Reviews

2009-05-05T18:30:00.001Z

'Wishbone Medallion' from Tom Brosseau's recent Bandstand Busking. Taken from his forthcoming album on Fatcat 'Posthumous Success'.

Check out another couple of songs and interview here: http://www.bandstandbusking.com/artist/tom-brosseau

2008-11-21T17:09:00.001Z

CLOWNS - THE FREEBUTT, BRIGHTON, 4/11.08

Are you afraid of clowns?

If you’re going to form a band comprised of members of Electric Soft Parade, The Poppycocks, Brakes and Restlesslist then you’d be right to expect some surprises along the way.

A four-piece going by the name Clowns, tonight they make their live debut in typically unpredictable fashion. Decked out in creepy clown attire (you get the immediate impression that they would have been kicked out of the circus for scaring the children) they launch straight into what is sure to become the bands calling card ‘We Are The Clowns’ while front-man Miles stalks the stage, lost in the songs and his own musical world.

Guitarist Clangers scuzzy, garage rock riffs are a prominent feature throughout, especially in standout tracks such as ‘Trousers’ and the crazed, lurching ‘Terror In The Big Top’. Built on the solid foundations of Matt Thwaites’ bass playing and Thomas Whites drumming, Miles delivers his often sinister and peculiar tales.

Musically it’s a mind bending concoction - twisted and slightly disturbing yet darkly playful, managing to combine the rockabilly swagger of Eighties Matchbox B-Line Disaster with the pop sensibilities of early Squeeze, all underlined by frenzied Fugazi-esque guitar attacks. This proves to be one of their greatest strengths, combining such disparate sounds to create something truly cohesive and wholly unique.

Finally ‘She Says I’m A Clown’ brings things to a perfect conclusion, building to a climatic sprawling whirlwind of sound with all four band members chanting the repeated chorus. It’s fair to say that no-one else is making the sounds of Clowns at the moment – its primal, raw, rocking and ever so slightly fucked up. And all the better for it.

www.myspace.com/shesaysimaclown

Ian Chambers, Nov '08

2007-01-13T14:16:00.000Z

DRIFT NIGHT 3 - WEST HILL COMMUNITY HALL, BRIGHTON 10/12/06

A blustery and stormy December night, tucked away in the backstreets of Brighton in a small community hall ? that's where they'll be found tonight - the Drift Collective. For around a year now the independent Brighton / Devon based folk label Drift has been quietly going about its business - in the process releasing a number of elegantly produced and magical records. Infact Radio 1's Huw Stephens liked them so much he made them his DIY label of the week. A quiet revolution perhaps? Quite possibly. This evening though sees Drift Night 3 - a showcase of four of the labels bands / artists.

Firstly we're treated to a welcoming solo set from Willis, tonight playing without the backing of his band The Tandy Hard. Not that this matters in the slightest though, as with or without a band, Willis' songs stand up brilliantly however they're played. Combining the rich and personal influences of Dylan and more recently Richard Hawley and Will Oldham, his songs are warm, intimate folkish tales that capture the contrasting emotions of love and life with brilliant lyrical effect. The stunning 'War Song', 'Desperate Measures' and 'Shrinking From View' being just a few highlights of an impressive bunch.

Next up is the lonesome figure of Birdengine, who proceeds to astound us with his haunting finger picked guitar folk tales, drawing you into his own strange and eerie world. Taking American alt folk duo A Hawk And A Hacksaw as a starting point, then stripping it down to something sparse, minimal, but none the less enchanting. With songs such as 'Alone With The Beast Folk' and 'You Gave Birth To A Horse' it all comes together perfectly ? seemingly placid on the surface but with a distinctly dark undercurrent. Birdengine is crafting his very own sound.

After a breather its back to the action, this time it being the turn of one half of the Drift label team RG Morrison - with a set of bleak yet positively uplifting acoustic tunes, the majority of which are taken from his debut record 'Learning About Loathing'. With Morrisons soft yet pained vocals, and some delicate guitar work, the effect is not dissimilar to that of Nick Drake, with highlights being the tender 'Ruder Me' and 'Summer Bride - before an inspired set-closing rendition of the Joy Division classic 'Love Will Tear Us Apart'. Magic.

Finally its over to Thirty Pounds Of Bone to finish the evening - playing tonight as a full 4 piece band, led as always by singer and multi instrumentalist Johny Lamb. Their take on the traditional folk sound is both challenging and inspiring - combining guitars, bass, harmonium, and bozouki to create their elegantly crafted, and somewhat world weary songs. From the hushed and delicate 'The Homesick Children Of Migrant Mothers', to the sprawling harmonies of 'Waves For Ketches' via a short upbeat Pogues influenced jig 'Drinking With McGee - the Bones set is an atmospheric and personal journey that never fails to be captivating.

And so ends the evening, safe in the knowledge that its all looking very bright indeed in the world of the Drift Collective. With records forthcoming in 2007 from Willis, Birdengine, Matt Eaton and Cottonmouth as well as a host of new faces ready to join the label, its shaping up to be a good year for the people at Drift - and never a better time for you to go and discover some inspiring new independent music. Spot on

Ian Chambers, Jan '07

http://www.driftrecords.co.uk/
http://www.myspace.com/driftwillis
http://www.myspace.com/birdengine
http://www.myspace.com/thirtypoundsofbone

2006-12-17T19:01:00.000Z

BEST OF 2006

ALBUMS

BRAKES - 'THE BEATIFIC VISIONS' (Rough Trade)
Following up last years 'Give Blood' record, 'The Beatific Visions' proved to be a slightly more focused, yet none the less rocking affair - clocking in at just under 30 minutes of superbly chaotic country punk to keep everyone suitably entertained with shouts of 'SPIKEY SPIKEY' for a good while to come.
www.brakesbrakesbrakes.com

SPARKLEHORSE - 'DREAMT FOR LIGHT YEARS IN THE BELLY OF A MOUNTAIN' (Capitol)
The enigmatic Mark Linkous somehow managed to follow up the stunning 'Its a Wonderful Life' with this - an enchanting and mysterious collection of songs, that in perfect Sparklehorse fashion proved to be a heady mix of the beautiful and downright odd.
www.sparklehorse.com

EUROS CHILDS - 'CHOPS' (Witchita)
Debut solo effort from ex Gorkys main-man that doesn't stray too far from the playful path of the early Gorkys sound. Folk-pop combined with the odd psychedelic experiment and some wonderfully simple yet effective songs about seagulls, donkeys, pigmys and all manner of things in between.
www.euroschilds.com

TREECREEPER - 'GRAIN' (Ironweed Recordings)
The debut effort from London's Americana / Country influenced Treecreeper proved to be a reflective, and in parts rocking collection of songs, all rounded off with frontman Will Burns' world weary lyrical drawl, and sounding something like the middle ground between the Screaming Trees and Neil Young.
www.treecreepermusic.co.uk

JARVIS COCKER - 'JARVIS' (Rough Trade)
With a little help from Richard Hawley and ex Pulp man Steve Mackey, Jarvis returned with a first solo record packed full of simply brilliant pop music and trademark lyrical tales of middle England. Melody and craft coupled with energy and spirit - this record is right up there with Pulp at the peak of their powers. It was good to have him back.
www.myspace.com/jarvspace

THE LEMONHEADS - 'THE LEMONHEADS' (Vagrant)
Roping in ex Descendants Bill Stevenson and Karl Alvarez, Evan Dando's reformed Lemonheads were back doing what they do best - effortlessly catchy power pop. Incandescent harmonies, lazily immediate, catchy songs and crunching guitars, it was like they'd never been away.
www.thelemonheads.net

TOM WAITS - 'ORPHANS: BRAWLERS, BAWLERS AND BASTARDS'
A staggering 3 CD set, each disc sticking to a different musical style - yes, it can only have been Tom Waits. Comprising of 54 songs - song brand new, some rarities, there was plenty of gems to be found amongst the bar room haze of this record, made by a man who through his songs celebrates life, and somehow draws happiness from the gloom.
www.myspace.com/tomwaits

THIRTY POUNDS OF BONE - 'THE HOMESICK CHILDREN OF MIGRANT MOTHERS' (Drift)
Thirty Pounds Of Bone cleverly managed to combine the dreaminess of Sparklehorse, the intimacy of Will Oldham and the sentimentality of Shane MacGowan on their debut record - in the process creating dark and intimate modern folk songs. Yes, its essentially folk music but approached from a challenging and interesting dimension.
www.myspace.com/thirtypoundsofbone

BRUCE SPRINGSTEEN - 'WE SHALL OVERCOME: THE SEEGER SESSIONS' (Sony)
When Bruce when Bluegrass. Gathering together a mighty 11 piece bluegrass band, Springsteen hand picked his favourite American folk tales made famous by legendary folkie Pete Seeger, transforming them into something hugely joyous and uplifting. About as far removed from the E-Steet Band as it was possible to get and all the better for it.
www.brucespringsteen.net

MIDLAKE - 'TRIALS OF VAN OCCUPANTHER' (Bella Union)
Pastoral rock songs wrapped in subtle charm that perfectly envisages Midlake's vision of a beautifully natural and wild existence. Songs about hermits, chasing deer and bandits all combined to make an enchanting and refreshingly different album that progressed perfectly from their Grandaddy inspired 2002 debut.
www.midlake.net

