Exploration of Biffy Clyro's similar artists on the wonderful last.fm (now sponsoring a 405 event or two, hurrah) a few years ago lead me to Reuben, a band of young members with much talent, and the antithesis of summery indie pop.
Recently, as usual just a few months after they split up, I've really been getting into them: they're very angry, but in a focussed, intelligent way, unlike many screamo bands who seem to be angry without a purpose.
Reuben's purpose is usually singer Jamie Lenman's girlfriends, it appears, and during making the last album, their third effort In Nothing We Trust, there was clearly a severe lack of irritating exes, because the lyrics lose their love and break-up emphasis, and to be honest some of their charm. Still, I like the album - it's more anthemic, more singalong and varied, and spawned the beautiful 'Good Luck' and 'A Short History of Nearly Everything', which can only be described as life-affirming.
The second album has been my favourite at the moment, along with their most recent release of all their B-sides and re-records, We Should Have Gone To University. All Reuben releases have on them Jamie's fantastic voice, which can pretty much do anything he wants it to, from tender whispers to huge screaming passages. The lyrics, despite being all 'emotional', are poetry to say the least, even when they're having a go at someone. The guitars, backing vocals and drums never miss brilliance either, and have a distinctive sound which encapsulates Reuben.
This is a post to say: please check this band out - even though I'm generally a punk and indie gal, if that's even a genre, a bit of modern rock in the form of Reuben tickles my fancy, simply because they're just so good. R.I.P. Reuben, and I, for once, hope you do the band sell-out thing of getting back together to tour the world, just for me.
Monday, 23 November 2009
Friday, 20 November 2009
Kasabian @ Birmingham NIA, 19/11/09
What could you expect of a Kasabian gig? I'd have said last week, lighters aloft singalongs, a sprinkling of girls at the barrier Serge-side and a Hell of a lot of testosterone.
I wasn't wrong. The crowd was extremely male, but I stayed out of the crowd of stags at the front anyway, at least when Kasabian came on. Supporting them were Reverend and the Makers, of 'Heavyweight Champion of the World' fame. I like the Rev, but he was full of male bravado and his keyboard player (and wife, I believe?) was gyrating and wiggling around in a roll-eyes-provoking manner. They were okay, but it was all a bit chauvinist and repetitive, despite the Reverend's nice opinions on war and politics (see Love Music Hate Racism and Instigate Debate).
Kasabian put on a proper show, even before they set foot on stage. On big screens either side of the stage, disturbing stories of lunatics (from album West Ryder Pauper Lunatic Asylum) were played, and then a siren rang out, accompanied by a pulsating red light above the stage. All the roadies wore white coats reading 'SANE', so it was quite eerie when a man wearing a 'WEST RYDER' stamped coat wandered on, swinging an incense burner, before a countdown to the show. It was all very atmospheric.
From the back of the standing area, the music was the perfect volume to get under your skin, the bass sending sound vibrations through your feet, but no destruction of your eardrums (usually my favourite part of a gig, but it was nice to end without ringing ears for once.) The show was a real show, lighters aloft during The Doberman, a proper set behind the band, and massive confetti showers at the end. Never have I seen so many butch men dancing.
They played all the hits, though setlist.fm doesn't have the list of what they played yet. There was a while in the middle where they were playing 'bar songs', a little flood of bored people going to get beer, but that was possibly the only flat part of the evening, with everyone streaming out of the gig at the end singing the L.S.F. riff at full volume through Birmingham.
'COMFORT THE DISTURBED. DISTURB THE COMFORTED'
8/10
I wasn't wrong. The crowd was extremely male, but I stayed out of the crowd of stags at the front anyway, at least when Kasabian came on. Supporting them were Reverend and the Makers, of 'Heavyweight Champion of the World' fame. I like the Rev, but he was full of male bravado and his keyboard player (and wife, I believe?) was gyrating and wiggling around in a roll-eyes-provoking manner. They were okay, but it was all a bit chauvinist and repetitive, despite the Reverend's nice opinions on war and politics (see Love Music Hate Racism and Instigate Debate).
