http://www.thisisfakediy.co.uk/reviews Album, single, EP and live reviews from DIY en-gb This Is Fake DIY Copyright 2012 2012-02-08T16:03:15+00:00 http://www.thisisfakediy.co.uk/articles/eps/raffertie-mass-appeal http://www.thisisfakediy.co.uk/articles/eps/raffertie-mass-appeal
This doesn’t mean Raffertie has gone soft – the title track is still flooded with sudden flourishes of sonic trickery but he appears to have finally given his tunes some breathing space. ‘One Track Mind’ is straight from the Daniel Miller/Mute/The Normal school of production, ten minutes of blissful keyboard arpeggios culminating in a breathy coda while ‘Courage Boy’ is of similar languid bent, the teasing sub bass weaving in, out and around the minimal percussion and ghostly vocal presences. The only slight misstep is ‘Brevity’, a formless exercise in glitch which only sporadically flickers to life during its four minutes of relative tedium.

Raffertie himself might be a step or two away from genuine mass appeal but he has shown enough musical eclecticism to ensure the potential is there – the key for the Brummie wunderkind is to focus his approach and hone his undoubted flair into a sound all his own.]]> 2012-02-08T16:03:15+00:00 http://www.thisisfakediy.co.uk/articles/tracks/alt-j-matilda-fitzpleasure http://www.thisisfakediy.co.uk/articles/tracks/alt-j-matilda-fitzpleasure
Despite their music swaying towards seriousness, ‘Fitzpleasure’ is a truly playful track from Alt-J. Layered chants and bass throbs rub shoulders with tender moments throughout. Neither track seems to settle down long enough for the listener to settle down. They keep the ears guessing as to what exactly is going on.

Fans of Everything Everything’s tendency to throw various ideas together to make a song will no doubt appreciate Alt-J’s similar approach to splicing jarring rhythms and melodies. It’s encouraging to hear a band so full of ideas.

This single is a good indication as any to what their sound is, but where will they take it from here? Hurray for Alt-J, that’s what I say. ]]> 2012-02-08T14:02:39+00:00 http://www.thisisfakediy.co.uk/articles/live/feeder-koko-london http://www.thisisfakediy.co.uk/articles/live/feeder-koko-london
The set contains anthems on a par with earlier chart-toppers, with ‘Sunrise’ and latest single ‘Borders’ gaining the best crowd reception, and a fair number of chart classics thrown in for good measure. The band teases us with the opening riff to ‘Buck Rogers’, stopping after two bars and exclaiming: "We’re not going to play that one." Now, don’t do an REM on us, Grant, and refuse to play one of your most renowned songs. Thankfully, this comment is pure jest, as the rockers, following an uproar of panto-esque booing, launch into it full throttle. Cries of "He’s got a CD player, player, player, player" are echoed by a sold-out crowd singing, moshing and throwing their drinks and grannies in the air (note to reader: one of these may be a falsehood).

Yes, ladies and gents, the Welsh rockers may have been away from the music scene for a while, but they are back, with a new drummer and an album of songs that make us old school fans fall in love with them all over again.]]> 2012-02-07T14:01:25+00:00 http://www.thisisfakediy.co.uk/articles/tracks/aap-rocky-peso http://www.thisisfakediy.co.uk/articles/tracks/aap-rocky-peso
‘Peso’ is Rocky’s first full single release in the UK and it is a rather curious choice, but perfectly shows off what makes him so special. His insouciant drawl accompanies a hazy, shimmering backing, and there is something beautifully hypnotic and almost psychedelic to the beats provided by fellow New York producer Ty-Beats. It is a hybrid sound between experimental electronica and thrilling rap that is blissfully effective. This is hip-hop like never heard before for a new generation: challenging, musically inventive and deeply captivating.]]> 2012-02-07T10:01:34+00:00 http://www.thisisfakediy.co.uk/articles/albums/cloud-nothings-attack-on-memory http://www.thisisfakediy.co.uk/articles/albums/cloud-nothings-attack-on-memory
But there are hundreds of them out there; all sitting at home, strumming a guitar, dreaming to be in Baldi’s current position: Selling records, touring all year with friends, with some critical acclaim to boot. And yet ‘Attack On Memory’, Cloud Nothings’ second record as a full-band, documents the sound of a group of guys (or at least, one guy, their frontman) and a frustration at being misjudged or pigeonholed based on one record. Last year’s self-titled debut had a sewn in winners’ badge, highlighting the group’s ability to pencil in quirky pop-punk songs; devoid of meaning but all the more enjoyable. This reputation visibly aggrieved Baldi. The album itself was good, but it wasn’t career-defining. And judging by the lyrical content and sheer, genuine angst circuiting the bloodstream of ‘Attack On Memory’, that will come as some relief to hear. In actual fact, this follow-up work of pent-up aggression; of complete contrast to snappy pop-punk; has every chance of becoming the band’s seminal work.

Or at the very least, it’s the sound of a band turning a corner and seeing a street paved with gold. Baldi and co. have tapped in to a sound that suits them best. Unlike its predecessor, it’s an album that carries a tendency to leave its listener speechless. Any close friend who excitably brings this album up in conversation will choose first to tell you about ‘Wasted Days’, a song clocking in at 8 minutes, 53 seconds; its length defined by a frightening build-up of complete unadulterated anger. As mantras go, the song’s repeated cry of “I thought/ I would/ be more/ than this” is far from sing-along, more ‘shout and pump-your-chest’ along.

