To brief, I feel Henson has hit a brick wall and we’re left
with a one trick pony. The subject matter of his songs have not really evolved,
as he is still playing to the same audience, in the same manner, but now simply
with a backing band. The music played seems less complex, and more filling for
the words – as if Dear... should be the breakthrough sophomore record. We’re
left to listen to more sorrow and heartfelt woe with no ground development or
addition; this time with no signifying or key phrases that really grab you.
What rather frustrated me, in fact, having already felt a
little let down was Henson almost half mocks what people idolise about him with
lines like “You son of a b****, stop writing songs like this, you think you’re
better than them now, but they don’t have to pretend” (‘Kronos’) – to me,
that’s possibly his old flame telling him to grow up, and to not glorify his
misfortune and teenage misery that many go through and not ‘moan’ about. ‘Kronos’
itself is my favourite track off Birthdays, and is a grungy roll of thunder,
but not really ‘enough’; the album is full of experiments that don’t quite pay
off. Zane Lowe called ‘Kronos’ a “wonderful and remarkable surprise”, but with
regards to the entire record, released several months after this quote, it’s
just ‘Kronos’ that attracts attention. In anticipation, I was getting somewhat
enraged by the negative reviews of Birthdays by big music critics, seeing 5/10,
or three starts, but I can see why, and it’s almost as sad as Henson’s previous
music… The lesson I’ve learnt here is that patience is a virtue.
It was like a b-side or demo tape that he was forced into
rushing and releasing to keep a roof over his head. I suppose I was expecting a
lot more from an artist as talented as Henson.
-
Sophomore dropped
a new record recently, and called it The Blue – the name taken from the opening
line of the record, in ‘Young Adult’ we hear “Fell into the blue!” belted out to
us after an intrinsic and delightful melodic introduction. For those who don’t
know, and sadly I feel that’ll be the case of many, Sophomore if the
side-project for Alex Sears, frontman to pop-punk titans Decade – whom I can’t
seem to shut up about.
It’s amazing what a teenage boy can do in his bedroom when one
is “lonely in [his] room” (‘Young Adult’), and isn’t tempted by apathy – the
entire record was self-recorded, with Sears engineering every instrument
himself too, the end product being an alt. rock chunk of gold, with a little
emo sparkle. The likes of Rock Sound are even fully backing this project; hailing
him as one of “Britain’s most promising songwriters”, and it’s easy to see (or
hear, rather) why. His music is deep, relatable, and inviting in his angst, which
is the key – it’s a mood changer; a thinker. Critics claim The Blue is a
“punchy effort”, acknowledging he is trying something different, which always
takes time to perfect. Then, reading more reviews, I see the words ‘deep’, ‘infectious’,
and ‘emotionally charged’ dropped time and time again.
“Sophomore is more or less just a way to flex my creative muscles. I love having the option to write any style of music that I want, without the restraint that you might get with a full band each with their own voice and opinion. The songs on this EP are about a number of different things that have been going on in my life over the past couple of months or so. The beauty of writing and recording your own music by entirely your own means is that you can share your feelings and emotions with someone instantly; I could write a song today and put it out tomorrow while the theme of the song is still fresh in my mind. It's a good way to vent for sure"
- Alex Sears
It’s a shame, in a sense, that Sophomore (despite not being
too different in style) will never stand alone, and away, from Decade, in the
same way, Frank Carter will always have Gallows mentioned in the introduction
to Pure Love pieces/articles, because it deserves to be seen as a separate
‘entity’. Even Richard Carter, his younger brother, would’ve had the fact that
two of his older brothers were of Gallows fame before Blackhole, his own band,
are mentioned – I don’t even know if they’re still going actually... But!
Nonetheless... Conclusion: It’s superb! Be sure to check it out, and download
it, for free over at his Bandcamp page: click here.
-
That new Fall Out Boy
album is pretty sweet too, isn’t it?
