Best Coast - 'Crazy For You' (2010)

1. Boyfriend
2. Crazy For You
3. The End
4. Goodbye
5. Summer Mood
6. Our Deal
7. I Want To
8. When the Sun Don't Shine
9. Bratty B
10. Honey
11. Happy
12. Each and Everyday

It is with great pleasure that I am now writing about the debut album from, LA based, trio Best Coast. After first hearing the EP 'Something In The Way' I wasn't overly impressed and so wasn't sure what I was going to make of this debut performance from the band. A few listens later and that was all to change.

The album opens with the, extremely, catchy 'Boyfriend'. A crying plea from lead singer, Bethany Cosentino, that turns the song into a girl-power garage rock act. The lo-fi and muffled sounds of the band are all introduced here and with long harmonies, loud cries and guitar solos it's hard to not like this song. Finding yourself singing the song walking down the street can cause a few unusual stares. Album titled 'Crazy For You' follows and continues to be a head bopping experience with more emotional pleas from the song but takes the sound slightly more 'surf' bound with a few 'oooohhhhs' throughout. The highlight of the album for me is 'When The Sun Don't Shine', and a song of the year. Short and sweet with a beautiful romantic feeling to it, which is very much a theme of the album. It is one to cheer you up as the long days of summer slowly start to fade to black. Other highlights include 'The End', 'Happy' and 'Goodbye'. The songs seem to work best when both the summer/surf elements, of their sound, are mixed with garage rock. The vocals are put to the test on slow numbers like 'Our Deal' and 'I Want To' and they do not disappoint, harmonies backing up the sound throughout.

A great album and for me one of the best this year. A few listens were needed and it was definitely worth the patience. This has been one I have listened to over and over. Any fan of the Dum Dum Girls or Vivian Girls will sure to like this one. All I can say is to get some of this into your life, you won't be disappointed.

Jim O'Rourke - 'All Kinds of People ~Love Burt Bacharach' (2010)

1. Close To You
2. Always Something There To Remind Me
3. Anonymous Phone Call
4. After The Fox
5. You’ll Never Get To Heaven
6. Do You Know The Way To San Jose
7. Don’t Make Me Over
8. Raindrops Keep Fallin’ On My Head
9. I Say A Little Prayer
10. Trains And Boats And Planes
11. Walk On By

Jim O’Rourke is an extremely underrated talent; a diverse and inventive musician that it is quite difficult to pin down. His work veers from quaint folk, to beautiful instrumental – then off in the direction of laptop beats and albums containing only one song (2009’s “The Visitor” consisting of only one 38 minute track that had to be listened to in full). His works usually require a certain degree of patience, but the rewards are usually more than worth it. “All Kinds of People ~Love Burt Bacharach~” then is one of O’Rourke’s more accessible listens, mainly because you’ll have heard many of these songs before. A tribute album to the songwriting legend, “All Kinds of People...” sees O’Rourke cover 11 pieces of Bacharach’s more famous numbers with guests including Sonic Youth’s Thurston Moore and former Bacharach collaborator, Donna Taylor.

“All Kinds of People...” generally goes down smooth. The original source material has been handled here with due respect, there are no 10 minute instrumental wig outs, and “Raindrops Keep Fallin’ On My Head” has not been transformed into an obscure acoustic folk number. Opening track “Close To You” gives the album a good opening; It’s a number you’re likely to be familiar with and it’s also one of the better covers on here. “All Kinds of People....” was recorded in Japan, and as such, many of the guest vocalists on here are of Eastern origin. I don’t know much of Haruomi Hosono’s background, but for a 67 year old he has an impressively smooth voice on “Close To You”; perfect for upping the croon factor.

There isn’t much wrong with the instrumentation here, the aforementioned opening track is a brilliantly upbeat piano ballad, “Raindrops Keep Fallin’ On My Head” manages to sound something more than just a romcom soundtrack courtesy of steel drums, “Walk On By” maintains the soulfulness of the original number without becoming bogged down in itself. Where “All Kinds of People ~Love Burt Bacharach~” fails down is on its’ questionable vocal performances, and a few numbers that are unfortunately, quite forgettable. I don’t care that “After the Fox” was written as a soundtrack to a children’s film, it’s still completely daft. The old guy singing in it just sounds like he’s coughing up over himself for most of the song. It’s quite funny, but for all the wrong reasons. “You’ll Never Get To Heaven” and “Don’t Make Me Over” are guilty of the former forgettable-ness charges, whilst “Say A Little Prayer For Me” is frustrating; gentle lounge piano and acoustic guitar are ruined when it gets to that chorus, which was just not meant to be sang in a Japanese accent. I also don’t care if you’re namechecked in one of The Flaming Lips' more famous songs, (The vocalist here is that Yoshimi) quit ruining perfectly lovely songs. It’s especially annoying being one of the catchier moments on the album, but it really is ruined somewhat.

It’s ok though. Just listen to “Do You Know the Way to San Jose”, and tell me that’s not beautiful. It’s definitely the strongest moment on here, getting the mix of instrumentation and vocals just right, Kahimi Karie’s (?) vocals lending this quieter number an air of fragility. By the time the cascading pianos and wistful trumpets come in, you’ll be sold.


“All Kinds of People ~Love Burt Bacharach~” is far from an essential listen, then, but it’s one of those ones that you can get behind, despite its flaws. The songs remain brilliant, and O’Rourke’s touches in playing all the instruments (save for the drums- left to Wilco’s Glen Kotche) are subtle and thankfully not overpowering of the original material. So give “All Kinds of People...” a listen. You’ll be surprised how many Burt Bacharach songs you’ve heard of.

Scuba - 'Triangulation' (2010)

1. Descent

2. Latch

3. Three Sided Shape

4. Minerals

5. On Deck

6. Before

7. Tracers

8. You Got Me

9. So You Think You're Special

10. Heavy Machinery

11. Glance

12. Lights Out

Paul Rose has been steadily moving to the forefront of dubstep over the course of the past decade. Since founding Hotflush recordings in 2003, Rose’s label has seen the rise of several electronic stars such as Untold, Vex’d, and local underground hero Boxcutter. The killer trio of Hotflush however has got to be Scuba, (Rose) Mount Kimbie and crossover dubstep poster boy, Joy Orbison. If you are ever in the unsettling position of being stuck in a conversation with a dubstep fanatic, they’ll probably be quick to point out that the M.O. of Hotflush artists is usually to lean towards the ambient, atmospheric end of dubstep. It makes Triangulation a relaxing listen; If the term dubstep sends you running for the door, think Burial, not some wobbly crap that the chavs are listening to (I can almost feel the red dot of a purist’s sniper rifle on my head). The reason I reference Burial (apart from the fact that he’s very, very good) is that there are a lot of people doing this sort of stuff badly. With dubstep a genre that only has about 50 albums but literally thousands of single releases, it takes a while to sift through for quality. Paul Rose’s second full length release as Scuba however, is more than up to scratch.

