I have said this many times: I may like many bands, but I rarely love a band before I have experienced them live. So here are a few clips of live performances, some by bands I have seen live before, the others bands I am itching to see! Enjoy!
Kyte’s “Boundaries” from their YouTube Channel: kytetheband.
Corinne Bailey Rae’s “Closer” from the VariousArtistsVEVO YouTube Channel.
Delphic’s “Doubt” from their YouTube Channel: delphicmusic.
The Editors’ “Papillon” from their MySpace Videos page.
Editors - Papillon Live at Fabric
EDITORS | Myspace Music Videos
Villagers’ “Ship of Promises” from the DominoRecords YouTube Channel.
The Pinker Tones’ “Tokyo” from the EristoffTV YouTube Channel.
Shakespears Sister’s “You’re History” from their YouTube Channel: ShakespearsSisterTV.
Read more ...
Showing posts with label Editors. Show all posts
Showing posts with label Editors. Show all posts
02 November 2010
29 April 2010
More Videos... But First Save Radio 6
Sharing more videos… but first…
There is an ongoing threat that the BBC may close down Radio 6, a station that I have listened to on the Internet for quite some time. It is one of those stations that really give exposure to talented artists, that may not garnish exposure elsewhere since they are not traditionally radio-friendly or backed by major labels. Check out Radio 6 at this link… and if you are impressed, especially if you are in the UK, join Save BBC 6Music on Facebook. Before the videos, here are four clips of artists (Brett Anderson [of (London) Suede fame], Katie Melua, Friendly Fires, and Editors) voicing their support for the channel from the TheJoyofSixMusic YouTube Channel.
And now for the videos…
Kelis’ “Acapella” from the KelisVEVO YouTube Channel.
The Dead Weather’s “Die By the Drop” from their YouTube Channel: TheDeadWeatherTV.
The Ghost of a Thousand’s “Fed to the Ocean” from the CrashburnProductions YouTube Channel.
JJ’s “Let Go” from the BlankTV YouTube Channel.
Monarchy’s “The Phoenix Alive” from their YouTube Channel: monarchysound.
Editors’ “Eat Raw Meat = Blood Drool” from their YouTube Channel: editorsofficial.
Young Rebel Set’s “Won’t Get Up Again” from their YouTube Channel: YoungRebelSet.
Gryatory System’s “Yowser, Yowser, Yowser (Reboot)” from angularrecords YouTube Channel.
Read more ...
There is an ongoing threat that the BBC may close down Radio 6, a station that I have listened to on the Internet for quite some time. It is one of those stations that really give exposure to talented artists, that may not garnish exposure elsewhere since they are not traditionally radio-friendly or backed by major labels. Check out Radio 6 at this link… and if you are impressed, especially if you are in the UK, join Save BBC 6Music on Facebook. Before the videos, here are four clips of artists (Brett Anderson [of (London) Suede fame], Katie Melua, Friendly Fires, and Editors) voicing their support for the channel from the TheJoyofSixMusic YouTube Channel.
And now for the videos…
Kelis’ “Acapella” from the KelisVEVO YouTube Channel.
The Dead Weather’s “Die By the Drop” from their YouTube Channel: TheDeadWeatherTV.
The Ghost of a Thousand’s “Fed to the Ocean” from the CrashburnProductions YouTube Channel.
JJ’s “Let Go” from the BlankTV YouTube Channel.
Monarchy’s “The Phoenix Alive” from their YouTube Channel: monarchysound.
Editors’ “Eat Raw Meat = Blood Drool” from their YouTube Channel: editorsofficial.
Young Rebel Set’s “Won’t Get Up Again” from their YouTube Channel: YoungRebelSet.
Gryatory System’s “Yowser, Yowser, Yowser (Reboot)” from angularrecords YouTube Channel.
Read more ...
07 January 2010
Videos to Ring in the New Year
So 2009 has come and gone, now let’s ring in the New Year with some videos from those that made it on our Best of 2009 and welcome some new comers as well.
Angus & Julia Stone's "and the boys" from The Nettwerk Music Group Youtube Channel.
Temposhark's "Bye Bye Baby" from the Temposhark YouTube Channel
A Place To Bury Strangers' "Keep Slipping Away" from the MuteUSA Youtube Channel.
IAMX and Imogen Heap's "My Secret Friend" from the IAMX Youtube Channel.
Moby 's "One Time We Lived" From the MuteUSA Youtube Channel
Editors's "You Don't Know Love" from their editorsofficial YouTube Channel:
Read more ...
Angus & Julia Stone's "and the boys" from The Nettwerk Music Group Youtube Channel.
Temposhark's "Bye Bye Baby" from the Temposhark YouTube Channel
A Place To Bury Strangers' "Keep Slipping Away" from the MuteUSA Youtube Channel.
