Category Archives: Album & EP Reviews

SINK SWIM – Heights EP

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In the summer of 2012, Californian emo/alt-rock outfit Sink Swim issued their debut EP. While it didn’t really push their chosen genre’s boundaries, it featured a few really enjoyable songs. Although their follow-up release ‘Heights’ has their original sound at the centre, it does more than just pick up where they left off. With previous producer Robert “Bob” Curtin at the controls, you can be assured that – once again – it sounds great, but this time around the band have really toughened up their overall sound.

That toughness is evident right from a minute or so into opening track ‘Tides’. Following a brief intro of multi-tracked guitars, coupled with a familiar emo-ish vocal line, the band move into an already agreeable tune, but its during the post-chorus section where things really pick up: the guitars adopt a shrill shredding sound and the drums tackle brief spells of double bass pedal driven beefiness. To counterbalance this harder edge, Dane Petersen’s usual vocal style gives way for something far more metaiiic, shifting the overall mood farther towards the lightest end of metalcore. A little more accessible on early listens, ‘Move Me’ finds Sink Swim experimenting with quirky time signatures, something particularly obvious with regard to the guitar riff. Jake Lopez’s playing is busy, almost jazzy in tone, showing influences from the burgeoning math-rock scene; the rest of the band fall in line behind him, eventually settling into a pleasant alt-rock groove. The off-beat time signature re-appears on what passes as a chorus, but never becomes intrusive. As if ‘Take This To Your Grave’ era Fall Out Boy jammed with Wot Gorilla? on a Foals number, the results are both quirky and enjoyable.

Settling for something more straight ahead, ‘Perfect On Paper’ is a guitar-driven rock number which exploits the band’s influences from the louder end of the emo movement. Gang vocals lend a huge whoah, providing most of the main hook while slightly grubby sounding guitars take the weight of the melody. This isn’t as interesting as some of the EPs other material, but, perhaps, provides the strongest link with the band’s earlier work.

The other pair of tunes do not showcase anything particular different to the styles present in the previous numbers. Perhaps this EP’s weakest offering, the title cut is a weighty emo-ballad that somehow seems twice as long as it actually is, while ‘Pull Together’ – another mid-pacer, has a much better melody, lifted by some decent ringing guitar lurking in the back and a guest vocal from Love, Robot’s Alexa San Roman. Broadly speaking, both tunes are okay – and given a sense of gravitas via Bob Curtin’s production – but neither inspires quite in the way the band are capable when they really push themselves (as with ‘Tides’, for example).

Between their two releases, Sink Swim have honed their sound into a sharper, tougher, animal that hits the perfect balance between math-rock aggressiveness and alt-rock tunefulness. Although it tails of a little towards the end, there’s more than enough to recommend this EP to fans of math-rock and the lighter end of alt-rock. …And to those already familiar with Sink Swim: if you liked ‘Elements’, chances are you will love ‘Heights’.

January 2013

IO – Our Disintegrating Museum

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cover_6321615122012_rNow, here’s something rather special.  This third release from Brummie math metal band IO brings enough heavy intensity to satisfy most open-minded metalheads while, lurking beneath the surface, their sound retains enough clunking, grinding and, frankly, epic discordance to attract those who love the noisier end of alt- and post-rock.  Looking at each of their sounds and influences individually, you will surely have heard each of their tricks and traits from other math and alt-rock/metal outfits, but these guys combine each of those in a way which makes their complex sound far more compelling than most other bands working within a similar musical framework.

