indie
Thomas H. Green
At the Dot To Dot Festival in Nottingham, back in May, I noticed some of the most exciting bands I caught were marinated in grunge. One of them was Grandmas House. Their debut album now arrives and the grunge element turns out to be only part of the deal. The queer Bristol femme-punkin’ quartet try on various musical hats but, even at their poppiest, maintain a creeping sense of threat.Their lead weapon is the rasping voice of singer-guitarist Yasmin Berndt, whose vocals sound like no-one else around, a death metal growl plastered around a tone somewhere between Karen O and Scott Weiland. Yes Read more ...
Thomas H. Green
Almost 20 years ago, Late Of The Pier were an exciting post-nu-rave band who injected synthesizer sparkiness into indie. They even had a Top 30 album. They were a breath of fresh air. One of their members, Sam Eastgate, went on to produce solo material as LA Priest. While electronically constructed, his output has often wandered into Moderat/James Blake territory. Which is to say, sensitive, falsetto-leaning singer-songwriter fare. But for album number four he’s amped up the bang factor.To assist him in this, his producer is Alex Ridha, AKA German EDM kingpin Boys Noize, a man who’s worked Read more ...
Kieron Tyler
“My Lost One”, Materia’s second track, is remarkable. Exemplifying the Julia Holter ethos to the max, it begins wispily with interweaving rippling electric piano figures, a whispered, echoey vocal and slippery acoustic bass. Gradually, grandeur is assumed: a sonic architecture soaring into and beyond the clouds, and outwards into the wider cosmos.Despite the next track “Fantasy” having a similar, though much more brief exposition, nothing else on Materia is so strikingly consummated. The rest of the album is more muted, foggy, out of focus, restrained. Etiolated, even.Overall, Materia is line Read more ...
Jonathan Geddes
Just over 24 hours before Idlewild stepped out at the Kelvingrove Bandstand, the much ballyhooed solar eclipse had proved a damp squib for much of Scotland, with cloudy weather obscuring any views. With inevitable irony, the following day brought clear skies and sunshine, meaning the audience for this outdoor Glasgow show were basking in brightness and warmth for the arrival of Roddy Woomble and company, a band now holding indie veteran status.Sadly the good weather did not massively help support act Sorren Maclean, a well kent face in Scottish music. His low-key set, built around trad Read more ...
Kieron Tyler
Although the sound quality is slightly boxy, the opening track on CBGB’s 1985 is a treat. “Gardens” is on a line between first-album Rain Parade and Unhalfbricking-era Fairport Convention, it’s hard to tell from this live album whether Rochester, New York’s Absolute Grey – grey, not gray – caught the attention of their subdued-seeming Manhattan audience four decades ago while playing NYC’s prime roots-level venue. Now, though, it’s clear “Gardens” is top-drawer folk rock-inclined psychedelia which demands instant attention.When a studio version of “Gardens” – recorded in July 1985 – was Read more ...
Thomas H. Green
Comparatively speaking, Rotherham appears in the news more than most British towns of an equivalent size. And much of that news is not good. Much of it is representative of poverty, social disenfranchisement, and the ugly face of flag-waving Britain. But self-released, 2020s grass roots indie rockers The Reytons offer a reminder of working class community power, a band who hark back to the days when the only way out of big city estates was through football and pop.Their last couple of albums (of four, including this one), made it to No.1 and No.2 in the UK album charts, respectively. This Read more ...
Thomas H. Green
VINYL OF THE MONTHJohn R Miller The Great Unknowing (Rounder)
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John R Miller’s youth was spent in the Eastern Panhandle of West Virginia, an area where he imbibed Americana-folk fiddle music and began his career. The fiddles are mostly long gone but the feel of them is retained on The Great Unknowing, his fifth album. Miller combines raw country songwriting with a rough-edged bar-blues guitar twang. His voice is world-weary and his songwriting literate but catchy, dosed up on the blackly humorous cynicism found in the best country music Read more ...
Kieron Tyler
The only break in the flow comes just before the last song, “Toppling.” There’s a need to tune the guitar, so what – until this point – is an uninterrupted, pell-mell rush through what seems to be seven other songs is briefly halted.“Seems to be” as it’s hard to detect when one entry in the breathless half-hour set bleeds into the next. Individually, the songs have stop-start structures, handbrake turns from one time signature to another, and sudden outbursts of noise which abruptly give way to short passages which hint at a reflectiveness. Then, boom, off into the next swirling slab of Read more ...
Kieron Tyler
The key track gives the album its title. “Where the Fades Meet” opens with swelling strings, which are swiftly underpinned by groovy, shuffling, percussion. The lyrics are carried by a chorale singing of a “fading signal”, “stillness” and “shadows.” It seems to about what lies in the gaps between the perceivable. The melody has a vaguely eastern Mediterranean lilt. Overall, it leans into evoking an exotica-inclined Rotary Connection – the late-Sixties/early Seventies outfit that was a core influence on acid jazz.“Where the Fades Meet” is the sixth track on the seventh album – there has also Read more ...
Joe Muggs
There’s a long and rich tradition of scabrous indie rock lyricism from Yorkshire. Sheffield’s Jarvis Cocker and Alex Turner tend to get the plaudits, but the particular kind of gimlet-eyed social observation and pub philosopher’s knack for a toothsome phrase can be found from Hull (Paul Heaton) to Rotherham (Rebecca Lucy Taylor), and Todmorden (Sydney Minsky-Sargeant of Working Men’s Club). And Leeds has its whole own strain, starting with the screeds of The Mekons and Gang of Four, running through David Gedge and Ricky Wilson in his spikier moments to Lily Fontaine of English Teacher and, Read more ...
Jonathan Geddes
It is never a great sign when a local authority is forced to comment on a music festival. The opening night of the In The Park series of shows at Newcastle's Exhibition Park forced such a reaction from the city council, after claims of overcrowding to see headliner Lewis Capaldi perform, on a day of sweltering heat. Nothing amiss was found according to the council, and by this night, the final one in the series of shows, there were thankfully no issues to cause concern. Instead the sunshine was accompanied by a light breeze to create an atmosphere more suitable for picnics than rock Read more ...
Mark Kidel
Ever since he crashed into the world with that eerie masterpiece, Maxinquaye (1995) – an album that has never aged – Bristol-born Tricky, once a maverick member of Massive Attack, has mined a vein of suffering and pain, extracting, disc after disc, the essence of his troubled shadow and ancestry. The new solo venture, hot on the heels of a rich diversity of collaborations, is no different. This is the music of a haunted man, whose wounds have nourished streams of musical consciousness that speak to all of us, and never feels like maudlin navel-gazing or confessional self-indulgence. Read more ...