Kasabian put on a proper show, even before they set foot on stage. On big screens either side of the stage, disturbing stories of lunatics (from album West Ryder Pauper Lunatic Asylum) were played, and then a siren rang out, accompanied by a pulsating red light above the stage. All the roadies wore white coats reading 'SANE', so it was quite eerie when a man wearing a 'WEST RYDER' stamped coat wandered on, swinging an incense burner, before a countdown to the show. It was all very atmospheric.
From the back of the standing area, the music was the perfect volume to get under your skin, the bass sending sound vibrations through your feet, but no destruction of your eardrums (usually my favourite part of a gig, but it was nice to end without ringing ears for once.) The show was a real show, lighters aloft during The Doberman, a proper set behind the band, and massive confetti showers at the end. Never have I seen so many butch men dancing.
They played all the hits, though setlist.fm doesn't have the list of what they played yet. There was a while in the middle where they were playing 'bar songs', a little flood of bored people going to get beer, but that was possibly the only flat part of the evening, with everyone streaming out of the gig at the end singing the L.S.F. riff at full volume through Birmingham.
'COMFORT THE DISTURBED. DISTURB THE COMFORTED'
8/10
Sunday, 25 October 2009
Franz Ferdinand @ Wolverhampton Civic Hall, 19/10/09
Growing up in the Midlands, if I spend any amount of time in a local town at all, I leave disappointed. The Midlands is the county of litter, obesity and unemployment. Wolverhampton, however, has escaped the fate of being Just Another Horrible Image in my Youth through its three popular music venues: The Civic Hall, The Wulfrun Hall and The Little Civic (RIP, you were one of my favourites.) Last Monday saw another great gig at The Civic Hall - Franz Ferdinand.
The band spent time before the gig wandering round Wolves, being stalked by my mildly obsessive friend, and airing the bands' families. Doors opened at 7, and support came on at about 8. Music Go Music, they were called - a band name considerably worse than their music. They launched into a revamp of the classical classic 'In the Hall of the Mountain King' by Grieg (a song which soundtracked my two-year-old nightmares, and is more commonly known as 'that Alton Towers music'.) Everyone wanted to know more by then, hyped up by amusement, and a stick-thin female singer appeared onstage. Their next few tracks were well-played, well-sung, up-tempo pop tunes, with a rock edge. It was retro, but with a modern edge: I liked it very much, though it got a little samey throughout.
I did like the moment when someone shouted something undoubtedly sexist from the crowd, more than a pet peeve of mine, and the lead singer, apparently called 'Gala Bell', said "I'm sorry, what was that?", and another man called "You don't wanna know." Thumbs up, whoever you were.
Anyway, Franz Ferdinand only have one support it seems, so the band we were waiting for was on at about five past nine, playing a visual, energetic set, with covers and past B-sides, until ten. They went through their very entertaining art-school moves, even after all these years seeming to be enjoying themselves more than the crowd. The encore was quite long, started with Paul the drummer slinging his shirt off like a man possessed, the band finishing their onstage glasses of wine, and Alex giving the crowd even more sultry eyes than usual, through his new fringe.
Here's what they played:
Don't ask me what The Scottish Song was. I have no idea.
Again, a great gig, though I got a little bored during the last two songs. Despite their brilliance, both of the extended endings went on a little long - one of the two tracks would have been better. The throwing of the drumsticks was a ritual made more fun though - Alex leaned forward and threw it to my friend, who he knew is an Excitable Fan, but she didn't get it; on seeing this, he threw the second one specifically at her too, which she did get. He has her hooked for life now, no escape.
Because of my friend, we hung around for a while afterwards, but they'd apparently left the moment the gig had finished, so there was no meeting them. I just wanted to get home at that point though, despite how much fun I'd had in the gig. Singing along to Franz turbo riffs is tiring work, especially when they stick 'Ulysses', 'Bite Hard' and 'Michael' one after the other.
