Category Archives: Album & EP Reviews

SINK SWIM – Elements EP

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‘Elements’ is the five song debut EP from LA based band Sink Swim.  Their solid mix of pop-punk, emo and alternative rock (with a stronger leaning towards the latter) already guarantees the band will have an audience, since the end result sounds a lot like other bands of a similar ilk. While almost instantly familiar, these guys are musically really tight, with the bass playing being particularly noteworthy.

From the beginning of the first track ‘Beneath Our Sleeves’, there’s a strong feeling that this still young band is incredibly professional, especially considering their relative lack of recording experience. Following a brief drum roll, the band crash in at a high speed; the chiming guitars being the first thing to hit the listener, before a brilliant rattling bass makes its presence felt.  In the alt-rock/emo tradition, the lead vocals have a fairly light style, but they are presented with some great backing harmonies to round things out. By the time the chorus rolls around, the lead vocal utilises much longer notes (tempered with plenty of studio filters), things are a little smoother and more alt-rock than pop-punk. The end result – still with multi layered vocals and maximum jangle – makes for a more than reasonable opening statement.   ‘Losing Sleep’ is punchier all round – again retaining that great bass sound (courtesy of great studio skills from Bob Curtin at RiseUp Recordings).  If you can tear your ears away from that brilliant bass, the guitars shift between pop punk rhythms and solid alt-rock chiming, providing a solid base for another filtered vocal. Topped with an enjoyable chorus, sounding as if written with the live circuit in mind, ‘Losing Sleep’ is the EPs best track.

While the next two tunes don’t break too far from a familiar formula laid down by those first two numbers, ‘Breeze’ warrants a special mention since it’s quirkier rhythmic elements stand out, while the staccato guitar riffing is of a kind which never goes out of style.   Although the chorus isn’t as instant as it could have been, the whole package is very accessible.  Between this track and ‘Losing Sleep’, the EP is worth checking out [but then only if you are already fond of alt-rock/emo-ish stuff, of course… Sink Swim are probably unlikely to win over those who remain so far unmoved by the sub-genre].

The closing number, ‘Last Year’ slows things down.  While it’s mix of acoustic and electric guitars (again, very much in a ringing style) and emotive voice with a crying edge doesn’t make it hugely different from the tunes which have gone before, the extended arrangement shows a slightly broader musical range.  Thanks to a very multi-layed sound, bought together (again) by really live-sounding bass work, it’s near-six minutes doesn’t drag, even though this could have just as easily clocked in at half the length.  This is testament to strong musicianship and equally strong melodies.

With five brilliantly produced tracks boasting strong performances throughout, ‘Elements’ is a debut EP which has a very professional air.  If you’ve ever had a passing fancy for Something Corporate, Relient K et al, it is likely Sink Swim will hit the mark for you too.

June 2012

UNDERGROUND MAN – Knows Me Better EP

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Occasionally something completely unexpected appears in the Real Gone review pile.  This debut EP by Brooklyn performer (The) Underground Man is such a release.  It appeared with little information attached and even a visit to the official website drew a near blank – just a splash page featuring a hat-adorning silhouette, plus Bandcamp stream to the EP.

So, what is it about? Just who is the Underground Man?  What does he want?

The EP is comprised of five acoustic-based songs, played a twangy, late ’50s style, replete with underplayed harmonies.  There’s something about this release that sounds like it could’ve had roots in a side project from The Magnetic Fields’ Stephin Merritt.  Maybe it’s the cheeky New York edge; maybe it’s the blatant disregard for popular musical whims and fashions. It’s in the attitude as opposed to the end result: it’s not the work of Merritt of course (to begin with, this performer lacks Merritt’s rich baritone) but, just maybe, the amiable retro qualities present here may appeal to his devoted fan base.  Then again, they can be a demanding bunch, so maybe not.

