Monthly Archives: April 2011

RETURNING WE HEAR THE LARKS – Proud England EP

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For something recorded in a bedroom, this 2011 EP by Returning We Hear The Larks has a great amount of oomph behind it. The band isn’t a band at all, but the work of multi-instrumentalist Jak Noble, chiefly a seven stringed guitarist – but listening to this release, he’s gifted in most other aspects of his music too. Granted, the drums are programmed, but when constructed as well as they are here, it doesn’t matter too much. [See also Devin Townsend’s ‘Ziltoid The Omniscient’]. Noble’s chosen style fuses progressive metal and alternative metal; naturally his recordings feature a bias toward the “djent” sound at times [the onomatopoeic sound made by heavy riffing from seven or eight stringed guitars]. For fans of the more aggressive end of progressive metal, Returning We Hear The Larks is a project with a great appeal.

Kicking off a quartet of numbers inspired by The War of The Roses (though the concept appears to be rather loose; a theme rather than a strict narrative), ‘Uprising’ begins with an off-beat rhythm. Its intro builds until the guitars crunch through and Noble’s vocal makes an initial impact. His vocal has a sound somewhere between Devin Townsend at his most shouty and a throaty growl, which although takes a little tuning in, works well throughout the number. It is especially effective when counterbalanced against a clear alternative rock vocal which carries a tiny hint of Faith No More. The heavy bass which runs through the short instrumental ‘Unrest’ has a fantastic presence, while the guitars lay down a repetitive hypnotic riff. For a self-produced, self-financed release, the bottom-end has a great sound.

‘Vendetta’ opens with a piece of music which is the polar opposite of ‘Uprising’, as Noble offers atmospheric, clean-toned guitar lines over a blanket of keyboards and a chugging bass, which naturally gets joined by a similarly aggressive guitar riff. The main riff sustains the next couple of minutes, before falling away to reveal an echoed vocal. Before long, the chugging riff returns with a complimentary heavy vocal. The lighter atmospheres aren’t completely crushed through, and the ring of the clean toned guitar adds a pleasing atmosphere. While the track still falls into the heavy end of progressive metal, there’s a hint of Mushroomhead about its overall construction. The closing moments, with pneumatic drum sounds and screaming vocals present the heaviest aspect of Noble’s work. The muddy tone driving the main riff of ‘Conquest’ has a grinding nu-metal edge due to Noble’s use of seven string guitar. The down-tuned sludge is joined by a similar vocal to that used during ‘Vendetta’s closing moments. However, before long, a choir of clean vocals and keyboards provide an expected contrast, after which Noble returns things to a Pain of Salvation meets Meshuggah vibe, before closing things with a full-on, classic sounding progressive metal riff.

‘Proud England’s only real weakness is its short duration. By the time the last notes of ‘Conquest’ have faded, chances are you’ve just started to really enjoy what’s on offer. There are moments here which aren’t quite as atmospheric as parts of 2010’s predecessor ‘Ypres’, and obviously ‘Proud England’s main difference is the inclusion of vocals. Despite venturing into new territory, those already familiar with Returning We Hear The Larks should not be disappointed.

March 2011

STILL SPARK – Still Spark

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Bringing together Boston musician Seth Freeman (previously of Little John) and songwriter/engineer Dan O’Leary, this debut release by Still Spark is a sum of many influences. Across ten cuts, the duo – augmented by several session musicians – deliver moments of power pop, straight up adult rock/pop and occasional rootsy numbers. While it promises a great deal, unfortunately their slightly sporadic mix of styles doesn’t always hit the mark.

‘Love Comes Calling’ is upbeat and summery, with chiming guitars, handclaps and quirky harmony vocals. It makes a decent opening number and lead single with its feel-good nature, but misses out slightly due to a slightly wobbly lead vocal. His untrained vocal style kills most of the spirit during ‘Caroline’, despite the musical having some decent moments (which once again, are delivered to the listener by way of chiming guitars and sunny vibes). ‘The Way I Am’ starts out in a similarly punchy power pop mood, driven by Cars-esque staccato rhythms and big chords, but once you’re convinced we’re headed for an equally big chorus and key change, it softens and wanders into jangle-pop territory, with the electric riff complimented by acoustic guitar work. The chorus itself isn’t far off being a one-liner, sadly, but some good backing harmonies go some way to making it memorable.

