Tag Archives: alternative

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

Dead Wolf Club: New single and tour dates

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Throughout 2012, Dead Wolf Club toured regularly to promote their debut album.   Their second album is almost upon us.

Before the release of the new album (‘RAR’, released early 2013), Dead Wolf Club are proud to announce a new single, ‘Strange Letters’.

‘Strange Letters’ will be released in January as a 7″, strictly limited to 100 copies, which you can order here.  The band’s debut can also be purchased here.

In the meantime, ‘Strange Letters’ is also offered as a stream and FREE DOWNLOAD, via the below Soundcloud link.  The opportunity to download the track for free expires on Christmas Day, so get in there quickly!

DWC have also announced their first live shows for the new year, as follows:

FEB:
8 Isle of Man Douglas Villa Marina
9 Liverpool Shipping Forecast
11 Leicester Scholar Bar
12 Manchester Live Lounge
13 Glasgow Bar Bloc
14 Chester Compass
15 London Sebright Arms 


16 Guildford Boiler Rooms

WOT GORILLA? – Kebnekaise

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Although they take their name from a classic mid-70s Genesis instrumental, no further comparisons with the UK’s arguably most successful prog-rockers-turned-stadium-rockers should be sought from the work of Halifax-based band Wot Gorilla?  Yes, the complexity of their sound could be considered progressive, but always progressive in a math/art-rock way as opposed to a “classic” prog approach.

‘Kebnekaise’ (the band’s full-length debut, following two self-released EPs) presents a world of arty, jazzy, angular and occasionally noisy sounds which somehow come together effectively to create a challenging kaleidoscope of art-rock.  As if Tubelord decided to collaborate with Animals As Leaders, members of Mr Bungle and King Crimson, the results are often amazing.

The opening instrumental ‘I Beat Up The Bathroom, I’m Sorry’ shows an incredible musical tightness.  To begin with, guitarist Ben Farnell plays a jazzy riff mixing finger-picked musical motifs with a little tapping.  His tone is superb.  The drums – again slightly jazzy – make excellent accompaniment, as Si Marks offers percussive fills and a funky groove.  As the electric guitars crash in (albeit briefly) things become more of the common or garden indie rock variety, before sliding almost seamlessly into the oddly titled ‘Melted Welly’, where Marks really gets the opportunity to cut loose and show off his talents.  Again, a hefty mix of jazz, funk and rock creates an impressive rhythm from which the rest of the band can build.  Farnell’s guitar parts are an obvious extension of the earlier instrumental, while the tune has an abundance of rhythmic changes (and stops), never appearing fully settled.  Mat Heigh’s lead voice is of the slightly nasal, higher pitch indie variety – similar to Tubelord’s Joseph Prendegast – which will provide enough leverage for younger listeners to remain convinced that (much in the same way they feel about Radiohead), Wot Gorilla? are not a prog band.

‘Suspects’ takes Wot Gorilla?’s core sound an pushes it a touch farther.  From the avant-garde approach during the intro – featuring some almost ridiculous stops – the band move through musical passages where the vocals meet with more ringing, jazz-edged guitar lines, before tackling various off-kilter funky grooves tempered with brief spells of anger.  It’s challenging and sounds like it could fall apart at any time, yet the band always manage to keep things together in a most impressive way.  The bouncy ‘Holy B’Jesus’ is one of the most accessible numbers, at first working around a solid indie groove with jangling guitar work.  Like the rest of Wot Gorilla?’s work, however, it doesn’t stay that way for long: by the middle of the track, they’re throwing in odd time signatures, lolloping across slower riffs, and generally being all arty.  The final section of the number proves one of many highlights of ‘Kebnekaise’, featuring some superb hi-hat/percussion work and a warm bassline, before careening into a wall of noisy indie-rock guitars that – before long – hammer the same chord until coming to a jarring halt.

Moving away from the arty and farther towards the aggressive, lead single ‘Snow White’ eschews the jazzy, finger-picked guitar parts at first for some noisier alt-rock chops.  To balance out the (relatively) simpler sounding arrangement, Jonny Hey’s bass parts are pushed right up front and the end sound is impressively chunky.   Just as the indie rock gathers momentum, it’s all change for a rather pointed, jazzy tune, which sounds like one of the best things Tubelord never recorded.  These two contrasting styles would be enough to ensure ‘Snow White’ left an impression on its listening audience, but to finish, Wot Gorilla? take things a step further with a brief moment of extreme metallic riffing.  A good way to finish this musical journey.