Much of ‘Attack On Memory’ follows a similar tact. The major chord structures of ‘Fall In’ and ‘Stay Useless’ might appear to the naked ear as some suitable follow up to the last record, but in actual fact they come across like snarky renditions of their forefathers; the cheerfulness of the melody is applied as an ironic contrast to the lyrics resting inside. The further the album progresses, the darker and more obviously riled it becomes. ‘No Sentiment’ is all snarling vocals close to resembling pre-mammalian scream, ‘Our Plans’ is down-right miserable and ‘Cut You’ is the crowning glory in all of the desolation.

Oddly, it’s an album that allows its listener to enjoy the misery on show. Unlike most dark concepts which tend to wilfully bring you down to its emotional low, each in-ear tantrum acts a prompt for you to lose your shit and throw stuff around the room; more out of gratification than depression. Much to Baldi’s presumed discontent, Cloud Nothings have inadvertently continued a formula of making albums for youngsters to dance to. Only this time round, they’re also showcasing genuine desire and emotion; a clear aim of staying in this music-making circus for the long run. And it’s for everyone to see: The bedroom producer is close to becoming an idolised rock-star.]]> 2012-02-06T15:56:24+00:00 http://www.thisisfakediy.co.uk/articles/albums/of-montreal-paralytic-stalks http://www.thisisfakediy.co.uk/articles/albums/of-montreal-paralytic-stalks
Now after the RnB pop psychedelia of 'False Priest' comes 'Paralytic Stalks', their eleventh album - billed as the most experimental album they’ve produced. It finds Barnes back on sprawling, narcissistic form. Here he strips away the pretense as he delivers a stream of soliloquies on revenge, self-hatred and relationship breakdowns.

As Barnes reported in a previous interview with DIY ‘Paralytic Stalks’ is a full-frontal emotional performance. “With this record, I’m wearing my heart on my sleeve.” So on 'Dour Percentage' we hear about the "the way you and I torment each other." And on Spiteful Intervention he reveals and revels in the fact that ‘I made the one I love start crying tonight and it felt good.’ While on on ‘Wintered Debts’ he asks ‘What is the purpose of this ego sickness?’ He seems barely able to contain his thoughts.

It’s makes for an uneasy listen – this is a jarring record, its charms only revealing themselves after a few listens, the light shining through the murky gloom of the album’s dense, dark tones.

And while it’s the cathartic prog pop of those tracks mentioned that stand out, it’s the 13-minute closer ‘Authentic Pyrrhic Remission’ which astounds – and captures the essence of the album. A straightforward funk opening gives way to 10 minutes of discordant fire alarm noise, until the debris clears and haunted pianos emerge as he sings “Til this afternoon I was an exile, but now that word is obsolete / There are no nations, no concept of ego / Our illumination is complete.”

It’s a microcosm of what an oddly engaging and experimental album this is - one which sees Barnes creating the best experimental discordant noise pop he’s worked on since 'Hissing Fauna'. And that’s high praise indeed.]]> 2012-02-06T14:55:07+00:00 http://www.thisisfakediy.co.uk/articles/albums/sharon-van-etten-tramp http://www.thisisfakediy.co.uk/articles/albums/sharon-van-etten-tramp
Van Etten has been nesting in the recent scene, not only by letting us hear her unique voice ring once again on this second album, but by teaming up with the likes of Matt Barrick, Thomas Bartlett (aka Doveman), Zach Condon, Jenn Wasner, Julianna Barwick, and Aaron Dessner. Perhaps this powerful collaboration led to the great mix of acoustics with the occasional rocky punch (listen: 'Magic Chords'), showcasing Van Etten’s range of musical abilities.

Songs like 'We Are Fine', featuring Zach Condon from Beirut, proves even further that perhaps she could use an extra dose of collaboration juice. On her own, we get a comfortable, worn-in feeling. But with the few songs that feature the vocal backing of Condon the fullness that immediately hits the ear makes me realise that introducing another voice or even another medium to the mix would enhance the listening experience of this album by at least 75%.

Though the lovely Van Etten takes us through what appears to be a tense night time adventure into the bleak hours of the morning, it seems as though she paints an intangible dreamscape; something only truly understandable to the one experiencing the dream, only a faint description of something great to someone else. This album is easy to fall into, easy to get lost in, easy to forget. I feel a spirit like Van Etten wasn’t meant to be treated as such. The rockier songs on the album prove she is more than someone who takes no for an answer.

Which is why the most appreciated thing about this album is that she delivers a truly honest performance. The fact that it sounds nothing like she was trying too hard to appeal to us makes it a precious listen. I see a stronger, more corporeal Sharon Van Etten heading towards us in the future, leaving this album as a striking promise.]]> 2012-02-06T13:52:26+00:00 http://www.thisisfakediy.co.uk/articles/albums/james-levy-the-blood-red-rose-pray-to-be-free http://www.thisisfakediy.co.uk/articles/albums/james-levy-the-blood-red-rose-pray-to-be-free
Working under the name James Levy & The Blood Red Rose, Levy and Pierce have created an album rich in melody and lovingly crafted songs imbued with the spirit of classic 1960’s orchestral pop, reminiscent of the likes of Burt Bacharach, and in particular Lee Hazelwood’s famous duets with Nancy Sinatra.