The gentle acoustic vibes and the wordiness at the heart of ‘Still On Your Side’ seems far better suited to the slightly drawly vocal. Once the backing vocal harmonies are added alongside a few guitar flourishes, it provides one of the moments where Still Spark shine a little brighter; but as before, when Freeman attempts to hit bigger notes, things fall more than a little flat. The Gin Blossoms styled jangle-pop of ‘Best Times’ features some excellent ringing guitar work and pleasing harmonies, pulled together with a great hook. Topped off with a slightly raucous solo, it’s a track which clearly presents Still Spark in good form.

Over the course of the last few tracks, there’s a definite upturn in the album’s fortunes. The doo-wop meets power pop of ‘Careless Thing’ is, without question, the album’s best number. What could have been a typically flat vocal is given a boost by a female lead courtesy of Gaby Moreno, whose slightly quirky, expressive voice is given a chance to really shine when accompanied by sharp guitar chords and an upfront bass. The chiming guitars opening ‘Good Woman’ at first lead the listener into thinking we’re headed for Teenage Fanclub/Big Star territory, but soon, the grooves recall The Connells in a rather chipper mood. A few layered harmony vocals on the chorus pick things up even further, creating a track that’s nothing short of being a three minute ray of sunshine. It’s a great pity Still Spark couldn’t have tapped into this feel-good style a little more often.

The mid-paced ‘The Limelight’ showcases simple rhythms and a natural sounding vocal, augmented by some clean toned electric guitar fills, presenting Still Spark in a relaxed mood which evokes The Jayhawks. It’s a great way to finish the disc, leaving the listener with a strong memory of Still Spark in good form. The female backing vocals are slightly overdone (maybe even unnecessary), but do nothing to spoil what’s essentially a great roots-rock number.

With this self-titled disc, Still Spark have delivered a release that’s not always rootsy enough to deserve the roots rock tag, and with regards to occasional their power pop tendencies, these are often not quite breezy enough to hit their stride with the devastating effect deserved. However, as evidenced on the last few tracks, it’s not a release without merit. With regards to the lesser moments, even when the material doesn’t always work as well as you’d hope, Kay Hanley’s production brings a great sound. Worth checking out for a couple of tracks, but listening is certainly advised before making a purchase.

March 2011

FOO FIGHTERS – Wasting Light

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The second and third Foo Fighters albums (1997’s ‘The Color and The Shape’ and 1999’s ‘There Is Nothing Left To Lose’) really raised the bar for radio-friendly alternative rock, with both releases absolutely loaded with fantastic songs. Across the two albums, Dave Grohl more than proved his well rounded talent. In contrast, the handful of albums which followed were predictable, a bit formulaic and as a result, rather lacklustre. None were awful of course, but there was a strong feeling we’d heard it all before. Even the acoustic second half of ‘In Your Honour’, which seemed like a great idea on paper, in reality, didn’t translate into something which could set the world of acoustic rock alight. Given then that Dave Grohl and company had appeared to have been going through the motions and playing it safe too often, there was little reason to think that their seventh studio album, 2011’s ‘Wasting Light’ would do anything to break the cycle.

However, a few bars into the opening number, something feels different somehow. This may or may not have something to do with Pat Smear’s presence on second guitar, making his first full-time appearance since ‘The Color and The Shape’. Smear’s return is not the album’s only nod to the past either – the disc also boasts a guest performance by Nirvana bassist Krist Novoselic and was produced by Butch Vig, who had last worked with Grohl on Nirvana’s multi-million selling ‘Nevermind’ back in 1991.

