The Wynntown Marshals - The Long Haul

Album Review: The Wynntown Marshals - The Long Haul

The Long Haul represents the second full-length album by Americana exponents, The Wynntown Marshals. Former in Edinburgh in 2007, the band have supported some prominent Americana artists such as Chuck Prophet and Jason & the Scorchers, while appearing on such notable genre radio shows as Ricky Ross and "Whispering" Bob Harris. Not a bad haul for a band with one full length and couple of EPs to their names. US-based site, No Depression, even went so far as to name their first album a contender for debut of 2010. Not bad for a band from Scotland, but will the second album live up to this?

One of the things that piqued my interest in this album was as straightforward as the band's influences. Listed amongst the names were three that are close to my heart - Neil Young, The Jayhawks and Wilco. Opening track 'Driveaway' certainly slots right in beside these influences, giving a nice blend rather than straight up mimicry. The vocal that leads off the sing is heartfelt and sounds great. The rhythm section  are perfect harmony, kicking up a really nice tempo while the keyboard sounds really fresh. There's a really great key change midway on what is a cracking opener. 'Canada' kicks off with a really great guitar before settling into a steady tempo. That rhythm section once again gets my toes tapping and my head nodding along appreciatively. Keys and guitar add some nice touches throughout and then I hit musical heaven - handclaps and killer harmonies. Lovely. It's a very good track that ebbs and flows very nicely throughout.

'Low Country Comedown' has some big drums over a slightly more melancholic guitar, which I suppose is apt give the song title. The pedal steel guitar sounds fantastic on this track as well, as does the lead vocal. I couldn't help but think that these must be some mistake as to the band's geographical history. This can't be the work of Scots? It's pure Americana and bloody good to boot. 'Whatever It Takes' slows the tempo down with an acoustic lead guitar and some sparse drums. The pedal steel guitar again sounds beautiful and adds texture and character. Add in the keyboard and this is an early leader as my favourite track. 'Tide'  opens with a nice steady bass and drums, while the guitars flit back and forth creating some interesting sounds tht are almost counterpoint to the steady rhythm. They're like bright flashes on a darkened sky. The keyboards add more colur and depth to the sound on this track, which takes you on an interesting journey and comes at you from different angles. Another cracking song.

'The Submariner' kicks off at a decent tempo with the drums sounding like a train rattling along in the Mid West somewhere. It's nice and upbeat until about a minute before the end when there's a big change of pace, but it's not lasting and is a nice diversion. It sounds a bit like the music has gone below the surface of water at first, before the cymbals crash like waves against the rocks, before the song surfaces again. Another brisk track follows in the shape of 'Crashing (Like The Reds)'. Big drums and a good tempo which sweeps you along and evokes Wilco ore than any other track, particularly vocally. There's some streling guitar work and drumming, especially on the chorus and the way the keyboard underpins it all is particularly good.

There's a slightly mournful feel initially on 'Curtains Call'. The lyrics are a little darker also (here I sit in this stingy room/alone with needle, tourniquet and spoon). It's quite heart-wrenching and reminded me a little of the starkness you feel on Neil Young's 'Needle and the Damage Done'. Not the content as such, just that uncomfortable feeling that the song gives you. It's stripped down and raw and rather excellent.'North Atlantic Soul' lifts the mood, with the full band involved. Initially it's almost a shock after the low key, emotional 'Curtains Call', but the catchy chorus soon hooks you. There are some great harmonies and your mood is soon swept upwards by the tempo. Final track 'Change of Heart' starts with an interesting acoustic guitar, before the pedal steel guitar and keyboard also come in. The rhythm section sets out  nice, steady tempo and the addition of Diane Christiansen from Chicago's Dolly Varden on vocals adds a nice contrast to Keith Benzie's voice. It's a really nice closing track to a very good album.

I realy liked this album a lot. It ebbs a flows and there's never a feeling of sameness to the tracks. At every turn they change things up, throw in a sad, melancholic track then hit you with a more traditional Americana tempo and sound. The influences are there to hear, but there's a ton of originality too. They take the influences and craft them into something new and special. If you fancy grabbing a copy, or previewing the tracks head on over to the bands website which links to bandcamp here.

You can also catch them live in the coming months around the UK/European album release on 15th July. Dates confirmed so far are:

12th July at Broadcast, Glasgow (Album Launch)

13th July at Voodoo Rooms, Edinburgh (Album Launch)

26th July at The Holly Tree, Dinnet

27th July in Aberdeen, venue TBC

Ticket links can be found here on the band's website.

Ardentjohn - Waiting for the Season

Album Review: Ardentjohn - Waiting for the Season (self-released)

Waiting for the Season is the second album from Edinburgh/London-based Ardentjohn. The indie-folk collective are no strangers to Peenko having featured as the site's inaugural Scots Wah-Hay way back in February 2010. Now the fine folks in Ardentjohn have sent over their second album for scrutiny.

The album open with the title track and immediately the rich, crisp guitar grabs your attention. The depth to the overall sound is impressive, with some distant harmonies fading in and out, while a steady beat comes in. Another guitar and bass come in as the song builds. It's quite breathtaking and uplifting, feeling yourself lifted by the music as it literally sparkles. The vocals add yet another dimension, being sparse in terms of lyrics but rich in their delivery. It's a cracking opener and bodes well for what is yet to come. 'In The Morning' starts with lovely strings and guitar. The tempo is nice and steady and again the music is just stunning. The tone is pitched just right. Strings add a note of melancholy, before the rhythm section kicks the pace up notch and lifts the song to a new plateau. 

'I Hear You' starts in quite a sunny mood. The guitar is again quite refreshing, while the second guitar stretches out it's notes, giving some depth. The vocal is emphasised more on this track and is simply stunning. It's powerful and fragile at the same time and rightly allowed centre stage in this beautiful song. Some subtle harmonies come in a serve to accentuate that feeling. The drums come to the fore on 'Don't Let Me Lose Your Hand'. Aided by the bass, they get the track off to a good start before strings and guitar add some depth. The song gets a nice change of pace on the chorus and tucked away in there is a really great guitar line. Vocally it's again very strong. Slightly different vocally from the previous track, it just serves to highlight how good a singer Keiron Mason really is. 'Apart (Don't Dream Me Bad)' slows things down again. Drums are more undertsated and there's even an accordion in there. The guitar again stands out. Although picking out notes and appearing to be fairly simple in it's delivery it really does add a lovely dimension to the sound.

