Five great albums could easily have been ten. Some of my favourite new albums from 2013:
5. Heart Attack by Man Overboard
Possibly out of place on this otherwise indie-pop list, the third studio album from defenders of pop punk is more than an enjoyable walk down memory lane, their brand of pop-punk/emo is an energetic combination of everything and everyone I ever loved in my late teens but somehow fresh and new and exciting at the same time. Heart Attack demonstrates the sounds of a band who have toured non-stop and matured exponentially as they went.
4. Say Hi To The Band by Stagecoach
The first and, sadly, last album from the indie poppers. Their usual spiky, raucous sound toned down on several wonderful tracks imbued with real melancholy. The standout track for me has to be "A New Hand" and the kind chaps even outdid themselves by allowing me to use the song in my now aborted feature film directorial debut.
3. No Blues by Los Campesinos!
A rather lovely surprise, this fifth album from my favourite Welsh indie popsters is a triumphant return to form after the almost unlistenable self indulgent misery of Hello Sadness. I'd all but given up on them but No Blues is filled with fabulousness and more than its fair share of sporting metaphors. LC4LYF!
2. Love Makes Monsters by My First Tooth
Beautiful. Just beautiful. AND incredibly lovely people. AND have the distinction of playing one of the most memorable gigs of my life during 2013. The horny old goat dude on a Camden sound desk tried his hardest to ruin the sound for the five of us present but My First Tooth rode through it and made flying to England worthwhile.
1. Balancing by The October Game
The album I listened the most this year is an incredible collection of pop songs performed by some of the most talented musicians I've had the pleasure to spend time with. Drifting from pop to post-rock with catchy choruses, eccentric lyrics, heartfelt sentiment and atmospheric nods towards folklore this is an album of different ideas and styles, almost like a greatest hits compilation rather than an album led by one definite concept. Yes, I admit a little bias BUT that doesn't change the fact that I have happily listened to this on repeat for 14 hours.
You may recall the name Owen Stephen from the credits of my short film Until Now. The Hertfordshire, UK based singer-songwriter was responsible for composing and performing the original music in the film and now after six years of solid touring with a variety of live acts has released his debut EP, Just Dreaming.
Originally making his name as a bass player for English alt. rock band The October Game he has performed a variety of roles, including as part of former Savage Garden singer Darren Hayes' touring band on recent world tours and this debut EP demonstrates the confidence of a man who has mastered his craft in front of thousands of screaming fans. His sound belies his relatively minor stature in the world of pop music and instead of becoming shoe-gazey and introverted like a lot of fledgling singer-songwriters, Owen aims for the stars.
His experience playing stadium tours shines through, his songs are wide in scope, offering the kind of large radio friendly sound that characterises such acts as Matchbox 20, The Goo Goo Dolls and Third Eye Blind, complete with catchy choruses and soaring guitars. I expect that it is only a matter of time before he is called upon to provide a song for a massive Hollywood romantic drama.
Owen recently toured this EP coast to coast across America, supporting Ramin Karimloo and it is the country influenced track ‘Place Called Love’ that stands out on first listen. It also garnered a lot of attention for him with several radio appearances and a review from KKYR that was quite effusive in its praise, calling it "effervescent and reminiscent of fifties era rock and roll but with a bluesy, modern twist...the beat is catchy and joyful...perfect listening on a sunny summer day." The same could be said about the entire EP in fact.
He wears his influences on his sleeve with clear joy; taking in Tracy Chapman, the aforementioned American radio rock acts, Barenaked Ladies and Jack Johnson amongst others, and yet never sounds derivative. The only negative that I can draw is the lack of overall direction in the EP, these are six very enjoyable tracks on their own but as a collection they work better as a demonstration of Owen's enthusiasm for his music and his versatility as a songwriter. The variety of sounds give a disjointed feel to the whole which might not be so noticeable on a full length album, which I'm told will be released towards the end of 2013 or the early part of 2014.
I fully recommend downloading this album from Bandcamp and if you're so inclined follow Owen on Facebook, Twitter and YouTube for updates about live performances, new releases etc.
Comment below or why not tweet #justdreaming @bbbgtoby?
...lovely, happy, jaunty...they're a lively little bunch...