‘Bridge Burning’ opens with some discordant guitars swiftly joined by a crashy drum part, where Taylor Hawkins sounds like he’s channelling Dave Grohl’s 1990s drumming style. After the verse settles in, it’s chock full of the muted string riffs Foo Fighters have incorporated into their signature sound. The noisier parts are counterbalanced by a pre-chorus featuring Grohl in particularly fine voice, before the chorus itself uses a few great harmonies over a simple hook. There’s an energy at play here, the kind you’d hope to find driving most of the great Foo Fighters numbers, which makes it a strong opener. For those looking to the Foo’s for another blast of high octane rock, ‘White Limo’ is also hugely appealing, with a carefree, almost Nirvana-ish edge. The fast-paced riffing and general vibe is a definite throwback to the Foo Fighters’ earliest work, with its speed and vocal distortion recalling both ‘Wattershed’ and ‘Weenie Beenie’. [See the video clip featuring Lemmy!]

With an approach to the verses which sounds a little like early Joe Jackson, ‘Dear Rosemary’ shows another side to the Foo Fighters. The spiky rhythm is complimented by some great playing from everyone concerned, particularly Nate Mandel, whose bass sound has a great presence. The track also features ex- Hüsker Dü /Sugar frontman (and legend) Bob Mould, who contributes guitar and vocals. Clearly the guitars offered by Smear and Chris Shiflett would have been adequate enough, since Mould’s work remains indistinct. When you consider how distinctive Mould’s shrill guitar tone has been, particularly during his Hüsker Dü years, it wouldn’t have been so hard for him to add something similar here, to really make his presence felt. It’s not until the close of the number, when Mould can be heard clearly on second vocal, his contribution is really obvious.

Naturally, there are still moments where the band retreats to the safety of their stadium rock stylings. The weakest of these tracks, ‘These Days’, is a dull retread of something which sounds like it belongs on the Foos’ 2002 outing ‘One By One’. Also with a focus on big riffs and a radio-friendly chorus, ‘Miss The Misery’ features some crisp rhythm guitar work and decent vocals; but despite being extremely well written, it’s a number which could do with a little of the energy that’s in abundance elsewhere. Lead single ‘Rope’ fares a little better, thanks in no small part to a slightly quirky rhythm during the verses and big rock section near the end. Taylor Hawkins’s drum work throughout the number creates enough interest to sustain momentum. Neither ‘Miss The Misery’ or ‘Rope’ are bad enough to skip, but there are better examples of this style in the Foo Fighters’ back catalogue.

Sometimes, though, familiarity isn’t a bad thing, as proved by ‘Arlandria’. With quiet verses full of muted chords, building to a sing-along chorus, it could be described as Foo Fighters by numbers. However, by having a chorus which lodges firmly inside your head after two or three plays, it’s an instant classic. Well constructed with enough oomph to make a decent rocker, yet with a commercial edge that’s meant for radio play, ‘Arlandria’ is one of ‘Wasting Light’s absolute crackers. Almost equally appealing, ‘Back & Forth’ moves almost into power-pop territory on occasion, with a chorus that has a slight Cheap Trick influence. Shiflett’s muted chords may raise a smile, since they sound exactly like those Shiflett used previously on the Me First & The Gimme Gimmes version of The Cars’ ‘Just What I Needed’. On the negative side, the vocals on the pre-chorus seems a little droney, but hang in there, since the harmony-fuelled pop/rock chorus which follows is one of the album’s best.

‘I Should’ve Known’ is a slow number which presents the band in a more reflective mood. Grohl’s vocals are heavily filtered, but this is balanced by the clear quality of Shiflett’s guitar. Krist Novoselic’s guest performances on bass and accordion seem, at first, understated. To begin with, his bass part appears particularly pedestrian, but it’s deliberately misleading… Near the track’s end once everyone starts to rock out, the bass is full of anger; a fuzzy sound partly recalling Novoselic’s Pixies-inspired style from way back when. The bass work is definitely the high point here.

Granted, ‘Wasting Light’ is an album which brings few musical surprises, but it captures Grohl and company on good form, often playing with a renewed sense of vigour. Since it features a handful of terrific numbers and little in the way of filler, it’s a decent addition to the band’s catalogue. It still doesn’t quite live up to those standards set by the early albums, but it certainly comes close.