'Sky Is Opening' begins with a really nice vocal that wouldn't go amiss on a Fleet Foxes song. Delivered acapella for the first thirty seconds or so, the song builds slowly behind it with some meaty drums and a very nice guitar. It settles into it's groove and skips along at a nice pace, with the drums sounding nice and solid thrroughout. I did expect it to build and burst into an explosion of sound but the control is maintained and in a weird way reminded me of some of Paul Weller's really great b-sides back when he was at his peak (in my opinion). It's a song to stick on loud and just close your eyes for six minutes or so and go on a journey. Loved it. 'Lady of the Wood' is more folk than anything and opens with a great tempo. Led by strings and guitar, ably accompanied by the rhythm section, my toes were tapping immediately. Again Keiron Mason's vocals sound wonderful. He has a rich voice that can convey different emotions and convey ideas and his voice demands your attention. Meanwhile, he and the band weave a wonderful tapestry of fantastic music that you can lose yourself in.

'Blizzard' opens with some lovely guitar and a steady rhythm section. Slower in tempo than previous songs, it was incredibly uplifting. When the vocal comes in, there's almost an echo. I couldn't quite decide it was a backing vocal, or if the lead vocal was overdubbed (hey, I'm no sounds engineer!). Regardless of which, it sounded great. Sprinkled throughout the song are lots of little subtle moments that add up to a song that fairly sparkles. There seemed to be a fuzzy edge to the production that further added to the overall sound. 'Now' builds on a really nice acoustic guitar line which rises out of the darkness. There are some electronic sprinkles in the background that flit in and out, before the electric guitar comes in to assist. It's a good, stedy tempo. When the vocal comes in, it really stands out. Slow, steady and rich. A touch louder than the guitars, it really resonates. It really draws you in and holds your attention. Musically, there's lots of nice touches flitting back and forth but it's the vocal that steals the show. 

Final track 'Sleeping Soldier' begins with a bell chiming, before a nice bass kicks in. Underneath are drums and guitars. Slow and steady is the order of the day here, with a slide guitar stretching out notes which wash across the track. The othe guitar dances around, creating texture as that bass pounds out the tempo. Again, it's a varied and full sound being created by the band. This track, as with every other on the album is a finely crafted piece of music. Under the surface od each song beats a complex heart. Layer upon layer of nuance fit together like a fantastic aural jigsaw. Each song washes over you and you can find yourself getting lost in the music and that doesn't happen to me nearly as much as I'd like it to. Here, every song seemed to do that. There's really no aspect of it that didn't thrill me. It's a truly wonderful album and deserves a wide audience.

Waiting for the Season is out now on CD and download and can be picked up from the band's official website on CD, or iTunes and Amazon as a download.

Kid Canaveral - Now That You Are A Dancer

Album Review: Kid Canaveral - Now That You Are A Dancer

Yes, it's true. There's a new Kid Canaveral album and it's out now! Following on from their excellent debut, Shouting At Wildlife, album number two landed this week from Fence Records. Is it more of the same infectious indie pop songs we all love from the debut or is there a change in direction. Read on to find out what the second album holds.

'The Wrench' kicks things off and in typical KC fashion with a big bass and nice riff from the lead guitar. Crisp drumming and some synths also add to the pacey opening. The tempo grabs you, doesn't let go and when you throw in  really catchy chorus it all adds up to a great opening. Another nicely jangling guitar and meaty bass kick off 'Who Would Want To Be Loved?'. Drums are a little more subdued, but no less excellent. There's a warm, familiar feel to this track. The tempo is a little more gentle, but there's tons to admire from the lovely guitars, to the harmonies on the chorus. These guys know how to write infectious indie pop songs. 

The tempo picks up again on 'Breaking Up is the New Getting Married'. Fuzzy guitar again and a thumping rhythm section. The urge to bop around the room is difficult to ignore. These songs really seep into your consciousness and take hold. The way the component parts of the band come together on these songs is dazzling. It's a full on assault on the happy centres of your brain and it works! 'Who's Looking At You Anyway' is even catchier than the previous tracks, if that's possible. The guitar starts out alone, picking out a great tune, but when the synth, drums and bass come in the catchy hooks are embedded firmly. This is vintage KC (if you can say that about a band on album number 2?). Regardless, this is sonic gold of the finest grade and if you hear this and aren't impressed you must be dead inside. Oh, that bass guitar. Brilliant.

'Skeletons' is a much denser, slower number. There's much more synth and bass here. The guitar picks out notes and the drums are sparse by comparison to previous tracks. Kate takes up the vocal duties and her voice sits really well with the slower tempo and the darker textures of the track. There's much more electronic flourishes here than previously also and it's a nice change of pace. 'Low Winter Sun' starts with a fuzzy guitar and drum intro that cleans up and skips along at a fair tilt. They key changes are cracking, and the song literally grabs you and won't let go. David's vocal is superb throughout, infusing the song with emotion. The synth washes across the landscape punctuated by a fast, tight rhythm section. Everywhere you turn there is pure joy to be found. This is brilliant stuff. David sings "with a mood as black as a Scottish December" - if that sounds like you get this song on and that mood will vanish. 

After listening to 'Low Winter Sun' about four times in a row I'm finally ready to go onto 'What We Don't Talk About'. The tempo is kept high. The bass rumbles away laying the foundations of the track alongside the drums. The synth adds another dimension and is almost at odds with the guitar but together they fit quite well. Top marks to the big bass sound and the even excellent drums. I also quite liked the samples and synth that sit in the background and intrude now and then. Nice touch. 'Without A Backing Track' opens with some big drums, before the bass guitar booms into life. Kate is back on vocals, giving David a wee rest. The tempo is high again and kept there by the drums and bass. Again, Kate's vocals sit well within the song giving the band two really great lead singers which lends the album variety.

