Obituary for Lou Reed

Source: Allmusic

On Sunday 27th October, the world was greeted with the news that Lou Reed, frontman of The Velvet Underground and a brilliant solo artist in his own right, had died at the age of 71. Reed had had a liver transplant in May, and his literary agent confirmed his cause of death was "liver-related ailment". Having been a self-confessed drinker and drug user for many years, it may come as no surprise to some that this has happened. However, to the majority of the music world, it was a very sad day indeed.

Iggy Pop has said it was "devastating news". The Who tweeted "RIP Lou Reed. Walk on the peaceful side". John Cale, fellow member of The Velvet Underground, posted on his website that "the world has lost a fine songwriter and poet... I've lost my 'school-yard buddy'". David Bowie said of Reed, his old friend: "He was a master." For all of these musical legends to say such affectionate things about Reed shows his popular and widespread appeal to anyone and everyone who loved, and loves, music.

Indeed, Bowie, Pop and Reed became relatively close in the early 70s. The two American musicians met Bowie in 1971, when Bowie was just another British musician trying to make it in America. The friendship between the three musicians grew, and in 1972, Bowie ended up producing, along with his guitarist Mick Ronson, Lou Reed's epic first album Transformer. The collaboration of the two Brits on this album undoubtedly gave Reed's creative flow a new lease of life, and gave him a new direction in which to make pioneering tracks. From this album come Lou Reed's most famous singles: Perfect Day, Walk on the Wild Side and Satellite of Love.

Source: Allmusic

The Velvet Underground made headway into a difficult musical environment by producing guitar driven rock. It helped that they were the proteges of Andy Warhol, but even without his influence it's clear that The Velvet Underground would still have had the same lasting influence on music that they had at the time. In their heyday, the band never really had commercial success. Despite that, the impression they had on many people, musicians or otherwise, is evident and immortal. Their music is so accessible that you could come from any walk of life, pick up their self-titled third album and fall instantly in love. Brian Eno famously summed up their wide-reaching impact by saying "the first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band." Hard to beat that, really.

Although Lou Reed then went on to have a long-lived solo career, it's his first album that sticks in one's mind as particularly brilliant/epic/influential/beautiful (please delete as applicable). With the aforementioned Big 3 Tunes on it, how could it not be? These three songs, Perfect Day, Satellite of Love and Walk on the Wild Side, sum up Lou Reed's career in a relatively succinct and lovely way. Each of them are tragically beautiful, like many of Reed's songs and like Reed's life itself. Take Perfect Day, for example. It starts off with what you might think was typical love song lyrics ("you make me forget myself", "it's such a perfect day, I'm glad I spent it with you") to then go into the hauntingly bitter repeated line of "you're going to reap just what you sow". That one line is enough to make me stop and think, any time and anywhere.

Source: Allmusic
c

On the face of it, Lou Reed's music was, much like his life, rock and roll, baby. Delving deeper, it's plain to see that there's a whole other level of emotional intelligence that's lost upon the average listener. Like getting to know a person, it takes time to get to know Reed's music very, very well. Every time you re-listen to an album, you discover new things about it that you'd previously been unaware of. If you don't believe me, listen to Pale Blue Eyes over and over and I guarantee you'll find something each time.

 Discussing Lou Reed with a friend, we came upon the perfect way to describe him. It's like musical philosophy; one song is enough to make you ponder your entire existence.

Fidlar

Source: Allmusic

Fidlar, or for those in the know "fuck it dog, life's a risk", are the type of band that could not suit their name more perfectly if they tried. They just exude the sort of "look at the number of fucks I could not and would never give" vibe in every song they produce. It's all very skater dude, badass, fun in the sun. Their self-titled debut album almost smells like a dingy garage that's recently been made into a hotbox.

It has to be, then, a testimony to their determination that despite their chilled attitude, there is absolutely no lapse in the energy of the album; every song is charged to the max with an
almost pre-adolescent level of testosterone. It is absolutely perfect headbanging material. Each song is structured cleverly so that you get a small break inbetween the relentless charges of guitar riffs - the large amount of guitar feedback at the end of each song allows for a bit of a breather before the beginning of the next song, when I can guarantee you'll be dancing like a fool.

