Category Archives: indie

TEAM ME – Team Me EP

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PhotobucketWithin minutes of the opening number on Team Me’s debut EP, it’s obvious the release is something special. The Norwegian outfit’s brand of heavily orchestrated indie-pop may borrow influences from Arcade Fire and Mercury Rev, but they throw enough of their own style into the multi-layered arrangements to not sound like mere copyists.

‘Weathervanes and Chemicals’ opens the EP with one of Team Me’s strongest offerings. Beginning with a cymbal-less drum line and a barrage of strings, it has a pompy nature which is hard not to compare to Arcade Fire, especially so once a glockenspiel tops off the already busying arrangement. The track’s verses have a soft air, with touches of Flaming Lips and Mercury Rev before the chorus kicks in. While the chorus is wordless, it features a choir of voices which are very much reminiscent of those which dominate Red Box’s cult 80s album ‘The Circle and Square’. It is almost impossible not to get swept along with the hugeness and feel-good vibes Team Me put across here. By the song’s closing moments, the choir is overlaid by lots of electronic noise, drums and something which may well be a melodica. Sounds messy when described, but in reality, it’s a three minute burst of sunshine. Opening with a very 80s keyboard line, ‘Come Down’ has a slightly punchier atmosphere in places, it’s basic structure fitting neatly into the indie-rock pigeonhole; to keep things interesting, Team Me beef up the arrangement with almost as many layers as ‘Weathervanes’. The huge vocals and strings still provide the heart of Team Me’s sound, but it’s the addition of tinkling percussion (or keyboards approximating the sounds of bells) which provide one of the best elements on a number which was already fairly complex.

‘Dear Sister’ is quirky and full of gorgeous harmony vocals. Its main riff has a circular feel which barely stops throughout the track. Ringing string sounds lead into to something which sounds like it has about fifty layers, overlaid with a choir. While not as hugely appealing as ‘Weathervanes’, it’s still a number which captures Team Me’s multi-layered sound well. ‘Me and the Mountain’ begins with a stronger drum line, settling for a more basic pounding approach – which fills the instrumental breaks and chorus sections; for the verses, Team Me offer more of their heavily keyboard and string led atmospheres. The overall vibe has echoes of Mercury Rev once again, but the occasional harder edges make it sound like a Mercury Rev number that has been influenced by the grandiosity of Arcade Fire – which is not necessarily a bad thing. The closing number ‘Kennedy Street’ finds Team me in a far more laid back setting begins as an echoing guitar riff provides the basis of the number, over which the vocal finds a place for an equally unfussy melody. A harmony vocal joins for the chorus which rounds out the sound beautifully, lending everything an atmosphere which would make Mercury Rev proud they’d passed on so much influence. For the close of the track, a piano joins the arrangement and the drum which has been softly pulsing breaks into a rumble for the last few bars, overlaid by a different collection of vocal sounds – and just when you think we’re going in for a big climax, Team Me stop dead, naturally leaving you wanting so much more.

Team Me worked hard at making a name for themselves prior to this release, playing no fewer than eight Norwegian festivals in the summer of 2010, plus various other gigs along the way – including a couple of support slots with British Sea Power and The Wombats in London in February and March 2011. This EP sounds like the work of a band who’ve strived to get their sound – it’s seriously good, maybe even amazing. If you’ve ever had a passing fancy for The Flaming Lips, Mercury Rev or Arcade Fire, you need this. It’s probably the most exciting record to come from the orchestrated indie-pop niche since ‘The Beginning Stages…’ by The Polyphonic Spree.

May 2011

THE FALLEN DRAKES – Death Of An Actress EP

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drakesFormed in 2009, the Dublin quintet The Fallen Drakes may not break any new musical ground with ‘Death Of An Actress’, but thanks to an easily accessibly sound combined with top notch production from U2 and Kasabian producer Ger McDonnell, their EP is still a strong debut. Musically, it finds a space at the soft end of stadium rock, lighter than U2, but with a quality that’s often reminiscent of Coldplay and Snow Patrol.

During the opening number, ‘Masquerade’, Brian McGovern’s vocals are solid, but the best moments are provided by Michal Bartolen’s lead guitar work, which utilises a ringing tone and a delay. Things toughen up slightly near the song’s close, but without losing any of the commercial impact. ‘Don’t Cry’ is noticeably weaker at first, but the upfront guitar sound gives the number a great momentum; Hyder Ali’s bass work is punchy throughout, providing a great counterpart to Nabil Ali’s drumming which, as with the previous number, relies a great deal on hi-hat and sharp snare work. After a few plays, ‘Don’t Cry’ sounds equally as strong; a number which presents The Fallen Drakes in good form, with top performances from all concerned.

‘Lights On’ presents The Fallen Drakes at their punchiest. The guitars take on a more angular approach, before bouncy, bass dominated verses become reminiscent of The Kaiser Cheifs and Frankie & The Heartstrings. The musical performances are okay – Hyder Ali turns in a couple of simple but effective bass runs – but a chorus which relies far too much on one line shows the song writing here is in need of sharpening. ‘Love Again’ takes a similar approach to alternative rock/pop demonstrated during ‘Don’t Cry’, but ups the stakes, giving The Fallen Drakes a tougher sound. Michel Bartolen’s lead guitar work maintains a strong presence, while Nabil Ali drumming leans farther in a rock direction, favouring a pounding approach with fewer quirks and intricacies.