'So Sad, So Young' brings the tempo right down. A lovely guitar and piano open the song.  The song is about halfway before the drums come in. Even they are delicate on this track. Is Scott using brushes perhaps? There are some discordant sounds underneath later on, on what is a good change of pace from the faster, poppier tracks prior to this. Sadly the final track is here. 'A Compromise' pulls no punches. Big drums and bass, with some really nice synth action. The bass stands out and the tempo is relatively high, while note as pacey as some earlier songs. It's a lengthy end, coming in and just under 8 minutes long. Vocally, it feels more restrained, allowing the rhythm section to carry the tempo forward. It never loses momentum at any stage really until near the end when the music fades slowly. The synth remains, screeching it's new dominance, while a lone cymbal fights on. Even the cymbal succumbs eventually to the synths wall of sound before it all comes to a close.

This is a cracking album. It keeps all the great elements of Shouting At Wildlife and what people will recognise as a Kid Canaveral sound, but it's tightens them up slightly and to me it felt a more confident and assured second album. There's more synths in there and subtle little electronic moments, but it's still an indie-pop record. It's also a bloody great indie-pop record. You should probably buy it now, if you haven't already.

Official site with purchase link

Bandcamp

Fence Records KC page

Conquering Animal Sound - On Floating Bodies

Album Review: Conquering Animal Sound - On Floating Bodies

James Scott and Anneke Kampman are now on album number two under the guise of Conquering Animal Sound. After debut album Kammerspiel was released on Leeds-based Gizeh Records, the mighty Chemikal Underground took notice and snapped up the Glasgow-based duo for their second album, due on 18th March. James Scott may be familiar to some outwith CAS, having released under the name The Japanese War Effort, while Anneke has released material under the moniker ANAKANAK.

On Floating Bodies opens with the brilliantly named 'Ultimate Heat Death of the Universe'. There's a strong beat over lots of background chatter. The feeling is one of receiving a warm aural embrace as the sound washes over you. The beat leads into a really nice vocal, which at times seems at odds with the beat and tempo, but which is exactly what makes the track interesting. It's a warm and comforting opening which waxes and wanes throughout. Pretty much the opposite of the ultimate heat death of the universe I'd say, which sounds a tad more painful.  'The Future Does Not Require' has a bit more space. The vocal comes in earlier over the sparse soundscape. The beat builds up underneath the vocal and while the music is excellent and very complimentary of the vocal, it's the vocal that shines. It's effortlessly beautiful and a real joy to listen to.

'Warn Me' kicks in with a fuzzy, bass heavy intro. There's some really good percussion in the background. The track builds in intensity to the chorus, then drops off on the verses. It never gets crazy though. It's subtle, built on the beat that underpins the song. One of the better aspects for me is the production on the vocals. It works really well here, with some nice sampled vocals to accompany the main vocal. The vocal dominates on 'No Dream', while soft, gentle sounds wash over the track punctuated by a double beat. There are little bleeps and blips sparking all over the track, which on the whole has a dreamlike quality. Again, the sampled vocal acting as a backing vocal works really well.

'I'll Be Your Favourite' washes over you from the outset. Long notes pass over you like sonic waves. Little electronic sparkles join in just before the Anneke's vocal comes in. Bar the beeps and bloops, the tempo is fairly sedate. A few minutes in the beat kicks in, lifting the tempo slightly. The electronic wizardry really shines on this song, adding real depth and texture to the song. A subtle bass note underpins it all and true to the name, this is most definitely an early favourite. 'Gloss' opens with a drawn out sigh, repeated, over a stuttering beat. The main vocal comes in over both, while there's some tape hiss, hints of percussion and drawn out electronic flourishes. There's a myriad of electronic trickery in this track, keeping it really interesting and adding lots of depth and character. Mr Scott is something of a magician at this kind of thing.

There's a steady beat and barely heard sound akin to a hum at the beginning of 'A Noise Remains'. Add in some tape hiss and a vocal and it's a good head-nodding start. There's even a sound that resembles a typewriter or a keyboard, yet it slots right in and feels natural. There are lots of sampled vocals in there, lower in the mix than the main vocal which give the song more character. In short, another favourite that keeps my foot tapping away for the duration. 'Ipse' is a soothing song. Lots of electronic activity with a varied vocal create a nice leisurely pace. The soundscape is quite rich in texture and very chilled. These two certainly know how to craft songs that are both compelling and which also reveal more with each listen, such is the complexity of the music at times.

There's almost no pause and it's into 'Mimese'. Another more relaxed affair, the music  rises and falls, with some really nice vocal work. It creates quite a diverse soundscape and the better moments come when Anneke's vocal is doubled up through samples. James provides excellent accompaniment to these moments though. I don't want to be appearing to play favourites after all. 'Treehouse' opens with a sound like a computer about to go insane. A beat pounds ominously alongside the vocal. There's a lot of different sounds thrown into the mix. A guitar like riff and the electronic equivalent of a steel drum being two my mind may have made up. Regardless of what my untrained ear picked up at times, they all coalesce into another complex and compelling composition.

'Inner/Outer/Other' marks the end of the album. To mirror my own disappointment, the beat is a bit mournful and a touch depressed, especially with a drawn out sound that feels like a cry or a moan of pain. In contrast the vocal is light and hopeful and gradually overcomes the darker aspects of the song. The contrast works really well as the more uplifting vocal fights to dispell that moan of despair. It's all over too quickly in an electronic screach though. I had high hopes when I put this album on, being a fan of The Japanese War Effort and if anything I enjoyed this even more than I thought possible. Generally speaking I'm not a massive fan of electronic music, but James Scott manages to do some incredibly creative things with his gadgets that strike a chord with me. Under the guise of Conquering Animal Sound you get Anneke Kampman too and her vocals are beautiful and measured, never settling into one particular vocal stlye and together they have made a really great and hugely creative album. Most impressive.