‘The Lost Cosmonaut’ starts off with a huge drum sound split between the left and right channels combined with an equally big guitar riff which gives the feeling of an unheard Tool recording, before falling away to reveal post-rock style discordance and a screaming vocal.  The math-metal influence at once becomes far more insistent than the tunes progressive metal beginnings, but there’s an all-round tightness at play that carries the piece no matter which direction IO decide to try and stretch it.  Despite the riffs – and Dave Wright’s immense drum parts – taking up most of the arrangement, a screaming voice cuts through the various complexities, bring a greater feeling of bands like Bring Me The Horizon and the heavier end of In Flames.  At the point where things appear to be in danger of repeating themselves unnecessary, IO tacks on a lengthy and atmospheric coda.  Most of the riffs subside, while over a simpler time signature the band adopt a few “la la” vocals and top everything with tinkly bell percussion sounds.  This opening number may sound at first like two or three ideas cemented together, but it really works, eventually sounding greater than the sum of its constituent parts.  At first, ‘The Cisco Kid’ sounds as if it’s eight minutes are going to be devoted to similar musical hallmarks as it begins with sledgehammer riffs and another intensely shouted vocal, but then, it swiftly branches out into one of the album’s finest arrangements.  In a way which wasn’t even hinted at previously, the first chunk of this tune works around a near circular riff, with multi-tracked guitars almost having a repetitive hypnotic effect.  Following this, something even more magical happens as the band work through an instrumental section where the drums lay down an almost funky groove and – for a while, at least – the twin guitars of Al Lawson and Stu Atkins seem happy to follow, before pulling away for something far more intense.  Overall, the instrumental parts of ‘The Cisco Kid’ could almost be the work of a different band to ‘Cosmonaut’.  Imagine ISIS with occasional input from the heaviest works of Leicester post-rockers Maybeshewill (but with vocals) and that may provide a useful – if not entirely accurate – reference point.

Taking a step back, ‘Vultures of the Arctic’ begins with two and a half minutes of sheer beauty, as lovely piano motifs are played against bass and drums in a classic progressive rock style.  By the time the whole arrangement kicks in, there’s enough space for ringing guitar lines and even acoustic rhythms to help flesh out the already huge sound even farther.  Never wanting to labour even the finest of musical ideas, things then shift towards more pointed math rock (led by some great lead work courtesy of Atkins) before moving firmly into alternative metal territory.  A mix of gruff and clean voices provide a good focus, but it’s Steve Wood with his enormous bass sound which proves to be the real star throughout.  ‘I’ll Need A Diagram’ presents IO at their fastest and heaviest – and, sadly, their least imaginative.  Those who like the more extreme elements of alternative metal will without doubt get some enjoyment from this number, but the preceding lengthier pieces prove these guys are capable of so much more.  Luckily, the number’s second half takes a more restrained approach: the angry vibes replaced with a waltz of punchy bass sounds, intermittent rhythm guitar and…brass.  It seems these guys have the imagination to constantly surprise [although any surprises will ultimately be void for those reading this before listening!]

The closing pair of tunes, ‘Horse for a Particular Course’ and ‘Voyage For The Alection’, combine various traits as heard through the earlier numbers, but even so, still bring moments of absolute magic.  Wood’s bass sound, in particular, is no less impressive by the end of the album, especially when combined with distorted Thurston Moore-esque/Mogwai influenced guitar drones as it is on the second half of the latter.  ‘Horse’ – a short instrumental – essentially provides a quick glimpse of each of the band member’s potential talents.  The off-kilter time signatures are handled with absolute ease by the rhythm section, while the clean and jazz-rock influenced guitar lines place the band more in line with other UK math-rockers Bear Makes Ninja and Wot Gorilla?, two bands who released material during 2012 that helped strengthen the burgeoning UK math-rock scene.

Whether tackling slow, pounding riffs or somehow tapping into sounds which could have been made by The Jesus Lizard, Between The Buried and Me or ISIS, IO are hugely entertaining.  The riffs instantly grab the attention while the overall sense of the unexpected – and the bands insistence on throwing in as many rock-based styles as possible – makes it almost impossible to stop listening until the last notes have silenced.  Challenging, ugly, cinematic, undeniably cool; the museum can be many things – but like most artistic curios, you’ll need to experience it for yourselves to make complete sense of its overwhelming scale and inevitable impact.

January 2013

SNAKECHARMER – Snakecharmer

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38829Although he has lent his musical prowess to many rock bands since the 70s, guitarist Micky Moody will always be most strongly associated with the early Whitesnake.  Since parting ways with David Coverdale and company in the early 80s, his association with that band is one he’s always been keen to flaunt, with his later bands trading off the word snake wherever possible [see The Snakes with powerhouse vocalist Jorn Lande and Company of Snakes with members of Swedish Whitesnake obsessives Snakes In Paradise].  Snakecharmer –Moody’s principal vehicle for 2013 –  sounds almost exactly how you expect, many of its eleven numbers sounding very influenced by Moody’s early 80s associations, something bolstered farther by the presence of former Whitesnake bassist Neil Murray.

