In Guards We Trust

 

What a pleasant surprise on a rainy Monday evening, to come home and find Pitchfork is streaming 'In Guards We Trust' ahead of release- http://pitchfork.com/advance/17-in-guards-we-trust/


The album kicks off with the hazy, hypnotic, 'Nightmare'- it sounds like that point in a night out where you've drunk enough to start dancing. 'Giving Out' and 'Ready To Go' continue the trend, woozily reminiscent of places you've never been with people you've never met. The former sounds like an end-of-the-night floorfiller 'Don't let the lights go out... you'll hear them scream and shout / I feel it giving out... your clock is running out'. The vocals end abruptly, giving centre stage to an organ, lending an anthemic feel. The latter is a gorgeous summer day of a song, Richie Follin sounding like a cross between happy Billy Corgan and Romeo Stodart of The Magic Numbers. Plenty of guitar, chiming bells, and a massive chorus. Definite highlight of the album on my first listen.

'Silver Lining' is an all-out indie pop song- 'I wanna live for ever in a boat out on the sea'- it rips along making you want the same thing. It'll be soundtracking an advert for holidays in 5 months time. 'Heard The News' is a wonderful noise, something about it sounding vaguely Brit-Popish to me. Early 90's, Suede-esque, grungy... 'Not Supposed To' is one of the more understated tracks, not to say it should go unnoticed. Lyrically it's one of my favourite songs on the album- 'Holding on to something that you never had, well holding on just makes you sad. Looking out for something that you never seen, just close your eyes it comes with peace'. 'I Know It's You' soars on the back of some fantastic guitar and drum work. It hits its stride two minutes in, halting for a dreamy, swirling, organ interlude before picking up where it left off, Follin's vocals even more ardent than before. 'Coming True' is a bit of everything that's come before- a well crafted bit of indie rock, layers of sound, bursts of noise, a strong vocal. It builds and fades and comes back bigger again. Really enjoyable and... honest, for want of a better description. Another of my favourites is 'Your Man', sounding like a cross between 'The XX', 'The Shangri-La's' and Ennio Morricone. No further description required.    

'Can't Repair' has a massive motown feel to it, from the drums to the singalong refrain- 'oh no oh no, this one you just don't share... oh no oh no, this love you can't repair'. Put on a suit and your dancing shoes. 'Home Free' sounds like it's about to suddenly break in to one of two songs, 'Cannonball' by The Breeders or... 'More Than A Feeling' by Boston. Either way, another song that even before it's halfway through has seeped into your conciousness and can expect to hear the chorus coming back to you for days to come. 'Oh did you lie... to me? When you said... you and me?' (More than a feeeeeling!)

Final track is '1&1', a shimmering slow-dance. And another lyrically gorgeous track- 'If one and one... can really come to two. Then why on earth... would I not be with you?'. A brilliant closer, that sweeps you up in a collision of sound and echo and majestic organ. Can't put my thoughts on this track to words well enough to do it justice- but it's the only track that really bought to mind Richie Follin's sister's band, Cults- whose debut album I adored.

Looking forward to the physical release in the UK (I think we get it a while after the US, who get it next week). Definitely lived up to my hopes for it. And will be well up there as one of my favourites at the end of the year.

Billy Joel- An Innocent Man (1983)

Call it a 'guilty pleasure' if you like, but I love Billy Joel's 'Uptown Girl'. It's one of a couple of songs I very clearly remember hearing and enjoying when I was still much too young to be properly 'in to' music. My Dad would have Capital Gold on in the mornings and alongside 'Lola' by The Kinks, it was a song that I would instantly recognise. Years later it's one of maybe 4 songs of Joel's that I consider to be absolutely outstanding pop tracks, but I never thought to investigate his work further. For whatever reason, one day last year I found myself on his Wikipedia page and discovered that 3 of those 4 songs were from the same album- 'An Innocent Man' (the 4th being 1980's 'It's Still Rock & Roll To Me'). I kicked myself for not reading up on it sooner, as the album is a tribute to the music of his teenage years and his memories of the time- American pop, motown, doo-wop, soul of the late 50's to mid 60's. With 'Uptown Girl', 'The Longest Time' and 'Tell Her About It' being tracks I had admired for years as great tributes to the likes of The Drifters, Sam Cooke, Smokey Robinson etc as well as great pieces in their own right, I was very keen to hear the rest of it.

 

Easy Money

The album starts with a blast of James Brown-esque funk/soul- a gambler's anthem of a night that's young, and full of possibility for someone with cash in their pocket looking to try their luck.

'Take me to the action, take me to the track
Take me to a party if they're bettin' in the back
I've been working all my life, can't afford to wait
Let me call my wife so I can tell her I'll be late'

An Innocent Man

Track 2 is the title song, a dramatic change of pace and tone. I'm surprised at its position on the album and would have thought it better placed as the penultimate track. I was blown away by this on first listen- a stripped back, soul-bearingly honest, human, cathartic ballad. I doubt very much that it was not an autobiographical song. Dealing with the same subject matter as The Beach Boys' 'I'm Waiting For The Day', he sings about what it's like to be the one who picks up the pieces of a broken relationship. Paying penance for another man's misdeeds he bears the emotional brunt and misdirected anger, refusing to give up on someone who after a setback, is ready to give up on themselves.