My First Tooth are a Northampton, UK based band that play uplifting folk-pop. Taking influence from modern indie heroes such as Eels, Okkervil River and Neutral Milk Hotel, they have crafted ambitious and beautiful songs aching with subtle heartbroken soul and unwittingly touching melody. Yes that is promotional speak from the awesome indie label Alcopop! Records but it pretty much sums up how I feel about them. But then this isn't an audition piece to find work with NME, this is merely an attempt to raise awareness of a great band who deserve success.
Love Makes Monsters is the followup to the quite wonderful Territories, their debut album which featured so many beautiful songs it would be a crime to name drop any single track but how about taking a listen to the sublime Cutty Sark as an introduction?
Whilst not as immediately arresting this sophomore effort is equally as rewarding of repeat visits. With a blend of brass and strings, sing along choruses, haunting vocals and toe-tapping melodies this is the kind of music to appeal to fans of folk-pop who actively dislikes such trendy garbage as Mumford & Sons. Although comprising only four members playing quietly beautiful songs there is a deceptively big sound contained within these thirteen tracks, the kind of noise that could soundtrack your Summer, or in my case Autumn.
I'm not one to break down albums on a track by track basis, I'll just point you in the direction of the entire album instead. Buy it direct from the label for only 8 Pounds and whilst you're at it be sure to buy yourself a Clever Girl sweater, they're aces.
Welcome to another blahblahblahgay mixtape post. Due to Tyler at Southern Vision pointing out that people use Youtube for listening to music (this is foreign to me but clearly there's a market for it with the large volume of tracks uploaded to black backgrounds etc.) I have embedded videos at the end of this post.
As I briefly mentioned in the Like What? post the end of year mixtapes have been about compiling those songs and artists that have been the soundtrack to my year; mostly new finds or new albums from bands I love with some old stuff thrown in too. The major reason for the mixtape however is to share. Music has always been about sharing with others, learning from them and educating each other in music we might not have heard about otherwise. I've noticed with the massive growth in music online that finding things that my friends haven't heard of yet is getting harder and harder but hopefully this mixtape has something that you haven't yet heard and perhaps become part of the soundtrack to your 2013.
Highlights from this years mixtape for me as the compiler have to be linked to the few live shows we managed to get to in 2012.
Back at Easter we travelled to Sydney to see Taking Back Sunday with their original lineup for the first time. As major influences on my musical taste as a younger man their new album was a massive return to form and such a wonderful surprise that I still get excited when I scroll past it on my iPod, it's like when you reconnect with an old friend and discover that they are much more fun than you remember.
The history of TBS is complicated by the formation of Straylight Run by half of the band and when they played my favourite Straylight song back in Easter it was easily the most unexpected moment from any show I've ever been to, needless to say I sang along like nobody was listening.
We saw the fabulous Blood Red Shoes for the fifth time whilst we were in London, they were supporting Gaslight Anthem and so we got to see them perform on a bigger stage (especially compared to the London public toilet converted in to a music venue we had previously seen them at) with a bigger sound and listening to them you would never have guessed that they were just two skinny indie kids up there.
The Pains of Being Pure at Heart were another band we saw live in London and despite the poor stage presence they managed to turn a pleasant album on CD in to an overwhelming aural experience. They were supported that night by Hatcham Social who defied all opening act expectations by actually being good and making me want to buy their album. I can't remember the last time that happened.
So enough waffle, here's the zip file for you to download the complete mp3 experience uploading issues mean this zip is not ready yet, and don't forget to leave some comments on how you might prefer to receive this mixtape in future and how much you love the music obviously. Cuckoo Clock Shop (2012) at Spotify
NY Girl by Hatcham Social
Everything Is The Same by Pull In Emergency
Cold by Blood Red Shoes
Lift by Pharaohs
3 Hearts by Johnny Foreigner
Elizabeth by The Kabeedies
Is This Love? Clap Your Hands Say Yeah
Map To The Freezer by Stagecoach
Mimi Ash by Oh No! Yoko
The Age You Start Losing Friends by General Fiasco
An Exquisite Year For Charm by Hello Bear
We Got The Beat by The Go-Go's
It Ends & It Starts In A Dark Room by Lady Fortune
A Boat To Row, To Row, To You by Boat To Row
Belong by The Pains of Being Pure at Heart
Write About Love by Belle & Sebastian (featuring Carey Mulligan)
What Fun. by Alec Ounsworth
Girls by Elephants
Billy Liar by The Decemberists
This Is All Now by Taking Back Sunday
Dead End Dreams by Man Overboard
Existentialism on Prom Night by Straylight Run
I'm Low on Gas and You Need a Jacket by Pierce The Veil
You may have heard of General Fiasco but then again you probably haven't. Hailing from Northern Ireland they are an Indie band playing upbeat pop-rock and at the age of 23 the members are growing up - check out the attempts to grow facial hair in their publicity shot above - and it shows in their approach to this, their second album.
