DEMENTER: ADDICT
www.demeter.tv
Grinding guitars, contrived breathless vocals, pretentious lyrics and a tremendously stale song
sums up Dementer’s ‘Addict’. The token blonde girl and moody looking dark haired male
companion (i.e. the only one with any musical talent) and this really is a pain to listen to. Just
because it’s so frustrating to hear ‘new’ girl fronted acts producing cliched, monotonous and
stereotypical ‘woman in rock’ angst-ridden songs. Come on girls, our mothers didn’t burn their
bras back in the day so that their daughters would grow up with a bottle of blond peroxide in their
hands for the old uninspiring dream of just wanting to pose and pout in white boob tubes on
stage. Do something revolutionary, do something remarkable…stay at home and stay away from
that microphone.
Dee Sekar
www.demeter.tv
Grinding guitars, contrived breathless vocals, pretentious lyrics and a tremendously stale song
sums up Dementer’s ‘Addict’. The token blonde girl and moody looking dark haired male
companion (i.e. the only one with any musical talent) and this really is a pain to listen to. Just
because it’s so frustrating to hear ‘new’ girl fronted acts producing cliched, monotonous and
stereotypical ‘woman in rock’ angst-ridden songs. Come on girls, our mothers didn’t burn their
bras back in the day so that their daughters would grow up with a bottle of blond peroxide in their
hands for the old uninspiring dream of just wanting to pose and pout in white boob tubes on
stage. Do something revolutionary, do something remarkable…stay at home and stay away from
that microphone.
Dee Sekar
 | |  | |  | |  | |  | |  | |  | |  |
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Celebration ‘Holiday’ 4AD
What shall we call our band? Celebration! What shall we call our album? Holiday! The sheer enthusiasm of this band is a pleasure to see
and you can always rely on 4AD kidnapping exciting emerging talent and putting it out there. Celebration are no exception. Opening track
‘War’ feels like an anti-war demonstration themed salsa parade heavily reliant on acid and discussing sex, keyboards and kamikaze with
equally dumfounded protesters. With vocals slightly reminiscent of Frank Black and gongs, clarinets and flutes as mighty
accompaniments, Celebration create a new experimental sound of ‘indie’ and do it so damn well. Be warned they do sound like a group
of cabaret dramatic killers but I can’t wait to catch them live.
Dee Sekar
What shall we call our band? Celebration! What shall we call our album? Holiday! The sheer enthusiasm of this band is a pleasure to see
and you can always rely on 4AD kidnapping exciting emerging talent and putting it out there. Celebration are no exception. Opening track
‘War’ feels like an anti-war demonstration themed salsa parade heavily reliant on acid and discussing sex, keyboards and kamikaze with
equally dumfounded protesters. With vocals slightly reminiscent of Frank Black and gongs, clarinets and flutes as mighty
accompaniments, Celebration create a new experimental sound of ‘indie’ and do it so damn well. Be warned they do sound like a group
of cabaret dramatic killers but I can’t wait to catch them live.
Dee Sekar
Pretty Girls Make Graves ‘Elan Vital’ Matador Records
Enthusiastic keyboards and what sounds like an obese football hooligan whistling in the studio and that’s quite a terrific start to ‘Elan
Vital’. Definitely Pixie-esque with slightly eskewed beats, there is definitely a new experimental ‘indie’ sound emerging from our American
friends where bands like Celebrationa and Pretty Girls Make Graves are not afraid to tamper with jazz, pop and rock elements. I like it.
Dee Sekar
Gotan Project ‘Lunatico’ XL Recordings
Speaking of the experimental, there really is nothing better or more fascinating out there than Gotan Project. A collective of Argentinian
musicians creating something purely raw, indigenous and visionary in a tango/electronica/spoken word fusion. Extravagant, daring and
phenomenal. More please.
Dee Sekar
Enthusiastic keyboards and what sounds like an obese football hooligan whistling in the studio and that’s quite a terrific start to ‘Elan
Vital’. Definitely Pixie-esque with slightly eskewed beats, there is definitely a new experimental ‘indie’ sound emerging from our American
friends where bands like Celebrationa and Pretty Girls Make Graves are not afraid to tamper with jazz, pop and rock elements. I like it.
Dee Sekar
Gotan Project ‘Lunatico’ XL Recordings
Speaking of the experimental, there really is nothing better or more fascinating out there than Gotan Project. A collective of Argentinian
musicians creating something purely raw, indigenous and visionary in a tango/electronica/spoken word fusion. Extravagant, daring and
phenomenal. More please.
Dee Sekar
The Organ ‘Grab That Gun’ Too Pure Records
I’m looking and looking and I have finally found. A true ‘girl’ band who are f*cking amazing. Yes you’ve probably all heard about The
Organ and the infinite comparisons to The Smiths, The Cure etc but do remember that it is pretty remarkable that this young Canadian
band have managed to receive such reactions from the usual hard-nosed music critics and thus far are managing to live up to
expectations. ‘Grab That Gun’ is an album I wish I had when I was 15 and going through the trials and tribulations of life and had
something haunting, beautiful and understanding to listen to. Yes Kurt Cobain helped immensely but it’s good to see and hear that the
younger (and older) folk have a new band to worship and thank for making life just that little easier after hearing them.
www.myspace.com/theorgan
Dee Sekar
I’m looking and looking and I have finally found. A true ‘girl’ band who are f*cking amazing. Yes you’ve probably all heard about The
Organ and the infinite comparisons to The Smiths, The Cure etc but do remember that it is pretty remarkable that this young Canadian
band have managed to receive such reactions from the usual hard-nosed music critics and thus far are managing to live up to
expectations. ‘Grab That Gun’ is an album I wish I had when I was 15 and going through the trials and tribulations of life and had
something haunting, beautiful and understanding to listen to. Yes Kurt Cobain helped immensely but it’s good to see and hear that the
younger (and older) folk have a new band to worship and thank for making life just that little easier after hearing them.
www.myspace.com/theorgan
Dee Sekar
UXL -'Beautiful Today' released March 27 2006 on Mab Records
The Davies brothers, the Gallaghers, the Isley’s, erm Bros.. All famous musical brothers in arms. Can UXL’s three brothers join this
esteemed bunch? Well, perhaps not yet. But give ‘em a break most of them aren’t yet 18! Their brand of melodic rock – think 80’s style
hard guitars of the type that the late, great Tommy Vance used to peddle – is more Dad-rock than NME and has already attracted the
attention of that bastion of MOR, Radio 2. But, hell, whatever floats your dinghy.
While the lads win no prizes for originality (shit, who does in these retro clogged days?) they do impress with a polished and mature
sound that belies their tender years. Lovers of classic rock should check them out – anyone looking for something a tad more engaging
would do well to look elsewhere. www.muspace.com/uxloffical
Robert Monk
The Davies brothers, the Gallaghers, the Isley’s, erm Bros.. All famous musical brothers in arms. Can UXL’s three brothers join this
esteemed bunch? Well, perhaps not yet. But give ‘em a break most of them aren’t yet 18! Their brand of melodic rock – think 80’s style
hard guitars of the type that the late, great Tommy Vance used to peddle – is more Dad-rock than NME and has already attracted the
attention of that bastion of MOR, Radio 2. But, hell, whatever floats your dinghy.
While the lads win no prizes for originality (shit, who does in these retro clogged days?) they do impress with a polished and mature
sound that belies their tender years. Lovers of classic rock should check them out – anyone looking for something a tad more engaging
would do well to look elsewhere. www.muspace.com/uxloffical
Robert Monk
RACINE: SONGS FROM RACINE NO. 2
Racine vocalist Wendy James definitely deserves a second wave of adulation, teenage boys’ underwear in the post and heaps of positive
press. The follow up to ‘Racine No.1’ and ‘Grease Monkey’ is the soon to be released ‘Racine No.2’. A sneak peek at a few tracks and we’
re happy to announce the beautiful marriage of Racine and the title of top Indie band. ‘Essex Dog’ is a frenetic march of emotions with
some triumphant lyrics. From the sweet harmonies of ‘'All I really want - is a shoulder to cry on...’ and repeated ‘I’m free’, to the raucous
summoning by Miss Wendy of her man in question: 'Come here Mister - I'm gonna do whatever it takes,' Racine give us a sunny day
whilst hinting that the clouds are just about to piss down on us. Typically British and we just love it.