You can check out opening track 'Ultimate Heat Death of the Universe' below.

Artist page at Chemikal Underground

Official website

Twitter

Facebook

Soundcloud

Miss The Occupier - Keeping Company With Wolves

Album Review: Miss The Occupier - Keeping Company With Wolves

I'll start with a confession (very topical). I didn't really know much about Miss The Occupier. The name was familiar but I'm not 100% sure why. Age doesn't come alone it seems. Regardless of all that, these guys latest offering, Keeping Company With Wolves, is my first album after a break of a few months. As with most bands that are new to me, there's an element of nerves when I listen. Within about ten seconds of this album, I knew it was all going to be fine. There's a decidely fat bassline rumbling away before a self assured vocal comes in from Roz Davies that literally swaggers. Some crisp drumming underpins the song ('Keeping Company With Wolves' - neglected to mention that). The grimey guitar gives the song a bit of depth and all in all it's a cracking opener.

'Smoke + Mirrors' follows the lead of the opener with a solid bass guitar. Overall it's a little more contained that the first track. The swagger and confidence is here in abundance though. A synth in the background adds a new dimension, while that rhythm section push the song forward. As the song progesses we get some visceral screams from the lead vocals that make my throat hurt in sympathy. Where the first couple of tracks are almost dirty sounding in terms of production, 'Song For the Miserable' is somewhat ironically more upbeat. The guitar sounds lovely and jangly, while the drums and bass keep the tempo high. The vocal is gentler also and overall there's more pop than punk in this track. There's a catchy hook on the chorus and I found myself nodding along and tapping my feet, which while not something you really want to see, is a good sign in terms of my enjoyment.

'Your Fairytales' starts with a quick drumbeat and another killer bass. A keen guitar note joins in with the vocal before the song picks up on the chorus lifts the song, before dropping off again on verses. The rhythm section ensure a good tempo though and the synth adds depth underneath. The lyrics are slightly sinister though, which is also pretty good. ('killer in the bedroom wondering when you're gonna get  home/fingering all your underwear/talking on your phone" - creepy!) The structure of the song is slightly different to, with the bass dropping out for a spell, leaving a guitar plucking out a discordant note. The impact when the bass comes back in is pretty good though and it all works well. We're back on poppier ground with 'When Engines Won't Start'. The tempo is excellent, with a really catchy vocal. The drums skip along at a good pace, while the bass rumbles away happily. There's a pretty good guitar part over the top of the track too, which stops very abruptly.

Penultimate song 'Rapture' keeps the tempo high, but feels a little more fractured than some of the other tracks. This one goes for a big guitar sound, battering you with a wall of sound on the chorus, before dropping back into choppy snatches of drums, bass and guitar. The synth is more prominent on the chorus too, adding to the wall of sound.  Towards the end of the song the bass ramps up a little, creating a nice meaty sound while the guitar gets more urgent. Closer 'Wish me Luck' has a really nice guitar and synth from the outset, over rapid drums and a more subtle bass. The chorus changes the feel and tempo of the song slightly, but it retains the feel of being more punk than pop with the disjointed tempo. It's a good closing to what has been an enjoyable album.

There were times when I felt there were glimpses of Sonic Youth or maybe Elastica, but during it's poppier moments there were shades of Kid Canaveral. These are mere signposts I used in my own mind though and should not be treated as anything else. Regardless, when Miss The Occupier play the more punk oriented songs they're very good. When they head down the pop street they are also very good. To sumarise, Keeping Company With Wolves is very good. Check below for some links and pick yourself up a copy.

Bandcamp
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PAWS - Cokefloat!

Album Review: PAWS - Cokefloat! (FatCat Records)

How do I start a review of this album then? Anyone that knows me will know that I'd stake my house on these guys releasing a brilliant debut album. I've been to see them about seven times (number eight will occur later today, as I write, at the album launch in Glasgow). Sometimes the sets have descended into chaos, once they were minus the drummer and had to hav a hastily arranged replacement brought in. Each time, including those mentioned they have been bursting with energy and raw power, delivering fierce live shows that have sometimes been divisive. There is no question to the talents of this band as a trio, or to the songwriting ability of Philip Taylor, the band's guitarist and singer. Can they capture the energy and enthusiasm from the confines of a studio? Read on to find out.

The album opens with 'Catherine 1956'. Starting with Philip's off-kilter, laid back vocals, it's an homage to Philip's Mum, who passed away recently. (One of his guitars has Catherine written across it, while his home run DIY tape label is called Cath Records). Listen to the lyrics of the song and it's impossible not to be moved emotionally, whilst also realising what a gifted songwriter Philip is. Bearing your relationship so openly, particularly when it's tinged with such heartache is a brave thing to do and I find it inspiring that he uses this as a force to drive his ambitions as a musician. There's also the small matter of the song musically and how much it rocks. Josh and Matt do a fine job on drums and bass respectively, working in perfect harmony adding some backbone to the song as Philip lays his feeling bare. A beautiful, honest and rocking opener that would grace any record.

'Jellyfish' will be well known to anyone that follows the band. Opening with a nice, simple guitar riff before an explosive drumbeat and pumping bass guitar come in. The fills are of the machine gun variety, flying past at top speed, while the bass sounds excellent, wandering up and down nicely. The energy form the live show is there but what the studio manages to do it balance it all nicely. You can hear Matt's bass clearly, while Josh kills his drum kit with every bar. Philip's guitar screeches and screams throughout this exhilarating track. The bass dominates on 'Homecoming', sounding nice and distorted. It's a song about bullying from what I can gather (thanks for the punches of encouragement), the tempo is good and the songs moves forward at a good pace. The drums aren't quite as rapid this time, with lots of cymbal crashes while Philip's guitar wouldn't sound out of place on a Sebadoh or Pavement song.