IAMX and Imogen Heap's "My Secret Friend" from the IAMX Youtube Channel.
Moby 's "One Time We Lived" From the MuteUSA Youtube Channel
Editors's "You Don't Know Love" from their editorsofficial YouTube Channel:
Read more ...
14 October 2009
Editors: "In This Light and On This Evening"
I think there is going to be some irony in the air. Editors smashed into the music scene and instantly became leaders in the post-punk revival in 2005 with the release of their debut “Back Room.” A highly anticipate sophomore effort followed in 2007, “An End Has a Start,” that solidified them in the UK, made Europe very conscious of them, and even started to make way in the USA. But they received some criticism because they essentially recreated the same sound, just more radio friendly. Then the announcement of the third album came along, claiming that this would be a new chapter for the Editors, centering on the use of more synthesizers this time around. Usually when a band says they are entering a new phase, it is nothing more than a euphemism for “our records sales are slumping so we need a cheap gimmick to get you to look at us again.” But that was not the case for the Editors, they were stronger than ever, so why the change? Early on, before any release, many of the same people who criticized the similarity in sound between the first two albums criticized the Editors for wanting to change their sound. Irony at it’s best.
“In This Light and On This Evening” (12 October 2009 in the UK, 13 October 2009 in the USA) is a mesmerizing, breath-taking album. Opening with the titular track, the song builds and builds over two minutes and three-quarters before breaking into a beat. The initial dark ostinato, repeating throughout most of the song, is eerily sultry, as Tom Smith sings, “I swear to God I heard the Earth inhale moments before it spat its rain down on me. I swear to God, in this light and on this evening, London’s become the most beautiful think I’ve seen.” A nod to his new residence, Editors hold to their promise from the very first few seconds of the song: a new sound, a new chapter, and it does not disappoint!
From beginning to end, the lyrics are emotional and heartfelt; personally, I am tired with all the comparisons of how Tom Smith sounds like Ian Curtis. This is a matter of genetics, Smith has the same kind of voice and this is not his doing. But to his credit, Smith moves away from melodramatic styling of his vocals and really sells the lyrics on this album. He never slumps into disparity, nor is there a faux urgency in his voice; instead he gives a heartfelt rendition of his lyrics, a conscious acceptance of what he is singing about. Added to the layered keyboards, the distorted guitars, and the spot-on rhythm section, maturity in craftsmanship and approach is more than obvious. Of course, I am sure that many people are going to say there isn’t much in terms of departure in sound, and I would say take a closer listen. Sometimes the most powerful changes are not endemic, but systemic. What has changed is how they approached the writing of this album – perhaps because they worked with Flood? Perhaps because they recorded the album in more than one studio and city? Or perhaps because they are not the kids they were, trying to make a dramatic musical statement, and more concerned with writing music that works in tandem with lyrics. For instance, in the lead single, “Papillon,” the music conspires to be more introspective, claustrophobic rather than a guitar orgy, which suits lines such as “If there really was a God here, He’d have raised a hand by now.” This kind of interplay, this tight knitting between theme and sound, is apparent throughout the entire album. What more, what is most apparent is that there is no attempt to be virtuoso. Each song is handed to the listener, as a small visceral experience that is so well arranged and produced, there is no need for flashy gimmicks or cliché rock antics.
All that said one track does really hearken back to the past. “Like Treasure” could easily be confused for a first wave post-punk song. There is an “aged” quality to the song, even in the vocals, that really reminds me of those formative years when bands like Siouxsie and the Banshees, Bauhaus, and The Cure were solidifying a new scene in music. However, the other tracks sound fresh and vibrant on their own terms. “Eat Raw Meat = Blood Drool” is my favorite melody on the album – did they write their first sing-along here? And just as the album began it ends, with an eerie sultriness. The ostinato immediately hooks you (not so much an 80s sound, but rather an early to mid-90s sound), “Walk the Fleet Road” is an apropos ending to the album, but at the end of a long journey, there is hope, sort of: “No push and no shove, spit verbal mace, hate can turn to love not for this human race.” It is sort of like Pandora’s Box – for all the wretchedness that spewed out of it, hidden deep below is the hope for something better, though hidden.
In a year in which I feel that many veterans failed to reach the mark of what was capable of them, in a year where most veterans sat on their laurels and did not do anything new and fresh, the Editors put forth a spectacular third album. If all you want to hear are those guitar riffs on “An End Has a Start” and “Bones” over and over again, by all means – personally, I have put their cover of “Lullaby” on repeat for hours (at the cost of blaspheming in the eyes of many, better than the original). But if you want to see a band grow, progress, and do it with grace and artistic integrity, “In This Light and On This Evening” is an album that is going to seduce you as much as it has seduced me over the past twenty-four hours.