'I know you don't want to hear what I say
I know you're gonna keep turning away
But I've been there and if I can survive
I can keep you alive
I'm not above going through it again
I'm not above being cool for a while
If you're cruel to me I'll understand

I am an innocent man
Oh yes I am
An innocent man'

The use of the phrase 'innocent man' I thought was a clever analogy for the subject matter- he's asking not to be held accountable for the pain inflicted by someone else. I'm sure it's a situation a lot of people have experienced or can relate to on either side of the coin. Like the hungover student who swears never to drink again, the heartbroken who can't bear to risk it happening again shut out any potential suitor. 

'Some people say they will never believe
Another promise they hear in the dark
Because they only remember too well
They heard somebody tell them before'

I hope anyone reading this will be encouraged to play the album but if not, at least give this one a listen or read the lyrics.

'The Longest Time'

This one raises the spirits again with 3 and a half minutes of catchy, feel-good, mostly acapella harmonising. The video echoes the album's theme, with an 'older' Joel sitting lonely in the aftermath of a high-school reunion, before his old buddies file in and the clock is turned back. (Look out for the worst double-take in the history of moving pictures). Billy Joel is actually the only singer on the song, the recording being 14 layered tracks of his own lead and backing vocals. A simple love song of a man renewed. As the track before describes, a relationship ending can feel like the end of the world but if you pick yourself up things can be good again.

'Once I thought my innocence was gone
Now I know that happiness goes on
That's where you found me
When you put your arms around me
I haven't been there for the longest time'

This Night

If this album was an American teen movie this is the 'prom night slow-dance' scene, where the two lovable losers who have been given the run around by the wrong partner finally get it together.

 

'Didn't I say
I needed time to forget her?
Aren't you running from someone
Who's not over you?'

Very 1950's, with its 'shoowap's and 'woooah's, and a bit of sax for good measure.

Tell Her About It

An unmistakably 'Supremes'-sounding track, could hardly be more motown if Diana Ross was singing it. Rather than singing about his own experiences this time, the song is directed to a thrid party, giving some great advice we all should heed more often.

'Listen boy I don't want to see you
Let a good thing slip away
You know I don't like watching anybody
Make the same mistakes I made

Listen boy I'm sure that you think

You got it all under control
You don't want somebody telling you 

The way to stay in someone's soul
You're a big boy now and you'll never let her go
But that's just the kind of thing she ought to know'

I can't help but imagine all the poor souls listening to this in 1983, getting thoroughly carried away and dancing off to make a well-intentioned but ultimately doomed declaration of love off the back of it... I'm sure it would have been responsible for more than a few happy endings too, though.

Uptown Girl

Everyone will know this one already. Very 'Frankie Valli and The Four Seasons'. A driving drum beat,  irresistably 'sing along', and that bit where the harmony builds and the motorcycle revs... Love it.

Careless Talk

Taking on a Sam Cooke vocal style for a song that, considering the theme of the album could be about the whispers and behind-the-back gossip that goes on in your teenage years, jealousy and spite from spurned lovers... or considering his growing profile as a celebrity and his high-profile partners (models Elle MacPherson and Christie Brinkley)

'Careless talk...

That's what you heard about me 

Jealous talk...
That's what I heard about you 

Everybody's telling lies,

I don't even know why 

Why can't people Find something better to do?'

Christie Lee

A 'Little Richard' rocker, one of the weaker tracks. Plods along nicely enough but... every album has its 'filler'.

Leave A Tender Moment Alone

The 5th single (of 7!) released from the 10 track album. The quiet, reflective 'Leave A Tender Moment Alone' is, lyrically, an inner monologue- the explanation he can never offer face to face as to why he's quiet or awkward in the company of a girl.

'Yes I know I'm in love
But just when I ought to relax
I put my foot in my mouth
Cause I'm just avoiding the facts'

Keeping the Faith 

'Keeping The Faith' is a full stop to the nostalgia, explaining that 'the good ol' days weren't always good, and tomorrow ain't as bad as it seems'. He recounts his routine for a night out- the clothes, the hair and paints a vivid picture. Rather than reminiscing and lamenting the loss of days gone by, he approaches it as you would looking back at old photographs- happy to have had the time and appreciative of chance to look back, but none-the-less able to put it away and live in the now.