SINGLES

MISTYS BIG ADVENTURE - 'FASHION PARADE' (Sunday Best)
A tongue in cheek ridicule of the current 'bland age' of music all wrapped up and cunningly disguised as an eccentrically bouncy and quite brilliant upbeat pop song. Extra top marks for featuring Noddy Holder and for surgically removing the piss out of the Kaiser Chiefs and Franz Ferdinand. Listen and rejoice.
www.mistysbigadventure.co.uk

ACTRESS HANDS - 'HALF AN HOUR' (Life Is Easy Records)
From Brighton, Actress Hands offered up a glorious Wedding Present inspired slab of scuzzy, fast paced guitar rock - complete with some effortlessly catchy chord progressions and breezy vocal harmonies. All in under two minutes.
www.actresshandsmusic.co.uk

CAMERA OBSCURA - 'LETS GET OUT OF THIS COUNTRY' (Elefant Records)
Enchantingly twee, heartfelt Scottish pop - a countrified take on the sound of The Pastels et al with more than a nod to the current crop of breezy Swedish acts such as The Concretes.
www.camera-obscura.net

MONSTER BOBBY - 'HEAVEN HIDES NOTHING' (Remake / Remodel Records)
A short, nostalgic tale of longing, set to strummed acoustic guitar and scattered electronic effects - highlighting perfectly Bobby's wonderfully unconventional vision of pop music. Like a one man Magnetic Fields from the South of England.
www.myspace.com/monsterbobby

RESTLESSLIST - 'BUTLIN BREAKS' (Life Is Easy Records)
A mind-bending concoction of instrumental post rock and dancefloor electronica was the debut single from Restlesslist. Lavishly cinematic, yet rocking as hell at the same time, this was a great intro the weird and wonderful world of 'the 'list'.
www.restlesslist.co.uk

GIGS

SUBURBAN KIDS WITH BIBLICAL NAMES - Jamm, Brixton

MISTYS BIG ADVENTURE + RESTLESSLIST - Pressure Point, Brighton

MIDLAKE - Hanbury Ballroom, Brighton

SPARKLEHORSE - Old Market, Hove

EUROS CHILDS + THE POPPYCOCKS - Hanbury Ballroom, Brighton

BRAKES - Pavillion theatre, Brighton

THE LEMONHEADS - Concorde 2, Brighton

Ian Chambers, Dec '06

2006-12-14T18:14:00.000Z

THE ELECTRIC SOFT PARADE - 'LIFE IN THE BACK SEAT'
ACTRESS HANDS - 'WHY THE SALE'

Here's the concept - a series of ten 7" singles, to be released periodically as a countdown to next years Truck Festival. Sounds like a well formed plan, and even more so considering the first release of the series is a Brighton double whammy of The Electric Soft Parade and Actress Hands. Splendid work - well played you people at Truck Records.

First up we have The Electric Soft Parades offering 'Life In The Back Seat' - and it proves to be everything you could have hoped for, highlighting perfectly their wonderfully bastardised vision of pop music that they've been busy honing on the live circuit. What we're treated to is a splendidly driving song - propelled along by quick-fire drumming, progressively choppy guitar chords, coupled with some clever complimentary keyboard melodies and electronic effects. Tom Whites voice is also becoming more and more self assured - in this instance he handles the verses while letting brother Alex takes centre stage for the harmony laded chorus.

Like a joyously upbeat clash between Guided By Voices and Magoo, it sounds nothing like anything the band have done or released so far, and is proof again if needed that by constantly evolving and exploring the musical landscape The Soft Parade aren't happy to simply plod along into musical mediocrity like so many others. Life in the back seat? Not for this lot anymore.

Flip things over and the fun continues thanks to 'Why The Sale' by the ever amazing Actress Hands. With a first record label backed album 'Show Madelaine' due for release early next year, it looks like 2007 is shaping up to be a big one in the world of the 'hands. While you wait in anticipation, enjoy 'Why The Sale' ? a lush slab of slightly jangly guitar pop, recalling a similar spirit to some of the C86 bands of the late 80's. Starting off as a mid tempo guitar strum, as the song progresses, so do the guitars ? getting louder and nicely distorted, before a Dinosaur Jr / My Bloody Valentine like rock-out-finale. Or perhaps the band put it better themselves? "Loud shoegazey pop coupled to jazzed out country rockisms". Whatever it may be, it's certainly impressive, and is what Actress Hands are all about.

8/10

Release Date: Out Now

Ian Chambers, Dec '06

2006-12-14T18:13:00.000Z

THIRTY POUNDS OF BONE - 'THE HOMESICK CHILDREN OF MIGRANT MOTHERS'

Adrift at sea with only a banjo for company??

ohny Lamb is a busy man. Not content with simply playing bass in Brighton power pop types Actress Hands, these days he can also be found fronting lo-fi rockers The Small, as one half of the dark alt country duo Cotton Mouth, and playing bass and supplying backing vocals for Willis' band The Tandy Hard. Aside from all that, he's gone and hauled together a talented selection of musician friends to form the four piece Thirty Pounds Of Bone - drawing on his lifelong love of folk music to write and record an album full of elegantly crafted lo-fi folk roots. The album is 'The Homesick Children Of Migrant Mothers', the outcome of six months of recording and fine tuning in a friends basement by band member and Drift Records in-house producer Steve Grainger. And so our journey begins?..

"So your a liar / now your on fire / my matches wouldn't let me down again" ? is our welcome note, as we're greeted with a cautionary tale of boat arson - the snare drum march of album opener 'When She Goes Up'. The lonely drone of a harmonium and distant thud of a bass drum form the basis of the haunting ballad 'Uyeasound', a slow lament celebrating love and living; while one of the albums more upbeat moments - the instrumental 'Trawler Trash' is a breezy and light hearted affair, with a wonderfully hypnotic bouzouki riff. And its not everyday you can say that.

Title track 'The Homesick Children Of Migrant Mothers' glistens with atmospheric ambience - gently picked acoustic guitar coupled with Johnys hushed delicate vocals that deliver a homesick and world weary message - bearing comparisons to the lyrical themes of Shane MacGowan. The Pogues influence rears its drunken head for an oh-so-brief minute or so, as we're treated to a brilliantly upbeat drunkards jig - complete with tin whistle, banjo - the full works. Its called 'Drinking With McGee - and its quite simply superb. No doubt Shane himself would approve.

Its worth saying at this point that praise could quite easily be singled out for any of the ten tracks on this record, but a man knows his limits - so finally a mention must go to the closing track, the sprawling six minute 'Waves For Ketches'. Things begin with nothing but a simple vocal and guitar strum ? but changes are afoot. When the chorus arrives so it brings a tide of upbeat choral-like backing vocals, and with that the song glides along on a wave of euphoria. A flourish of elegantly controlled distortion and electronic harmonies rise and fall, before fading solemnly into a beautifully haunting sole harmonium melody line. Cloaked in floating upbeat harmonies from beginning to end - a fitting way to end a very special album.

Yes, what we have here is essentially folk music, but approached from a challenging and interesting dimension - equal parts the dreaminess of Sparklehorse and intimacy of Will Oldham as the sentimentality of Nick Cave or Shane MacGowan - condensed and added to a melting pot of traditional folk influences.

This is a dark and intimate record, inspired throughout by some visionary arrangements that elevate the songs to another level, whilst not allowing them to stray from their fragile and atmospheric path. The album flows gracefully from theme to theme in an effortless manner - allowing these reflective and personal songs to bathe in their own reflective glory. Magical.

Ian Chambers, Nov '06

9/10

Release Date: Available Now

www.driftrecords.co.uk

www.myspace.com/thirtypoundsofbone

2006-12-14T18:10:00.000Z

THE BLACK KEYS - 'MAGIC POTION'

"I liked them so much that I invited them to stay at my house". So uttered John Peel upon first stumbling across Ohio blues rock duo The Black Keys. That was back in the late 90's - fast forward to 2006, and save for the great Mr Peel sadly no longer being with us, not a lot else has changed in the world of The Black Keys as we're presented with their fourth studio album 'Magic Potion'.

Sticking to the basics they know best, and returning to their hometown basement recording studio, 'Magic Potion' is the sound of The Black Keys honing and perfecting their signature blues rock sound, whilst not losing any of their raw and powerfully stripped down energy for which they've become known.

Imagine if you will, rifling through your parents collection of old blues vinyl, immersing yourself totally in the music, before roping in a friend with a Hendrix and Led Zeppelin fixation and forming a band - a duo comprising of just guitars and drums. That is essentially the kind of thing The Black Keys are about. Its one hell of a low down, dusty, dirty sound, with blues soaked riffs and foot stompers round every corner.

Album opener 'Just Got To Be' sets out their stall early on - all fuzzy guitar chords and plodding drums, before making way for the albums first single, the sweaty attitude and gritty strut of 'Your Touch'. Quite some opening salvo. Throughout the course of the album, singer / guitarist Dan Auerbachs trademark liquor soaked blues howl is evident - sounding like a slightly demented version of Jon Spencer of the Blues Explosion. Its not all fast paced action though - they kindly allow us to catch our breath and slow things down to a steadier pace with the hypnotic ballad 'You're The One' and the slow burning groove of 'The Flame'.

As a record as a whole, this is a solid collection of songs - arguably the best of their career so far. The only downside being a few tracks towards the end of the album tend to lack focus - trailing off into forgettable territory. Cut the tracklisting by two or three tracks and you have here one fine album.