Track Listing:
1. In This Light and On This Evening
2. Bricks and Mortar
3. Papillon
4. You Don’ Know Love
5. The Big Exit
6. The Boxer
7. Like Treasure
8. Eat Raw Meat = Blood Drool
9. Walk the Fleet Road
Keep up with Editors at their homepage and MySpace. If in Europe, through December they will be touring. Check out their homepage Live page for dates and ticket information.
Here is their video for “Papillon” from their YouTube Channel: editorsoffical.
Read more ...
“In This Light and On This Evening” (12 October 2009 in the UK, 13 October 2009 in the USA) is a mesmerizing, breath-taking album. Opening with the titular track, the song builds and builds over two minutes and three-quarters before breaking into a beat. The initial dark ostinato, repeating throughout most of the song, is eerily sultry, as Tom Smith sings, “I swear to God I heard the Earth inhale moments before it spat its rain down on me. I swear to God, in this light and on this evening, London’s become the most beautiful think I’ve seen.” A nod to his new residence, Editors hold to their promise from the very first few seconds of the song: a new sound, a new chapter, and it does not disappoint!
From beginning to end, the lyrics are emotional and heartfelt; personally, I am tired with all the comparisons of how Tom Smith sounds like Ian Curtis. This is a matter of genetics, Smith has the same kind of voice and this is not his doing. But to his credit, Smith moves away from melodramatic styling of his vocals and really sells the lyrics on this album. He never slumps into disparity, nor is there a faux urgency in his voice; instead he gives a heartfelt rendition of his lyrics, a conscious acceptance of what he is singing about. Added to the layered keyboards, the distorted guitars, and the spot-on rhythm section, maturity in craftsmanship and approach is more than obvious. Of course, I am sure that many people are going to say there isn’t much in terms of departure in sound, and I would say take a closer listen. Sometimes the most powerful changes are not endemic, but systemic. What has changed is how they approached the writing of this album – perhaps because they worked with Flood? Perhaps because they recorded the album in more than one studio and city? Or perhaps because they are not the kids they were, trying to make a dramatic musical statement, and more concerned with writing music that works in tandem with lyrics. For instance, in the lead single, “Papillon,” the music conspires to be more introspective, claustrophobic rather than a guitar orgy, which suits lines such as “If there really was a God here, He’d have raised a hand by now.” This kind of interplay, this tight knitting between theme and sound, is apparent throughout the entire album. What more, what is most apparent is that there is no attempt to be virtuoso. Each song is handed to the listener, as a small visceral experience that is so well arranged and produced, there is no need for flashy gimmicks or cliché rock antics.
All that said one track does really hearken back to the past. “Like Treasure” could easily be confused for a first wave post-punk song. There is an “aged” quality to the song, even in the vocals, that really reminds me of those formative years when bands like Siouxsie and the Banshees, Bauhaus, and The Cure were solidifying a new scene in music. However, the other tracks sound fresh and vibrant on their own terms. “Eat Raw Meat = Blood Drool” is my favorite melody on the album – did they write their first sing-along here? And just as the album began it ends, with an eerie sultriness. The ostinato immediately hooks you (not so much an 80s sound, but rather an early to mid-90s sound), “Walk the Fleet Road” is an apropos ending to the album, but at the end of a long journey, there is hope, sort of: “No push and no shove, spit verbal mace, hate can turn to love not for this human race.” It is sort of like Pandora’s Box – for all the wretchedness that spewed out of it, hidden deep below is the hope for something better, though hidden.
In a year in which I feel that many veterans failed to reach the mark of what was capable of them, in a year where most veterans sat on their laurels and did not do anything new and fresh, the Editors put forth a spectacular third album. If all you want to hear are those guitar riffs on “An End Has a Start” and “Bones” over and over again, by all means – personally, I have put their cover of “Lullaby” on repeat for hours (at the cost of blaspheming in the eyes of many, better than the original). But if you want to see a band grow, progress, and do it with grace and artistic integrity, “In This Light and On This Evening” is an album that is going to seduce you as much as it has seduced me over the past twenty-four hours.
Track Listing:
1. In This Light and On This Evening
2. Bricks and Mortar
3. Papillon
4. You Don’ Know Love
5. The Big Exit
6. The Boxer
7. Like Treasure
8. Eat Raw Meat = Blood Drool
9. Walk the Fleet Road
Keep up with Editors at their homepage and MySpace. If in Europe, through December they will be touring. Check out their homepage Live page for dates and ticket information.
Here is their video for “Papillon” from their YouTube Channel: editorsoffical.
Read more ...
