indie
david.cheal
Well, he’s certainly moved on from his log cabin. It’s three years since Justin Vernon’s group, Bon Iver, released For Emma, Forever Ago, the quietly powerful indie-folk album recorded during a bitter winter in his father’s remote Vermont cabin – an album that became almost as famous for the story behind it as it did for its actual music. Now Bon Iver’s palette has been broadened to incorporate instruments such as synths and a glossier, more layered approach to sound; the result is an album that’s sonically rich but seldom really engaging.Part of the problem lies in the fact that Vernon Read more ...
Paul McGee
A potent combination of growling electronics, sub-bass frequencies and expressive vocals seems to have moved back to the centre of the UK's pop landscape in recent months, whether via the likes of James Blake, Magnetic Man or even the unlikely sound of Britney Spears appropriating dubstep signifiers on her new record. All of which makes the arrival in the UK of Canadian duo Bonjay seem very timely indeed.Having met at a Toronto club night in 2006, vocalist Alanna Stuart and producer/instrumentalist Ian Swain (aka DJ Pho) acquired a kind of inadvertent cult status through a succession of Read more ...
Joe Muggs
They started as a band of hyper-accomplished musicians aiming to play fiddly electronica in a guitar-band format and thereby creating a rather witty new kind of progressive rock. Now, minus key member Tyondai Braxton but plus a few leftfield star guests, Battles are playing a neat line in chugging heavy metal calypso techno dub punk pop. No, the notion of genre in the 21st century doesn't get any easier, does it? But preposterous definitions aside, a lot of this record boogies along with a surprising amount of fun given its makers' conspicuous virtuosity and the hodge-podge of influences Read more ...
matilda.battersby
Music folklore has it that this band from Seattle changed their name from Pineapple back in the hazy days before their debut album went platinum because frontman Robin Pecknold thought Fleet Foxes sounded like a weird, outmoded English sport - a bit like fox hunting. Seeing them live at a teeming Hammersmith Apollo last night, the sense of something anachronistically older, somehow simpler and just a touch esoteric that their name suggests seems wonderfully appropriate. After all, the band’s success rides on their mellifluous Sixties sound. Every note they play feels familiar, like Read more ...
Kieron Tyler
Sometimes you stare at live bands and question why they bother. It’s a pact - the band plays, the audience looks on and claps. Last night’s debut British show by Chicago's Disappears raised that question. The night before, they’d played Amsterdam’s Paradiso and here they were at a venue in central London with an audience of 60 or 70. White-light intense, their conviction shone. This hypnotic show became a secret, even with the draw of Sonic Youth's drummer Steve Shelley in their line-up. But still, Disappears delivered.Disappears’ intense psychedelic rock is relentless, hypnotic and seductive Read more ...
matilda.battersby
"I poured my aching heart into a pop song/ I couldn't get the hang of poetry": a line from the title track of the Arctic Monkeys' fourth studio offering, Suck It and See, pretty much sums things up really. The new album is a poppy selection of songs about being in love and the perils of youth, which showcases Alex Turner's distinctive vocals - but the lyrics are terrible.Songs such as "Piledriver Waltz", "The Hellcat Spangled Shalalala" and "Library Pictures" sound like they've been assembled using literary fridge magnets, so random are the descriptive couplings of words. Naturally, Read more ...
Kieron Tyler
Next Tuesday, 31 May, will be a day of difficult choices for fans of New York’s Sonic Youth. London is hosting three separate shows by band members and associates. That evening their mainstay guitarist, Thurston Moore, plays the Union Chapel. SY’s drummer, Steve Shelley, is at The Borderline, guesting with Chicago’s Disappears. And Half Japanese, who both Shelley and Moore have collaborated with, are headlining at The Scala.Moore is in town promoting his new album, the acoustic Demolished Thoughts, issued this week. The musicians who accompanied him in the studio join him live. His hand- Read more ...
Thomas H. Green
A couple of years ago Morton Valence appeared out of nowhere with a fan-financed concept album, Bob and Veronica Ride Again, full of plucky imagination, indie sweetness and Nancy Sinatra vibes. It arrived with a CD-sized novelette and had a faintly burlesque feel that spoke of the group's background as resident band at the Soho Theatre Arts Club. It was an unexpected treat and I'm happy to report that their new one is more than its match.Where they were a duo - of Robert Hacker Jessett and Anne Gilpin - they're now a proper band and their sound has become fuller as a result, relying less on Read more ...
Ismene Brown
It's time to dust down your tent and ice-box and plan some summer breaks with theartsdesk's definitive clickable festival guide - listings and links for all the UK festivals this summer, from rock by the lochs to DJs in London parks, and catching classical and opera on the way. See theartsdesk's invaluable European festivals 2011 guide too. SCOTLAND Knockengorroch World Ceilidh, 26-29 May, Drumjohn, GallowaySecret Scottish streams and woods resound to roots music sounds, with Adrian Edmondson & the Bad Shepherds, Salsa Celtica, Horace Andy & Dub Asante, DJ Yoda, Russkaya Read more ...
Kieron Tyler
It took until the fourth song of their set for Suuns to take off. Lurching into “PVC”, the Montréal quartet gelled. Monolithic drums, pounding, relentless bass guitar and slabs of sheet-metal guitar rolled off the stage. Harnessing the power of heavy metal, they’d achieved escape velocity. More powerful than on album, the unassuming-looking Suuns made a compelling case for their stripped-down, post-Krautrock rock.Before that, the stage belonged to Gyratory System, the vehicle of Andrew Blick. Recent instrumental album New Harmony was a hypnotic marriage of bloopy early acid house and motorik Read more ...
Joe Muggs
There's no doubt about it, Hayden Thorpe has the most manly falsetto in modern music. It's not the wheedling whine of the post-Radiohead generation of indie sadsacks, nor the haunted and haunting quaver of an Anthony Hegarty, nor yet the introspective musing of a James Blake. Rather it's a completely assured and controlled instrument, comparable only to the intense wail of the late Billy McKenzie (The Associates). And it's just one of the entirely distinctive features of the sound of Wild Beasts – a band who seemingly operate unbound by scene or genre dictates and are, ironically, all the Read more ...
Joe Muggs
While rumours of the album's demise may well have been premature, the digital age certainly does present increasing challenges when it comes to getting punters to keep and treasure music. Of course, really it all went wrong with the CD: those irritating plastic cases with hinges and catches guaranteed to snap off and get hoovered up, the booklets you have to squint to read, the discs that slide under car seats or behind radiators. Even “deluxe collectors' editions” were never going to be all that glorious compared to a big slab of vinyl or two and a lavish gatefold record sleeve. MP3s might Read more ...