'I'm going to listen to my 45's
Ain't it wonderful to be alive
When the rock 'n' roll plays

When the memory stays
Yeah
I'm keeping the faith'

Whole album can be played in full here;

Billy Joel- An Innocent Man (Full Album)

My favourites of 2012

1. Mystery Jets- Radlands

Having improved, developed and progressed with every release since the 2006 debut 'Making Dens', I was highly anticipating a new Mystery Jets album. Their last two, 'Twenty One' and 'Serotonin' are outstanding from start to finish. The former is an effortlessly classy indie album charting the drama and emotion of being the age in the title. The latter is more matured and reflective. Both highly, highly recommended. Blaine Harrison, the singer/song writer, is an amazing talent. When details of 'Radlands' emerged I started to worry. I was prepared for a new album not to live up to the previous two, having loved them so much. But hearing the band was relocating to Texas to record, and then seeing the album cover featuring them in blue denim/cowboy boots etc and framed by the outline of the Lone Star State, I feared the worst. The album opens with the title track 'Radlands' and thankfully it's a case of evolution not revolution as there's far more that's familiar than different. Blaine Harrison's lyrics are always intelligent and engaging and perfectly suited to his voice which is a key part of the Mystery Jets unmistakable sound. By track two the relief flowed over me as it was clear they had done it again and delivered something special. The 'scope' of the album and the themes and subject of the songs is much wider, looking out at the world and a person's place in it rather than a focus on personal emotions and relationships. Lead single 'Someone Purer' is the best example of this-

'I was gripped with a bitter fear, worried
The one thing that I loved,
Back when I was just a kid,
Might now never be enough,
That the body I was in,
Might belong to someone else,
Someone kinder, someone surer,
Someone innocent, young and beautiful,
Someone purer'

I've thought before that Blaine's vocals are quite Ray-Davies-like at times (quite noticeable on 'You Had Me At Hello') so I was delighted to hear The Kinks name-checked on 'Greatest Hits', along with Bryan Ferry, Paul McCartney, ABC, Belle and Sebastian and more. Any fears that this very English indie band had gone native over in the US were utterly dispelled on this track that could have come from The Kinks themselves, full of 'sha-la-la's'. The fact is I could mention every single track on the album individually and rave about it but I'll round off with the undoubted stand-out, 'Lost In Austin'. Another track concerned with big thoughts about life-

'Is there a world more lonely than ours,
Out there beyond the stars?
Is there another me,
Looking back across the sea?

I wonder if he knows
I wonder if he cares
I wonder if he ever wonders
I wonder if he asks

Am I just a blind spot in his eye,
Am I just a reflection of the light?'

Relatively heavy for a Mystery Jets track, the chorus is yelled out over guitars and drums- 'Take me to the edge, I'm not scared. I want to feel the cold wind in my hair. And if we fall off, it doesn't matter, we'll do it all again'. Captures the essence of a man facing up to the vastness and uncertainty of the universe with defiant abandon. A fantastic album, for the 3rd time in a row.

http://www.youtube.com/watch?v=XILvOrna0RA
http://www.youtube.com/watch?v=VV36ryOcAtA

2. Tame Impala- Lonerism

Fitting that this should be runner-up to Mystery Jets, I only played it thanks to a Tweet of theirs proclaiming Lonerism to be 'the great lost Beatles album we never knew was made'. I'd heard the name and seen them mentioned by the likes of Noel Gallagher before, but for some reason in my head had them confused with Tinie Tempah and Noel's word or not, that sort of music will never be my cup of tea. Upon discovering Tame Impala make 'psychedelic hypno-groove melodic rock music' (their description), I gave it a try. Can't give it much higher praise than to say I agree with the Beatles comparison. The vocals, the drums, the harmonies, the Strawberry Fields-distortion. Not much variety on the album, but when you sound like The Beatles, who'd want it?! Reminds me in places of The Vines and The Sleepy Jackson too, two more bands with a healthy love of the Fab Four- strangely enough all three of them are from Australia. Definitely some shared DNA there. Musically, not... literally. On 'Mind Mischief' in particular the singer manages to somehow sound like Lennon AND McCartney at the same time. Like 'Wings' fronted by John instead of Paul.

http://www.youtube.com/watch?v=IF5E2X55_kg
http://www.youtube.com/watch?v=wycjnCCgUes


3. Devin- Romancing

Genuinely surprised/disappointed this hasn't had much exposure. Proves it's not what you know but who you know because all it should have taken is a bit of radio play or even to have a song on an advert (Willy Moon/iPod) and this could have been the soundtrack of the summer (had we had one...). Like The Hives this comes from the 'big dumb fun' school. A 50's throwback tearing through some good time rock 'n' roll via garage punk. All the necessary elements are present and correct without bringing anything new to the fore but you can't begrudge that when it's done so lovingly.

