ King Tuts Wah Wah Hut, Glasgow
29th October @ Cafe Drummonds, Aberdeen
I’ve never read any Nick Hornby. All I know is that he isn’t a poet or a lyricist by trade. I have also never listened to Ben Folds, as those ‘common-folk’ who praise his music are usually misguided in all of their other choices. So, to get a two-for-one album makes this definitely worth a look. What you may wish to know is that Nick Hornby wrote about Ben Folds in a book, and then was asked to provide the lyrics to this entire album.
Lonely Avenue is definitely proof that authors make good lyricists. There may be one too many swears floating around, but these songs all have an amazing storytelling quality about them. Each one takes a different theme, whether it’s identity theft, soulmates, lost loves, or even Bristol Palin’s ex-fiance’s outlook on life. It’s almost as if it wants to look at the things other songwriters don’t consider, because they’re too busy looking for the hits and not the words.
Musically, it’s a fairly diverse album, ranging from bluesy riffs to synth-pop jingles. There are slow piano ballads and chunky rock numbers. In fact, to go back to the lyrics, Folds has taken each ‘story’ and given them their own background melody, so much so that if I were to listen to Doc Pomus with the same kind of melody as Saskia Hamilton, I’d think this album was terrible. Each piece of the puzzle fits perfectly. I think all that needs to be done now is to get Stephanie Meyer to write songs about sparkly vampires with Trent Reznor…
Overall: 8/10
Top Track: From Above
By calling yourself Shit Robot, you’re either seeking the controversy and hype that is relatively non-existent around cussing today (c.f. Fuck Buttons), or you’re genuinely just describing your work in an accurate manner. Sadly, in this case, it is the latter which rings true: for the majority of the album, this robot is indeed shit. While The Guardian (according to S.R.’s website) calls this album “a great bleep forward”, I beg to differ.
The problem with From the Cradle to the Rave is that it really is a slow build up. It’s mostly a knock-off of the 80’s new wave sound, with certain tracks reeking of New Order or The Human League. I still see no ‘rave’ in it, though; in fact, I feel no urge to move, unless it’s to turn it off and put on something better. The BBC claimed it was full of party tunes - true if your party is based in 1981 - while Music OMH praised it to the Heavens. Were they listening to the same album?
If you want a play-by-play: each song is around the 6-minute mark, sometimes longer, and it only picks up once you get to Take Em Up. Honestly, this does nothing to pique my interest. In fact, I was quite glad when it stopped playing and I could go back to my normal, day-to-day listening. It’s not pushing boundaries; it’s barely clinging to what it has. It’s not exactly what I’d call rave/party music; unless your party involves you being out of your mind from start to finish. Far from refreshing; in fact, dull.
Overall: 4/10 - It has potential, but that potential stops around 1994. Really not as good as everyone says.
Top Track: Take Em Up
Listen on Spotify
For what we are about to review, may the Lord be truly thankful.
Yes, you heard me. The Lord.
In the last 48 hours I have gone through innumerable drafts of this review. I have deleted more than I have written; munched my way through far too many soft, lemon-cream-filled cookies; drank far too much coffee; and generally not written anything worth reading because there is not a bad word in the lot of it - and I need to write reviews about stuff that is - if you’ll permit the expression - utter shit. However, since I’ve not stumbled upon anything of such monstrously bad quality, this will have to sate your appetite for music!
Room for Ghosts is the debut EP of YouTubers Nataly Dawn and Lauren O’Connell. Both women on their own are, in my humble opinion, incredibly talented. Between them they play more instruments than I could conceive in a super-group akin to Architecture in Helsinki. Besides their innate talents, they are also incredibly fun to listen to. The EP contains covers of Kings of Leon and Tom Waits, but only within their own compositions does everything become clear.
This album is slightly moody, in that teenage angst kind of way, but it does it in such a fashion that it actually sounds good rather than childish. As far as the music I’ve listened to this year goes, this is definitely refreshing stuff. While it may fall into the trend for folksie stuff these days, it does so in a way that isn’t saying “We want to be famous!” much like it seems with Mumford and Sons, who have piggy-backed off the success of companions Noah and the Whale and Laura Marling. With a plethora of instruments, catchy folk-pop, and some really nice harmonies going on, this is worth every penny. Really.
Overall: 8/10 - I’m still not sold on Dying to Live, but it’s really well done for a duo who are normally seen on their own YouTube channels.
Top Track: When I Decide
Watch videos for the entire EP on YouTube
Murderdolls, one of the greatest incarnations of a horror-rock group put together by Wednesday 13, are the epitome of punningly good rock-metal. They don’t try to be showy, and they certainly don’t come across as anything more than a horror-punk group should. Currently featuring a line-up of Wednesday 13, Joey Jordison, Roman Surman, Jack Tankersley and Racci Shay (yeah, I’ve never heard of the middle two either), they have returned after a six year hiatus, to attempt to make our eardrums bleed.
