2013 ALBUM REVIEWS

THE 1975 - The 1975

Full album review provided to Stereoboard, September 2013 (GM)
CWax Rating 70%
ARCADE FIRE - Reflektor
The fourth album from Arcade Fire is a very different beast from the Grammy winning Suburbs. The belief here seems to be that bigger is better with the tracks stretched over a sprawling double album. That's not generally a problem for a band that thrives on the anthemic side of indie rock and from the opening bounce of the title track the listener is compelled to sink into the densely layered and adventurous first disc. The pace slows on the second half of the album and a nagging doubt of over-indulgence creeps in. But despite threatening to implode under its own weighty intentions this is still an album that rewards with repeated listening, just perhaps too demanding for one sitting. Arcade Fire continue to intrigue and leave you wanting more. (October 2013, KA)
CWax Rating ??%
ARCTIC MONKEYS - AM

Full album review provided to Stereoboard, September 2013 (GM)
CWax Rating 90%
BASTILLE - Bad Blood
BIFFY CLYRO - Opposites
The sixth studio effort from Scottish rockers Biffy Clyro – a double album – has been greeted by a largely positive reception. Following the success of most recent predecessors Puzzle (2007) and Only Revolutions (2009), Opposites was expected to catapult the band to even greater heights. Whilst it’s certainly a decent effort, the lack of progress from earlier releases will have some critics dismissing it as more of the same but despite bands rarely justifying double disc status, tracks like Biblical, Black Magic Formula and Accident Without Emergency all represent enough appeal for repeated plays of the album as a whole – a grower. (January 2013, GM)
CWax Rating 80%
BIG COUNTRY - The Journey

Full album review provided to musicOMH, April 2013 (GM)
CWax Rating 60%
THE BLACK ANGELS - Indigo Meadow

Full album review provided to musicOMH, March 2013 (GM)
CWax Rating 70%
BLACK HEAT SHUJAA - The End Of An Era

Full album review provided to Gigape, March 2013 (GM)
CWax Rating 50%
BLACK REBEL MOTORCYCLE CLUB - Specter At The Feast
BRMC's 7th studio release was largely influenced by the loss in 2010 of singer/bassist Robert Levon Been’s father, a key figure in the band’s presence. With the heartache seeping through into the tracks, a new well of inspiration has been found both musically and lyrically as the band express that loss. Whilst rarely reaching the same heights as their previous release, Specter At The Feast does deliver a few gems to add to their crown, including Returning and Lose Yourself. And as a parting token of their affection, a cover of The Call’s Let The Day Begin (Been Senior’s band back in his heyday) is also included. (March 2013, GM)
CWax Rating 70%
BLACK SABBATH - 13
With 2013 billed as a year of comebacks how fitting that heavy metal pioneers Black Sabbath should add their name to that list with their 19th studio release. It’s also the first studio album with Ozzy Osbourne on vocals since 1978’s Never Say Die! surfaced. 13 has received mostly positive reviews with the majority of the tracks rocking out to lengths surpassing seven minutes. Iommi's crunching riffs...check; Ozzy's wailing vocals...check; dark lyrics of impending doom...check...and even if the tracks here never quite manage to scale the same heights as their early career, 13 is still an essential release from ‘13. (June 2013, GM)
CWax Rating 60%
BORN BLONDE - What The Desert Taught You

Full album review provided to Stereoboard, March 2013 (GM)
CWax Rating 50%
DAVID BOWIE - The Next Day

Full album review provided to Gigape, April 2013 (GM)
CWax Rating 60%
THE BOXER REBELLION - Promises

Full album review provided to Stereoboard, April 2013 (GM)
CWax Rating 90%
NICK CAVE & THE BAD SEEDS - Push The Sky Away
With the latest Nick Cave effort benefitting from the strong presence of multi-instrumentalist Warren Ellis as guitars generally fall by the wayside, fans have been divided – some die-hards struggling to find a way in, others revelling in the new sounds. In Jubilee Street, however - a tale of a prostitute named Bea - an undoubted classic has been produced, worthy of a place amongst the very best the band have ever released. If this epic track doesn’t prove the foothold required to enjoy the latest offering then, quite frankly, nothing will. (February 2013, GM)
CWax Rating 70%
CHVRCHES - The Bones Of What You Believe
Breathing new life into 80's tinged electro-pop, Chvrches debut arrived after a string of much lauded EPs. The album manages to live up to the hype, courtesy of strong melodies and direct lyrics that offset the icy synths. Add to that the striking vocals from Lauren Mayberry and you have a winning combination. Although there are undoubtedly highlights such as singles 'Lies' and 'Recover' it is the consistency throughout that impresses most. (September 2013, KA)
CWax Rating ??%
THE COMPUTERS - Love Triangles, Hate Squares