Produced by Coldplay bassist Guy Berryman, the sound is lush and smooth and is a perfect fit for the sweeping strings and jaunty horns that dominate the record. There is a great contrast between the two voices, Levy’s Baritone croon is offset with Pierce’s sensual lilt giving a wonderfully rich sound. Pierce appears to be the perfect foil to bring Levy’s songs to life.

Despite its melodic and exuberant sound, ‘Pray To Be Free’ is a collection of songs with a dark heart; the album primarily deals with romance and all the strong feelings that it entails. 'Sneak Into My Room’ is a case in point as it tells a story about infidelity and a forbidden relationship scattered with lines like, “I want to kiss you but I must refrain.” The theme of desire is again explored on the filmic and theatrical 'Keep My Baby' as Pierce’s sultry vocal intones “I’ve got it, you want it.”

The horn flecked and achingly sad 'Positively East Broadway' that sees Levy croon “I love you more than music, let it come" is a particularly lovely moment in a record that frequently charms. Perhaps the album's best moment, however, is a showcase for Alison Pierce with the lovely swinging country sound of 'Crying To The River'. It would be a hard heart indeed not to fall for music as lovely as this.

There are weaker moments on the record when the quality of the songs slightly sags, such as the lightweight ‘Painted Red’, but there is, overall, a great consistency to these songs. The album ends with Levy singing the rolling country pop of ‘Precious Age Of 13' in half Hebrew and it is a brilliantly beguiling way to end the album.

There is certainly a strong chemistry between Levy and Pierce and ‘Pray To Be Free’ showcases that effortlessly. This could be just the start of a very fruitful musical union.]]> 2012-02-06T13:06:44+00:00 http://www.thisisfakediy.co.uk/articles/albums/gotye-making-mirrors http://www.thisisfakediy.co.uk/articles/albums/gotye-making-mirrors
Wally De Backer has been making music under the alias of Gotye since 2003 but it’s only on his third studio album that mass attention has been surrounding him and it’s not hard to see why. As 'Making Mirrors' builds, Backer transforms from hushed vocals on the self-titled intro to letting go completely with powerful vocals that are on the fence between singing and shouting by third song, 'Eyes Wide Open', where he bursts into elated joy. This is an unconventional album that is strangely cohesive for an album that encompasses so many genres and sounds, ranging from smoky blues to 60s soul elements.

A reggae beat complimented by with vocoded vocals is one of the strangest combinations on 'Making Mirrors' that is in keeping with its title, ‘State Of The Art’. Genre boundaries have become blurred in recent times with new sub genres being constantly created and Gotye’s music is hard to categorise, bringing up what Robert Stam, University professor and author, has said about genre; "Are genres timeless platonic essences or ephemeral, time-bound entities?".

'Making Mirrors' sounds like the work of a full band and not that of what is essentially, a one man band. Coming from someone who writes and produces his own music, this is an accomplishment from one of Australia’s much loved musicians. This is a varied album that combines old and new musical styles without the fear of pastiche.]]> 2012-02-06T12:01:07+00:00 http://www.thisisfakediy.co.uk/articles/albums/the-megaphonic-thrift-the-megaphonic-thrift http://www.thisisfakediy.co.uk/articles/albums/the-megaphonic-thrift-the-megaphonic-thrift
There's more odd tunings and whammy bar antics than you can shake a Jazzmaster at, and although the songs do completely blur into one mass of vocals, drums and reverb there's still a lot to commend this record. As soon as you stop thinking of it exactly as discrete songs and zone out a little, suddenly it becomes more like a …Trail Of Dead record; the bastard child of punk and prog, a no-wave concept experiment, and it's with this leap of understanding that it can be truly appreciated.

Though not really in the same league as …Trail Of Dead's self-titled record, 'Madonna' or indeed 'Tao Of The Dead' – to name only their spikiest and most self-indulgent releases – there's still something very familiar about these gang vocals, sweeping, irregular dynamics and squalls of barely-restrained feedback.

Ultimately there are no tracks that really stand out any more than the crowd, which is what bars this record from higher marks; but then, there are no bad tracks either, and the whole package is very listenable. It may not be the career high they were hoping for, but since The Megaphonic Thrift are clearly far from spent it hopefully marks a stepping stone to pastures new.]]> 2012-02-06T10:04:58+00:00 http://www.thisisfakediy.co.uk/articles/albums/the-twilight-sad-no-one-can-ever-know http://www.thisisfakediy.co.uk/articles/albums/the-twilight-sad-no-one-can-ever-know
It’s one that suits them perfectly. The ‘wall of sound’ approach and booming drums which characterised their first two albums has been replaced by programmed beats and gloomy grooves - and the pace has been upped for this synth heavy sound.

You may have already heard lead single and Radiohead-sounding ‘Sick’, as well as ‘Kill It In The Morning’, which both hint at the new direction they’ve moved into. ‘Dead City’s’ nonchalant though ominous groove is another highlight, sonically reminiscent of XTMR-era Primal Scream, while ‘Don’t Look at Me’ keeps the propulsive beats going. The record’s 9 tracks make for a stark, taut and sparser sound though it is ‘Another Bed’ - with its glittering synths almost dancey rhythms and shimmering swooshes – which is the biggest departure from their trademark sound. It sounds almost 80s.