http://www.youtube.com/watch?v=obSyjnkcti8

4. Citizens! - Here We Are

A nice surprise, this year's 'Passion Pit'. Very 'off the radar' and checked out on the off-chance. Danceable indie electro-pop, synthised riffs and beats under a vocalist that is not a million miles away from Brandon Flowers. A modern take on 70's and 80's influences there are hints of Bowie, Bolan and OMD's Andy McCluskey on opening track 'True Romance'. 'Caroline' sounds like The Killers played at slightly too high speed, with the singers aforementioned vocals. 'Let's Go All The Way' is another very Killers song, actually bringing to mind 'All These Things That I've Done' in the chorus. Centrepiece of the album is 'I'm In Love With Your Girlfriend' which builds to an industrial glam-stomp that you can picture a Marc Bolan or Brian Molko, feather boa and all, belting out with all their androgynous might. I'm no dancer but this is not an album you listen to sitting still- every track is indie-disco gold and a remixers dream. From start to finish it plays like a night out on the town, down to the hazy, slower paced 'end of the night' closer 'Know Yourself'.

http://www.youtube.com/watch?v=EySm81Q6qIU
http://www.youtube.com/watch?v=vzvbLmlzE1k


5. Alabama Shakes- Boys & Girls

Tipped these at the start of the year and was vindicated very early on with their first live show in the UK causing a stir not seen since The White Stripes debuted to a tiny crowd that had the record labels in a frenzy. Currently on a massive tour they've already progressed to larger venues and sold them out in minutes. Amazing that the singer Brittany Howard is just 22, possessing such a big soulful voice. 'You Ain't Alone' could be an Al Green song. The big soul ballads sit well alongside a couple of more straightforward blues-rock efforts. The musicianship is great but the big draw is the voice whether hitting the high notes or tearing through a gravelly lament such as on 'Heartbreaker'. Probably my highlight of the album, Howard doesn't hold back and gives it her all building to the howl of 'how was I supposed to know?'. God help the man that wronged her as I wouldn't want to be on the wrong side of a woman who can shout like that...

http://www.youtube.com/watch?v=mEwM2iy_J8E
http://www.youtube.com/watch?v=0HxNtWEIKhQ



6. Muse- The 2nd Law

If you'd told anyone listening to 'Showbiz' (Muse's debut album), at it's 1999 release that it would come to be seen as some of their more restrained work I'm not sure what you'd make of that. Although the cover art is typically stellar it's their most grounded and Earth-bound lyrically, but still angsty, dramatic, histrionic with it. A massive album I loved at the time and still do now. And with every subsequent album their ambition, scale and success has only grown. Already by album two (Origin Of Symmetry) with the likes of 'Space Dementia', a 6-minute gothic/operatic/classical space epic, they were leaving the confines of other mere indie bands far behind. And 'Citizen Erased', a sprawling, discordant overblown 7-minutes of everything that makes Muse 'Muse'. 'Absolution', 'Black Holes And Revelations' and 'The Resistance' followed. Intergalactic wars, conspiracies, global catastrophies, usual run-of-the-mill sort of stuff really. Containing everything AND the kitchen sink. Long story short, I'm a fan. And although I could go on a lot more about the last three albums, I'll leave it there, and on to The 2nd Law; Opening with what must surely be their audition for a crack at a Bond theme (they HAVE to do one, please!), 'Supremacy'. 20 seconds in, the strings start up and I don't know how they didn't have to pay Monty Norman royalties. Military drums and a distinctly Shirley Bassey reminiscent vocal rolling along quite nicely, until Matt Bellamy launches his first falsetto to mark the half-way point of the track. Anyone not seeing silhouttes of naked, dancing ladies by the time he sings...;

'You don’t have long,
I am on to you.
The time, it has come to destroy...
Your supremacy'

...has never seen a Bond film in their life. Track 2 is the lead single 'Madness'. And as is the trend, it's the most individual and unrepresentative song on the album. This won't be the first or last time Muse are compared to Queen, and this time they sound like a specific song- namely, 'I Want To Break Free'. Matt Bellamy's vocals are given prominence on a laid-back track, at risk of being understated before the Brian May-esque guitar(!). 'Panic Station' is more Queen, 'Another One Bites The Dust' by way of Prince and Michael Jackson's 'Thriller'. I found it drops off a bit after that and the remainder of the album is not as memorable and doesn't live up to their earlier work so much. The first 4 songs (up tp 'Survival') are good enough that I can see past it. So the album as a whole is slightly disappointing but there's enough to love about it to not judge it too harshly.


7. Metric- Synthetica

I've been 'aware' of Metric for a few years and liked the odd track but never really looked in to them in detail. If this 5th album is anything to go by, that's a mistake I need to rectify pretty soon-ish. The Canadian band are frequently described as indie/new-wave and Emily Haines' vocals have a cold, clinical detachment in keeping with the synthetic instrumentation. 'The Void' reminds me so much of something I can't quite put my finger on, might be something on Daft Punk's 'Discovery' album. Even if not there is something almost robotic about Haines- at times coquettish, kittenish like a sexy android. Looking forward to giving this some repeated plays, think it's a 'grower'.

http://www.youtube.com/watch?v=f_tJzikK-_I
http://www.youtube.com/watch?v=yo-_d9w0V6M

8. Best Coast- The Only Place

The biggest difference between this and 2010's debut 'Crazy For You' can be summed up comparing track titles;

Crazy For You, Summer Mood, Happy, Each And Every Day, When I'm With You
vs
Why I Cry, How They Want Me To Be, Dreaming My Life Away, Do You Love Me Like You Used To, Let's Go Home.