There are definite moments when comparisons to early White Stripes records can be made in abundance - although unlike the Stripes, its fair to say that the music of The Black Keys lacks the pop and mainstream sensibilities to crossover to a wider audience. But that's not what their music is all about - by sticking to their love of blues and rock they're paying their respects to their heroes, and wonderful musicians who went before them. I think Mr Peel would have approved.

7/10

Release Date: Out Now

Ian Chambers, Nov '06

2006-11-11T14:00:00.000Z

MR . WINCHESTERS CAT - 'OUR CARAVAN' (Life Is Easy Records)

Imagine if you will, a world wherein the music of Godspeed You Black Emperor, Themselves, and Mogwai ruled supreme. People went about their daily lives not humming the latest Arctic Monkeys song, but with that haunting guitar line from the new Mogwai single swirling through their heads. Well, that is the vague sort of world in which Mr. Winchesters Cat inhabit.

Comprising of Ben Elliott and Matt Thwaites of fellow Brighton experimentalists Restlesslist, Mr Winchesters Cats debut album 'Our Caravan' is one hell of an oddball, twisted journey of pure experiments. Essentially this is the more intriguing and underground side of the Restlesslist blueprint - expect loop and sample ridden instrumentals, with the odd flourish of guitar, bass and drums here and there. Lavishly crafted Electronica that would by no means sound out of place being released on the well respected Warp records label.

As an album 'Our Caravan' makes for a strange listen - the tunes being somewhat disjointed, short affairs that leave the listener never quite sure what's going to happen next - whilst at the same time the tracks flow oddly together, as if forming one half hour beast of a track. Infact it comes across as more like an eclectic DJ mix than a normal album.

Opening track 'Clip Clop' starts proceedings with a burst of beats and organ, before breaking down into a steady hypnotic groove that's not dissimilar to Missy Elliotts 'Get Ur Freak On'. Elsewhere we move into more electronic territory with the distorted beats of 'Numb Tooth' - with the whole idea being centred on a recorded conversation. Throughout the course of the album, samples of old records are spliced together, filtered, sampled and played with in odd and mysterious ways, before being added to the bands own melting pot of ideas. Infact there are certain similarities here with the work of underground American collective 13 & God.

Like taking a walk through an obscure alternative world - in parts spooky carnival beats combine with moody electronic effects, before long making way for mellow finger picked guitar lines. That's the essence of this record - unpredictability, and compared to a lot of music these days, it strays so far off the beaten track that its only gone and got itself lost in the dense heart of the forest.

Its perhaps best not to think of this as a collection of songs - more as a collection of snippets, strung cleverly together to create a collage of tunes and styles. Mainstream this ain't - but if you like things a bit different then give this record your time. Interesting.

7/10

Released: Available Now

www.lifeiseasyrecords.co.uk

Ian Chambers, Nov '06

2006-10-17T20:38:00.000Z

ELECTRIC SOFT PARADE - KINGS CROSS WATER RATS, 12/10/06

The small Water Rats theatre in London?s Kings Cross is quite simply packed. Maybe not totally sold out - but still very much on the busy side. Why? Because it?s a rare London gig from Brighton?s re-energised rockers Electric Soft Parade, that?s why. And yes, they?ve only gone and bagged two quite stunning support acts as well.

First of who also hail from Brighton - the hotly tipped 4 piece Actress Hands, who in the absence of their usual drummer, feature Soft Parader Alex White on stick duties for the night. ?Boys Need Jazz? is a slow builder, featuring a climatic guitar freak out ending, ?The Reducer? comes across like a meaner Teenage Fanclub with intent, whilst new single ?Half An Hour? is one fast paced, guitar driven bastard of a rocker - in a similar vein as The Wedding Present. Effortlessly catchy chord progressions, some breezy vocal harmonies and most importantly some wondrous songs. Quite simply brilliant!

With such a hard act to follow, you have to feel relatively sorry for The Hazey Janes. But to be fair, they don?t disappoint - with a set crammed full of country tinged power pop, like a less irritating version of The Magic Numbers with hints of early Delgados, complete with some lovely boy / girl vocals. When it works its damn near prefect, as on the sublime pop of ?Don?t Look Away? and ?Fire In The Sky?, and they?re also joined onstage by Tom White of the Soft Parade to add his guitar stylings to their closing number. Someone mentioned they don?t have a record deal?.if that?s the case then why the hell not?!

By the time the Electric Soft Parade amble onstage, they really do have to pull out all the stops for fear of being shown up by the two support acts - and its not often you can say that. The pressure is on.

Things kick off with a new instrumental, the 6 minute psychedelia of ?The Friday Before Christmas?, before pleasing the crowd with two old numbers - the rocking ?Things Ive Done Before? and ?Biting The Soles Of My Feet?, in which the guitar and vocal duties are shared by brothers Tom and Alex. By the time ?Human Body EP? tracks ?A Beating Heart? and ?Cold World? are dispatched, rock star shapes are being well and truly pulled by Tom White - and things are clearly going to plan. Alex White steps out from behind his keyboard to take over lead vocals and guitar for ?Lose Yr Frown?, much to the delight of sections of the crowd who duly partake in some mosh pit action down the front - whilst being keenly egged on by bassist Matt Thwaites.

Throughout the night the band are clearly chuffed at the turnout, as Tom continually thanks everyone for bothering to come and see them. Opportunities are taken to also air a few new tracks - the best of an impressive bunch being the partially acoustic ?Secrets? - sung and played beautifully on acoustic guitar by Tom, and featuring some lovely harmony vocals and gentle keyboard backing by Alex. "Keep your feelings well hid / they will only get trodden on / there are secrets to keep / you don?t have to tell everyone", as the spirit of Elliott Smith looms large.

The set is finished off with the slow space orchestration of ?Everybody Wants?, before the baying crowd urge the band triumphantly back on stage for an encore. "Do you want two new ones or two old ones?" asks Tom - which proves to be quite a silly question. Old it is then, and what a treat - two fan favourites from their debut album - ?Red Balloon For Me?, which sounds as wonderful as ever, and finally they?re joined by their old keyboard player Steve Large for a roaring version of their 2001 debut single ?Empty At The End?.

Triumphant return to the capital? Most definitely - in quite epic proportions!

Electric Soft Parade set:
The Friday Before Christmas, Things Ive Done Before, Biting The Soles Of My Feet, A Beating Heart, Cold World, Lose Yr Frown, Secrets, Misunderstanding, Silent To The Dark, If Thats The Case Then I Dont Know, So Much Love, Everybody Wants, Red Balloon For Me, Empty At The End

Ian Chambers, Oct ?06

2006-10-15T16:31:00.000Z

MY LITTLE PROBLEM - 'ALL THESE THINGS / LAZY'

Despite a rather lovely self released EP last year, Brighton's My Little Problem are still very much in their infancy, with only three gigs under their belt. Hopefully though, that is soon to change thanks to the good people at Life Is Easy Records - who are releasing this - their debut single 'All These Things'.

Firstly, lets get the introductions out of the way - My Little Problem are a diverse and talented eight piece band, who musically can loosely be described as folk or alternative country. Led by the production and songwriting talents of Simon Janes, the band also features local lo-fi folkie Laurence Collyer (or better know as The Diamond Family Archive).

Here we're treated to two songs that are both beautifully mellow, hushed affairs. Kicking things off with a slow picked banjo line, 'Lazy' meanders along at a happily placid pace, with some wonderfully hazy vocals and gently strummed guitars. "You wont move, you say you'll bruise / But I'm always waiting, time again / Your so lazy". 'All These Things' is in a similar vein - a quietly shimmering number, complete with soft cello and trumpet which help create the song's wonderfully lazy groove. Slightly different but never failing to be interesting - that's what this band is all about.

These songs are the perfect backdrop to the long winter evenings, and have a warm, intimate feel to them that you'll grow to love. Gentle, ever so chilled out, and full of haunting beauty. My Little Problem - welcome back.

7/10

Ian Chambers, Oct '06

www.myspace.com/mlpsongs

www.mylittleproblem.co.uk

2006-10-15T16:29:00.000Z

BRIGHTON LIVE 2006

After the massively over hyped Great Escape festival came to Brighton earlier in the year, the time has come for Brighton to showcase its very own local talent - so here it is again - the return of the hugely successful annual Brighton Live festival - and this year its only gone and got even bigger and better. Over 250 bands, playing in 31 venues throughout the wonderful city, and the best part is - the whole things free - that's right, it won't cost you a penny! A bit good I think you'll agree, so take the week off work and enjoy.

Monday 25th

The first live action of the week just happens to be in a coffee shop named the Red Roaster - a large converted post office with a very high ceiling, and a somewhat arty, bohemian atmosphere. Luckily they do sell beer - a hot chocolate or warm milk doesn't sound quite so appealing. Upon arrival, we just catch the end of the set from Ellie Blackshaw, who plays some rather nifty contemporary tunes on the violin. It soon becomes apparent that at regular intervals we'll be greeted with the sound of a coffee blender, which it has to be said does spoil the atmosphere somewhat - but it is a coffee-house after all, so what did we expect?

Next its the turn of the ever brilliant Birdengine - who's twisted and mysterious take on folk music never fails to astound. Wonderfully enchanting songs such as 'Heads Off Dogs', 'You Gave Birth To A Horse', and 'Buried In Black Snow' are worked through with his usual finger picked nylon guitar precision, allowing us all glimpses into an eerie and atmospheric world.