The lyrical content is generally a defense of their right to be free Stoked And Broke ("I just wanna get really high, smoke weed until I die. I don't ever want to get a job. I fucked up, hey, nothing's wrong"), No Waves ("I feel, feel like a cokehead, I feel, feel like I can't get drunk no more") and Cheap Beer (the chorus is simply "I DRINK CHEAP BEER SO WHAT FUCK YOU". Need I say more.) That's what Fidlar are all about, though: the traditional, simple sex and drugs and rock and roll (mainly drugs with a bit of alcohol thrown in for good measure); it's suitably fitting that their lyrics aren't overly complicated or unnecessarily poetic. How much poetry can you realistically make out of smoking weed?

Source: Allmusic

What I really love about Fidlar, though, is their music. That is going to sound incredibly obvious and a little bit stupid, but let me explain myself further. Their riffs are really, really good. The drum parts are really, really good. Everything about the music is really, really good. It's not as though the music is particularly original or outstandingly game-changing, but there's something about it that's quite vibrant in the way that they piece the music together. The shrieks in Cheap Beer, for example, suit it perfectly, and Whore feels complete with its two verses and a bridge on repeat. They've got just the right amount of whatever it is that makes their music rebellious enough to be cool, but have held back just as it tips over into the verge of extreme. Balance is certainly everything.

On first sight, Fidlar appear to be reckless pothead skaters who exude the sort of fuck-it vibe you could only dream of. That's what they are. There are no hidden meanings or secrets to Fidlar. What you see is what you get. Sort of refreshing in a way.

Rating: 7/10

Recommended Tracks:
No Waves
5 to 9
Blackout Stout

Arctic Monkeys - AM

Arctic Monkeys broke radio history when their fifth studio album, following the pattern of the previous four, went straight to No 1 on the UK album charts, making them the first band to have all albums reach No 1 immediately. I think this must say something about the album itself. It does. It's fucking brilliant.

Source: Allmusic

The band have undergone a rather dramatic change of style over their 11 year career. They've gone from mod-y punk to QOTSA-esque dark, heavy rock, to this. An apparently hip hop-influenced album with an essence of seventies rock around it, AM wears its influences very obviously on its sleeve. It's all the better for it, it means you can trace the development of Arctic Monkeys, and even get inside their head by guessing what they were listening to whilst writing the album. At least that's how I imagine it.

Some of the songs are so different that it's hard to see how they fit onto the same album. For example, Mad Sounds has a very Lou Reed-esque sound to it, as though Alex Turner has listened to the entirety of Transformer and just summed it up in a singular song. It's about songs that make you love music, and it achieves exactly what it describes; it's not particularly technically difficult in any way, but the sheer brilliant timing of "then out of nowhere, somebody comes and hits you with an ooh la la la..." It could not describe any more perfectly the ability of certain songs to comfort you or cheer you up when you most need it. You can just picture Turner sitting in the corner of a room with some headphones on, listening to his favourite songs and having the time of his life. We've all been there, Alex.

The album contains some brilliant singles. I don't think I could forgive myself if I wrote a review of AM and didn't mention Do I Wanna Know? as it would be a heinous crime indeed. Fuelled by a riff penned by Jamie Cook, the song feels as though it could go on forever, and as a listener, it's all you want it to do. Suffice to say, it's a little bit bloody brilliant. Why'd You Only Call Me When You're High? has pretty much every female up and down the country screaming "YOU CAN CALL ME ANYTIME ALEX". Notice I'm not excepting myself in this description. R U Mine? pretty much has the same effect; it's very similar to Do I Wanna Know? in it's driven by a brilliant riff, but eases off into a relatively chilled chorus. Snap Out Of It is your typical rock single that has an amazing beat, a catchy chorus, and a great melody. If you haven't pretended that Mr Turner isn't singing this to or about you, then you're lying.