The fuzzy lo-fi has been cleaned up a bit too for a more polished studio sound. Album one was full of carefree 'summer loving' anthems, sunshine and lazy longing. On the surface the second album at times sounds just as upbeat- jangly guitars and beach-y melodies- but it's far more introspective. A result of the success and resultant touring that's taken its toll on the band. The songs are much more personal. Homesick, full of self-doubt and just a general vibe of malaise. Just as lush sounding, hipster indie via 60's girl group pop but opposite in mood to the debut. Doesn't do the band any harm, played one after the other they sound like bookends, soundtracking a teenage summer romance.

http://www.youtube.com/watch?v=uA3KhE0Tde8
http://www.youtube.com/watch?v=ia6mk3luuzU

9. No Doubt- Push And Shove

A welcome return for No Doubt. I had slight concerns for this album following Gwen Stefani's solo efforts between this and the last ND release, but thankfully there's not much evidence of any influence from them on the 11 tracks. It would surprise most people to know they've been around for 26 years now. Gwen Stefani's voice is as strong as ever, a distinctive and familiar instrument. A couple of almost dancehall/ska-hinting 'nightclub' style songs aside (Settle Down/Push And Shove) the rest is lush New-Wave pop. Maybe slightly too much production for me across the whole album, with a few too many whooshes and bleeps used, but it's far from the first time the likes of it has appeared on their stuff so it's not much of an issue. A decent amount of trombone and trumpet features too, which is always welcome. My highlight of the album is 'Sparkle', probably the song that would fit most comfortably alongside their older material. Dub-by, echo-y bass, ephemeral guitar, and a nice bit of old-fashioned ska trumpet. A simply written song, sung with feeling as ever by Stefani;

'Feelings change and people can get lost
But I still care about you so muchDo you remember how it was?'

10. Bat For Lashes- The Haunted Man

Natasha Khan's third album and probably her strongest, overall. A perfect set of songs to listen to as Autumn draws in. Kate Bush (Hounds Of Love/The Red Shoes) style dark, dramatic pop. Horns, strings, pianos, and strong, clear vocals that seem more to the fore than in her earlier work.

http://www.youtube.com/watch?v=KhNHKg2WcMc


11. Japandroids- Celebration Rock

Initially only gave this a go for the band name / album title and I'm really glad I did.  Really strong drumming throughout, which I always appreciate. Sounds a bit like 'We Are Scientists' or the livlier bits of Jimmy Eat World's 'Bleed American'. Not so much noise-pop as noise-rock, haze and distortion is present but not overwhelming. It tears along at a decent pace, only really slowing down at all on the closing song where the more shoe-gazey elements come to the fore. Any one of the tracks on it could be found on the soundtrack of an American teen college movie.

http://www.youtube.com/watch?v=4m6Ptx4CV6k
http://www.youtube.com/watch?v=AzQs550NLcc


12. Crocodiles- Endless Flowers

Like crossing The Strokes with 80's shoe-gaze MBV / JAMC etc. Julian Casablancas-like vocals over a fuzzy, hazy noise. Occasionally Shangri-La's handbells chime in, or big thumping drums adding to the cacophony of distortion. The more introverted 'little brother' to the Japandroids album.

http://www.youtube.com/watch?v=ZGT5FuM8A1c

And 'cos this has been a fruitful year for quality music, here's a list of individual tracks mostly from albums not in my best of the year but should still be heard (some are EP tracks / standalone releases);

Bloc Party- Kettling / Jack White- Love Interruption / Arctic Monkeys- R U Mine? / Kate Nash- Fri-end / Tennis- Robin / Summercamp- Outside / Santogold- Disparate Youth / The Maccabees- Pelican / FOE- The Black Lodge / The XX- Angels / Guards- Crystal Truth / Grimes- Oblivion / Miles Kane- First Of My Kind / Charlotte Gainsbourg- Got To Let Go / Richard Hawley- She Brings the Sunlight

Jonny Pierce- I Didn't Realise

 

The Drums have been good to me. I fell hard for them with the release of the 'Summertime' EP which I had in my basket from US Amazon before my first play of 'Let's Go Surfing' had even finished, in October 2009. In 2010, the debut full-length self-titled album followed. And beyond my wildest dreams, the second album 'Portamento' followed in September 2011. In the gap between playing 'The Drums' to death and 'Portamento's release, I sought out anything I could that Jonny Pierce had had a hand in. 

Founding members of The Drums, Jonny Pierce and Jacob Graham, started out as 'Goat Explosion' (with a name like that, how could success not have followed...[!]). Thankfully preserved on Youtube, their electro-pop bears Pierce's unmistakeable vocal and familiar Morrissey-esque, angular, stylings (Goat Explosion- I'm Always Alone). With the likes of 'Why Don't You Say' further compounding the Morrissey links with lyrics worthy of Moz himself-

'Why don't you say to me
that you love me?
Why don't you say to me
that you care?
Why don't you say to me
that you need me more than anything ?
Do you believe me, oh, can you see me?