Another "oldie", 'Pony' starts with a simple guitar line before bass and drums come in. It's all fairly contained initially, but you know it's coming. The drums and lead guitar signal the increase in intensity for a few bars, before it all settles down into that nice rhythm again with matt's bass underpining the song. That soft-soft-LOUD approach works so well on this track though. The drums are powerful, while the guitar gets more and more urgent. You can literally picture Philip writhing around the studio. There's a break with a brilliant bass line before Josh kicks into a steady rhythm. Once again though, they force the song further, squeezing more and more from it. I just love the drum fills, followed on the next bar by a BOOM-BOOM. Great stuff.

Another nod to Philip's Mum comes on 'Bloodline'. (I know that you'll never know/I got your nose/I got your eyes). The pace of the song is frenetic. These guys seem ot have boundless energy and unleash it in two, three and four minute chunks. The song is barely started and it's over but it leaves you breathless as it never lets up for one moment of it's 125 second duration. 'Boregasm' kics off with a big bass line, before settling into the song. It reminded me a little of Mazes at times, It's a feel good, high tempo number which reminded me a little of Mazes at times. The guitar sounds more upbeat on this track and less angular while the rhythm section is a bit more jaunty. 'Sore Tummy' sees Philip joined by Alice Costelloe of Big Deal (a band PAWS have covered previously). The dynamic is changed with the additional vocals, but not in a negative way. Far from it in fact. The vocals still have a slacker feel to them, but the song has an interesting new dynamic with the addition of Alice Costelloe. You still have the tape hiss in the background but the drums are a bit more contained and the bass more prominent. It's a really good progression for the song and seems to fit really well in the album.

The tempo is slowed way down on 'Get Bent'. An acoustic guitar staggers around while Philip rails at someone from a past life. (Well fuck you I don't need you anyway). Another thing I love about this band is their brutal honesty. It's refreshing to hear about life, warts and all, about growing up in dull towns and about death - all laid out in heart wrenching detail. Not a lot of the music I hear has half this honesty in it and it's much weaker when measured against these songs for me. While there's no denying the life in the songwriting, it's also good to remember the music. 'Tulip' gets going in a high gear from the off. A nice guitar line, god high tempo drums and an utterly pulsating bassline get the juices flowing nicely. Just when you find your groove, Philip unleashes his primal roar. Every other guitar band should just quit now. That bassline is enough to get you looking for a cheap guitar on eBay. It's brilliant.

The rapid pace continues of 'Miss American Bookworm'. Flying out of the blocks this track never lets up, bar from short moments of calm. I say calm, the drums are still machine-gun fast. The guitars just take a small breather. It's another example of a frenetic, catchy sub-three minute song. They make it look so easy. If 'Catherine 1956' is my favourite PAWS song (it is), then 'Bird Inside Birdcage, Ribcage Inside Bird' is sitting at number two. This song is so ridiculously catchy it should require a prescription to listen to it. The tempo of the rhythm section, the vocal and the lead guitar all conspire to make me want to jump around my living room or sing along at full volume in the car. At the very least I scream along with yet another primal road around the 2:40 mark. Superb stuff and without labouring the point, easily as good as any band in the UK right now for me.

As the album draws to a conclusion, the penultimate track 'Winner's Don't Bleed' leads me to believe the band are intent on exploding your head by going all guns blazing. The rapid tempo is again infuriatingly catchy. The drums boom away at top speed, while the guitar sounds great chopping away, pausing now and then to scream like the man wielding it. Alongside, Matt's bass flies along. It's breathtaking and when the song stops suddenly you're almost as breathless as they must have been. The album closes with the longest song, 'Poor Old Christopher Robin'. Initially a steady tempo, it's not long before the sedate pace ends with a foot stomping on an effects pedal and the guitar shrieks into life. It shows another facet to the construction of the songs. It's not all 100mph - they can do the slow burners equally as well.

For me this is a stunning debut. There is nothing here but great songs. The personal nature of them is something I can relate to from my own experiences and this is what draws me to this band almost as much as the music. PAWS are a band that will go far. Easy to say that now I hear you yell, which is fair. They've had airlay on Radio 1, 6 Music and with the signing to FatCat their stock is constantly on the rise. Based on this album, their live shows and the three of them as people it's the very least they deserve. You can order the album from the FatCat website, or from your local record shops. 

Adrian Crowley - I See Three Birds Flying

Album Review: Adrian Crowley - I See Three Birds Flying (Chemikal Underground)

For the last couple of gloriously Olympic months it seems to have been almost unpatriotic - maybe even illegal – and certainly socially unacceptable to be in any way gloomy or contemplative. For some, I'm sure that's been a wonderful opportunity to be irritatingly outgoing and chatty in all sorts of usually dour situations, but for those of us given to bouts of unexplained melancholy, it's not been an easy time at all. Right in the middle of this period of enforced national happiness Adrian Crowley's "I See Three Birds Flying" landed in my inbox, providing a decadently bleak sky to offset the flag waving and pomp. Indeed it's fair to say that this is far from a happy record – but it's also the sound of a man who can very effectively channel dark humour into his otherwise reflective take on songwriting. A veteran of Fence Records' Homegame and a collaborator with the likes of James Yorkston, Dublin-based Crowley's complex and shifting take on folk music will probably not be wholly unfamiliar to a Scottish audience. From the outset his voice is the striking centrepiece of this record. With vocals mostly recorded in a single take and often 'out in the field' so to speak, his default mode is deep and sonorous, capable of shifting between funereal darkness and tear-stained bar-room philosophy without cracking a sweat. But as Crowley twists his voice into the opulent, beautifully detailed musical backdrops, it becomes clear he is capable of soaring suddenly into a line from a standing start somewhere right down in his boots, meeting the emotional pull of the lyrics head on.