To most, Willis is best known as songwriter & vocalist in local outfit The Customers - but for now the band are taking some time off, so these days Willis has turned his hand to other musical projects. Aside from being the newest addition to the line-up of local power-pop favourites The Poppycocks, he's also gone down the solo route, with a full length record coming out on Drift Records early next year. But he's not in this alone, having lovingly assembled a backing band of local musicians to form The Tandy Hard (with who he plays with for the first time this evening) featuring Johny Lamb (Actress Hands, Thirty Pounds of Bone) on bass / backing vocals, Jane Bartholomew on piano, and Nick (Country Analogue) on drums. His songs have a wonderfully intimate feel to them ? relatively simple yet effective - creating a cosy kind of warmth around the songs. Standout track, the captivating 'Shrinking From View' has hints of Dylan about it, while the brilliant 'Desperate Measures' and 'Price On Your Head' are hushed woozy affairs that lyrically could be compared the likes of Leonard Cohen. Excellent stuff all round, and on this showing Willis' album will be well worth checking out upon release.

Tuesday 26th

Tonight the decision is made to make the trek up the mighty hill known as Southover Street, and see some nice intimate stripped down music at the Dover Castle pub. Is 'stripped down' the new acoustic?!

After that walk, a nice pint and some breezy tunes are just what's needed - and that's just what we get from the man known as Parker. Joined on drums / percussion by Mr Pugh of The Poppycocks, together they perform some brilliantly quirky, 60's influenced songs that are very much in the vein of an acoustic Kinks. Songs about pirate ships ('The Charming Man'), pretty ladies ('Barbara') and an inspired cover of Belle & Sebastians 'Me And The Major'. Someone give the man a record deal!

What to make of Jason Pegg? Clearly quite a talent, and responsible for the likes of the excellent 'Lido' and 'Cedars' records with his band Clearlake, tonight we get the chance to witness a rare solo performance in a now very busy pub. Unfortunately though, what promised so much, ends up turning into fairly uninspiring background music. Things do improve slightly though when the pace is upped with 'I Hate It That I Got What I Wanted', and the beautiful slow number 'Dreamt That You Died' from recent album 'Amber'. Aside from that, the rest seemed to pass me by. Not much to report here then.

Wednesday 27th

Night three, and its all getting quite exciting with what promises to be a cracking line-up of bands in the upstairs room of The Albert - the self titled 'most rock n roll pub in Brighton'. Which is nice. What's it like then? Quite simply, small, hot and very busy. Anyone for some air conditioning perhaps?

All the way from the rocking Sussex town of Worthing, we have the latest addition to the Drift Records roster - 4 piece band The Burns Unit. Oh and they're brilliant! Upbeat indie pop, complete with some jangly guitar work and some harmoniously crafted songs. I challenge you to listen to the likes of 'Sunshine Hurts My Eyes' and 'Never Let Me Go', and not want to break into a small dance floor shuffle. Like an English version of Gorkys Zygotic Mynci, mixed in with a bit of Kinks for good measure. Kindred spirits of The Poppycocks and ones to look out for indeed.

After being hand picked by the organisers of Brighton Live as a band to look out for, big things are expected of My Federation. The band arrive very sharply dressed in fetching white suits, and proceed to run through a set filled with keyboard / synth driven electro, featuring some big guitar riffs and pounding Primal Scream-like bass lines. Quite on the danceable side if you happen to be that way inclined.

Aha, it's The Poppycocks! Currently causing quite a stir in the local music scene, it was only right that they were given their own headline slot this year. Led by the lyrical wit of Miles Poppycock, and closely guided by the steady hands of The Captain, Willis, and the drumming of Mr Pugh, tonight they're bang on form - with song after song of smashing, slightly eccentric power-pop. A keen ear for melody indeed! The tale of an attendant at the local pavilion gardens is told in 'A Gentleman's Gentleman', looking through rubbish is discussed in 'A Rubbish Man', and on forthcoming single 'Lovebirds' we hear of imprisoned lovers. These are just a few highlights that make you grin like a mad man and make you want to perform that embarrassing drunken dance. Infact they even get an encore - and the choice couldn't be better than the postal themed 'She Sends Me Letters'. Throughout the evening the band look like they're clearly enjoying themselves and judging by the reaction of the crowd, everyone else certainly is too. 'The new Belle & Sebastian' someone said. No, they're The Poppycocks - and we love em.

2006-10-15T16:24:00.000Z

BRIGHTON LIVE 2006

Thursday 28th

Ok, so its he's not local, and the shows not strictly part of Brighton Live - but a trip to Resident Records is in order to witness a brief instore acoustic performance from hotly tipped Irishman Fionn Regan. Disappointingly he only plays three songs, but what we do get to hear is impressive none the less - finger picked guitar folk songs with a hint of Nick Drake and Elliott Smith about them. Could well be worth investigating further.

Onwards and upwards we go, with the next stop being the festivals official pre-gig bar, the rather trendy Audio, for some more 'stripped down sessions' - starting at the stupidly early time of 6:00. Too early for beer? Not a chance. Word has spread that the scheduled Kooks gig at the nearby Dome has been cancelled - which goes some way to explaining why the place is packed full of scenesters with big hair, and worryingly tight jeans. Luckily we don't plan to be staying for long.

And now to the reason we're here - a rare solo and acoustic performance from Brakes frontman Eamon Hamilton - and he doesn't disappoint. Kicking things off with the short but brilliant combination of 'Heard About Your Band' and 'Hi How Are You'; we're also treated to a handful of new songs from the forthcoming new Brakes record. 'If I Should Die Tonight' is a countrified diamond of a tune, while the faster paced 'Hold Me In The River' has the more familiar spiky Brakes guitar sound we've come to know and love ? and even mentions Scarlett Johansson. As is now customary, the 6 second randomness of 'Comma Comma Full Stop' finishes things off perfectly ? with more than a few confused looks on the faces of the assembled Kooks fans. Without a doubt the usual country punk of Brakes songs works really well acoustically and it makes a nice change to see an intimate solo performance from the man Eamon. Excellent stuff.

Following this we trekked up to the trendy watering hole The Providence (I don't know why either ? please forgive me), but I wont mention the fact we saw performances from Pope Joan, Early Morning Soundtrack and Puscha. Top marks for effort - but quite frankly, they were rubbish. Homeward bound.

Friday 29th

To be fair, tonight is actually cheating - a trip to London to see a little bit of Brighton in the big city - The Pipettes and Actress Hands at the Camden Koko.

On first, Actress Hands (minus guitarist Alex White) unfortunately play to a very sparse audience due to having a stupidly early stage time. But none the less they put in a great set that's scattered with a handful of new songs taken from their recently recorded forthcoming album - with 'Stitches' and 'Boys Need Jazz' being the highlights of an impressively rocking bunch. New single 'Half An Hour' is a short, fast paced slab of Wedding Present like Indie Rock, and old number 'The Reducer' is as always a stunning harmony led tune. Overall an excellent showing to the London crowd - although they may have left a few bemused looks on the faces of some of The Pipettes fanbase who are more used to choreographed dance moves and polka dots.
As for The Pipettes - who tonight are all sporting fetching new dresses - its business as usual. 60's girl band inspired tunes a-plenty, choreographed dance moves - you know what to expect by now. 'Pull Shapes', 'Boy In Uniform', all their big songs are here - infact it sounds like they play pretty much all the songs they have at their disposal. Pretty uninspiring from where I was standing, but then again its all a matter of taste, and you really do have to be in the mood to properly appreciate a live Pipettes show. Or perhaps I'm just a boring bastard after all? Who knows!

Saturday 30th

So to the last night of Brighton Live 2006, and we've made it through the week in once piece - well apart from our livers - probably. As it happens, it turns out be a night of three gigs - with the first being at the Dorset pub/café for local promoters Gilded Palace Of Sins showcase night - or to be more precise we've come to see the lovely Jane Bartholomew, who's stunning voice, gentle guitar work and soft folk songs are wonderfully encapturing and atmospheric. The pubs crammed full too.

Next stop - Resident Records once again, for a haunting performance from 3 piece Euchrid Eucrow. Experimental and mysterious folk at its best - featuring Euchrid on vocals/guitar, Ginger Lee on accordion and Abi Fry on violin. Wonderfully off kilter, the songs twist and turn as the three instruments combine to create something odd, but quite astounding. Pushing the boundaries of new folk music has never sounded so good.

"We're the Bobby McGees and your not. So fuck off!" Ukuleles, banjos, miniature guitars and face paint? Yep, it's The Bobby McGees - the duo of miniature guitar player Jimmy, and ukulele / melodica player El, who's sound has been described as 'anti-folk' ? whatever that may be. Whoever's idea it was to put them on in a bar the size of the tiny Arthouse is quite frankly mad, as it was obviously going to be busy and it certainly is. To the music - brilliantly twee songs that never fail to amuse - "I don't want to be Jar Jar Binks no more" sings Jimmy on 'The Best Star Wars Song Ever'. Songs about astronauts, being dumped, and having no friends are just a few of the topics covered in the space of the evening. Minimalist, and all the better for it ? I think The Bobby McGees may well be going places.

Phew, tired yet? Well you should be! Another successful year for the good people of Brighton Live, and on this weeks evidence, the festival continues to go from strength to strength. Roll on next year.

