9PR – Haydon Spenceley

I’m quite behind on these posts at the moment, so apologies to the PR people who are probably chomping at the bit to hear what I have to say about their releases. This is meant to be fun for me 🙂

There’s some really interesting and diverse stuff in this post, so without further ado or waffle, I’ll get on with it!

Eska – Eska

Buy the album here

Watch the video for the fantastic ‘Rock of Ages’ below

10 tracks of completely sublimely soulful and spiritually-charged jazz-pop is what’s on offer here. Eska has an incredible instrument of a voice. There’s not a track here which doesn’t feature her vocal as its main focus, but the glory of the vocal performances are that they are never overpowering or overbearing. This is an album of pop songs, but the kind of pop songs which are not spoon-fed or given to you on a plate. It took me several listens to digest the record and work out that tracks such as ‘This is How a Garden Grows’, the spine-tingling ‘Rock of Ages’ and ‘To Be Remembered’ were fantastically constructed songs with much to admire compositionally. Melodically and harmonically, these songs go in directions you wouldn’t expect but which feel just right. You’ll be grooving along before you know it. As a lot of her press has attested, Eska is the best singer you’ve never heard of. There’s a sweet tone and timbre to her voice, with just enough grit to separate her from the crowd of soul singers in the marketplace just now. She could be the missing link between Laura Mvula and Lianne La Havas, but to pigeon-hole her thus would be to diminish the strength of this fine album.

Crazy P – Walk Talk Dance Sing

Buy the album here

Watch the video for ‘Witch Doctor’ below

This is apparently the seventh album from Crazy P, a band who split themselves between Manchester and Nottingham. My initiation in to the ways of Crazy P, “Walk Talk Dance Sing” is probably an album that does exactly what it says on the tin. It will make you do all this (if possible for you) and more. It’s an unrelentingly fun-sounding piece of work, in spite of some darker lyrical matter, right from the moment the solid groove of ‘Like a Fool’ kicks in. The groove continues right to the closing track, ‘Witch Doctor’ (you will have seen the video above, and in between Crazy P take us on a joyously funky ride. Previous single ‘Cruel Mistresses’ is a prime example. A chorus to die for, soaring atop a synths and choppy funky guitars which are at once familiar and exhilaratingly fresh. Crazy P aren’t changing the world, but if you want a fun album chock-full of intelligent pop music for grown ups, you won’t get much better than ‘Walk Talk Dance Sing’ in 2015.

Charlie Barnes – More Stately Mansions

Buy the album here

Watch the video for ‘Sing to God’ below

Charlie Barnes is a fiendishly talented singer, songwriter and multi-instrumentalist. He is a collaborator of Mancunian rock heroes Amplifier. His debut album is produced by Steve Durose of who has worked with both Amplifier and Oceansize. So what you might expect is that it is an unremittingly heavy album, short on subtlety and high on technical musicianship, to the detriment of song craft. Well, you’d be wrong. This is not a record to be cast neatly in to any kind of genre label or box. Barnes has something of the Jeff Buckley or the Freddie Mercury about his vocal delivery, but apes neither to the point of parody or pastiche. Instead, whilst giving a nod to both, his performances, aided by the diverse yet effective collection of songs on “More Stately Mansions”, show that he is, in fact, a singular talent. Whether it’s on the ambitiously almost symphonic title track, the writhing ‘Macbeth, Macbeth, Macbeth’, which is a beautifully composed epic giving rise to Muse comparisons from when they were, you know, good, to the more restrained ‘Dresden’, (which, it has to be said, builds to a truly spectacular and pyrotechnic conclusion) this an album which defies categorisation, yet is successful at every step. Barnes and his band can rock hard, as on ‘Sing to God’ (see above) but there is much artful subtlety on show here too. A man who knows his way round a fully-realised piece of music, Charlie Barnes is a name to watch in the months and years to come. I can only imagine that his live show is something special. This is a brave and vital album.