Racine vocalist Wendy James definitely deserves a second wave of adulation, teenage boys’ underwear in the post and heaps of positive
press. The follow up to ‘Racine No.1’ and ‘Grease Monkey’ is the soon to be released ‘Racine No.2’. A sneak peek at a few tracks and we’
re happy to announce the beautiful marriage of Racine and the title of top Indie band. ‘Essex Dog’ is a frenetic march of emotions with
some triumphant lyrics. From the sweet harmonies of ‘'All I really want - is a shoulder to cry on...’ and repeated ‘I’m free’, to the raucous
summoning by Miss Wendy of her man in question: 'Come here Mister - I'm gonna do whatever it takes,' Racine give us a sunny day
whilst hinting that the clouds are just about to piss down on us. Typically British and we just love it.
‘Oui Ou Non’ is a song which so easily could have been a marvellous Bardot crossover punk hit, if only the lovely Brigitte could sing half as
well as Miss Wendy. Again armed with hooky riffs and an infectious singer, Racine are clearly enjoying where they are right now and where
this could all be heading.
‘I’m Freaking Out’ begins with one of the best lyrics of this year: ‘There's a stone cold bitch in the cheap seats, cheap seats’. Wholly
reminiscent of Miss Wendy’s former incarnation in Transvision Vamp, this is tongue n’ cheek bitch rock which only the very few can get away
with doing so well (Kenickie and Hole) and the masses don’t get away with doing so badly (Shampoo and Daphne and Celeste). Hideously
cracking track.
‘Bitter Funny’ continues with Miss Wendy’s demanding, sweetly aggressive and wonderful talk/singing: ‘Hey numbnuts you forgot
something..4 seconds in this whorehouse'll get you slick, sweat, gagging for air - later baby’. Give this band some of your time and feel
refreshed, slightly aroused and mildly at rest that there are some female fronted bands out there who create hot, hot, hot music. Oh and
make sure you’re not too lovesick after falling in love with Miss Wendy. For more info: http://www.theracineworld.com and http://www.
myspace.com/theracineworld.
Dee Sekar
well as Miss Wendy. Again armed with hooky riffs and an infectious singer, Racine are clearly enjoying where they are right now and where
this could all be heading.
‘I’m Freaking Out’ begins with one of the best lyrics of this year: ‘There's a stone cold bitch in the cheap seats, cheap seats’. Wholly
reminiscent of Miss Wendy’s former incarnation in Transvision Vamp, this is tongue n’ cheek bitch rock which only the very few can get away
with doing so well (Kenickie and Hole) and the masses don’t get away with doing so badly (Shampoo and Daphne and Celeste). Hideously
cracking track.
‘Bitter Funny’ continues with Miss Wendy’s demanding, sweetly aggressive and wonderful talk/singing: ‘Hey numbnuts you forgot
something..4 seconds in this whorehouse'll get you slick, sweat, gagging for air - later baby’. Give this band some of your time and feel
refreshed, slightly aroused and mildly at rest that there are some female fronted bands out there who create hot, hot, hot music. Oh and
make sure you’re not too lovesick after falling in love with Miss Wendy. For more info: http://www.theracineworld.com and http://www.
myspace.com/theracineworld.
Dee Sekar
HESS IS MORE - 'CAPTAIN EUROPE' RELEASED ON VME/MUSIC FOR DREAMS 27 MARCH
After magical debut 'Tip Top Dynamo' what a wonderful pleasure it has been to hear the equally unique and fruity follow-up 'Captain Europe'
from Denmark's unsung heroes, Hess Is More. The album title is fairly ambitious however from the monochrome mandolin riff of 'Aben og
lukket som en Jorgen', monastic chants mixed with electro drum beats fuse in a clear circle of perfection which takes a true musical
aficionado like Mikkel Hess to pull off and then bang! From there we have an opening song filled with wonder, quaint curiosities and promise.
Next up is killer track, 'Yes Boss'. A simple keyboard melody gives way to a romping bass line and that's when we first hear the hybrid
satanic/charming vocals from Hess as the controlling, demanding and obsessive boss. In return, we hear perhaps the sexiest female voice
of all time. Clinching this title merely because Bang Chau (yes, that's the vocalist's real name) sounds as if she's barely trying to be sexy:
'I can be soft/I can be hard/I can be what you want/Please'. Chau's smooth manner makes her sound submissive but unusually self
assured. Is she really the one controlling her controlling boss? At the end of this seductive, passionate exchange of, ermm, words, they
both get the train home. Fantastic.
As for the rest of the album, 'Farfisa Rumba' is an electronic salsa song with quirky lyrics, 'Grafalog' resembles a soundtrack to a 1930s
movie and is an extremely romantic and classic jazz piece which is brought into the modern day with a range of off-beat and syncopated
percussion. It is a rare experience to hear a buzzing electronica record with an old-time jazz song but Mr Hess reinforces his classically
trained jazz roots and puts them to revolutionary use. 'Piano Waltz' continues this fusion theme; a classic waltz with layered vocals and a
fast-paced bass over the top. How does it all blend into such a cohesive unit? I have no idea but Mikkel has certainly found a winning
formula that he should clearly patent right here, right now.
'The Magic Intervention From T.D.P.R.C' sounds like the theme tune of a children's programme and has complimentary Daft-Punkesque
vocals. Title track 'Captain Europe' begins with a game of tennis, a Spanish introduction to Hess Is More and a rampant accordion. What an
unostentatious introduction to our experimental King. 'Unity Of Mind', 'Love Me Do' and 'Blondie' bring this subliminal album to a cracker
close as we hear sweet electro ponderings of various spiritual philosophies whilst all remaining remarkably unpretentious and uncontrived.
All hats off to Hess.
For more info: http://www.hessismore.com
Dee Sekar
After magical debut 'Tip Top Dynamo' what a wonderful pleasure it has been to hear the equally unique and fruity follow-up 'Captain Europe'
from Denmark's unsung heroes, Hess Is More. The album title is fairly ambitious however from the monochrome mandolin riff of 'Aben og
lukket som en Jorgen', monastic chants mixed with electro drum beats fuse in a clear circle of perfection which takes a true musical
aficionado like Mikkel Hess to pull off and then bang! From there we have an opening song filled with wonder, quaint curiosities and promise.
Next up is killer track, 'Yes Boss'. A simple keyboard melody gives way to a romping bass line and that's when we first hear the hybrid
satanic/charming vocals from Hess as the controlling, demanding and obsessive boss. In return, we hear perhaps the sexiest female voice
of all time. Clinching this title merely because Bang Chau (yes, that's the vocalist's real name) sounds as if she's barely trying to be sexy:
'I can be soft/I can be hard/I can be what you want/Please'. Chau's smooth manner makes her sound submissive but unusually self
assured. Is she really the one controlling her controlling boss? At the end of this seductive, passionate exchange of, ermm, words, they
both get the train home. Fantastic.
As for the rest of the album, 'Farfisa Rumba' is an electronic salsa song with quirky lyrics, 'Grafalog' resembles a soundtrack to a 1930s
movie and is an extremely romantic and classic jazz piece which is brought into the modern day with a range of off-beat and syncopated
percussion. It is a rare experience to hear a buzzing electronica record with an old-time jazz song but Mr Hess reinforces his classically
trained jazz roots and puts them to revolutionary use. 'Piano Waltz' continues this fusion theme; a classic waltz with layered vocals and a
fast-paced bass over the top. How does it all blend into such a cohesive unit? I have no idea but Mikkel has certainly found a winning
formula that he should clearly patent right here, right now.