If there is any downside to this release at all, it’s that there’s a bit too much of a kitchen sink approach to most of the tracks.  Perhaps breaking things up a little would have given the album more of a varied feel, overall.  It could be argued that it’s all so impeccably played, that the sheer complexity of the material constantly showcases a band sticking rigidly to their best strengths – and that’s an argument which certainly holds true.  That complexity, however, will make the album somewhat challenging to get through in one sitting for some.  For the more patient, however – and for those math-rock and art-rock devotees (for most of whom, “progressive rock” are likely dirty words) – ‘Kebnekaise’ is a cornucopia of twisted musical delights.

August 2012

CHIMP SPANNER – All Roads Lead Here EP

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Chimp Spanner is an instrumental project from the mind of multi-instrumentalist Paul Ortiz, where he gets to push chugging riffs – played on seven stringed guitars – to extremes while mixing metal, progressive tendencies and a touch of jazz-rock fusion.  The results are technical and complex, but often, there’s an unexpected melodic counterpart which can be enjoyed by listeners who really aren’t inspired by the general muso-ness of it all.  Chimp’s previous release, 2010’s ‘At The Dream’s Edge’ featured some superb tunes and jaw-dropping musicianship; 2012’s ‘All Roads Lead Here’ effectively extends the musical themes of that release, creating something equally intense and twisted, but strangely magical.

‘Dark Edge of Technology’ throws the listener in at the deep end, ploughing through a fantastic off-kilter rhythm delivered in a sledgehammer manner – full-on chug, maximum downtuning – over which the lead guitars have a classic clean tone.  In Chimp Spanner style, that clean tone helps lighten the mood somewhat even though the main thrust of the tune remains as intense as ever.  There are some moments of multi-tracked guitars which are a nice touch, but these soon get swept away under another really uncompromising riff.  Following a very brief interlude of atmospheric keys and trippiness, it’s a return to the main riff with its heady tech-metal approach.  A fantastic start, for sure, but there are better musical thrills just over the horizon.

‘Engrams’ brings a haunting mellow melody played with a clean tone over soft drones.  At just under two minutes it serves as a very effective introduction for the EP’s main feature – ‘Mobius’, a musical suite in three parts.  As you may expect, ‘Mobius’ brings back the levels of intensity which are present in most of Chimp’s best works – but it’s the third section in particular which serves as the EP’s high point with regards to metal.  The bass drum sounds provide pneumatic qualities, over which Ortiz’s brief bursts of tapping are hugely entertaining.  Pulled together by a blanket of keyboards in a Devin Townsend style, overall it’s a superb example of tech/progressive metal, bringing nearly fifteen minutes’ worth of already enjoyable music to a suitable climax.

For listeners who like things a little gentler, the EP’s closer ‘Cloud City’ showcases more of Ortiz’s jazz rock chops.  Following a few bell-like chords, the main riff crashes in (again with a heavy edge), before quickly falling away to allow the lead guitar to take centre stage.  Here, Ortiz plays some beautiful, mostly clean toned notes – with plenty of vibrato – sounding like a cross between Jeff Beck and Steve Lukather.  He’s certainly no slouch with bass either, as a percussive and funky bassline brings a superb accompaniment.  Despite beginning with a jazz-rock mood, being a Chimp Spanner release, Ortiz can’t resist bringing things back to familiar tech-metal territory: the track closes with those great vibrating lead guitar lines played over a hugely downtuned and hugely heavy riff.  Once again, this is kept interesting by way of a quirky time signature [Actually, quirky doesn’t  even come close to describing this!].  For the parts of the second half, there’s so much bottom end, it begs to be heard on a decent stereo; there’s literally no point in experiencing this through your mp3 player’s earphones – it would be a waste of your time and a dreadful waste of Chimp Spanner’s talent.  [Also, if you like this, chances are, parts of Glen Drover’s ‘Metalusion’ will possibly also float your boat].

Following ‘At The Dream’s Edge’ was always going to be tough, but this EP does everything you’d hope for from another Chimp Spanner release.  If you’re already aware of Chimp Spanner, you know you want this too.

January 2012

GREEN APPLE QUICK STEP – Reloaded

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In 1993, as Grunge was beginning to fade a little, Green Apple Quick Step (presumably named after The Byrds song of the same name) released their debut album ‘Wonderful Virus’. It achieved moderate success, but musically its post-grunge approach was a little dull aside from a couple of tracks.