If you’re jumping into Triangulation without any previous experience of the genre, Burial is your best reference point. On the other hand, dubstep aficionados will already know that Scuba is like a more dancefloor friendly 2562 or Shackleton, albeit an extremely wapped out dancefloor. Stark, atmospheric electronics are the order of the day, opening track 'Descent' lures the listener in before the bleak two-step of 'Latch' takes over, and as with the entire album you better hope your speakers are up to the job of this bass. 'Three Sided Shape' is the Hotflush sound encapsulated into one song, merging slow burning synths and garage drums to create that late night, 3am sound that Mr. Will Bevan does so well.

Rose can go heavy as well. 'On Deck' is almost a house number, a steady menacing synth and wicked drums coming together with great effect, whilst 'Tracers' is a brilliantly realised dubby/techno piece.

Special mention has to go to, 'So You Think You’re Special'. A great tune in earnest, it’s like club music for the walk home afterwards; not quite a comedown, not quite a tune to get you up to the dancefloor in the first place. Its heartfelt loop will echo in your ears for days to follow, 'Here you’ll find the one/ Here in the sun'.

If you take the time to listen to Triangulation, I recommend you listen to it as a whole. Another word of advice is this: This is sparse, electronic music. If your everyday listening is Bloc Party, Foals, The National, etc...then Triangulation might not immediately be your new favourite album. Take it for what it is; a subtly complex electronic album that is best enjoyed late at night. When the speech is starting to slur and it’s time to think about going home- that’s when to stick on Triangulation.

LCD Soundsystem - 'This is Happening' (2010)

1. Dance Yrself Clean
2. Drunk Girls
3. One Touch
4. All I Want
5. I Can Change
6. You Wanted a Hit
7. Pow Pow
8. Somebody's Calling Me
9. Home

The king of cowbell is back with his third, and supposedly final, studio LP 'This is Happening'. LCD Soundsystem, one man music producer slash performer James Murphy, burst onto the alternative dance scene back in 2005 with his self-titled LP, released on Murphy's own co-owned DFA Records label. Since then Murphy has been involved with many other artists, in various capacities, such as Hot Chip, !!! (chk chk chk) and early stars of the DFA Label, The Juan Maclean.

So, 'This is Happening'. Only 9 songs to carry the weight for 65 final LCD minutes. This is quite the task, but anyone who is a fan of the previous self-titled and 'Sound of Silver' albums knows exactly what they are going to be in store for.

The album opens with 'Dance Yrself Clean' (yes, that is how it is spelt). Just like 'Get Innocuous' starts on the previous LP, we are treated to a long drawn out introduction mixing some simple beats, synth and of course cowbell! When the song kicks in we get the sound we have been waiting for, and are most familiar with. Big electro beat, lots of synth and Murphy singing up his lungs. Single 'Drunk Girls' is up next, and like previous opening singles from the other LP's tends to be one of the weaker tunes from the album. A nice dancey tune very reminiscent of 'Daft Punk Is Playing At My House' but definitely, to this reviewer, the poorer side of the LCD sound. 'One Touch' brings back the feel of the first album, helped with the contributions on the track from The Juan Maclean members. Samples are a rife on this one providing a space age penetrating beat throughout. 'All I Want' is one of the best tracks from the album and seems to bring out the more indie side to LCD. Long strung out guitar, and less hasty vocals, along with some excellent keyboard/synth solos (which you don't ever expect) make this a hit just like 'All My Friends' did before. We are transported back to the late 80's with the sound we hear on 'I Can Change'. A slow electro tune with deep drawn out vocals throughout. A nice beat keeps it going but without the big beat heard earlier on. 'You Wanted A Hit' seems to be a mix of everything LCD are about. Keys, big beat, guitar, bass and progressing towards moments of sheer mental noise throughout the track, where keys and samples go crazy for periods. The song incorporates all the sounds we are used to hearing throughout the album. 'Pow Pow' feels like 'Losing My Edge' has been taken off the first LP, shaken about and put onto this one. It's a decent tune but nothing of great impact on the album. The penultimate song on the album is 'Somebody's Calling Me'. For me the weakest song on the album and of little significance I feel apart from effectively being the opener for the best track on the album, 'Home'. For me the best has been left to the very end, if this is indeed the end, of all the LCD Soundsystem works. A fast keyboard intro, lots of cowbell and beats build this one up and up until the wonderful bass line comes in. Carried throughout with samples and Murphy's vocals at his best make this the perfect send off and probably my track of 2010 so far. Basically this song needs to be heard so I shall say no more. I still feel there is a touch of Talking Heads 'Naive Melody' in it, but not sure if anyone else believes me.

'This is Happening', for me, is a great great album. It feels like a compilation of what the group have done over the years and tidied it all up for one last listening pleasure. I don't think there are as many live 'anthems' as such like 'All My Friends' and 'Get Innocuous' but with songs like 'Home', 'One Touch' and 'All I Want' on this one I know I am happy enough. I think we will continue to hear lots of Murphy's work over the upcoming years as the man has made quite an impact on the scene and will continue to do so whilst steering his DFA records. For now it's good day, and a big thank you, to LCD for the great tunes they have provided our ears with!

J Dilla - ‘Donuts’ (2006)

If you like swing, funk, soul and a bit of hip hop then look no further than Donuts by J Dilla. Mixed in the same ilk as Girltalk, 31 tracks all seamlessly blended into one lovely head bopping moment you’ll appreciate it all the way. Unfortunately Dilla died in 2006 at the age of 32 and so this is his last work but by gee he has done an excellent job by bringing old skool beats up to date with samples from James Brown, Kool and the Gang and the Jackson 5. Ill not do an in-depth review as each song only lasts about a minute or so, my recommendation is that you hire an open top Cadillac drive through New York in the summer with one of the fire hydrants going off in the background and you’ll know what I mean.

Holy Fuck - 'Latin' (2010)

1. One
2. Red Lights

3. Latin America
4. Stay Lit
5. Silva & Grimes
6. SHT MTN
7. Stilletos
8. Lucky
9. Pigs


Toronto’s Holy Fuck have quite a status among music nerds, in part down to their tunes and partly because of their mesmerising live performances. Having personally seen them perform live I can say that it is not an experience you’re likely to forget.

But another reason that people seem to like them is due to their status, where they fall on the music snobs’ radar. It starts with that band you saw supporting your mate’s side project in the pub last week at the bottom, and ends with Radiohead/Animal Collective/Your personal great of choice at the top. Holy Fuck have always seemed to float around the small-medium band mark, always gaining appreciation and adulation from anyone that listens to them or sees them live. They’re a likeable band because of this, but it’s also frustrating that with Latin, their third full length release, they show no signs of declaring themselves electronic heavyweights.

