Returning after an eight year hiatus, Skunk Anansie had to ensure their comeback album was absolutely stellar.  The resulting release ‘Wonderlustre’ did not disappoint; in fact, it was a career highpoint for the British band.

Debut releases – or in the case of Skunk, a record breaking a long absence – allow plenty of time for a band to guarantee they have a collection of first-rate songs to make up the record.  Follow ups are usually created in a fraction of the time, with the label breathing down the band’s collective neck to deliver the goods, while an established fan-base clamours for more.  …And so it is with ‘Black Traffic’.   While it is Skunk Anansie’s fifth album overall, in places, it has a slightly weaker feel, typically associated with a sophomore release.   There are some fantastic tunes, but as a whole, it lacks the consistency of its immediate predecessor, largely thanks to a few aggressive alternative rock/pseudo metal offerings where the band sounds like they’re just trying far too hard.  While these sound better after being allowed time enough to sink in, SA always sounded stronger – classier, even – when delivering more pop-based material…

The band chooses to open this record with two of those unsubtle rockers in order to make an impression.  Both ‘I Will Break You’ and ‘Sad Sad Sad’ are delivered with metallic riffs at reasonably high speed.  Listeners who enjoyed the harder edge present on the band’s earlier works will likely get a kick out of these, since they hit harder than anything SA has recorded previously.  For other listeners looking for the kind of sophistication that made ‘Wonderlustre’ one of 2010’s best albums, these tracks will be disposable.  Of particular difficulty is Skin’s deliberately confrontational and harsh vocal performance on album opener ‘I Will Break You’.  While she has a superb vocal range and an undeniable presence, on this particular number she squeals to the max, initially sounding quite edgy, but quickly sounding too much like hard work.  On ‘Sad Sad Sad’, her voice is much more palatable, but despite a good performance and some solid hard rock riffs combined with electronic drum loops creating a reasonable enough backing, bog standard song writing on the chorus [chiefly rhyming sad x3 with bad x3] really lets things down.  It’s worth bearing in mind, though, that while both these tunes are a little grating on record, they have all the hallmarks of the kind of numbers that make killer live performances.

Blending string sounds, a programmed drum and a soft bassline, ‘I Hope You Get to Meet Your Hero’ is one of ‘Black Traffic’s high points.  Skin’s vocal is full of longing, as she cries out every word.  While her full range is undeniably superb, it is on softer numbers such as this where she sounds at her best – the softer notes allow her screaming top end to have a much greater impact, and since she uses that top end sparingly here, the impact it has when it eventually appears is nothing short of wonderful.  The album’s first single, ‘I Believed In You’ is a little harder, with Ace’s rhythm guitar acting as the driving force.  As the chorus hits, drummer Mark Richardson gets to cut loose on a part far more groove laden than many of this album’s cuts – and it’s good to hear a real drum too, since ‘Black Traffic’ is heavily reliant on programmed rhythms.  Lyrically, the accessible and buoyant tune is given some real bite via its bitter lyric; specifically the line “do me a favour, go and slit your skinny throat and let the blood flow freely so all you boys can choke”.  Overall, while this melodic rock tune with slight alternative leanings could be written off as “Skunk Anansie by numbers”, the band are certainly playing to their strengths.

Most of ‘Black Traffic’s strongest numbers can be found nestled on the second half, and they are tunes that, again, highlight the band’s softer side.  The poppy ‘Our Summer Kills The Sun’ ranks among Skunk Anansie’s best ever songs, thanks to a sophisticated, radio friendly mix of electronic beats, ringing guitars and a hushed, almost questioning vocal.  By the time it all blooms into a simple hook full of harmonious, multi tracked voices, it’s one of a couple of tracks that could stand up to most of ‘Wonderlustre’.