In fact, Snakecharmer essentially marks the studio debut of the previous Moody/Murray live project Monsters of British Rock, re-enlisting three more of that band’s members.  Joining Moody and Murray are other famous faces – sometime Thunder drummer Harry James and ex-Wishbone Ash guitarist Laurie Wisefield.  That would be an impressive retro-rock line-up by most standards, but perhaps the icing on the cake with this outfit is the inclusion of Chris Ouseyon lead vocals.  Having lent his great voice to works by Virginia Wolf and Heartland, as well as an excellent solo debut in 2011, Ousey’s emotive and naturalistic delivery is a great match for the old-school, melodic yet tough musical chops practised by Snakecharmer.  Fleshing out the band on this debut release is keyboard player Adam “Son of Rick” Wakeman (also of Headspace) – the newest addition to the all-star line-up.

With no messing, ‘My Angel’ starts things off with an incredible slab of old-school rock, capturing each of the musicians in fine form.  The guitars lay down a riff which recalls early Whitesnake’s toughest edge, blending it with a groove that may have suited the latter-day ‘In Through The Out Door’ Zeppelin.  Harry James doesn’t quite bring the punch of Bonham or, indeed, the younger Ian Paice, but his backbeat is hefty enough, which with Murray’s beefy bass provides a rhythm section most classic rock bands would kill for.  ‘Nothing To Lose’ is even more groove-led, its chorus driven bluesy swagger clearly influenced by Moody and Murray’s formative years.  While not always a match for the late 70s David Coverdale, Chris Ousey takes the vocal and completely nails it, reigning in the higher registers of his voice and allowing the more soulful elements to take the lead.  If, somehow, you’ve missed his work with Heartland over the years, these four minutes should be enough to demonstrate why melodic rock buffs rate him as one of the UK’s finest singers.  Moving away from the tune’s solid foundations and enjoyable chorus, there are some even more enjoyable moments to be heard as Moody and Wisefield trade off lead guitar parts.  In short, this is classic bluesy rock the way you’ve always loved it.

Among the other stand-out tracks, ‘Stand Up’ brings more of a Heartland influence to Snakecharmer’s sound, and rather understandably, Ousey sounds more confident here than ever.  A strong chorus combining a killer hook and stabbing keys is the epitome of classic AOR, while the lead guitars attempt to bring a slightly stronger air of bluesy hard rock with their soaring notes, but ultimately it’s Ousey’s melodic rock background which carries the piece.  With each band member bringing something great to the mix (check out some of James’s drum fills during the closing moments), this ranks as one of the album’s unmissable tunes…and it’s up against stiff competition.  Bringing Murray’s huge bass sound to the fore, ‘Accident Prone’ is an enjoyable rock stomper, where the whole band weigh in with some hefty sounds.  While Murray unquestionably carries the number, Wakeman’s Hammond organ adds a strong musical colour throughout.  Since this is a tune firmly focused on rhythm and punch as opposed to any kind of flashiness, it’s not until the lead break the guitarists do anything of any huge interest. Upon arrival. their short solo includes some rather fine twin lead work, which while not necessary up there with Brian Robertson and Scott Gorham at their peak, is certainly sharp enough to make an indelible impression.

More excellent twin leads kick off ‘Cover Me In You’, a hip-swaggering blues-edged workout which could rival ‘Ready An’ Willing’ era Whitesnake at their best.  Against the solid foundations, Ousey really pushes all aspects of his vocal range – but being a true pro, he never resorts to squealing unnecessarily or forcing any part of his delivery.  The slower, near epic ‘Fallen Leaves’ brings each of Snakecharmer’s best elements together into a single number, as Moody and Wisefield indulge in emotive solos – bluesy and gentle at first, building to an inevitable climax, while the rhythm section sound like a force of nature throughout.  Ousey, meanwhile, tackles the vocal line in his usual soul-inspired style, allowing the edges of his voice to fill spaces with a huge presence, but unlike a few of his peers [chiefly Toby Hitchcock, but occasionally Glenn Hughes too] never becomes overbearing.