Confusingly, Latin gets off to a strong start. The looming, epic opener of “1MD” genuinely does make you sit back and take stock; it’s certainly not what I thought the first track on the new Holy Fuck album would be like. Instrumental save for a few sinister voices the track builds and builds to an unsettling climax, and just when the noise seems overwhelming, it slides seamlessly into album highlight “Red Lights”, surely the funkiest thing to be released so far this year. Sporting a fiendishly addictive bassline and the kind of off kilter electronics you would associate with the band, it’s the closest Holy Fuck will ever come to writing a song to party to. It’s surprising then that the next track, “Latin America”, was picked to be the first single. It’s not a bad song, but it is quintessentially Holy Fuck. It’s hardly the track you would pick to get your fans psyched up about your return from a three year absence, nor is it the track you’d release as a single to make any new ones. Piano and synth combine to produce the kind of “Experimental” track that your parents could probably get behind.

Throughout the album the bass is the star of the show, skilfully played by...the guy with the beard. Is it? I’m not even sure. I know one of them has a beard. I’m just about sure that there are four of them. One of the big barriers keeping these guys back from the big leagues is a serious lack of personality. I’m not suggesting for a second that we should be advocating style over substance, but come on, there has to be some style, or else it’s boring as holy fuck (pun intended). Granted communicating some sort of personality is going to be harder with largely instrumental music, but their image of faceless wannabe Ocean’s 11 soundtrackers isn’t helped by the likes of “Silvia & Grimes”, offering some instruments, played quite well. “SHT MTN” offers contrast at least, electronics crunching and grinding alongside a robotic vocal to haunting effect. The only other song worth mentioning is the grand “Lucky”, somehow managing to sound inoffensive yet epic at the same time.

Latin is an ok album. There are a few tracks that deserve your attention and without trying to sound condescending, it does make great background music. It’s not going to change the world, but there’s not necessarily anything wrong with that and another spin of “Red Lights” is always good to brighten up your day, it’s just a tad frustrating that after a six year career Holy Fuck show no reason why they should be considered as anything other than a great live band.

Foals - 'Total Life Forever' (2010)

1. Blue Blood
2. Miami
3. Total Life Forever
4. Black Gold
5. Spanish Sahara
6. This Orient
7. Fugue
8. After Glow
9. Alabaster
10. 2 Trees
11. What Remains

English 5 piece Foals are back with their second full length LP 'Total Life Forever'. After the wonderful debut album 'Antidotes', released back in March 2008, the follow-up was always going to be a tough one. Would it be another case of second album syndrome or more of the same? As per usual, songs were to be found on the internet prior to the full album release. I made sure to avoid these until I had the full works as one.

The album opens up with 'Blue Blood' and a perfect example of how far the band have come since the debut. Immediately the vocals from front man Yannis (Philippakis) sound much better than on the first album. The guitar picking and ringing is present as we are treated to a slow building introductory song. It all kicks in and the strong presence of the music over lyrics can be heard as the bass takes rhythm, and centre stage, as the parts all work together. 'Miami' follows and opens with a hip-hop style sounding beat. Quick guitar and deep bass will keep your head bopping. The drums sound great and never seem to miss a beat, despite the speed in which they are going. I don't hear many keyboards on the album, but a sound I am happy for the band to be without. Title track 'Total Life Forever' brings listeners back to the sound they are used to from the first album and does not disappoint. Songs like 'Black Gold', '2 Trees', 'This Orient' and 'What Remains' are typically decent album tracks but nothing of major significance while others such as 'Fugue' and 'Alabaster' make up the traditional slow side of the band's music. The band seem to have gone for a more 'progressive' sound than the first album and this is very evident in the likes of 'After Glow' and, my firm favourite, 'Spanish Sahara'. This would also be true for the opening track too. Long building crescendos of musical wonder. This is where I feel Foals are at their best.

So, much the same as the first album in some ways and in some ways something completely different. Foals are taking their music that little bit further and trying out something new. The prog idea works for them as long as they keep it relatively simple. I don't see their need for additional samples and machinery when I can hear them do it so well without.

For me I really enjoyed this album. Great for dancing to and no doubt would be great to see, and hear, live. And to answer the original question...this is by no means a poor second album. It may be slightly different and a bit bolder than the first but this one can hold its own. I know I will be looking forward to more of this, or more of 'Antidotes'. Either way, it's all good.

Jay-Z - 'The Blueprint 3' (2009)

1. What We Talkin’ About
2. Thank You
3. D.O.A (Death of Auto-tune)
4. Run This Town
5. Empire State of Mind
6. Real As It Gets
7. On To The Next One
8. Off That
9. A Star Is Born
10. Venus Vs Mars
11. Already Home
12. Hate
13. Reminder
14. So Ambitious
15. Young Forever

Walks into the room with slight limp in the hippity hop style, takes off earphones and turns on the laptop, takes a drink of Sukie and pours some out for the homies.

Ok so I said that this would be the last chance for me and Jay-Z but before I get into the nitty gritty of it all ill give you a bit of background to when it started. I first heard Jay on Trevor Nelson’s the Lick on MTV many moons ago, these were the days of Blink 182, Limp Bizkit, nails getting painted (on guys) and the world was ablaze with Foo Fighters and Green Day mania, well not for me, I was starry eyed and listening to Biggie, 2Pac, and yes I was a bit of a whigga. Anyway I wasn’t too fussed on ‘Hard knock life’ as the Annie sample didn’t really do it for me but I was hooked none the less as he was rhyming about being on the streets, hustling, very much what I was doing on the mean streets of Finaghy back in the noughties, I could relate. I went to Our Price, yes Our Price and got the album and from then on I became a big fan. Several albums later he was still doing the business and all was rosy in the Jay-Z garden until along came the Limelight, The Strokes and the Kings of Leon, Jay was disregarded like the career of Mace, who??, exactly. Don’t get me wrong I havent completely stayed away from hip hop there have been some shining lights in there with Clipse, The Cool Kids and Sway but I havent hit the heady days of then. Jay had a return to form with the Black Album with ‘bangers’ such as ‘Dirt of your shoulder’, ‘Encore’ and ‘Change Clothes’ even being mixed by Dangermouse to make the grey album with Jay’s raps and the Beatles White Album behind but still I havent flinched so this was the album to decide if I would keep on with him or look back with fondness and my massive size xxl Fubu top.

Jay is famous for his rapping style which involves the music already being recorded and him walking into the recording studio and just saying his lines, not written down, just as he stands. Now I applaud him for this but still take five minutes and at least write something down, even Biggie in his heyday had to use a pen and paper and his lyrics are classics, Super Nintendo, Sega, Genesis, when I was dead broke man I couldn’t picture this. I think comparing the two this is were Jay falls down and why he isn’t really as highly regarded as Biggie or 2Pac. One of my main gripes is the constant talking about how much money he has or what they drink or what clothes they wear, fair enough these people are millionaires and will not be rapping about the political situation in Burma or the Trident missile system but seriously it gets a bit dull after a while if you’ve heard the word Rolex in a song about 20 times, they might aswell just call their songs ‘Product Placement’. Ok so im getting off point but I think its true that people prefer to hear about growing up, making their way through and getting signed, the best example is Kayne West’s ‘Last Call’ when he describes how he was sending demo tapes out and almost making it only to be knocked back time and time again then signing to Rockafella after nearly being evicted. After all these ideas were bouncing about my head I finally managed to listen to Blueprint 3 and so….