-
Everyone has that one person they wish they could be, be it
have their looks, their style and wardrobe, or it all – their entire life. For
me, that person is Daryl Palumbo,
and personally, I’d take whatever I could get, even if it was just his fridge
content, I’d probably settle for just that. The man is as restless as ever: as
soon as one project is done, or rather a record is released or a tour is over,
he’ll start with something else, and of course he has that damn knack of making
whatever he touches turn to solid gold.
Palumbo announced last year on his Twitter account that he
and friend/ex-Men, Women and Children member, Rick Penzone were entering the
mixing stages of their first LP with a new project, called Color Film. The duo first featured on the track ‘It's a Lie’ off of
Nick Hook's Without You EP (I’m currently downloading this now as I type, so
I’m not sure what to expect – I may write about it in the future!), and then on
18th October 2012, Color Film played their first and only show at
Irving Plaza, New York. It’s Palumbo... Where else?
Along with the announcement of the show, the band's site
went online, revealing their debut full-length details and a download of the track
‘52 Minds’ in exchange for a scratch off ticket code. ‘Bad Saint’, another
track from the record, became available for streaming on Color Film's
Soundcloud page shortly after, but now they’re both easily accessible through
YouTube or anywhere really thank to the internet. I myself am really, really,
really digging ‘Bad Saint’. It’s understandable now why Paulmbo is often
spotted rocking a Tears for Fears t-shirt at live shows, because they are an
incredible influence on this project, along with the likes of UB40, and The
Police, there is this awesome vibe to the two songs – almost atmospheric like
in Coloring Book, most notably ‘Black Nurse’, where you can picture the sounds
bouncing off the balls with reverb and style.
The coming album, entitled Living Arrangements, was produced
by the duo and mixed by Gareth Jones (an English music producer and engineer
notable for working with Depeche Mode, Wire, and Erasure) and is expected for a
2013 release. I can’t wait.
In the mean time, the man oozes groove and propels class
through a different project – this time, one by himself. Palumbo, the other day
actually, released an electro/house-esque joint on his personal Soundcloud page
(again, now available on YouTube, etc.) which really leaves the body in a
spasm. The track ‘Don’t Leave Me’ is repetitive, 90s New York reminiscent with
a new age gloss and perfectly documents the man’s genius. It’s an addictive
one, that rings through your head until you go to bed.
Also, as it was recently the tenth anniversary of Glassjaw’s
Worship and Tribute masterpiece, the band released a new line of merchandise
through their MerchDirect store. I picked up this lightweight navy ‘coaches’
jacket, for roughly about £65-70, because it looks absolutely awesome which
features personalised stitching; very cool in more ways than one – perfect for
spring. It’s just a shame it sold out so quick, and when I went to buy it, the
large was already out of stock; the medium fits, and only just, but I can’t
really see myself parting with this jacket. Let’s just hope I don’t grow
anymore or anything!
Note: Hit me up
if you have the jacket in large and want to make a trade! Haha.
-
Defeater’s frontman Derek Archambault is another to emerge
from the shadows with a solo side-project this year, in which he is calling Alcoa. The name derives from “one day,
while driving through Alcoa, Tennessee, I decided on the name and started the
process of figuring out how to not write a loud punk or four-chord jangly pop
song" – that simple. The singer/songwriter’s side-project can actually be
dated back to 2002, whilst on tour with various bands, according to record
label and supporter, Deathwish: At that time, he found himself listening to
more and more artists like Gram Parsons, Elliot Smith, Johnny Cash, Rocky
Votolato, and Ryan Adams, and "…wanted so badly to be able to write songs
like that”.
Their press release continues: Archambault's love affair
with music started at a very young age, as his parents were huge fans of music
and constantly surrounded him with it [...] He cites artists such as The Clash,
Bruce Springsteen, and Todd Rundgren as life-long influences. He commented,
"Those are the three big ones that still influence me and bring back the
best and earliest memories of falling in love with music. They all have such unique styles that weigh
heavily on how I approach a lot of what I do musically”.