'The Magic Intervention From T.D.P.R.C' sounds like the theme tune of a children's programme and has complimentary Daft-Punkesque
vocals. Title track 'Captain Europe' begins with a game of tennis, a Spanish introduction to Hess Is More and a rampant accordion. What an
unostentatious introduction to our experimental King. 'Unity Of Mind', 'Love Me Do' and 'Blondie' bring this subliminal album to a cracker
close as we hear sweet electro ponderings of various spiritual philosophies whilst all remaining remarkably unpretentious and uncontrived.
All hats off to Hess.
For more info: http://www.hessismore.com
Dee Sekar
Daft Punk- Musique Volume 1: 1993-2005. Released April 3 on Virgin Records
Daft Punk have never done things the obvious way. Singing machines, forgetting their own faces, erasing humanity from their releases and
destroying the cult of celebrity by reinventing the star duet, where focus was placed upon the surrounding lighting instead of the pop star.
Musique Volume 1 is the culmination of a twelve year musical journey. Featuring all of Daft Punk's singles, three rare remixes plus all the
videos, this is a collection of some of the finest dance music of the past twenty years. Which as unbelieveable as this sounds, actually would
appeal to everyone. It's that good.
Daniel Moore
Daft Punk have never done things the obvious way. Singing machines, forgetting their own faces, erasing humanity from their releases and
destroying the cult of celebrity by reinventing the star duet, where focus was placed upon the surrounding lighting instead of the pop star.
Musique Volume 1 is the culmination of a twelve year musical journey. Featuring all of Daft Punk's singles, three rare remixes plus all the
videos, this is a collection of some of the finest dance music of the past twenty years. Which as unbelieveable as this sounds, actually would
appeal to everyone. It's that good.
Daniel Moore
The Vines- songs from " Vision Valley". Released April 3rd, EMI.
Everyone thought The Vines were finished, go on admit it you thought so as well, despite the complete critical mauling that they recieved
from the majority of the british music press after the release of their
brilliant second album "Winning Days". The Vines are back as a trio , former bassist
patrick matthews is now part of another australian band titled Youth Group, and with an album full of power pop songs " Vision Valley" is what
the music world has been craving for a long time.
Here's a look at four of the tracks from " Vision Valley" -
" Going Gone"- a short whimsical melody driven song, that offers a slight departure from the previous slower songs the vines have released
on their previous albums. This could be The Vines most popular song if the album reaches enough people.
" Gross Out" - Short brash and in your face, This song is the bastard offspring of "Get Free" and " Ride", yet it sounds completely like a new
band performing it.
" Don't Listen to the Radio" - probably the most radio friendly song The Vines have produced, lyrically quite poor but a fantastic song
regardless.
" Anysound" - the first single release from "Vision Valley", it will be in the shops at some point in may, this is a quick blast of a song. Still
sounds like The Vines but " turned up to eleven".
April 3rd heralds the release of an album that , logically, should never have been created. Two years ago The Vines were in complete
disarray. Rumours were rife that the band were on the verge of splitting up and that Craig Nicholls could be in dire trouble with Australian
authorities due
to his erractic behaviour on stage. But despite all of this happening, The Vines are still here. Craig Nicholls, Ryan Griffiths and Hamish Rosser
have been through a lot in the past two years and have responded in the best way possible by recording a early contender for album of the
year.
Daniel Moore
Everyone thought The Vines were finished, go on admit it you thought so as well, despite the complete critical mauling that they recieved
from the majority of the british music press after the release of their
brilliant second album "Winning Days". The Vines are back as a trio , former bassist
patrick matthews is now part of another australian band titled Youth Group, and with an album full of power pop songs " Vision Valley" is what
the music world has been craving for a long time.
Here's a look at four of the tracks from " Vision Valley" -
" Going Gone"- a short whimsical melody driven song, that offers a slight departure from the previous slower songs the vines have released
on their previous albums. This could be The Vines most popular song if the album reaches enough people.
" Gross Out" - Short brash and in your face, This song is the bastard offspring of "Get Free" and " Ride", yet it sounds completely like a new
band performing it.
" Don't Listen to the Radio" - probably the most radio friendly song The Vines have produced, lyrically quite poor but a fantastic song
regardless.
" Anysound" - the first single release from "Vision Valley", it will be in the shops at some point in may, this is a quick blast of a song. Still
sounds like The Vines but " turned up to eleven".
April 3rd heralds the release of an album that , logically, should never have been created. Two years ago The Vines were in complete
disarray. Rumours were rife that the band were on the verge of splitting up and that Craig Nicholls could be in dire trouble with Australian
authorities due
to his erractic behaviour on stage. But despite all of this happening, The Vines are still here. Craig Nicholls, Ryan Griffiths and Hamish Rosser
have been through a lot in the past two years and have responded in the best way possible by recording a early contender for album of the
year.
Daniel Moore
MASSIVE ATTACK - 'LIVE WITH ME' - RELEASED MARCH 13 ON VIRGIN RECORDS.
March 13th heralds the first Massive Attack single in three years and is written by Robert Del Naja, Neil Davidge and Terry Callier, who also
provides the vocals on the track. 'Live with me' is a thought provoking return to a more contemplative sound whilst still being slightly left of
centre. Massive Attack are back sounding better than ever. 'Live with Me' is taken from the new Massive Attack best of album, 'Collected'
which is released on March 27th.
DAN MOORE
March 13th heralds the first Massive Attack single in three years and is written by Robert Del Naja, Neil Davidge and Terry Callier, who also
provides the vocals on the track. 'Live with me' is a thought provoking return to a more contemplative sound whilst still being slightly left of
centre. Massive Attack are back sounding better than ever. 'Live with Me' is taken from the new Massive Attack best of album, 'Collected'
which is released on March 27th.
DAN MOORE
Dirty Pretty Things - Live @ Portsmouth Wedgewood Rooms 7th March
Carl Barat is a very lucky man. After The Libertines debacle and current Pete Doherty media infatuation, people can be forgiven for thinking
that Carl Barat has taken his time to return to the musical spotlight. Thankfully this cautious approach has paid off. Dirty Pretty Things are a
band of substance and style unlike a lot of their contemporaries. Musically they're tighter than any of the members' previous groups.
Live they are a sight to behold, with songs such as "Bang Bang You're Dead" and " Deadwood", Dirty Pretty Things are taking the dynamic
energy of past bands such as The Clash, The Jam and The Sex Pistols and fusing it together with an effortless sense of cool. They are
modern band with a dated sound which suits them. Barat's voice has strengthened considerably since his last days as a performing libertine,
couple this with Didz Hammonds melodic yet fiery backing/part main vocal which lends itself fantastically to the different songs throughout
the set, none better than "You Fucking Love It", a glorious stomper of Oasis circa 1995 proportions.
After the Libertines went their separate ways, the music world predicted Pete Doherty would be the most successful in his future endeavours.
But time and patience has allowed Carl Barat, Didz Hammond, Anthony Rossomando and Gary Powell to create a band with depth and future.
Dirty Pretty Things, you'll fucking love them.
"Bang Bang You're Dead" is released on April 24th on Mercury Records.
Daniel Moore
Carl Barat is a very lucky man. After The Libertines debacle and current Pete Doherty media infatuation, people can be forgiven for thinking
that Carl Barat has taken his time to return to the musical spotlight. Thankfully this cautious approach has paid off. Dirty Pretty Things are a
band of substance and style unlike a lot of their contemporaries. Musically they're tighter than any of the members' previous groups.
Live they are a sight to behold, with songs such as "Bang Bang You're Dead" and " Deadwood", Dirty Pretty Things are taking the dynamic
energy of past bands such as The Clash, The Jam and The Sex Pistols and fusing it together with an effortless sense of cool. They are
modern band with a dated sound which suits them. Barat's voice has strengthened considerably since his last days as a performing libertine,
couple this with Didz Hammonds melodic yet fiery backing/part main vocal which lends itself fantastically to the different songs throughout
the set, none better than "You Fucking Love It", a glorious stomper of Oasis circa 1995 proportions.
