Broken Bells 'Meyrin Fields' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/broken-bells/meyrin-fields/2237

In September 2004, through the admiration of each other’s talents, James Mercer (The Shins) and Brian Burton (aka Danger Mouse) met at the Roskilde Festival in Denmark. Six years later these talents drew them together once more to create their debut release, the self-titled Broken Bells. The follow-up to this is the beautiful Meyrin Fields, an EP that gives you the depth of a full album in just four outstanding songs.

James Mercer’s distinctive vocals and the powerful production talents of Danger Mouse make this act a force to be reckoned with. Original and intriguing, it seems there’s no limit to what these two musicians can do once put together. Meyrin Fields is a roller coaster of experimental beats and trippy riffs that, coupled with Mercer’s voice, make for an ever-interesting ride.

The title track, “Meyrin Fields,” and following track, “Windows,” both feature macabre and spooky overtones—the latter possibly acting as the soundtrack to a robber or Peeping Tom crawling through back alleys and surveying unknowing victims through their windows.

“An Easy Life” then lightens the mood with its slight reggae feel and fully showcases Danger Mouse’s amazing production skills, especially in the bridge, which is reminiscent of The Beatles’ “Sgt. Pepper’s . . .” Closing with “Heartless Empire,” they opt for a slower, less-produced sound, using distant droning guitars underneath echoing and melodic vocals.

This is unquestionably a fine effort from Mercer and Burton that will leave you wanting more, and it seems the sky’s the limit for these two musical artisans, so who can tell what the future will bring? One thing’s for sure—it’s looking mighty bright.

Battles 'Gloss Drop' Review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/battles/gloss-drop/2232

Battles have a unique and driving sound you can pick out from a mile away. And though their latest offering, Gloss Drop, often differs from their previous works, their originality and creativeness still make for an outstanding listen.

The second full-length album delivered by the experimental rock act from New York is their first without original guitarist, keyboardist, and vocalist Tyondai Braxton—the band now comprised of Ian Williams (formerly of Don Caballero and Storm & Stress), Dave Konopka (formerly of Lynx), and the always outstanding John Stanier (formerly of Helmet). What follows is a more structured, less erratic album featuring deep rhythms of guitar, drums, synth, and vocals, with simpler riffs and beats being eternally layered to create an epic feast for the ears.

Some tracks have a much more up-tempo feel, with the use of Caribbean steel drum effects on tracks such as “Futura” and “Dominican Fade,” and a heavy reggae element featured in “Sndome (featuring Ymantaka Eye)” and “Sundome (Instrumental).” The band's dark side is still ever present, however, and the use of haunting, distant organ sounds on “Futura” sends chills down the spine. The void left by their former vocalist is filled by numerous outstanding and well-paired guest appearances—Matias Aguayo on “Ice Cream,” Gary Numan on “My Machine,” Kazu Makino on “Sweetie & Shag,” and Ymantaka Eye on “Sndome.”

Gloss Drop is an excellent follow-up to their previous full-length effort, Mirrored (released 2007), and shows that even with the loss of a member, Battles can come out fighting and produce a work that explores new and varied creative angles, yet stays true to their distinctive sound.

SHOW REVIEW: Hospitality, Brixton Academy, London (24.9.10)

‘Bass To Melt Your Face’
Friday 24th September 2010
Brixton Academy, London


The increasing popularity of Hospital Records and the unexpected closure of Fabric’s sister club Matter means the Hospitality nights are now bound for bigger and better things. I had been to dance parties at Brixton Academy before but Hospitality is less a dance party and more a way of life. In my mind Drum’and’Bass nights should be small, cramped, dirty, heavy, grimy, sweaty and in the end leave you feeling much the same way. Whether this would transgress to a much larger venue was yet to be seen.

Straight away the immense growth in Hospital Records’ following became apparent, as along with all the usual trainer wearing, shit-talking, face-chewing cainers came a new breed of much more sober looking and sophisticated ‘Ministry of Sound’ types. But there was no doubt all were there for one thing – to get down and dirty to some of the best Drum’and’Bass around town.

London Elektricity have never been a favourite of mine and tonight saw them do no better. While they are good they always seem to miss the mark. Their beats are fine but their lead in’s and climax’s leave you hanging mid-peak, never coming back to get you. Their mixes are disjointed and mismatched at times and often sound as if they’re simply changing records on a player. A steady act that would benefit from stepping it up a notch or 10.

Next were High Contrast, with contrast being the operative word. The came, they saw, the tore the place up. With a savvy MC who knows exactly when and where he’s needed and a stretch of epic beats, breaks and classic samples that almost caused a riot High Contrast got the floor moving and left all wanting to see more. But not now… maybe another time… Danny Byrd was on next. So though High Contrast became a fast crowd favourite no one was that sad to see them go.

It’s hard to review Danny Byrd, as it is hard to put truly great Drum’and’Bass into words. Drum’and’Bass is very much a feeling and experience, making you dance into a frenzy and do things you normally wouldn’t do in front of complete strangers. I don’t think anyone spoke during Danny Byrd’s set for fear of missing a beat, catching a breath and dropping dead on the spot. From housey, dancey, disco samples to the heaviest, dirtiest most evil bass lines you’ve heard in an age Danny Byrd delivered it all and was heard right the way through to China. If High Contrast got the floor moving Danny set it on fire. Not a foot touched the ground until he finally had to be forcibly faded out by the sound engineer to make way for Andy C, but no one would have cared if he played all night. Byrd is the word.

