Friday, 26 December 2008


Click to make bigger!
here for more information!

Tuesday, 16 December 2008

Marina and the Diamonds

Just another female singer in the midst of Lykke Li and Laura Marling? Oh no. There is a ferociousness that accompanies Marina's cutting insights on modern life seethe through the sweetness in her voice.
"Obsessions" is a piano driven and haunting affair which evokes simple, maudlin musings which contrasts greatly to "Seventeen" which matches staccato beats and Kate Bush inspired vocals with a feisty air thumping chorus. The sweetness of Yael Naim with the force of Karen O's personality seeps through.
"Mowgli's Road" gathers in it's arms a bundle of ideas and throws them in the air- the end result falls into a mish-mash of piano, vocal and thumping drums creating a seriously interesting sound. Added to this heartfelt lyrics and a set of powerful lungs and your there.

It is subtlety which is intoxicating.

Sunday, 14 December 2008

Little Joy

It seems that every Stroke's member had a hand in creating their sound if the music they are creating now is anything to go by. Within Albert Hammond Jnr's side-project there are hints of it and now with Fabrizio Moretti's new stuff "Little Joy" there is a nod back to the 'Room on Fire' era. Especially in "Keep Me in Mind"; I almost feel like Julian et al are back only to be reminded this just isn't so.
Lazy strumming of guitar set against sparse drumming and wonderfully droning vocals it's almost like they're back together. I can forgive this whole-heartedly though because The Strokes were a band where every member provided an integral key to the music created and because deep down, after Julian, Fab was always my favourite. A bit like when Pete and Carl spun away from each other and produced bands which had similar elements to the Libertine sound but developing and honing their own talents 'Little Joy' have their own sound entwining the Strokes vibe.
Proving not to want to jump into the lime-light too readily there are two other major components to Little Joy in the shape of Binki Shapiro and Rodrigo Amarante. Taking over the vocals and various other instruments this really does feel like a band rather than a side-project for Fab.
And to call themselves 'Little' Joy is an understatement- their songs a full of joy. The kind that lights up summer days and winds down the winter nights. Unfortunately they've released their debut as the winter draws in and so lolling around the garden, cocktail in hand and sun shining down whilst pumping out their music isn't possible. Although on the flip side their Californian laid-back pop does bring those elements to the brittle winter months so all is well.

Songs like "No One's Better Sake" use disjointed, 60's infused synth and sparse drumming with lethargic vocals which turns the whole thing into a reggae infused affair (possibly not on purpose) whereas "How to Hang a Warhol" takes simplistic guitar riffs and wraps the whole thing into a bundle of indie fun. It's sort of like The Thrills or She & Him combined with an hint of Belle and Sebastian. It's possibly "Don't Watch Me Dancing" though which is their most beautiful endeavour as Binki's understated vocals take control and the melodic guitar carries the simple lullaby of the song. In the same way "Unattainable" takes the same melancholy music tinged with heartfelt lyrics which evokes the 1970's folk infusion. It's songs like these which take away the Strokes element and show the band off to their best.

Their music is so laid back it's almost horizontal, but who cares? Hooks a'plenty and filling the void left by the Strokes rather nicely it's undemanding of it's listeners and allows the sunshine pop of yesteryear to transport you to a happier, sunnier place than England in December. Lovely!
Jade XX

Monday, 1 December 2008

We Have Band

If the Horrors went 80’s induced disco you might balk at the concept yet the beginning of We Have Band’s debut “Oh” sounds exactly like that with a broody hook which runs with the disco feel.
Cramming in Hot Chip beeps with Talking Head’s rhythm the concoction is a frantic, itchy marrying of sounds which wouldn’t be out of place on the Skins soundtrack, but that isn’t necessarily a bad thing. The frenetic repetition of “Oh/ oh/ oh” skips over the macabre disco and despite the heavy electro influence it is more new wave than new rave, which in the post-mortem of the Klaxons aftermath is defiantly in their favour. These are The Rapture of the new generation; as filthy as The Faint with a pinch of futuristic-pop to match the heavy laying of programming and drums.
It’s the most chilled disco-funk ever- it’s almost electro-by-numbers except for the fact it manifests itself into the catchiest, most danceable song ever transcending any influence gained from the likes of ADULT and Fischerspooner and creating a whole new, addictive sound!
Jade XX