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2007-10-22
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ARCHITECTURE IN HELSINKI
PLACES LIKE THIS
COPERATIVE
ART-POP
Now this is a mite different. With their third record, the ludicrously named Melbourne-origin band have gone all out to make sure they cross paths with pretty much no bands on the planet. You could quite easily point out the daring of Fiery Furnaces in the calypso rhythms, the awkward pop structures of Deerhoof and the demented vocals of Modest Mouse on display here. But doing that takes away the sheer sense of bewilderment that hits you during these chameleonic pop songs. Still, as with those bands there are moments of frustration as well as over-zealous joy. This is fine. A bit of yin and yang is almost expected if you’re going to veer off the path of mainstream mundanity. So, walking the intense/irritating tightrope that is strung from ‘Red Turned White’ to ‘The Same Old Innocence,’ for every inane and fantastic playground chant (‘Like It Or Not’), there is an unexplainable breakdown into 1930s dancehall (‘Lazy’ (lazy)). Brass instruments, ukeleles and steel drums or bongos are just as prominent as the soaring, biting and downright strange vocals stamped across the top. With quirky and quaint synth melodies caressed with wonderful pop melodies sung with gusto from Kellie Sutherland, while the indie equivalent of a world band crashes around them, there’s more than enough sustenance for even the most discerning art-pop fan. For every exuberant explosion there is a steadying melodic hand. They also seem prepared to take you by the hand and lead you down their lonely, but glorious, road.
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2007-05-02
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KINGS OF LEON
BECAUSE OF THE TIMES
COLUMBIA
INDIE ROCK
It's hard to believe the Followill foursome are already on their third LP, and bassist Jared still isn't old even enough to touch booze in his homeland. Then again, KOL don’t do things by halves. With most bands falling at the second album hurdle, they effortlessly improved their sound and bettered their debut… in the space of only a year. With success and acclaim secured, where next? On 'Because of the Times,' it would appear the small matter of world domination is on the agenda. Gone are the quick bursts of rootin’-tootin’ revivalism that flavoured its predecessors. The garage rock nuances are brought to the fore, and 'McFearless' manages to beat The Strokes at their own game - no mean feat. However, the most prevalent sound here is, for want of a better sub-genre, stadium rock. That isn't to say KOL have gone all U2 on us, Bono hasn’t even been in the same room as a tune as good as 'Knocked Up' for over a decade. Despite the big sound, the soaring guitars and a seven-minute opener, there still isn’t a hint of pretension about the group. Caleb's drawling Southern cadences haven’t yielded, nor have his slice-of-life lyrics been replaced. The Kings haven't sold out, they’ve simply got better, again. At this rate, they're becoming unstoppable. MF
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2007-04-19
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THE RAKES
TEN NEW MESSAGES
V2
INDIE ROCK
Following up a debut as drenched in late night debauchery, regrettable sexual encounters and nine-to-five drudgery as 'Capture/Release' was always going to be a challenge for Alan Donohoe and co. Continue the theme and risk self-parody, or change direction and jeopardise alienating a loyal fanbase? The Rakes have pitched up somewhere in between, shifting the theme to society and politics. Beginning with the wonderfully titled ‘The World Was a Mess but His Hair Was Perfect’ provides an effective bridge between albums. While the debut was built around these Matthew Swinnerton post-punk guitar riffs, the overall sound has mellowed and is much denser. There is also more variety on show here, 'Little Superstitions' and 'Leave the City And Come Home' even verge on 80s power ballads. The message falls flat on more than one occasion; 'On a Mission' is instantly forgettable lyrically and musically. While 'Suspicious Eyes', a contrived slab of social commentary about racism and Tube travel, complete with guest rapper, lacks any sense of subtlety or the sharp wordplay we have come to expect.The opening track and Bond theme inspired lead single ‘We Danced Together’ proves The Rakes do still have a knack for a catchy tune. The real stars though, are the wonderfully bouncy Franz-esque 'Down with Moonlight' and the genuinely witty 'When Tom Cruise Cries,' both encouraging signs that they can evolve without losing the magic. Even so, you can’t help wish for a '22 Grand Job' style anthem that made us love them in the first place.
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2007-04-19
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AIR
POCKET SYMPHONY
VIRGIN
ELECTRONIC
French duo Nicholas Godin and Jean-Benoit Dunkel have mellowed out considerably for their fourth album proper. Gone are the intense synth-laden workouts that made their name. The electronica is kept to a bare minimum, and the overall effect is much more relaxing. This is the soundtrack to a long, thoughtful walk in the middle of the night rather than a nightclub dancefloor. Radiohead supreme Nigel Godrich once again produces, managing to distil the pair’s conceptual soundscapes into three to five minute pop songs, without losing their expansive nature. The Jarvis renaissance will not be harmed by his lyrical and vocal input on ‘One Hell of a Party.’ Recalling ‘This is Hardcore’ era Pulp, and set to sparse Japanese instrumentation, it is bleak and beautiful in equal measure. Neil Hannon’s guest spot on ‘Somewhere Between Waking and Sleeping’ is even more luscious, a dreamy lullaby backed by delicate acoustic guitar and understated piano. But this is not an LP that needs to rely on cameos, and the Gallic pair are the indisputable stars. Yes, it may serve well as background music, but much of this album is also capable of grabbing your ears and demanding further attention.
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