Bear In Heaven – Beast Rest Forth Mouth

Bear In Heaven - Beast Rest Forth Mouth

Bear In Heaven

Beast Rest Forth Mouth

Released: Nov 13 2009

Genre: Post-Rock/Experimental/Indie

Label: Hometapes

Rating: 4.0/5

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Beast Rest Forth Mouth, the second full-length studio album from Bear In Heaven, has offered plenty for critics to drool over — the use of progressive, experimental vibes has resulted in a refreshing 41 minutes of highly admirable and atmospheric indie rock. The Brooklyn based four-piece, fronted by Jon Philpot, have successfully recorded an album that is consistent yet brilliant. The generally slow-paced tempo of tracks takes nothing away from the powerful effect of the album; ‘Lovesick Teenagers’ being a great example of how strong and sincere vocals along side atmospheric drum patterns can result in a highly refreshing end-product.

‘Complex’ is no adjective suited to this album, however, ’simple’ would be equally inadequate — Bear In Heaven haven’t offered anything that is new, as such; but an album that offers diversity through its varying dynamics, specifically in the vocal quarter. Philpot’s vocals remain sincere throughout, however, manage to fluctuate from the intoxicated, continuous chants of ‘Dust Cloud‘, to the choppy vocals in album opener ‘Beast In Peace‘, leading to an emphatic falsetto chorus.

The diversity of Beast Rest Forth Mouth takes it from simply being a ‘good experimental album’, to a journey; perhaps not the most exciting of the last decade, but certainly an audible adventure from a relatively unknown four-piece (certainly in Europe) that, with one release, have captured the imaginations of many. Bear In Heaven are no longer a band with potential, they’re a band that listeners and fans will be eager to hear more from in the future — be it through more studio releases or expansive touring.

~ Article by James Murray

 

Top 50 Tracks of 2009

Sound-Revolution Top 50 Tracks of 2009

2009 has certainly been a refreshing year for music, big names Arctic Monkeys and Kasabian releasing hyped albums, while new kids The xx and Wild Beasts made their mark on the British music scene. Needless to say, some acts were more pleasing than others. Whether it was 80’s sounds from uprising bands or innovative attempts from big names, 2009 has been a year of some brilliant new music and plenty of uncreative dross. Sound-Revolution explores the best 50 tracks of the past year.

#50

Wavves – So Bored

Wavves - So Bored

California based lo-fi band, Wavves have made an impact this year. For a band formed in 2009, ‘So Bored’ is one of the most original and creative tracks of the year. Debut album Wavvves has been a great success for Nathan Williams, with help from touring assistant Ryan Ulsh, and of course, a little bit of Pitchfork exposure…

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#49

Jamie T – Sticks ‘n’ Stones

Jamie T - Sticks N Stones

A catchy, remeniscent song about British culture. Jamie Treays ‘ 2009 album Kings and Queens was subject to critical acclaim, Sticks ‘n’ Stones being the stand-out track. Who can really argue with a song that tells a story through an up-tempo summer-time party track?

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#48

Muse – Uprising

Muse - Uprising

2009 marked the year of The Resistance for Muse, a big-name band experimenting with new styles. The Resistance, despite varied critical response, was a pretty successful and solid album, regardless of a change in style. The futuristic sounds of Uprising, the album opener, definately deserves a place in the top 50.

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#47

Röyksopp – Happy Up Here

Röyksopp - Happy Up Here

Short but sweet. Happy Up Here, as implied, is one of the most cheerful and uplifting tracks of the year… if not the decade. The Norwegian duo certainly know how to make a varied album, 2009 release Junior is a diverse electronic album, filled with ambient, chillout and uplifting tracks.

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#46

Paramore – Ignorance

Paramore - Ignorance

Paramore are by no means a new band, however, 2009 has seen Halyley Williams and co. gain a very healthy fan base. Twilight’s impact on their success, with it’s cult following of teenage girls has certainly transferred to the band’s success, however, shouldn’t be taken away from the success of brand new eyes.

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#45

HEALTH – Die Slow

HEALTH - Die Slow

Noise rock band HEALTH released Get Color in September. It gained a good reception from all major online critics, including Metacritic and Drowned In Sound. The eccentric sound of HEALTH is an example of the truly refreshing music of 2009.

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#44

Editors – Papillon

Editors - Papillon

The idea of Editors going electronic, understandably left many fans left slightly skeptical surrounding the outcome of Editors 2009 album release, In This Light and On This Evening. As ever, when a typically indie band follows trend and tries an electronic-esque style, response is varied; however, Papillon proves that a switch in style can certainly be perfected.

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#43

Gallows – Misery

Gallows - Misery

Hardcore punk kings, Gallows, are at the forefront of the British hardcore scene, and the release of 2009 album Grey Britain helped keep the five-piece on top of the game. Vocalist, Carter, wrote Misery when he was at his ‘lowest ebb’. The breakdown and downright instrumental aggresson puts this super-heavy track nicely in the top 50.

