In This Light And On This Evening

Kitchenware/Columbia

Ooh, looky who’s got some synthesisers? I really didn’t expect to like this record. In fact I’d already half written the review in my head, with lots of clichéd references to Editors jumping on the 80s synth bandwagon.

The press pack arrived with a slightly bizarre letter to the listener from frontman Tom Smith. At times it sounds like an apology, while elsewhere it is just a defiant two-fingers to any predictable criticism for going ‘all electronic’. Either way it smacks of someone who was really expecting some kind of backlash, admitting that “this album will alienate some Editors fans, it will split opinion…good.”

The slower tracks have never quite rung true on previous Editors albums but the layered, brooding atmosphere of album closer Walk the Fleet Road is a triumph, while single Papillon is unmistakably Editors, with its catchy hook and soar-away chorus.

They may have ditched the guitars, but they have retained the unerring sense of melody. The constant buzz of electronic noises can grate but overall it is worth persevering.

Sigh No More

Gentlemen of the Road/Island

If, as Mumford & Sons bassist Ted claims, music fans are looking for something with a bit more heart, then they can certainly find a sizeable chunk of it on this stunning debut.

At times it is haunting, others euphoric, but their blend of old time, sepia-tinted bluegrass and shimmering folk-pop sounds fresh, vibrant and uplifting.

Banjos and double bass  may give the impression of a derivative novelty act, but together the band mould delicious harmonies with overpowering melodies.

And as they planned, it just makes you want to have a good old sing song.
An almost perfect piece of modern folk, with tunes that linger long after you press stop.

Union

Self release

The aptly named ‘Union’ is a fitting testament to the bands dedication and continual triumph over adversity, having released it without a label.

From the pounding tribal drums in the opening of Flashing Red Light Means Go through to the passionate urgency of Evacuate, The Boxer Rebellion create a deeply brooding atmosphere which amalgamates OK Computer era Radiohead with the transcendent beauty of early Verve to create their own blend of guitar distorted indie.

It is a breathtaking combo of instantly memorable melodies and heart-wrenching falsetto gracefully floating above delay-layered soundscapes.

Give Me Fire!

Universal

It would be really dull to write a review about a Scandinavian guitar band that compared them to The Hives or Soulwax.

But even so, Mando Diao do sound a bit like both The Hives and Soulwax. They sound a bit like Franz Ferdinand too, with some Stax soul thrown in.

Bjorn’s gruff-voiced bellowing adds real soul to the shameless melodies, while the pumping bass and sprinkling of brass keeps things interesting among some of the less adventurous pop-rock standards.

Out of Babel

Destruction Records

It’s like getting your own pop-up gypsy-folk-punk mash-up in a handy little pack.

The Destroyers are a band not to be missed playing live and this debut album attempts to capture that same energy.

It certainly succeeds for the most part, with title track Out of Babel a stand-out highlight.

Paul Murphy’s twisted mythologies weave tales of intrigue over the top of a frantic cacophony of instruments.

Some of the instrumentals are more for the purists but a party record nonetheless.

Kings & Queens

Virgin

When Jamie T burst onto the scene with Mercury nominated debut Panic Prevention, there was a feeling it was more style than substance, with his rough London act appearing little more than a gimmick.
But he has returned after two and a half years with one of the most original records of recent times.
Witty and thought-provoking, it lurches  between rampant energy and moments of mellow calm.
His obvious talent for weaving gritty tales is underpinned by a strong musical tradition, plucking influences from a variety of sources, be it ska, punk, soul or straight-up rap.
A unique talent and a special album.

The Glee Club, 29/09/09

You could tell this was going to be a cool gig by the number of checked shirts on show. In fact you could count the people not wearing a checked shirt or cardigan, or at least sporting some attempt at faux-folk facial hair, on one hand.

Selling out a gig on a Tuesday night is no mean feat but the charmers of Mumford & Sons pulled it off and turned on the gratitude from the off. They certainly know how to win over a crowd, as if their delightfully accessible brand of roll-along melodic folk wasn’t enough, it was dressed up with an endearing mix of jokes, japes and questions, as well as the right mix of platitudes.

Declaring The Glee Club as one of their favourite venues in the world and calling this gig the biggest of their lives all helped of course but it was clear that ‘The Mumfords,’ as I don’t think anyone calls them, all just ‘proper musicians’ enjoying the ride.

And they certainly know what they are doing. The instrument swapping and miniscule moustache-sporting frontman Marcus Mumford’s ability to sing and keep perfect time on a kick drum while strumming away on the guitar was a show in itself, while banjo twiddler Winston Marshall’s fingerwork was mesmerising, even if his jokes were less so.

The real wow factor comes into it when they melt into their seamless harmonies, with the heavenly chorus of Awake My Soul a perfect example, along with the haunting a cappella layers of album title track Sigh No More perfect examples.