8/10
The band spent time before the gig wandering round Wolves, being stalked by my mildly obsessive friend, and airing the bands' families. Doors opened at 7, and support came on at about 8. Music Go Music, they were called - a band name considerably worse than their music. They launched into a revamp of the classical classic 'In the Hall of the Mountain King' by Grieg (a song which soundtracked my two-year-old nightmares, and is more commonly known as 'that Alton Towers music'.) Everyone wanted to know more by then, hyped up by amusement, and a stick-thin female singer appeared onstage. Their next few tracks were well-played, well-sung, up-tempo pop tunes, with a rock edge. It was retro, but with a modern edge: I liked it very much, though it got a little samey throughout.
I did like the moment when someone shouted something undoubtedly sexist from the crowd, more than a pet peeve of mine, and the lead singer, apparently called 'Gala Bell', said "I'm sorry, what was that?", and another man called "You don't wanna know." Thumbs up, whoever you were.
Anyway, Franz Ferdinand only have one support it seems, so the band we were waiting for was on at about five past nine, playing a visual, energetic set, with covers and past B-sides, until ten. They went through their very entertaining art-school moves, even after all these years seeming to be enjoying themselves more than the crowd. The encore was quite long, started with Paul the drummer slinging his shirt off like a man possessed, the band finishing their onstage glasses of wine, and Alex giving the crowd even more sultry eyes than usual, through his new fringe.
Here's what they played:
Don't ask me what The Scottish Song was. I have no idea.
Again, a great gig, though I got a little bored during the last two songs. Despite their brilliance, both of the extended endings went on a little long - one of the two tracks would have been better. The throwing of the drumsticks was a ritual made more fun though - Alex leaned forward and threw it to my friend, who he knew is an Excitable Fan, but she didn't get it; on seeing this, he threw the second one specifically at her too, which she did get. He has her hooked for life now, no escape.
Because of my friend, we hung around for a while afterwards, but they'd apparently left the moment the gig had finished, so there was no meeting them. I just wanted to get home at that point though, despite how much fun I'd had in the gig. Singing along to Franz turbo riffs is tiring work, especially when they stick 'Ulysses', 'Bite Hard' and 'Michael' one after the other.
8/10
Sunday, 11 October 2009
The Cribs @ Leamington Spa Assembly, 8/10/09
Selling signed vinyls and limited edition CDs before a gig is such a Cribs thing to do. Every step of the way, the Cribs have been a live band in touch with what their fans want - amps turned 'up to 11', good music and lots and lots of memorabilia. I got myself a signed CD and a Cribs shirt, and then nestled into the young crowd at the front, taking in the awesome OTT decoration of The Assembly at Leamington Spa - golden orgies of cherubs against massive blue walls next to classical balustrades and art deco stained-glass windows. A very atmospheric and original venue to say the least, although impossible to get out of due to millions of flights of stairs.
The first band on were the Cribs' compatriots and friends Shrag. I liked them - they really did resemble Comet Gain - but the female singers had broken glass voices which began to get on the nerves after few songs. The music behind them was repetitive but enjoyable pop-noise. If that makes any sense at all.
Adam Green was next. What a riot. Whatever Adam Green was on, be it ecstasy, red bull or just life, it made him manic, running about and dancing, and therefore impossible to photograph. He came into the crowd... five times? And each time he threw himself in and got carried so far back that no more arms were available to carry him. The music was better than I'd expected - lots of guitar noise, super-speed drumming and hilarious lyrics. Adam Green. Perfect support, he got us all laughing and clapping along, and dedicated Superstar Blues to Queen Victoria.
The Cribs. Kate Nash watched from the sidelines, and the supports were lured out to the sides to join her as the noise started up. They played a selection from all of their albums, although the two most recent had the most focus. Setlist:
The highlights of the night for me were: Hey Scenesters! because it's always a mass sing-along, mass bop-along track; Another Number for the most singable riff in history, and the fact that it's such a classic, not a person in the venue wasn't soaring on its simplicity by the end; Be Safe because Lee Ranaldo of Sonic Youth was speaking his wonderful monologue on a projection on the back wall, and because it's Be Safe; and City of Bugs, the final song, which ended in a cacophony of noise with all four members of the Cribs doing something detrimental to their instruments, and Adam Green dancing at the side.