‘This Is Not a Game’ aims for a huge, epic sound. The basic tune works around a classic quietLOUDquiet structure, where the verses are soft and (again) very electronic, while the chorus features some louder, chiming guitars. The combination of guitar and strings during the chorus provides one of ‘Black Traffic’s most enjoyable moments on a musical level, but Skin’s voice is absolutely awesome throughout.  Moving between a soulful cry and full on rock belt, this particular performance could raise neck hairs.  Although at first, ‘Drowning’ sounds a little empty and over-mechanical, later listens uncover the makings of a solid pop tune.  A mix of drum beats and strings during the second half creates something hugely radio friendly, while Ace’s understated guitar lines add depth.  An overly simple chorus actually makes ‘Sad Sad Sad’ sound like first rate song writing, but this can ultimately be forgiven since everything else is so well put together.

With an instant familiarity, the album’s closer ‘Diving Down’ sounds as if it could be a ‘Wonderlustre’ leftover.  As with ‘I Believed In You’, the sturdy pop/rock here adds nothing new, but it’s certainly just as enjoyable as any other similar recordings from Skunk’s back catalogue.  It is a guaranteed fan favourite – strong enough to help sweep away the memories of ‘Black Traffic’s less enjoyable numbers.   Opening with two of the album’s rockers and closing with this hugely emotional tune, if nothing else, it proves that somebody within the Skunk Anansie camp knows the power and importance behind sequencing an album for maximum impact.

‘Black Traffic’ would be a fantastic record by most people’s standards, but measured by a couple of Skunk’s previous outings, it could have been better.  Put in context, it’s not anywhere near as good as ‘Wonderlustre’, although it’s best tunes as good as the best ‘Post Orgasmic Chill’ had to offer.  Its brilliant moments piss on most of ‘Stoosh’, but that is to be expected from a band far more mature in both talent and years.  While devoted fans will love ‘Black Traffic’ from the off, those other listeners who enjoy the more restrained parts of Skunk Anansie’s music – ‘Wonderlustre’ in particular – may find this album more of a challenge.

September 2012

According to their website bio, Canto are a band who consider their music to be “influenced by the rock music from the sixties and seventies”.  While their music takes in a little blues, some funk rock, a little indie and huge chunks of fuzzed up blues-rock  – all of which come together to create a very accessible sound – this trio of brothers sound more like they’re channelling a 90s style revisitation of the 70s than anything else.

Their debut release ‘Ha Ha Ha’ kicks off with a short instrumental, ‘Adam & Eve’.  A good showcase for the band’s musical chops, this piece features a very seventies sounding lead guitar, underpinned by a superb bassline – the kind of thing a well-established jam band could turn into a tour-de-force.  ‘Sandpaper’ turns the funk grooves up to the max via a busy bassline, over which wah-wahed guitars churn out blues-rock riffs.  This alone provides a solid listen, and then Canto unveil the element that makes them sound a little different to other ‘retro’ outfits: Seamus Blackwell’s voice.   Whereas most similar bands would likely choose someone with a big voice, Seamus’s approach sounds more suited to an indie pop band than a band serving up funky retro rock.  In fact, on occasion, his voice bares more than a passing resemblance to Tim Booth (of popular 90s indie-poppers James), which probably lends a huge amount of weight to the overall feeling that Canto’s music shares as many influences from the 90s as it does from earlier decades.

A little off-centre, ‘The Big House’ works around a spiky riff and ringy countermelody.  Despite initial promise, it never completely finds its feet; perhaps a lack of chorus is to blame here, since it’s certainly not the Blackwell brothers’ standard of musicianship.  Mixing an indie jangle with another funk-rooted bassline, ‘Cardigan Sweater’ shows Canto in a better light, as they blend an upbeat, optimistic tune with a simple hook.  While Seamus’s guitar has a very pleasing tone and his vocal style is well suited to the piece, it is bassist Aiden Blackwell, whom – once again – brings most to the table.  His fluid style (pushed high in the mix throughout) is what often gives Canto’s music it’s most enjoyable quality, and this is no exception.   The single release ‘Farewell Well Well’ is an exceptionally tight workout where drummer David Blackwell moves between hard rock drumming and funk rhythms (with plenty of fills and hi-hats) with ease.  Despite a simple hook and a closing section with a meaty riff, this tune firmly belongs to the rhythm section.  The interplay between bass and guitar during the number’s first half makes this track Canto’s best, hands down.