While some may knock Moody and Murray for trading off the ’Snake name yet again, Chris Ousey’s presence is enough to ensure that Snakecharmer are a great band in their own right. The songs may not bring anything new to the genre, but this supergroup – for the want of a word – are the business.  Eleven songs, no duds, Ousey and Moody in top form – this is a band whose work ticks all the right boxes for the classic rock fan.  Get this album when you can, you won’t regret it.

December 2012/January 2013

PIPES AND PINTS – Found & Lost

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7559ff1fc2421d9210335710df7750838a34939aFollowing an EP in 2008, US/Czech punks Pipes and Pints attracted a cult audience with their first full length LP in 2009.  Three years on, their brand of Celtic street punk gets a second airing on ‘Found & Lost’.   It is unlikely to win over many people who’ve previously not grasped any other bagpipe led punk outfits, but most of the songs are incredibly strong.  The strength of the material combined with a fantastic production job from Darian Rundell (known for  his work with Pennywise and 98 Mute) is enough to ensure the band picks up a few new fans of their chosen subgenre on their ongoing journey.

Offering a good overview of the band’s sound, ‘One Connection’ forges ahead with some tough street punk riffs and a sound worthy of Rancid/Lars Frederiksen & The Bastards.  Crunchy guitars and rumbling bassline attack the listener with a near relentlessness, and it is quickly obvious that in terms of rhythm section, Pipes and Pints could rival most of their better known contemporaries.  While the tune is excellent, the best moments come courtesy of a gang vocal that hits hard with some simple repetition.  …And it’s that shout-along, near anthemic approach which eventually proves ‘Found & Lost’s best calling card, something which sits proudly front and centre during the title cut.  While that particular song doesn’t have one of Pipes and Pints’ most imaginative arrangements, it wins through on the chorus alone.  On the relatively lengthy ‘Warpath 82’ they take a similar tack, topping a strong punk ethic with gang vocals, infectious whoas and, ultimately, moments of call and response between chorus and lead voice which provide a great sense of unity.

A touch more tuneful in places, ‘Calling Me’ adopts quieter verses, led by bassist Ondra Balvin.  When it kicks in, the tune has a full-on bounce quota, with a sound that hints at previous work classic punkers and sometime label-mates Face To Face.  While each band member gives their all, interestingly, the most memorable aspect comes from Votja Kalina’s bagpipes, as he uses them to deliver something akin to an upbeat riff as opposed to the more usual drones.  Throw in more gang vocals and you have a winning combination.  Although cut from similar elements, the rousing ‘Right Or Wrong’ pushes all the right buttons with punky attack and old-school, slightly 50s rock ‘n’ roll guitar break.  Since the music is solid throughout and (during the quietest moments) Syco Mike sounds like The Mighty Mighty Bosstones Dicky Barrett, this particular track would have been improved if Kalina had left the bagpipes to one side…just for a while.

Perhaps the strongest track overall on this second outing, ‘Her Life and Thoughts’, mixes traditional staccato punk riffs with heavier guitar chops showing a strong sense of light and shade throughout.  Although the vocals have the usual gravelly approach, the lyrics are delivered crisply and have an audible quality that’s well suited to the relatively melodic style adopted.  The bagpipes – used here in a very traditional fashion – add intermittent drones, which although aren’t necessarily bringing anything vital to the overall mix, are fine enough.  After all, you can’t really tackle Celtic punk without them.

Looking at the bigger picture, the band have a knack with a chorus that deserves to greet the ears of a bigger audience. If you like bagpipes and punk, you’re fine and dandy and firmly set for half an hour of fairly raucous singalongs, but if the bagpipe starts to grate – let’s remember, it’s never been the most musicial of instruments – ‘Found & Lost’ could be considered a tougher listen at times, at least for some.  At their best, though, even if not as well rounded as the Dropkick Murphys on this disc, Pipes and Pints could teach the often-on-autopilot Flogging Molly a thing or two.