Great gig - it's a shame that Cribs don't do encores but that's the way it is. Nice venue, good crowd, wonderful music. It's the best way to spend an evening.
9/10
The first band on were the Cribs' compatriots and friends Shrag. I liked them - they really did resemble Comet Gain - but the female singers had broken glass voices which began to get on the nerves after few songs. The music behind them was repetitive but enjoyable pop-noise. If that makes any sense at all.
Adam Green was next. What a riot. Whatever Adam Green was on, be it ecstasy, red bull or just life, it made him manic, running about and dancing, and therefore impossible to photograph. He came into the crowd... five times? And each time he threw himself in and got carried so far back that no more arms were available to carry him. The music was better than I'd expected - lots of guitar noise, super-speed drumming and hilarious lyrics. Adam Green. Perfect support, he got us all laughing and clapping along, and dedicated Superstar Blues to Queen Victoria.
The Cribs. Kate Nash watched from the sidelines, and the supports were lured out to the sides to join her as the noise started up. They played a selection from all of their albums, although the two most recent had the most focus. Setlist:
The highlights of the night for me were: Hey Scenesters! because it's always a mass sing-along, mass bop-along track; Another Number for the most singable riff in history, and the fact that it's such a classic, not a person in the venue wasn't soaring on its simplicity by the end; Be Safe because Lee Ranaldo of Sonic Youth was speaking his wonderful monologue on a projection on the back wall, and because it's Be Safe; and City of Bugs, the final song, which ended in a cacophony of noise with all four members of the Cribs doing something detrimental to their instruments, and Adam Green dancing at the side.
Great gig - it's a shame that Cribs don't do encores but that's the way it is. Nice venue, good crowd, wonderful music. It's the best way to spend an evening.
9/10
Wednesday, 30 September 2009
Article on Album Art and Other News
I've done a short article slash synopsis on the relevance of album art, on The 405. I was quite proud of it, although I appear to have constructive criticism already...onwards and upwards I suppose. I can only get better.
(Or worse. But shush.)
Now, onto music. The Cribs have a favourite band, namely Comet Gain, and as a devoted Cribs fan who usually respects their musical opinion, I searched them out. I realised Cribs are extremely like them - more similar than 'influenced'.
Listen to these two, even only for a little while, and play spot the difference. Well, they're not that alike, but there are very clear similarities. They both start with one of those repetitive rhythmic guitar intro riffs, and then the lyrics come in - simple and based around the naïve concept of innocent platonic love. They both totter along to about 3/4 of the way through with simple chorus/verse structure, pretty but loose vocal harmonies, and come to a mildly sketchy but contrasting section, which peters out to an ending with lots of echo and feedback, fading out.
See what I mean? Either way, it's irrelevant, I like them both. Though not specifically those songs: try I Close My Eyes To Think of God by Comet Gain (which is not Goddy) and compare with We Share the Same Skies by The Cribs. Not as similar, but both better tracks.
(Or worse. But shush.)
Now, onto music. The Cribs have a favourite band, namely Comet Gain, and as a devoted Cribs fan who usually respects their musical opinion, I searched them out. I realised Cribs are extremely like them - more similar than 'influenced'.
Listen to these two, even only for a little while, and play spot the difference. Well, they're not that alike, but there are very clear similarities. They both start with one of those repetitive rhythmic guitar intro riffs, and then the lyrics come in - simple and based around the naïve concept of innocent platonic love. They both totter along to about 3/4 of the way through with simple chorus/verse structure, pretty but loose vocal harmonies, and come to a mildly sketchy but contrasting section, which peters out to an ending with lots of echo and feedback, fading out.
See what I mean? Either way, it's irrelevant, I like them both. Though not specifically those songs: try I Close My Eyes To Think of God by Comet Gain (which is not Goddy) and compare with We Share the Same Skies by The Cribs. Not as similar, but both better tracks.
