Cobra Starship; While The City Sleeps, We Rule The Streets (Fuelled By Ramen, 02/04/2007)
Last Updated on Monday, 19 March 2007 15:47 Written by Dave
OK, cut to the chase, the song everyone is familiar with and is buzzing around heads like a rabid thought, is track eight ‘Bring It (Snakes On A Plane)’ yeah, it’s from the movie. A grandstand intro leads into the hip hop/rock and pop conjoining anthem containing echoing yelps, funky hip-hop verses and provocative female backing. A slow drum and bass led outro akin to the slow stopping of a heart, lends a serious edge to the amphibian coaxing cockiness. This makes the soundtrack as potent as, well a snake on crack. Now that this is out of the way, the remaining ten tracks are worthy of attention and the slow ode beginning of ‘Being From Jersey Means Never Having To Say Sorry’, is an offering that Leonard Cohen would swap his room at the Chelsea Hotel for. This is juxtaposed with the free spirited, ‘Send My Love To The Dancefloor (Hey Mister DJ)’ that stands at the lighter and hipper end of the emo scale. It is certain to raise an agreeing frown from Fall Out Boy fans, as they are currently sharing a stage with Patrick Stump and company.
Cobra Starship is the baby of ex-Midtown lead man, Gabe Saporta, who makes full use of bassist Ryland Blackington (Ivy League), as he provides the churning grind to the explorative pop-out of ‘The Church of Hot Addiction.’. Electro slides, vocal soaring and a range of backing that outshines even The Flaming lips combines to make this album bold, daring and provocative. It is like introducing emo kids to the hip hoppers in a kebab shop. The swooning ‘The Ballad of Big Poppa And Diamond Girl’, has lush, almost Eurovision backing and instrumental cushions to accompany the R N B touching vocal lead. Showing that the broadness knows no bounds and that da Cobra are determined to test hip-hop and rock fans to the hilt of their musical boundaries. Could this be the end of scenes? The conglomeration of so many genres into a catchy and fresh collection is something that could and should take off big-time. Cobra Starship have created the platform for this to happen from.
Rating; 4.5/5
Ernest - Ciao Edie Roxx
Last Updated on Monday, 12 March 2007 12:53 Written by Ken Foster
Looking like a pop art acid flashback the campy kitsch decor, grotesquely 70's lamps with enormous mosaic-covered bases, repulsive orange shades and red or green light bulbs somehow oozes cool.
The soothing lounge jazz outfit complete with Brazilian singer open up. it's an Alexis Korner moment as the floaty atmosphere threatens meltdown of the senses.
Ernest look relaxed, after a night of mayhem at the Bovine Sex Club, Ciao Edie's brings a welcome chill and new challenges. Still with a clutch of relatively new songs to hone, the band have approached Canada head on. New songs infront of a non-core audience was going to be even riskier than usual. Cities like Toronto embrace diverse music and this visit by Ernest is ground-breaking in the sense that it's the first time such a genre-less hybrid of styles has graced this impressive city. So many other bands ploughing the well trodden rock/punk/emo/thrash are playing all over the city but the Edie crowd soon start to sense this is something very special.
Ernest's performance tonight was one of those rare moments where everything came together perfectly. It rose above the insignificancies of everyday humdrum and took you to a level rarely experienced. I spoke with someone who had influence. They told me Ernest should never sign a recording contract as it would compromise their style and uniqueness. She could be right. Ernest don't always hit this peak but when they do it's almost too good to be true.
Amusement Parks On Fire; A Star Is Born (V2, 12/03/07)
Last Updated on Monday, 12 March 2007 11:59 Written by Dave
Amusement Parks On Fire; A Star Is Born (V2, 12/03/07)
This 4 track return from Nottingham’s Michael Feerick (who is for all intents and purposes; Amusement Parks On Fire), is a mind aching conundrum for the indie snobs who run a hate campaign against anything emo. For the six minute plus, building and aching mood switcher of an A-side ‘A Star Is Born’, Feerick uses the slow percussion drills, winding guitars and ambient vocals of indie song-builders like Death Cab For Cutie. However, eerie and echoing emo bass lines coupled with hollow sounds form a shareholding of the backdrop. It’s not emo, it’s not indie, buts it’s experimental, heart-wrenching, searching and deep. Thus drawing indie snobs into getting a feel for the former genre without realising so, it’s like Feerick’s invented fat-free chocolate.