Yet for all their sonic experiments this is still unmistakably a Twilight Sad record. That’s in no small part down to James Graham’s ominous and distinct Scottish tones that stalk every song. His lyrics have always been at the heart of what make Twilight Sad special and here he is on form – on 'Another Bed' he promises “I’ll find you – don’t worry”, on ‘Don’t Look At Me’ he sings “Though I still you want you, it’s not the right thing to do”, while on ‘Don’t Move’ he warns “I will hurt you more than you will ever know”. If this is a love letter, it’s a stark and menacing one. Yet, in his own claustrophobic way he creates lines that you want to sing along to despite yourself, a masochistic karaoke.

It’s this combination of the familiar and the new which makes 'No One Can Ever Know' a synthesised and sinister success - a tense and absorbing record that creates its own world for you to live in.]]> 2012-02-05T16:03:18+00:00 http://www.thisisfakediy.co.uk/articles/albums/goldfrapp-the-singles http://www.thisisfakediy.co.uk/articles/albums/goldfrapp-the-singles
The duo, comprising vocalist Alison Goldfrapp and composer Will Gregory, have over the course of five studio albums produced a string of eclectic and memorable singles collected here on their first career spanning retrospective. It is easy to forget just how many great songs Goldfrapp have had. The compilation is front-loaded with their biggest hits, which makes for a particularly arresting opening. ‘Ooh La La’, with its brutally effective electro glam pop, remains their biggest single and its combination of pulsing synths and Alison Goldfrapp’s insouciant purr remains breathlessly exciting. ‘Number 1’ has a more dreamy electro pop sound and both these tracks, as well as the alluring ‘Ride A White Horse’, are taken from the duo’s highest charting album ‘Supernature’.

‘Lovely Head’ and ‘Utopia’, taken from their debut, the Mercury nominated ‘Felt Mountain’, are more filmic and atmospheric featuring Will Gregory’s wonderful string arrangements and grasp of dynamics. The contrast between these ethereal pieces of beautifully crafted music and the deep and sexy dance floor sound of their second album ‘Black Cherry’ is striking; both the filthily hypnotic ‘Train’ and the grinding electro of ‘Strict Machine’, which features Alison doing her best Donna Summer impression, are electro pop at its best.

The pastoral electro folk of ‘A&E’ still sounds impossibly beautiful but the floaty whimsical ‘Happiness’ is rather lightweight and forgettable. Far more exciting and arresting is ‘Rocket’, the lead single from the duo’s last album ‘Head First’. It remains baffling how this song was not a massive hit but its gloriously exuberant chorus and retro synths are utterly charming.

The album ends with two new tracks that bring together all the aspects that make Goldfrapp such a great group. ‘Yellow Halo’ is a nice piece of understated dance pop, but ‘Melancholy Sky’ is very special indeed. Over subtle strings and horns Alison Goldfrapp delivers one of her finest vocals tinged with an evocative sense of sadness; “Melancholy sky, you made me blue, still hanging on., there’s nothing I can do”.

For over thirteen years now Alison Goldfrapp and Will Gregory have been making music, and Goldfrapp’s singles collection is a triumph of compellingly brilliant classy pop.]]> 2012-02-05T14:08:00+00:00 http://www.thisisfakediy.co.uk/articles/albums/mark-lanegan-band-blues-funeral http://www.thisisfakediy.co.uk/articles/albums/mark-lanegan-band-blues-funeral
Almost twenty years on from that magnum opus and Lanegan is still mired in the trenches of his own self-loathing with the rather predictably titled 'Blues Funeral'. Of course, I’d never say anything negative about this album to his face; over the years, Lanegan has gradually come to resemble his own voice, a resonating, ashtray and bourbon soaked growl from the ends of the earth, both threatening and tortured in equal measure.

'Blues Funeral' rarely strays from the sonic template laid down by Lanegan, Josh Homme and Alain Johannes during their myriad collaborations under the Queens Of The Stone Age moniker. 'Phantasmagoria Blues’ and ‘Riot In My House’ are practically indistinguishable from the latter band’s 'Songs For The Deaf' era, but more interestingly, Lanegan seems to be taking cues from the cream of synth pop darlings Erasure on ‘Ode To Sad Disco’ with its almost camp drum machine pulse; ditto ‘Harborview Hospital’, replete with shimmering keyboard arpeggios and closer ‘Tiny Grain Of Truth’, Lanegan crooning sparingly beneath shards of heavily treated guitars and sampled strings.