In 1995, they released their second album, ‘Reloaded’, produced by Pearl Jam’s Stone Gossard. Somewhere between the two albums, the bands songwriting moved away from their grungy earlier style and introduced a few more power pop influences. The variety of styles on this second album came as a huge surprise after ‘Wonderful Virus’ and as a result, ‘Reloaded’ became an album which was rarely far from my CD player for the next couple of years. The album finds GAQS stretching out and experimenting; a handful of tracks are fantastic and some of the musical ideas are interesting. Naturally, a couple of tracks miss the mark, but generally speaking, the fact that ‘Reloaded’ is a world away from the safe and formulaic nature of their debut should be applauded.

Things begin slowly with ‘Hotel Wisconsin’, a largely instrumental track. There’s plenty of atmosphere here with the organ sounds and reverbed guitars. It’s a far cry from the GAQS you knew from previously. The rhythmic pattern of the song never shifts far from Ty Willman’s organ, to the point where most of the lead guitar work is very low in the mix. It’s an interesting start to the album, incorporating a lot of moods you’d be unlikely to associate with a Seattle based band (except for maybe Screaming Trees). They change musical stance for the next couple of tracks: ‘Ed #5’ is a slab of fuzzy retro rock, heavy on the pedals and phasers and during the punky-edged ‘No Favors’, bassist Mari Ann Braden takes lead vocals for a track which has more in common with early L7 and Hole than GAQS’s more usual post-grunge and power pop. As a stand-alone track, its attitude and energy work very well, but as part of ‘Reloaded’ it feels very misplaced.

At three songs in, you may be forgiven for thinking this is a little directionless. After all, at this point, you’d be right…but you’ve got to give them credit for trying new things. ‘T.V. Girl’ offers the first truly great moment from ‘Reloaded’, with its mid-paced, guitar driven pop-rock. Ty Willman’s voice is at its strongest and has a passionate quality and once Mari Ann joins the chorus for harmony vocals, you get to hear the real potential behind GAQS, not heard much before now. ‘Alligator’ features another of Willman’s best vocal performances, with its mid-paced broodiness; it’s one of the key tracks for spotting how much the band has matured since their formulaic debut. The percussion-less ‘Underwater’ returns to a more atmospheric style with acoustic guitars accompanied by organ sounds; the song itself tinged with sadness and Willman’s voice being well suited to the more wistful nature of the material. The soft ‘Lazy’ works excellently, once again the call-and-response style vocals between Ty Willman and Mari Ann Braden providing its best feature.

The album’s best known cut ‘Dizzy’ (as featured in the movie The Basketball Diaries) is one of the album’s more positive moments. As far as this style of nineties power pop is concerned, this is a near-perfect example, with its great rhythm guitars and infectious chorus. Mari Ann’s backing vocals add something here – the combination of male and female voices matched with the feel-good nature of the song should have made this a sure fire hit. ‘Tangled’ has an interesting slightly retro edge – the ringing guitars occasionally have an Allman Brothers tone, even if the musical style doesn’t have anything else in common with Southern Rock. Despite the good arrangement, the song isn’t as memorable as it should be.

This album may arrive with a bunch of ideas and influences and seemingly no idea of which direction to go, but it certainly provides more than enough entertainment once it finds its feet. However, the momentum doesn’t last, as it ends in a rather disinterested fashion: ‘Space Cocksucker’ is a woozy funk based instrumental with the focus on rhythm guitar, punctuated by keyboard sounds; this is definitely filler material and ‘Halloween’ is an okay piece of jangle pop (largely based around a simple arrangement played by guitarists Steve Ross and Danny K) which features a good vocal but not much else.

It may feel rather hit and miss, but I love this album. Its relative lack of success – given its more commercial moments – is surprising and, as such, it’s unlikely to ever be thought of as more than a footnote in the Seattle family tree. The band recorded a follow-up three years later entitled ‘New Disaster’, which remains unreleased on a physical format apart from one track, ‘Kid’, appearing on the I Know What You Did Last Summer soundtrack. (However, part of the album can be heard courtesy of a legal stream via MySpace)

After the break-up of GAQS, Ty Willman went on to work with Devilhead (a band featuring Brian Wood of Hater and John McBain of Monster Magnet, Hater and Wellwater Conspiracy). He would also work with MariAnn Braden and Pearl Jam’s Mike McCready in a short-lived project, $10,000 Gold Chain. Steve Ross, meanwhile, joined punk band The Briefs, under the pseudonym Steve E Nix. As of March 2010, Willman made a return playing Green Apple Quick Step songs. He hopes that one day the much sought-after third GAQS album will get a proper release.

 

Read the interview with Willman here.
Listen to the online stream of ‘New Disaster’ here.

 

March 2010