After countless years of keeping Alcoa on the backburner, and silently
selling some of ancient Alcoa demos whilst on the road, the recording finally
went forward for a debut album in early spring of last year – recorded in and
around Portsmouth, New Hampshire, Archambault's hometown. Just under a year
later, Bone and Marrow was released, displaying a voluptuous use of the upright
bass, banjo, fiddle, pedal steel, piano and organ, amidst others to complete
this smooth, folk record.
I suppose it’s not my style really, ‘cause at the end of the day, I
didn’t really dig this record; I didn’t like it and it won’t surprise me if
many feel the same. I’d say it’s more for the older generations – those already
in hardcore bands on their way out, those old tattoo shops that need a great
background noise to fill in the cracks of conversation – and this is mostly due
to the influences that helped construct this record, but also that it is clear
Archambault did not want to have anything on this record tied against Defeater.
That is where many will probably turn their speakers off mid-way through the album
after the first listen too, because not one track is like ‘I Don’t Mind’ or
even ‘Brothers’... It’s not at all like the acoustic treasures at the end of
Empty Days and Sleepless Nights. It is completely different; I find it hard to
find much that the two have in common, as even the vocals sound different. It’s
as if Archambault’s former self has had a greater influence having been locked
away for so long and is finally able to reveal his past... "I've been
telling myself for about ten years that I'm going to put out a record under the
Alcoa moniker, and now that I've gotten a lot more comfortable with my voice,
it seemed like now was as good a time as ever".
I respect this record, but I know it is not for me. Naturally, any writer
can big up any musician (or confuse in this case!), so to truly
judge for yourself, you’ll just have to have a listen to Bone and Marrow as
soon as possible to make the call.
-
I’ve been listening to Signals, the debut album by UK
hopefuls Mallory Knox, and I am more
than impressed. They’re close friends with the likes of Tu Amore and We Are
Fiction, but I was slightly temperamental about checking out talent recommended
by bands simply because they have played shows with them, but, finally
succumbing to pressure and the praising words from the majority of my friend
base over Twitter, wow... Wow.
The band’s catalogue is just full of anthem-like, epic, big
songs, and nothing less. It’s really easy to see how they worked their way up
the ladder so quick. My favourite track off the album is ‘1949’: it has this
beautiful acoustic guitar carrying the flow throughout as we engage with
melodic fillers, honest lyrics and as expected, a crashing chorus, with a
fantastic key line, “You’re as beautiful to me as when you were young”, which echoes
through the listeners ears time and time again, bound to have them smile and
think of someone close. My friend Phil said once, whilst ‘Lighthouse’ was
playing in the background on a music channel, that Chapman just knows how to
write, and of course, the merit he has received as a result proves this. Delivering
hooks in more ways than one. It’d be nice if aspiring songwriters could take a
page out of his book!
Finally, also, congratulation to them too! Earlier today I
saw on Facebook that they have signed to Sony Music, through Search and Destroy
Records – a momentous achievement for a band that started from the bottom and,
lovingly show that hard work, passion, and determination pay off, or as they
said in their own words, “dreams can come true”... Theirs, and Gabrielle’s.
-
Thought of the month:
Evita’s ‘Vona’ is still an absolute
banger.
-
When ‘Guns and Horses’ came out several years back, I had
this massive crush on Ellie Goulding,
and I mean massive. Thankfully, as the years have gone by, and her wardrobe of
weird ex-boyfriends fills up, I am more mature and human when discussing the
lass and can write this segment calmly and properly. So this month, Nike has
released a free download in collaboration with the uber-babe’s latest album,
Halcyon, to help encourage fans to start running. To be short, Goulding is a
big runner, and isn’t shy about making it public – and with the help of Nike,
they have been holding runs and the like for some time. The new approach is to
create a soundtrack for runners to get up and out to, and, to great success.