Crocodiles – Boys

Buy the album here

Watch the fun video for ‘Foolin’ Around’ below

It would be all too easy to dismiss Crocodiles as just another psych-rock band on the treadmill of that genre’s seemingly never-ending revival. That would be to do them a great disservice, however. “Boys” is a many-headed best of an album. From the off, with ‘Crybaby Demon’ which is a driven by a sumptuous salsa beat underneath its swathes of organ and guitars and a chorus that lodges itself in your brain never to leave, this record is a cut above. ‘Do the Void’ has a bass line in its intro which comes perilously close to ‘Billie Jean’ but settles in to a jaunty tune the likes of Dandy Warhols have been yearning unsuccessfully for for years. ‘Hard’ is, as you might imagine, a pretty uncompromising listen as the guitars are sharpened. The distortion added to the bass is a nice touch. This song is a more effective and straight-ahead take on the formula popularised in recent times by Black Rebel Motorcycle Club than that band themselves have managed recently. Somehow or other, ‘Transylvania’ reminds me of ‘Buddy Holly’ era Weezer. I imagine it’s not supposed to, but there we go. I have quirky ears. It also sounds like it features an off-kilter saxophone solo. Not your average psych workout.

As you’ll have gathered, this is an album that runs the gamut of what is possible within the realm of contemporary psych rock. Without falling into the trap of trapping us in their swamp thing, Crocodiles have made a fine return. One might even say it’s a fun album, but I’d probably be shot for that, so let’s pretend I didn’t say that, ok?

Pfarmers – Gunnera

Buy the album here

With a pedigree as good as that of Danny Seim (Menomena, Lackthereof), Bryan Devendorf (The National) and Dave Nelson (David Byrne and St. Vincent, Sufjan Stevens), it’s no surprise that “Gunnera” is an arresting prospect of a debut album from this new collaboration. According to Seim, According to Seim, “The record is about a dream I had where I’m reluctantly accepting a fear of drowning by focusing on being reincarnated as a giant Gunnera plant, which thrive on the banks of rivers (specifically the Jordan River i.e. the Biblical promised land) after I paint myself gold and sink to the bottom like the El Dorado of South American folklore.” I can definitively report that this is the best record about a fear of drowning anyone reading this will have heard.

Not just that, it’s a musical wonderland. Opening with the almost competitive synth and brass of ‘Benthos’, you’d be forgiven for wondering what alternate world you’d stepped in to, but all fears are assuaged, and rendered meaningless by the pulsing synth pop of ‘You Shall Know the Spirit’ which really reminds me not just of The National, but of some of the best work by David Bazan, as well as his synth project, Headphones. “When the spirit moves inside of me, you’ll know, cos I’ll stop breathing’ goes the lyric as a dark opening is drawn out in to a mid-section replete with a cavorting horn melody. Indeed. ‘Work For Me’, with it’s concoction of synths and processed drums, asks the question “how will I know when there’s love in the room?” Again, indeed. ‘El Dorado’ is a plain great pop song with a fantastic hook. ‘The Ol’ River Gang’ has an urgent drive to it that would make it a post-punk classic (and indeed it still might be) were the synth and horn parts supplied instead by guitars attacked in an overwrought fashion. So, yes, it’s a modern classic take on the synth-driven post-punk genre. You can keep your opinions on whether the hyphens are misplaced.

And on it goes. ‘How To Build a Tube’ could be an offcut from Sufjan’s “The Age of Adz” album with its amalgam of pop nous with synth sheen. Closer ‘Promised Land’ perhaps the destination in Seim’s journey of conquering fear is another track which begins with a fog of swirling synths, with ever more layers being added throughout the song’s first two minutes. As a percussive chordal pattern emerges from around the 2.10 mark, the sense that the song is arriving at its first stop becomes apparent. At 3.07, the first vocal: ‘Picked my suit up from the dry cleaners now I’m going bak to the Promised Land’ which is repeated amidst a swirl of horns before an invasive drum part and grooving bass part take the song home. A fine ending to a truly enticing debut offering from Pfarmers. Don’t miss this one, whether you are a fan of the members’ other projects or not. The mix of instrumentation and honest spiritual searching is fantastic.