Like all the best fairy tales, we pick up events lost in a dark forest with "Alice Among The Pines".  This demonstrates the tension at the heart of this record – between crafted and layered chamber-pop complexity and simple, sometimes rather fragile home recordings. Here it's largely just Crowley's voice and an indistinct piano melody reverberating around an empty room like a wind-up music box. Shifting into a mid-section which conjures visions of Smog at their most poignantly dark, the track challenges Adrian to find a note of optimism among the trees. Any hint this might stick around is soon dispelled by "The Saddest Song", an interestingly honest reflection on the songwriters craft as Crowley wakes to urgently record his dreams in an effort to 'write the saddest song in the world'. Accompanied here by swells of strings and a shimmer of picked electric guitars, perhaps the closest reference point for Crowley's voice is Mark Eitzel's fragile, broken croon. Things move a little more up-tempo on "At The Starlight Hotel" which numbers a mellotron, an omnichord and a zither amongst a twinkling array of guitars and a subtle rhythm section which transports Crowley to some unnamed but seedily familiar European capital of downtrodden arcades and closed cinemas haunted by Leonard Cohen at his cynical and bitter finest. There is redemption in Crowley's take on this place though, which prevents the song descending into the depths. Indeed this trick pays off right across the album where a grim, sometimes bittersweet humour salves the soul and turns things around. When it lands, it produces some of the records finest lyrical moments.

The album's title is drawn from "Fortune Teller Song", which is by contrast an uncomplicated folk tune at heart, and distinctly low in fidelity.  As the guitar reels gently alongside a beautifully gloomy cello line, Crowley's distant, echoing voice appears to melt into the music and become one of the instruments. The simple lyric deals in fate and determinism, and adopts a fittingly repetitive meter. When the strings arrive - provided by Vincent Siprelli and Emma Smith of Geese - this all too brief song spirals gloriously and stratospherically, without losing any of its personal, intimate feel. Following this, "From Champions Avenue to Misery" is one of the few songs on the record which betray explicit links to Crowley's heritage. Starting his journey in a fairly unprepossessing housing development tucked into the cityscape just north of central Dublin, we're taken on a physical and emotional journey around the 'city of ghosts'. It's a song of uneasy homecoming and perhaps unwelcome recovered memory set against a gentle, evocative soundtrack played and recorded entirely by Crowley himself. The record draws to a close with a pair of particularly strong pieces as Geese return on "Lady Lazarus", with Emma and Vincent supplying a beautifully crafted wash of strings and even some understated backing vocals. Finally Crowley haunts London in "September Wine" which sees him take up the Marxophone, research indicating this is some sort of miniature, fretless zither. Here it provides a curiously renaissance era feel to a song which is about as unashamedly triumphant as "I See Three Birds Flying" gets, as the hero of the piece throws an unclaimed gift into the Serpentine and almost bursts a lung in joyous song.

Adrian Crowley's sixth album - and his first recorded output since 2009's "Season of the Sparks" - is a record which echoes with footsteps in deserted places, chance meetings and both literal and metaphorical hauntings. It's impossible not to get caught up and swept along by his wonderfully rich vocal performances - a voice which feels like an old friend by the end of the record. On one level this a wonderfully soothing, gentle set of songs which will wash over you in quiet moments, but a deeper listen rewards with colourful characters and engaging stories which are sometimes intriguingly only half-revealed.

Chemikal Underground will release "I See Three Birds Flying" on 17th September 2012.

Stanley Odd - Reject

Album Review: Stanley Odd - Reject 

Scotland is going through something of a boom period for independent music. Guitar based music and electronica especially are doing pretty well. One less publicised, yet vibrant part of the Scottish music scene is hip-hop. Edinburgh based Profisee recently released an excellent album and fellow capital rappers Madhat McGore and Silvertongue have been gaining momentum, while over in Glasgow Loki, Rustie and Hudson Mowhawke have been active on the scene and creating something of a buzz. Back in the capital and Stanley Odd have gained a following and had favourable reaction to their debut album 'Oddio', which was released back in 2010. Several high profile support slots and many festivals appearances later and the band are getting ready to unleash album number two 'Reject' on the public.

'THIS IS STANLEY ODD' kicks things off with a steady, booming beat with some light and unobtrusive percussion sitting in the background. The rap flows nicely and it's quite good hearing some Scots words in there like "spraffing" and "daftie". There's nice flourishes sprinkled all over the backing music, delivered by live instrumentation as well as the usual samples and loops associated with the genre. The tempo is nice and steady.  There's even a name check for De La Soul. Best of all though is the first letter of each line spells "THIS IS STANLEY ODD". All in all a good opening. There's a big beat on the intro to 'Antiheroics' too. Again it's steady as she goes for the tempo and the flashes of colour from the loops and samples are good. The socio-political lyrics are delivered in a steady, tight flow. This is an examination of Britain, the Big Brother state and even goes as far as Palestine and the Occupy Movement. It's writing of a Chuck D scale and like some of the best hip-hop it's cerebral, politically aware, paranoid, revolutionary and most of all, it's just great writing. 

'Will The Last One Out Please Turn Off The Light' lays on the vocals from the outset. The tempo is high and on occasion the female vocal joins the main vocal, but for me it's strongest on the verses, when it's the main vocal only. Again the sense of non-conforming, anti-establishment themes is strong. 'Killergram' opens with a mad piano and a background hiss before the beat kicks in. The rhyme delivery is tight again and so far on this album, that's one consistent feature that has been excellent. Considering this is hip-hop that's no bad thing. There's a guitar coming through in places near the end but this track didn't feel as strong overall as some of it's predecessors. 'Going Through The Motions' opens with sounds sweeping back and forth, while a staggered beat comes in. This change from a regular beat makes the track quite interesting and the sound is fuller when the female vocal comes in, backed by a big bass sound that vibrates away underneath before the song strays into electronica.

'Join The Club' feels more like my kind of hip-hop. I grew up on a diet of Public Enemy, NWA, EPMD and Run DMC and others from this era. I like my beats old school and this track leans more towards this end of the hip-hop spectrum. Here, the beat is accompanied by a very nice piano and together, these elements make this my favourite beat of the album so far. I did feel like the female vocal took me out of the song a little bit, but this could be my bias towards the more traditional beats I mentioned. I am conscious that hip-hop has moved  on much quicker than I have so nobody should take my griping about the vocal too seriously. There's also the fact the track name checks just about every pub and club in Edinburgh, which is like a stagger down memeory lane. 'Carry Me Home' feels like a folk song when it starts. Piano and strings are in the mix and it all sits together really well. When the rap comes in it's delivered really well, as you come to expect by now, but the clash of styles is perhaps a bit too much. When the beat kicks in though, the track picks up and for the last 90 seconds or so my enjoyment of the song did turn around.