The result is one solid, hour long track, that’s had various
DJs remix songs, resulting in something very clubby more than anything else;
you’ll find yourself moving from side to side or throw your hands up in the air
at times without realising. The key word I used earlier was ‘soundtrack’, as
it’s a background filler to your running spirit, with a good beat to keep you
going and enjoying what you’re hearing; it’s not a distraction. The track is
very modest therefore, and blends incredibly well – it does perhaps drag on in
several places on certain songs, much like Goulding’s Run Ito the Light remix
EP released a few years back, but that is the point for those cross country, there
for long distance ventures to spur you on.
The clarity in Goulding’s words take a back seat in this
remix, and structures are completely torn apart before the final two ‘songs’;
you can tell it’s been remixed well as approaching the end, the ‘songs’ are
soft, really easy to listen to with no jumpy spots and just held you wind down
and out. End race. To have a listen or download it for free, check out the
following link!: click here.
-
So, I picked up one of those free magazines that most ‘hip’
stores have laying around the other day whilst accompanying a work college of
mine on our lunch break to some shoe shop, Office. In the bottom corner, the
cover read: ‘Interview with Pure Love: rock’s new saviours’. Hmm… I thought.
“Saviours” of rock. Does rock need saving? Is it in trouble? Saving by a band
that sounds a little mixed up in sound – that doesn’t attract the mainstream? I
felt it was such a narrow minded and ignorantly blind opinion – just a pathetic
excuse for a tagline. Christ, I don’t know why it made my blood boil the way it
did. Perhaps I was just jealous.
If we are to look at the stark basics, and briefly, rock is
in the charts more so than what it has been in previous years – with emergence
of the underground scene through the likes of Deaf Havana, While She Sleeps,
Don Broco and Lord knows who else. The last sort of massive burst was through
Green Day with ‘American Idiot’, as far as I can think back… It’s being saved
currently, without Pure Love! This is not a dig at the band, mind you – I quite
enjoyed Anthems, but I stand firm when I say it will not be defiant and single
handled change music and UK listening patterns.
You’d think by issue nineteen Office would’ve sorted out the
basics of a worthwhile interview. The interview itself was dreadful, and the
answers were just as bad. I didn’t quite get why dropping in the lines “Jim is
from the US” and more importantly “Jim played guitar for The Hope Conspiracy”
were deemed necessary; no one knows, or cares (Well, I do, but y’know, how many
Nike Blazer wearers sing along to Death Knows Your Name in the shower?), and it
was just a terrible filler. Bleh. Argh! I best not start to pick it apart,
especially here – I’ve been doing so in my mind for the last week…
I don’t mean to be ‘that’ kind of critic, and comment so
negatively on others… I guess it just got to me. But to sum up, rock is doing
just fine. F*** off, Office, and do your homework.
-
Another thought of
the month: That intro to ‘Fever Dream’ by Bury Your Dead is so damn heavy! Big fan.
-
I’m back on the bandwagon… Bring Me the bloody Horizon.
“Now… Bring me that horizon!”, Captain Jack Sparrow bellows as Pirates of the
Caribbean concludes (it’s the final line, init), credits roll, and epic music
rallies us out of the cinema seats and into the car park. The final release I’m
going to discuss quickly is Sempiternal (which means everlasting to those who
just talk normally). Now there was a lot of talk surrounding Jona Weinhofen and
his sudden departure, and how much impact he actually had on the album despite
all his hype for building it up, stating it’d be a lot more atmospheric (which
it was), or the internet war Oli Sykes had with that alternative model Jessica
Clark over the album’s name origin, etc., but let’s not dwell on the negative
and just look at the fact: this album is great.
Normally I would discuss those points more, but I think
something is wrong with me. I am going to be really short with this one. The mad
reviews and fact everyone is plugging it, talking about it and listening to it
should be more than enough backing to give it a go, disregarding your previous
opinions or even assumptions. There was me thinking they couldn’t get any bigger...
It’s only just beginning.