And you’ve gotta love Andy C. We all love Andy C! The original and one of the best delivered his standard high quality set that melted your face and kept you going till sun up. But following The Byrd is a hard yard and as most kept on keeping on some went for drinks, some for smokes, and after half a set from Andy C I reluctantly threw in the towel.

Hospitality is an amazing club night. It’s well done, well organised, always delivers quality line up’s, so it’s easy to see why it has taken off in such epic fashion. But I can’t help feeling we lose a small piece of the true down to earth Hospitality the bigger and better it gets. But that’s the way it goes I suppose.

'And Then We Saw Land...' - Tunng Album Review

*AS FEATURED IN SYDNEY'S Mx MAGAZINE*

Picture this: One of those annoying young couples that are totally in love and immersed in themselves, laughing, caressing and kissing each other as they head off on their first ever road trip, innocently unaware this long uncharted period of time together will either make or break their whole relationship. This is the album they would be playing in their car.

Tunng have brought together beautiful harmonies, soft vocals and excellent acoustic sounds backed by a myriad of instruments ranging from piano to banjo to synthesiser, however overall it all comes across a little too sickly sweet. While the arrangements are daring and complex a lot of it gets lost in the mix. At times the quiet love-laden vocals are almost inaudible under the deluge of layered instruments that are thrust at you through the fold. And yet somehow, despite all this, the songs end up sounding the same, their having used the same formula throughout the album just with different means. The one song that truly stands out - October - does so only because it’s almost a mirror image of Simon and Garfunkles’ version of ‘Scarborough Fair’.

Great changes were afoot in the Tunng camp of late and you can tell. Original singer, songwriter and group founder Sam Genders is no longer with the band meaning the induction of a new lyricist and lead vocalist. Though these tasks have since been fulfilled by two of the remaining five members the album comes across as confused and chaotic. Though there is artistic merit in their work and the talent is definitely there, ‘And Then We Saw Land…’ certainly does give the feeling Tunng is a band lost at sea without their Captain.

'July Flame' - Laura Veirs Album Review

*AS FEATURED IN SYDNEY'S Mx MAGAZINE*

Laura Veirs’ latest work is a sweet and soothing album – the perfect soundtrack to a lazy afternoon in the sun, watching day turn to night and drinking in the sweet Summer air. With an array of talented guest musicians ranging from legendary arranger Stephen Barber to the fantastic Jim James of My Morning Jacket ‘July Flame’ really shows the full extent of Laura’s talent.

Her sweet-as-treacle vocals are beautifully harmonised and well accompanied by her cool and confident guitar and banjo playing. String arrangements and piano score hover in the background giving the album a wistful feel, like a cool change on a hot day. Produced by long time musical cohort Tucker Martine, Veirs describes the album as coming from a ‘…searching, soulful place’ and it does indeed take you away to memories of childhood Summers, trips to the park and scorching days spent swimming. It seems after 6 albums together Veirs and Martine have found their feet in this stripped back and simple yet engaging album.

Stand out tracks include Wide Eyed Legless, When You Give Your Heart, Summer Is The Champion and the title track July Flame. An honest album that floats through the air like shafts of sunlight through the curtains. Sweet, soulful and not to be missed.

'Transference' - Spoon Album Review

*AS FEATURED IN SYDNEY'S Mx MAGAZINE*

It’s been a roller coaster ride for Spoon since the band formed in their hometown of Austin, Texas, in 1994 and Transference is no different.

Opening with the haunting Before Destruction the album then punches in with use of reverb effects on the next song title questioning Is Love Forever? – A song that ends as abruptly as a relationship doomed. They take us into the subconscious in Mystery Zone where fate and destiny collide over use of eerie synthesiser and guitar effects. And Who Makes Your Money lays bare the reality of who works for whom in a world of capitalism and hierarchy.

The stand out tracks are to follow, with Written In Reverse already being released on 7” in the US and UK. The song returns to their indie rock roots with nice guitar breaks and hammer-home chords, perpetuating the songs theme of hindsight being 20:20 and seeing people for what they really are. I Saw The Light continues on this theme, as well as the simple yet effective rock elements that Spoon are cherished for. The stand out heavier track.

They coin a sweet modern lullaby in Goodnight Laura, and bare their souls with the reminiscent Out Go The Lights and Nobody Gets Me But You. Third stand out track of the album is Got Nuffin, releasing us from ‘…darkness and shadows… emptiness and hang up’s’.

The album can sometimes appear disjointed but their simple rough guitars and use of background piano and synthesiser hold it together and drive it home, with occasional strings adding to the drama. And though Transference seems to deal with a lot of love, loss and relationship issues – something the band are not so known for – they’ve avoided the soppy feel with their patented intricate and descriptive lyrics. All in all it’s another fine slab from Spoon.

My first published article - woop woop!

Mx Magazine Sydney - Citybeat Entertainment Section - Thursday 4th February 2009

http://docs.google.com/Doc?docid=0AVUMcGRiodSRZGQyM3E2NDZfMGMzY3BjNWNy&hl=en

Stay tuned for more every Thursday!

:-)