Ian Chambers, Oct '06

2006-10-15T16:20:00.000Z

ACTRESS HANDS - 'HALF AN HOUR'

Jingle jangle, jingle jangle, blah blah blah. What's that you hear? Another guitar band with a Teenage Fanclub fixation? Certainly not - go and hang your head in shame, as we're here to talk about Brighton's much loved power pop hero's Actress Hands - and there's so much more to them than mere comparisons.

All is busy in the world of The'Hands at present - with Matt Eaton and co. fresh (or not so) from playing a handful of dates with fellow Brightonians British Sea Power, and a forthcoming split 7" single with the Electric Soft Parade on the horizon. It all leads rather pleasantly to the release of this - the bands second single, a blistering new recording of firm live favourite 'Half an Hour'. But does it live up the excellent previous single 'Snack Horse'? In a word - yes?infact they've only gone and bettered it.

At less than two minutes in length, there's no messing around here. Just a short and sharp, guitar fuelled rocker ? lyrically inspired by the dangers of walking home late at night from the pub in Kilburn. "Just remember when you leave last thing at night / near the kerb, look around, and you'll be alright / you'll be home in an hour and half an hour / hold on for a minute and we can have some fun" sings Matt Eaton, as the guitars propel the song along, while the trademark vocal harmonies raise their heads briefly during the chorus - and its a wonderful thing indeed. If a comparison is to be made then think the scuzzy, fast paced guitar sound of 'Bizarro' era Wedding Present, raised down south ? and brought up listening to the likes of Teenage Fanclub and Big Star. Oh it rocks like one mean bastard. You gotta love it.

Flip things over (or not if you have a CD - obviously), and the usual rule of a slightly temperamental b-side goes straight out the window once you hear the opening guitar salvo of 'What's The Name Of The Planet You're From?' Another upbeat tune, with a catchy as hell guitar line, and hints of early Electric Soft Parade material - and that's a very good thing indeed.

Once again it seems Matt Eaton and co.'s knack for writing killer tunes and melody has come out on top - but then again did we really expect anything less? Quite simply some superb Indie Rock / Power Pop (whatever you want to call it ? I'm not fussy), minus the pretentious arrogant aspect of so many new bands these days. With a debut album currently in the process of being recorded at the Truck studios in Oxford, it appears the future is indeed looking very bright for Actress Hands. 'Half an Hour' - destined for an Indie night near you soon perhaps? Oh, come on - you don't really want to hear that Kooks tune again.

Lush - go and invest you pennies wisely.

Ian Chambers, Sept '06

9/10

Release Date: 2nd October

www.actresshandsmusic.co.uk

2006-10-15T16:17:00.000Z

THE POPPYCOCKS - 'LOVEBIRDS'

The ship was to be a good ship, the crew were capable men, and the captain thoroughly understood his business. It was named The Poppycocks.

They'll be found off the blustery coastal region of Brighton - four men with wind in their hair and songs in their hearts - Miles Poppycocks (vocals / guitar), The Captain (bass / vocals), Willis (guitar / keyboards) and least we forget the man known as Mr Pugh (drums). Combined as one they are The Poppycocks. Four similar souls, with a liking for fanciful verse and song of the most catchy variety.

Anyone who's been lucky enough to witness them in live action will know what to expect, but for those who haven't - here is the evidence - their debut single 'Lovebirds'. Straight away you know your going to be in for something of a treat with the title track - guitars jangle, xylophones glisten and suddenly your smiling like a lighthouse. As with all good songwriters, their songs bring to life characters and stories - and The Poppycocks do that brilliantly here, with a cursory tale of a courting couple who become separated through imprisonment. Hear that chorus? "Danny says I'm so in love / I will wait for for / Molly says I'm so in love / I will wait for you" - oh it'll be in your head for days.

When asked "what news from the sea?" the fish replied "I have a lot to say, but my mouth is full of water". Fresh from those words of wisdom, we move on to the b-side 'Tenderhooks' ? that appears to be a whimsical story of yearning to be a fish and going back to the sea. Mermaid love perhaps? Its a dreamy song alright - the melody gently washing over you like the spring tides. Infact this song could easily be a single in its own right.

After all that merriment, its more than fair to say that for a debut effort, this really is a bit special - two songs with a distinct English nature to them, that are wonderfully different from the majority you hear these days. Think the Kinks with a slight nautical persuasion, playing the songs of Belle & Sebastian, and you may have a glimmer of what The Poppycocks are all about. Seafaring power-pop anyone?

With that, the vessel rolled steadily, dipping her bowsprit now and then with a whiff of spray. Everyone was in the bravest of spirits - for they knew that this was just the beginning of their adventure.

9/10

Ian Chambers, Sept '06

Release Date: 9th October

www.myspace.com/thepoppycocks

2006-09-03T17:24:00.000Z

AN EVENING WITH THE ROBOT HEART - CELLA BAR, HOVE - 1/9/06

Never mind big one off stadium gigs and tours - its often the small, monthly live music nights in cities up and down the country that are really the beating heart and truly creative core of local music scenes. For example, for the alternative and quiet folk here in Brighton there is the sublime, stripped down Bleeding Hearts night - held each month at the Prince Albert. But now it appears we have a lovely new night at the intimate Cella Bar to look forward to. So whats the plan? Well, hosted by local band The Robot Heart - each month will see a performance by themselves, as well as two other bands / artists handpicked by members of The Robot Heart. Sounds promising, so lets see what?s on offer on the first night.

To get things underway we?re all treated to a lesson on just how to play guitar properly - courtesy of local duo -A+M. Armed with an acoustic guitar each, they play a set of instrumentals that are simply mesmerising - the two guitars working in harmony with one another to produce some wonderfully atmospheric pieces of music. What they?re doing could loosely be described as folk, although it veers from sounding at times like an acoustic Mogwai, to a 21st century version of folk guitar heroes Bert Jansch and John Renbourn. Mightily impressive.

The tiny Cella is by now crammed full to witness a rare performance of experimental, twisted folk from the man known as Birdengine. With only his nylon stringed guitar and unusual voice he creates an eerie, pastoral soundscape - his songs bringing alive mysterious tales of cutting heads off dogs, being alone in the woods at nightfall, and living with beasts. He cuts a lonely, fairly awkward figure onstage - eyes closed and totally lost in his own musical world - and that?s a wonderful thing indeed. At times the music and vocals have hints of an acoustic Thom Yorke - although not even Yorke himself could create music this odd without playing with his laptop. Be sure to keep a lookout for Birdengines forthcoming ?Fed Thee Rabbits Water EP? as it promises to be something very special indeed.

Finally its the turn of our hosts, The Robot Heart - who in the past months have been slowly building up a small army of local fans thanks to some glorious live shows. The four piece feature guitar, bass, keyboard and cello - and a gorgeous noise they create with them too. Classed as mellow indie gospel, with stunning 3 part male / female harmonies - keyboards chime, guitar gently strums and the cello weaves its haunting beauty - and everyone?s transported briefly to a place where everything in the world is actually quite alright. Despite this, the songs still have an element of sadness involved - but its sadness in the best possible sense - like the universe has throw all it can at you, but your still here. Watch out - it?ll get you in the end.

Not bad for a first night then, and one which promises a lot more in the future, especially with the coming months bringing performances from Jane Bartholomew and the Diamond Family Archive amongst an array of other local gems. Quite simply ace.

Ian Chambers, Sept ?06

www.myspace.com/birdengine
www.myspace.com/therobotheart

2006-08-26T18:32:00.000Z

SPARKLEHORSE - ?DREAMT FOR LIGHT YEARS IN THE BELLY OF A MOUNTAIN?

Sparklehorse have always been one of those bands seemingly at odds with the current musical climate - never quite operating on the same wavelength as the rest. - which in reality is the best thing for everyone. Perhaps only the likes of The Flaming Lips and Mercury Rev are at all comparable to the haunting beauty and other-worldly themes of the songs of Sparklehorse - the music having a distinctly introspective and melancholic feel to it that separates it from the majority.

Its worth pointing out that Sparklehorse is essentially one man - Mark Linkous - a man who remains shrouded in enigma, existing is his own obscure and alternative world - and if your going to be taken on a trip to another world, then his is certainly the one to visit. This new record is testament to just that, ?Dreamt For Light Years In The Belly Of a Mountain? being an album full of wonder and enchantment, as through the course of its 12 songs we?re given glimpses of sleeping old bears, hammering hooves, Ophelia in the creek and Christmas bulbs glowing in the night. For those familiar with previous Sparklehorese albums, you?ll know just what to expect - and won?t be disappointed.

Once again, the majority of the songs here were recorded by Linkous himself at his home studio in an old secluded farmhouse in North Carolina - perhaps this quiet isolation being the inspiration behind the natural, earthy imagery the record creates. Despite this, he still had some help along the way - multi instrumentalist Stephen Drodz of the Flaming Lips being brought in to play drums, guitar and synthesisers, and the much sought after Danger Mouse aiding on some of the albums production work. Most impressive of all though is the inclusion once again of the reclusive Tom Waits, who provides piano and backing vocals on the haunting 7 minute track ?Morning Hollow?.

At times it can be easy to see how certain critics seem confused by the music Sparklehorse produce - even as a fan you have to admit that their albums are often a heady mix of the beautiful and the downright odd. But when the formula really works, and the ideas come together in perfect harmony, then the outcome is sublime. ?Shades of Honey? is cloaked in floating, upbeat melodies - full of sentimental positivity, whilst the glorious ?Some Sweet Day? and ?Mountains? are like offshoots from the great George Harrison?s classic album ?All Things Must Pass?.