April 2011

JOHN WESLEY – The Lilypad Suite

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Beginning his career as guitarist with the largely unknown band Autodrive in the early 90s, John Wesley gained wider recognition when he supported Marillion in 1994 on their ‘Brave Tour’. His debut album, ‘Under The Red and White Sky’, released earlier that year, is a strong work with a superb rock/pop sound, showcasing Wes as an emerging talented song writer. While the songs speak for themselves, it can’t have hurt that the album had a great supporting cast of musicians, including Marillion members Steve Rothery, Mark Kelly and Ian Mosley. A few years later, Wes gained even more recognition when he became touring guitarist for the legendary progressive rock outfit Porcupine Tree.

Over the years, it’s been possible to hear Wes grow as a musician, each of his albums exploring different avenues, but always with strong song writing at the core of his work. His sixth studio release, ‘The Lilypad Suite’, isn’t a concept piece, though each of the songs are inspired by the struggle of a young girl coming to terms with the absence of a father.

‘A.M.W.’ opens things rather bleakly. The guitars make grinding noises like a train pulling into a station and scraping on the rails. Against the grinding and droning noises, Wes adopts a husky tone to his voice and states he’s “going to California” and those left behind “will have to find their place”. This leads swiftly into ‘Walls of America’, opening with a full compliment of reverb, over which Wes lays down a guitar line which has plenty of atmosphere amongst the echoed drones. Mark Prater’s drum sound has a live quality and Wes’s lead vocal has an edge which is suited to the slightly alternative hard rock. The track is lent an element of softness by some rather pleasing harmonies on the chorus vocal, but overall, it sounds like a work half a lifetime away from the young singer-songwriter who shared a stage with Marillion in the 90s. The semi-acoustic poppy vibes at the heart of ‘A Glittery Nothing’ leave no doubt that this is the very same musician though; Wes’s softer vocal stylings are joined by clean toned guitar work and a sunnier, more optimistic vibe. The guitar solo reverts back to a distorted sound -almost drowned out by a sheet of reverb – but once that’s over, it’s a quick return to the beautifully played acoustic edged rock/pop. Those whom found a great deal of enjoyment from Wes’ ‘Under The Red and White Sky’ debut will undoubtedly find this number one of ‘The Lilypad Suite’s stand out cuts.

While most of ‘Still Waiting’ centres around elements which are in abundance elsewhere (chiefly the dominant guitars and dark atmospheres), the opening riff is brilliantly heavy – sounding not unlike something which might at the core of the heavy parts of post-‘In Absentia’ Porcupine Tree. The best moments come near the song’s end, though, when multi-tracked guitars offer not only the heavy opening riff, but also some reverbed atmospheres overlaid by a cleaner lead. With three distinctly separate guitar lines, both Wes and Dean Tidey deliver an interesting arrangement, without resorting to overt showmanship. The ringing guitars and hushed vocals which drive ‘Lost’ have a haunting quality; the chorus refrain has an element of simplicity, but Wes’s emotive voice brings out the absolute best in the arrangement, while his slightly distorted guitar work brings with it another great atmosphere. The softness of the opening of ‘Firelight’ is reminiscent of Wes’s early work, but this soon gives way to yet another wall of heavily reverbed guitars, over which, Wes’s vocal builds gradually. Mark Prater’s simple, pounding drum riffs carry weight and appear sympathetic towards a number which could have ended up sounding somewhat leaden. The close of the number features some rather furious playing over an already powerful arrangement.

Although only comprising five new songs and an intro, ‘The Lilypad Suite’ is an accomplished work and well worth investigating. While fans will undoubtedly continue to sing John Wesley’s praises, first time listeners may want to check out a couple of his earlier works first, with both ‘Under The Red and White Sky’ (1994) and ‘Chasing Monsters’ (2002) being strongly recommended.

Buy CDs from Wes here.

March 2011