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#42

Golden Silvers – True Romance

Golden Silvers - True Romance

Light hearted alternative rock makes great listening, and this debonair trio know exactly how to create mellow, warming music. The 70’s disco style of several songs throughout True Romance, including the album titled track gives the song a nostalgic, yet positive sound. An up-beat, serene track that’s enough to place a smile on any face.

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#41

Jay Z + Alicia Keys – Empire State of Mind

Jay Z - Empire State of Mind

Jay-Z is without a doubt one of the biggest names in rap, and The Blueprint 3 is an album packed with great production and plenty of renowned guest vocals. The Blueprint 3 is a great universal album, less cultured than the majority of rap, opening Jay Z’s music to a wider audience who can appreciate and absorb the great vibes of tracks such as Empire State of Mind.

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#40

Frank Turner – The Road

Frank Turner - The Road

The Road is a great acoustic folk record from UK solo artist Frank Turner. Since starting out in 2001, Frank Turner has gradually built up a solid fan base, focusing on a genre of music that gets little exposure. The first single release from Poetry of the Deed has recieved recognition from the likes of Radio1 and NME

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#39

2562 – Lost

2562 - Lost

2009 has been a great year for dubstep, bringing the genre to the attention of the UK audience, as well as the likes of US hip-hop stars, Snoop Dogg and The Wu-Tang Clan. 2562 is situated in Amsterdam, a greatly talented dubstep producer with an incredible album, Unbalance.

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#38

Placebo – Ashtray Heart

Placebo - Ashtray Heart

2009 has been a great year for Placebo. The three-piece had success with their latest album Battle For The Sun, with the replacement drummer, Steve Forrest, and a successful UK tour including Reading and Leeds Festivals. Ashtray Heart, was the original name of the band, and now also a great single.

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#37

Grammatics – Relentless Fours

Grammatics - Relentless Fours

This four-piece from Leeds have proven themselves in 2009. Grammatics are a band that clearly understand music; their self-titled album is lyrically and instrumentally complex and dynamic – a musical journey. Touring with Bloc Party has given them great exposure. Relentless Fours is a beautifully crafted six minutes of orchestral indie rock.

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#36

Dan Black – Symphonies

Dan Black - Symphonies

2008 first gave way to Dan Black, after his previous band The Servant split up. Dan Black went on to create HYPNTZ, a mash up of Rihanna and Notorious B.I.G. 2009 saw the release of the solo pop artist’s debut album Un, still waiting on significant success, Dan Black is a great electropop artist.

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#35

Biffy Clyro – That Golden Rule

Biffy Clyro - That Golden Rule

Released ahead of November release, Only Revolutions, That Golden Rule let fans know that the forthcoming album was going to be speical. The distinctively heavy sound of That Golden Rule and powerful guitar riff makes it a great alternative rock track.

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#34

Dirty Projectors – Stillness Is The Move

Dirty Projectors - Stillness Is The Move

Dirty Projectors’ 2009 release, Bitte Orca has recieved an insane amount of critical acclaim. End of year lists including the likes of Pitchfork have placed this album in the top 5 of the year. Stillness Is The Move is the most pop-orientated track from the album, surrounding the fear and comfort of ’settling-down’.

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#33

Green Day – East Jesus Nowhere

Green Day - East Jesus Nowhere

2009 album release, 21st Century Breakdown was one of the big artist releases of the year. With a huge tracklist of 18 tracks, the likliness of a few great songs was high – East Jesus Nowhere was one of these. With a a heavy opening guitar riff and powerful chorus this is the Green Day we know well.

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#32

Enter Shikari – Zzzonked

Enter Shikari - Zzzonked

Enter Shikari have enjoyed 2009, the year of their second album, Common Dreads, and a large-scale UK tour. Zzzonked illustrates the band’s continued desire to cause musical havoc, on top of their newly emphasised political stance.

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#31

Duck Sauce – AnYway

Duck Sauce - AnYway

The electro-house soundtrack to the summer of 2009. The collaberation of Duck Sauce, A-Trak and Armand Van Helden, brought us a funky house track remeniscent of 80’s disco. Hopefully Duck Sauce will be a project that continues throughout 2010.

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#30

Muse – Unnatural Selection

Muse - Unnatural Selection

The mid-album track on The Resistance, Unnatural Selection, contrasts in many ways to the rest of the release. Less innovative than the rest of the album, Unnatural Selection is a raw sounding typical Muse track; fast-paced guitar riffs, powerful vocals and an epic breakdown.

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#29

The Ghost of a Thousand – Bright Lights

The Ghost of a Thousand - Bright Lights

The follow up to the band’s debult album; This Is Where The Fight Begins, brought us a heavier sound than we were used to, but certainly not a disappointing one. New Hopes, New Demonstrations is one of the best metal albums of the year, by a band that are still overlooked despite recognition from Q and Kerrang.

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#28

The Skints – Culture Vulture

The Skints - Culture Vulture

Still practically unheard of, The Skints have released an amazingly powerful reggae punk album this year. Only recieving recogntion from Sound-Revolution and Punktastic, Live.Breathe.Build.Believe is a politically relevant and musically sublime debut album, that could potentially open-up a genre to a whole new audience.