Full album review provided to musicOMH, April 2013 (GM)
CWax Rating 80%
THE CRIMEA - Square Moon

Full album review provided to musicOMH, July 2013 (GM)
CWax Rating 80%
CROCODILES - Crimes Of Passion
Back to chiefly a duo for their fourth album, Charles Rowell and Brandon Welchez continue to hone their brand of lo-fi indie pop. Assisted by the production skills of Raveonettes' Sune Rose Wagner this is their most focused album to date, containing a host of catchy pop songs whose sweet hooks contrast with the dark lyrics within. (August 2013, KA)
CWax Rating ??%
CRYSTAL STILTS - Nature Noir

Full album review provided to No Ripcord, September 2013 (GM)
CWax Rating 60%
DEAD MEADOW - Warble Womb
Seventh studio album from US psychedelic stone rockers Dead Meadow is a lengthy effort that stands around the 70 minute mark. Less heavy than previous albums, the band's sound is generally mellowing, most evident throughout the acoustic led efforts. Occasional Black Sabbath-like riffs appear but Warble Womb represents a closer depiction of their own identity, particularly with the lengthier psychedelic jams, as the band continue to fine tune themselves nicely. (November 2013, GM)
CWax Rating 70%
DEPECHE MODE - Delta Machine

Full album review provided to Stereoboard, April 2013 (GM)
CWax Rating 80%
KEVIN DEVINE - Bulldozer / Bubblegum

Full album review provided to musicOMH, October 2013 (GM)
CWax Rating 70%
EDITORS - The Weight Of Your Love

Full album review provided to Stereoboard, June 2013 (GM)
CWax Rating 60%
FEATHERS - If All Here Now

Full album review provided to musicOMH, May 2013 (GM)
CWax Rating 70%
THE FIREFLYS - Embers Of The Autumn

Full album review provided to Gigape, August 2013 (GM)
CWax Rating 60%

NB - GIGAPE HAS NOW CEASED TO EXIST SO LINKS ARE DEAD! ORIGINAL REVIEW IS BELOW:

Since their formation in 2007, Runcorn alt-rock band The Fireflys have been quietly releasing music on their own label, Canadia Records.  Second album, 2012’s Cathedral For Your Ashes, did attract some moderate interest – and some critical acclaim – culminating in minor download chart success.
 
Describing their sound as “upbeat, major chord changes married with bleak, kitchen sink lyrics” the band have supported the likes of Ocean Colour Scene’s Steve Cradock amongst others.  Influenced by REM, Pearl Jam and The Smiths, they have been through several line-up changes during their six or so years of existence, with the current three piece consisting of Lee Wylding (vocals, guitar), Andrea Packer (drums) and newest recruit Stephen Roberts (bass) who joined in 2012.  As well as their music, the band has also been known to become involved in other quarters, most notably as advocates for Animal Rights activism.
 
With lead single Julianne released in April of this year, Embers Of The Autumn is now upon us and being initially available as a £2.49 download from i-Tunes the album made a slight impression in the charts; it will only remain at this giveaway price for a short time, however…
 
Proceedings open modestly with the acoustic-led Unplayed Guitar; what becomes apparent from the off is the quality of the musicianship.  The rhythm section of Packer and Roberts intertwine neatly, whilst still retaining their individuality, providing the backdrop to Wylding’s decent if unspectacular light, husky vocals; it is Wylding’s guitar, though, that steals the show.
 
Autumn Soul opens with something akin to a tepid, mellow Led Zeppelin riff; the track ticks along nicely and is a decent enough effort but it is the guitaring that is the clear highlight.  The gentle Hummingbird is possibly the best song on the album – another acoustic track with minimal percussion and instrumentalism.  Wylding’s vocals aren’t the strongest but they fit acoustic-led numbers perfectly.
 