After the Libertines went their separate ways, the music world predicted Pete Doherty would be the most successful in his future endeavours.
But time and patience has allowed Carl Barat, Didz Hammond, Anthony Rossomando and Gary Powell to create a band with depth and future.
Dirty Pretty Things, you'll fucking love them.
"Bang Bang You're Dead" is released on April 24th on Mercury Records.
Daniel Moore
I LOVE YOU BABY: 'MONDE GREEN' RELEASED ON TREWETHA RECORDS
Whenever my music listening goes through an uninspired, dry patch I can always rely on the Scandinavians to come and save the day. I
Love You Baby are a 4 piece electro rock outfit from Sweden and 'Monde Green' is their second album. Introduced to London via the
addictive Jack and Ginger DJs, I Love You Baby is just what the UK needs to pick it up from the depths of a dark musical drought of January
2006 and spin it into an over-heated, woollen jumper wearing frenzy. The opening tracks 'Unprepared I Go' and '49th Baby' are fun electro
pop songs with quirky lyrics and song titles that the Scands pull of so well: 'I choose black/It goes with everything,' Jeanette sings. Don't be
mistaken that this is all sugary pop; the grinding beats of 'Dorian' and darker subject matters contemplated in 'Another Day Suicide' and
'Tiny Fascist,' firmly place this band in the upper realms of Euro electro rock. I Love You Baby are like the cute, trendy boy you spot across
the dancefloor, who waltzes over and gives you a cheeky, dirty snog; on the surface this band may seem like sweet disco pop but
underneath they are darker, wickeder and just so much fun. The band are back in the UK in March. For more info: www.iloveyoubaby.se and
www.myspace.com/iloveyoubabyofficial.
Dee Sekar
Whenever my music listening goes through an uninspired, dry patch I can always rely on the Scandinavians to come and save the day. I
Love You Baby are a 4 piece electro rock outfit from Sweden and 'Monde Green' is their second album. Introduced to London via the
addictive Jack and Ginger DJs, I Love You Baby is just what the UK needs to pick it up from the depths of a dark musical drought of January
2006 and spin it into an over-heated, woollen jumper wearing frenzy. The opening tracks 'Unprepared I Go' and '49th Baby' are fun electro
pop songs with quirky lyrics and song titles that the Scands pull of so well: 'I choose black/It goes with everything,' Jeanette sings. Don't be
mistaken that this is all sugary pop; the grinding beats of 'Dorian' and darker subject matters contemplated in 'Another Day Suicide' and
'Tiny Fascist,' firmly place this band in the upper realms of Euro electro rock. I Love You Baby are like the cute, trendy boy you spot across
the dancefloor, who waltzes over and gives you a cheeky, dirty snog; on the surface this band may seem like sweet disco pop but
underneath they are darker, wickeder and just so much fun. The band are back in the UK in March. For more info: www.iloveyoubaby.se and
www.myspace.com/iloveyoubabyofficial.
Dee Sekar
STARCHAMBER: DEMOS
Now most bands tell me that they hate comparisons music writers make whenever doing a review: ‘the next Keane/Coldplay’ (God forbid), ‘a
cross between The Ramones and Blondie’ etc etc, however being a writer, I can honestly say that comparisons are something which equally I
hate doing but often if they’re left out, readers are left in a confused state of trying to visualize and think in soundwaves of what we’re
talking about; ‘the rhythmic pulses created by the drummer are tremendous but then a sudden surge in energy and the beats soar into a
higher realm of ermmm..drumming..’
of heavier US bands influencing Starchamber as well as British classic acts such as Queen and T-Rex. Second song, ‘New Light’ is definitely
my favourite track on this CD. This is because although it’s pretty loud and fast-paced, the singer actually sings. Vocally he keeps up and
forms a marvellous accompaniment to the angry but slightly estranged tone and lyrics of the song. Fabulous. This is what good rock is all
about. Ending with a great music interlude of frantic and somewhat despondent guitars, a truly terrific track. Final track ‘Upset’ does exactly
what it says on the bottle – a merging mesh of inter-dispersed harmonies and overlapping guitars, the boys definitely tell you how they
really feel. If you’re after something heavier than a cheeseburger and close to getting every topping on your loaded burger, check out
Starchamber and the urge to headbang will certainly help to dispose of some of those calories.
Dee Sekar
Now most bands tell me that they hate comparisons music writers make whenever doing a review: ‘the next Keane/Coldplay’ (God forbid), ‘a
cross between The Ramones and Blondie’ etc etc, however being a writer, I can honestly say that comparisons are something which equally I
hate doing but often if they’re left out, readers are left in a confused state of trying to visualize and think in soundwaves of what we’re
talking about; ‘the rhythmic pulses created by the drummer are tremendous but then a sudden surge in energy and the beats soar into a
higher realm of ermmm..drumming..’
of heavier US bands influencing Starchamber as well as British classic acts such as Queen and T-Rex. Second song, ‘New Light’ is definitely
my favourite track on this CD. This is because although it’s pretty loud and fast-paced, the singer actually sings. Vocally he keeps up and
forms a marvellous accompaniment to the angry but slightly estranged tone and lyrics of the song. Fabulous. This is what good rock is all
about. Ending with a great music interlude of frantic and somewhat despondent guitars, a truly terrific track. Final track ‘Upset’ does exactly
what it says on the bottle – a merging mesh of inter-dispersed harmonies and overlapping guitars, the boys definitely tell you how they
really feel. If you’re after something heavier than a cheeseburger and close to getting every topping on your loaded burger, check out
Starchamber and the urge to headbang will certainly help to dispose of some of those calories.
Dee Sekar
Stoner – Three Track EP
pretty polished and the singer has a nice enough white soul voice but with so many good rock bands out there at the moment these boys are
pretty polished and the singer has a nice enough white soul voice but with so many good rock bands out there at the moment these boys are
going have to come up with something more impressive than this.
going have to come up with something more impressive than this.
www.stonertheband.com
The Fondas – Be Alone
The Fondas call their sound ‘slum rock’ – that should tell you something about what their going for. I don’t think that they quite manage it, but
in just under 2 and a half minutes they have a fair enough go at trying to create a poppier more 80’s version of London ‘urchin’ punk bands
such as The Libertines, The Paddingtons et al. However for a band whose debut album is called ‘Dirty Kicks’ the music just ain’t dirty enough.
Sure, the guitar crashes and the vocals whine into a shout-along chorus but Be Alone is not instilled with anything like a sense of urgency. For
such a traditional punk sentiment as wanting to ‘be alone’ you gotta at least sound like you mean it – and The Fondas, for now, at least, don’t.
Be Alone was released 7 November on Levelsound Music
Biz – Stand By You
Apparently ‘Biz’ was picked out of a 1000 performers to become the face of a new advert for Coca-Cola. Quite apt then ‘cos his stuff is sugary
sweet and almost guaranteed to rot your insides. Coming on like a Wet Wet Wet nightmare, Stand by You and accompanying track Kingdom of
Love made me feel unclean. ‘Feel good’ pap like this should be terminated at birth.
www.halorecords.co.uk
Nadie – Indifference
Opening track Indifference crunches along at a nice pace – its big riffs and angry female vocals tow a line somewhere in between Pearl Jam and
Skunk Ananse, which could be pretty horrid, but it actually works well. The band sounds real and amped up and Nadie’s vocals complement it all
well. B-side Be A Man takes a more mellow approach and is ultimately less successful. The singing is impressive and the jazzy horn break is
pretty but lyrics like ‘you never make the sun shine instead you bring me rain’ are tiresome and uninspired. This aside, with some work on the
song writing and perhaps a concentration on the heavier side of things Nadie could be worth watching.
www.halorecordings.co.uk
Newton Faulkner – Four Track EP
Jazzy vibes and loose-limbed sing-song rap abound on this flawed but likeable EP. Santa Claus Is Green pimps along in funky acid-jazz stylee
with Faulkner sounding like he wants to be in the Fun Loving Criminals (someone must want to, I guess). The Future brings a vaguely Jeff
Buckleyesque slice of melancholy to proceedings. It’s a bit drippy to be really affecting, but he can deliver a line with some class. I Need
Something shows off some nice acoustic licks and good arrangements. Again, it may prove to be a bit too cheesily sentimental for some, but it
is instantly preferable to the James Blunts and Daniel Powters of this world (what isn’t, you may ask). Closing track Last Train Home, starts off
by funking it up with a disco beat and some cool electro noises but then goes and spoils it all by diving into a poor ‘rock’ chorus.