Flying Colours – ROYGBIV EP

Buy the EP here

Watch the video for ‘Not Today’ below

It seems like no post in this series is complete without a review of a release from a band in the thick of the shoegaze revival, and this one is no exception. Australia’s Flying Colours (not to be confused with the American prog supergroup of the same name) have recently released their debut EP on the ever-fantastic Club AC30, as well as laying waste to the UK on tour with Russia’s finest Pinkshinyultrablast. The fact that this is on Club AC30 should give you the nod that this is a release worth investigating, as should giving a few minutes of your time to the video above. If that’s not enough, let me tell you that these 5 tracks exhibit the best elements of My Bloody Valentine and Swervedriver, and give the recent releases from both bands a more than decent run from their money.

‘I Don’t Want To Let You Down’ rolls along on a convulsive rhythm with some beautifully squally guitars floating above a seismic bass riff. The song has a fantastic singalong pop chorus which should, no, must make it a shoe-in for 6Music airplay. All the elements are in place. This is just one of those moments, when a band aligns all of its best elements in one short burst of song craft. Fantastic. ‘Running Late’ jingles and jangles more, showing another side of the band, whilst ‘Not Today’ (video above) is a straight-ahead driving rock song par excellence. ‘In the End’ is a short, sharp blast of punky energy, showing yet another side of this versatile band. Closer ‘Leaks’ survives the ignominy of stealing a Kula Shaker riff to end things on a cacophonously energetic note.

The end of the experience leaves two thoughts:

1. An album from these guys will be a thing of wonder

2. I sorely regret not being well enough to attend the recent Pinkshinyultrablast/Flying Colours show in Leicester. I will do all I can to ensure such silliness does not occur again.

Superheaven – Ours is Chrome

Watch the video to I’ve Been Bored below. Ours is Chrome is out now. Play the bands’ own version of Space Invaders at this link too. Go on, you know you want to,

A couple of years ago (it might be longer, my memory isn’t what it used to be), I picked up a Soundsupply Drop which either contained, or led me via Basement, another fantastic modern rock band, to the music of Daylight. (NB, this isn’t the way to start a review-it’s been a long week). Daylight’s album, Jar, was a fine piece of work. Straight-ahead and uncompromising, it was a big sounding rock song, full of anthemic songs, churning guitars and a confidence which suggested that they were a band destined for the top. I really grew to enjoy Jar. It became something of a go-to album for me on days when only loud guitars would do the trick.

And then, as so often happens, time moved on, many more albums crossed my path, and nothing more was heard of Daylight.

A couple of weeks ago, Side One Dummy sent me the info for the new album from Superheaven, a band the press-release likened to Smashing Pumpkins. This squarely hits the spot for me. I was in. And then, I discover that Superheaven is actually Daylight. You didn’t see that coming right from the first paragraph at all did you.

So, Superheaven aren’t a new band, they’re an established act with a new name. “Ours is Chrome” pretty much picks up exactly where Jar left off. ‘Next to Nothing’ is a riff-driven, chiming rock song. It follows a similar formula to it’s predecessor, album opener ‘I’ve Been Bored’. Guitars alternately rage and ring, bass riffs rumble, hi-hats are forward in the mix, snare drums accentuate militarily, toms are full and rounded. ‘Room’ keeps the feeling low, before ‘All the Pain’, if it’s possible, ups the angst quotient even further, slowing the tempo and adding tonally competitive guitar flourishes to the mix.

This is an intense listen, but has been mixed and mastered in what feels like a bright direction. All the record’s tones are clear and precise which, conversely, doesn’t actually help. Where ‘Leach’ or ‘Gushin’ Blood’ could be punishing exercises in suffering, they come off as somewhat bouncy, radio rock songs. It’s intriguing that such a heavy album could be so easy to listen to. If this is what Superheaven were seeking, then they should have no fear. I can well imagine that any of the songs on this album could make its home on radio in the months to come.