Saturday, 19 September 2009
'Ignore the Ignorant', The Cribs
I've been waiting on this review, because the general feeling about this album and my opinion were so entirely different when it first came out. The general feeling was disappointment. I was wondering if I was overrating the album, because I'd met The Cribs a few days before.
After a fortnight, I don't think I was. This album is a great one, sounding maturer than The Cribs' three previous albums, with Johnny's guitar adding a new, more practised layer to the music, which also gives Ignore the Ignorant longevity in the CD player.
After catchy opener, but possible weak point, 'Cheat On Me', Ignore the Ignorant only gets better. 'We Were Aborted' is a more political track, the lyrics a real step forward from albums before, and Johnny's guitar adding interest. How anyone can say that Johnny's guitar stifles proceedings, I don't understand, because Ryan Jarman's raw guitar style still shines despite the addition of a glossier, more precise guitar. In fact, I think the two sounds complement each other better than most bands' guitars do, sharing and harmonising rather than squabbling for space in the mix.
I heard the word 'filler' being thrown around with this album. I wouldn't class any of the album as filler - every track has its moments, and its place on the album. My favourites include 'Emasculate Me', a track in which the sudden chorus and powerful but unusual lyrics combine for something nearing perfection, 'Save Your Secrets', a very tender and harmony-based song which comes as a welcome burst of calm, and the very Sonic Youth influenced 'City of Bugs', packed with noise and intense sound, carried by Ryan's sing-song voice and abstract lyrics.
The third track is possibly my favourite: 'We Share the Same Skies' reminds a little of earlier EP B-side 'Kind Words From The Broken-Hearted', supported by a wonderful opening riff, the sound of synthesised organ (which goes so well in contrast with rock guitars) and a soaring chorus.
Maybe there are fans too indie for the indie - fans who don't like the idea of famous Marr's inclusion, and so search for bad points. He hasn't made them sound like The Smiths. Maybe that's me being cynical about their cynicism. Whatever it is, I think The Cribs grown up lyrically, musically and emotionally, and the transition has been great. Getting better with age.
8/10
After a fortnight, I don't think I was. This album is a great one, sounding maturer than The Cribs' three previous albums, with Johnny's guitar adding a new, more practised layer to the music, which also gives Ignore the Ignorant longevity in the CD player.
After catchy opener, but possible weak point, 'Cheat On Me', Ignore the Ignorant only gets better. 'We Were Aborted' is a more political track, the lyrics a real step forward from albums before, and Johnny's guitar adding interest. How anyone can say that Johnny's guitar stifles proceedings, I don't understand, because Ryan Jarman's raw guitar style still shines despite the addition of a glossier, more precise guitar. In fact, I think the two sounds complement each other better than most bands' guitars do, sharing and harmonising rather than squabbling for space in the mix.
I heard the word 'filler' being thrown around with this album. I wouldn't class any of the album as filler - every track has its moments, and its place on the album. My favourites include 'Emasculate Me', a track in which the sudden chorus and powerful but unusual lyrics combine for something nearing perfection, 'Save Your Secrets', a very tender and harmony-based song which comes as a welcome burst of calm, and the very Sonic Youth influenced 'City of Bugs', packed with noise and intense sound, carried by Ryan's sing-song voice and abstract lyrics.
The third track is possibly my favourite: 'We Share the Same Skies' reminds a little of earlier EP B-side 'Kind Words From The Broken-Hearted', supported by a wonderful opening riff, the sound of synthesised organ (which goes so well in contrast with rock guitars) and a soaring chorus.
Maybe there are fans too indie for the indie - fans who don't like the idea of famous Marr's inclusion, and so search for bad points. He hasn't made them sound like The Smiths. Maybe that's me being cynical about their cynicism. Whatever it is, I think The Cribs grown up lyrically, musically and emotionally, and the transition has been great. Getting better with age.
