After the demise of hardcore band Million Dead, frontman Frank Turner embarked a relentless touring schedule. Playing most nights throughout 2006 helped build a strong and devoted following for his semi-acoustic folk-punk material. Appearing both deeply personal yet accessible, his debut album ‘Sleep Is For The Week’ – released in January 2007 – attracted very positive responses. His second release ‘Love, Ire & Song’ saw a huge leap in terms of quality and although not a huge seller upon its release, this album set Turner on the route to stardom.
Category Archives: Album & EP Reviews
LINDA AND THE PUNCH – Obsession
Most of this debut from German rockers Linda and The Punch mixes traditional AOR guitars with a radio friendly pop edge, resulting in something that resembles Pat Benetar reshaped for a post-80s audience…only hugely inferior. However, even though the press materials appear desperate for listeners to think this could stand alongside works by P!nk, it often comes across as a much less fortunate entity – usually a second rate rehash of works by Issa, an AOR singer who (despite best intentions) has no hope of ever being as good as Benatar either. It may collect tunes from jobbing songwriters who’ve written for pop artists, but the very fact that the album is produced by German hard-rocker Michael Voss (of Demon Drive fame) and leans on Escape Music stalwart Tommy Denander elsewhere, unfortunately ‘Obsession’ just isn’t as far removed from the label’s usual stock as they’d so desperately like you to think.
¡VAMANOS! – EP
As blusterous as Jon Spencer’s Blues Explosion yet accessible in their slide guitar fixated approach, The Dead Exs were just one of many blues duos to take the stage in the wake of The White Stripes’ popularity. Their debut release ‘Ressurection’ was raw yet focused…possessing power and groove, in short, everything garage blues should be. If The Dead Exs channelled the power and charm of the Blues Explosion’s classic work, then King Pizza signings ¡Vamanos! are almost the ugly Pussy Galore by default – their brand of garage blues making all but the very rawest noisemakers sound like major label puppets.
VARIOUS ARTISTS: Vauxhall & Us: A French Tribute To Morrissey
The world has seen release of many tribute albums, many tossed off with casual indifference that miss the mark completely. Occasionally, one comes along that’s just so misguided you end up wondering how it came to be in the first place. The idea of thirteen different low-key French artists recreating Morrissey’s 1994 album ‘Vauxhall & I’ could easily sound like a bad one from the off, but somehow, through an array of reasonable talent – not to mention excellent source material and sheer balls – ‘Vauxhall & Us’ works. Without Morrissey’s distinctive croon adding to a many a black humour within his lyrics, these songs sound markedly different. Their charm is still often apparent, but in a wholly different way. The acoustic setting on some of the recordings allows Moz’s gift of words to remain the biggest draw of all, but the European slant evident from time to time also lends a certain charm.
HED(p.e.) – Evolution
The mid 90s was a time when rap-metal reigned. No matter how genre-crossing acts sprang up (usually from the US), the alternative record buying public clamoured for more. For the huge amount of (sometimes deserved) column inches afforded to Rage Against The Machine or Limp Bizkit, so many other bands worked just as hard on the fringes – Snot would have been bigger than everyone if not victims of tragic circumstance, while bands like Shuvel and Reveille now seem all but forgotten, but were as good as any.