By Robert W.Monk
pretty polished and the singer has a nice enough white soul voice but with so many good rock bands out there at the moment these boys are
pretty polished and the singer has a nice enough white soul voice but with so many good rock bands out there at the moment these boys are
going have to come up with something more impressive than this.
going have to come up with something more impressive than this.
www.stonertheband.com
The Fondas – Be Alone
The Fondas call their sound ‘slum rock’ – that should tell you something about what their going for. I don’t think that they quite manage it, but
in just under 2 and a half minutes they have a fair enough go at trying to create a poppier more 80’s version of London ‘urchin’ punk bands
such as The Libertines, The Paddingtons et al. However for a band whose debut album is called ‘Dirty Kicks’ the music just ain’t dirty enough.
Sure, the guitar crashes and the vocals whine into a shout-along chorus but Be Alone is not instilled with anything like a sense of urgency. For
such a traditional punk sentiment as wanting to ‘be alone’ you gotta at least sound like you mean it – and The Fondas, for now, at least, don’t.
Be Alone was released 7 November on Levelsound Music
Biz – Stand By You
Apparently ‘Biz’ was picked out of a 1000 performers to become the face of a new advert for Coca-Cola. Quite apt then ‘cos his stuff is sugary
sweet and almost guaranteed to rot your insides. Coming on like a Wet Wet Wet nightmare, Stand by You and accompanying track Kingdom of
Love made me feel unclean. ‘Feel good’ pap like this should be terminated at birth.
www.halorecords.co.uk
Nadie – Indifference
Opening track Indifference crunches along at a nice pace – its big riffs and angry female vocals tow a line somewhere in between Pearl Jam and
Skunk Ananse, which could be pretty horrid, but it actually works well. The band sounds real and amped up and Nadie’s vocals complement it all
well. B-side Be A Man takes a more mellow approach and is ultimately less successful. The singing is impressive and the jazzy horn break is
pretty but lyrics like ‘you never make the sun shine instead you bring me rain’ are tiresome and uninspired. This aside, with some work on the
song writing and perhaps a concentration on the heavier side of things Nadie could be worth watching.
www.halorecordings.co.uk
Newton Faulkner – Four Track EP
Jazzy vibes and loose-limbed sing-song rap abound on this flawed but likeable EP. Santa Claus Is Green pimps along in funky acid-jazz stylee
with Faulkner sounding like he wants to be in the Fun Loving Criminals (someone must want to, I guess). The Future brings a vaguely Jeff
Buckleyesque slice of melancholy to proceedings. It’s a bit drippy to be really affecting, but he can deliver a line with some class. I Need
Something shows off some nice acoustic licks and good arrangements. Again, it may prove to be a bit too cheesily sentimental for some, but it
is instantly preferable to the James Blunts and Daniel Powters of this world (what isn’t, you may ask). Closing track Last Train Home, starts off
by funking it up with a disco beat and some cool electro noises but then goes and spoils it all by diving into a poor ‘rock’ chorus.
By Robert W.Monk
A typical weekend for a lot of people in London consists of getting out of work on a Friday evening, heading down to a bar and perhaps ending the
night off in a club playing the latest in popular music. And whilst there is absolutely nothing wrong with that, it does make a refreshing change to
experience something slightly different, as I did on Sunday 11th December. After having had a very relaxing and restful Sunday morning and
afternoon, I made my way to the Clapham Grand in Clapham Junction to attend Le Carnival D’Algerie, organised by World Music Promotion and
Abdel Management.
Taking only an amazing two months to organise, this night definitely satisfied each and every one of the senses. Built around the musicians,
gracing the stage were five of the best artists from North African origins, namely Cheb Nacim, Ali Slimani, Hamidou, Tizifun and Natacha Atlas,
playing a mix of music including chaabi, latino hawzi, and rai.
I walked onto the dancefloor of this beautifully constructed theatre-turned-club, equipped with pad of paper, pen and camera and was transported
out of Clapham, out of London and out of the UK, with just the sound of Ali Slimani, whose sound is described as ‘Rai dub drum ‘n’ bass’ With a
live band and full of energy, he performed a few tracks and all were enjoyed by the crowd, including me. I can’t say that I have been exposed to
this music many times before but I found myself getting immersed in this fun and friendly atmosphere. At one point, I found myself clapping and
dancing and carried on a wave of unity and spectacle. I particularly liked his duet with Natasha Atlas, a well-known beautiful singer of Egyptian
roots. This night was entitled ‘Carnival D’Algerie’ and certainly had that carnival feel, complete with food, and oh my goodness, the food looked
and tasted amazing! From sweet to savoury, from pizzas to pitta, tastebuds and nostrils were undoubtedly teased. The people and staff were also
very friendly and bent over backwards to accommodate the crowd. They made sure people had drinks, food and were enjoying themselves. So not
only was this night set in a great location, with groovy music, delicious food, helpful staff and vibrant atmosphere, it was a great way to end the
weekend.
Asking a member of the crowd, what they thought of the night, she replied: “I don’t know why British culture doesn’t have these kinds of nights.
British culture is in dire need of this,” and I would hasten to agree. Although clubbing is great, it would be nice to have a mix with nights like this
inter-dispersed within the month, where we are exposed to different music from around the world and even England itself, where we feel we are
experiencing special, one-of-a-kind, harmony. On this Sunday, there were adults of all ages, male and female on a dancefloor, dancing together
and enjoying something out of the ordinary. Advertised using the simplest of means, this night was enjoyed by many and hopefully, will be
repeated in the near future. We need more nights like this and more exposure to world music without having to buy a plane ticket somewhere. If
you’d like to find out more information, have a look on www.worldmusicpromotion.com.
Sarah J
night off in a club playing the latest in popular music. And whilst there is absolutely nothing wrong with that, it does make a refreshing change to
experience something slightly different, as I did on Sunday 11th December. After having had a very relaxing and restful Sunday morning and
afternoon, I made my way to the Clapham Grand in Clapham Junction to attend Le Carnival D’Algerie, organised by World Music Promotion and
Abdel Management.
Taking only an amazing two months to organise, this night definitely satisfied each and every one of the senses. Built around the musicians,
gracing the stage were five of the best artists from North African origins, namely Cheb Nacim, Ali Slimani, Hamidou, Tizifun and Natacha Atlas,
playing a mix of music including chaabi, latino hawzi, and rai.
I walked onto the dancefloor of this beautifully constructed theatre-turned-club, equipped with pad of paper, pen and camera and was transported
out of Clapham, out of London and out of the UK, with just the sound of Ali Slimani, whose sound is described as ‘Rai dub drum ‘n’ bass’ With a
live band and full of energy, he performed a few tracks and all were enjoyed by the crowd, including me. I can’t say that I have been exposed to
this music many times before but I found myself getting immersed in this fun and friendly atmosphere. At one point, I found myself clapping and
dancing and carried on a wave of unity and spectacle. I particularly liked his duet with Natasha Atlas, a well-known beautiful singer of Egyptian
roots. This night was entitled ‘Carnival D’Algerie’ and certainly had that carnival feel, complete with food, and oh my goodness, the food looked
and tasted amazing! From sweet to savoury, from pizzas to pitta, tastebuds and nostrils were undoubtedly teased. The people and staff were also
very friendly and bent over backwards to accommodate the crowd. They made sure people had drinks, food and were enjoying themselves. So not
only was this night set in a great location, with groovy music, delicious food, helpful staff and vibrant atmosphere, it was a great way to end the
weekend.