8/10
Thursday, 3 September 2009
The Cribs @ Kerrang! Radio, 3/09/09
2 years. I've been waiting to see The Cribs, manic indie-punk Yorkshiremen, for 2 years. They've always evaded me, somehow; my first Cribs experience was definitely worth the wait.
At just past 1 o' clock, 50 people were gathered in Kerrang! Radio's Birmingham studio, having won a competition (we had to guess what song was played backwards, and it was, as it always is, Men's Needs.) 'Johnny Marrman and the Jarmans' took to the tiny tiny stage to a wave of cheers from a mixed crowd - some of us were Cribs fans, and others generic competition winners.
The setlist was short and sweet. The brothers Jarman and their esteemed colleague kicked off with excellent We Were Aborted, the first song they ever wrote together. The second song was We Share The Same Skies, a rather tender track (for the Jarmans) with added Marr twinkle. Hari Kari was next, another faster number, and then City Of Bugs, a track with lots of distortion that sounds a little like Be Safe from the third album Men's Needs, Women's Needs Whatever (2007), minus Lee Ranaldo (of Sonic Youth, who guested on Be Safe). Finally, they ended with current single, and probably weakest track, Cheat On Me.
The playing was a Hell of a lot less shambolic than I expected; I think Johnny keeps the band together musically, and adds depth and shine that covers up the Jarmans' sometimes messy playing styles. The atmosphere was unusual with there being only 50 people, but not bad. The band spoke a few times, once to say they'd been out in Birmingham the night before, so it was 'too early' for them, and once to sardonically say we'd probably all illegally downloaded these 'unheard tracks' anyway.
Afterwards, they signed and chatted and took photographs with friendliness. Ross was talkative, Johnny Marr was highly sought after for signatures, and the twins differed considerably in the strength of their handshakes. I asked Johnny "Do you sign things you weren't on", producing The Cribs album, to which he replied "Yeah, if it's good I'll sign it. The Beatles, Nirvana...". Gary (looking tanned and a little exceptional) mentioned my Sonic Youth shirt, at which I remarked I loved Lee on Be Safe. Ryan signed The Cribs and told me it was 'well old school', and then I got the photo below. Very very nice day.
9/10
At just past 1 o' clock, 50 people were gathered in Kerrang! Radio's Birmingham studio, having won a competition (we had to guess what song was played backwards, and it was, as it always is, Men's Needs.) 'Johnny Marrman and the Jarmans' took to the tiny tiny stage to a wave of cheers from a mixed crowd - some of us were Cribs fans, and others generic competition winners.
The setlist was short and sweet. The brothers Jarman and their esteemed colleague kicked off with excellent We Were Aborted, the first song they ever wrote together. The second song was We Share The Same Skies, a rather tender track (for the Jarmans) with added Marr twinkle. Hari Kari was next, another faster number, and then City Of Bugs, a track with lots of distortion that sounds a little like Be Safe from the third album Men's Needs, Women's Needs Whatever (2007), minus Lee Ranaldo (of Sonic Youth, who guested on Be Safe). Finally, they ended with current single, and probably weakest track, Cheat On Me.
The playing was a Hell of a lot less shambolic than I expected; I think Johnny keeps the band together musically, and adds depth and shine that covers up the Jarmans' sometimes messy playing styles. The atmosphere was unusual with there being only 50 people, but not bad. The band spoke a few times, once to say they'd been out in Birmingham the night before, so it was 'too early' for them, and once to sardonically say we'd probably all illegally downloaded these 'unheard tracks' anyway.
Afterwards, they signed and chatted and took photographs with friendliness. Ross was talkative, Johnny Marr was highly sought after for signatures, and the twins differed considerably in the strength of their handshakes. I asked Johnny "Do you sign things you weren't on", producing The Cribs album, to which he replied "Yeah, if it's good I'll sign it. The Beatles, Nirvana...". Gary (looking tanned and a little exceptional) mentioned my Sonic Youth shirt, at which I remarked I loved Lee on Be Safe. Ryan signed The Cribs and told me it was 'well old school', and then I got the photo below. Very very nice day.
9/10
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