The songs themselves are enjoyable in an old-fashioned (or rather post-modern take on old-fashioned) way, with the harmony-driven ‘Goodbye Look’ being the pick of the bunch.  The one-two shuffle and simple vocal suggest a love for the iconic Buddy Holly, while the recording really highlights the hard sound of guitar strings.  Just as charming, ‘It’s Not True’ mines a similar musical past as the best works of She & Him. In fact, after a couple of spins, it’s near impossible not to imagine Zooey Deschanel singing alongside whoever this unnamed man may be.

The remaining three cuts are enjoyable and represent more retro fun – suitable for either late night listening or wandering the streets with your portable device.  ‘Hey Love’ is upbeat, almost early Beatles in its execution, with some pleasing live-in-the-studio elements and ‘Trouble Follows Me’ wins through with a busy guitar break and lackadaisical mood, despite not being as strong overall.  Interestingly, the slow title cut – and lead track – is perhaps the weakest, never really tapping into Underground Man’s full potential.  After a wobbly start it never quite recovers, but doesn’t lessen the impact of the release too much.

Hear this mystery man’s take on fifties pop and pop-culture for yourselves: the EP is available as a free download via the Bandcamp widget below.

June 2012

KING LOCUST – Musk

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The first thirty five minutes of King Locust’s 2010 release ‘Musk’ uses downtuned riffs for maximum impact.  While the core of their sound borrows from a lot of nineties grunge and alternative music, there are a few later influences – namely a few post-hardcore ones – cutting through their best songs.  It’s true there’s more than a hint of Alice In Chains scattered throughout this album, but as it progresses, it becomes obvious there’s far more to this band’s take on nineties revivalism than just recycling a few old fashioned grunge riffs.  Some of the end results may not always be entirely original – such is the nature of any kind of revivalism – but ‘Musk’s first half results in an incredible level of heaviness.

One obvious standout, ‘Sand’, comes loaded with a huge swaggering riff, hugely weighty but never totally leaden.  Imagine ‘Dirt’ era Alice In Chains with a huge Melvins-style echo on the drum kit and you’ll have some idea of where King Locust are coming from.  There aren’t any overtly catchy hooks to be had, but to be fair, the weight behind the riff is everything.  To begin with, ‘Mea Culpa’ hints at a lighter and fuzzier mood briefly, but beyond the intro, the riff takes on a slow and fairly uncompromising tone.  While this dominates most of the four minutes, the first verse offers a contrast with a more alternative approach, and an atmospheric vocal which sounds like a Dutch Travis Meeks.  No such luxury for the second verse, however, where King Locust favour another heavy riff to back up a dual vocal: one voice adopting a metallic growl, while the other indulges in unsettling shouting.  It’s hard not to be reminded – at least in passing – of alternative metallers Craw with their brand of Helmet meets Tool ugliness.

By the time the sledgehammer ‘Guesthouse’ hits its stride, it’s surprising how strong King Locust’s riffs are.  While the verses still have a grunge edge, any earlier Alice In Chains-isms seem safe in comparison.  Once again, looking beyond the grungier moments, the heavy end on the chorus showcases more of a Page Hamilton/Helmet approach, as the riffs take on more post-hardcore intensity.  The guitars cranked to eleven meshing with an unsubtle drum line and a shouted vocal of “smash my head against the wall” shows King Locust at their most intense and uncompromising best.  Bringing the first half of the album to a thunderous close, ‘So Lonely’ stokes up the bottom end yet again, and as such, all guitar work takes on a mantle which would challenge ‘Blues For The Red Sun’ era Kyuss. While that brings a certain stoner and doom-like pace, beyond that, King Locust are still firmly within the grunge camp as opposed to stoner rock.  This is cemented by slightly nasal vocals – given extra weight by a harmony voice – which, when combined, makes no secret of King Locust’s love of early Alice In Chains yet again.  Still, there’s precious little wrong with having such a seminal influence.

Just when you think you’ve heard all their tricks, by the midpoint, King Locust don a very different musical hat, for ‘Musk’ is very much a disc of two halves.  The second half brings a bunch of experimental – and often acoustic based – instrumentals which sound like the bastard offspring of the Alice In Chains ‘Unplugged’ album colliding Sonic Youth’s experimental collages.

