Swim Deep - Where The Heaven Are We?

Photo courtesy of Allmusic

And so it arrives. The new album from Brummie lads Swim Deep is finally here. Having built up an impressive fan base largely comprised of dreamy females either in the throes of adolescence or in their 20s - I by no means except myself from this crowd - Swim Deep come from humble beginnings; lead singer Austin Williams and guitarist Tom Higgins met stacking shelves in Morrisons'. Perhaps that's why their album is so full of wistful riffs and escapism.

For Swim Deep, it's all about escapism. Their name itself evokes fantastic imagery of beautiful underwater scenes and, to some extent, their music certainly lives up to that. Each and every track contains some hint of wishing for a better life. In Honey, it's "don't just dream in your sleep, it's just lazy". In King City, it's "fuck your romance, I want to pretend that Jenny Lee Lindberg is my girlfriend". In Colour Your Ways, it's "life ain't beige so colour your days and see it in the right light". It's got the catchy tunes, the hazy images and the wistful romance needed to make for the perfect summer album.

Source: Allmusic

Many of the old favourites, like King City, are still just as brilliant in their composition. However, Swim Deep seem like good-time guys, they're all about having fun. On touring with Spector and Two Door Cinema Club, they say it was "just touring with your best friends for 30 days. It was insane" - hence the fantastically dreamy outlook of the album. You do get the feeling, though, that if they'd spent a bit more time on a few of the songs, the album wouldn't just be good, it would be incredible. That's the only criticism I have to make of this album; it's a little frustrating, as there is huge potential for many songs. Soul Trippin', for example, has the beginnings of a brilliant ballad, but if they'd only tweaked little bits here and there, it could have become an amazing one. As a listener, there are points in the album where you wait for the songs to take off and they just don't.

That said, each song has its own merit, whether it's the wonderful lyrics that urge you to make something of yourself (Colour Your Ways, The Sea and Stray come to mind) or the fantastic bass or guitar riff. I adore Swim Deep, and I am incredibly proud of their debut album. I can only hope that they'll continue on this upward trajectory with the next ones.

Rating: 7.5/10

Recommended Tracks:
Soul Trippin'
Make My Sun Shine
Intro

Molotov Jukebox

Photo by Tamara Craiu

There's no real way to put it; Molotov Jukebox make Latin music sound like the kind of stuff you just want to get up and head bang to, they have an awesome brass section couple this with an accordion. I don't quite know how it works, but it really, really does.

Fronted by Natalia Tena of acting fame (she's added roles in Game of Thrones, Harry Potter and About A Boy to her repertoire), there's more to her than meets the eye. Born to two Spanish parents, she is fluent in the language and uses her Latin roots to her advantage; Molotov Jukebox's music is undeniably influenced by Tena's background. Although they may draw on Latin rhythms and riffs to add flavour and colour to their songs, they are anything but one dimensional. For one thing, Tena's official role within the band is lead singer and accordionist. For another, the music video for Get Ready was filmed topless "because it's really hot". Yeah. Damn straight.

Photo by Tamara Craiu

Being the only female in an otherwise all male 6 piece band might seem difficult, but Tena commands the band fantastically. Avoiding the Karen O approach to being a frontwoman, Tena opts for the mysteriously seductive approach. She does this in a way that allows her to be both of these without being overtly grotesque. Humility, however, is constantly maintained throughout - she's always ready to acknowledge the input of her band mates, and is completely "diamond in the rough" in her attitude towards everything. She swears like a trooper, is utterly vulgar and feels completely fine to yell at her cat, halfway through an interview, "stop being horny". For all this, she makes it seem endearing and winsome, which is a skill in itself.

Whatever you do, don't listen to Molotov Jukebox with any sort of preconceptions. Go forth and adore them, but make sure you first listen to them with your eyes closed and with isolating headphones on, just so that your surprise will be even greater. With Molotov Jukebox, it's all about the mindfucks.

Rating: 8/10

Recommended Tracks:

Vampire Weekend - Modern Vampires Of The City

Source: Vampire Weekend

And so they return! With much rejoicing from my corner, because I love Vampire Weekend. No point in beating around the bush. This new album bears much more resemblance to Contra, featuring more pop-y sounds rather than their self-titled first album, which was more Paul Simon with a 2008 twist. However, there may be a resemblance to the last album, but this one is by no means along the same vein. It's much darker, much more introspective, as though they sat down having a good old bitch session about all the shit that happened to them in the three years since Contra was released. Whatever they did, it worked because this is genuinely their best album yet. It's gaining popularity, having debuted at Number 1 in the charts and sold 134,000 copies and counting. The proof is in the pudding.

