Category Archives: pop

MARCEL LEGANE – Heart Life EP

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leganeMarcel Legane’s second release has a striking clarity; his well-crafted songs are given a great boost by crisp production. The solid drum sound and sharp guitars lend themselves well to his brand of radio-friendly brand of emo influenced pop-rock. We’re not talking instant gratification though; Legane’s song writing style is one where those great moments only really present themselves after two or three listens…but once you’ve familiarised yourself with his sound, it’s obvious he’s a man who knows how to mix occasionally quirky arrangements with memorable hooks.

The opening number ‘Heart Receding’ has a sound which captures the listener’s attention from the start thanks to a great drum sound courtesy of Ollie Waton. There’s great interplay between his spiky drum pattern and Ross Chapman’s ringing guitar chords, which are both under pinned by a semi-busy bass line from Adam Double. Legane’s vocals have elements of softness throughout the verses, but as the choruses kick in, his voice sounds strong. There’s a small amount of auto-tune at play (as a stylistic choice, I think), but the track didn’t really need it – I’m sure Legane’s natural delivery would have shone through. The second number builds on the strengths of the opener; Legane sounds more confident delivering an extremely tuneful vocal line over slightly quirky pop-rock. The musical high points here come courtesy of another busy bass line and new wave inspired keyboards.

‘Superior/Inferior’ is this release’s absolutely essential track. Waton delivers a playful drum part which has a very percussive style. The verses are built around sparse rhythmic qualities, but for the pre-chorus and louder sections, his pounding drum style echoing the lyrics “don’t cast my dream aside/the sound of your judgement pounding out”. Legane’s vocal range isn’t especially broad, but his style is well suited to the musical style. The simplicity of the vocal line is at odds with the relative complexity of the drum part, but the result is one which seems effective. It’s a track which stands up to many repeated listens.

After a strong intro dominated by Waton’s drums, ‘Games’ becomes a little sickly, as Legane launches into a tune which sounds a little too boy-band, but that alone may have been okay (as far as these things go), but the whole of the opening verse is drenched in auto-tune. If you imagine the kind of auto-tune Fall Out Boy’s Patrick Stump has to help him with those long notes, only slapped across absolutely everything and you’ll get the picture. It’s a couple of notches short of the inhuman qualities explored by Cher on ‘Believe’ (and utilised on countless hideous pieces of r ‘n’ b), but it still has an unnecessary inhuman quality. As the music progresses, things don’t seem so bad, particularly on the slightly rockier moments, but even so, the over commercial edges of this number don’t capture Legane at his best. ‘Friendly Fire’ closes the release with something mellow. Legane’s performance is okay (substantially less auto-tune than before) and it’s more of a slow-burner than the first couple of tracks, but Ross Chapman and Ollie Waton shine throughout – particularly Chapman’s crystal clear guiltar lines.

Compared to his previous release (2010’s ‘Battle EP’), Legane has improved greatly as both a song writer and arranger. In becoming far surer of the sound he wants to achieve, on this EP he finds himself in a position to enlist better musicians – and this alone ensures ‘Heart Life’ offers a decent listening experience, even despite those auto-tuned elements.

March 2010

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

THE MAN – Lake, Ocean Or Sea

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Fronted by Andreas Johansson, Swedish outfit The Man began life as a three-piece band, bought together by their love of 70s pop. Their debut album ‘A Space Waltz’ was picked up for release in Japan by Philter Records. By the time of the recording of this sophomore disc, The Man had slimmed down to a duo, with various other musicians dropping by to lend a hand. ‘Lake, Ocean or Sea’ has plenty in the way of 70s vibes, but those expecting the usual ELO, 10cc and Wings type influences (as per Oranjuly or the rather wondrous Silver Seas) are likely to find themselves feeling a sense of indifference, if not disappointment.

After an intro, ‘Hold On To Nothing’ begins an ambling journey across four minutes, threatening to build to a climax without ever getting anywhere. The vocal is clear but uninspired, and while the use of drums and glockenspiels add occasional depth, it’s never quite dramatic enough to create a long-lasting impression. ‘It’s a Fever’ is a little more instant, but while it’s well-arranged chimes of bells and ringing guitars do their best to recreate a retro-pop sound, The Man have clearly forgotten to write anything memorable by way of a hook – a weak attempt at a chorus would have made a great pre-chorus, but there’s nothing to follow that and take things to the next (necessary) level. ‘What I’d Do’ has a dreamy pleasant vibe, combining Teenage Fanclub styled retro grooves with a gentle trippiness. The swooning sound evokes summer days, but far too much of a drowsy slant means that a track which started out as pleasant and almost other-worldly drifts into dullness by its end.