Each Sparklehorse record always brings with it a few moments when Linkous drifts back into the land of the sane, turns the amps up a notch or two, and delivers a couple of more rock orientated, fast paced songs. As is the case here - with the fuzz guitar drive of ?Ghost In The Sky? and ?Its Not So Hard? doing the honours.

But for all the albums brilliant moments, for any over-critical fan there could well be an element of disappointment involved - due to 4 of the tracks being already available previously. The most notable of these being the album finale - the ten minute instrumental title track - previously found under the title ?Maxine? on the LP only version of 2001?s ?Its a Wonderful Life? album. Not taking anything away from the track itself though - a delicately building, yet gentle piano led epic ? elegantly shrouded in effects, inspired by the work of experimental post-rock band Godspeed You Black Emperor.

As an overall body of work, its fair to say that this is slightly more accessible than previous Sparklehorse albums - but by no means is it lacking in quality. Infact there?s plenty here to keep you mystified for a long time, and as we?ve come to expect from Mark Linkous - a beautifully put together and reflective record.

8/10

Ian Chambers, Aug ?06

Release Date: 25th September

www.sparklehorse.com

2006-08-17T13:02:00.000Z

FORT ROX FESTIVAL, NEWHAVEN FORT - 12/8/06

A music festival - at a fort? Headlined and curated by British Sea Power? Well?why the hell not?! With the UK being well known for its music scene - and not its coastal defence systems - it seems a pretty radical idea to stick on a handful of bands, on a custom built stage, on the parade ground of an old wartime fort bang on the cliff edge in Sussex. But hey, it could work! Infact, festival goers can entertain themselves between bands by participating in such far out activities as recreating an air raid in the ?Blitz Experience?, or by going on a guided tour of the forts clifftop ramparts - all capped off with refreshments from the Searchlight Café. Although naturally, we headed for the bar - rather quaintly situated in an old aircraft hanger. Welcome comrades, to Newhaven Fort.

Now, as much as I?d like to tell you all how good the first band The Honeycuts are, I?m afraid it cannot be done - due to underestimating quite how much of a treck it is up the coastal path to the fort. Good job we weren?t marching. Scenesters beware - this seaside wind will have your straw hat off in a flash.

First band of the day then is male / female duo Jacobs Stories, who?s avante garde blend of folk and electronica bring to mind Kid A era Radiohead. Imaginative and interesting, although their music isn?t really suited to an outdoor festival and seems to leave people looking a wee bit baffled - which is something that local fourpiece Charlottefield soon put right. If it was a lunchtime wakeup call you?re after then they certainly deliver, with a set packed full of riff heavy, melodic hardcore - like a distinctly English version of DC hardcore bands such as Fugazi and Sick of it All. Powerful stuff!

In comparison, Wakefield popsters The Research are all colour and bundles of energy - rounded off with lots of slightly twee, casio keyboard led pop songs. Judging by the random outbreaks of dancing amongst the assembled crowd, the verdict seems to be a positive one too. All nicely catchy, and for a while actually surprisingly entertaining - although like eating too many sweets, too much can soon become sickly.

As if knowing that too much dancing could cause you to peak too early - its over to My Latest Novel to slow the pace down slightly, and take everyone on a journey through their dark, mysterious, and strangely theatrical songs. Clearly a talented and creative six piece - violins soar, xylophones shimmer and all sorts of things go on besides - morphing from moody Arab Strap like strums, to Idlewild like mini anthems in the space of a song.

Finally, in preparation for our hosts British Sea Power, duties are handed over to The Duke Spirit to give us all a good kick up the arse. They storm their way through an excellent set consisting of mainly new songs - the feisty attitude of frontwoman Leila Moss shining through the dark, scuzzy guitar grooves. Very loud and quite distinctly labelled ?rock? - the new album should be worth the wait. The only downside being partial deafness due to standing inline with one of the mainstage speaker stacks. I knew it was a bad idea.

Now then, seeing as we?re all standing in a fort on the Sussex coast - and knowing how British Sea Power like to do things their own way - I was half expecting the band to suddenly be lowered into the fort by helicopter, or arrive on the beach by speedboat. Sadly, neither is the case, as they amble onstage to be greeted with the mass waving of freshly picked foliage by small portions of the crowd. Nothing like a friendly welcome eh - and the band respond in the best possible way with their now customary opening song ?The Scottish Wildlife Experience?. Despite the odd technical hitch, the hour-long set is packed full of epic tunes - this band are clearly made to play outdoor festivals. Anthems the size of the sweeping ?Remember Me? and a quite wondrous version of crowd favourite ?Please Stand Up? are dealt with early on - allowing for a new atmospheric masterpiece titled ?Mary? to take centre stage, that quite frankly, has the words ?future single? written all over it. "I opened my eyes / I did not make a sound / I could not cut you down". Beautiful. The sprawling ?True Adventures? is given its glorious full airing of seven plus minutes, complete with violin courtesy of Abi from Jacobs Stories - before the band are joined onstage by a rather large dancing bear (or is it a man in a bear costume?) for the crazy finale of ?Stretch and Flex With Ursine Ultra?. During the closing moments we witness Noble snap the neck of his favourite guitar, and Hamilton fighting with the onstage dancing bear - before said bear nearly catching alight from the heat of the lights - all whilst the stage becomes slowly shrouded in smoke and guitar feedback. And then they were gone - airlifted away into the clouds. Possibly.

To sum things up then, the obscure day can best be described as "about as much fun as you can have whilst spending six hours in a fort". Couldn?t have put it better myself.

British Sea Power setlist: ?The Scottish Wildlife Experience?, ?Remember Me?, ?Please Stand Up?, ?Apologies To Insect Life?, ?Spirit Of St Louis?, ?Mary?, ?How Will I Ever Find My Way Home?, ?Fear Of Drowning?, ?Atom?, ?True Adventures?, ?Carrion?, ?Stretch And Flex With Ursine Ultra?.

2006-08-05T11:58:00.000Z

THE DIAMOND FAMILY ARCHIVE - ?S/T?

Firstly, if its angry men with guitars and an attitude you?re after, then quite frankly stop reading now. But if not, meet Laurence. Laurence Collyer is a busy man. Currently involved in a number of different bands and musical projects, he?s the big bearded, hat wearing, gem of Brighton?s musicians. Now, for those who care to remember a Brighton based pop-folk band by the name of Chimp (who released a full-length record and a follow up mini album in 2002-3) - then Laurence was indeed the bands frontman and focal point. See ? you learn something new everyday.

Putting brief flirtations with success aside, Laurence is currently involved with the gentle pastoral folk band Blanket, and also the up and coming Brighton based alternative country 8 piece My Little Problem. Clearly we have here a man who loves to play music.

After all that, we come to another of his musical creations - and one with which he seems to have felt most at home recently - The Diamond Family Archive. Originally starting off as a solo effort using looped guitars, lap steel and keyboards, the initial idea has since developed into a talented 3 piece band, who all play an array of various instruments that help create the atmospheric soundscapes that allow Laurences delicate songs to breathe. It?s hard to try and analyse what the Diamond Family Archive do, and the music they make - although beautiful is about as close as you?ll get.

As for the reason we?re here - to write about the record. This 9-track album is infact the first recorded material from the Diamond Family Archive, and yes it really is something special. Working elegantly as an album as a whole, the songs seem to seamlessly fit perfectly together as a whole body of work - the songs never straying from their fragile, atmospheric path.

Lyrically this record seemingly deals with the topics of redemption, love, loss and forgiveness - but often in a cleverly indirect way, as on the opener ?Crows? - contemplating the life of a crow living in the forest - the things they see, and yet we never know.

Lone finger picked banjo and guitar welcomes you into the simple yet hauntingly effective song ?Let In? - the minimal instruments built around Laurence?s distinctly personal and observational lyrics. "I?ve got a good heart / but I wont let it beat / in time with anything / no I wont let it win / over me". Powerful stuff. The melancholic piano led song ?Lazy? proves to be a short yet wonderful gem of a tune - the lap steel, guitar and banjo combining with some hazy backing harmonies that?ll be sure to have you nodding your head in happy approval.

Two main highlights though are the lap steel slide of ?End Of The Road?, and the finger picked guitar / harmonica number ?Greenfields?. As with most songs on this record the general songs are simple, yet the inspired accompaniment creates a wonderful mood, which elevates the songs to something that extra bit special.

These are an intimate and warm collection of songs that glisten and sparkle in an ever so chilled out way - thanks in part to Laurence?s soft hushed vocal style - sad, yearning, yet full of hope. Given a chance these songs will get under your skin and find a special place in your heart - just as this CD should in your record collection. Stunning.

9/10

Ian Chambers, Jul ?06

Release Date: Available Now

www.slowumbrella.com

www.myspace.com/thediamondfamilyarchive

2006-07-03T19:00:00.000Z

Coming up....

Within the coming month i'll be frequenting the following sweat holes, mostly in Brighton, so you could well find some random musings appear here about any of the following little gems:

July 6: Jane Bartholomew, Things In Herds, Diamond Family Archive @ Sussex Arts Club
July 7: Midlake, Fionn Regan @ Hanbury Ballroom
July 13: Flogging Molly @ Concorde 2
OR
July 13: The Poppycocks @ Hanbury Ballroom
July 20: Euros Childs @ Spitz
July 23: Lightyear @ Engine Rooms
July 27: Ben Ottewell (Gomez solo show) @ Sussex Arts Club
Aug 7: Things In Herds, Willis @ Greys
Aug 12: British Sea Power, Duke Spirit @ Newhaven Fort

Oh and if you fancy hearing some lush new music then please go check out Diamond Family Archive..its beautiful brilliance http://www.slowumbrella.com/ << theres songs to download and everything.