Source: Allmusic

That said, the softer side of Arctic Monkeys peeks through on occasion. No. 1 Party Anthem slightly draws on the figure portrayed in You Probably Couldn't See For The Lights... - the "certified mind blower" to whom you can't quite muster up the courage to speak. Apparently it's based on a real person (ooh, cheeky Alex) and the genuine emotions are brought to the forefront in this song; it's not written about a caricature or a stereotype, it's based on a real experience, allowing the song to reach a different level of emotional intelligence. I Wanna Be Yours has lyrics taken from a John Cooper Clarke song, written in around 1983. The extreme British banality of the lyrics (for example, "I wanna be your vacuum cleaner... I wanna be your leccy meter") only make it all the more romantic; the translation from the commonplace to the tender is given by the next line, detailing what Clarke would be able to do for the object of these desires. "I wanna be your setting lotion, hold your hair in deep devotion, at least as deep as the Pacific ocean" suddenly becomes poetry, because it perfectly describes every girl's dream without the need for poetic language.

There are some typical Turner lyrical gems in there, as well, showing he hasn't lost his flair in the slightest. Arabella: "I helter skelter round her little finger and I ride it endlessly". Do I Wanna Know?: "I've been wondering if you're heart's still open and if so I want to know what time it shuts". One For The Road: "from the bottom of your heart, a relegation zone". I could go on for a very long time. Like somebody once said of David Bowie, Turner writes the cosmos in the bus stop.

I don't quite know how to finish this. It's amazing and I love it. Perhaps I ought to leave it there, because I could go on for an inhuman amount of time about this album. It's a fucking good 'un.

Rating: 10/10 (note: if you're an Arctics purist, you will most definitely disagree with this)

Recommended Tracks:
Mad Sounds
Arabella
Do I Wanna Know?

Born Ruffians - Birthmarks

Source: Allmusic

The Toronto group are almost notorious for making their fans wait for their next album. Forming in 2002, it was then 4 years before their self-titled EP was released, another 2 before their debut album Red Yellow & Blue was released. This time, a 3 year gap has elapsed between 2010's Say It and this year's Birthmarks.

This time, they've moved on from their traditionally indie rock sound to a more considered sort of a sound. They're clearly playing around with their sound, fooling about with drum machines, vocal effects and distortion on Rage Flows. However, they still manage to maintain that intrinsically raw sound of their previous two albums; the plain lament of Needle's "I belong to no one" reminds one of the plaintive "oohs" that start off Little Garçon. Perhaps it's the minimal backing at the beginning and the voice of Luke LaLonde that manage to remind me of Fleet Foxes whilst I'm listening to it. Maybe that's just me. Needle is that type of song that every album needs to have. It's got the catchy chorus that anyone can pick up within 2 (minimum) listens; it's got the anthemic "A WAY" repeated several times for good measure; it's got the echoey, stadium-like backing vocals to emphasise the fact that you should and will like this song. It's got all of that and more; it's a pop song with an indie twist.

Source: Allmusic

Ocean's Deep is another one of those songs; one that offers a "deep" message put to a catchy pop tune. That wasn't meant to be sarcastic or sceptical, although it's been so overdone that it's hard not to be when you first listen to the song. As you keep pressing the replay button, though, the story portrayed in the song becomes more apparent (LaLonde's voice requires straining ears to decipher his lyrics). One particular lyric that stands out is "when she goes, she hopes you'll meet a woman who will fill those holes that she shot straight through you". It exemplifies the level of maturity that Born Ruffians have reached in their songwriting and lyricism. They've become much more direct in their style, not beating around the bush; they no longer need the minute-long intros to define them, as their songs are now able to speak for themselves.

In this, their third studio album, it's clear to see how Born Ruffians have refined and perfected their style, whilst delving into new areas altogether and still managing to sound like Born Ruffians. All of the songs seem to be uplifting and upbeat, and, whether it's the lyrics or the melody that achieve this, it's bloody working. I'm grinning like a fool at the computer screen and I'm being given funny looks. Fuck it, Born Ruffians make me feel warm and fuzzy inside, what you gonna do about it?

Rating: 7/10

Recommended Tracks:
Ocean's Deep
Needle
Golden Promises

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