Aforementioned single Julianne follows – again one of the stronger pieces of songwriting on the album – led again by an acoustic guitar that also benefits from a hummed backing vocal and an outro that includes a guitar line sounding a little like The Cure slowed down.  Broken Pieces returns proceedings back to a more gentle state, with Wylding’s guitar now sounding uncannily like Red Hot Chili Peppers for the main part of the song before branching off into another satisfactory guitar solo; it’s another decent example of The Fireflys songwriting capabilities.
 
The excellent Cemetery Song then appears with more impressive guitar noodlings leading the way; it is by far the strongest track on the collection and showcases Wylding’s dextrous ability ably throughout, finishing with a strong solo to boot.  The short Paper Plane chugs along nicely, this time the guitaring taking a fuzzier appearance but ultimately the track is over before anything memorable has happened.
 
Der Reise is a rockier affair with the buzz of the electric guitar again driving proceedings; a punchy, repetitive line of “you know I won’t say a word” is then followed by another guitar-strong conclusion with wah-wah effects adorning the outro.  She Said opens to a more serene setting, developing into something of a ballad with a strong verse, bridge and catchy chorus backed again by dynamic electric guitar bursts.  Album closer Between The Tide is a rather average offering – until superb guitaring again takes over for a rather excellent conclusion to the track.
 
Albeit lacking a harder, rockier edge – which can be said of the entire album – The Fireflys play to their strengths well to create a decent offering – the guitaring is first class, backed by a solid rhythm section.  At times, the songwriting wavers slightly and a variation in vocals would be welcomed – a strong female vocalist would complement Wylding perfectly for instance.  The overall sound does occasionally feel a little muted, desperately yearning for a heavier touch but that said this is an enjoyable record that deserves a wider audience than it will likely achieve.
THE FLAMING LIPS - The Terror

Full album review provided to Gigape, March 2013 (GM)
CWax Rating 70%

NB - GIGAPE HAS NOW CEASED TO EXIST SO LINKS ARE DEAD! ORIGINAL REVIEW IS BELOW:

When you’re into your 30th year as a band there will no doubt have been many ups and downs, highlights and lowlights, successes and excesses along the way.  It is the aftermath of such excesses that The Terror came of being; Flaming Lips multi-instrumentalist Steven Drozd was in a bad way, resulting in hospitalisation and gig cancellations in 2010.
 
The anxiety and fear of the situation Drozd found himself in spawned much of the lyrical presence on The Terror, and the music as a whole matches the words closely.  Bleak, depressive and at times downright scary, this is not a sonic adventure to be enjoyed by happy go lucky types expecting to hear some sunny uplifting tones prevalent on some of the bands earlier releases – this music is the stuff of nightmares, literally.
 
Opening with a classic Lips sound, Look…The Sun Is Rising, the album gets off to a rewarding start – a prelude of much darker and sinister things to come, as if you are being gradually reeled in to the horror within, but incorporating that rare sound that only the Lips can create.  Pounding drums are accompanied by spiked guitar interruptions and swirling keyboards and vocals, depicting the scene of someone about to lose their mind.
 
Be Free, A Way walks a slow path, providing some gloriously harmonious singing courtesy of front man Wayne Coyne, all the while floating above a ragged and jarred instrumental line before disappearing into a mere state of consciousness.  Try to Explain follows, lyrics of “I’ll leave you” greeting the listener, sounding like a farewell before ones mind is completely lost.  Again, some gorgeous vocal tones appear in what is barely recognisable as a chorus, giving the blandness of the music a soaring lift.
 
By all accounts, The Terror as a whole appears to be dividing opinion within the bands hardcore following, although You Lust which arrives next seems to be one of the more popular moments on the record.  Lasting over 13 minutes, it’s certainly unconventional and is probably the one track that sums up the state of mind from where this music comes from, a whispering demon voice appearing at regular intervals during a slow and plodding sparsely populated piece of music – this track won’t win any new fans and is the least radio friendly (and there’s quite a few) offering you will find here, bordering on the unlistenable for many.
 