They used to tell me, if I just wait and see
Something good will come back to me
Oh, there's no more waiting, so they just might be wrong'

Already in thrall to Jonny Pierce through 'The Drums', every 'Goat Explosion' song only served to convince me that he was the real, genuine article- a bona fide pop genius. 'Elkland' followed, and released the album 'Golden'. While it didn't work out for the band, apparently a case of 'too much, too soon' with a contract signed and the involvement of a label-

"Well, Elkland was kind of a big disaster from the very beginning. I'd written a bunch of songs that I really loved and had these demos. I was pretty young when we got signed and that whole thing came out of nowhere. One minute I was living in upstate New York recording songs and six months later I had a major record deal, and it kind of forced me to move to New York City. And I said yes to a bunch of things that I didn't really understand. I let a lot of things fall out of my hands and into the hands of people I didn't really know or trust. When you don't really have a foundation it's very easy for things to fall apart, and it did just that". (Jonny Pierce, Death and Taxes)

As before it's a very synth-y affair, but inevitably with more of a commercially viable pop-sensibility. Elkland- I Need You Tonight ('D.I.S.C.O, that's where I want to go'!). Very 80's, British pop/new-wave sounding, traditionally structured- verse/chorus/verse. As mentioned before, I loved The Drums for what they were but to discover this cache of equally outstanding songs was a revelation, especially given the surprising and unexpected difference in style. There's still an element of it in The Drums, but to so overtly be channelling the likes of The Smiths, Joy Division, Orange Juice, etc, I couldn't have invented a band better suited to me.

By the time The Drums materialised, the synths had been muted for a more 'indie band' sound, other influences had emerged- '50s and '60s American girlgroup pop, namely The Shangri-La's. The lyrical template was the same. Honest, heartfelt, yearning songs ranging from sweetly love-lorn to downright mopey, but set to bouncy, upbeat melodies. The perfect vehicle for Jonny Pierce to display his best indie-disco, Ian Curtis dancing and take centre stage- 'Forever And Ever Amen', 'Me and The Moon'.

Just when 2012 was looking to remain distinctly Pierce-less, a Tweet on November 28th drew attention-


@JonnyPierce: a new chapter begins tomorrow...

Lo and behold, the next day he announces a solo album for 2013 and debuts the track 'I Didn't Realise'.

"Some might say it’s strange for a man to bare his soul the way I do on this album, but I wanted to do something that exposed me for who I am even more so than anything I have done with The Drums… I wanted to be as self-indulgent as possible with this album. This is pop done the way I think it should be done".

A return to the sparse, twitchy, bleeping electronica of Goat Explosion, reverb, and a typical lyrical theme of rejection, regret, lamentation... The black and white video adding to the washed-out vibe of the music, elements dreamily floating in and out.

'Just when I thought I knew what was going on... you cut my heart out'
'What do you do, when everything is not enough?'
'Forgive me... for the faith I had in us'.

Probably in its short existence still manages to be my most played track of 2012. 

The Willowz / Guards

 

I was intending this entry to be a straightforward 'looking forward to in 2013' piece, starting with 'Guards'- whose 'In Guards We Trust' album is due on February 5th. But Richie Follin's old band 'The Willowz' are deserving of more attention than a throwaway line in the introduction. I only heard of The Willowz through Follin's sister Madeline, of Cults- whose self-titled debut was one of my favourite albums of LAST year. Having 'follin' head-over-heels with Madeline thanks to performances like this; Cults- Oh My God (live), the discovery of a second Follin-led band was welcome for two reasons. First, their music was described as 'garage rock', incorporating influences from punk, soul and blues from the '60's, '70's, and '80's. Second, should I ever meet Ms Follin, my knowledge of her brother's band would surely be the perfect cover with which to infiltrate her confidence and gain her trust before taking her away to start our new life together on the Isle Of Wight. 

So, The Willowz. Not world-beaters, by any stretch of the imagination but making a decent enough racket for me and each album improves on the last. There's a pretty prolific back-catalogue to negotiate, and while all songs are up to a decent standard there are several stand-outs, and enough variety to display their talents. Reading around, the vocals come in for criticism in some quarters and while some songs, like 'All I Need' could perhaps be even better with a stronger voice behind them, it's perfect for the nasal, punky sneer of 'Get Down'. For the most part, Richie Follin comes across like a sort of Jack White Junior ('Unveil'), and the blues-rock-country sound is not a million miles away from The Raconteurs. Whereas Kings Of Leon for example have ended up playing arenas and stadiums, Willowz are the type of band much more suited to (and I'd expect more comfortable) playing to crowds counted by the dozen, thrashing out their bluesy-rock fare in dingy, sweaty 'dive bar' venues. Their five albums are; 

The Willowz (2004), Something

The Willowz Are Coming (2005), Meet Your Demise, I Wonder

Talk In Circles (2005), Toy

Chautauqua (2007), Take A Look Around

Everyone (2009) Everyone

and worth checking out for an unpretentious mix of thrashy guitars, howling vocals, riffs and a garage-rock sound.