27 June 2009
Post-Punk: Part 3 of 3 - Post-Punk Revival
So the century turns, and for some reason the media starts to pay more and more attention to the 80s. Throughout the 90s, it was almost a curse to be associated with the 80s if you were a musician. It was about guitars, stripped-down music, and a plain jeans and t-shirt image. Technology? Phooey! Music was generated on guitars, basses, and drums. There was no need for anything else! Even MTV promoted this idea with “MTV Unplugged.” Sure, some bands brought along a pianist and violin players, but think about all the bands that really could not perform on the show – the vast majority of synthpop and electropop bands could not. In essence, MTV helped marginalize and “discredit” them, as the bands that were most revered where macho, guitar playing, screamers, who were gods if they happened to smash half their instruments at the end of the show. (Didn’t Fender stock soar during the 90s?) But it wasn’t just the concept of instrumentalization that was shifted, but also how music was composed and produced. Out went multi-layered and textured music, and in came power chords, minimalist arrangements, and pre-packaged (teenage) angst. The only real exception to this is hip-hop, which continued to be seen marketable to urban and wannabe urban youths from the ‘burbs. But by the turn of the century, when the 80s were starting to be remembered again, many musicians took another hard look at the decade, and by default at post-punk, and in it found the inspiration to revive the sound.
There is a lot of rehash when it comes to post-punk revival, and my general rule is that most rehash is crap. If I wanted to listen to Joy Division, Bauhaus, or the Cure, I would scroll down my iTunes and pick out the songs that so obviously have become models for the rehash. (Hey, it happens with every genre of music. Remember all the wannabe Nirvana bands in the mid and late 90s or Oasis wanting to be the Beatles?) But among these bands are many who are not just rehashing the old sound, but adding to it, expanding the genre, into something new and vibrant. And what is great about this moment in music is that just like shoegazing, the presence of women is being felt in the musicianship. The 90s, with grunge and hip-hop, was a male dominated scene, with just the occasional diva or girl group.
These bands below are incredible on their own terms. But what has been made a running joke among some of my friends is their voice – they have an Ian Curtis (Joy Division) quality to it. First off, I want to say that one cannot be criticized for the voice he or she was born with. Not all of these male vocalists sound like Curtis, and those that happen to have that quality to their voice is by coincidence, genetics really. Second off, as for the artists who are trying to expand the genre (and not just rehash the same ole shit), they do not even sing like Curtis. Of course, comparisons are always going to be made; it is part of human nature – we tend to understand things by comparison. But do not allow generalized, somewhat unfounded comparisons/opinions taint your expectations of these bands. Unlike their forefathers, there is a greater range is style, influence, and themes for their lyrics. Unlike their forefathers, they got to experience listening to original wave artists find new genres and continue to defy the concept of genre and marketability. Like their forefathers, they make no apologies for their music, but unlike their forefathers they are openly competing on pop charts, not content with bringing their music to a smaller scene. Instead, they are going global; they are rising to the status of pop icons, and all the time doing it on their own terms. And that, in a way, is the greatest tipping of the hat to their influences: taking a concept as abstract as post-punk non-conformity and making it mainstream. But of course, that only means it is only a question of time before the revival dies out, and these musicians continue to challenge musical ideology in another way. The great thing that history has taught us about post-punk is that it is always going to morph and then re-emerge.
We have reviewed quite a few post-punk revivalists (or at least somehow associated with the movement) here on SlowdiveMusic already. Here is a list if you are interested in some older reviews: The Horrors, Maccabees, Maximo Park, Metric, The Legends, Pains of Being Pure at Heart, White Lies, White Rabbits, and Yeah Yeah Yeahs.
Bloc Party: “Silent Alarm” (2005)
Bloc Party is not an easy band to label or put your finger on, because they draw so many different influences from so many different quarters in music and time periods it creates a very unique sound. However, as far as post-punk goes, it is obvious that they have heard their Cure and Joy Division – but do I hear some Pixies and Killing Joke in there once in a while? And where did the band form? At the premier rock festival: Reading! Just imagine being at the premier festival, 1999 (on the line up: Blur, the Charlatans, Echo and the Bunnymen, and the Red Hot Chilli Peppers), bumping into an old friend, and saying, “Yo, that could be us.” And the rest is pretty much history.
Why is this a must? Because it is different. From the vocal styles to many of the arrangements, Bloc Party from the start offered something distinct, something almost difficult to call rehash. “Silent Alarm” may not be thematically cohesive, but all of the songs are tight. Whether it is the 80’s esque single “Banquet” or dream pop feel of “So Here We Are,” the band moves through this album with fluidic ease. The opening track, “Like Eating Glass,” has that stream of consciousness post-punk rockers loved to utilize: “I can’t eat, I can’t sleep; I can’t sleep, I can’t dream; an aversion to light, got a fear of the ocean, like drinking poison, like eating glass.” And though these songs are structured around the typical repetitive bass and drums of post-punk, the “driving” quality and the multi-textured arrangements are enviable. More so than any post-punk revival album before this one, “Silent Alarm” took this genre to a totally new level.