The acoustic prominence of ‘The Day It Snowed’, allows the poetic lyrics to stand out. These are delivered slowly and sincerely, as a folk/Americana feel trickles through. Wholly instrumental offering ‘I Think Of Nothing’, uses a whining intro that sets the sort tone that Four Tet have been calling their own for years. It is definitely soundtrack material to accompany that nostalgic return of the hero/heroin, to the place that makes them realise they have to do something that other people won’t like. For those who need a fix of low key pop, ‘City Of Light’ shows a return to the simple, slow build up song process. The vocals remain low key, but they do not lose prominence and the journeying guitars help to create a good beat and an energietic ending, well for Feerick, anyway.
Rating; 3.5/5
Thirteen Senses; All The Love In Your Hands (Mercury Records, 19/03/2007)
Last Updated on Monday, 12 March 2007 12:53 Written by Dave
Haven couldn’t do it? What is that I hear you ask, appear less sanctimonious? No, actually they couldn’t follow up on a swooning, soaring and reflective, melodic indie debut to rise to the heights that many expected of them. A few years on and another Cornwall born quartet seeks to show them how it’s done.
They have chosen a single to introduce their follow material that is close enough to the debut album sound, but does expand upon it slightly. The sauntering melody builds off a shrift percussion clatter and slows down enough, for the yearning and echoing vocals to be heard. These speak of a renewed belief in the power of love. The signs are there to indicate this outfit could go a step further, if this prelude to forthcoming album ‘Contact’ is a good watermark.
Rating; 3.5/5
The Rakes; We Danced Together (V2 Records, 12/03/07)
Last Updated on Saturday, 03 March 2007 14:55 Written by Dave
In their intermission between the recording of debut album ‘Capture/Release’ and the forthcoming follow up ‘Ten New Messages’ (out 19/03/07 on V2). Alan Donoghue and co has obviously spent long nights listening to The Mystery Jets and Maximo Park. The result, as far as this single goes, is that they now decorate their post-mod base with flowery reflection that comes out through the echoing vocals and lightly flitting guitars.
The Rakes have been polishing their tack, but still manage to retain that trickle of eccentricity and kick of exploration. Something that ‘Cold’ exemplifies to a tee, it is in essence a slower and more soulful reworking of ’22 Grand Job’, with growing verses taking over from the catchy chorus approach. In fact, the new approach it is probably everything you would hope for in a follow up from a band of this ilk. Can they carry it off for an entire album?
Rating; 4/5
Patrick Wolf; The Magic Potion (26/02/2007, Polydor)
Last Updated on Thursday, 01 March 2007 16:28 Written by Dave
Daydreams and wishes are wonderful things in life, as they are the sometimes the only way that you get what you want. For Mr Patrick Wolf, his childhood fantasies probably involved the collaboration of the David Bowie and The Finn Brothers, only he has the skill, broadness and vision to put it into practice. ‘Overture’ and the title track reach his rainbow with warmth and a hint of reflection, leaving plenty of space and time for some scattering, ambient range via the creeping ‘Bluebell’. Members of the Symphony Orchestra Of Vienna and Edward Larrikin (Larrikin Love), guest on this album to contribute towards the brassy thrusts and swooning spice that is on display. Now on his third album, Wolf really let’s loose for his major label debut. A theatrical vice grips on to ‘X’, showing the artist’s renewed vigour and adventure in a chilling light.
It is not difficult to see why Patrick has been personally and individually selected to support The Arcade Fire on their current tour, as his adventure and emotion matches theirs perfectly. This is scattered with the frivolity of current plaything Mika, especially prevalent in ‘Get Lost’ and the orchestral backing opens out impressively. The trickling piano ode, ‘Enchanting’ puts tenderness on the shelve at a knock down price and you get calming poetic lyrics thrown in for free, to seal the deal. The independent song writer is not going to be upstaged this year, especially if this thoughtful and sincere character has anything to do with it.
Rating; 4/5More Articles...
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