Back to 'Guards'. A free EP (available here) recorded in 2010 is like the bridge between Willowz and Cults. The highlight of which is 'Crystal Truth'. Replacing the riffs with a more 'indie' sound, the dreamy fuzz and echo of Cults underpinned by the alternative 60's influence of the organ. In the time since the EP's recording, Guards have emerged as a far more polished, finished article. Tracks like 'Coming True' will undoubtably lead to more attention. 'Silver Lining' is a breezy gem of a pop song- 'I want to live forever in a boat out on the sea'. Floating about on Youtube are some Guards tracks not on the tracklisting for the album, 'I See It Coming' almost Arcade Fire/Funeral-esque. Appetite well and truly whetted by the EP and the likes of 'Don't Wake The Dead', 'In Guards We Trust' is definitely one of my most anticipated debuts of 2013.

Mystery Jets- Royal Festival Hall 29/11/2012

 

Closing their extensive, globe-spanning tour of 'Radlands', Mystery Jets chose the prestigious but surprising venue of the Southbank's Royal Festival Hall for the grand finale- all seater, and not particularly known for hosting concerts of this type. As the show drew closer, the band were billing it as the 'chance to see a Jets show quite unlike anything before'. I was slightly concerned, as not having seen Mystery Jets before and being very keen to, I thought I'd be perfectly content to see the same show everybody else had got. My fear that we'd be getting pared down/alternative/acoustic versions of songs was thankfully wide of the mark as we were treated to a bumper 19 track set, and special guests on several of the songs. The band made reference to being nervous about the gig beforehand and initially the all-seated hall made for an odd atmosphere. Beckoned to stand by guitarist William during the second song, any doubts held by band or audience were quickly erased. I have never been at a gig and enjoyed being part of such a fervently adoring crowd. It made for a communal, celebratory atmosphere. Standing in row B to the right of stage it could be seen on the faces of William, and Blaine at the keyboard that they knew they had us at 'Hello London'.

Radland's first single 'Someone Purer' was a perfect opener. The Americana guitar-picked intro, accompanied only by Blaine Harrison's vocal, before the driving drum beat kicks in and propels the song to the first explosion of guitars and the statement-of-intent lyrics, commanding 'deliver me from sin, and give me rock and roll'. It's a rousing start and followed by a joyous 'Serotonin', during which the entire capacity is bought to their feet with an encouraging smile and gesture from William Rees. It's a nice moment as up to then there'd been a general air of 'not knowing how to behave' in the slightly formal surroundings. Permission given though, nobody sat down again for the rest of the night. 

Things were taken up a notch with 'Flash A Hungry Smile' the most singalong 'let's spend the night together' song this side of... 'Let's Spend The Night Together'. The drums seeming to me to have a bit of extra punch, and a little flourish in the guitars but the best was yet to come- seamlessly interrupting the end of the song by launching in to 'Jet' by Paul McCartney and Wings. Anyone who knows me will have some idea of the size of the grin this caused to be stuck on my face for the following three minutes. Really cannot emphasise enough how much I was enjoying being in that room at that point in time.

Flash A Hungry Smile / Jet;
http://www.youtube.com/watch?v=_eSqkfkBcow (Liverpool, 14/11/2012)

Next up was the Kink-y 'Greatest Hits', which I'm tempted to describe as a crowd-pleaser but with this band, and this crowd, weren't they all? The 'sha la la's' enthusiastically belted out and clapped along with. The first of the evening's special guests were introduced after that, the Marfa Lights Gospel Choir filing on to give backing to a run of four 'Radlands' songs. Can't say I really thought they were necessary (or noticeable) on 'You Had Me At Hello' or 'The Ballad Of Emmerson Lonestar' but were good on 'The Hale Bop' and 'Sister Everett'. I love 'Radlands' as an album, my favourite of the year quite comfortably and the way these songs were received it was clear I'm not alone. Maybe it was fitting to have a gospel choir as with this audience, they were preaching to the converted. The campfire-tale of 'You Had Me At Hello' was listened to with a hushed awe, the country-and-western disco of 'The Hale Bop' danced along to.  A second guest appeared for 'Sister Everett', Johnny Lloyd from Tribes. He stayed for 'Veiled In Grey', the first song of the night from 2008's 'Twenty One'. Mystery Jets are a static band on stage, they let the songs speak for themselves and this track shows their abilities perfectly. Gorgeous, warm guitars building to a big wall of sound finish. I've used the words 'joyous' and 'communal' already and I have to mention again just what a good crowd it was. Smiles all round on people's faces. It really did feel like a special occasion as opposed to just another night of the tour. Title track 'Radlands' and 'Take Me Where The Roses Grow' followed and were performed equally as perfect as all that had gone before.