Track Listing:
1. Like Eating Glass
2. Helicopter
3. Positive Tension
4. Banquet
5. Blue Light
6. She’s Hearing Voices
7. This Modern Love
8. Pioneers
9. Price of Gas
10. So Here We Are
11. Luno
12. Plans
13. Compliments
Keep up with Bloc Party at their homepage and MySpace.
Here are their videos for “Pioneers” and “So Here We Are” from their YouTube Channel: blocpartyofficial.
Chromatics: “Night Drive” (2007)
Out of Portland, Oregon, Ruth Radalet fronts this trio. Rock ‘n roll has predominately been a big boys club, but following in the vein of Siouxsie Sioux, this band brings a feminine touch post-punk revival in much the same way that Metric and Yeah Yeah Yeahs do. It is not frilly or vulnerable or pining, but rather it has an ethereal quality that drives home some of the most powerful lyrics and ingenious arrangements. Some may ask why I would include a lesser-known band on this list; the answer is simple: The Chromatics accomplish something that the others do not. More so than the other bands, they have the ingenuity of sticking faithfully to an older esthetic mindset, yet producing fresh, modern, relevant music.
Why is it a must? Well, the eerie cover of Kate Bush’s “Running Up That Hill” for starters. If anyone wondered what this sound would sound like with a gothic edge, you need to look no further. But the originals are more interesting. The titular track, “Night Drive,” is sensual in the same way Cocteau Twins were in the 80s. The calmness of “Tomorrow Is So Far Away” is mesmerizing. “Healer” has an epic-feel to it, though it falls short of four minutes. Then there is the radio-ready, instrumental “Let’s Make This a Moment to Remember.” Instrumental music is lost on many bands these days; rarely do bands these days experiment with the format. But this is a beautiful song, perhaps the most beautiful on the album.
Track Listing:
1. The Telephone Call
2. Night Drive
3. I Want Your Love
4. Running Up That Hill
5. The Killing Spree
6. Healer
7. Mask
8. Tomorrow Is So Far Away
9. Let’s Make This a Moment to Remember
10. Tick of the Clock
Keep up with Chromatics on MySpace.
Editors: “An End Has a Start” (2007)
Based out of Birmingham, this quartet has taken Britain and Europe by surprise. Drawing influence from both the past (Echo and the Bunnymen, the Cure) and the present (the Stokes, the Walkmen), these boys are all about adding a vibrant, fresh air to gloomy, despair filled music. Their greatest ode to the past may have been their cover of “Lullaby,” but their eyes are on the future. With an anticipated album later this year, the band will be taking a new direction in their music. The question remains just how drastic of a new direction it will be? As drastic as “Pornography” to “Japanese Whispers”? I mean, they did say they would be using more synths.
Why is this a must? This is no sophomore slump! Actually, this is one of those rare occurrences when the sophomore effort overshadows the debut. Instead of giving you my take, I am going to quote thevenhunter on Playlouder: “…this album is fucking brilliant – it made me want to cut my hair, paint my ceiling, fuck the postman and burn the disco down. So I did. Then I curled up in a corner, cried, and shat myself.” Enough said? No. Though the album as a whole is an amazing roller coaster ride, the individual songs are gripping and forceful. For instance “Bones” (“In the end all you can hope for, is the love you felt to equal the pain you’ve gone through…”), driven by bass and drum, is an example of great in-your-face music that makes you want to dance, slam, jump, something… though you realize it is to the dreariest of lyrics. The opening track, “Smokers Outside the Hospital Doors,” is one of the most beautifully arranged songs of all time. The song lulls you into a false sense of serenity and familiarity, which is belied by haunting words sung: “We’ve all changed from what we were, our broken parts smashed on the floor.”
Track Listing:
1. Smokers Outside the Hospital Doors
2. An End Has a Start
3. The Weight of the World
4. Bones
5. When Anger Shows
6. The Racing Rats
7. Push Your Head Towards the Air
8. Escape the Nest
9. Spiders
10. Well Worn Hand
11. A Thousand Pieces – iTunes / Japanese edition
12. Open Up – Japanese edition
Keep up with the Editors at their homepage and MySpace.