On ‘William Byrd & His Contemporaries’, Canto move away from the more pointedly funky:  the guitars lay down a thick rhythm, the drums pound out a basic backbeat and the bass takes more of a simplistic approach.  On this number – although still recognisable as the same musicians who performed on those more groove-laden tunes – Canto offer a track which sounds more in keeping with 90s alternative.  Its simplicity doesn’t necessary make it any weaker…just different.  It would be unfair to say it does not suit the band since they prove equally adept here – it just feels a little misplaced among the other album cuts.

Quibbles about the seventies-ness of their chosen niche aside, Canto are obviously talented.  While ‘Ha Ha Ha’ isn’t a classic debut, the songs often have enjoyable moments.  If their whole sound doesn’t keep you listening, the intricacy within some of the basslines should provide sporadic entertainment.

August 2012

Friend Slash Lover began life as a project in the mind of singer-songwriter Josh Mintz (aka Stupid Human).  After settling on the new moniker, Mintz teamed up with bassist Frank Day, guitarist Greg Pajer and drummer Jake Hayden to create a final line up for the band.  A debut EP, ‘As American As Ones and Zeros’ was released in the summer of 2010, followed by live shows including appearances at the world famous Roxy (a regular haunt for Jane’s Addiction in their early days) and the Viper Room.

The band’s second EP, ‘The Grey Area’ comprises of six numbers which mix a solid pop/rock base with new wave keyboards and occasional harder rock riffs.  ‘As Seen On TV’ comes with a great guitar riff which gives off a very confident air.  Mintz’s slightly emo-ish vocal style is at odds with the heaviest parts of this opening tune, but the arrangement is so well crafted that the constant pull between the hard rock elements and the alt-pop edges keeps things interesting throughout.  The early eighties sounding keyboards lurking beneath add just enough depth to make the track sound far more complex than it actually is, while the guitar riff leaves a great lasting impression; so much so, the chorus doesn’t really grab the listener initially.  On the title cut, the tables are turned:  musically, things are much poppier, fusing radio-friendly rock chops with a chorus hook that’s absolutely superb.  After two or three spins, this tune sticks out as Friend Slash Lover’s best: the vocal delivery is very much suited to the overall sound with a strong mix of acoustic/electric guitars and tinkling keys.

Turning their attention to something softer, the dreamy pop/rock of ‘Unaware’ crosses adult-oriented singer-songwriter moods with some very new-wave keys and programmed drum sounds.  ‘Carry Your Weight’ explores similar lighter tones, but fares better through an extensive use of electric piano, an atmospheric guitar part and a huge sounding climax.  In fact, despite a slow-ish start, the second half of this number ranks among Friend Slash Lover’s best; there’s enough oomph to make the tune sound meaty – if never quite epic in the true sense – while retaining enough melody and accessibility to make it just right for radio.

Perhaps of greatest interest on this second release – and particularly for slightly older listeners – is Friend Slash Lover’s choice of cover tune.  They’ve chosen to tackle XTC’s somewhat controversial ‘Dear God’ (originally from XTC’s 1987 release ‘Skylarking’).  It’s not the first time this tune has been given a makeover; Sarah McLachlan put her own stamp on it back in the nineties. Unsurprisingly, Friend Slash Lover’s recording has more of a rock feel.  The use of electric piano during the intro is particularly lovely, as is the mechanical banjo-esque keyboard loop.  Multi-tracked vocals are also a nice touch here.  Initially, the hard beats of the marching drum seem a little jarring, but once the piece gathers momentum and the sound becomes much fuller, it’s easy to see why this particular stylistic choice was made.  The whole thing builds to a suitably angry finish, and while it doesn’t quite retain the sneer of the XTC original, it’s a decent cover overall.   As one of Britain’s greatest songwriters, the works of Andy Partridge really ought to be explored more often…

In summary:  There’s very little wrong with Friend Slash Lover’s chosen sound, but they don’t always do much that makes them stand out from the world of dozens and dozens of sounding bands out there.   As it is, though, any band which takes the time to cover XTC are deserving of a little of your time in return, while in terms of the self-written material, ‘The Grey Area’ is worth checking out for the title cut alone.

July/August 2012