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#27

The Dead Weather – Treat Me Like Your Mother

The Dead Weather - Treat Me Like Your Mother

Alternative rock group, The Dead Weather, is a supergroup, featuring Alison Mosshart, Jack White, Dean Fertita and Jack Lawrence. Along with one of the best music videos of 2009, Treat Me Like Your Mother, is a lyrically powerful track, with raw sounding, garage rock elements.

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#26

Sonic Boom Six – The Concrete We’re Trapped Within (It’s Yours)

Sonic Boom Six - The Concrete We're Trapped Within (It's Yours)

Sample-tastic City of Thieves, is a political punk-rock album. The five-piece (after vocalist and guitarist Ben Childs recently left the band) have made great progress this year. For a band differing so greatly from commercial and mainstream punk, SB6 have played a UK tour and even got the opening slot at Reading and Leeds festivals.

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#25

The Prodigy – Take Me To The Hospital

The Prodigy - Take Me To The Hospital

Invaders Must Die was without a doubt one of the most energetic, rave albums of 2009. Take Me To The Hosptail is an electronic, breakbeat anthem, and a track within an album that will surely be played in years to come. A host of fantastic live performances at festivals across the world helped place this track in the top 50.

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#24

Them Crooked Vultures – No One Loves Me & Neither Do I

Them Crooked Vultures - Mind Eraser, No Chaser

The second super group in the top 50 is Them Crooked Vultures. Some of the biggest names in music including Josh Homme and Dave Grohl form the alternative hard rock group, and regarding the ridisculously high expectations from music fans, Them Crooked Vultures delivered, with an album filled with instrumental talent.

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#23

The Drums – I Felt Stupid

The Drums - I Felt Stupid

Brooklyn based duo, The Drums, were named “New York’s official Collest New Band” by NME, on top of recogniton from Rolling Stone and The New York Times. 2009 saw the release of The Drums’ debut EP, and with NME’s seal of approval we can expect to see these contageous indie rockers visit the UK in  2010.

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#22

Miike Snow – Animal

Miike Snow - Animal

Swedish electropop group Miike Snow have recieved great amounts of exposure this year, with two greatly recieved singles, Animal and Black and Blue, both tracks from the debut, self-titled album. With band members producing tracks for the likes of Britney, Kylie and Madonna, the high standard production levels are to be expected.

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#21

Mumford & Sons – Little Lion Man

Mumford & Sons - Little Lion Man

Indie folk outfit, Mumford & Sons, started up in 2007, and 2009 and has seen the release of debut album, Sign No More and ever-more popular track, Little Lion Man. Indie folk is rather different to the majority of tracks that gain commercial success, but this powerful folk song has offered a refreshing outlook on music for many listeners.

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#20

Alexisonfire – Young Cardinals

Alexisonfire - Young Cardinals

Alexisonfire are one of the biggest names behind the Post-hardcore tag, 2009 release, Old Crows Young Cardinals, re-enforcing their stature. The powerful vocals of Dallas Green and harsher vocals of George Pettit create tracks of melodic chaos.

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#19

Dizzee Rascal – Bonkers

Dizzee Rascal - Bonkers

Dizzee Rascal has taken the hip-hop scene by storm this year, with the release of his latest album Tounge N’ Cheek. Numerous releases including Bonkers contain elements of house and electro, forming an album full of party-perfect tracks. Previously focusing on rap and grime, Dizzee’s turn to pop has resulted in a great year of success.

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#18

Passion Pit – The Reeling

Passion Pit - The Reeling

US five-piece, Passion Pit, have reached out to the world with their electro-indie 2009 release, Manners. Catching on to the flow of electro influenced indie that emerged from the UK in early 2009, Passion Pit were successful in delivering a fresh sound to the UK and Europe with tracks such as The Reeling.

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#17

The Horrors – Scarlet Fields

The Horrors - Scarlet Fields

The bizzarre sounds of Primary Colours immediately grabbed the interest of the UK audience in April 2009. The horror-punk sounds of Scarlet Fields delivers a sound similar to no other band, making it without a doubt one of the most original tracks of the year.

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#16

The Big Pink – Too Young To Love

The Big Pink - Too Young To Love

Electro-rock duo, The Big Pink, are known for gritty beats and dreamy vocals. 2009 album release, A Brief History of Love, showcased The Big Pink’s talents to create epic sounding, abstract tracks, and earned them the place of sole support for Muse’s The Resistance tour.

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#15

Yeah Yeah Yeahs – Zero

Yeah Yeah Yeahs - Zero

Electro-pop group, Yeah Yeah Yeahs, have made their impact on pop music this year with the release of their album, It’s Blitz! The American bands third album has been listed in the top 5 best albums of 2009 by Spin and NME. The three-piece have transferred their music over to the UK audience through appearing at various music festivals.

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#14

Animal Collective – My Girls

Animal Collective - My Girls

Late 2009 has seen a great amount of critical praise head in the way of New York, experimental indie group, Animal Collective. The release of Merriweather Post Pavilion has really captured the European audience with its addictive melodies. My Girls has been voted the #1 track of 2009 by Pitchfork.