The darker undertones of Thistle and Leaves gave the band the chance to show off their dirtier rock influences, while the instantly recognisable breakthrough hit Little Lion Man drew whoops of recognition.

Mixing heart-wrenching moments of tender emotion, with bluegrass inspired stomps and moments of pop-folk perfection, this was a rollercoaster of a live show, with the Glee’s usual seats removed to allow for maximum audience foot-stomping.

Roll Away Your Stone has all the makings of an alt-folk anthem, with the band inviting the audience for a hoe-down, along to its ramshackle rockabilly rhythm. The sweeping drama and choir-like ending of the track perfectly encapsulated what was a truly unique show from one of the most genuinely captivating acts of the year.

Words by Sean O’Muir

Pictures by Sarah Lines

Hare & Hounds, 28/9/09

It’s always pleasing to catch a band on the up and there was a feeling among the sell-out crowd that this could be the last chance to catch Aussie epic rockers The Temper Trap in a venue of this size.

In fact the number of people whipping out their mobile phones to record the obligatory shaky camera footage suggested that this could be something to show off about in years to come.

The band have enjoyed a summer of growing attention thanks in no small part to their all-conquering single Sweet Disposition filtering its way into the public consciousness.

The no-frills pub surroundings of the Hare & Hounds seemed a long way from the sheening glamour of a Sky+ advert but the four-piece looked very much at home on what was their second appearance in Kings Heath this year.

Frontman Dougy Mandagi appeared genuinely appreciative and admitted it was “nice to see a few more people” on their return to the venue, during one of his rare forays to address the audience.

His delicately raw, falsetto vocals took a few minutes to warm up but it wasn’t long before the singer and his fellow band mates disappeared into their own world of shimmering, gazing melodies.

The beating simplicity of Rest immediately caught the attention while the imposing, layered chorus of Down River upped the tempo of the whole set. Single Sweet Disposition was an obvious highlight. But it was deliciously indulgent instrumental Drum Song which was one of the most captivating tracks, delivered with a spellbinding intensity, with bassist Jonathan Aherne swinging his instrument like a machine gun, while the rest of the band stomped and swayed to the ethereal, delay-soaked hooks.

It was an evening of epic sounds in an intimate environment and the crowd responded, before the Melbourne band signed off in style with the chugging, straight-down-the-line indie rock of Science of Fear.

The Temper Trap are clearly a band who believe in what they are doing and clearly love playing, traits which will always go a long way to winning over new fans, especially with the tunes to back it up.

Word by James Collins

Pictures by Katja Ogrin

Looking Through You

(Island)

Like some kind of record company executive’s wet dream. Imagine Mika, The Feeling, The Hoosiers and The Saturdays in some kind of oiled-up play-wrestle. Twinkly pianos, ‘cool’ sweeping synths and a whole load of horrifically predictable tunes.

Almost every song is littered with Queen-inspired harmonies, while the choruses each build into a crescendo of pop-soaked melody that sounds like it was almost deliberately written to be played over the top of those fake moments of sheer joy on The X Factor.

But wait, they’ve got ‘The’ before their name and they write ironic lyrics about the fickle finger of fame which ironically enough catapulted them onto the pages of the music press in some kind of ironic, self-perpetuating prophecy. Ironically enough though it’s dreadful and doesn’t make any worthy point. How ironic.

They couldn’t even come up with a proper ending for final track Carry Me Home, sparing you the only shred of possible joy at the moment of realisation that the record has actually finished. Instead it just fades out, as if the producer fell asleep on the control desk.

Don’t be fooled into thinking The Yeah You’s are cool.  This is not cool, it’s horrible. Just horrible.

Hare & Hounds, 27/09/09

Following the successful digital release of their second album Union online, The Boxer Rebellion have recently re-released it in a physical format before embarking on a UK tour to showcase the album’s sonic songcraft.

Their appearance in Birmingham saw their tour in full swing and it seemed every part a victory march. Indeed the success of Union has only served to cement The Boxer Rebellion’s self-belief which transferred itself into an assured presence on the intimate stage of the Hare & Hounds.

Opener These Walls Are Thin set the mood of the evening as delayed guitars and transcendent vocals swarmed around the room. Their live shows have fast become a by-word for heart-felt intensity as Flashing Red Light Means Go feels even more urgent and energetic live than it does on record.

The band pulled out the old trick of each member dabbling on percussion at its start and finish, helping it to soar into an air of melancholic grace.

Material from their debut album Exits was equally well received, with tracks such as The New Heavy and Cowboys and Engines, mixing raw Muse with Cooper Temple Clause, taking on a new found lease of life.

Similarly, Flight was one of the evening’s highlights, upping the tempo even more as dramatic swathes of sound and echo-laden guitars pulsated along to driving bass and drums.

After finishing the set with Silent Movie there was a feeling that songs of such epic intensity deserve a larger stage and surely it can’t be long before this is the case.

By Jeremy Diaper