Before I listened to the album I was familiar with the track, ‘Empire State of Mind’ which has Alicia Keys on the chorus singing something about New York, I wasn’t too sure as the words are indecipherable but New York is mentioned quite a bit, not bad by all accounts for the first single. From the beginning of the album I have a list in my head what is usually mentioned, Lexus, Money, Brooklyn and a lot of Uh Uh Uh Yeahs (due to the non writing down lyrics I imagine) The first five songs have me checking them all off with ease and then the second half of the album, well its 15 songs long so I was barely through it but it had the same effect. In the album there are a lot of featurings which as anyone knows plays havoc with your itunes, yes go into get info and put them all into one artist. The featurings in this case are Rihanna, Kayne West and Kid Cudi who are pretty good in their songs but at this stage there is nothing jumping out at me. I listened to this album while walking home and I got distracted by the park so I think that’s an indication of the lasting impact. Anyway overall its ok, not great but not too bad, I think its one which I doubt ill be visiting again. Maybe Jay-Z is just good for those songs which fill a dancefloor and he lacks a bit of substance, in fairness after ten albums id be running out of things to say! I don’t think ill avoid his next album but my interest is just not what it once was, and yes I still have that Fubu top, its good for winters ill have you know.

Japandroids - 'Post Nothing' (2009)

1. The Boys are Leaving Town
2. Young Hearts Spark Fire
3. Wet Hair
4. Rockers East Vancouver
5. Heart Sweats
6. Crazy/Forever
7. Sovereignity
8. I Quit Girls


I like to hark back to the good old days, unfiltered cigarettes, casual sexism (women drivers) and music that came out in the last 12months or so and in this case its Japandroid’s ‘Post Nothing’. Over the last while we've been besieged with bands with two solitary members, No Age, Death from Above, Simon and Garfunk to name but three but one of the outstanders has to be these two guys from Vancouver. On the first listen I was hooked like someone on meow meow or the bite size bars of Milka that ive been devouring like some sort of crazed mongoose on a snake, or is it the other way about, either way it’s a great album.

The first track the ‘Boys are leaving Town’ does exactly what it says on the tin with shouting, great rifts and the feeling that these guys are going somewhere (on tour to be precise) With only a drummer and guitar you would think they are lacking a few other instruments but they make up for it with big and brashey tunes that come one after another until the final ‘I Quit Girls’ which is a coming home at 5 in the morning song after a very long night. The standout track for myself is ‘Rockers East Vancouver’, actually ‘Wet Hair’ or maybe even ‘Sovereignty’, ok so I don’t have one but coming in under 8 songs Post Nothing is short, loud and you get their point. If you havent been able to listen then get it, you have no excuses, put away all those electro bands and get some noise back into your ears for this album gets better and better with every listen.

* Post Script

I was able to hear the droids live a few months ago and was visibly shaken by the noise that they generated, bearing in mind I was about 3 foot from the speaker but that’s another matter. If you have any decency you'll pay a visit and see the guys in action as they are playing Europe in the summer.

* Post Post Script

Longer reviews soon, im a bit rusty after the Easter break.

The Morning Benders ' Big Echo' (2010)

1. Excuses
2. Promises
3. Wet Cement
4. Cold War (Nice Clean Fight)
5. Pleasure Sighs
6. Hand Me Downs
7. Mason Jar
8. All Day Day Light
9. Stitches
10. Sleeping In

The Morning Benders are back with their second LP 'Big Echo'. After recently signing to Rough Trade Records some more publicity is bound to ensue, that helped along with the added production value on the new LP from Grizzly Bear's Chris Taylor. The Morning Benders, currently a 3-piece from Berkeley California, have been with quite the groups on their tours of late, with artists such as Grizzly Bear, MGMT, Death Cab For Cutie and Yo La Tengo accompanying them.

'Big Echo' opens with the track 'Excuses'. A lovely introduction to the sound of the band with violin being layered with acoustic guitars, bass and steel tapping on the drums. The sound of the band is somewhat a country feel mixed together with a nostalgic 60's style. Favourite tracks on the album for me are the next pair 'Promises' and 'Wet Cement'. Combined vocals, start and stop electric guitars on 'Promises' provide a sound that is clearly mimicked from the Grizzly Bear producer. 'Wet Cement' is a much slower number with some nice picking on the guitar and deep bass drum. The album picks up some pace with 'Cold War', and we are treated to some nice xylophone as well (which seems to be a very popular choice of instrument these days), and slows right down again with 'Pleasure Sighs' which boasts all sorts of emotion in one song with some high pitched vocals. 'Hand Me Downs' feels angry with distorted guitar and loud drumming throughout. More of the same follows on 'Mason Jar' but we get the loud summery tune of 'All Day Day Light' next which would be ideal for driving down the coast in the sunshine. 'Stitches' boasts a long building crescendo throughout showing all the band's various sounds and the album is finished off with closing track 'Sleeping In', a track which begins off very tame but closes well for the end of the album.

For me this is a lovely album. A real summery feel about it and definitely one to check out if you are a fan of the likes Grizzly Bear and anything with a country vibe to the music. I can imagine fans of Mumford and Suns liking this one too, but didn't want to mention their name. Seems fitting with the summer months approaching to be listening to it. I know I certainly enjoy listening to it on the walks to work in the morning.

Is This It?

We all have those friends in life who after a while we drift away from, its not that you've fallen out but just you go one way and they the other. You often bump into these people from time to time and intend to meet up yet it never happens, this happened to me last week in a centra. The person in question was Jay-Z, not actually the man himself but he was playing on the radio and I overheard his latest creation Young Forever, an up-to-date version of that classic Forever Young, you see what he did with the title there! Anyway over the last number of years I havent got round to listening to his last few efforts like the American Gangster album or the Blueprint 3, from which Young Forever is taken. I have to admit after having a very good relationship with Mr Carter, Jigga, Hova or whatever he wants to call himself (the man has more names than a Brazilian footballer) it soured after his duet with Linkin Park, I shuddered after they remixed Encore one of my favourite songs from the Black Album and others which I wont name *cue tear rolling down face*. This collaboration really tested me but I got through it and decided that we all have our crosses to bear, we all make mistakes. So I walked about the centra and couldn't really hear it so I ended up hovering over a speaker on the roof which was just above some beans so it was a) a perfect cover to listen to said song and b) they actually had a really good deal on. To sum up I wasn't too happy and so it has brought me to this grave decision... After many years and some great albums the relationship I have had might be coming to an end, ive decided to give the Blueprint 3 a good go and hopefully my faith will be restored and all will be forgiven. First strike Linkin Park, strike two Young Forever, third strike Blueprint 3?

To be continued....