Asking a member of the crowd, what they thought of the night, she replied: “I don’t know why British culture doesn’t have these kinds of nights.
British culture is in dire need of this,” and I would hasten to agree. Although clubbing is great, it would be nice to have a mix with nights like this
inter-dispersed within the month, where we are exposed to different music from around the world and even England itself, where we feel we are
experiencing special, one-of-a-kind, harmony. On this Sunday, there were adults of all ages, male and female on a dancefloor, dancing together
and enjoying something out of the ordinary. Advertised using the simplest of means, this night was enjoyed by many and hopefully, will be
repeated in the near future. We need more nights like this and more exposure to world music without having to buy a plane ticket somewhere. If
you’d like to find out more information, have a look on www.worldmusicpromotion.com.
Sarah J
THE RAKES + CHAP LIVE @ THE BARFLY, 2ND DEC 2005.
Reluctantly, we head down to the melting pot of skinny drainpipes that is Camden's Barfly. I have to admit, I'd never heard of
the support act, Chap and make the faux pas of mistaking them for their own roadies. I'm really not sure what it is, but I find it
very hard to warm to them. They are a mish-mash of looks; a frigid History teacher on keyboards, an X Files geek on drums, a
skinny public schoolboy upfront and a Physics student (and terrible violin player) on bass. To be honest, they look and feel as
exciting as doing titrations in chemistry with the smelly boy at school that no one wants to be partners with. Yes, their music is
good but unfortunately the gaping hole in their set is the massive lack of spark between them and the bemused audience. They
Reluctantly, we head down to the melting pot of skinny drainpipes that is Camden's Barfly. I have to admit, I'd never heard of
the support act, Chap and make the faux pas of mistaking them for their own roadies. I'm really not sure what it is, but I find it
very hard to warm to them. They are a mish-mash of looks; a frigid History teacher on keyboards, an X Files geek on drums, a
skinny public schoolboy upfront and a Physics student (and terrible violin player) on bass. To be honest, they look and feel as
exciting as doing titrations in chemistry with the smelly boy at school that no one wants to be partners with. Yes, their music is
good but unfortunately the gaping hole in their set is the massive lack of spark between them and the bemused audience. They
just don't have it; the star power is so noticeably lacking that even a stoned shaman would rather sprinkle his superstar band magic dust over
anyone else any place else. Chap sound a bit like 90s little discovered, Denim and are pretty tight however lyrics such as 'Record deal/Album
launch/London/Tokyo/Suicide,' are uncharming and add to the social suicide in Camden routine. It gets even more tragic when they introduce
their final song of the night by asking the crowd 'do you want to hear a prog rock epic?!!' Well, if it has got anything to do with you being on
stage for at least another 10 seconds or more then that's a definite no. The Rakes' arrival on stage is another kick in the spleen for Chap.
From the moment they arrive, the sheer weight of their professionalism, pulling power and talent kicks Chap right back to the 6th Form tuck
shop they used to monitor in. Alan Rake and Co. get the throbbing crowd leaping with joy just by the mere toe-tapping of their pointy leather
shoes. The band are mighty appreciative of the many who have crammed in to see them play this intimate venue ("thanks for buying our
t-shirts," Alan says before placing his order for 4 Grolschs to be sent to the stage, in a Rastafarian accent of course) and keep the audience
entertained through manic stage antics (Alan and a bare-chested Lasse randomly fling themselves on top of the crowd). Smiles, winks, nods
are a plenty (mostly at each other) and they sound tighter than the mesh of skinny jeans that fill the room. The Rakes look and sound like
they've just been awarded the Nobel Prize for Entertainment and they are reluctant to give anyone a chance to steal it from them. Wonderful
music from 4 boys who are obviously having the time of their lives.
Dee Sekar
anyone else any place else. Chap sound a bit like 90s little discovered, Denim and are pretty tight however lyrics such as 'Record deal/Album
launch/London/Tokyo/Suicide,' are uncharming and add to the social suicide in Camden routine. It gets even more tragic when they introduce
their final song of the night by asking the crowd 'do you want to hear a prog rock epic?!!' Well, if it has got anything to do with you being on
stage for at least another 10 seconds or more then that's a definite no. The Rakes' arrival on stage is another kick in the spleen for Chap.
From the moment they arrive, the sheer weight of their professionalism, pulling power and talent kicks Chap right back to the 6th Form tuck
shop they used to monitor in. Alan Rake and Co. get the throbbing crowd leaping with joy just by the mere toe-tapping of their pointy leather
shoes. The band are mighty appreciative of the many who have crammed in to see them play this intimate venue ("thanks for buying our
t-shirts," Alan says before placing his order for 4 Grolschs to be sent to the stage, in a Rastafarian accent of course) and keep the audience
entertained through manic stage antics (Alan and a bare-chested Lasse randomly fling themselves on top of the crowd). Smiles, winks, nods
are a plenty (mostly at each other) and they sound tighter than the mesh of skinny jeans that fill the room. The Rakes look and sound like
they've just been awarded the Nobel Prize for Entertainment and they are reluctant to give anyone a chance to steal it from them. Wonderful
music from 4 boys who are obviously having the time of their lives.
Dee Sekar
MERZ: LOVEHEART, GROENLAND RECORDS
The best thing about writing for an independent are a) the joyous and plentiful opportunities to express oneself through sack loads of similes,
metaphors and juxtapositions. It's like marrying your English A Level and divulging in perverse, kinky games with it behind your bedroom
doors and b) coming across unusual, inspiring artists. Welcome to the SSS stream of consciousness, Merz.
His 10 track album, 'Loveheart,' begins with experimental beats, a haunting piano melody and beautiful lyrics. I don't know much about Merz
as I only read about new artists after I hear their music, but I'm definitely intrigued to find out more. 'Dangerous Heady Love Scheme' sets a
somber, reflective mood with electronic chords that sound like a young cherub belching. Awww. But then folk acoustic guitars begin and this
becomes a fast-paced tale about the dangers of falling in love with a friend. Oopsies. Awkward memories of thinking I've been in love with
friends come flooding back. Ughh - Merz's parable is definitely one that's understood even if it does make me want to go back in time
andreach for the nearest noose. Similarities to Badly Drawn Boy can be made here but hopefully Merz doesn't walk around with a granny's
woolly
hat on his head or pouts like a sullen teenager who's had his tambourine confiscated by a hairy Music teacher. Anyway, join in the age-old
debate of whether boys and girls can genuinely be friends and of course, keep Merz on for a refreshing soundtrack to your slightly sad life.
'Verily' begins with 80s sounding keyboards shaking up and down scales and then thumps into Spanish guitar strumming while Merz's
intangible voice sings, 'without you there'll be hell to pay'. The opening bars of this track are demonstrative of Merz's powerful ability to mix
different genres of music in a very digestible way. Perhaps Merz's love infatuation in 'Love Scheme' reciprocated his feelings and now this
heartbroken march of a song sums up the consequences of that ill-judged affair.
From the distant eerie winds and railway bells tolling in the poignant track, 'My Name Is Sad And At Sea', Loveheart continues to take you on
a precious journey; the journey of the mind through its past with a reflective, understanding companion in the form of Mr Merz. His vocals are
reminiscent of the late great Jeff Buckley and this song is the aftermath of Merz's withdrawal from the world after the torturous experience of
'Verily'. Merz's fictional train ride away from the deepest darkest parts of his mind leaves you in a state of anxious peace - his bad hand has
been dealt so what now?