However, these are merely diversions on what is essentially a standard Mark Lanegan Band release. The only hold up is that the man is in danger of straying into self-parody, he’s been singing ‘The Gravedigger’s Song’ for over twenty years now with still no sign of anything other than the hangman on his trail. And don’t get me wrong, no one does impending death quite like Mark Lanegan. But would it be too much to ask for a little more breathing space next time?]]> 2012-02-04T14:07:22+00:00 http://www.thisisfakediy.co.uk/articles/albums/young-guns-bones http://www.thisisfakediy.co.uk/articles/albums/young-guns-bones
The title track and current single is one of those moments where their ambitions and delivery come together. Where songwriting tends to border on the predictable side of poetic, here they play a few more interesting lyrical cards with almost spiritual undertones ("I've fashioned my own cross, been crushed by its weight") propelled by a shout fuelled chorus and furious guitar solo to drum solo segue before coming round the block for more. It's feral, ear shattering goodness at its best. Elsewhere 'Brother In Arms' is a singalong anthem with shades of the hotly tipped Mona, a band who came and went faster than a snowman in a heatwave but blessed with the combined bottled spirit of 'Born To Run' era Springsteen and the Followill brothers.

There are times where it feels like they're playing it safe with occasional moments of invention reserved for the short numbers. The instrumental 'Interlude' is an understated pulse of bubbling electronica whilst 'Hymn For All I've Lost' neatly condenses that feeling of looking back on the past into a little over a minute without ever feeling cheap or throwaway. They also have a carefully hidden gentler side witnessed by the delicate 'Broadfields' which slows down the pace and strips away the fake tanned production to create an emotive piece that gives the lyrics space to breathe with a shot of falsetto thrown in for good measure.

It may feel at times like subtlety has taken a back seat but beneath the brash production there are a strong canon of tracks that show real potential. A solid improvement from 'All Our Kings Are Dead' but they will need to do more if they want to break into the big time.]]> 2012-02-03T10:09:49+00:00 http://www.thisisfakediy.co.uk/articles/tracks/charlotte-gainsbourg-anna http://www.thisisfakediy.co.uk/articles/tracks/charlotte-gainsbourg-anna
Me: “...Yes?”
CG: “All I see is your face.”
Me: “Um... This is all moving way too quickly for me.”

Anyway, having got past this and reluctantly admitted to myself that it was definitely not me she was singing about, I found myself generally underwhelmed by the track. It’s a moody, lulling, very French take on rock-pop, and it sounds sleepy and undernourished.

This song represents a slightly different sound for Gainsbourg with heavier drums, more prominent guitar, and moments where she almost properly sings instead of seductively whispering, but the plodding beat and simple melody don’t make for particularly enthralling listening. It would also be fair to say that the lyrics really aren’t the star of this song. They’re generic and forgettable words which we’ve all heard before and could easily predict: “I want you to know I was so young then / Don’t wanna be on my own again.” Baaaah.

The chorus, however, redeems the song, saving it from being a shoulder-shrugging “all right”, and making for some great music, with lovely vocal layers and an electronic sequence which sounds like Animal Collective on a lazy Sunday afternoon.

Truth be told, the song’s greatest asset is that it has Charlotte Gainsbourg singing it. It’s easy to think that because she’s cool, it’s cool. It’s really not that cool. It’s fine. It won’t change your life, but it won’t ruin it either.]]> 2012-02-02T14:02:08+00:00 http://www.thisisfakediy.co.uk/articles/tracks/tom-williams-the-boat-my-bones http://www.thisisfakediy.co.uk/articles/tracks/tom-williams-the-boat-my-bones PledgeMusic to help finance the effort. Their forthcoming single ‘My Bones’, which recently won the fans’ vote for Steve Lamacq’s Rebel Playlist, is an early taste of things to come.

Compared to the menacing ‘Concentrate’ and ‘Get Older’ of the debut album, the rhythm of ‘My Bones’ is more conventional, yet augmented with sorrowful violin. It’s a love song, and it’s a sad one at that, as if Williams and his “Boat” were a darker version of Young Rebel Set. The tune chronicles the end of a relationship, as seen through the eyes of a jilted man. Williams is a master storyteller: we learn he keeps the photo of his love in his pocket as a reminder of their days together. The rest of his life has become absurd in the absence of this woman he is still so in love with; in his disjointed, emotionally drained mind, he jokes he has hired a pack of dogs from hell to protect him, and since the break-up, he’s joined a basketball team to keep himself busy. You couldn’t make these lyrics up if you tried. Yet somehow Tom Williams did, and it’s further proof he’s a fine songwriter.

The chorus includes the line “I love you from the marrow of my bones,” which might sound like the kind of Valentine’s Day greeting Gordon Ramsey sends to his missus. But you have to give Williams bonus points for originality. Wit in popular song doesn’t get enough credit these days.]]> 2012-02-02T10:17:43+00:00 http://www.thisisfakediy.co.uk/articles/tracks/jess-mills-pixelated-people http://www.thisisfakediy.co.uk/articles/tracks/jess-mills-pixelated-people
Inspection of the words, particularly the chorus, and you might chortle to yourself, given that these days indie electronica artists like Mills herself are merely footmen in the digital age: “Pixelated people talk in low-fi sound bites / I found the trouble now it governs my senses / I stand saluting to the devil I rejected.” Chances are though, the people who will buy this single are the sweaty type, dirty dancing or pumping their fists in the air to the song in a club or at a festival this summer, and they aren’t paying attention to the lyrics. Don’t think about it this too much and you’ll find yourself joining in with the rest of them.]]> 2012-02-01T10:11:42+00:00 http://www.thisisfakediy.co.uk/articles/live/r.m.-hubbert-friends-stereo-glasgow http://www.thisisfakediy.co.uk/articles/live/r.m.-hubbert-friends-stereo-glasgow
A talented guitarist, re-emerging a few years ago to engage audiences with his signature flamenco-influenced style, he has now recorded his second solo album '13 Lost And Found'. Produced by Alex Kapranos, it is written and performed by a veritable who’s who of the Glasgow scene, including turns by 13 other artists.
Tonight serves as a launch for - and a celebration of - the album and opens with 'Sunbeam Melts The Hour', a complex, oriental sounding meditation featuring vocals and Chinese harp from Hanna Tuulikki and Marion Kenny. When both women kiss Hubbert on the cheek as they leave the stage, he jokes that he’d better pucker up for Aidan Moffat who is joining him later. 'Gus Am Bris An Latha', a Gaelic titled number with John Ferguson on banjo follows, delicately combining melancholy folk airs with Hubby’s percussive guitar technique.