The title track relieves the senses, and is clearly one of the standout points of the album; built upon a simplistic drum beat, Coyne’s fantastic, floating and dream-like singing again elevates the music to another level entirely with its beauty, finishing with just echoes of what’s gone before.  The short You Are Alone then sums up the inner state of mind that you have now been drawn into, the title giving away the stark, harrowing contents.
 
The brilliant and possible future Lips classic Butterfly, How Long It Takes To Die follows, marking a return to those frighteningly spiky angular guitars appearing over the top of drum-less percussion with swirling keyboards assisting Coyne’s warblings to paint another bleak picture, but this time one that chugs along like a determined steam engine to fight through a myriad of nightmares within a tunnel from which there is no light.
 
Turning Violent is a very softly sung number; sparse, hollow, post-lobotomy sounding…until an electric shock shudders you awake.  This is like a glimpse into schizophrenia and how a mind can snap with no warning, as firstly the almost-dead mulling mind wanders along until being sparked into sudden abrasive action.
 
The closing track Always There…In Our Hearts plays upon the spiked guitar once again and is almost a return to Butterfly, another sombre passage evoking fear.
 
Following recent releases In The Court Of The Crimson King (King Crimson) and Dark Side Of The Moon (Pink Floyd) recreations, and collaboration Heady Fwends, this marks a change of direction for the Lips once again, albeit with the occasional nod towards the 2009 effort, Embryonic.  You will not find the majesty of breakthrough album The Soft Bulletin or equally revered follow-up Yoshimi Battles The Pink Robots here; what you will find is exactly that of the title, Terror, and if you are not careful you may find yourself being dragged into this dark, depressive state of mind…approach with caution.
FLETCHER - Upon Ayr

Full album review provided to musicOMH, May 2013 (GM)
CWax Rating 50%
FOALS - Holy Fire

Album Of The Year Summary provided to No Ripcord, December 2013 (February 2013 release, GM)
CWax Rating 90%
FUCK BUTTONS - Slow Focus
From the opening tribal drums and synth swathes of Brainfreeze, Slow Focus is an interesting if slightly unnerving listen. Once again this is an album that can suck you in, throw you around in a storm of sound, then leave you wondering what exactly has been going on. Aptly the contours of Slow Focus take time to reveal themselves, proving that Fuck Buttons still have plenty of places left to go. (July 2013, KA)
CWax Rating ??%
GAUNTLET HAIR - Stills

Full album review provided to musicOMH, July 2013 (GM)
CWax Rating 50%
GLASVEGAS - Later...When The TV Turns To Static

Full album review provided to musicOMH, August 2013 (GM)
CWax Rating 70%
HETEROTIC - Love & Devotion

Full album review provided to musicOMH, March 2013 (GM)
CWax Rating 80%
HOLOGRAMS - Forever

Full album review provided to musicOMH, August 2013 (GM)
CWax Rating 60%
HOOKWORMS - Pearl Mystic
Leeds’ mysterious fame-dodging quintet Hookworms provided an interesting krautrock/psychedelia/space rock moment of 2013 with Pearl Mystic. With three purely instrumental ‘interludes’ the album is more of an extended EP than a full album, but for the often lengthy full tracks a compelling concoction is produced. With reverb-overloaded vocals bursting through the Wooden Shjips-like psychedelic haze in the style of a young Shaun Ryder, another vital ingredient is added to the mix. From the thunderous cacophony of noise that is Preservation to the motorik beat of Away/Towards there’s plenty to love about Pearl Mystic. (March 2013, GM)
CWax Rating 80%
THE HOUSE OF LOVE - She Paints Words In Red

Full album review provided to Stereoboard, April 2013 (GM)
CWax Rating 80%
JAGWAR MA - Howlin'
The debut offering from Australian duo Jagwar Ma managed to mix Beach Boys harmonies with a strain on psychedelia that sounded like the more danceable Madchester efforts of the ‘90s. Often traditional song structures went out the window as the dizzy dance beats melded with all manner of sound effects including birdsong on Exercise and bird squawks on Did You Have To. The overall ‘mixed-up’ feeling normally attributable to remixed versions of original indie material delighted, in the same way that Andrew Weatherall et al managed to totally revamp Primal Scream’s sound for their classic Mercury Prize winning Screamadelica from 1991. (June 2013, GM)
CWax Rating 70%
JAPANESE FIGHTING FISH - Day Bombs