Certainly next track, 'Butterfly' is an uplifting positive step forward - a mix again of 80s electro and common man folk. This track would
definitely be the sex music Enigma and Bob Dylan would choose to get down to. Next in this little diary of an album, we reach the halfway
point and what could be more fitting than a minute long organ piece which would have been King Charles the First's favourite recital back in
the days of harpsichords, dangerous cleavages and wigged men in tights..ah, those were the days!
'Warm Cigarette Room' is a representation of our current modern times; instead of dreaming of our mothers when we cry or can't sleep,
instead we desire a drink, a cigarette or an attractive companion. Or actually all of them. The cigarette room epitomises the new womb we all
long to be tucked inside when things just get a little too much and people around start to care a lot less.
Final track 'Loveheart' has multi-vocals and sounds like the belching cherubs in 'Dangerous Heady Love Scheme' have now returned to sing
their sweet little hearts out. There's also a secret magical track on here so that's 11 big ones for us lucky listeners! Eclectic, ambient and
gorgeous. A phenomenal album of 2005.
Dee Sekar
The best thing about writing for an independent are a) the joyous and plentiful opportunities to express oneself through sack loads of similes,
metaphors and juxtapositions. It's like marrying your English A Level and divulging in perverse, kinky games with it behind your bedroom
doors and b) coming across unusual, inspiring artists. Welcome to the SSS stream of consciousness, Merz.
His 10 track album, 'Loveheart,' begins with experimental beats, a haunting piano melody and beautiful lyrics. I don't know much about Merz
as I only read about new artists after I hear their music, but I'm definitely intrigued to find out more. 'Dangerous Heady Love Scheme' sets a
somber, reflective mood with electronic chords that sound like a young cherub belching. Awww. But then folk acoustic guitars begin and this
becomes a fast-paced tale about the dangers of falling in love with a friend. Oopsies. Awkward memories of thinking I've been in love with
friends come flooding back. Ughh - Merz's parable is definitely one that's understood even if it does make me want to go back in time
andreach for the nearest noose. Similarities to Badly Drawn Boy can be made here but hopefully Merz doesn't walk around with a granny's
woolly
hat on his head or pouts like a sullen teenager who's had his tambourine confiscated by a hairy Music teacher. Anyway, join in the age-old
debate of whether boys and girls can genuinely be friends and of course, keep Merz on for a refreshing soundtrack to your slightly sad life.
'Verily' begins with 80s sounding keyboards shaking up and down scales and then thumps into Spanish guitar strumming while Merz's
intangible voice sings, 'without you there'll be hell to pay'. The opening bars of this track are demonstrative of Merz's powerful ability to mix
different genres of music in a very digestible way. Perhaps Merz's love infatuation in 'Love Scheme' reciprocated his feelings and now this
heartbroken march of a song sums up the consequences of that ill-judged affair.
From the distant eerie winds and railway bells tolling in the poignant track, 'My Name Is Sad And At Sea', Loveheart continues to take you on
a precious journey; the journey of the mind through its past with a reflective, understanding companion in the form of Mr Merz. His vocals are
reminiscent of the late great Jeff Buckley and this song is the aftermath of Merz's withdrawal from the world after the torturous experience of
'Verily'. Merz's fictional train ride away from the deepest darkest parts of his mind leaves you in a state of anxious peace - his bad hand has
been dealt so what now?
Certainly next track, 'Butterfly' is an uplifting positive step forward - a mix again of 80s electro and common man folk. This track would
definitely be the sex music Enigma and Bob Dylan would choose to get down to. Next in this little diary of an album, we reach the halfway
point and what could be more fitting than a minute long organ piece which would have been King Charles the First's favourite recital back in
the days of harpsichords, dangerous cleavages and wigged men in tights..ah, those were the days!
'Warm Cigarette Room' is a representation of our current modern times; instead of dreaming of our mothers when we cry or can't sleep,
instead we desire a drink, a cigarette or an attractive companion. Or actually all of them. The cigarette room epitomises the new womb we all
long to be tucked inside when things just get a little too much and people around start to care a lot less.
Final track 'Loveheart' has multi-vocals and sounds like the belching cherubs in 'Dangerous Heady Love Scheme' have now returned to sing
their sweet little hearts out. There's also a secret magical track on here so that's 11 big ones for us lucky listeners! Eclectic, ambient and
gorgeous. A phenomenal album of 2005.
Dee Sekar
MORE REVIEWS/DEMOS HERE
| All images, words, site design Copyright © Soma Soma Scene 2005 unless otherwise stated All Rights Reserved |
Junior Boys Live @ Cargo, November 06
This electro/dance Canadian duo released 'So This Is Goodbye' on Domino Records this autumn
and since then decided to pick up their trendy man bags and mini synths to tour the UK. A huge
fan of the album, it was a true delight to see this band in action. The wonderfully-named
Greenspan and Didemus share an obvious passion for their own music as much as their fans do
and this comes across in a rather 'let's all just smile and bop along to it' kind of way. It is great
to see and hear electro being done in the more traditional pop sense and makes a welcome
change from the over-saturation of electro-nu rave on the current London scene. More trips to
London please, boys. For more info: http://www.myspace.com/juniorboys
Dee Sekar
This electro/dance Canadian duo released 'So This Is Goodbye' on Domino Records this autumn
and since then decided to pick up their trendy man bags and mini synths to tour the UK. A huge
fan of the album, it was a true delight to see this band in action. The wonderfully-named
Greenspan and Didemus share an obvious passion for their own music as much as their fans do
and this comes across in a rather 'let's all just smile and bop along to it' kind of way. It is great
to see and hear electro being done in the more traditional pop sense and makes a welcome
change from the over-saturation of electro-nu rave on the current London scene. More trips to
London please, boys. For more info: http://www.myspace.com/juniorboys
Dee Sekar
REVIEWS: NEW RELEASES, GIGS, FILM AND ART
SEND YOURS TO ADMIN@SOMASOMASCENE.COM
SEND YOURS TO ADMIN@SOMASOMASCENE.COM
Soho Dolls Live @ Barfly, November 06
Soho Dolls befriended me on MySpace and so, naturally, I had a nosey round their site. Their
photos displayed an edge of arrogance combined with all the camp of Scissor Sisters. I hadn’t
listened to any of their music before, but the reports I had heard intrigued me enough to want to
see them live.
The Barfly was busy – this was the last date of their tour and had the added spice of being their
home turf. Soho Dolls seemed to attract a diverse crowd. The room was filled with a mixture of
Indie kids, middle class parents with underage teens (obviously a birthday treat) and lacked the
mandatory ‘spray-on jeans crowd’.
The Dolls were punctual and extremely polite. In fact they were almost humble. I had been
expecting some over-inflated egos – after all, the lead singer is a slinky whippet who has been
photographed with just a strip of black masking tape around her slight chest.
They began their set with ‘Weekender’, which had a stomping beat, and got a room full of gleeful
people singing and cheering. The crowd bopped rampantly when the new song was churned out
and the thick bass line and chunky edges made it so infectious it was impossible not to get
involved. The new single ‘No Regrets’ was received with huge enthusiasm but when they launched
into ‘Pleasures of Soho’ – no doubt popular because it is available as a free download from their
swanky web-site – there was an overwhelming response from the doting crowd.
This is fun, inoffensive electro rock. Don’t expect clever lyrics and conceited angst. The music is
simple and extremely likable. It breeds similarities of Client and the Presets with gritty rock
edges.
The lead singer Maya is beautiful. And, although she looks quite gothic, she is not a cocky, dirty
rock chick, but a well spoken, soft little elf who floated through the set with such ease you
doubted the fluffy chords had exercised her vocals in the slightest.