2006-07-03T18:45:00.000Z

DRIFT RECORDS NIGHT 2 - MARLBOROUGH THEATRE, BRIGHTON - 4/6/06

The place to be in Brighton tonight is undoubtedly the tiny, back street Marlborough Theatre ? where those in the know have gathered for the second record label showcase gig from the brilliant folk at Drift Records. Expect another night of blissful acoustic music at its finest. Hopes are high, so lets see what?s on offer?

Firstly we?re warned by the nights compere not to dance on the venues plush carpet ? for fear of whipping up a nasty static carpet storm. Thanks for the warning. With that bit of advice out the way it?s down to business. First up is Miles Poppycock ? who can usually be found fronting local seafaring power pop types The Poppycocks. Tonight though he entertains us with his clever, witty, observational songs that are inspired by the events of everyday life ? bringing to mind Ray Davies or Belle & Sebastian in their quieter moments. Impressive stuff, but a set ending sing-a-long rendition of the Velvet Underground?s ?Femme Fatal? finishes things off perfectly.

Thirty Pounds of Bone is the brainchild of Drift co-founder Johny Lamb ? and a brilliantly lo-fi folk roots noise they make too. Usually joined live by a full band, playing an array of instruments ? tonight is just Johny and his guitar. His songs are in classic folk music mould, whilst still sounding fresh and modern, as on the brilliant ?Crackshandy in the Harbour? and ?Homesick Children Of Migrant Mothers? - which combine the dreaminess of Sparklehorse with the sentimentality of the slower Pogues numbers. On occasions the lyrics even recall the second-generation Irish themes of which Shane MacGowan is known - infact you could easily imagine Thirty Pounds of Bone doing magical covers of the likes of Pogues classics ?The Old Main Drag? or ?Lullaby of London?. In a word ? excellent.

Next it?s the turn of the other half of the Drift team ? RG Morrison, complete with his dark yet joyously uplifting songs of love, redemption, home and heartbreak. Morrisons finger picked guitar is lavishly accompanied by a second guitarist who helps elevate songs such as ?Honest Man? and ?Funeral For a Foe? into something extra special. Atmospheric stuff alright, which leaves you totally engrossed in the songs from start to finish. Quite some talent.

Finally its time for Matt Eaton ? he of hotly tipped Brighton hero?s Actress Hands. A long awaited solo acoustic record is forthcoming on Drift, whilst his solo shows are always wonderfully unpredictable occasions, that never fail to entertain. Being described as sounding like "Teenage Fanclub and the Reindeer Section having a quiet night in with a guitar" really isn?t all that far off the mark at all. His own song ?How Many Shoes? is a gorgeous, short number, while an Actress Hands songs apparently about adders, is a catchy, melody filled wonder. As always there?s a couple of random covers thrown in ? firstly a great version of Johnny Rivers ?Poor Side of Town?, then ending with a surprisingly good take of the traditional Irish tune ?Johnny McEldoo?, for which Matt is joined by Johnny Lamb on banjo. Top marks for remembering all the words too.

Now before ending let me give you a free piece of advice. If you haven?t already done so then your urged to invest your pennies wisely in the RG Morrison record ?Learning About Loathing?, or simply get your hands on the Drift sampler cd and hear these (and other) wonderful artists for yourselves. So, another spellbinding and inspiring night of acoustic / folk music at its best. But then again did we really expect anything less from the people at Drift? Spot on.
Ian Chambers, June ?06

2006-06-03T11:26:00.000Z

THE R.G MORRISON - ?LEARNING ABOUT LOATHING? (Drift Records)

Is it really so bleak out there in the Devon countryside? Listening to R.G Morrison you?d come to the conclusion that, yes it certainly was. But not in a bad way - oh no sir. The bleak we?re dealing with here is of the ?uplifting, everything will be alright? kind.

Now that?s a difficult enough task to put across in a song at the best of times - but considering these 8 songs are actually the first the 24 year old R.G Morrison ever wrote, makes it very impressive indeed. As well as being his first record, it?s also the maiden release for himself and fellow musician Johny Lambs independent label Drift Records.

The first thing you notice before you even play this album is the care that?s gone into the CD packaging, with the disc enclosed in a brown envelope and sealed with a unique personalised wax stamp. It seems a shame to even open it. Eventually though you snap out of it - the seal must be broken.

As for the important part - the music itself. Upon listening it firstly grabs you at just how confident it all comes across, while production wise, less is most definitely more. Being recorded in a church really seems to add something to the overall feel of the recording - a somewhat intimate atmosphere that?s enhanced with the sparse instrumental backing of fellow musician Johny Lamb (he of Actress Hands, Thirty Pounds of Bone, The Small), as well as the addition here and there of a string section. Lyrically speaking, the songs here deal with everything from love, loss, yearning, hope and redemption. Touchy subjects that if written about wrongly can end up sounding contrived and cliched - but thankfully that?s not the case here.

Things kick off with the title track - which proves to be a great taster for what the rest of the record has in store. By means of an introduction a lonely snare drum and gentle strum of a guitar are soon joined by slow fuzz bass for the verse, and upon the arrival of the chorus so does the synth - by now we?re in distinct uplifting territory - all aided by Morrisons soft, yet pained vocals. Throughout the course of the record influences are clearly scattered around - one such being Nick Drake on the fingerpicked guitar tune ?Summer Bride? - complete with a beautifully arranged, but not overpowering string section.

An eerie one note drone and the tolling of a church bell signals the arrival of ?Funeral For a Foe?, that minus the clever production and arrangement would be an average, but noneless pleasant song. Producer Steve Grainger obviously had other ideas. In just under three minutes you get all sorts of instrumental madness built around the guitar and vocals of Morrison. Infact there?s so much going on that I wont attempt to pick it apart - just believe me - its wonderful. Listen for yourself.

Following this comes the upbeat moment of the record - which turns out to be a song apparently written about Abraham Lincoln - titled ?Kentucky?s Favourite Son?. Coming complete with hand claps and whistles - its like the world is suddenly a lovely place once again and all your troubles are lost. Strangely it sits so out of place on this record that it actually works. Wonderful.

The seven minute ?Ruder Me? is simple, beautiful and full of yearning - guitar, piano and cello being all that?s needed, while album closer ?In Out? has a whiff of summer and positivity about it - and harmonies that would make Teenage Fanclub weep into their pints of Tennants.

Right - so not your average acoustic folk record then I hear you say. Damn right its not. Inventive, atmospheric, sentimental etc. it does all the right things a record of this type should. Whether its the production or the fact it was recorded in a church - I just don?t know - but you get the impression that if you close your eyes they could be sitting in the corner playing live in your room, yet at the same time there?s? a grand, big sound to it all. Don?t worry, I?m confused as well. Sublime stuff however you look at it. Be sure to keep one eye on R.G Morrison this year - as well as the movements of Drift Records. If this is anything to go by then there?s great things on the horizon.

2006-06-02T20:33:00.000Z

THE GREAT ESCAPE FESTIVAL - BRIGHTON - 18-20/5/06

So it begins - the inaugural Great Escape festival. Billed as 3 days of musical mayhem by the sea in Brighton, featuring 180 bands spread over 18 different venues. The UK?s answer to Texas? SXSW perhaps? Let?s wait and see, there?s beer to be had, and bands to be seen first.

Thursday 18th

By late afternoon the city is already a hive of activity with indie kids everywhere. Some of the haircuts are extreme, and yes, some of the jeans far too tight - almost as if the nations NME readership has congregated by the seaside. Or maybe they?re all here to see The Kooks?! By the time doors are opening for various venues, the idea of venue hopping to check out different bands soon goes straight out the window, as it becomes clear how big the majority of queues are going to be. Not to worry though, as I?m quite happy to stay put for the evening in The Zap, a small venue bang on the seafront ? with its slightly confusing array of various chill out rooms, levels, and most probably other stuff we didn?t even get round to seeing.

There?s a fair crowd gathered to witness the opening band, The Figurines - who put in an energetic and fairly entertaining set of standard indie rock tunes, at times sounding something along the lines of Modest Mouse. This being their first UK show outside of their native Denmark, they seem clearly happy and enthusiastic to be here. Not a band to set the world alight, but then again there really isn?t anything to dislike about them.

Ahh but now its time for Seal Cub Clubbing Club - a merry band of student-looking scousers who seem to be the support act of choice for the more underground bands these days. Their sound is a melodic oblivion of ideas, key changes and cosmic twists and turns, so you just never seem to know where the songs are going to end up. Ah yes the songs?all good, but memorable? No squire. As much as I like this band, I?ve seen them 3 or 4 times before and yet still none of the songs stick in your head. Like a more prog-rock Mclusky with a Graham Coxon lookalike for a frontman. Have beer and dance? Good plan!