‘A New Song’ presents a far more upbeat slant to The Man’s sound. Moving away from previous melancholy atmospheres, this number has a more throwaway pop feel. The verses are jaunty with a huge focus on stabbing keyboards; though their sound is a little harsh. Rather than being those of a Jellyfish and 10cc variety, these have the air of a hastily hammered tack piano, and as such, can become grating. Even so, there’s a sense during the verse that we’re building up to a big chorus – and it’s one which doesn’t disappoint, with harmony vocals and bells a-plenty. On its own, it would certainly be a winner, but somehow, The Man have decided that an ugly new-wavish synth would be the icing on the power-pop cake…and it damn near kills the good elements.

‘These Streets’ presents mid-paced singer/songwriter pop with a heavy seventies slant. It’s one of the times The Man’s melancholic pop truly works. The harmony vocals are smooth and the piano playing understated. The main riff is used to bring together the elements, which in the middle section, build up a gentle, yet brilliantly arranged atmosphere. By the time of the vocal reprise, you’ll be left wanting more. Even Johannson’s lead vocal here is among the album’s best. ‘At Home In Water’ comes almost as close to being as good, with atmospheres and keyboard loops which feature a strong influence from Mercury Rev at their peak – an influence reinforced by slight reverb across the vocals.

By the tail end of the album, though, things tail off again. ‘Thinking About Leaving’ lollops along in a disinterested manner; its ringing guitars as dull as its uninspired vocal. The sound of harp strings and harpsichords of ‘Never Grown Up’ should have provided a good closing statement; had it been left as an instrumental, it still might’ve been. Once Johansson starts to sing (again, singing in his oft-used twee style that carries little to no weight), his voice masks the musical layers.

Some of The Man’s atmospheres can be enjoyable (especially, when they settle into their occasional Mercury Rev inspired stuff), but the songs themselves are often left in need of those vital, recurring and instant melodies. While a couple of songs are more than worth seeking out, when approached as a whole album, ‘Lake, Ocean or Sea’ is a little too downbeat. Too much reliance on chill-out summery atmospheres and a distinct lack memorable choruses leads to a mostly wishy-washy, rather forgettable experience.

Visit THE MAN at myspace here.

January/February 2010

MICK TERRY – The Grown Ups

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With its lyrical themes and stories from the past loosely inspired by a diary from 1982, you could say this debut by London based singer-songwriter Mick Terry has been a long time in the making. ‘The Grown Ups’ is a personal record, but not in the soul-baring sense. It’s an album of lost friendships, relationship and closure which always retains a smile of optimism.

‘Hoxton Son’ opens the disc with simple, stabbing pianos with a gentle bass accompaniment. At the point where you think it’s about to elevate into Jellyfish ‘Ghost at Number One’ territory, Terry goes for a key change, but little more. Naturally, the rumpty-tumpty drums appear eventually – and by the time they do, the sound of the whole band is warm and inviting, without becoming intrusive. The sampled brass near the end isn’t entirely necessary, but on the whole, this paean to a London town has a charming quality, effectively pulling the listener into Terry’s musical world. ‘Northern Exposure’ follows suit with a similar marching feel – this time bringing more focus to the acoustic guitar. The mix of guitar and organ is effective and unfussy.

The acoustic based ‘Comets’ features slide guitar and accordion, but the heart of the song is provided by guitar and brushed drums. Terry’s storytelling approach comes with a heart warming quality and often unassuming manner. The chorus has a vocal approach which at first feels like it may irritate, but after a few listens becomes oddly endearing. The lead vocal has an intimate feel and a sound which reminds me very much of another London based singer-songwriter, Rich Barnard. I’m not sure whether that’s down to song writing style, or just the work of his English accented delivery. ‘Ringing Like a Bell’ has a very seventies feel, with tasteful electric guitar leads to punctuate the acoustic work. The warm bass and handclaps lend themselves to a tune with a very complete feel.