She & Him - 'Volume Two' (2010)

1. Thieves

2. In the Sun
3. Don't Look Back
4. Ridin' In My Car
5. Lingering Still
6. Me and You
7. Gonna Get Along Without You Now
8. Home
9. I'm Gonna Make It Better
10. Sing
11. Over It Over Again
12. Brand New Shoes
12. If You Can't Sleep

Finally. Yes finally, I got my hands on 'Volume Two'. She & Him's 'Volume One' was released in 2008 and received both positive reviews in the press but also great support from me. So, it was a long anticipated wait for 'Volume Two'. Zooey (Deschanel) and M.Ward are back as the sweet duo making time-warped classics that will leave you feeling like you are listening to music from the 60's. An era Zooey is clearly a fan of.

The one thing that stands out on this album compared to 'Volume One' is Zooey's voice. Prior to this is always seemed somewhat broken, but always worked with the style of music. Before she was an actress turned singer while now she seems to have taken the singing crown. The overall production sounds better and more professional, but never losing the feel of the previous album. Zooey once again takes the song-writing mantle, bar a few covers in the album, and M.Ward accompanies the vocals beautifully as always with his soft guitar and piano.

The album opens with 'Thieves'. Immediately I was amazed by the difference in the opening to 'Volume One' where the vocals took centre stage and let the music come in. With 'Thieves' we are treated to some lovely uplifting guitar from M.Ward and shortly after Zooey joins in with the noticeably better voice than prior. The song is a warming introduction to the album and perfect for a summer afternoon. First release from the album 'In The Sun' follows and, with a little backing vocals from the Tilly and the Wall gang, sounds wonderful. Another upbeat summery song with piano (and various other instruments I can't fully decipher) layer the song together and make it the obviously single choice. 'Don't Look back' and 'Ridin' in My Car' (NRBQ cover) are next and would also be single contenders. Upbeat numbers which really capture the 60's summer feel with M. Ward even contributing some vocals in the process. We are treated to some mandolin in 'Lingering Still' which has Zooey singing in a more similar style to the first album, with a real country feel to the song. 'Me and You' is a downbeat number with slow strings, steel guitar and deep harmonies from M.Ward in the background. 'Gonna Get Along Without You Now', a Skeeter Davies cover, shows exactly the style I would associate with the band. Early 60's doo-wop music. 'Home' seems to be over-crowded with too many instruments during the verses but the choruses change into something music better with the guitar and mandolin sandwiching it all together well. 'I'm Gonna Make it Better' has the feel of the first album with lovely strummed guitar and some little solos on the pedal steel guitar. More doo-wop sounds from Zooey and shows this is the type of song to suit her well. One of my favourites on the album is the next song, 'Sing'. The voice I expect to hear on this album, good backing vocals and softly strummed guitar. 'Over and Over Again' fits in well with the end of album getting closer. Lots of piano on this one providing an upbeat number with backing vocals a plenty. The album ends with 2 slow songs, 'Brand New Shoes' and 'If You Can't Sleep'. As on the previous album it seems like a fitting way to end with Zooey's vocals taking centre stage and the softly playing music in the background to play it out.

I thoroughly enjoyed this album, but feel I was always going to. Fans of the first album will love this one also, as it is much the same. Credit though should be given to Zooey and M.Ward for keeping the feel of the first going. The vocals have been improved and sounds as new and fresh as before, whilst maintaining that 60’s feel. With summer fast around the corner, this is an album to have playing whilst driving down the coast in the sunshine. I now just hope that they don't take so long making 'Volume Three' as they did this one!

Hai Ho, it's Spring

So, not overly in the mood to be bigging up, or slating, any album at the moment. However, there are some tunes which are making my walks to work in the morning all the sweeter.

Here is a little play-list to put a Spring in your step:

The Replacements - "I Will Dare"
Gorillaz - "Stylo"
The Radio Dept. - "Heaven's On Fire"
Devendra Banhart - "Baby"
The Tallest Man on Earth - "You're Going Back"
Washed Out - "New Theory"
Pantha Du Prince - "Stick It To My Side"
Delorean - "No Name"
Talking Heads - "Naive Melody"
The Drums - "Submarine"
Memory Tapes - "Graphics"
Portugal. The Man - "When the War Ends"
Darwin Deez - "Up in the Clouds"
The Postal Service - "Clark Gable"

Now go and download these. You know you want to!

The xx - 'xx' (2009)

1. Intro
2. VCR
3. Crystalised
4. Islands
5. Heart Skipped a Beat
6. Fantasy
7. Shelter
8. Basic Space
9. Infinity
10. Night Time
11. Stars


During the summer of 2009 I was getting excited about the forthcoming, annual trip, to the Electric Picnic festival in Co. Laois. As per usual I was waiting to hear of additional bands being added to the line-up as the date grew closer. Up and coming band of the time, the xx, were announced to the bill so thought I would check them out. This album was the result, and what a pleasure it turned out to be.

Their performance at the Picnic was not the greatest. A small(ish) crowd, in a tent, mixed with the fact that they were playing at 4pm. And when you hear this band you will realise this is not the setting in which their music and stage presence would be ideal. The gig more recently in Belfast was much more suitable. A typical cold winter's night.

So, the xx. A band which consist of 3 members (which used to be 4) from South London honing from the same school which brought the world Hot Chip, Burial and For Tet. Alumni the school should be proud of. The band makes their atmospheric music with a bass, guitar, drum machine and sampler.

As mentioned this album is most suited to a dark and dreary day/night. Not that it's miserable but due to nature of their music. The song 'Intro' opens the album well with a build up of the band's sound. Romy and Oliver (guitar and bass respectively) collaborate in a vocal harmony towards the end of this one and continue to do throughout. The vocals are carried out very well across all songs by essentially having the duo sing back and forth to each other, in a somewhat musical conversation. They usually then join again at the choruses when the song all comes together. Stand out tracks on the album include 'VCR', which contains some lovely xylophone samples and rhythmic bass, first single 'Crystalised' with its slow paced minimalist verses and loud noisy choruses, 'Heart Skipped a Beat' which feels like the album's romantic piece with a superb finale of bass, picked guitar and drums mixed into one, 'Basic Space' which is my favourite track on the album with its slow introduction which turns into a beautiful atmospheric piece, and 'Night Time', the upbeat number on the album with fast drums beats, guitar picking after yet another slow build up. The other songs on the album are not bad as such, but simply not as good as the others. 'Islands' is also up there with the best but the likes of 'Fantasy', 'Shelter' and 'Infinity' are harder to like for me. They are much slower and darker than the other tracks so are more suited to a time of relaxation. 'Fantasy' in particular is certainly one to test the bass handling capabilities of your speakers, headphones and ears.

A thoroughly enjoyable album and probably most enjoyable when either walking home in the rain, or sitting at home with the lights turned down and a bottle of the finest red wine by your side. With intense bass throughout it is probably recommended that you have either a good set of earphones or stereo. It is one to sure annoy housemates/neighbours at loud volumes. With as strong as album as this I feel this is it will hard to top with a follow-up. Saying that I look forward to it with anticipation none the less.