The pace is much slower than their previous two albums, although they deliver the dancing goods in Diane Young. The official stream of the video before the album's release caused a fair amount of controversy; it pictured two burning 900-series Saabs as the infectious track played over the top of the visual - to anyone confused by this, the first lyric is "you torched a Saab like a pile of leaves". They received a huge amount of criticism from loving Saab owners; one Jalopnik article carried the headline "Vampire Weekend Are a Bunch of Dicks". All this for burning a couple of old, disused cars with, as frontman Ezra Koenig acknowledged in an interview with Spinner, "a lot of electrical problems".

The song, as a brilliant combination of rock and the pop melodies of previous tracks like Giving Up The Gun, is utterly deserving of the debate surrounding the ethics of its video. All good music should generate some sort of controversy, or you're doing something wrong. They experiment properly with vocal effects for the first time in the bridge, and the pitch fluctuations add that unmistakable Vampire Weekend touch. Not that it's their typical sound, but it exhibits their flair at exploring musical mediums and how to adapt them to their advantage.

The content of the songs has become much more thoughtful and grown-up, especially in the way that they approach their own material; a good example of this is Hudson. It references the recent economic crisis in Europe, saying "we watched the Germans play the Greeks". Their ability to make heavy topics such as these seem poetic and lyrical is a testament to their abilities. It's also the first song that they've ever written in a minor key. This in itself is a milestone, as it shows that Vampire Weekend aren't just there for the good times, they're there when you need a hug from Ezra Koenig's voice. Something we all need at one time or another.

Source: Huffington Post

Modern Vampires Of The City seems to be a significant move away from their image as posh boys living in a bubble of privilege and Lacoste shirts. This is done in very subtle ways, such as mispronouncing "we worshipped you" to make it "we worshopped you" in Worship You. They open with a slightly slower song, Obvious Bicycle, contrasting the other albums which opened with catchier, dancier tunes like Mansard Roof and Horchata. As I said before, the pace is much slower, but the ebbs and flows of the different songs allows for a much more mature and thoughtful side of Vampire Weekend to come through. They've always been very intellectual in their approach to songs (one particularly good example is Oxford Comma) but here it's much more exposed, much more open. Ya Hey's biblical imagery and the failures of  America's capitalist attitude provides a bittersweet outlook on modern life.

Not only have Vampire Weekend themselves changed, but the music has changed with them. The use of a drum machine as well as a live drum kit makes Chris Tomson's drumming so much more interesting to listen to and adds texture and feel to the songs. The decision to bring in Ariel Rechtshaid as co-producer with band member Rotsam Batmanglij has benefited them hugely; the change has allowed Vampire Weekend to grow more as artists.

I can't sing their praises enough. This album is brilliant. They are brilliant. And if you don't think so after listening to this album, you don't deserve to own it.

Rating: 10/10

Recommended Tracks:
Unbelievers
Step
Everlasting Arms

Leopard

Birmingham is on a serious roll this year. Having churned out bands like Peace, Superfood, JAWS and Swim Deep, to mention just a few, they've given birth to Leopard, "a 4 piece post jazz core, acid, baggy Korean, crabmetal, grunge destroyers." I interviewed guitarist Matthew Jenkins, who says of their style, "musically, we have no idea what we sound like, but people seem to like it." Why wouldn't you? To me, they sound like Arctic Monkeys jamming with Foxygen on some far off and exotic beach; their single Breathe gives off a chilled, relaxed vibe, added to by the distant vocals and the easygoing drum beat.



All of the new Birmingham bands seem to be very close and supportive of each other; "we met at one of the above mentioned gigs and that's how we formed Leopard. It's really weird being on the whole "in circle", everyone's so nice about stuff. It's odd, people who may not like your music still appreciate it and appreciate success." There definitely seems to be that sort of familial aspect to the B-Town music scene. All of the bands go to each others gigs, promote each others tracks and party together like there's no tomorrow. Just check Swim Deep's twitter feed and you'll see what I mean.


On the subject of the current music industry, Jenkins becomes very vocal; when I asked him what he thought about the digitisation of the music industry, he says "It's definitely a lot easier to get your music heard by people through Soundcloud and other services. I think it works both ways; both unsigned and signed bands want the same thing and that's just to get your music heard." He maintains that there definitely are real rock icons of the newest musical generation - "not strictly rock, but definitely Dev Hynes, aka Lightning Champion or Blood Orange. There's loads, it's just not obvious to enough people." When I asked him what could be done to fix this, he said "people just need to get outside their box and go to see bands every week." Simple as.