Despite their very generic approach, The Fallen Drakes brand of jangly, guitar-based rock/pop is very professional and often enjoyable. You can stream the EP from the widget below or download it for FREE here!

April 2011

THE PAINS OF BEING PURE AT HEART – Belong

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POBThe Pains of Being Pure at Heart’s self-titled debut was an album that got better over time; one of those discs that really takes hold unexpectedly.  A nostalgic affair, its core influences recalled the greatness of the mid 90s. It’s understandable, therefore that it could be suspected  their sophomore album would be a weaker effort having been put together in a fraction of the time.

The opening bars of the title track sweep away any misgivings, as Flood’s lavish production brings out the absolute best in the New York quintet’s sound. The drums have great presence, even once they find a space behind Kip Berman’s guitars (which appear in both crisp and fuzzy forms) and the bass sound that tips the hat to Simon Gallup of The Cure with its rattling nature. Berman’s voice is surprisingly wistful considering the full sound the band has adopted, but it’s the music which does all the talking here. With the opening number combining most of PoBPaH’s strongest features, it’s surprising the album doesn’t fall at the next hurdle. ‘Heaven’s Gonna Happen Now’ has moments which lean farther towards 90s jangle; its lead guitar riffs are simple and yet so effective. While Berman sticks to his usual aloof vocal approach, the music has a toughness which, in places, wouldn’t have sounded too out of place on either Buffalo Tom’s 1992 breakthrough album ‘Let Me Come Over’ or Teenage Fanclub’s ‘Bandwagonesque’.

The mechanical bass at the heart of ‘Heart In Your Heartbreak’ recalls the best sounds from the band’s debut. With the hushed vocals of Kip Berman and Peggy Wang melding together on its chorus, the feeling is one of familiarity. It feels a little throwaway after the weightiness of the opening pair of tracks, but clearly highlights how, for all of their multi-layered tendencies elsewhere, this is a band that possesses a knack for a good pop hook. For fans of the spikier elements of the debut, ‘The Girl of 1,000 Dreams’ should appeal, driven by Kurt Feldman’s hard drumming, overlaid by a wall of fuzzy guitars; as with a couple of their debut’s tracks, this has a musical edge which hints at the softer end of the 90s shoegaze movement.

‘The Body’ sounds rather like a New Order cast off from the mid 90s. While Berman doesn’t sound especially like Bernard Sumner, there’s a definite influence in the way the track has been constructed around a layer of keys, upfront bass and quirky drumming. The chorus here isn’t as strong as perhaps it could have been, but the other elements are top notch – and with the band’s delivery sounding so easy, it still ranks as one of the best numbers. The band aren’t above borrowing from other 80s alternative stuff either, as the upbeat approach of ‘My Terrible Friend’, recalls The Cure circa 1985-87 with its cheeky keyboard riff combined with jangly guitars (backed by a busy acoustic line). That’s as far as any similarities go, mind, since Berman’s breathy vocal keeps things really light and chipper. While it’s Wang’s keyboard line which lodges inside your head, Alex Nadius’s busy but uncomplicated bass work isn’t without merit here.

While its rhythm maintains a steady pace, with an almost unflinching mechanical vibe, ‘Strange’ closes the disc with something oddly beautiful. A track which recalls lots of alternative music from the early 90s, the way Wang’s keyboard layers shine through the multi-tracked guitars is just superb. Berman’s vocal is almost redundant; the multilayered sounds work in such an effective way they almost completely absorb the listener.

With ‘Belong’, Berman and co have delivered a release which is stronger than their debut and one which makes the art of the “difficult second album” seem so easy. The band sound confident throughout, and while their song writing hasn’t moved on a great deal, their arrangements have a smoothness which wasn’t always consistent before. Sounding stronger with every play, this is an album for iPods on long journeys – an album to take with you to bring a spark to crowded places. The Pains of Being Pure at Heart have matured as a band – and it shows.

March 2011

THE PAINS OF BEING PURE AT HEART – The Pains Of Being Pure At Heart

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The Pains of Being Pure at Heart is hardly a band name which trips off the tongue. It may not always be one you’ll remember; however, in the past they’ve received some decent press. I hadn’t known what to expect when approaching this album, but it turns out I got a pleasant surprise.

Beginning with the bass-less, drum-less fuzziness of ‘Contender’, initially I thought this band wouldn’t interest me at all. But…by the time track two arrives, I’m reminded of the more commercial elements of Lush and 90s shoegaze/alt-pop – and that pleases me. Female ooh’s, quirky lead vocals, a pace that’s too punchy for the some of the indie kids, yet not quite punk-pop – a sunny quality which comes as a pleasant surprise. Faster than Lush, more tuneful than the indie-pop chav gold from Kenickie, Pains of Being Pure at Heart have some great musical qualities. ‘Young Adult Friction’ is pure jangle pop – the kind that never really goes out of style; and the slightly kooky keyboard lodged under the mix of other stuff helps to add colour. The only criticism is that at just over four minutes, it feels a little long.