It goes without saying that the first half of the disc comes with the broadest appeal with regard to everyday listening.  The second half is still enjoyable in its own right, since the downtuned acoustic guitars and percussive arrangements make for some interesting, alternative late night musical backdrops.  The semi-wandering nature of the eight untitled instrumentals provides an excellent contrast to the band’s noisiest tendencies.  While King Locust are a great “all out” heavy riffing outfit, there’s someone within the ranks pushing their musical boundaries, occasionally achieving results which are just as interesting in their own way.  The closing piece, in particular, makes an instantly good impression by combining a Led Zeppelin rooted riff with a downtuned edge, and then pitching that against a much cleaner rhythm.  It’s more direct than most of King Locust’s instrumental works, it must be said, but it purposely brings the disc a slightly more upbeat finish.

King Locust twists their love of Alice In Chains and other classic grunge-based influences into something a little darker than most of their predecessors on occasion, thanks to an equal love of a lot post-grunge metal-based acts.  The bottom line is – in terms of nineties revivalism, at least – ‘Musk’ is more than enjoyable enough…especially when cranked through a decent set of speakers.

This rather split personality disc is being offered on a “pay what you want” basis, which can be obtained from the widget below.

December 2011

ESA LINNA – She’s Not A Human Being EP

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Esa Linna began his recording career as bassist with the Finnish pop punk band Time Flies in the 90s before moving on to a grungier direction with the relatively short-lived 86 Yourself. In 2012, as well as being a member of the Finnish language band Itämaa, he released ‘She’s Not a Human Being’, his first solo single and EP of the same name.

Power pop enthusiasts will be keen to note that for the title track, Linna enlists the help of a cult hero: one-time member of Jellyfish, Mr Roger Joseph Manning Jr, steps in to lend a hand on keyboards and backing vocals. That lead track is certainly the EP’s strongest offering; the guitars are sharp and the backing vocal harmonies are lovely, as Esa and his band (also featuring Itämaa bandmate Seppo Pohljolainen on drums) power through a well-structured pop-rock tune. Manning contributes a world of swirling organ fills during the second half, which definitely strengthens the overall arrangement.

’20,000’ days slows things down a little, presenting a wall of chiming guitars. A mid-paced approach recalls the works of Big Star and Belshill’s finest Teenage Fanclub, which, for many, will be a very welcome sound. Like the opening track, it’s all musically solid, but it’s as this track progresses, the weakest link becomes more obvious… While Linna is a reasonable songwriter and a great arranger, he’s not always a great singer. His voice is a little flat throughout, which, when applied to this kind of classic sounding pop/rock, just weighs everything down a little. Looking past that, the guitars hold their own throughout, while the tinkling pianos are a welcome addition. The softer ‘Piece of Me’ relies more on a semi-acoustic arrangement, and here, the vocals seem far more suited to the music. On the occasions the lead vocals wobble, they’re bolstered by cleaner harmony vocals to give things a bit more of that necessary lift. While vocals aren’t necessarily Linna’s strong point, it should be noted that he’s a handy man to have around if you need instruments played on your own release: on this track, he’s a veritable one man band, playing bass, guitar, mandolin, banjo, cello, keyboards and percussion instruments!

Just when you feel you’ve got this EP’s pop/rock sound and influences sussed, Esa throws a massive curve-ball. A curve-ball so wide, in fact, it could end all proverbial curve-balls. Closing this EP, the rather ugly ‘Meat Market’ attacks the listener with treated vocals, harsh electronic sounds and meaty beats. If you can make it past all that – and Esa’s throwaway claims of “here at the meat market, we’ve got some low prices” – there are some crisp, ringing guitars at play, but they’re often second fiddle to everything else. ‘Meat Market’ may (or may not) represent a reasonable slice of electronica, but if you came here for pop/power pop, it’s not going to float your boat, whether or not it’s intended as a humorous afterthought. It’s likely that Esa doesn’t care whether people like this track of course, he’s already got Roger Manning Jr on board elsewhere, so that’s always going to be a relatively big draw.