I wanted to know if Leopard felt any responsibility, as a new band, to improve on the musical trends from what the previous generation had achieved, and the reply I received was very pragmatic and considered; "to a certain extent, yes, but generally if you start writing music, it'll have its own features and elements that that make itself unique, even if you get compared to previous bands. Music works in cycles." This shows an observational and measured approach to the way that Leopard approach writing music, as seen in their newest single Quick History. The way that the track builds gradually throughout and the way that the original drum pattern is adapted whilst still maintaining the original feel reflects this notion of music working in cycles; the original motifs are returned to with a tweak here and there, making the track better for it.



As a blogger, it's very interesting to investigate the background to a band - their influences, the way that they view themselves. For Matt, the artist that has the most influence on their sound is "Kevin Parker from Tame Impala. Jake's would probably be Dave Grohl." Candidly, he adds, "no idea about the other two!", and if he could travel back in time to watch one epic gig it would be "Jimmy Hendrix at the Isle of Wight, but there are too many to pick from."

Forget all the musical stuff, this is what really recommends them to me as a band: if they could choose one movie to sum up their sound, it would "probably be the Iron Giant. I'm only saying that because I want to watch it again and because we're a big hunk of metal with attitude and super heroes." Can't say fairer than that.

As all new bands are attempting to do, Leopard are clearly trying to find their footing in the musical world. If they keep on in the same vein, however, they're certain to find success. Their sound is the complete opposite of their diplomatic mannerisms; it's loud, brash an unashamedly awesome.

Rating: 9/10

Recommended tracks:
All of the above, seeing as they're the only ones they've released.

Laura Marling - Once I Was An Eagle

This week, Laura Marling released her fourth studio album Once I Was An Eagle, featuring singles Where Can I Go? and Master Hunter. Marling started off, as apparently all great female singer songwriters do, by singing back up for Noah And The Whale on their first album Peaceful, The World Lays Me Down. She can be heard gleefully screeching out the chorus for 5 Years Time in a slightly mockney accent. She notoriously broke Charlie Fink's heart and then, at the tender age of 18, embarked on her first album Alas I Cannot Swim. Comparing those two albums, it's easy to see how much she's matured. Gone is the mockney accent and the blond hair cut into a bob. Now she's the established darling of the folk world, and she holds a place dear to the hearts of many people all over the world.

Comparing the vocals on Ghosts with those on Breathe, there is no doubt as to how much more skilled they've become. The gently quivering vibrato is constantly present throughout the album, making it distinctly Marling. The beauty of the long, extended "breathe" is undeniable.

The thing that really makes this album stand out among her other material is that it's not influenced solely by folk. In Little Love Caster, there is definitely a hint of flamenco to the simplistic guitar accompaniment, and the organ on Once could almost have been sampled from an early Sam Cooke or Curtis Mayfield recording. That's all they are though - influences. Laura Marling takes the little bits that she likes and twists them so that they become new again. Just one of her many talents.

At an epic 16 songs, Once I Was An Eagle is truly a testament to how far Laura Marling has come since the days of Charlie Fink. Granted, there was heartbreak both ways, but neither have seemingly been able to overcome it until their most recent albums. In When Where You Happy? (And How Long Has That Been) finally seems to have done it, asking "hey there, new friend across the sea, if you figure things out will you figure in me?" This plaintive request for love is made even more beautiful by the syrupy, low vocals. When she gets to the chorus, she seems to ask it of herself, not this new friend. Throughout the song she struggles through the expectations of her and the limitations these have placed upon her; particularly poignant is the lyric "my vote was never counted, so who upon this earth knows what it is I believe?"

The move to LA seems to have benefited Marling a great deal, especially in Master Hunter and Where Can I Go? The laid back attitude of the land of Hollywood seems to have seeped into her music, as these two songs are definitely much more relaxed than, for example, You Only Doll (Dora). On Master Hunter, Marling lapses into a lovely, lilting style of talk-singing at certain moments that hints at a watered-down Lou Reed.  Where Can I Go? is much more typical mid-west kind of folk, with typical lines such as "I was a daddy's girl sometime but I loved my mama til the end of the line", which harks back to songs like Salinas. The way that she makes her troubles seem so attractive by putting them to a catchy guitar line and adding a bit of tambourine is exactly what I love about her. The casual way that she throws in "it's no fucking life that I would choose" in Master Hunter, and "I feel like I'm better fucked than won" in Where Can I Go? only pleads her cause even further, because, horror of horrors, she can swear in a folk song. And make it work.

It's official: Laura Marling has actually done it. She's made an album that surpasses all else she's done. And for Laura Marling, that's a feat in itself.