Interpol: “Turn on the Bright Lights” (2002)
Arguably one of the leaders of both the New York City (Brooklyn) and post-punk revival music scenes, Interpol is one of those American bands that have found more success and acceptance in Europe than the USA (their latest album, “Our Love to Admire” (2007) reached #2 in the UK, #1 in Ireland, and top 10 in seven other countries). Combining pastiche, sophistication, and a sort of New York detachment, Interpol brings a dreamy, dark sound and overwhelming emotional undertow with their sonic harmonies. This is a band of musicians, where the emphasis is always on the music and not production. Straightforward recording, no production or technology glitz, and heart-felt vocals, Interpol delivers sleek music that is relevant, thriving, and infectious.
Why is it a must? The first time I heard “Untitled,” the opening song with haunting guitars, the sadness in the bass, and a beat to drown passively to, I was in love. But that is only the beginning of a journey though a sonic nightmare of luscious music. On their debut album, Interpol does not shy away from delivering some of the darkest music. “PDA” (easily my favorite on the album) is a sinister tongue-in-cheek number (“Yours is the only version of my desertion that I could ever subscribe to… you’re so cute when you’re frustrated…”), while the young Interpol takes a success stab at epics with “Stella Was a Diver and She Was Always Down” and “The New.”
Track Listing:
1. Untitled
2. Obstacle 1
3. NYC
4. PDA
5. Say Hello the Angels
6. Hands Away
7. Obstacle 2
8. Stella Was a Diver and She Was Always Down
9. Roland
10. The New
11. Leif Erikson
Keep up with Interpol at their homepage and MySpace.
The Killers: “Hot Fuss” (2004)
Poker and hookers, and the Killers of course… out of Las Vegas, they took the music scene by surprise with their sleeper hit “Somebody Told Me.” The band formed by a twist of fate. Brandon Flowers’ (vocalist, keyboardist) former band dumped him when they moved to Los Angeles and he remained in Vegas. (I wonder how much regret they have in that move now?) After meeting the other three members of the band (Dave Keuning, Mark Stoermer, and Ronnie Vannucci, Jr.), they would eventually sign a record contract with a British record label. This is perhaps one of the reasons why the Killers can always been seen playing European concert and festival dates.
Why is it a must? Let me admit it right off – my favorite track is “Somebody Told Me.” Come on, that line – “Well somebody told me you had a boyfriend, who looked like a girlfriend that I had in February of last year…” – is fucking hilarious. Not to mention that musically the song is solid, bringing a real new wave feel to traditional post-punk. But the one track that really yanks my chord is “Midnight Show.” The driving guitar and bass, the pounding drums, and that eerie synth sound in the background is near orgasmic. And every time Flowers sings, “Drive faster,” and the music kicks in, it has an amazing visceral effect on me. (I have been stopped by cops driving faster to this track.)
Track Listing:
1. Jenny Was a Friend of Mine
2. Mr. Brightside
3. Smile Like You Mean It
4. Somebody Told Me
5. All These Things That I’ve Done
6. Andy, You’re a Star
7. On Top
8. Change Your Mind
9. Believe Me Natalie
10. Midnight Show
11. Everything Will Be Alright
Keep up with the Killers at their homepage and MySpace. Read more ...
There is a lot of rehash when it comes to post-punk revival, and my general rule is that most rehash is crap. If I wanted to listen to Joy Division, Bauhaus, or the Cure, I would scroll down my iTunes and pick out the songs that so obviously have become models for the rehash. (Hey, it happens with every genre of music. Remember all the wannabe Nirvana bands in the mid and late 90s or Oasis wanting to be the Beatles?) But among these bands are many who are not just rehashing the old sound, but adding to it, expanding the genre, into something new and vibrant. And what is great about this moment in music is that just like shoegazing, the presence of women is being felt in the musicianship. The 90s, with grunge and hip-hop, was a male dominated scene, with just the occasional diva or girl group.
These bands below are incredible on their own terms. But what has been made a running joke among some of my friends is their voice – they have an Ian Curtis (Joy Division) quality to it. First off, I want to say that one cannot be criticized for the voice he or she was born with. Not all of these male vocalists sound like Curtis, and those that happen to have that quality to their voice is by coincidence, genetics really. Second off, as for the artists who are trying to expand the genre (and not just rehash the same ole shit), they do not even sing like Curtis. Of course, comparisons are always going to be made; it is part of human nature – we tend to understand things by comparison. But do not allow generalized, somewhat unfounded comparisons/opinions taint your expectations of these bands. Unlike their forefathers, there is a greater range is style, influence, and themes for their lyrics. Unlike their forefathers, they got to experience listening to original wave artists find new genres and continue to defy the concept of genre and marketability. Like their forefathers, they make no apologies for their music, but unlike their forefathers they are openly competing on pop charts, not content with bringing their music to a smaller scene. Instead, they are going global; they are rising to the status of pop icons, and all the time doing it on their own terms. And that, in a way, is the greatest tipping of the hat to their influences: taking a concept as abstract as post-punk non-conformity and making it mainstream. But of course, that only means it is only a question of time before the revival dies out, and these musicians continue to challenge musical ideology in another way. The great thing that history has taught us about post-punk is that it is always going to morph and then re-emerge.