The Tallest Man on Earth - 'The Wild Hunt' (2010)

1. The Wild Hunt
2. Burden of Tomorrow
3. Troubles Will Be Gone
4. You're Going Back
5. The Drying of the Lawns
6. King of Spain
7. Love is All
8. Thousand Ways
9. A Lion's Heart
10. Kids on the Run


I first got wind of the Tallest Man by conducting some research into who was playing Primavera last year and stumbled across a brief synopsis of him on the website and thought id have a look. On first listen to his myspace page I heard the gardener and was instantly hooked like the first time you tried Sunny D, well for me anyway (before the whole turning children orange incident). I managed to get a few good listens to Shallow Graves before the trek over to Barca and he became one of the main artists who I looked out for on the programme. As he came on stage I was amazed by his vocals and the brilliant way he plucked the guitar to an inch of its stringy life while having a forty mile stare that even Clint in his heyday would have been proud. During the set he played a song called the King of Spain and the crowd went mad, not only because it is a great song but because to this Catalan crowd mentioning that your not from Madrid always adds on some bonus points, by the end of it I reckon they would have installed Mr Matsson and deposed King Juan Carlos at any moment. After the festival I got home and listened to Shallow Graves to death and making it one of my favourite albums of 2009, even though it was released the year before. Since then ive been putting it on every so often making sure not to get album-weary and im glad to say its still a grower.

Do you ever get the news that an artist or a band have a second album coming out say in a matter of six months to a year and this excitement builds yet only to get disappointed from the initial brilliance from the first? Well this didn't happen with the Tallest Man's second effort, 'The Wild Hunt'. Just as I was going about my business the news came to me like a bolt from the blue that his second album was out and so I had to get my hands on it. Questions starting going about my head, will it be the same as the first, will he go a different direction like using penguins in the chorus or an Obo solo, what will it be like?? and so with some trepidation I slid on the earphones to findout....

Glory, with sunlight and angelic voices from the heavens I was delivered a masterpiece. From the first listen, yes the first listen I knew it was better than the first, this man, ney genius has been able to replicate what he made on the first album yet go one better. To begin 'The Wild Hunt' is cheery, upbeat and is a great intro, next up the 'Burden of Tomorrow' a bit slower yet more of the same. 'Troubles Will be Gone' is similar to the previous album with some very good plucking with lyrics that string along almost as quick. The outstanding track of the album has to go to 'You're Going Back' with the brilliant line, 'you said driver, please....don't go that....fucking way' almost screeched, I reckon one for the live set to sing along to. 'The Drying of the Lawns' is a bit of a sombre affair but lines up 'King of Spain' really well, the fastest song on the album and second to 'You're Going Back' for singability. The next few tracks bring the pace a bit down yet individually are very good to standalone by themselves. Ill finish off with the last song 'Kids on the Run' which only has a piano that brings to the fore his vocal and lyrical ability.

To sum up its my album of the year so far and I reckon may stay there for the remaining three quarters unless he makes a third of course, depending if he can get the penguins in tune. But a superb second album and ill be looking forward to seeing him again, if I was Juan Carlos id be looking over my shoulder right about now.

Zola Jesus - 'Stridulum' EP (2010)

1. Night
2. Trust Me
3. I Can't Stand
4. Stridulum
5. Run Me Out
6. Manifest Destiny

With a cover that looks like a mix between something by Andrew W.K and the gimp suit from 8mm, I wasn't sure what to expect with this one. Zola Jesus, the stage name for 20 year old American Nika Roza Danilova (good American name), is a singer songwriter set-up but not the traditional acoustic guitar and high pitched vocals. This little EP is dark, twisted and plagued with deep vocals, beats and piano.

The EP opens with 'Night', a dark introduction to what's on offer. Voices layer over the dark beat before Nika's vocals come in. With a voice very similiar to Natasha Khan (of 'Bat For Lashes' fame) they work well. Long periods of drone sounds, mixed with a progressive big beat build up the song well but never climaxes to anything majorly stunning. Next up is 'Trust Me', a song I feel very similar to 'Daniel' (again, by 'Bat For Lashes'). Vocals start straight away and the song continues to come together with the loud bass beat and drones. The vocals work very well again and hold themself well when holding long notes, words and the phrase 'I told you to trust me'. 'I Can't Stand' starts much more upbeat than previous and the loud drum beat is accompanied by long sustained vocals with periods of string instruments (possibly violin) present. Being the longest track on the album this one seems to stand out most on the EP as it seems to be the most complete song. Title track 'Stridulum' follows next. The loud drum beat continues throughout as before and the vocal chords are stretched to their limit with long sections up and down the scales. Eerie sounds linger in the background providing a haunting environment. The song ends with a long sample piece, which I can't help but feel like filler material to me. 'Run Me Out' takes a while to get started. A long introudction, with some double bass and haunting voices, is followed by slow progressive vocals which then gradually builds up louder and louder. Operatic vocals in the background are then joined by big beats and voilin as the song goes towards a finale. To which it then ends. Last song 'Manifest Destiny' follows as the others did prior. This time more strings are present, sustained vocals and muffled beat. The song, on various ocassions, feels like it is going to break into a full operatic experience but the chorus is as exciting as it gets before coming back down to the level listened to throughout the EP.

Not a bad EP, and worth a listen. Although I do feel like time has been wasted on this one. Each song is similar in both structure and story. For the entirity of most songs I felt I was going to be treated to something magical at the end, only to be disappointed each time. The song would either build up and come back down again, or simply end. There is no doubt that Nika has a wonderful voice, and it does work with the music. Sadly the music isn't up to scratch. 'Bat For Lashes' fans will like this one more than likely. I've had enough though.

Four Tet - 'There is Love in You' (2010)

1. Angel Echoes
2. Love Cry
3. Circling
4. Pablo's Heart
5. Sing
6. The Unfolds
7. Reversing
8. Plastic People
9. She Just Likes to Fight

With the recent change in weather and spring in the air ive been able to shake off those winter cobwebs and take to walking places a lot more. When listening to new music I always find it best on a trek, whether it to work, uni or any other place my mood is often dictated by what im listening too, im sure its the same for other people, who knows how the battle of Waterloo may have worked out if the French Legion had Ministry of Sound Tall Paul mix in their ears, we could all be Francophiles by now. Anyway with the sun on my back ive been able to get my way round Four Tet's 'There is Love in You' and I must admit I couldn't have picked a better album to crack into the plus temperatures with.

Before listening to the album I did a bit of research to see what I was letting myself in for and I was happy to discover that Four Tet has recently collaborated with Burial, one of my favourite Dubsteppers from the last few years so I prepped myself to see if There is Love could come up to the standard as Untrue, a very hard task indeed granted this was his fifth studio effort.