The keyboard player Ana was absent, but the band more than adequately coped and Maya
seemed to exude a calmness and demure composure that quickly saw the crowd enamoured by
her. The Soho Dolls aren’t cool; they are not even trying to be. They drop outrageous random
quips like ‘scream if you wanna go faster’ between songs and Maya tells rubbish jokes which trail
off mid-way, culminating in a lack of punch line. But the crowd laugh in an appeasing manner,
because she is genuinely a nice girl.
Soho Dolls are a delightful merge of music which doesn’t evoke too much emotion but allows you
to drift away and be frivolous and scatty. I can only hope that their success doesn’t involve the
evaporation of their unassuming attitude as I think that this is the root of their appeal, it gives
them a gentle edge for an electro clash/glam rock band. www.myspace.com/sohodolls
Gabrielle Trundley
Soho Dolls befriended me on MySpace and so, naturally, I had a nosey round their site. Their
photos displayed an edge of arrogance combined with all the camp of Scissor Sisters. I hadn’t
listened to any of their music before, but the reports I had heard intrigued me enough to want to
see them live.
The Barfly was busy – this was the last date of their tour and had the added spice of being their
home turf. Soho Dolls seemed to attract a diverse crowd. The room was filled with a mixture of
Indie kids, middle class parents with underage teens (obviously a birthday treat) and lacked the
mandatory ‘spray-on jeans crowd’.
The Dolls were punctual and extremely polite. In fact they were almost humble. I had been
expecting some over-inflated egos – after all, the lead singer is a slinky whippet who has been
photographed with just a strip of black masking tape around her slight chest.
They began their set with ‘Weekender’, which had a stomping beat, and got a room full of gleeful
people singing and cheering. The crowd bopped rampantly when the new song was churned out
and the thick bass line and chunky edges made it so infectious it was impossible not to get
involved. The new single ‘No Regrets’ was received with huge enthusiasm but when they launched
into ‘Pleasures of Soho’ – no doubt popular because it is available as a free download from their
swanky web-site – there was an overwhelming response from the doting crowd.
This is fun, inoffensive electro rock. Don’t expect clever lyrics and conceited angst. The music is
simple and extremely likable. It breeds similarities of Client and the Presets with gritty rock
edges.
The lead singer Maya is beautiful. And, although she looks quite gothic, she is not a cocky, dirty
rock chick, but a well spoken, soft little elf who floated through the set with such ease you
doubted the fluffy chords had exercised her vocals in the slightest.
The keyboard player Ana was absent, but the band more than adequately coped and Maya
seemed to exude a calmness and demure composure that quickly saw the crowd enamoured by
her. The Soho Dolls aren’t cool; they are not even trying to be. They drop outrageous random
quips like ‘scream if you wanna go faster’ between songs and Maya tells rubbish jokes which trail
off mid-way, culminating in a lack of punch line. But the crowd laugh in an appeasing manner,
because she is genuinely a nice girl.
Soho Dolls are a delightful merge of music which doesn’t evoke too much emotion but allows you
to drift away and be frivolous and scatty. I can only hope that their success doesn’t involve the
evaporation of their unassuming attitude as I think that this is the root of their appeal, it gives
them a gentle edge for an electro clash/glam rock band. www.myspace.com/sohodolls
Gabrielle Trundley
The Human Value’Give Me’ Big Deal Records
www.thehumanvalue.com
After the Dementer experience, I see the pouting sullen looks of the mostly girl fronted band (3 gals and 1 guy) on the cover of ‘Give Me’
and get scared. I can’t really face listening to more female hormonal warblings. ‘Give Me’ sounds exactly like The Long Blondes. If you’ll
love them, you’ll love this. Personally I do like The Long Blondes but this sudden wave of similar Chrissy Hynde type female vocalists
again is nothing new or interesting. Also the lyrics are the same old same old: ‘Give me what I want/Oh oh baby’. I’m not sure what I’m
looking for when it comes to girls and rock music however The Human Value haven’t done much to curtail my search. The quest
continues….
Sol Seppy ‘The Bells of 1 2’ Gronland Records
www.solseppy.com
One look at the wonderful album cover and I immediately warm to Sol Seppy. There is something really timeless and nostalgic about this
black and white photograph. I love it. And also because if you asked me to think of a band name when I was 11 years old, I may well
have just come up with something like ‘Sol Seppy!’
1 2 begins with a beautifully harmonious piano riff and gorgeous vocals from Miss Sophie Michalitsianos. I do hear elements of Keane in
the riff but don’t run away just yet, this song is warm, rich, ethereal and really brightens up my day. Thankfully there are some women out
there who have an inkling for producing good music. I can imagine Bjork doing a haunting cover of ‘Human’ which sounds like a tragic
lullaby sung by a child to its broken favourite doll. Composed of such beautifully effective and simple lyrics. ‘Hello my name is
human/And I come from love/Here on earth it’s easy to forget/Our home’. With a building string accompaniment, whispering vocals and a
piano which sounds like it’s trying to keep it together and not cry, THIS IS SOMETHING TRULY MAGICAL.
There are more up tempo ‘indie’ tracks like ‘Come Running’ where the effected vocals are wonderful and the electro elements give the
chorus an extra kick up its happy arse and ‘Move’ which is a bit of an analomy at first – sounds like a cross between Sisters of Mercy and
Portishead. It is a good track and the surprising ‘heavy’ droning is an experiment that is very brave of Sol Seppy to try out. Good on ya.
There’s definitely a deep, dark, warm and dense side to this band. The Bells of 1 2 is a fantastic collection of songs, experiences, poems
and experiments which fans of Cocteau Twins, Sparklehorse (Sophie’s ex band) and Mazzy Star will get truly excited over.
Dee Sekar
www.thehumanvalue.com
After the Dementer experience, I see the pouting sullen looks of the mostly girl fronted band (3 gals and 1 guy) on the cover of ‘Give Me’
and get scared. I can’t really face listening to more female hormonal warblings. ‘Give Me’ sounds exactly like The Long Blondes. If you’ll
love them, you’ll love this. Personally I do like The Long Blondes but this sudden wave of similar Chrissy Hynde type female vocalists
again is nothing new or interesting. Also the lyrics are the same old same old: ‘Give me what I want/Oh oh baby’. I’m not sure what I’m
looking for when it comes to girls and rock music however The Human Value haven’t done much to curtail my search. The quest
continues….
Sol Seppy ‘The Bells of 1 2’ Gronland Records
www.solseppy.com
One look at the wonderful album cover and I immediately warm to Sol Seppy. There is something really timeless and nostalgic about this
black and white photograph. I love it. And also because if you asked me to think of a band name when I was 11 years old, I may well
have just come up with something like ‘Sol Seppy!’
1 2 begins with a beautifully harmonious piano riff and gorgeous vocals from Miss Sophie Michalitsianos. I do hear elements of Keane in
the riff but don’t run away just yet, this song is warm, rich, ethereal and really brightens up my day. Thankfully there are some women out
there who have an inkling for producing good music. I can imagine Bjork doing a haunting cover of ‘Human’ which sounds like a tragic
lullaby sung by a child to its broken favourite doll. Composed of such beautifully effective and simple lyrics. ‘Hello my name is
human/And I come from love/Here on earth it’s easy to forget/Our home’. With a building string accompaniment, whispering vocals and a
piano which sounds like it’s trying to keep it together and not cry, THIS IS SOMETHING TRULY MAGICAL.
There are more up tempo ‘indie’ tracks like ‘Come Running’ where the effected vocals are wonderful and the electro elements give the
chorus an extra kick up its happy arse and ‘Move’ which is a bit of an analomy at first – sounds like a cross between Sisters of Mercy and
Portishead. It is a good track and the surprising ‘heavy’ droning is an experiment that is very brave of Sol Seppy to try out. Good on ya.
There’s definitely a deep, dark, warm and dense side to this band. The Bells of 1 2 is a fantastic collection of songs, experiences, poems
and experiments which fans of Cocteau Twins, Sparklehorse (Sophie’s ex band) and Mazzy Star will get truly excited over.
Dee Sekar