Full album review provided to musicOMH, September 2013 (GM)
CWax Rating 50%
KINGS OF LEON - Mechanical Bull

Full album review provided to Stereoboard, September 2013 (GM)
CWax Rating 70%
KODALINE - In A Perfect World

Full album review provided to Stereoboard, June 2013 (GM)
CWax Rating 70%
LIGHTNING DUST - Fantasy

Full album review provided to musicOMH, June 2013 (GM)
CWax Rating 70%
LOVE INKS - Generation Club

Full album review provided to musicOMH, September 2013 (GM)
CWax Rating 80%
LOW - The Invisible Way
Low have been releasing delicately beautiful music since their formation in 1993. Slight variations in their output have occasionally appeared, ranging from more prominent electric guitar usage to subtle acoustic touches, with the ever present minimalism being the main constant along with the dual intertwined vocals of Alan Sparhawk and Mimi Parker. Parker’s vocals are pushed to the forefront for The Invisible Way where mere piano notes and occasional guitar strummings alongside the most minimal percussion are often the only instrumental accompaniments. A reflective album for a lazy Sunday evening. (March 2013, GM)
CWax Rating 70%
MAN WITHOUT MACHINES - The Kreuzberg Press

Full album review provided to Stereoboard, February 2013 (GM)
CWax Rating 40%
MAPS - Vicissitude

Full album review provided to Stereoboard, June 2013 (GM)
CWax Rating 80%
JOHNNY MARR - The Messenger

Full album review provided to Stereoboard, February 2013 (GM)
CWax Rating 80%
MAZZY STAR - Seasons Of Your Day

Full album review provided to musicOMH, September 2013 (GM)
CWax Rating 80%
IAN McCULLOCH - Holy Ghosts

Full album review provided to musicOMH, April 2013 (GM)
CWax Rating 60%
MOBY - Innocents

Full album review provided to No Ripcord, October 2013 (GM)
CWax Rating 70%
MOJO FURY - The Difference Between

Full album review provided to musicOMH, October 2013 (GM)
CWax Rating 70%
MY BLOODY VALENTINE - mbv
CWax Rating 70%
THE NATIONAL - Trouble Will Find Me

Full album review provided to Stereoboard, May 2013 (GM)
CWax Rating 70%
NOAH AND THE WHALE - Heart Of Nowhere

Full album review provided to Stereoboard, June 2013 (GM)
CWax Rating 60%
ERICA NOCKALLS - Imminent Room

Full album review provided to Stereoboard, April 2013 (GM)
CWax Rating 60%
GARY NUMAN - Splinter (Songs From A Broken Mind)

Full album review provided to musicOMH, October 2013 (GM)
CWax Rating 70%
OMD - English Electric
When 80’s synth-pop masters OMD released History Of Modern in 2010, the quality of the album left many doubters eating their words, and who’d have thought it after a 14 year absence? Similarly, 2013’s English Electric continued in a similar vein, with particular highlights being the Souvenir-like Night Café, The Future Will Be Silent (that would sit nicely on Dazzle Ships) and the poppy brilliance of Dresden that seems to transcend OMD’s complete catalogue by recalling both later efforts like If You Leave as well as 1980 single Electricity. An unexpected treasure trove of synth pop guaranteed to please many an old fan. (April 2013, GM)
CWax Rating 70%
PARLOUR FLAMES - Parlour Flames

Full album review provided to Stereoboard, May 2013 (GM)
CWax Rating 90%
PEACE - In Love
Another of the new Birmingham bands on the block, the much hyped Peace released their debut In Love to mixed reviews in March 2013. There’s a distinct Britpop feel to the album with a predominant guitar flavour recalling the occasional upbeat Noah And The Whale moment (Lovesick) with its poppy riffing as well as Stone Roses (Waste Of Paint) with its prominent tambourine and Reni like drum pattern whilst single Wraith takes the band into Foals territory. Although not always consistent, In Time shows enough promise for indie guitar fans to feel comfortably optimistic about the future. (March 2013, GM)
CWax Rating 70%
PET SHOP BOYS - Electric