It was the release of the video for The Age That You Start Losing Friends to celebrate their signing with Dirty Hit Records that brought the band to my attention a year ago. Here was an arrogant, swaggering piece of pop with a chorus that you couldn't help but sing along with and I was hooked.
In the year between then and the release of Unfaithfully Yours at the end of July I found myself listening to their debut album on repeat. The youthful swaggerring arroagance of the music is infectious, I find myself walking with added purpose when they come on my iPod and the album is always over far too soon and the hard Belfast accent on some of the vocals is a particular high point for me. The new album couldn't come soon enough.
And it didn't really disappoint. They've grown as song writers and musicians, added an extra guitarist an tried crafting an album that showcases their talent and experience. The single Bad Habits offers a wall of guitars, a fist-pumping, falsetto-sprinkled chorus, which is as anthemic as an arena-rock song for example.
But they've also been over produced and aimed for something that for me they aren't yet ready for. A lot of the raw swagger is missing this time around, the Belfast accent has been toned down quite a bit and for some reason there is both a terrible slow song that threatens to transform in to another upbeat piece of pop but instead stays flat and dull as well as a transparent attempt to write a song that can close their live shows on a high (The Bottoms.) It doesn't work for me and simply adds to the top heavy nature of the album.
From tracks one to seven they build up to the brilliant ....Friends and from then on you get a sense of the album closing down rapidly, it's not quite all filler but it may as well be. Unfaithfully Yours also brings to mind Happiness Ltd era Hot Hot Heat, that album after they had toured stadiums with The Killers, inspiring them to tone down their jerky, abrasive sound and instead write radio friendly music more condusive to shifting units.
It's not the greatest album ever but it is good fun and if you're looking for pop-rock singalongs you can't really go wrong with General Fiasco.
Stream the single Bad Habits from their Soundcloud here and if you're interested get the free 5 track Live EP thanks to Dirty Hit from the TopSpin widget below. You'll also find an interesting interview with them at I Heart AU. Don't forget to leave some comments in the blah.
Last night you ended up in Palm Springs dancing on tables...what am I supposed to be, impressed?
Disclaimer up front, Pierce The Veil are an American post-hardcore band. This is the story of me and Pierce The Veil.
It takes a lot for the jaded emo hearts of Leah and I to get excited over hearing a new band these days. At 25 and 29 respectively we've been there and done that and bought countless t-shirts since before the scene exploded in to teenage haircuts on a high street near you, we witnessed the rise of the mediocre and quite happily dump most bands with a similar sound to Pierce The Veil in to the third rate 3rd generation category. And dump is definitely the correct word, anything smaller than a landfill wouldn't be able to contain the sheer volume of mediocre to shit.
Have you ever heard the "Punk Goes..." compilations? Up to two dozen punk, emo and hardcore bands cover songs from a selected category, classic albums include Punk Goes Pop (giving the world the incredible Stretch Armstrong cover of the Pink song Get The Party Started) and Punk Goes Crunk (the All Time Low version of Umbrella is the definitive version if you ask me.) Well, Pierce The Veil covered the classic Blue Oyster Cult song Don't Fear The Reaper (no cow bell unfortunately) on Punk Goes Classic Rock and I guess you might say we were infatuated.
Summer 2010/2011 featured almost non-stop play of their second album Selfish Machines (2010) thanks to some infectiously catchy melodies, the combination of Vic Fuentes unique vocals and lyrics and so many sing-a-long, heart on your sleeve moments you're forever declaring "this is the greatest emo song ever" which is topped off by actually the greatest emo song ever, complete with most definitive emo song title ever, Bulletproof Love.
We live in one of those cities that are never visited by bands that you want to see, merely endless streams of pop megastars and stadium rock (hey Perth is the home of AC/DC you know) yet by some small quirk of fate Pierce The Veil chose the moment we fell in love with them as the moment they would tour with one of those mediocre piles of shit I was discussing above and play a Perth show whilst they were at it. Happiness rained down upon us, tickets were bought and we attended what has to be the strangest gig we've ever experienced.