For the last couple of songs, the quality tails off. In keeping with the 1970s,
‘Tinseltown’ is pure easy listening; it doesn’t have the cool or song writing chops to make Mick Terry an heir to Billy Joel’s vacant piano stool, but certainly tips the hat to Andrew Gold. While Terry’s soft vocal and tales of jaded seaside towns and days past show strength, the music could have done with a little more embellishment – more than the ambling keyboard and drum machine featured.
Normally, I’m much more critical on singer-songwriter material which relies on programmed elements as opposed to more organic sounds, but Terry’s song writing has enough charm to get away with it here (but only just). Similarly, the keyboard string sounds which propel ‘Safe From Sound’ sound cheap, but an understated bass accompaniment and decent vocal performance (including a Brian Wilson inspired interlude) make the best of what could have been a dud. References to Small Faces’ ‘Ogden’s Nut Gone Flake’ and especially “The first Dexys album” reinforce the Englishness of Mick Terry’s teenage years. If viewed as a demo sketch, it’s easy to see what he was intending here, but this number doesn’t sound like a finished work – and certainly isn’t up to the quality of ‘Hoxton Son’, ‘Northern Exposure’ or ‘Comets’.

Featuring just eight songs and a reprise, ‘The Grown Ups’ is a succinct work, with the strongest tracks front-loaded; but two or three absolute gems held within provide more than enough reason for making it an album worth visiting…and revisiting.

February 2011

BEN FULLER – Aquarian Son EP

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Ben Fuller believes that every place he visits and every person he meets has a story and that visiting new places fills him with new energies he puts into music. It’s likely it’s that kind of wandering spirit, hippie ethos which gives his debut EP an upbeat vibe.

‘Ashes’ opens the EP with a 4/4 semi-acoustic workout which is musically strong. While the music is great (incorporating elements of Ryan Adams and the many other Americana-pop singer-songwriters and bands out there) and Fuller’s song writing seems to be built on solid foundations, his vocal is an acquired taste. There’s something about it which seems like a product of the studio – an unnatural shininess detracts from Fuller’s performance. Something which should have a natural sound feels a bit too “perfect” and in doing so has lost a lot of heart. ‘Handsome Lover’ offers a decent slab of pop/rock with a tougher edge than most of the EP; the lower end of Fuller’s vocal range steers away from the previous irritation. It’s hard not to listen to it and not be reminded of Jakob Dylan and The Wallflowers, which, as most people know, is never a bad thing.

Although slightly slower, ‘Favourite Song’ hovers somewhere between the two styles of the previous songs. The chorus retains the decent punch and the verses have a gentle feel. With the help of its decent-ish chorus, this should have been a highlight, but Fuller’s voice isn’t that great here – as with the opening track, it sounds too clean; almost a little cartoonlike. I’m still unsure as to whether some studio trickery has been employed… There’s always a possibility his natural voice carries an unnatural timbre, of course – look at Paulo Nutini. Actually, let’s not.

Musically, ‘Inside Out’ is a great example of jangly, slightly retro pop – the kind Counting Crows are capable of, that is, on the rare occasions they’re not wading knee-deep in an overly wordy mope-athon. The ringing guitars and an unfussy drum rhythm keep things buoyant and the track has enough peaks and troughs to stop it from ever becoming stale. Once again, though, Fuller’s vocal style has a quirkiness which may not always appeal, but that’s easy to gloss over when everything else is decent.

As a sort of tribute to Fuller’s roots, on the surface, ‘California’ carries a chirpiness which strives for that perfect radio hit for the summer and in doing so it’s effective. Usually, I’m not a fan of the almost beach styled pop, but thanks to a simple chorus and a great guitar part, it manages to be a winner. However, if we look at that simple chorus a bit closer, this ode to California doesn’t necessarily seem to be all together positive. It appears to be a statement of how California thinks of itself as above others: “We don’t want nobody, we’re California!” It’s infectiousness ensures this is memorable long after listening, making it one of the EP’s strongest cuts.

‘Aquarian Son’ occasionally has a poppier edge than a lot of other stuff of a similar ilk and Fuller’s voice can be incredibly irritating at times. However, largely due to Fuller’s knack for writing uncomplicated melodies and having a decent band in tow, most of the songs really stand out. While it’s not as introspective as some of Ryan Adams’s gentler works, it’s not hard to imagine that some of his fan base could find something to latch onto while listening to this EP; or maybe if you’re a big fan of the lighter moments of Train’s work (most obviously their ‘Save Me, San Francisco’ album) this will have some appeal.

June 2010