First up 'Angel Echoes' which as the title suggests is a nice intro which combines an angelic voice and a nice looping beat along with chimes, a song which im sure could be used to temp sailors into rocks a la the Siren myth. After this 'Love Cry' is a 9 minute epic which comes into itself with a really good beat, somewhat reminiscent of LCD's Get Innocuous, a good track for someone attempting to run a leg in the upcoming marathon. The third and fourth are good in themselves but nothing to the substance of the others, the fourth song, 'Pablo's Heart' is only 11 seconds long, a link into the more upbeat second half. The fifth track 'Sing' is the standout song on the album, its lively and picks up the tempo just at the right time, not that im one to dismiss an album on the basis of the first few songs but it made me turn the dial on the pod just up a bit more. On 'Plastic People' I can see the Burial influence as it is the perfect Dubstep song with claps, more chimes and the underlying bass, don't take my word for it listen to it and you'll see what I mean. Lastly 'She Likes to Fight' and im assuming its post fight is the best way to end the album, slow, melodic and it reminds me of coming home at the end of the day and putting my feet up in front of the fire and falling asleep, perfect.

So my pre-conceptions of another Burial were wrong but im glad as a copy is never going to match the original but Tet has done something completely different, he hasn't made a Dubstep album but used simple beats with one or two additives to make a very very good album and my hat is tipped. I was very impressed by There is Love and maybe if the French army had this album in their ears all those years ago I would want to sit down, take it easy and look at the nice Belgian countryside instead.

Check out some Four Tet here: www.myspace.com/fourtetkieranhebden

James Yuill - 'Turning Down Water For Air' (2008)

1. You Always Do
2. Left Handed Girl
3. No Pins Allowed
4. This Sweet Love
5. Head Over Heels
6. Ghost
7. No Surprise
8. Over The Hills
9. How Could I Lose
10. She Said in Jest
11. Breathing In
12. Somehow

I first came across James Yuill whilst listening to A-Trak's 'Infinity + 1' album. Contained at the end of the compilation was 'This Sweet Love', the stand out track from 'Turning Down Water For Air'. The version I speak of was a remix by Prins Thomas but takes nothimg away from the original. It merely brought the work of this man to my ears.

So, James Yuill. A one man band from London creating music with his acosutic guitar, laptop and synth. Otherwise known under the oddly named folktronica. Stories of James' personal life are ever present throughout his music, and this album is no different.

The album opens with the acoustic only number 'You Always Do' with his personal ode to Marion , asking 'won't you stay?' A nice introduction to the album ahead. Next is 'Left Handed Girl' where we first hear the samples, synth and intricate picking of the acoustic to accompany the sounds. A structure we hear very much throughout the rest of the album. More romance in this song when he speaks of 'I'm your right handed man, and you're my left handed girl.' 'No Pins Allowed', similar in sound to the previous song but with more beat to the song, has a bit more angst when speaking of what I can only assume is the trials and tribulations of young marriage.'This Sweet Love', is up next. This song is a particular favourite of mine, bringing out my soppy side. The song in itself starts off with a little guitar riff looped over and then introduces a beat which continues on throughout the song. James uses his voice wonderfully in this song and when the synth 'solo' comes in, you can't help but feel happy about yourself. Some nice xylophone action comes into the next song 'Head Over Heels', although I am not sure exactly what he is trying to say with this one. A bit darker than the other tunes, especially with the added voices during the song. 'The Ghost' seems to speak of a break up with James asking when he will see his children lying in his arms. A bit teary but a great tune. 'No Surprise' is the upbeat number on the album with big beat, same style looping guitar riff and good vocals to accompany it all. The xylophone solo towards the end is also a pleasant extra.The album seems to speak of both heartbreak and what if? So when 'Over the Hills' comes in it sounds upbeat and happy talking about running around with his children. Somewhat the opposite of what was mentioned in 'The Ghost'. More acoustic in 'How Could I Lose'. It starts with guitar, bringing in the ukulele, cello and then layering it all together to create quite the heartfelt number. 'She Said In Jest' is a sad song talking about things going wrong and what can only seem like an argument ensuing afterwards. Slow acoustic followed by a fast moving drumbeat makes up this one. 'Breathing In' is a slow acoustic number with a nice beat in the background, with some added piano, speaking of the waiting for someone to come back to him. The album finishes with 'Somehow', a lovely acoustic duet with female accompaniment. Not the happy ending we were hoping for, but somehow (no pun intended) a romantic sounding song which is actually pointing out someone's flaws.

All in all a lovely album for a quiet day. Whether you are feeling blue or happy, this album will have something for you. I am not sure how long James can carry this style of music without bringing something/someone else in, but for now I will continue to enjoy what work he has. The album is basically as story of all emotions love has to offer or throw at us.

Local Natives, 'Gorilla Manor', (2009)

1. Wide Eyes
2. Airplanes
3. Sun Hands
4. World News
5. Camera Talk
6. Cards and Quarters
7. Warning Sign
8. Who Knows Who Cares
9. Cubism Dreams
10. Stranger Things
11. Sticky Thread

Gorilla Manor is a sterling good effort from the 5 piece based in L.A. On first listen they reminded me of French Kicks and slightly like Vampire Weekend without the Afro contributions. To be honest its quite hard to distinguish a lot of the indie bands at the moment as the last number of years has provided a deluge of this type but if these guys were about 2-3 years ago they might of made a bigger impact, and they still could.

After my initial listen to the first few tracks I was very impressed with the beginning of this album but unfortunately I have to admit the last few were a bit of a struggle, not that its a bad thing as they could be growers but they didn't standout like the opener 'Wide Eyes' and the second 'Airplanes' which had some very good drumming as im a sucker for a good beat. In the fifth song 'Shape Shifter' I found the albums anthem which started off low key with an excellent piano section and then the rest of the group came together to combine with a great sing-along chorus, I tried to hide this walking down the Ormeau road but when it hits you you have to go along with it. Overall ill not say too much more as the last four of five songs didn't strike me at first but who knows I could literally be singing the praises of this band once again.

Check out some of their work, www.myspace.com/localnatives

Two Door Cinema Club - 'Tourist History' (2010)

01. Cigarettes In The Theatre
02. Come Back Home
03. Do You Want It All
04. This Is The Life
05. Something Good Can Work
06. I Can Talk
07. Undercover Martyn
08. What You Know
09. Eat That Up It’s Good For You
10. You’re Not Stubborn


Not being the biggest fan of local music, apart from friends who play in the scene, I am surprised I would take to a band like Two Door Cinema Club (or TDCC for short). In fact, this album has almost been listened to death by myself considering its 'official' release was only on Monday past. So, three guys from mighty Co. Down making super-poppy upbeat electro indie without a drummer! Surely this cannot be true. Well blink again, it is. Kitsune, the ever popular French indie label, took them under their wing, threw them into a studio beside Duran Duran and bam, 'Tourist History' was born.

A few songs remain from their 2009 EP 'Four Words to Stand On' including 'Cigarettes in the Theatre', the album's opener, 'Do You Want It All' and the new single 'Undercover Martyn'. At first I was a bit disppointed with the over production, or so it seamed, on the tracks I already knew. But it wasnt to be long before it grew on me to be my favourite album this year.