Playing one of the three solo pieces from the album, he notes that he didn’t work with a collaborator on every track, so as “not to be skint” – it’s meant light-heartedly but as someone who has self-released records and played shows in people’s homes under the banner “Will Play For Food” – it’s a well aimed plea to the audience to follow through with their support and buy the album.

His virtuosity is well appreciated, and when juxtaposed with Alasdair Robert’s plaintive folk voice for 'The False Bride', hypnotic. Capitalising on the new textures that reconnecting with these friends has brought to his music, Hubby’s warm guitar tones and dark humour shine through. Emma Pollock’s rather mournful 'Half Light', and another instrumental, 'For Joe', point up the key themes of loss and remembrance.

An audience member calls for a dedication which Hubbert politely refuses, “It usually takes dying to get a dedication from me… that wasn’t me putting out a hit by the way.” 'Car Song' sees Aidan Moffat’s sardonic storytelling tones set to emotive arpeggios, while Alex Kapranos adds harmonic details with a melodica.

Hubby gets his kiss from Aidan (or a whispered word of encouragement at least) and there is a sense that the combination of wit and wistfulness present in the music has only been strengthened by the rewarding musical relationship with his peers.]]> 2012-01-31T17:26:03+00:00 http://www.thisisfakediy.co.uk/articles/live/panic-at-the-disco-barrowlands-glasgow http://www.thisisfakediy.co.uk/articles/live/panic-at-the-disco-barrowlands-glasgow
The band open to rapturous approval from their masses of fans, and instantly display a supremely confident sense of showmanship and performance going far beyond the manufactured posing of some of the bands that they are often grouped in with. Their more grandiose songs such as 'The Ballad Of Mona Lisa' and 'Lying Is The Most Fun...' have the unfortunate tendency to veer into the egotistical, as Brendon displays an impressive but unnecessary falsetto and introduces some some songs with self-indulgent speeches. But nonetheless, these arrogant flights of fancy are lapped up by the audience, and as a result the atmosphere of the gig remains feverish throughout the night.

A potential fault of the gig would be the bands failure to communicate directly with the crowd. There are the aforementioned extended speeches introducing songs, and on-stage acrobatics, but none of it feels as if it hadn't been done in any other venue in any other town. This would be more significant if the band didn't manage to keep the audience alive without shutting themselves off from the crowd and performing in their own world, despite this lack of distinction. As a result, the lack of a personal connection highlights the quality of the performance, as it still manages to hold the interest of the crowd who may have been expecting something more unique when they bought their tickets.

The setlist for tonight is most definitely created with the fans in mind. It is almost twenty songs long, and features almost the entirety of their first and third albums, while completely ignoring their controversial sophomore effort sans two singles. There are low-points despite this, as album tracks follow one another consecutively. Thankfully though, the fanbase's dedication to every song in the bands canon keeps the gig moving throughout.

This performance doesn't feel special, but it does feel confident, polished, and displaying the talents of a band that know exactly what they do best and what the fans want. The fact that these things almost always intertwine is a wonderful coincidence that adds up to this being a brilliant show for all those in attendance, and hopefully a sign of things to come for the band that never stays still.]]> 2012-01-31T12:06:40+00:00 http://www.thisisfakediy.co.uk/articles/live/bonnie-prince-billy-old-fruitmarket-glasgow http://www.thisisfakediy.co.uk/articles/live/bonnie-prince-billy-old-fruitmarket-glasgow
His latest album, 'Wolfroy Goes To Town', is a more stripped down affair, but also seems to owe more to British folk music than a lot of the Americana of his contemporaries – not that Bonnie Prince Billy really has any contemporaries, rather a surfeit of inferior imitators. No number of Fleet Foxes or Mumfords have reached this kind of drama and darkness in their music, no matter how bushy their beards.

There is something particularly out of time about this album. Tonight’s live show, performed by the same musicians as on the record, uses traditional acoustic instruments with a sparse, delicate power - the perfect backing for Oldham’s uniquely weathered voice.

Beginning with 'Lion Lair', the slightly sinister tone is set. The audience, mostly awed into silence, treat him with a rare reverence. Newer songs like 'Black Captain' sit well beside older tunes. Angel Olsen and Emmet Kelly’s vocals make the end of 'Cows' a swirl of harmonies.

'Quail & Dumplings', the most markedly political song of the set, calls to mind a depression-era protest song. 'You Win' sees Oldham demonstrating his idiosyncratic standing-on-one-leg moves, causing him to resemble a bloodhound at a square dance.