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#13

Metric – Help I’m Alive

Metric - Help I'm Alive

Metric are one of the most addictive bands of 2009. The release of their fourth album, Fantasies, has been shortlisted for the 2009 Polaris Music Prize. The band is lead by the female vocals of Emily Haines, with simplistic lyrics and riffs that will stay in the memory.

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#12

The Antlers – Kettering

The Antlers - Kettering

One of the most beautiful bands of the year, The Antlers have come out of nowhere with an album that has crossed the world in no time at all. Pitchfork initially outlined the greatness of their album Hospice, an album fronted by truly incredible vocals from Peter Silberman. Hospice is an album that every listener should give a chance.

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#11

Bat For Lashes – Daniel

Bat For Lashes - Daniel

The chillingly beautiful Daniel by Bat For Lashes is the fronting single from 2009 album, Two Suns. Hertfordshire based Natasha Khan uses her voice over dreamy and orchestral instrumentals with a solid beat pattern, creating a rythmic and glamorous end product.

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#10

The Temper Trap – Sweet Disposition

The Temper Trap - Sweet Disposition

Indie rock band hailing from Melbourne, The Temper Trap, have delievered a contageous and elegant debut album. 2009 album Conditions is full of catchy, fun anthems, fronted by the powerful falsetto vocals of Dougy Mandagi. Sweet Disposition is a powerful single that has captured them a great deal of positive attention.

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#9

F**k Buttons – Surf Solar

F**k Buttons - Surf Solar

This two-piece experimental duo have released an oddly danceable, abstract, album. Tarot Sport is an album of up-beat electronic tracks, busily produced offering a distorted sound, while maintaing positive melodies. Surf Solar is a highly abstract track that in all its complexity is suprisingly very listenable.

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#8

Wave Machines – I Go, I Go, I Go

Wave Machines - I Go, I Go, I Go

The feel-good track of 2009, I Go, I Go, I Go, is an all-year happy track, that through its simple yet powerful vibes is enough to turn anybody’s day around. Wave If You’re Really There is a simplistic album full of memorable indie tracks from the Liverpool based Wave Machines.

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#7

White Lies – Fairwell To The Fairground

White Lies - Fairwell To The Fairground

2008 saw White Lies gain some large scale recognition with To Lose My Life… their debut album release. 2009 release, Fairwell To The Fairground, is an epic indie track, with powerful vocals and an incredible breakdown, “keep on running, there’s no place like home, there’s no place like home”. White Lies are a band that everyone can’t wait to see more from in 2010.

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#6

The Horrors – Mirror’s Image

The Horrors - Mirror's Image

The hauntingly dark Mirror’s Image is the opening track from The Horror’s 2009 critically acclaimed album Primary Colours. Mirror’s Image creates a mood that persists throughout the entirety of an incredible album that subverts the sounds of generic indie rock, replacing it with sinister horror punk.

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#5

Wild Beasts – Hooting & Howling

Wild Beasts - Hooting & Howling

Kendal based Wild Beasts released their 2009 album Two Dancers in August. Two Dancers has been subject to a great amount of critical acclaim from almost all major critics, Hooting & Howling being the first single release. Wild Beasts are a very powerful band who are vocally sublime, with equally excellent lyrics.

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#4

Phoenix – 1901

Phoenix - 1901

French indie-rockers, Phoenix, have released a stunning 2009 album, Wolfgang Amadeus Phoenix. With incredible, catchy tracks such as 1901, and Lisztomania, along side down-beat instrumentally beautiful tracks; Love Like A Sunset Part 1 and Part 2 – it’s difficult not to be admirable of the success Phoenix have had over the past year.

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#3

Kasabian – Underdog

Kasabian - Underdog

West Ryder Pauper Lunatic Asylum was one of the most hyped albums of 2009, but regardless of the wait Kasabian fans had between Empire and the 2009 release – it was definately worth it. Underdog is an indie anthem from one of the biggest names in British rock, thanks to an incredible year of remarkable live and studio music.

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#2

Florence + The Machine – Rabbit Heart (Raise It Up)

Florence + The Machine - Rabbit Heart (Raise It Up)

One of the most successful groups of the year, Florence + The Machine, have released a brilliant debut album, Lungs. The album has been in the UK charts for 22 consecutive weeks, and that on top of a host of amazing festival performances marks them as one of the best breakthrough acts of 2009. Florence Welch seems pessimistic about her future music career, but new material anywhere close to the spectacular sound of Lungs will only further excel the groups reputation.

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#1

The xx – Islands

The xx - Islands

Sound-Revolution’s breakthrough band of 2009, The xx, have imposed themselves on the UK music scene this year. Practically unheard of in January, debut album release xx resulted in huge-scale critical acclaim, with incredible amounts of backing from BBC Radio1. xx is an extremely mellow album, with experiemental melodies and electronic aspects. The sound of The xx is very minimalistic, but its simplicity has acted as a refreshing change from the generic sounds of alternative rock; illustrating how bands can be successful when they strip down elements of their music and simply focus on the raw, simple sounds. It will certainly be interesting to witness how The xx’s music evolves in 2010.

