indie
Kieron Tyler
On 9 September, 1985 The Jesus and Mary Chain played Camden's Electric Ballroom to a ceaseless hail of plastic pint pots. After 20 minutes, the songs gave way to formless feedback and they sloped off the stage. Although Yuck weren’t born then, the significance of playing the same stage can’t have been lost on them. Carrying a torch for the pre-grunge fuzz-rock that was shoegazing’s ugly sister, Yuck know a thing or two about what they’re drawing from.Yuck’s set ended in formless feedback and there was no encore. The house lights were quickly switched on and that was it. Singer/guitarist Read more ...
bruce.dessau
“My friends don't add up to one hand,” intoned Mark E Smith on his 1988 album Frenz Experiment. Maybe not, given his legendary propensity for dramatically falling out with band members, but his albums now add up to considerably more than a single appendage. Ersatz GB is Smith's 29th studio album, and while not necessarily his best, it certainly demonstrates that his appetite for creating angry, angular, wonderfully warped state-of-the-nation addresses is hardly diminished.Ersatz GB reflects Smith's increasing despair at this sceptic isle's rotten-to-the-core decline. The lyrics are Read more ...
Thomas H. Green
Ah, the Duke of York’s Picture House, the oldest consistently operating purpose-built cinema in the country. It’s a beautiful venue, just over a century old, and almost too comfortable. It’s been jazzed up a few times over the decades and, tonight, bathed in red light, wears its history with lazy insouciance, merging it with the current interior design’s burlesque Art Deco spin. My seat is at the back of the balcony, plush and comfortable, with a little shelf where I place my salted popcorn and horrible pear cider (the latter, a mistake). Mostly the Duke of York’s is still a cinema but they Read more ...
joe.muggs
Is there any point criticising Coldplay? You might as well take issue with your own digestive system, or the word “the”, or the colour brown. They're there, they're part of the fabric of things, they're not going away. Indeed, so etched are they into our culture, with not just ambitious indie bands but every rapper from Jay Z on down adding a mopey none-less-funky chant-along chorus into their tracks in the hope of getting some of those Chris Martin dollars, that getting riled by their sound is, frankly, a short cut to insanity.And anyway, they're not awful as such. For every mimsy-whimsy Read more ...
joe.muggs
A good measure of the passion felt for an act is how much of their crowd dresses like them. And though Leslie Feist is hardly Lady Gaga in the image stakes, it's gratifying that even in a rush to get to our seats I'm able to count at least five “Feist fringes” on audience members that I pass. It's a subtle tribute to a subtle artist, one who has come to major success without fanfare or grandstanding and attracts a discerning and knowledgeable fanbase.However passionate a crowd is, though, theatre shows have their own set of issues that can stifle even the best performers. Sitting down in rows Read more ...
Russ Coffey
When a band of a certain vintage comes in from the cold suddenly to record a new album you can reasonably expect one of three things: total nonsense, a half-decent throwback or, if you’re very lucky, a proper comeback. Eighties art-metallers Jane’s Addiction have already had one pretty impressive return this millennium. That was 2003’s Stray, their first original release since 1990’s classic Ritual de lo Habitual. The question fans of Lollapalooza music have been asking in the last few months is, can they pull off the same trick again?So far, reactions to the record have been polarised Read more ...
Kieron Tyler
Remember the big music? Eighties big. Tears for Fears’ “Everybody Wants to Rule the World” big. Simple Minds’ “Waterfront” big. Anthony Gonzalez does. He might say his fifth album as M83 is inspired by The Smashing Pumpkins’ 1995 double set Melon Collie and the Infinite Sadness, but it’s built on foundations from a decade earlier.Ten years on from the first M83 album, Antibes’s Gonzalez hasn’t travelled quite as far as Messier 83, the galaxy whose name he’s adopted, but he has arrived at a point where intimacy has become distant. His reconfigured shoegazing – which prefigured much of the Read more ...
Russ Coffey
It’s been a long-standing source of surprise to me how Nerina Pallot continues to operate a whisker under the radar. From the get-go, 10 years back, she’s had the voice, songs and looks to be a star. Maybe a decade ago was the wrong time for her. But now, with her musical style residing somewhere between Laura Marling and Adele, surely she’s perfect for today’s market. The critics sure think so. In the last few months, column inches have argued that her new album’s the one to really break her into the mainstream. I agree. But when she walked out on stage at the Shepherds Bush Empire I couldn’ Read more ...
joe.muggs
I never really dug Suede. I could hear great pop songwriting in some of their work, but their rampant adoption of Bowie-as-Ziggy-Stardust sonics and vocal tics seemed to be just as representative of Britpop's necrophiliac tendencies as did Oasis's tired Beatle-isms. So I'm slightly puzzled as to why I'm enjoying this record by their singer as much as I am, given that it is almost as retro – albeit in a different way.The soundscape of Black Rainbows is a return to rock after the orchestral stylings of previous solo records, but it belongs to the mid-1980s. In particular there is a Goth Read more ...
Kieron Tyler
Brooklyn’s The Drums aren’t wasting time, but they’ve found it hard to keep up. The release of their second album, Portamento, comes just 15 months after their debut. In between the two, they toured relentlessly and lost guitarist Adam Kessler. Their drummer Connor Hanwick has stopped playing with them live. Earlier this summer, they admitted to almost splitting due to artistic differences. But whatever the turmoil, Portamento reveals that little has changed sonically in Drum land.They still sound in thrall to The Smiths, New Order and lower-tier Factory bands like Section 25 and The Wake. Read more ...
Kieron Tyler
Although sadness currently cloaks Norway, the release of Razika’s joyful debut album might raise a few spirits. From Bergen, this all-female four-piece are school friends jointly born in 1991, hence part of the album title. Program 91 is a ska-inflected romp that would’ve been a snug fit for Rough Trade in the early Eighties. Razika weren’t even born then. The other half of the album’s title is inspired by fellow Bergen band Program 81, a ska-inflected new wave outfit formed in 1981. Razika – coined as band-speak for a cute boy - clearly aren’t shy about revealing their inspirations, Read more ...
matilda.battersby
If Pavement fans have recovered from the excitement of last year’s reunion then they may find their pulses racing once more when they hear Stephen Malkmus and the Jick’s new album which is produced by Beck (no less).Mirror Traffic is a pleasant, more laid-back record than Real Emotional Trash, Malkmus’s notably rocky previous offering. Erring on the conventional side, it combines an early-indie sound inviting comparisons with Blur and Grandaddy, with noticeable fine tuning to the Jicks’s quirky and complex musical arrangements for which Beck should probably be credited.At 15 tracks long the Read more ...