The lead single from the album is up next. 'Get Out Ma Headspace'is all loops and bloops and bleeps and samples at the outset, before a great, up tempo beat kicks in. Lyrically, it's a song I can relate to. Anyone who's had to sit at work and hear people discuss plotlines to Eastenders, or the latest Big Brother evictee will appreciate what Stanley Odd are saying here. This time I won't complain about female vocal parts. I liked it here. Everything just clicks on this track and I liked it a lot. 'The Councillor's Waiting Room' is an short instrumental that is actually quite warm and funky. It leads into 'Marriage Counselling', which comes at you immediately with a rhyme, followed by a really good beat and a fuzzy bass sound. The whole track is another really well written song, this time a metaphor about Scotland and England's relationship. One interesting aspect to the lyrics, is that it's told from both sides of the "marriage". As you may expect from a Scottish band there's plenty of perceived ills at the hands of England but the band look in the mirror and tell the other side of the story and the song feels mature and better for it.

The penultimate track is 'I Don't Believe You'. This was another that just didn't click for me. The beat at the outset is slow and steady, while another distorted beat sits above. There are drums and piano in the mix too but it all feels a bit of a mixed bag and I never felt the song flowed smoothly at any point. 'Day 3', however, felt like one of the standout tracks of the album. There's a nice vocal to open the song, with a sad piano and some mournful notes for company. Grimey bass notes begin to appear, while the percussion is almost on the edge of hearing, but giving the feeling that's it's getting ever closer. The drums signal the start of the rap and the beat is really good. Lyrically, the song is about a girl, but it's lyrically very good and full of heart and emotion, while it's also musically excellent. Definitely another of the standout tracks of the album.

This is a record that's not without it's peaks and troughs. There are many more peaks than troughs though. There's is an interesting approach to hip-hop. The live instrumentation works really well, but occassionally there seems to be a little too much happening that doesn't quite gel together. Now and then there are vocal parts that don't feel like they belong in the particular song, but then on another song the parts fit better and the vocal shines. Lyrically, it's unquestionably excellent. The songs display social awareness, a political consciousness and a down to earth, day to day feel to them that can only be had by great writing. This for me is where this album is at it's strongest. If you like hip-hop this is definitely worth your time. It's not a classic, but it is pretty good and with that writing ability these guys have a good future ahead of them.

'Reject' is released on 17th September and can be ordered from the Stanley Odd Big Cartel page. The band also have several live dates coming up, which are listed below. Ticket links can be found on the Stanley Odd website.

Fri 24th August - The Bull & Gate, London

Sat 25th - Mon 27th August - The Greenbelt Festival, Cheltenham

Fri 14th September - The Lemon Tree, Aberdeen

Thu 20th September - Stereo, Glasgow

Fri 21st September - The Liquid Room, Edinburgh

Sat 22nd September - Ironworks, Inverness

Cancel The Astronauts - Animal Love Match

Album Review: Cancel The Astronauts - Animal Love Match

Cancel the Astronauts are a band that have been featured in many places with an interest in Scottish music. The Edinburgh/Markinch five-piece were invited to play T in the Park in 2011 and in their own words they weren't invited back in 2012. This display of self deprecating humour gives a little insight into their music, which is indie-pop with large doses of infectious hooks. Animal Love Match is the bands first album.

The album kicks off with the title track and given everything I've said above, it's actually quite low key. Synth and guitar kick things off, but rather sparsely. It's quite melancholic, but beautifully so. Matthew Riley's vocal comes in, but from a distant, repeating the title over and over. It all last about 80 seconds before the songs springs into life with a fuller sound, underpinned by thumping drums. There's a pause and then it takes off and it's catchy as hell. Your foot won't stay still. A really great opener that shows a lot of heart and a sense of fun. 'Seven Vices' doesn't waste any time hooking you with a stripped back, fast drum beat and nice guitar line. Again, the beat kicks in and sweeps you along. The guitar melody runs through the whole song, bar a few pauses where the drums take over. It's a quick pace and a great slice of indie-pop. The synths are back on the intro of 'Intervention'. Accompanied by some big drums, the song flies out of the traps. The template is similar to the previous track in terms of the peaks and troughs of the tempo. It's a winning formula I must say. I'm beginning to suspect that these guys are Jesus H Foxx's unruly wee cousins!

The moment that really cemented this as a record worth paying attention to was 'Love Backwards'. Foregoing the more upbeat, frenetic tempo of the opening three tracks, this was initially a more laid back affair. The acoustic intro, with a really nice vocal, felt fresh after the initial assault of tracks one to three. The bass guitar adds some weight, while the electric guitar and drums are only hinted at, before the fuller sound of the band lifts the song up. It sounds fantastic. It grabs you by the lapels, shakes you about and fills you with a contagious rhythm you have not a hope in hell of avoiding.  I almost feel sorry for 'Making Dynamite'. Handed the task of coming next on the playlist is not going to be easy. It makes a right good go of it though. Nice drumming on the intro, a New Order-like synth underneath, it's got good things going on. 'Lekking' starts in similar fashion to the opening track. The synth draws out a note, while a guitar strums over the top. Vocally, it's subtly different from previous tracks. Think more Wild Beasts and it's close. It sounds good over the drone of the synth. The two are at odds almost, one dark and low the other light and higher. A fuller sound soon kicks in giving the song a rich, vibrant feel.