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Dom & Roland – No Strings Attached

Dom and Roland - No Strings Attached

Dom and Roland

No Strings Attached

Released: Nov 23 2009

Genre: Drum and Bass/Techstep

Label: Dom and Roland Productions

Rating: 3.6/5

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Dominic Angas, better known as Dom and Roland (Roland being a reference to his sampling equipment) is a major supporter and creator of Techstep, a sub-genre of drum and bass – noticeable through its dark, sci-fi elements. The most recent release from the Techstep proponent is entitled No Strings Attached, an LP that delivers admirably in terms of creativity.

The opening track, Mind Feeders, instantly opens the gateway into Dom and Roland’s world of Techstep, with a sinister, choppy melody backing female vocals. Unlike the majority of tracks on the No Strings Attached release, Mind Feeders is a heavy, dense drum and bass anthem. Tajitsu, in contrast to the LP opener is an intense, progressive track. Tribal drum samples add to the intimidating sound of the track, progressing into a beautiful arrangement of dark sci-fi samples.

Angas has certainly attempted to create a release full of unheard, attention-grabbing tracks. The likes of Ice Age, with an aggressive bass line underlying a fairly un-rhythmic yet fitting drum pattern, illustrates the originality of the LP. The most out-standing track in terms of originality is without a doubt Odd Job. Reminiscent in terms of production to Mistabishi’s Printer Jam, an array of abstract samples creates a final product that is innovative and remarkable in terms of creativity.

As far as Techstep goes, No Strings Attached is a well-produced, interesting album. Although tracks are highly creative, many are fairly unsuitable for nightclubs, as the stretch to create something original has resulted in a range of oddly produced abstract tracks. Interesting and appraisable, but in no way ‘timeless’; this album will have you inspired at first, but unfortunately, for all other than those ‘Techstep junkies’, it will soon lose its appeal.

~ Article by James Murray

 

The Skints – Live.Breathe.Build.Believe.

The Skints - Live.Breathe.Build.Believe

The Skints

Live.Breathe.Build.Believe

Released: Nov 09 2009

Genre: Reggae/Punk

Label: Rebel Alliance

Rating: 4.3/5

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London based four-piece, The Skints, are a new reggae/punk outfit. Recently touring with Sonic Boom Six has given the young group some small-scale exposure, selling merchandise at events and promoting their debut album – Live. Breathe. Build. Believe.

The Skints don’t create music that seeks mainstream success, evident not only through the bands name, but also through the genre of music being created. The unique selling point of this album isn’t the bands musical style, but the lyrical validity. The Skints have created a very sellable album. With both a political and rebellious stance, the London four-piece passionately question and challenge society and British youth, “too much violence and bloodshed in my hometown, in my hometown”.

Although the lyrics offer the most in terms of originality, the instrumental side of The Skints shouldn’t be overlooked. The influence of early reggae and punk/ska has resulted in a vintage sound, with similarities to the likes of Operation Ivy and Bob Marley.

On-stage The Skints are immaculate, with the ability to recreate the raw sounds of the album in perfect clarity. Perhaps after the debut album tour The Skints will begin to receive some recognition, as their music not only has the potential to connect with new listeners, it also has the potential to attract a younger audience to a different style of music.

~ Article by James Murray

 

2562 – Unbalance

2562 - Unbalance

2562

Unbalance

Released: Aug 18 2009

Label: Tectonic

Genre: Dubstep/Electro

Rating: 4.2/5

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Dubstep, to the uninformed casual listener, would underline Caspa, Rusko and Burial as the pioneers and kings of the genre. A few hours flight to the east of London lays Amsterdam, the home of 2562, where it seems the style of dubstep varies radically. Unbalance is the second studio album, following Aerial (2008), the latest’s evolution and positive progression in production being more than evident in its aptness.

The introductory track, despite its short length, offers an insight into the industrial sounds that the album offers. As the album progresses the enigmatic production creates a vast amount of diversity, for a genre that some may class as fairly confined. The elements within each track are crafted so sublimely that many are almost inaudible, yet rhythmic enough to be unconsciously identified. Stand-out track Lost, the albums third, offers complexity and talent, showcased majestically with the help of dreamy female vocals. Dubstep is difficult to comprehend when explained to be ‘beautiful’ or ‘dream-like’, but the production of Unbalance speaks for itself.

Unbalance is far away from party music, but far more suited to home-listening. The depth of each track offering a new journey of beats and absurd samples, offering reflection for the psychopathic listener – perhaps somewhat comparable to Aphex Twin, with the layered, urban qualities of each track.

For a producer to latch on to a genre that is still fresh in its root country, create two albums and get significant attention outside the country of production doesn’t come naturally. 2562 has not only encompassed dubstep into his intricate productions, he’s re-mastered our view of the genre as a whole.

~ Article by James Murray

 

Muse, Sheffield Arena, The Resistance Tour

Matthew Bellamy, Muse at Sheffield Arena

Muse (The Resistance Tour)

Venue: Sheffield Arena

Location: Sheffield

Date: Nov 04 2009

Label: Helium 3/ Warner Bros.