We have reviewed quite a few post-punk revivalists (or at least somehow associated with the movement) here on SlowdiveMusic already. Here is a list if you are interested in some older reviews: The Horrors, Maccabees, Maximo Park, Metric, The Legends, Pains of Being Pure at Heart, White Lies, White Rabbits, and Yeah Yeah Yeahs.
Bloc Party: “Silent Alarm” (2005)
Bloc Party is not an easy band to label or put your finger on, because they draw so many different influences from so many different quarters in music and time periods it creates a very unique sound. However, as far as post-punk goes, it is obvious that they have heard their Cure and Joy Division – but do I hear some Pixies and Killing Joke in there once in a while? And where did the band form? At the premier rock festival: Reading! Just imagine being at the premier festival, 1999 (on the line up: Blur, the Charlatans, Echo and the Bunnymen, and the Red Hot Chilli Peppers), bumping into an old friend, and saying, “Yo, that could be us.” And the rest is pretty much history.
Why is this a must? Because it is different. From the vocal styles to many of the arrangements, Bloc Party from the start offered something distinct, something almost difficult to call rehash. “Silent Alarm” may not be thematically cohesive, but all of the songs are tight. Whether it is the 80’s esque single “Banquet” or dream pop feel of “So Here We Are,” the band moves through this album with fluidic ease. The opening track, “Like Eating Glass,” has that stream of consciousness post-punk rockers loved to utilize: “I can’t eat, I can’t sleep; I can’t sleep, I can’t dream; an aversion to light, got a fear of the ocean, like drinking poison, like eating glass.” And though these songs are structured around the typical repetitive bass and drums of post-punk, the “driving” quality and the multi-textured arrangements are enviable. More so than any post-punk revival album before this one, “Silent Alarm” took this genre to a totally new level.
Track Listing:
1. Like Eating Glass
2. Helicopter
3. Positive Tension
4. Banquet
5. Blue Light
6. She’s Hearing Voices
7. This Modern Love
8. Pioneers
9. Price of Gas
10. So Here We Are
11. Luno
12. Plans
13. Compliments
Keep up with Bloc Party at their homepage and MySpace.
Here are their videos for “Pioneers” and “So Here We Are” from their YouTube Channel: blocpartyofficial.
Chromatics: “Night Drive” (2007)
Out of Portland, Oregon, Ruth Radalet fronts this trio. Rock ‘n roll has predominately been a big boys club, but following in the vein of Siouxsie Sioux, this band brings a feminine touch post-punk revival in much the same way that Metric and Yeah Yeah Yeahs do. It is not frilly or vulnerable or pining, but rather it has an ethereal quality that drives home some of the most powerful lyrics and ingenious arrangements. Some may ask why I would include a lesser-known band on this list; the answer is simple: The Chromatics accomplish something that the others do not. More so than the other bands, they have the ingenuity of sticking faithfully to an older esthetic mindset, yet producing fresh, modern, relevant music.
Why is it a must? Well, the eerie cover of Kate Bush’s “Running Up That Hill” for starters. If anyone wondered what this sound would sound like with a gothic edge, you need to look no further. But the originals are more interesting. The titular track, “Night Drive,” is sensual in the same way Cocteau Twins were in the 80s. The calmness of “Tomorrow Is So Far Away” is mesmerizing. “Healer” has an epic-feel to it, though it falls short of four minutes. Then there is the radio-ready, instrumental “Let’s Make This a Moment to Remember.” Instrumental music is lost on many bands these days; rarely do bands these days experiment with the format. But this is a beautiful song, perhaps the most beautiful on the album.
Track Listing:
1. The Telephone Call
2. Night Drive
3. I Want Your Love
4. Running Up That Hill
5. The Killing Spree
6. Healer
7. Mask
8. Tomorrow Is So Far Away
9. Let’s Make This a Moment to Remember
10. Tick of the Clock
Keep up with Chromatics on MySpace.
Editors: “An End Has a Start” (2007)
Based out of Birmingham, this quartet has taken Britain and Europe by surprise. Drawing influence from both the past (Echo and the Bunnymen, the Cure) and the present (the Stokes, the Walkmen), these boys are all about adding a vibrant, fresh air to gloomy, despair filled music. Their greatest ode to the past may have been their cover of “Lullaby,” but their eyes are on the future. With an anticipated album later this year, the band will be taking a new direction in their music. The question remains just how drastic of a new direction it will be? As drastic as “Pornography” to “Japanese Whispers”? I mean, they did say they would be using more synths.