January 2013

KURT BAKER – Brand New Beat

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kurt-baker (1)‘Brand New Beat’ is the first full-length release from The Leftovers’ frontman Kurt Baker.  Following a handful of EPs issued between 2010-12 (‘Got It Covered’, ‘Rockin’ For a Living’ and the excellent ‘Want You Around’) and a brief stopover with Wimpy & The Medallions, this album felt long overdue by the time of its arrival.  It was however well worth the wait.

The ‘Want You Around’ EP served as a great taster for this album, since some of the material treads a similar line in power pop/new wave inspired brilliance, but if anything, shows a slightly broader range of Baker’s talents.  An instant pop classic, ‘Don’t Go Falling In Love’ has a tuneful arrangement constructed around twin guitars and a fat bass.  Musically, the power pop style recalls late 70s outings by The Paley Brothers and the like, while Baker’s vocal has a warble which owes as much to the legendary Joe Jackson as it does various snotty pop-punkers which filled the mid 90s and beyond.  Some listeners may find his voice takes a small amount of tuning into, but there’s no questioning the strength of the song writing – the hook here is so simple, so pure even, you’ll catch yourselves singing along by the time the last chorus rolls around.  In places, the verses of ‘Hit The Ground’ are even more indebted to Jackson, while the chorus takes a (repetitive) more rock-based direction.  The two slightly different styles work well together, especially as lead guitarist – and producer – Wyatt Funderburk has just enough balls to link the two via a raucous and trashy, near metallic guitar break.

While the rest of the material has a similar mark of quality, Baker hasn’t rested on his laurels and filled the record with identikit Joe Jackson-esque songs.  Tapping into his quieter side, ‘She’s Not Sorry’ leans far more towards 60s bubblegum pop, with a harmonious arrangement that’s a dead ringer for Mark Bacino’s earlier work.  The vocal is a strong one, but can occasionally feel slightly full-on due to the chosen musical backdrop, which in turn is a tad casiotone; this, of course once you’ve adjusted, just adds to the overall sense of wonderful disposability.  Also with a nod to the 60s, ‘She Can Do It All’ sounds like it should be taken from an EP where KB pays tribute to Nick Lowe, it’s strong sense of melody, (another) tough bassline and quirky fills sounding not too far removed from some of that well respected song writer’s late 70s output.  In addition to one of Baker’s best vocal performances, his style of bass playing provides a great counterpart to the more sugary aspects of the tune.  Repeated listens highlight an excellent arrangement which, thanks to Funderburk’s superb production, really captures something special without ever sounding flashy.  A second attempt at a slow number ‘How Many Times’ fares a little less well as it sounds like an Elvis Costello cast off, with Baker curling his vocal lines appropriately.  It’s not a bad tune all things considered – there are enjoyable chorus harmonies and a great bass sound – but the slightly overdone vocal combined with the xmas bells and slow pace makes this drag in comparison to the rest of the album.

Fans of Baker’s slightly punkier past should get a quick thrill from both ‘Partied Out’ and ‘Weekend Girls’, as he takes time out from the bubblegum stance to push the guitars to the fore.  While definitely sharper around the edges, both numbers retain Baker’s gift for an instantly loveable chorus.  Even at the noisiest end of ‘Brand New Beat’s musical spectrum, ‘Weekend Girls’ finds space in the mix for a new wave keyboard accompaniment and other relative musical complexities.  Just as a couple of the other tracks will inspire singing along, these are near-guaranteed to make you want to cut loose and jump up and down.  [In terms of new-wave inspired pop punk, this pair of tunes are among 2012’s best; even better, though, is the self-titled LP from Dan Vapid & The Cheats – check that one out ASAP.]

Since the record clocks it at barely half an hour, in some ways, it would have been nice for ‘Want You Around’ to have reappeared here for those who missed it first time around, but on the whole, ‘Brand New Beat’ is an expertly delivered exercise in quality over quantity.  Those who’ve dipped in and out of Baker’s past works will undoubtedly love this record with a capital L, while other power pop lovers should find it a very accessible set.

January 2013