It may not have been the desired end result, but ‘Hey Paul’ sounds like The Wedding Present even if vocalist Kip Bermon doesn’t have the curmudgeonly demeanour of David Gedge. One of the standout tracks, ‘Stay Alive’, shows the lighter side of the band. This track stands out due to the chirpy nature of the music alone, as the vocals aren’t as clear as they could be. Some moments feel a little more traditionally shoegaze – ‘Gentle Sons’ has an echoing vocal matched against a mid paced drone of guitars. Some listeners are bound to love it, but ‘Teenager In Love’ is my contender for the track likely to be skipped every time – if something reminds me of the twee nastiness of Belle and Sebastian that much, you can keep it! Thanks.

This album may not be an all round classic, but its balance somewhere between sugary pop songs and fuzzy noise is so early 90s it feels good…and sometimes, that’s all you need.

January 2010

FRANKIE & THE HEARTSTRINGS – Hunger

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FrankieThis debut by Sunderland five-piece Frankie & The Heartstrings was produced by the legendary Edwyn Collins. Throughout the disc his production brings a gorgeous clarity, a great bass sound and plenty of separation between the instruments. Those elements, however, seem to be the band’s biggest strength.  Here they are with a brilliantly produced disc featuring a bunch of songs which aren’t always instant enough to deserve such technical brilliance. The bulk of their work resembles – but isn’t quite up there with – the best tracks by Kaiser Chiefs or Franz Ferdinand, but often, The Heartstrings manage to be much warmer than fellow Mackems, The Futureheads.

‘Photograph’ opens the album with atmospheric oohs and sparing guitar work, though this quickly gets replaced by spiky indie-pop. It might want to make you jump and down (albeit briefly) and showcases a decent amount of energy, but closer inspection uncovers a weakness in the song writing department. A one line chorus provides a refrain, while a stupidly repetitive second half wears thin very quickly. ‘Ungrateful’s slower approach highlights Frankie Francis’s vocals as being an acquired taste. While there’s still nothing hugely memorable here, the pace suits the band a little better. While, as before, the end of the track descends into repetitiveness, it’s ultimately saved by some great drum work from Dave Harper; while no Stewart Copeland, he’s certainly pretty handy with a hi-hat.

‘Hunger’ employs a ringing rhythm guitar part (one which is somewhat pleasing), but set against some rather ordinary drums. Well placed oohs provide something of a hook, but that’s as far as it goes. There’s no real chorus – and one would have proved useful here, if not essential. The rhythmic qualities – matched with Frankie’s slightly irritating vocals – call to mind early Kaiser Chiefs, only without broadness in the lyric department. All the same, its sunny feel (and the fact that those oohs lodge inside your head after a while) make it an obvious choice for single release. ‘Want You Back’ opens with a drum riff which tips the hat to sixties girl bands and Phil Spector, but what follows is a really horrid song – easily the album’s worst – being full of parpy trumpets, over which Frankie wails gratingly. There could have been a half-decent arrangement here, but it falls flat once the vocal kicks in…it’s all too much.

There are a few tunes here that represent a marked improvement, however. With a busy bass riff, ‘It’s Obvious’ has an edge that’s not often present elsewhere. The rumbling bass sound combined with some occasionally angular guitar work shows the band to be a tight musical unit, even if lyrically things are still a bit thin in terms of complexity.  As one of the album’s darker numbers, if nothing else, it ensures this album isn’t all jangle and bounce. ‘That Postcard’ works very well indeed, thanks to Steven Dennis’s solid approach to the bass and Frankie Francis’s slightly quirky vocal, which sits very well. In the left speaker, most of Michael McKnight’s guitar leads resemble disjointed noises as opposed to a proper riff, hinting at a love for early eighties post punk/new wave . A lack of chorus here is slightly disappointing given the strong musical foundation, but overall, it’s very good. The closing number ‘Don’t Look Surprised’ also fares better than most, featuring busy drum work (particularly in the cymbal department), an upfront bass with a tone which recalls early New Order, plus an urgent vocal. The claustrophobic brass noise creeps in towards the end, but not in a way which damages the song.

Throughout the album, the tight rhythm section of Steven Dennis (bass) and Dave Harper (drums) bring consistently good performances (helped no end by that Edwyn Collins knob-twiddling), but often, looking beyond that, ‘Hunger’ feels lacking in places. Repeated plays allow some more of the bands material to slowly leave an impression, but despite showing a great energy and confidence, their hooks aren’t always as sharp as you’d hope for a band who’ve had time to hone their talents before unleashing their first album.  Patchy it may be, but its handful of strong numbers certainly make it worth picking up if spotted at a bargain price, especially in the case of Franz Ferdinand and Kaiser Chiefs fans.

Watch the video for ‘Hunger’, featuring the superb Robert Popper:

February 2011