Rating: 4.9/5

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Muse are undoubtedly listed as one of the best live acts in the world in recent articles and equally reflected in music awards. 2006 was the last time Muse played a major UK tour; therefore it came as no surprise when standing tickets sold out within a few hours of release. The sole support throughout the tour is The Big Pink, new London based band who have recently released their debut album.

It takes something special for a new band to play in front of an audience of over 10.000, but Muse clearly knew what they were doing when they approached the duo. The Big Pink have a great on-stage presence, the vocal clarity and perfection audible on their album ‘A Brief History of Love’ is wonderfully reflected live – these are early signs of a band that have the potential to have a significant impact on UK indie rock. Perhaps if shoegazing is viewed as a negative aspect of a modern band, then this would be a weaker point, and single dissatisfaction of the performance.

An emphatic entrance always helps to liven up the mood, and the set-up was something beyond spectacular – Matt Bellamy and co revealed, stood on platforms within three separate towers, before breaking into new album opener ‘Uprising’. The lighting and Hi-Tec equipment allowed fairly ridiculous mobility, moving up and down the towers and around the stage between songs. As well as the equipment, the sound and lighting failed to disappoint, powerful laser and strobe lighting always adds something great to the atmosphere of large-scale concerts.

The set-list was well-balanced, playing a majority of tracks off newest release ‘The Resistance’ however, including most of the hit singles from previous albums (despite a lack of ‘Bliss’ and ‘Invincible’). Bellamy’s strumming is a privilege to witness, guitar extraordinaire doesn’t do this man justice. The final encore offered the jaw-dropping ‘Knights of Cydonia’, a surreal finale to a performance that could be matched by very few bands of today.

~ Article by James Murray

 

Enter Shikari, 02 Academy Sheffield, Common Dreads Tour

Enter Shikari, 02 Academy Sheffield

Enter Shikari (Common Dreads Tour)

Venue: 02 Academy

Location: Sheffield

Date: Oct 15 2009

Label: Ambush Reality

Rating: 4.6/5

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St Albans based Enter Shikari are receiving some of their best publicity since the beginning of their careers began back in 2003. The release of Common Dreads and its generally positive critical response has put the four-piece in a great situation, and as a result hundreds of people were queued outside the academy in anticipation for a band renouned to be one of Britain’s most energetic on-stage.

Support from dubstep outfit True Tiger and hardcore group The Devil Wears Prada clearly offered two very contrasting styles of music. At the time, placing such different bands on-stage seemed somewhat bizarre, however, in after-thought it is clear to recognise that Enter Shikari booked two groups that form the extreme genres of their own hybrid – an electronic/hardcore crossover. By appealing to two bands so dissimilar, it was unsurprising that both received mixed reactions. True Tiger played some of the UK’s biggest dubstep tracks of this year, however, the energy displayed on-stage by a man seemingly hired to do no more than dance and shout down a microphone failed to be reflected with the crowd. Dubstep might not be a fast-tempo music genre, but True Tiger didn’t receive half the recognition they would’ve in a club. The Devil Wears Prada displayed an extremely heavy hardcore set, packed with heavy riffs, throat churning screams and some good old synchronised head-banging. The peripheries of the room seemed to be somewhat amused by the on-stage synchronisation, however, towards the front of the stalls were plenty of dedicated fans causing chaos and tumult in preparation for Enter Shikari.

The set opened with, somewhat predictably, the Common Dreads self titled opening track. ‘Common Dreads’ was played out loud as the St Albans group prepared to get the crowd moving with the new album fan favourite, ‘Solidarity’. The opening two songs sent the atmosphere straight up, “and now the floodgates will open” was seemingly lead vocalist Rou’s code phrase to tell the crowd to go crazy, the crowd and band alike kicking into action. Playing a high proportion of tracks off the new album and the singles from debut album Take to the Skies offered a good variety of style, for a (it must be said) rather animalistic crowd. Dubstep interlude tracks, Havoc A and Havoc B offered a refreshing break from testosterone fuelled carnage, giving people a moment to remember their own sanity before smashing into each other again with the likes of debut album heavy tracks ‘Labyrinth’ and ‘Mothership’.

The encore consisted of recent hit single ‘Juggernauts’, which went down well with the crowd, maintaining high energy levels right until the conclusion. Enter Shikari are a great band in the studio, and a good band on-stage; if an energy packed, intense crowd atmosphere appeals to gig-goers then wherever Enter Shikari are next is the place to be.

~ Article by James Murray

 

Bloc Party, 02 Academy Sheffield, Bloctober Tour

Bloc Party, 02 Academy Sheffield

Bloc Party (Bloctober Tour)

Venue: 02 Academy

Location: Sheffield

Date: Oct 10 2009

Label: Wichita Recordings

Rating: 4.3/5

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Sheffield was the seventh gig of Bloc Party’s Bloctober UK tour. With uprising alternative rock outfit Grammatics being the sole support, it looked set to be an exciting night of live music. Doors opened at seven, and Grammatics took to take to the stage at eight. The seemingly endless wait for the band to arrive did the Leeds four-piece no favours, proceeding to play their opening song ‘Shadow Committee’ to a rather static and unenergetic crowd.