Full album review provided to Stereoboard, July 2013 (GM)
CWax Rating 80%
PIGEON DETECTIVES - We Met At Sea

Full album review provided to Stereoboard, May 2013 (GM)
CWax Rating 50%
PLACEBO - Loud Like Love

Full album review provided to Stereoboard, September 2013 (GM)
CWax Rating 70%
PORT ST. WILLOW - Holiday

Full album review provided to musicOMH, April 2013 (GM)
CWax Rating 60%
POND - Hobo Rocket

Full album review provided to musicOMH, August 2013 (GM)
CWax Rating 70%
PRIMAL SCREAM - More Light

Full album review provided to Stereoboard, May 2013 (GM)
CWax Rating 80%
QUEENS OF THE STONE AGE - ...Like Clockwork
The most essential album from QOTSA since 2002’s classic Songs For The Deaf. Lead single My God Is the Sun was a fair indication of how the album would turn out but follow up single I Sat By The Ocean really stole the limelight with Homme’s songwriting and guitaring reminding everyone of the genius he is. Add to that numerous other highlights, not least the six minute lullaby-like I Appear Missing, the slow foot stomper If I Had A Tail and the garage-rock funk of Smooth Sailing, and it’s evident that this is a clear career highlight. Lacking much in the way of instantly accessible numbers, repeated plays will reveal the treasures within. (May 2013, GM)
CWax Rating 90%
RUBYLUX - The World Goes Quiet

Full album review provided to musicOMH, August 2013 (GM)
CWax Rating 60%
SAVAGES - Silence Yourself
Savages were everywhere this year, hyped up to the max by every alternative mag, website, radio station and independent record shop. Covering major elements of post punk and goth, Savages tread the ground set out by bands like Siouxsie And The Banshees, Gang Of Four and Joy Division. It's all wailing vocals, icy guitars, doomy bass and tribal drums, and although the band's overall sound is routed in a genre that’s decades old, they remain a relevant force, sounding current and vital. Immerse yourself in this noise - your inner-goth will love you for it. (May 2013, TW)
CWax Rating ??%
ULRICH SCHNAUSS & MARK PETERS

Full album review provided to musicOMH, October 2013 (GM)
CWax Rating 50%
SIX.BY SEVEN - Love And Peace And Sympathy

Full album review provided to Stereoboard, July 2013 (GM)
CWax Rating 90%
SOUND CITY PLAYERS - Real To Reel

Full album review provided to Stereoboard, February 2013 (GM)
CWax Rating 70%
SPIN DOCTORS - If The River Was Whiskey

Full album review provided to Stereoboard, April 2013 (GM)
CWax Rating 60%
STROKES - Comedown Machine
Whilst never achieving the highs of debut Is This It? or the dual guitaring magnificence of Reptilia from much hyped follow-up Room On Fire, Comedown Machine was always going to be a mixed bag following other mediocre efforts First Impressions Of Earth and Angles. But it’s probably better than anticipated, with a distinct late 80’s feel throughout its eleven tracks. Despite the clear 80’s influence, the songs cover a wide range of styles from the Michael Jackson like opening of Tap Out, the more familiar Strokes sound of single All The Time and the catchy lead single One Way Trigger, sporting a distinct Take On Me (Aha) flavour. (March 2013, GM)
CWax Rating 70%
SUEDE - Bloodsports

Full album review provided to Stereoboard, March 2013 (GM)
CWax Rating 70%
SUPERCHUNK - I Hate Music
After a 10 year lay off, Superchunk returned with a vengeance in 2010 with Majesty Shredding, a power-punk-pop masterpiece that drew on everything they’d done before, amping up the anthemic choruses and smoothing out their rough edges. I Hate Music mines the same power pop route and mega choruses but adds back shades of their trademark abrasiveness, with a slightly downbeat and overall darker vibe than any of their predecessors despite elements of their old pogo-punk selves remaining. A total return to form for the Chapel Hill quartet. (August 2013, TW)
CWax Rating ??%
SWIM DEEP - Where The Heaven Are We
Birmingham quartet Swim Deep’s debut offering arrived in the second half of 2013, its dream-pop synths recalling some of OMD’s poppiest moments. But the band more often than not inject some shoegaze into proceedings to produce something that sounds like the 1975 trying to play a keyboard-less Charlatans or even Ride. Stray is a slight detour, with the band this time subsequently sounding not unlike the Lightning Seeds. Possibly a band that we will hear a lot more of over the next few years. (August 2013, GM)
CWax Rating 60%
TEARS FOR FEARS - The Hurting (re-issue)