Next up is what I?ve personally been looking forward to the most - the return of Brighton?s own The Tenderfoot. Unfortunately, record label troubles caused the band to take a break from music, so tonight is somewhat of a comeback gig for them - being their first live performance in nearly a year. Cut down to a more trim four piece, they?ve clearly lost none of their old charm and warmth as they open with oldie ?Save the Year? - and its brilliant to hear their off beat indie-folk once again. Pretty much all of their set is made up of new songs - proving the band hasn?t been slacking during their time off. Its as if they?ve found a new zest for music once again, as the new songs come across as more upbeat and cheery - the best of an impressive bunch being the brilliantly titled ?No Smoking on the Forecourt?. Has someone been listening to ?Radiator? by the Super Furry Animals I wonder? In a world where too many of today?s new bands seem to bash out what?s popular, and crave to have the right image, its refreshing and inspiring to see a band like The Tenderfoot doing just what the hell they like ? and if people happen to like it as well, then great! All that?s left to do is nod our heads in approval and utter the words "welcome back", before heading cheerily to the bar.

Packed venue, over excitable fans, stuffed birds and foliage? It can only mean those British Sea Power chaps are about. Between song bird noises, the sound of a ticking clock and church bells are all part and parcel of the British Sea Power live experience, as the eccentric Yan, Hamilton and co. blast out their anthemic, melodic indie rock. The crowd need no excuse to get into the spirit of things down the front by the time the band play fan favourites ?Spirit of St Louis?, ?Remember Me? and the sweeping atmospherics of ?Carrion?. Three brand new songs are also given an airing that on first listen sound faster, darker and louder than the material from their previous record ?Open Season?. The unpredictable nature of their live shows are summed up perfectly when one minute the band is playing one of their slower numbers ?Lately? - the next there?s a dancing tree on stage. Or perhaps it?s a person covered in twigs and leaves? I guess we?ll never know. By now it?s all kicking off in proper BSP fashion - guitarist Noble hurls himself - complete with guitar - into the crowd, and soon enough the stage is stormed by a mad bunch of eager fans. The last you see is a stuffed peregrine falcon being tossed above our heads, and Hamilton disappearing into the mass of people and bodies. And then they?re gone - safe in the knowledge of having masterminded another jubilant and utterly brilliant hometown show. The perfect end to the first day ? judging by this madness, the rest of the weekend sure has a lot to live up to.

Friday 19th

After an afternoon sheltering from the wind and rain in the pub (how convenient), it?s off to the tiny Freebutt for more action. Yes its small - infact you could probably fit more people in the front room of your house - but that?s why we love the place.

It?s by no means packed, but there?s still a sizeable crowd to see local lads Mike Rosenberg Band. It becomes apparent that most of the early birds have come to see them, as the majority of people seem to leave after their set. What did they sound like then? Well, think James Blunt with less annoying songs and a fancy for the odd electronic sound-scape and synth bleep here and there. Smoothly does it. All very nice melodic songs that are well put together and would by no means sound out of place in the charts. If you like that sort of thing, then Mike Rosenberg might just be what you?re looking for.

Time now to hear what Canada has to offer the festival, or to be exact The High Dials - who have been busy slowly making a name for themselves over here with some uplifting live shows. Luckily, we?re not to be disappointed as they pack in a storming half-hour set full of feel-good-harmony filled psychedelic rock - with more than a nod here and there to the Flaming Lips and Grandaddy. Be sure to check out their latest single ?The Holy Ground?, which on this evenings showing is going to be a real cracker. Impressive stuff indeed!

Now the next band - as some drunken chap kindly pointed out - are rather rocking, with a singer who has a similar stage presence and vocal style to Jarvis Cocker. Time to check out Scissors For Lefty then and see if they pass the Pulp test. Hmm, slightly quirky keyboard driven pop, and yes the frontman oh so wants to be like our Jarvis - but to no avail. I'd imagine his school report for music would state "must try harder". Still, that aside - they put in a very energetic performance, which starts sounding promising but soon trails off and begins to sound just a bit too predictable and formulated. Zane Lowe would love it! The small crowd seems to like them anyway judging by the random outbreaks of dancing. Not bad then - but not exactly good either.

Onto the main reason why we?re here?to once again see the brilliant Electric Soft Parade. And before you ask, no they haven?t split up - and those in the know will tell you they have bags full of new songs, a new found confidence and generally seem a lot happier now they?re free from any major record label pressures. Oh yes and their drummer Matt Priest used to be in Dodgy - fact. The whole band seem in good spirits and are on fine form - the White brothers Tom and Alex fresh from mammoth tours with Brakes, while bassist Matt Thwaites has been busy playing and recording with his other band Restlesslist - so this probably explains the total lack of a setlist - its literally play what you remember. The sets scattered with mainly new songs - the best being the dark, chugging psychedelic opener ?The Captain?, and the sublime dual guitar / vocal catchiness of ?If That?s the Case Then I Don?t Know?, the latter being the sort of tune that deserves to be released as a future single. A great reception is always given to their older songs, and it was no different when they break into old number ?Biting the Soles of My Feet? - which brought about a classic moment of the like has surely never before been seen in the Brighton music scene. As the song gets going, a slightly over enthusiastic, beer fuelled fan promptly opens an umbrella and proceeds to jump around for the duration of the song (was this a Crudge?). Nothing like a bit of fist pumping umbrella action to get the crowd going eh?! Back to the songs and ?Human Body? EP tracks ?A Beating Heart? and the six-minute space orchestration of ?Everybody Wants? are given an outing, and despite one heckler shouting for ?There?s a Silence?; he?s left disappointed as they play ?Things I?ve Done Before?. Despite no plans for an encore the crowd are insistent, and eventually the band give in, as Eamon Hamilton (yes, he of Brakes) is called on stage to add his vocals to the 6-second madness of Brakes tune ?Cheney?. Short but sweet ? it?s all that?s needed! Seeing the Soft Parade in a venue the size of The Freebutt again is truly brilliant - and although the band themselves may be playing smaller venues now, their sound and songwriting has grown to something much much bigger. All together now "and there?s a silence when you walk?" ok maybe not.

Saturday 20th

After a day spend nursing our sore heads from the previous night, and sheltering from the extreme weather, someone drunkenly suggests trading our festival wristbands in for tickets to see the Ladyboys of Bangkok - who happen to be appearing in Brighton this same weekend. We pass on the offer in case you were wondering. It seems slightly confusing why so many people are choosing to queue in the wind and rain to get in to see The Futureheads, when you can walk straight into The Zap next door and be thoroughly blown away by one of the best bands of the year - Brakes. But then the majority must be right eh? Not a chance!

Now to tell the truth a little too long was spent sitting in the pub, thus we arrive as the first band Jackson Analogue are playing their last song. Nothing to report here then I?m afraid. As it turns out beer was needed as we stand through the next few fairly uninspiring bands. More Canadians, the Immaculate Machines lead us through their keyboard orientated tunes, with some quite tasty male / female vocals here and there although aside from that there wasn?t much to get excited about - or make you want to get your umbrella out. Think of Irish music and your thinking of The Pogues right? Ah don?t be so stereotypical - as we have here Dublin?s Channel One whose mix of electro-indie rock sounds very much like the in thing at the moment. Like The Killers minus the catchy songs.

Brighton supergroup, Brighton supergroup blah blah blah. Its time for headliners Brakes to finish the night off in their very own country-punk style, as only they know how. We know what to expect from them by now, but it never fails to be anything short of brilliant. Frontman Eamon, relieved from his role in British Sea Power and now a full time Brake, snarls his way through the songs in his own unique way - sly digs at people irritating you at gigs (?Hi How Are You?, ?Heard About Your Band?), dancing monkeys (?Ring a Ding Ding) as well a great cover of ?Shut Us Down? by Americans Camper Van Beethoven. Marc Beattys throbbing bass on past single ?All Night Disco Party? gets the crowd dancing all over the place, while the band are joined on-stage by Phil Sumner of fellow Brighton band Actress Hands to play cornet of ?Your So Pretty?. Plus, not one, but all 3 of the lovely Pipettes are welcomed to sing their duet with Eamon on their cover of the Jesus and Mary Chains ?Sometimes Always?. Recent b-side ?If I Should Die Tonight? proves to be a beautiful countrified ballad, and no doubt many a person goes away into the night shouting "SPIKEY SPIKEY!" after the awesome punk racket of ?Porcupine or Pineapple?. Funny, slightly off the wall, extremely entertaining and the best band of the whole weekend damn it! Oh an if there?s a better way to end a set than the six second shout-a-thon of ?Comma Comma Comma Full Stop? then answers on a postcard please. As is said here in Brighton?.that was lush!

To my great surprise we even manage to make it to the Ocean Rooms (and get in with no queue) to catch the last half-hour of the set by Clearlake. New rock orientated tracks ?Here to Learn? and ?Widescreen? are mixed up with a few of their older classics such as ?Trees in the City? and the epic ?Winterlight?, before finishing with their early-era-Blur sounding ?Let Go?. Pretty good all the same - but bring back the keyboards eh lads?

After this it actually seems as though the whole festival is queuing to get into the after show party at the Pressure Point - that just happens to be Club NME (aghh). Skipping past the hordes of people we head to the plush, burlesque, mirrored surroundings of the rather grand Spiegeltent to sample some old time rock n roll - and bad dancing.

So then, for the festivals first year it wasn?t all bad - although I?m sure if it returns next year the organisers will learn from their mistakes. Oh and nice weather too please. All in all, it deserves a blue peter badge for effort. Beer-fuelled fun and some damn good music for the weekend ? after all, you can?t ask for much more than that.

Ian Chambers, May ?06