Regardless of disappointing time management, it was not long before the crowd began to realise that this hyped band really do possess a talent worthy of media attention, putting on a fantastic set filled with orchestral rhythms and the reverberating falsetto of main vocalist Owen Brinley. The on-stage harmony between the vocals of Brinley and cello player Emila Ergin created an eccentric yet powerful musical display on stage, an odd yet suitable band to set an eager atmosphere for the soon-to-come Bloc Party set.

The set list was received gratefully by the majority of Bloc Party fans – offering a selection of material from across all three albums, including the less predictable ‘Price of Gas’ and more recent ‘Zephyrus’. An even distribution of album material selection was certainly intentional and justifiable as the tour was ‘Bloctober’ as opposed to a solid Intimacy tour; Interviews with lead singer Kele reinforce the bands gig preferences, as they often claim to become quickly bored of playing the same material often.
Energy levels were raised significantly and sustained throughout the gig. The distinguishably young audience, as noticed by Kele, seemed adamant on creating havoc in the middle of the room – with lots of activity to adrenaline boosting songs such as ‘Helicopter’ and ‘One Month Off’.

The show encore was rather brilliantly clichéd in the “where are you going?”, “oh no you don’t” approach set by Kele, followed by ‘Helicopter’ and then once again with ‘This Modern Love’. Although the end of the show was somewhat reminiscent of a naff pantomime, it was still somehow great, simple yet fantastic entertainment alongside an overall good live performance. Bloc Party’s shows don’t vary much. Mid-set rambling and similar set list structure seem to be present at every performance; however a good quality of entertainment is always present, perhaps just becoming a little monotonous to the regular witness.

~ Article by James Murray

 

Leeds Festival – Sunday

Leeds Festival 2009

Leeds Festival (Sunday)

Date: Aug 30 2009

Institution: Festival Republic

Sponsers: Radio 1, NME, Tuborg, HMV, Relentless, Gaymers

Rating: 4.8/5

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After a brilliant previous two days of live music, a fatigued crowd gathered at the front of the main stage for Manchester punk ska group, Sonic Boom Six. Known to the fans as ‘SB6′, the five-piece have been touring since 2002/03, however, opening the main stage at Reading and Leeds has become one of the greatest milestones in their musical careers. Lead vocalist, Laila Khan ran out onto the stage to kick off the day of music, playing a variety of tracks from new release ‘City of Thieves’. The crowd soon got involved, despite the drab weather, with several circle pits and plenty of crowd interaction for a midday, prominently hung-over audience.

The lock-up stage, reverted to a punk schedule following Saturdays replacement to dance and electronic acts, saw hardcore punk outfit The Ghost of a Thousand take to the stage. With recent release of their second album, ‘New Hopes, New Demonstrations’, displaying a heavy sound similar to that of modern British hardcore punk kings Gallows, The Ghost of a Thousand were clearly prepared for a half hour set of heavy riffs and crowd carnage. Lead vocalist Tom Lacey let the crowd know exactly how he felt about the low crowd activity throughout the opening song, jumping the crowd barrier and starting a mosh pit in the middle of the spacious tent. The gig continued, with great crowd interaction and a strong live performance from the five-piece. The band concluded the gig with their thus-far most successful single – ‘Black Art Number One’, shortly after a ridiculously sized ‘wall of death’ from the crowd.

Canadian punk/ska punk group The Flatliners took to the stage early afternoon. Despite a moderately sized crowd and an understandable lack of crowd energy after The Ghost of a Thousand’s slot and the time of day after a long festival, The Flatliners displayed a good live performance. With two albums and a forthcoming third album, The Flatliners had plenty of tracks to play with, fitting a variety of tracks from the ska punk influenced debut to the less-so ska influenced second studio album.

Placebo and Brian Molko’s presence at this years Reading and Leeds was under some debate just weeks before the festival due to a cancellation of the US tour, after the lead singer collapsed on-stage, being given a recovery time of six weeks. Regardless of speculation that Placebo would not play Reading and Leeds, an announcement was put up on the bands official website as confirmation for appearing at Reading and Leeds festivals; and Molko’s illness certainly had no negative effect on the performance. Molko’s vocal’s were brilliantly projected throughout, also with new band member Steve Forrest putting on a great drumming performance. Classics such as ‘Infra Red’ were played as well as new singles ‘Battle For The Sun’ and ‘For What It’s Worth’, overall one of the stand-out performances of the weekend.

The political punk-rock four-piece, Anti-Flag from Pennsylvania were formed in 1988, and have had steady success since, never quite reaching the mainstream audience. Since 2005, Anti-Flag signed with a major music label, and in the eyes of many this was seen as a hypocritical move by a band that stood up for the working class and anti-capitalist lyrics. Despite criticism, since signing with a major label, Anti-Flag have toured with Rise Against, gained high slots at festivals and begun to gain recognition that they have been seeking for over 20 years – their views finally reaching the wider world. At Leeds Festival, Anti-Flag had superb crowd interaction. Renowned for crowd unity and ridiculous sized circle pits, lead vocalist Justin Geever (Justin Sane) did his usual preach of telling the crowd that if people fall “we pick them up!” shortly before the whole crowd set off in a circular motion. The punk outfit proceeded in playing better known songs ‘1 Trillion Dollar$’ and ‘The Press Corpse’.