Full album reissue feature provided to musicOMH, October 2013 (GM)
THEE SPIVS - The Crowds And The Sounds

Full album review provided to musicOMH, June 2013 (GM)
CWax Rating 40%
TOY - Join The Dots
CWax Rating ??%
UB40 - Getting Over The Storm

Full album review provided to musicOMH, August 2013 (GM)
CWax Rating 60%
VAMPIRE WEEKEND - Modern Vampires Of The City
A diversion from the synthbeat peppiness of their eponymous debut album and follow-up Contra, Vampire Weekend’s 2013 offering has garnered widespread acclaim from just about everyone. Melodically beautiful yet sporting a mysteriously strange and eerie presence, traces of the band’s custom sound can be heard but there’s enough of a shift in style to appeal to both old fans and new. Its brilliance has even turned one-time haters of the band into self-doubters. Electronic experimentation is evident but with compelling dark undertones this is easily one of the more interesting releases 2013 had to offer. (May 2013, GM)
CWax Rating 70%
VICKY CRYER - The Synthetic Love Of Emotional Engineering

Full album review provided to Gigape, April 2013 (GM)
CWax Rating 80%

NB - GIGAPE HAS NOW CEASED TO EXIST SO LINKS ARE DEAD! ORIGINAL REVIEW IS BELOW:

In 2009, San Diego post-punkers Louis XIV (just as famous for their smutty lyrics as much as the music itself) split and lead singer and guitarist Jason Hill retreated into Hollywood Hills where he built a studio around an old 1916 hunting lodge, naming it Ulysses and filling it with vintage recording equipment including an old Neve analogue recording console formerly used by the BBC.
 
Many of Hill’s musical friends visited the studio from then on and as a result songs were written, recorded and produced as well as live performances undertaken; the performers include drummers Dom Howard (Muse), Dave Elitch (Mars Volta) and Alex Carapetis, with more than one drummer being a common theme on individual tracks.  Other co-conspirators include ex-Jamiroquai bassist Nick Fyffe as well as The Killers bassist Mark Stoermer, whilst Sam Gendell provides saxophone and Jeff Kite keyboards; the result is now available to all in the shape of album The Synthetic Love of Emotional Engineering.
 
The contributions from the various musicians is varied and the output reflects this considerably, with it being impossible to pigeonhole the entire album so we take a closer look at each track to see what this eclectic mix has created.
 
Smut is quite aptly the opening track, following on from Louis XIV’s reputation; with a female sexually climaxing in the background there is not much to deviate from the initial impression the title gives, along with lyrics such as “baby you were born to ride” and “in your body I was born to hide”.  This is all driven by spiky guitars sounding a little Black Rebel Motorcycle-ish.
 
Girls takes on a funky, jazzy beat with muttered rather than sung vocals, similar to Shaun Ryder, occupying the verses before the chorus of “girls just wanna make the boys cry” appears and repeats.  This is all a rather minimalist sound with a skeletal guitar riff ticking along in the background before an ear-bending distorted guitar solo kicks in, accompanied by bursts of saxophone leads the track to a conclusion.
 
Krokodil Tearz sounds like something out of the 80’s at the start with its keyboards and disco beat before a constant guitar riff comes in and Hill’s vocals are spouted at the microphone, bursting into raucous life for the chorus which is carried along by another repeated guitar line; another monster guitar solo gatecrashes the party and then, after another chorus, the track reaches its conclusion with rippling drums and cymbals.
 
The pace is slowed considerably for Touch You, another funky number with the excessive drumming that could only be accomplished by more than a single drummer being the obvious highlight of this otherwise quite weak and ultimately unexciting track.
 