The band is a 3-piece without a drummer. A feat which I feel works well for them. Less touring equipment, for a start, along with the ability to create their own synth bits and drum loops before adding the guitars, bass and vocals over the top. Each song on the album seems to consist of a relatively similar pattern; big beat in the background, fluent bass line, rhythm guitar and the frequent twangly guitar and synth. A formula which I for one certainly enjoy. TDCC have fallen into, where many others have failed to do so, a genre which is at it's most popular. Indie dance music at it's best and would certainly work well on a night out on the town.

Anyway, the album is full of great songs. 'Undercover Martyn' will sure to be most popular with the added fact there is now a video to accompany it, that and the ridiculously catchy chorus (to the basement anyone?). 'This is the Life' and 'Something Good Can Work' are firm favourites of mine with more catchy choruses and excellent ccompaniment guitar riffs. The bass on 'Something...' is probably the best, and most original, throughout the album. There are, as always, a few fillers on the album such as the final tracks 'Eat That Up..' and 'You're Not Stubborn' but its fine with me. Every album has them, and generally its not until major amounts of listening they stand out to you. All in all, a great album when listened from cover to cover. If you take to it once, you will hooked until you can't listen to anymore.

I never thought i'd see the day when I would big up some local music. But fair play to these guys.....they have done well and I think they will go far. Well, at least until the genre fades away which may not be too long away.

So Long Old Friend

An Ode to a Vaio:

Goodbye old friend you have done me proud
From the pol to the fire we have followed the crowd
You were shiny and bright and almost brandnew
From a good friend we started anew
Ill remember the good times and the bad
The time you stalled and I got mad
Your pixels kept me warm through the winter gloom
Staring at your face while I ate a bloom
Ill be getting a new pal but your keystrokes will never fade
Go on old friend to the place where you were first made

"Today I fell asleep in a bath of hair..."

Well, actually I didn't. But 'Gemini (Birthday Song)' by Why? just came on whilst listening to my pod and inspired me to write this piece.

Above rests a lonely ticket. A lonely ticket representing a Saturday night in Dublin, red wine, a Blackberry and a gig that never was. It sits at my desk in work reminding me of the 'band that got away'. To this day I have still never seen Joni and his chums on stage. I feat which has annoyed me greatly. It is somewhat encouraging for me to one day see them, but hopefully before I am 50 and they are doing their stadium come back tour.

How did this miss happen you ask? Well, all I can say to you is don't agree to do on-call of any kind when heading away to see a gig. You know the drill, 99 times out of a 100 you won't get hassled, but the one time you go away you get a call. I remember the night well. Blackberry left in the other room while a few friends and I got to some good drinking before heading out. A few beers and a bottle of red, never fails. So, due to leave the house just before 10, also off call at 10, when the phone goes at 955. Game over man, game over. I knew at that point I wouldn't get to the gig.

So, I remained on the phone, watching a laptop screen, continuing to drink red wine (on my own) for about the next 3 hours. Gutted. The gang then came back, looking somewhat sad. I asked 'how was the gig?', to which I got back, 'I'm not going to lie to you, it was awesome.' Not what I wanted to hear, but at the end of the day, this could have been avoided.

If Why? are ever in town, and you are considering going to see them, just go. No two ways about it, just go. I know next time I won't be making such a silly mistake.

In the mean time, get some of their stuff into you life:
Why? MySpace

The Field - 'From Here We Go Sublime' (2007)

1. Over the Ice
2. A Paw In My Face
3. The Little Heart Beats So Fast
4. Everday
5. Silent
6. The Deal
7. Sun and Ice
8. Mobilia
9. From Here We Go Sublime

I thought id give a quick nod in the direction of the Field's cracking first album, From Here We Go Sublime. Due to the laptop possibly being on its last legs I havent had a chance to get anything new but ive been able to get a few from my co-blogger and so far its looking good, more on that later.

Anyway I was brought to the attention of the Field from Lem while I was furiously getting a Belfast history essay completed, seeing the fumes coming out of my ears he suggested some light entertainment in the form of the Swedish dj's lovely techo tunes. First off I took straight to it, the opening track 'Over the Ice' hit home and wouldnt go amiss in the Hackers soundtrack, next up 'A Paw in my Face' ends with a Lionel Richie hook which was appreciated as the L'meister is my 80's guilty pleasure artist. On another note this first listen brought me and the aforemention Lem to see the Field at last years electric picnic, we managed to get in on time (after I was offered some MDMA from a mild mannered southerner) and first heard the yelps from the computererised voice on 'Over the Ice', for several moments we were transported to Cream in Ibiza and I could see the words Tunnneee held up by some raver with the sterotypical smiley face t-shirt on. All in all Sublime is one of those albums which suits any condition, walking on a cold winters morning to get a big mug of coffee or with the top down in your Clio in the middle of July on the way to the beach (or Newcastle). A big thumbs up from this direction, keep up the good work. Ps im looking forward to getting my ears round the second album which features John Stanier the drummer from Battles.

Check out the Field at his myspace, www.myspace.com/thefieldsthlm

As I said earlier the laptop is on the mend so hopefully next time ill have a quick mention about Four Tet's latest, There is Love in You which is superb on first listen and Local Natives, Gorilla Manor, ive only got round to listening to the first track Wide Eyes and im impressed, hopefully the rest can match up to the good start.

Doooooooooooo.....it's The Beatles

Proud to admit it, I am am huge Beatles fan. Most that know me will know this.
I found this link a while back and thought I should share it. While I am one for having a go at other people's opinions, I do like a good article I can talk about and criticise. This is a count down of all The Beatles songs, ranking from 185 to 1. Definately something that interests me, although don't think I would be doing something as long winded myself.

Anywho, enjoy: Playing The Beatles Backwards

Oh Zooey, where art thou?

So, it's been a long time since She & Him's wonderful 'Volume One' graced my ears. Almost 2 years exactly in fact. Since then I have become 'almost' (anymore would be not only stakerish but also weird) obsessed with Zooey in the general press. It's not just because a framed picture of her overlooks me while I sleep, but generally due to her prowess both with her acting and beautiful voice. When I first saw her in 'Almost Famous' (Cameron Crowe's superb depecition of groupies, music, youth and journalism in the 1970's) as the older sister of main star William, she simply stood out to me even with her minor role. Her musical knowledge, along with caring presence, made her seem like the type of person you would want round in your life. The film, in fact, stays a firm favourite of mine to this day.

Anyway, so I have been waiting, and searching, to find 'Volume Two' on the web for a sneak preview listen to see what She & Him have to offer again. Not being a huge fan of M. Ward on his solo attempts, his music seems to complement the vocals of Zooey so well. Whilst trying not to listen to any singles before an album is out, I did take a sneak at 'In the Sun', the first track released from the new album. I was not disappointed. It seems the twosome have picked up where they left off and I am genuinely excited about the new release. As soon as it is out, I will get a review out. Although ultimately feeling it might be somewhat biased.

To listen to some of their material, have a look here: MySpace