Hop Along – Painted Shut

This, the second album from Hop Along, is an enigmatic mixture. Equal parts 90s alt rock, college rock, jangling indie and intensely melodic, the elements which could make “Painted Shut” something of a standard-issue indie rock album are not just offset, but thoroughly obliterated by the abrasive vocals of Frances Quinlan. She rasps, she rages, she hooks you in and draws you in to a world where injustice, mental instability, self-inflicted suffering and shame seethe competitively to dominate and demand attention. The sheer force of Quinlan’s delivery on tracks such as ‘The Knock’ and previous single ‘The Waitress’ can, as it were, knock you backwards.

There’s much more to this album, though. Throughout the guitar tones are just right, sometimes fuzzed-out and urgent, at others almost playful, in line with the relaxed and focused work of the rhythm section. This has the effect of building a wide palette from which Quinlan can emerge. It’s an unusual combination, a combination, in fact, that probably shouldn’t work, and wouldn’t, were it not for the qualities of musicality on show. These are strong songs, well crafted and delivered expertly. The production is unfussy but sympathetic and, through it all, the sense that Frances Quinlan is a coming songwriter is never far from the surface.

See the video for Powerful Man below. Painted Shut is out now

Jupiter – Bandana Republic

Bandana Republic is out now. Watch the video for Do It Below

Anyone for a bit of disco? “Bandana Republic” is the second album from Parisian trio Jupiter. Where the other albums I’m writing about today are all on the serious and important side, “Bandana Republic” is a joyful, gloriously fun ten track romp to pull you right into the heart of the Parisian summer.

Right from the scene-setting ‘AV’, you know you’re in for a fun ride. Of particular note, to my ears at least, is the ever-inventive bass work, which draws the ears and the mind into a groove and then places them in to an album-lasting headlock. This, allied to playful synths, choppy funk guitars, and consistently pretty vocals, largely from Amelie mean that Jupiter are able to carry you away into a world that is all of their own making.

Single, ‘Do It’ is one the album’s strongest moments. That’s probably why they released it as a single. All the elements described above are firmly in place, and it features the kind of chorus that several grasping female pop stars who have gone down this route in the last few years would kill for. Go on, watch the video above. You’ll love it. If you like that, you’ll love this album.

Taffy – Darkle EP

Darkle is out now. Watch the video to the first single from this EP, Suicidal Bunny below

Coming on like a cross between Blur, Stone Roses and Elastica, Taffy are one of the few bands from the exciting Japanese rock scene to have made a concerted and successful effort to gain attention in the UK. After two full-lengths and a stunningly consistent B-Sides and rarities album, the band continue their partnership with the, again astonishingly consistent Club AC30 label (Fever Dream, Flying Colours, Gavin Clark, Pinkshinyultrablast, Exit Calm) with the “Darkle” EP.

If you’ve been an aficionado of Taffy in the past, you’ll know what you’re getting here. A driving, punchy band, guitars which squeal and squall in a fashion Graham Coxon seems sadly to have forgotten, and vocals which at first sound sugary sweet, almost twee, but have a habit of burrowing deep inside your cranium and steadfastly refusing to leave. It’s a formula that works startlingly well. ‘Redamancy’ starts moodily, opens out in to a pre-chorus which is almost sweet, before it’s chorus of “I miss you today, I miss you more” is delivered atop groaning guitars which take us back to Radiohead circa 1994-95.

‘Young Times’ swirls and swoons. ‘Remember to Remember’ is chordally and melodically gorgeous, which takes its time, before building in to a stratospheric chorus which hits at just the right moment. ‘Dr. K’ takes things in a punkier and punchier direction, all energetic drive and spiky guitars. ‘HBD’ closes the EP proper with what sounds like a live demo take of ‘Happy Birthday’. I kid you not. The band even manage to take this three chord wonder into a swirling new direction. It very much makes me want to go and see them on my birthday. To actually close the record, ‘Young Tines’ is remixed by psych rock doyen Anton Newcombe (The Brian Jonestown Massacre). His take on the track adds a little space and emphasises the prettiness of the melodies at play. It is a welcome addition.

Taffy are, without question, an exiting and essential band in the continuing shoegaze/psych revival. Now if only more of their compatriots would see their way to releasing in the UK.