Odd moments of humour come through even the dourest lyrics. 'I See A Darkness' is even rendered uncharacteristically jaunty. Oldham, still somewhat overwhelmed by seeing June Tabor, Martin Simpson and Dick Gaughan play at the festival the previous night, performs the traditional song 'I Never Thought My Love Would Leave Me' in tribute.

The festival provides intriguing context for his work, as does 'Because Of Your Eyes', his closing version of a song by Bakersfield country singer Merle Haggard, who like Oldham is an artist with many admirers but few peers.]]> 2012-01-31T10:31:37+00:00 http://www.thisisfakediy.co.uk/articles/albums/charlotte-gainsbourg-stage-whisper http://www.thisisfakediy.co.uk/articles/albums/charlotte-gainsbourg-stage-whisper
The first disc of 'Stage Whisper' is the party bag Charlotte Gainsbourg hands out to people after they leave the main celebration of IRM. A bit of a mixed bag. It consists of outtakes from that album that range from the sort that remind you of how brilliant that album could be sometimes, in its pursuit of slightly off-kilter but satisfying pop - something producer/songwriter Beck knows a thing or ten about - such as 'Terrible Angels'' Goldfrapp-bothering glam, to others, the slighter ones, which are far less satisfying; the ones that teases you by reminding you of that wonderful night without offering the full experience (specifically 'Out Of Touch' which, compared to the almost Spector wall-of-sound backing on the rest of the tracks sounds like an early, stripped-down demo).

As for the second disc... we don't have a clever metaphor for that. The second disc of 'Stage Whisper' is the stage part. Gainsbourg's touring band sound tight, replicating material from 'IRM' and 2006's '5:55' efficiently, if unexcitingly. It soon becomes clear Gainsbourg's thin, cut-glass vocals work a lot better in a studio than in live performance; they get lost in the shuffle rather than working as another important piece of each song's machinery. Either way, the audience seem receptive, even with a disappointing cover of Dylan's 'Just Like A Woman'.

Part of the reason the second disc is such a let down is that Gainsbourg in the studio is not someone who is overwhelmed by the myriad other performers involved. She's collaborated with everyone from Beck, Air, Jarvis Cocker, Neil Hannon, to Conor O'Brien of Villagers. In every case, it's been a these artists were facilitators, and Gainsbourg remained the star of the show. To see her relegated to almost a supporting role is a little frustrating.

That said, the best cut from this two-CD collection is, in fact, a duet. Who better than Charlie Fink, of Noah & The Whale, to pop in during 'Come To Let Go', being as he is something of a veteran of lovelorn pop, and his measured vocals harmonise wonderfully with Gainsbourg's own restrained performance. Perfect, slightly-off kilter, satisfying pop, that.]]> 2012-01-30T19:12:28+00:00 http://www.thisisfakediy.co.uk/articles/albums/we-have-band-ternion http://www.thisisfakediy.co.uk/articles/albums/we-have-band-ternion
Trailing in the wake of Little Boots, La Roux et al with their debut in what proved to be the tail-end of our electro-pop fascination was either very brave or very dumb, as contemporaries such as Delphic and Chew Lips would no doubt attest. ‘WHB’ had a few decent moments but ultimately came across as a patchwork of ideas lacking a singular vision. That it sounded like a medley of everyone else vaguely successful around that time wasn’t helped by the suspicion that, as ex-EMI employees, they had been fatally imbued with that major label habit of following, not leading. 

Returning with “Ternion”, it’s clear from opener ‘Shift’ that they’ve had a rethink. Gone are the dance floor sing-alongs and raucous choruses, replaced instead with a dark and brooding sensibility. Synths are used far more sparingly, and when they do surface, they buzz and drone. Rhythm is king here, as evidenced by both an extensive sonic palette of skittering drums that Radiohead would be proud of and driving, incessant bass lines, forever pushing the songs onwards. At their best, this gives us the taut groove of ‘Tired Of Running’, apparently already a live favourite. At their worst, we’re left with the bizarre ‘Steel Is In The Groove’ – a repetitive, two-note riff punctuated with weird spacey interludes that never goes anywhere. It’s clearly meant to be an ambitious mix, but comes across instead as a confused muddle. 

This perhaps sums up Ternion’s greatest problem – it just doesn’t know what it wants to be. Influences are worn so clearly here that it’s relatively easy to figure out what they must have on their iPhones. ‘Shift’ and ‘Where Are Your People?’ both owe a debt to Foals and math rock in general, while ‘Visionary’ betrays more than a hint of Peter Hook’s Joy Division bass. The guitar tone currently so beloved of everyone from The Drums to The Maccabees is sprinkled liberally throughout and, along with a dispassionate delivery and vocals bereft of emotion – something all the more intriguing when you consider their inspiration and subject matter – gives everything a thoroughly modern, and very now, sheen.