Why is this a must? This is no sophomore slump! Actually, this is one of those rare occurrences when the sophomore effort overshadows the debut. Instead of giving you my take, I am going to quote thevenhunter on Playlouder: “…this album is fucking brilliant – it made me want to cut my hair, paint my ceiling, fuck the postman and burn the disco down. So I did. Then I curled up in a corner, cried, and shat myself.” Enough said? No. Though the album as a whole is an amazing roller coaster ride, the individual songs are gripping and forceful. For instance “Bones” (“In the end all you can hope for, is the love you felt to equal the pain you’ve gone through…”), driven by bass and drum, is an example of great in-your-face music that makes you want to dance, slam, jump, something… though you realize it is to the dreariest of lyrics. The opening track, “Smokers Outside the Hospital Doors,” is one of the most beautifully arranged songs of all time. The song lulls you into a false sense of serenity and familiarity, which is belied by haunting words sung: “We’ve all changed from what we were, our broken parts smashed on the floor.”
Track Listing:
1. Smokers Outside the Hospital Doors
2. An End Has a Start
3. The Weight of the World
4. Bones
5. When Anger Shows
6. The Racing Rats
7. Push Your Head Towards the Air
8. Escape the Nest
9. Spiders
10. Well Worn Hand
11. A Thousand Pieces – iTunes / Japanese edition
12. Open Up – Japanese edition
Keep up with the Editors at their homepage and MySpace.
Interpol: “Turn on the Bright Lights” (2002)
Arguably one of the leaders of both the New York City (Brooklyn) and post-punk revival music scenes, Interpol is one of those American bands that have found more success and acceptance in Europe than the USA (their latest album, “Our Love to Admire” (2007) reached #2 in the UK, #1 in Ireland, and top 10 in seven other countries). Combining pastiche, sophistication, and a sort of New York detachment, Interpol brings a dreamy, dark sound and overwhelming emotional undertow with their sonic harmonies. This is a band of musicians, where the emphasis is always on the music and not production. Straightforward recording, no production or technology glitz, and heart-felt vocals, Interpol delivers sleek music that is relevant, thriving, and infectious.
Why is it a must? The first time I heard “Untitled,” the opening song with haunting guitars, the sadness in the bass, and a beat to drown passively to, I was in love. But that is only the beginning of a journey though a sonic nightmare of luscious music. On their debut album, Interpol does not shy away from delivering some of the darkest music. “PDA” (easily my favorite on the album) is a sinister tongue-in-cheek number (“Yours is the only version of my desertion that I could ever subscribe to… you’re so cute when you’re frustrated…”), while the young Interpol takes a success stab at epics with “Stella Was a Diver and She Was Always Down” and “The New.”
Track Listing:
1. Untitled
2. Obstacle 1
3. NYC
4. PDA
5. Say Hello the Angels
6. Hands Away
7. Obstacle 2
8. Stella Was a Diver and She Was Always Down
9. Roland
10. The New
11. Leif Erikson
Keep up with Interpol at their homepage and MySpace.
The Killers: “Hot Fuss” (2004)
Poker and hookers, and the Killers of course… out of Las Vegas, they took the music scene by surprise with their sleeper hit “Somebody Told Me.” The band formed by a twist of fate. Brandon Flowers’ (vocalist, keyboardist) former band dumped him when they moved to Los Angeles and he remained in Vegas. (I wonder how much regret they have in that move now?) After meeting the other three members of the band (Dave Keuning, Mark Stoermer, and Ronnie Vannucci, Jr.), they would eventually sign a record contract with a British record label. This is perhaps one of the reasons why the Killers can always been seen playing European concert and festival dates.
Why is it a must? Let me admit it right off – my favorite track is “Somebody Told Me.” Come on, that line – “Well somebody told me you had a boyfriend, who looked like a girlfriend that I had in February of last year…” – is fucking hilarious. Not to mention that musically the song is solid, bringing a real new wave feel to traditional post-punk. But the one track that really yanks my chord is “Midnight Show.” The driving guitar and bass, the pounding drums, and that eerie synth sound in the background is near orgasmic. And every time Flowers sings, “Drive faster,” and the music kicks in, it has an amazing visceral effect on me. (I have been stopped by cops driving faster to this track.)
Track Listing:
1. Jenny Was a Friend of Mine
2. Mr. Brightside
3. Smile Like You Mean It
4. Somebody Told Me
5. All These Things That I’ve Done
6. Andy, You’re a Star
7. On Top
8. Change Your Mind
9. Believe Me Natalie
10. Midnight Show
11. Everything Will Be Alright
Keep up with the Killers at their homepage and MySpace. Read more ...
Subscribe to:
Posts (Atom)