'Shapes' signals the start of the second half of the album. A really nice guitar opens the track, while vocals and percussion join in. The song builds slowly on the back of the synth. It builds slowly, but doesn't go for the explosion of sound that featured in the album's earlier songs. It stays firmly low key and more emotionally engaging as a result. It also shows another facet to the bands sound. It does get a little louder, but only for the last 30 seconds or so. The big drums and high tempo are back on 'Promises of Strangers'. Again the synth sounds good, while the bass sounds pretty beefy. The tempo ebbs and flows and the vocals sound really effortlessly cool. Another cracking track. That bass though. There's also a really nice guitar riff near the end that reminded me of Neil Young and that's no bad thing.  Nice. 'I See, Uh-huh' flies into orbit from the start. The guitar rises and falls, while the rhythm section skip along in perfect harmony. The band channel Orange Juice on this giddy number.

Crisp drum fills and a rumbling synth and bass dominate the intro of 'While I Was Sleeping'. It's quite an uplifting song, that strays into anthemic territory thanks to the vocal style, rhythm section and that rumbling, grumbling synth. 'Catch You If I Can'  changes things up a little. There's some interesting sounds coming from the sythn before a piano sparkles in the electronic gloom. A bass pounds away in the gloom, before the drums start to pick up and the song starts to gather pace. The piano sounds great and thankfully is always prominent, even when the song really starts to pick up. The music all vanishes, leaving the piano and vocal for a few moments before the end and they really shine in that short time. The closing track 'I Sold My Soul (And This Is All I Got)' starts with a really good tempo. The rhythm section is again superb and drags you along for the ride. The guitar adds a bit of colour but the vocal, bass and drums really control things and grab you instantly. It slows down and displays tons of heart and emotion, underlined by some lovely strings. A great end to a great album.

This is overwhelmingly an indie-pop album and it's one of exceedingly good vintage. The majority of the tracks drag you along in their wake. The rhythm section is excellent, but the rest of the pieces are there too. This album is littered with so many hooks that it's bound to catch a fish. It's full of heart, sincerity and downright good fun and for a debut it's excellent. The album is released on September 17th and can be ordered from Bandcamp here.

There are also a few lives dates on the horizon, including the album launch at Sneaky Pete's in Edinburgh on September 15th and an Oxjam gig at Edinburgh's Electric Circus on October 25th.

The Unwinding Hours - Afterlives

Album Review: The Unwinding Hours - Afterlives (Chemikal Underground)

I must admit to feeling a little bit nervous with this post. It is, after all, my debut appearance for Peenko and with it this brings some pressure. Albeit pressure I am probably manufacturing from nothing, but still. Anyway, The Unwinding Hours second album Afterlives is the first record under my Sauron-like gaze (only I'm a bit nicer than him I think). Now, I had heard the name, but none of these guys output so was a little unsure of what to expect. 

Initially, I was thinking that the album was quite poppy in it's execution. Very uplifting pop, I must say, as opener 'Break' comes at you all guns blazing, with a big sound. There's a good bass edge on the verses and vocally it's really enjoyable. 'I've Loved You For So Long' was similar, but with a touch more guitar coming through and for some reason it reminded me a little of The Wannadies 'Dying For More' which I really like (there goes 75% of the blog readership). Not an overwhelming reminder, but more a subtle reminder. 

The third track was where the hooks started taking hold. 'The Right To Know' has a steadier pace and out of the opening three tracks it felt the least poppy to me. Vocally it is once again very strong, but a little more understated than the previous songs. It burns away slowly, with a burst of life a few minutes in, before it simmers once more. 'Saimaa' further deconstructs the poppier sound of the early tracks. A mournful sounding piano sounds from a distance, while a repeating pattern of notes reverberates. It's an interesting contrast. Above it all is a slow, heartfelt vocal. It's really nicely out together and a little unconventional when measured with the other tracks thus far. 'The Promised Land' changes things up again. A long, sombre note opens the song and resonates for a few seconds before shifting subtly. Crisp drums kick in and the vocal is more hopeful, which is at odds with the note resonating low down in the mix. Further sparkle is added when the guitar comes in, chasing the sombre note further away. That note is never entirely banished on this anthemic track, which ends in a splash of texture and colour. An early standout for  me. 

The second half of the album kicks off with 'Wayward'. Again, some great drums and a pleasantly jangling guitar kick things off. The tempo is good and a nice bassline further compliment the track. The tempo really is good. You feel that the track is constantly pushing forwards thanks to the rhythm section before the song ends as it began - in the crashing of big drums. 'Say My Name' brings things back down a little in terms of tempo. The drums go from driving to solemn on this track, but the introduction of the guitar gives the song a fuller sound. It maybe feels a little long, but I suspect that's more to do with the contrast between this song and the previous track, which flew along at a fair tilt. With that in mind, 'The Dogs' feels just right. A more minimal sound, it feels like it should follow 'Say My Name' as the contrast isn't as startling. There's a simple guitar and piano and the vocal sounds fantastic. With minimal accompaniment the vocal really flourishes and breathes life into this great song. 

'Skin On Skin' changes things up again. Slowed down industrial beats might be a good description of the opening few bars. There's certainly a meaty feel to the opening notes. There's a really nice guitar line about a minute in that acts as counterpoint to the beat. It's good a nice, steady pace and there are some electronic flourishes here and there to add more texture. 'Day By Day' closes things out, kicking off with some sonorous notes that wash over you before some beautiful strings come in to add some depth. The emotional impact is already felt before the vocal comes in, but that serves to tug a little tighter on those heart strings. The strings pitch and yaw, all the while washing over you like a warm wave. It's a really wonderful song to close the album. 

Overall I really enjoyed this. I wasn't fully on board after the first couple of songs but the middle section of the album is really strong. There's a few different things being tried here and that keeps the record interesting throughout. It really shone for me on the slower songs like 'Day By Day' and 'Say My Name', where the vocal really stood out but the more up tempo songs like 'The Promised Land' and 'Wayward' were really good too. Suffice to say that this will stay in my rotation for a little while yet.

Afterlives is released on 20th August through Chemikal Underground Records, you can pre-order a copy now through the Chemikal Store.  

You can catch the band playing live at The Tunnels in Aberdeen on 31/08/12, then the following night they're going playing a home town show at Stereo in Glasgow.