The Astor theatre (below) is a beautiful old Art Deco building that is the home of the Perth Revelation International Film Festival and also double as a concert venue. I have two words, no three words that sum up our experience: PARENTS, SEATS, POPCORN.
There were kids eating popcorn at an post-hardcore show, they were all thirteen or there abouts so had to take their parents along and the classic cinema seating that is set back from the stage/screen by quite some way was filled with both parents and teenagers looking generally quite bored whilst they ate their popcorn, leaving the "dancefloor" largely empty.
Leah once saw The Wombats in a half empty church basement in Philadelphia but she says this one was much more bizarre.
But on to the new album, it was finally released at the end of last month and initially I was unable to listen to anything else for days at a time so excited I was that it wasn't total garbage as I had feared. Pierce The Veil are not one album wonders! Most bands make an album that gets a lot of attention then feel the need to get even more attention with their next album, in the process they remove everything unique and fun from their sound and hey presto you're back to sounding like Silverstein.
PTV actually got better, they took what they did well on the previous album and crafted an album filled with the sound of a band who has toured consistently for three years; it's tighter and harder, more energetic and there's just as many of those "this is the greatest song ever" moments after singing along at the top of your voice with your eyes closed that all great emo will do to you.
Low points are few and far between, the guest vocals of Jason Butler (letlive.) simply irritate me for no good reason other than he reminds me of that guy from Say Anything, who I hate listening to.
As I said at the top of the post, I'm too old for this but that isn't stopping me. Pierce The Veil are touring the UK whilst we're on holiday in September and you'll find Leah, our friend Kat and myself towering over the sea of kids at Camden Underworld, throwing back the mojitos and wearing skinny jeans. Score!
Been there, done that, still buying the t-shirt AKA I'm too old for this shit
The first single released from the album was King For A Day and featured Kellin Quinn of Sleeping With Sirens, it is available for free here thanks to Fearless Records.
The second single, Bulls In The Bronx, has been embedded below thanks to those great guys over at Soundcloud.
The first in what will hopefully be a series of posts about the music getting heavy rotation on my blahblahblahpod, starts with the belated discovery of an album from 2009.
Once upon a time I was a student in London and found myself at edgy hipster indie clubs playing jerky pop/artrock drinking vodka until 3am, my penchant for emo dwindled in the face of something much cooler and those years of musical exploration have remained with me as an integral part of my musical landscape.
One song that seemed to sum up the time and place for me was Over and Over Again (Lost and Found) by Clap Your Hands Say Yeah.
For me it was the perfect combination of upbeat and angular and was completed by one of the most distinctive lead vocalists I'd ever heard and is still an absolute pleasure to listen to six years later.
When the self titled album was released on cool indie label Wichita back in 2006 I rushed out and bought it along with several other albums, it didn't impress me anywhere near as much as I was hoping and it sort of got lost in the mix somewhere.
Fast forward to 2012, I'm sitting in one of Perth's trendy hipster coffee shops, Cabin Fever, and ahis familiar voice comes over the speakers. It's not often that I hear anything I remotely like on any stereo that isn't mine so I fumbled around trying to figure out how Shazaam works whilst trying to remain hip and not be so uncool as to ask the staff what they were listening to.
And so you have it, the story of how I came to listen to Mo Beauty by Alec Ounsworth.
His voice more than anything else is what appeals on these stripped back (at times comparitively almost acoustic) tracks, it's such an important part of the CYHSY sound that I initially couldn't understand why he felt the need to release the tracks under his own name. But repeat listening introduced me to what amounts to a more experimental edge to his sound, complete with brass and strings and not a single angular beat to be found.
The album was recorded in New Orleans, a city which clearly influenced the direction of the album and one of the obvious standout tracks from the album is "Holy, Holy, Holy Moses (Song For New Orleans)," not least because of the simple repetition of the lyric that you'll find yourself humming in the shower, in bed and on hold to Indian call centres. It's a lovely album, a joy to listen to, providing individual moments of beauty amongst the almost ethereal sound of the whole.
I've only had the pleasure of listening to it for the past week or so but it's barely off of the iPod, if only I had heard of it sooner.
Got an opinion? Feel free to share it in the blahs below. Anyone a fan already? I'd love to hear from you.
