New music
Guy Oddy
The over-full O2 Academy is already like a sauna, with sweat dripping down the walls and clouds of condensation drifting above the audience, before the Prodigy even take to the stage in Birmingham. However, when a fur-coated MC Maxim leads the band out the atmosphere goes up several notches further and then positively explodes as Liam Howlett lays down the intro to 1997’s hit single “Breath”. Bodies are thrown around from the first beat, hands are raised and the temperature climbs even further.“Nasty” and “Omen” follow in quick succession with heavy metal guitar riffs, football terrace Read more ...
Russ Coffey
The venues Laura Moody has played on this, her first national tour, have included a launderette, a lighthouse, and the philosophy section of a well-known Oxford bookshop – all, apparently, selected for their “intimate and unusual” quality. It's certainly been an odd couple of months. On the other hand Acrobats, the album she featured last night, seemed a little more mainstream than her previous material. Normal for Moody is still a relative term. Her early stuff included "avant-pop" numbers like "There Could Be No Doubt of His Sex", where quivering high vocals were accompanied Read more ...
Barney Harsent
Back in the Seventies, in between keeping an eye out for the unwanted attentions of radio DJs and waiting for punk, the internet or colours to happen, there was real beauty if you knew where to look. By which I mean telly, of course. From the haunting fairground tones of the introduction to schools programme Picture Box, to the rolling sci-fi thrill of The Tomorrow People theme, it seemed that, far from not wanting to scare the horses, these oddball music makers would have sampled their galloping retreat and used it as a rhythm track for an animated short about a deaf boy and his magic snail. Read more ...
Thomas H. Green
Chungking are Brighton's great could-have-should-have band. Appearing around a decade ago the trio, enigmatically fronted by singer Jessie Banks, offered up an opulent alternative take on the whole indie-dance thing. Songs such as “Stay Up Forever” had irresistible, hedonic punch but the band were equally capable of channelling a delicacy that recalled The Carpenters at their most melancholy. They seemed to be on the cusp of hugeness. They were, after all, potentially accessible to a wide pop audience at the same time as appealing to clubland connoisseurs.The cusp, however, was where they Read more ...
Matthew Wright
For someone apparently so suave, Joe Stilgoe feels uncomfortable in the modern world. His third album is an express journey - in an exquisitely furnished, authentic carriage - back to a pre-bebop era of bronzed, big-band swing, and witty pianist-singers. If the album title doesn’t sum things up clearly enough, there are songs like “I Just Wasn’t Made for These Times”. Nothing Stilgoe does is crude enough to hammer a point home, but songs like this one and “Nothing’s Changed”, on which Stilgoe poignantly sings “Did we know jazz would all get rearranged?” make the point unambiguously.Music so Read more ...
Guy Oddy
The Warlocks are a psychedelic band from LA who dress not unlike the Velvet Underground in their prime and are clearly not given to star-like behaviour. They slope onto the stage at Birmingham’s Rainbow, tune up and burst straight into “Red Camera” from their 2009 album The Mirror Explodes. A heavy, dense mediation that comes on like a deep, Spacemen 3-flavoured drone, it whacks up the volume and sets the tone for the evening. It doesn’t get the audience moving around much but it certainly grabs their attention.As the track comes to an end, singer and guitarist Bobby Hecksher announces, “That Read more ...
Kieron Tyler
Various Artists: Building Bridges - Eurovision Song Contest Vienna 2015Mind-bogglingly, Australia is a first-time entrant in Eurovision 2015. The nature of Europe may be a concern for some backwards-looking British voters in next week’s election, but the inclusion of Australia in a competition organised by the European Broadcasting Union extends the remit of being European beyond even the wildest imaginings of foolish fringe politicians. The competition may be seen on Australia’s TV screens, but is that any reason for them to perform? Apparently, it is.The booklet with the double CD of Read more ...
Thomas H. Green
Peter Perrett (b. 1952) is best known as the singer and songwriter of The Only Ones, a group who originally flared to brilliant life between 1976 and 1981. Born to an English policeman-turned-builder and a mother whose immediate heritage lay amid the tragedy of Austria’s 20th-century Jewry, Perrett grew up in London. Already precociously bohemian, at 16 he ran away with his girlfriend, Xenoulla “Zena” Kakoulli. She would prove to be his lifelong soulmate and partner.By the mid-Seventies the pair were making a decent living, involved in London’s cannabis underworld, and Perrett put together Read more ...
Russ Coffey
Mumford and Sons, world conquering as they are, still fall victim to various accusations. Some, for instance, loathe their blandness. Others detect a whiff of smug middle class about them. Perhaps a more interesting observation, though, is how the band takes an intimate, personal musical form – folk – and turns it into something anthemic. Well, not any more. There’s nothing folk about Wilder Mind. Not a single banjo.The anthems are fewer in number too. Like Noah and the Whale before them, the Mumfords have wholeheartedly waved goodbye to nu-folk and moved their sound Stateside. So, how Read more ...
Thomas H. Green
“A lot of bands want to over-complicate their second album,” says Palma Violets bassist Chilli Jesson in the press release. “We know that we didn’t.” This is a manifesto they adhere to with results that are mixed. On the one hand, at a time when pop music is mired by utterly clinical precision, he’s right that it’s pleasing to hear music with the messiness left in. On the other, there are plenty of occasions when Danger in the Club emanates a lack of ambition.To get the negative out of the way first, the worst of it mingles the 1970s Clash at their laziest with dreadful lads’ sing-along Read more ...
Matthew Wright
San Fermin have enough brass to rock Mardi Gras and the vocal range to stretch an opera chorus, but they are, still, a pop group. The Brooklyn indie octet’s straight-through rendition of their second album Jackrabbit, released last week, inspired the Jazz Café on Monday night, their obliquely hyperactive compositions, by Yale graduate and Nico Muhly associate Ellis Ludwig-Leone, decked in the gaudy distractions of the carnival.With eight musicians, all with a relentless dance routine, on a modestly-proportioned stage, the energy is tangible. Even Ludwig-Leone, playing keys, squirms like a Read more ...
Barney Harsent
So, what I’m probably supposed to do when reviewing Django Django’s new album, Born Under Saturn, is mention the sleeper-hit success of their 2012 self-titled debut. I’m then definitely supposed to do a funny and find some suitable similes before summing up with something pithy and sage. The trouble is, I’m stuck here grinning like an idiot while thoughts flit in and out without ever finding room to land. Melodies can do that to you – stop you thinking and drag you into the moment, where meaningful reflection is all but impossible. Like being really pissed, but without the hangover. What Read more ...