Rating: 10/10

Recommended Tracks:
Too many to choose, but Once
Take The Night Off
Saved These Words

Daft Punk - Random Access Memories

I can't quite find the words to describe the oddity that is Daft Punk. They've had a career spanning over 16 years, their debut album Homework having been released in 1997. In the spirit of unpredictability, the two Parisian DJs Guy-Manuel de Homem-Christo and Thomas Bangalter announced that they would be doing the soundtrack to Disney's Tron: Legacy. Undoubtedly, the duo's signature electronic sound perfectly fits the mould for the film, but for two pop stars to turn their hand to writing film scores is a turn of events that nobody could really have predicted. IndeShaft, but somehow Daft Punk don't seem to be the likely candidates to make the same kind of move. But that's exactly what makes them so refreshing.
ed, it has been done before by the legend that is Isaac Hayes for

There's an element of mystery behind the two Frenchmen; in the more obvious sense, they're constantly in their robot gear and pictures of their faces on Google Images are hard to find. In a more musical sense, they keep their voices disguised by a copious amount of electronic effects, and many of the songs don't feature any vocals at all. Not only does it allow them to maintain a relative amount of anonymity, but it abides by Walt Disney's golden rule: "Always leave them wanting more."

By now, pretty much everyone has heard the unforgettable Get Lucky featuring Pharrell Williams. At 6:10 it's not your typical single; catchy, yes, but the length is not exactly radio friendly. Nile Rodgers, the man who produced David Bowie's Let's Dance and has played alongside musicians like Aretha Franklin and Chic, collaborated on Get Lucky to create its infectious guitar rift; this essentially makes the song.

It's incredible to see how skilled the two Daft Punk members really are, even with their robot hands on. The bassist (whoever he may be) is slightly awesome, and handles the funk-based riff with ease. The drummer sits at leisure at the drum kit, not really bothered by the antics of the rest of the band. Pharrell Williams doesn't have the strongest voice, but the low-key nature of the backing means he's not overpowered. It does have a slightly whiney quality when it gets to the higher pitched bridge, but it does lend something to the chorus.

One of the more stand-out tracks is Giorgio By Moroder. It's 10 minutes of an interview with Giovanni Giorgio Moroder, an Italian producer and musician who came to prominence in the late 1960s with his single Looky Looky. It's interesting to see the fascination he holds for Daft Punk, particualrly as he talks about the "sound of the future" being the synthesiser. The song is exemplar in the context of the album because the interview acts as the vocals, shaping the song and leading down into its different sections, and indeed, the sections become symbols for the message contained in that specific part of the interview. For example, the breakdown occurs just after Moroder talks about freeing ones mind of "harmonic and melodic progressions". The song is a sort of tribute to the man whom Nile Rogers claims invented dance music, and it's clear to see the iconic status he holds for Daft Punk.

It's the perfect summer album, timed perfectly to exacerbate the longing for summer of all the tired, bustling workers. Expect to hear Get Lucky at every house party you attend this summer.

Rating: 7/10

Recommended Tracks:
The Game Of Love
Lose Yourself To Dance
Contact

The Family Rain

The Family Rain are yet another one of the new bands coming out of the UK that are doing it oh so very right. A group of three brothers from Bath, Ollie Walter (guitar/vocals) and twins William Walter (bass/vocals) and Timothy Walter (drums/vocals) officially formed The Family Rain in 2011, although William says they "started to play in bands together about 8 years ago, but the bands always included at least one other member as well as the three of us". This stripped back line-up, showcasing just the essentials of a rock band, really does these boys justice; the result is a raw, bluesy sound that refuses to get out of your head.

Their new single Pushing It is the perfect example of this. It starts off in a suppressed but nonetheless unapologetically heavy fashion; the grainy effects applied to the voice and instruments make it sound like a scratchy old vinyl record (which is the god-given method of playing music). Although the song stays on the same level all the way through, they maintain interest by slight variations in the music, like the guitar backing in the second verse, or the guitar solo after the chorus. As the song progresses, you get the feeling that this would be fantastic live, just because of the mood and the level of energy in the song; indeed, the band have been called a fantastic live band by many fans. The band are currently in the process of a headlining tour around the UK.

 

The band have a small yet select (and fantastic) repertoire: their new EP Pushing It recently came out, and a Youtube search brings up several live performances and previous songs that are each as brilliant as the last. They have a distinctly vintage sound, harking back to the days of The Rolling Stones or AC/DC, which sets them apart from some of the other contemporary indie rock bands. They most certainly aren't a copy-cat band, as the back-to-basics line up and driving drumbeat will tell you.

The band themselves are clearly very ambitious; in an interview with NME Ollie said that "this is not meant to be a small thing. We gave up everything to do this". It's starting to pay off, as they've recently been signed by Virgin EMI, a record label that represents the likes of Arcade Fire, Elton John and Rihanna. I have a feeling that the future is going to be bright for these lads.

Rating: 9/10

Recommended Tracks:
Carnival
Trust Me... I'm A Genius
Friction