If Mystery Jets had a signature tune it would be 'Young Love', which picked up a lot of radio play and featured Laura Marling who went on to Mercury Music Prize and Brit Award recognition. She's not introduced prior to the song, instead walking on and taking to the microphone just in time to do her bit. A knowing bit of stage-craft as people are kept guessing as to whether she'll be there or not. To be honest, she didn't seem too in to it, standing with a look of disinterest but maybe that's just her way... She stays for 'Flakes', a beautiful song and an amazing moment as we sing along, arms aloft, swaying in time. A highlight amongst highlights as Blaine sings it with such emotion.

Flakes (with lyrics) http://www.youtube.com/watch?v=XcCkbIeXQho

We arrive at the close of the show with the last two tracks of Radlands. (The only one not to be played from the album, for no discernible reason to me is, 'The Nothing'). 'Lost In Austin' is 6 minutes of majesty. At the risk of overstating it slightly, hearing it live is absolutely transcendent. Utter perfection. Musically, lyrically, emotionally. Huge, huge song. When they finish, they inform us that the next song will be the last one. I can't help but shout out 'play that one again, then!'. They in fact end with Luminesence, bringing us down to Earth with the downbeat, yearning, lost-love lament. 

'You still swim around the canals in my head like cocaine
And yes it feels good, but not half as it would had you stayed
The older I get, a step closer to forgetting your name
But I won't,
No I won't'

Walking off to rapturous adulation, it's a couple of minutes before they return for the encore. Another two 'oldies' from 2008's incredible 'Twenty One', 'Half In Love With Elizabeth' and the eagerly awaited 'Two Doors Down'. The final, final song was a surprise choice but no less welcome for it. 'Alice Springs' from Serotonin. Thumping drums, yet another outstanding vocal and an extended guitar thrashing finish bring the night to an end.

'I'd stand in the line of fire for you, 

I'd bend over backwards for you
I'd do anything that you want me to do
'Cause i dont have nothing if i dont have you, my love'

Completely over-joyed, usually leave a gig saying 'I wish they'd played such-and-such' or 'could have done without hearing that one' but really could not have asked for more. 10/10.

Setlist (via Setlist FM- http://www.setlist.fm/setlist/mystery-jets/2012/royal-festival-hall-london-england-7bda3ed4.html);

1. Someone Purer
2. Serotonin
3. Flash a Hungry Smile
4. Jet (Paul McCartney & Wings cover)
5. Greatest Hits
6. The Hale Bop (With The Marfa Lights Gospel Choir)
7. You Had Me At Hello (With Choir)
8. The Ballad of Emmerson Lonestar (With Choir)
9. Sister Everett (With Choir and Johnny Lloyd of Tribes)
10. Veiled in Grey (With Johnny Lloyd of Tribes)
11. Radlands
12. Take Me Where The Roses Grow (With Sophie-Rose Harper of The Night)
13. Young Love (With Laura Marling)
14. Flakes (With Laura Marling)
15. Lost in Austin
16. Luminescence
     
17. Encore:
17. Half in Love with Elizabeth
18. Two Doors Down
19. Alice Springs

Santigold – Disparate Youth

Santigold – Disparate Youth (http://www.youtube.com/watch?v=mIMMZQJ1H6E)

Santigold returns with her one-woman mission to defy convention, expectation, categorization… Her debut was made with the self-expressed intention to "help break down boundaries and genre classifications" and show that she wasn't just "a black woman singing R&B’. The label I’ve most commonly seen applied is ‘Electonica’ but the most obvious sounds to me are the new-wave and punk-tinged rock elements which are as welcome as they are surprising. ‘You’ll Find A Way’ could almost be a Clash track, especially with the mini foray in to dub towards the end (indeed, she did go on to cover ‘Guns Of Brixton’). It was no surprise to discover she had recorded two albums of new-wave / punk with the band ‘Stiffed’ before going solo. ‘Santogold’ was one of my most enjoyed albums of 2008.

The follow-up ‘Master Of My Make-Believe’ is released next month and several tracks have been cropping up, possibly to remind those who have forgotten just who Santi White is. The first track, ‘Big Mouth’ (http://www.youtube.com/watch?v=cxdQ_uD5IWk) is not something I think I’d ever have found myself listening to if it wasn’t a Santigold track but definitely grew on me with a couple of listens. Frantic Rio-carnival samaba drums showing yet another aspect of influence. But the next track ‘Disparate Youth’ is more of the Santigold I was hoping to hear. Like Klaxons crossed with The XX, with keyboards sounding like something by St Etienne. Easily fulfilling her brief to cross genres, masterfully creating an electro-indie-dance track equally likely to find its place on a dancefloor as a mainstream radio playlist. Different from anything on the first album but with the instantly recognisable vocal, it’s an exercise in expecting the unexpected but having it make perfect sense the moment you hear it.