The title track appears next and is the first of 2 lengthy efforts, coming in at around 8 minutes.  Tempo is slowed down even further, simple keyboard chords open proceedings and then come some of the strongest vocals on the album accompanied by reverberating, rippling drums.  With Moroder-like tinkly synths in the background the song takes on an epic stance during the chorus and then another distorted guitar ‘mini’ solo twists the song in a different direction before returning to the main body of the song; everything comes together superbly on this track, a different keyboard ditty then adding yet another layer halfway through, and then an emotional saxophone solo punctuated by consistent drum thumps comes in as the ever revolving carousel of musical talent spins again to showcase each ingredient.
 
Expensive Love begins in a similar fashion to Michael Jackson’s Wanna Be Startin’ Somethin’ but comparisons soon die away, thankfully, and a funky beat and 70’s disco guitar riff take over.  Lyrics of “I wanna make your love feel expensive” repeat in a kind of squawked style as the track moulds into one of the most easily accessible moments of the album.
 
Lady and the Tramp sports a guitar with tremolo bubbly effect and subtle punky guitar riff that ticks over until a jagged guitar riff kicks in – all over after just 2 minutes.  Young Love lasts a similar length (irony intended, perhaps?) and sounds like a 21st century T-Rex offering full of swagger and containing a brilliant guitar solo.
 
Another funky beat opens I’ll Take The Pain, like Jamiroquai meeting a 70’s disco beat with vocals sitting somewhere between a rap and a song; mind-pummelling drum rolls appear in the musical interlude before returning to the chorus of “your love cuts me like razors…”.
 
Closer A Single Cut (Is Worth A Thousand Words) is another monster effort of around 9 minutes, but again the longer track is an epic and a highly addictive, almost hypnotic listen; twinkling synths open the song before a constant simplistic bass guitar riff gets the music moving alongside slow simple drums, all played at an easy pace.  “You think you’re cool shit” and “you think you’re hot pants” leaving you in no doubt that this there is bitterness and ill-feeling here, and then brilliant bursts of anger stab their way into the song, breaking up the cool beat like a murderous rage appearing in a deadly frenzied attack; superb stuff and quite possibly one of the coolest tracks you will here all year, fully justifying its length with its mean and moody brilliance.
 
So, all in all a very complex mix of styles, with funk, electro, rock and even jazzy moments appearing at various points, with perhaps the one most unusual aspect being the presence of additional drums; worth getting hold of for the title track and album closer alone.
VICTORY - Victory Is Music

Full album review provided to Gigape, February 2013 (GM)
CWax Rating 50%
KURT VILE - Wakin On A Pretty Daze
Kurt Vile’s blend of folk/stoner rock/psychedelia with just a whiff of country isn’t the most common of combinations. Vile’s guitaring ability is what steals the show, ranging from sonically pleasant pluckings to full on electric jams, all the while his almost nonchalant Lou Reed-like vocals creating one of the coolest, most laid back albums of 2013. Two mammoth 10-minute epics bookend the album in glorious style – closer Goldtone walks a slide-guitar/jangly acoustic path whilst opener Wakin On A Pretty Day is a masterpiece in satisfying, laid back electric guitar genius - the perfect accompaniment for a drive home on a sunny evening. (April 2013, GM)
CWax Rating 60%
VILLAGERS - Awayland
The follow up to the Mercury Prize nominated Becoming A Jackal finds Conor O'Brien sharing creative duties with the rest of the band. The folk pop of that first album is now augmented by electronic touches, enhancing the Villagers atmospheric sound. There is no shortage of ideas and thought provoking lyrics, creating an intriguing listen. (January 2013, KA)
CWax Rating ??%
VOLCANO CHOIR - Repave

Full album review provided to musicOMH, August 2013 (GM)
CWax Rating 80%
THE WARLOCKS  - Skull Worship

Full album review provided to Stereoboard, December 2013 (GM)
CWax Rating 80%
WHITE HILLS - So You Are...So You'll Be

Full album review provided to musicOMH, August 2013 (GM)
CWax Rating 70%
WHITE LIES - Big TV

Full album review provided to Stereoboard, August 2013 (GM)
CWax Rating 70%
WIRE - Change Becomes Us
CWax Rating 60%
WOODEN SHJIPS - Back To Land

Full album review provided to musicOMH, November 2013 (GM)
CWax Rating 80%
YOUNG AVIATORS - Self Help

Full album review provided to musicOMH, October 2013 (GM)
CWax Rating 60%