Trouble is, it leaves everything feeling a little cold, and by the time ‘Rivers Of Blood’ flows into view, the monotonous intonation of Thomas Wegg-Prosser has long since left you bemoaning the lack of melody. They’ve upped the tension by ripping out the joy, and although a more mature, grown up effort, the lack of any standout tracks and the joie de vivre of ‘WHB’ makes it a somewhat underwhelming listen. Perhaps they need to trust their instincts more, or perhaps they just need to stop trying to hitch that ride. Either way, they promised a great leap forward, and this isn’t it.]]> 2012-01-30T17:06:11+00:00 http://www.thisisfakediy.co.uk/articles/albums/errors-have-some-faith-in-magic http://www.thisisfakediy.co.uk/articles/albums/errors-have-some-faith-in-magic
This can be heard on the stand-out track ‘Magna Encarta’. There’s a lot going on, from Abe Vigoda-esque tropical guitar to the bend of meaty chords at its climax, which almost seems like a nod to the band’s label bosses Mogwai. It also includes a new addition to Errors’ armory, vocals. Not exactly lyrics, but an echoey call that is featured on a few of the tracks. It adds a necessary layer, giving the songs a human touch that focuses your attention.

Later on the record, there are moments where the driving electronics spark memories of old video games (‘The Knock’) and 80s action films (‘Earthscore’), but at no point does it sound retro. However, with its accessible sound and occasional pop touches it does feel lacking a single that could cross over to a wider audience. Not something that would see the band dumbing down, but a track like ‘Atlas’ by Battles or Holy Fuck’s ‘Lovely Allen’ that could take them to another level. Although I’m sure long-term fans of Errors will not be too bothered by this.

Bookending the album’s prodigious opening, is closing track ‘Holus-Bolus’. It is grand in scale, but not in an epic post-rock style; like many of the songs on ‘Have Some Faith’ it creates a high rather than peak. It’s a great album to kick off 2012. And with its warmth and energy, it will easily see you through these cold winter months.]]> 2012-01-30T15:35:40+00:00 http://www.thisisfakediy.co.uk/articles/albums/django-django-django-django http://www.thisisfakediy.co.uk/articles/albums/django-django-django-django
It’s no surprise, as that paragraph suggests, that ‘Django Django’ is an outlandish LP. Opener ‘Introduction/Hail Bop,’ with its schizophrenic synths and punchy latter half, just screams ‘Made in the Dark’ era Hot Chip, whilst ‘Zumm Zumm’ sounds like Alexis Taylor and co living it large in a tropical paradise. Better yet is single ‘Default’ – a cacophony of the most wonderfully eccentric robotic samples. Meanwhile ‘Waveform’ has deep harmonies and zorbing bass lines redolent of Everything Everything, and as ‘Life’s a Beach’ suggests, they replicate the Beach Boy’s trademark surf pop in spectral perfection.

‘Django Django’ is a true DIY record: bedroom recorded with certain samples formed from Sellotaped vinyl, its ramshackle eccentricity only cements the band’s peculiar personality further. ‘Firewater’ takes Super Furry Animals’ ‘Golden Retriever’ and transforms it into a cool, swaggering acoustic number, whereas ‘Love’s Dart’ and ‘Hand of Man’ sees them become a tamer Beta Band circa ‘Hot Shots II.’

Despite the rather gimmicky ‘Skies Over Cairo,’ ‘Django Django’ is the debut every band should make. Filled with enough “WTF!?” moments, the former art school student’s debut is interesting as the band themselves. It’s the perfect embodiment of their character delivered at an often frantically infectious pace.]]> 2012-01-30T14:32:34+00:00 http://www.thisisfakediy.co.uk/articles/albums/the-2-bears-be-strong http://www.thisisfakediy.co.uk/articles/albums/the-2-bears-be-strong
There is certainly no doubting both Goddard and Rundell’s credibility when it comes to dance music and it’s clear that they are both very much aficionados of dance music in all its forms. In direct contrast to a lot of contemporary dance music the sound of ’Be Strong’ is predominately retro, influenced by 1980s Chicago house and labels like Trax Records. There is very little experimentalism, just straight up house music, giving the album an almost constant upbeat party vibe. The retro sound can be most explicitly heard in the single ‘Work’ with its relentless piano riff and disco diva vocals. This is a single that could easily have came straight from the summer of 1988.

Perhaps the most interesting aspect of the album is Raf Rundell’s vocals that seem to be performed in a strange deadpan style reminiscent of Ian Dury. Rundell’s curious and mundane style gives tracks like ‘Time In Mind’ a quaint and deeply English quality, and provides a striking juxtaposition between provincial sounding vocals and upbeat dance floor anthems. It is a refreshingly charming sound that provides much of the enjoyment on ‘Be Strong’.

The album certainly does sound very impressive and its take on upbeat party dance music is infectious; however, there is a nagging feeling that something is lacking when it comes to song writing - it often veers dangerously close to pastiche. Perhaps it needs someone like Goddard’s Hot Chip partner Alexis Taylor to balance out the exuberant party music with a little bit of subtlety and song craft.

The album's best tracks are the few moments when the pace drops, the languid, loping funk of ‘Warm & Easy’ sounds just like the title suggests and the steel drums of closing track ‘Church’ are a nice touch which brings the album to a lovely warm and uplifting close.

‘Be Strong’ may not offer any invention or progression but as a collection of exuberant, joyful and uplifting dance music it is certainly the perfect record to light up those dark winter nights and look forward to the summer, perhaps a little bit of novelty value and a few good tunes are all you need.]]> 2012-01-30T13:13:10+00:00