So, then, the ‘She’s Not A Human Being EP’ is a bit of a mish-mash; a release that paves the way to bigger, more interesting musical experiments. As a standalone release, it is, perhaps, best viewed as a curio. A curio featuring a one-time member of the legendary Jellyfish, but a curio nonetheless.

May 2012

KING WASHINGTON – The Gears

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The GearsImagine what would happen if the fantastic harmony vocals of Crosby, Stills & Nash, America and their seventies ilk met with Dave Matthews Band and other like-minded jam-band revivalists of the 1990s… Surely the end result would be something special?  That’s kind of what King Washington sound like on their debut full-length release ‘The Gears’.  And while listeners will undoubtedly pick up on a myriad of influences while listening to this record, what’s perhaps most important is the level of musicianship and songcraft; on this twelve song DIY release, King Washington prove themselves as good as any rootsy outfit lucky enough to have major label backing and a huge recording budget at their disposal.  Simply put, ‘The Gears’ IS something special.

The journey starts gently, with the title cut opening with a simple guitar riff coupled with tight wordless harmony vocals. Before long, this then breaks into a strong arrangement where those harmony vocals really get a chance to take centre stage.  Aside from those harmonies, the clean-toned guitars offer some quite lovely, choppy rhythms, while the rhythm section is suitably tight.  ‘Fourth of July’ brings another strong sense of harmonies, once again; in addition, on this second number, King Washington indulges in a few tougher sounding traits. A quasi-aggressive intro allows more room for guitar work, offering a classic echo-driven sound.  The main bulk of the tune is dominated by strong melodies and a full arrangement offering some retro solos and tinkling harpsichord sounds.  These opening numbers certainly work well as a pair, since they show an almost complete range of King Washington’s abilities.

The slow ‘Rosewood Angel’ is the album’s finest tune, full of softly played lead guitar, which occasionally recalls 1970s southern rock.  Combined with another wall of harmonies, this track really shines; a great achievement indeed, especially considering it’s up against some pretty stiff competition.  The guitar work that sounded so appealing during the intro provides recurring musical enjoyment throughout, and while it’s not a tune with an obvious hook, repeated spins allow various musical layers to present something enjoyable with every subsequent listen.  The semi acoustic ‘Fancy’ comes with a slight Dave Matthewsy vibe, where the warmth of the bass pulls in the listener.  The soft music is accompanied by an equally restrained vocal, and while it doesn’t offer much that’s radically different from KW’s other tunes, it’s nicely arranged – a little simpler, perhaps – with the rhythm section taking the bulk of the work: it’s the sound of summer, captured in a three minute capsule.  For superb examples of the King Washington sound, both this track and ‘Rosewood Angel’ are highly recommended listens.

‘Cotton’ is much punchier than your average King Washington tune (not that any of them are average), with upfront drums and a marching beat.  At the heart of the piece, though, are KW’s tried and tested world of meticulous harmonies, ensuring most of harder edges don’t feel at all out of place.  It could be said that the discordant guitar solo pushes the musical envelope just a little too far, but the unsettling mood is brief.  While musically this track may not be as intricate as some others on offer, those harmonies win out.

Finishing off an already pretty cool collection of songs, the acoustic ‘Selling Out’ leaves the listener on a chilled, but not completely downbeat note.  The finger-picked guitar lines are soft and familiar, while the vocal has a fair amount of heart.  There’s a lesser focus on harmonies at first, allowing frontman Tyson Kelly a chance to stretch his voice out a little, his slightly weary delivery sounding like it comes from someone far beyond his years.  The second half of the track reverts to more familiar sounding harmony singing and a bigger arrangement, both of which bring the track – and the album – to a satisfying end.

If you’re looking for a mellow, summery listen, it’s hard to find fault with King Washington’s ‘The Gears’.  Each of the songs are very well crafted, and a gloriously full-sounding production (courtesy of the band themselves, with Joe Puerta of Bruce Hornsby’s Range/Ambrosia fame) is the cherry on the cake.  Retro, sure, but retaining an almost timeless appeal, this is a fine, fine record indeed.

May 2012