The main stage finished with a packed out Kings of Leon, making it difficult to move anywhere due to the sheer size of the audience. Faith No More played to a rather intimately crowd at the NME stage, due to Kings of Leon stealing the crowd numbers, however, went on to finish off a good show with hits such as ‘Midlife Crisis’ and ‘Epic’. Overall Leeds Festival was a great success. A very diverse line-up offered a great array of bands, some good, some less-so. A combination of great bands, and a much better weather outcome that expected left the most part of 70,000 festival-goers more than satisfied.

~ Article by James Murray

 

Leeds Festival – Saturday

Leeds Festival 2009

Leeds Festival (Saturday)

Date: Aug 29 2009

Institution: Festival Republic

Sponsers: Radio 1, NME, Tuborg, HMV, Relentless, Gaymers

Rating: 4.7/5

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Following an intense line-up on the opening day of the festival, the diverse Leeds Saturday schedule offered music for every fan. The main stage hosting an array of indie and alternative rock bands with the likes of Bloc Party and Radiohead, the dance stage taking the place of the lock-up and offering the likes of house and drum n bass DJ’s Deadmau5 and Chase and Status, along with a dynamic NME line-up; hardcore punk from the Gallows and a taste of folk through the acclaimed Frank Turner.

Punk rock outfit, Broadway Calls, opened the NME stage on the Saturday. The trio have a wealth of touring experience behind them, touring with the likes of The Gaslight Anthem and Alkaline Trio, clear throughout their performance at Leeds Festival. A jam-packed gig offered singles from both their debut and recent albums; by letting the music do the talking Broadway Calls produced an enjoyable 30 minutes of pop punk. The third band on the Festival Republic stage was the highly acclaimed new band – The xx. With a critically favourable debut album behind them, The xx attracted a great sized crowd for their slot in the day’s schedule. A rather solemn and somewhat morbid performance was displayed; however, the vocals were excellently projected despite a very nervous looking group – more than likely overwhelmed by the size of the crowd they attracted.

The Joy Formidable followed The xx on the Festival Republic stage, a Welsh three-piece who released their debut album ‘A Balloon Called Moaning’ earlier this year. Female vocalist, Ritzy Bryan put on a strong performance, remaining very animated throughout, getting the crowd singing along, creating a good atmosphere, difficult to obtain in a small tent so early on in the day. The Joy Formidable looked very promising, comparable to an early-days indie group such as The Subways – depending on future record success this trio have the potential to move up significantly in stature.

The eccentric sounding electronic group, Metronomy, took to the NME stage mid-afternoon, with their up-beat engaging sound giving the majority of the tent no choice but to dance to the likes of ‘Radio Ladio’ and ‘A Thing For Me’. Crystal Castles fronted by the peculiar Alice Glass put on an absurd yet entertaining show, displaying some newer songs as well as some big debut album hits. Two unique bands mid-afternoon, with the alternative electronic group Passion Pit fitting in between the two offered a good 2 hours of none-generic, diverse music.

Chase and Status, one of the biggest names in drum and bass at present hit the dance tent at around 6pm, scheduled to play a DJ set. A packed out tent expected a highly energetic session of drum and bass and dubstep – which was exactly what was offered. Varying from the duo’s own productions, to the likes of Nero, the crowd let out a ridiculous amount of energy over a pair of CDJ’s.

Bloc Party sub-headlined the main stage, with a large majority of the crowd eagerly anticipating the long-awaited Leeds Festival Radiohead performance. Bloc Party started the gig with the new single ‘One More Chance’, followed by lead singer Kele announcing – “…for the next hour you’re watching Bloc Party”, in response to a disengaged crowd – clearly awaiting Thom Yorke and co. As the gig progressed the crowd grew in liveliness, with a peak of excitement hitting the crowd for the final two songs; ‘Flux’ and ‘Helicopter’. Despite a decent all-round performance, it was rather dissimilar to a certain 2008 performance, same slot, and same stage; and even more reminiscent of a certain Glastonbury 2009 headlining performance. Being displayed on live television at Glastonbury, you would think speeches and on-stage anecdotes would vary somewhat for one of the biggest festivals in the country.

Deadmau5, Radiohead and Lostprophets was seen by many to be a cruel clash of talent, the dance stage, hosting Deadmau5, was packed with an audience breaching the tent boundaries, leaving much of the crowd hearing a distant Radiohead performance over a DJ with a rather large mouse helmet. Radiohead, being renowned for their superb live performances, reinforced their fame by putting on a highly entertaining performance, with a variety of instrumental and vocal talents before a stage full of trippy lights and an overall great setup. Radiohead played a memorable, two hour performance, opening with the experimental ‘15 step’ and ending with ‘Everything In It’s Right Place’, a superb finale to a another great day of music.

~ Article by James Murray