Women and Children Last isn’t necessarily bad. It’s just lacking. If Wednesday 13’s solo project was an extension of Beyond the Valley of the Murderdolls, then this album is yet another extension. In the eight years since their last release, it seems like the sound hasn’t changed. It’s still hook-driven punk/hard-rock, the lyrics are still massive puns on the horror genre (though, that does seem to be 13’s calling card), and apart from the loss of old members like Tripp Eisen and Acey Slade, this is still Murderdolls circa-2002.
That’s not to say it doesn’t sound more polished and ‘together’. The biggest indicator of this is that they’ve managed to come up with 15 tracks here, and while some of them really do make you think of Beyond the Valley…, there are others, notably Whatever You Got, I’m Against It which almost sounds like the bastard child of Alice Cooper and Twisted Sister - think Elected meets We’re Not Gonna Take It. That really is a good thing, because there’s only so much shlock-rock a man can put up with; a little bit of variation in the sound here and there is what makes this work, though overall, we’re still looking at the ‘old’ sound permeating through - catchy, hook-driven power-punk with horror overtones.
Overall: 8/10 - Personally, I really enjoyed this. I’ve always had a soft-spot for Wednesday 13’s work, though. Still, if you’re new to Horror-Punk, or an old Murderdolls fan, this is an extremely well-done record.
Top Track: Summertime Suicide
Listen on Spotify (Special Edition)
French for “Art Rock Namedrop”, Les Savy Fav are as much a staple part of the hipster musical diet as Stevie Wonder is for fans of Motown. Their brand of simple, hook-laden indie-pop-art-rock isn’t exactly refreshing, per se, but it is a slight sidestep from the usual floundering indie rockers. Thanks to the wonder (blunder?) of pre-release leaks, the album I’m about to review has been available in digital form since August, rather than it’s scheduled release date of September 14th.
Following on from 2007’s Let’s Stay Friends, an album which received plenty of praise, Les Savy Fav returned with Root for Ruin. On first listen, I will admit I wasn’t sold on this at all. And then, I got to the end, and thought that there were some good moments of purest, 24-carat art-punk going on. So, using the reviewer’s friend, “repeat”, I went back through and saw that these gems aren’t just limited to the end of the album.
Dirty Knails and Sleepless in Silverlake have that inherent Les Savy Fav sound, which, despite a few tempo changes, is obvious throughout the whole album. They’re not exactly pushing the boundaries, but they’re producing something that, given time, suddenly becomes a serious contender within any hipster playlist. I suppose once you’re in the mindset for it, this energetic, charged piece of punky indie manages to get feet tapping and heads bobbing as easily as any other Les Savy Fav album. So, musically it’s a foot-tapper, and lyrically it isn’t half-bad either. Quite the deceptive little blighter.
Overall: 7/10 - Perfectly punky, almost artsy, lovely Les Savy Fav. Ebbs and flows, but still finishes on a strong note.
Top Track: Dirty Knails
Listen on Spotify
As one could deduce, ‘Senior’ was always intended to be the adult counterpart to 2009’s critically acclaimed ‘Junior’. “The introverted and darker sibling, who lives in the attic” and “Brimfull with dark secrets and distorted memories” are two phrases that the Röyksopp PR guys used to describe their album and they were not wrong. While ‘Junior’ had more of a “Yes, we’re out dancing, let’s be all happy a cheery” feel to it, ‘Senior’ is the hours that come after. The album itself is completely instrumental and, for the most part, rather moody.
After the comfort of the opening track, you’d be forgiven for thinking that maybe that last tab of Acid was one too many when ‘Tricky Two’ kicks in. It is a 7 minute wilderness of well thought out, Kraftwerk influenced, electronica. ‘The Alcoholic’ sounds slightly bi-polar to me, slightly in despair, but, comfortable being in it (which is why I love the track name so much) followed by ‘Senior Living’, which has an incredible sway to it. ‘The Drug’ is possibly the most rave-like track on there (and the one that relates closest to ‘Junior’) with it’s 90’s beat, accompanied by a dissonant telephone sound popping up now and again. I need not go on, as you can see, the tracks weave flawlessly throughout the entire album, keeping the listeners attention from beginning to end and, for an instrumental album, that is no easy feat. I’d go as far to say this is probably the best electronica album I have heard all year, though, maybe that’s me chilling out more as the years go by. This album is perfect for those days where you just want to lay down and immerse yourself in heavenly ambience.
Top Tracks: Tricky Two and The Fear.
Overall rating: 9/10 - you know i’m a sucker for dark and moody electro.
