Reviewed by Scott McLoughlin
Like angry shouty men? Particularly, angry shouty tattoo covered men with interesting hairstyles? If yes, you’ll love Murder FM. Simply breed ‘30 Seconds to Mars’ with ‘LostProphets’, add some extra hate of the world, and let it stew in a disco. Murder Fm emerges from the mean rock disco broth to challenge your musical tastes. Though FM do not advocate murder, many makers of musical opinion will argue Murder FM do indeed murder music. ‘Heavy’ music still divides opinions, however, Murder FM are much more than just ‘guitar metal’. Synthesizers and keys, though not the biggest part of their sound, temper something really heavy, and make it much more accessible. Murder FM’s tracks ‘Mrs. Wrong’ and ‘As Beautiful As You Are’ are quite a good examples of metal mitigation. They are in effect potential pop songs that got kicked out of ‘The Charts’ (a high-class nightclub called), and spent a night behind bars for drinking too much and kicking Barbie Girl in the face. Though possibly an intimidating music venture for mellow music fans, Murder FM are surprisingly easy to listen to. Maybe I am guilty of presupposing everybody is as receptive to rock music as myself. Even so, try Murder out. You might well be surprised.
3/5
http://www.myspace.com/murderfmmusic
Showing posts with label Scott McLoughlin. Show all posts
Showing posts with label Scott McLoughlin. Show all posts
Tuesday, 26 January 2010
Tori Amos - Midwinter Graces
Reviewed by Scott McLoughlin
Midwinter Graces has ‘BBC Radio 2’ written all over it. If you like Tori Amos and wear cardigans deliberately to be pretentious this is definitely the Christmas album for you. In ‘Midwinter Graces’ Amos puts her own take on classic Christmas and festive winter songs such as: ‘What Child’, ‘Nowell’, and ‘Star of Wonder’. Amos’ gift to the listener appears to be a simple rearrangement of seasonal songs into a more conventional pop structure. The result is an album of Christmas songs you will probably never play as you opt for the classics, or a pop album you’ll store with the Christmas decorations. Once you’ve dusted off 11months of dust every year you will probably come to realise it is a very good album in regard to musicianship. However, it has no clear purpose, apart from actively and positively seeking musical territory usually filled by failed Christmas number one attempts. Give it to someone who wants to be ‘alternative this Christmas’, or someone who really likes Tori Amos.
An easily ignorable 2.5 / 5
Midwinter Graces has ‘BBC Radio 2’ written all over it. If you like Tori Amos and wear cardigans deliberately to be pretentious this is definitely the Christmas album for you. In ‘Midwinter Graces’ Amos puts her own take on classic Christmas and festive winter songs such as: ‘What Child’, ‘Nowell’, and ‘Star of Wonder’. Amos’ gift to the listener appears to be a simple rearrangement of seasonal songs into a more conventional pop structure. The result is an album of Christmas songs you will probably never play as you opt for the classics, or a pop album you’ll store with the Christmas decorations. Once you’ve dusted off 11months of dust every year you will probably come to realise it is a very good album in regard to musicianship. However, it has no clear purpose, apart from actively and positively seeking musical territory usually filled by failed Christmas number one attempts. Give it to someone who wants to be ‘alternative this Christmas’, or someone who really likes Tori Amos.
An easily ignorable 2.5 / 5
Ou Est Le Swimming Pool – Dance the Way I Feel
Reviewed by Scott McLoughlin
If you do as ‘Ou Est Le Swimming Pool’ urge, and dance the way you feel, you’ll probably look like a robotic muppet. However, you won’t care, as ‘Dance the way I feel’ is an electronic delight. You’ll loose yourself in newly discovered electronic recesses of your own mind. It has an infectiously catchy electronic synth riff that accompanies a repetitive, instructive and uplifting chorus. The verse is a brooding indie narrative of a nightclub, ‘Pet Shop Boys-esk’ in feel, unashamedly good electro-pop in reality. Well matched beats, and subtle multi-layered lead and string synthesisers combine to make what can only be described as ‘electro-joy’. Paradoxically the cold wired synthesizers make you feel warm on the inside. You know deep down that the programming of the keyboards cannot compute warm-blooded human emotion, but you remain confused by how close they get. The sentiments in the vocal humanise the near clinical electronica, making clear the ultimate feel good nature of the tune. The Camden trio are increasingly rising in profile, supporting many premier British electro-pop names; ‘La Roux’, ‘Sam Sparrow’, ‘Mr Hudson’, and ‘Reverend and the Makers’ to name a few. They also played no less than three stages at Glastonbury ‘09. If somehow you like you music dancier in nature I’d definitely recommend the ‘Dynamikk’ remix of ‘Dance the Way I Feel’. ‘Ou Est’ are definitely a name to remember. Actually, they make great music just about worthy of accompanying their unforgettable name. Possibly one of the best band names ever.
4/5
Band Name: Off the Scale /5
If you do as ‘Ou Est Le Swimming Pool’ urge, and dance the way you feel, you’ll probably look like a robotic muppet. However, you won’t care, as ‘Dance the way I feel’ is an electronic delight. You’ll loose yourself in newly discovered electronic recesses of your own mind. It has an infectiously catchy electronic synth riff that accompanies a repetitive, instructive and uplifting chorus. The verse is a brooding indie narrative of a nightclub, ‘Pet Shop Boys-esk’ in feel, unashamedly good electro-pop in reality. Well matched beats, and subtle multi-layered lead and string synthesisers combine to make what can only be described as ‘electro-joy’. Paradoxically the cold wired synthesizers make you feel warm on the inside. You know deep down that the programming of the keyboards cannot compute warm-blooded human emotion, but you remain confused by how close they get. The sentiments in the vocal humanise the near clinical electronica, making clear the ultimate feel good nature of the tune. The Camden trio are increasingly rising in profile, supporting many premier British electro-pop names; ‘La Roux’, ‘Sam Sparrow’, ‘Mr Hudson’, and ‘Reverend and the Makers’ to name a few. They also played no less than three stages at Glastonbury ‘09. If somehow you like you music dancier in nature I’d definitely recommend the ‘Dynamikk’ remix of ‘Dance the Way I Feel’. ‘Ou Est’ are definitely a name to remember. Actually, they make great music just about worthy of accompanying their unforgettable name. Possibly one of the best band names ever.
4/5
Band Name: Off the Scale /5
Tuesday, 10 November 2009
Lost Prophets - End of the World
Reviewed by Scott McLoughlin
Potentially more polarising for fans than their last studio album ‘Liberation transmission’, ‘Its Not the End of The World’, the latest single from the Lost Prophets, is a further step away from their pop punk break through material. Fans disenchanted by ‘Liberation Transmission’ will not find a return to the Welsh rockers glory days of ‘Shinobi Vs Dragon Ninja’, ‘Burn Burn’ or ‘Last Train Home’. Likewise, Transmission fans may too be disenchanted. ‘End of the World’, perhaps appropriately, does have a darker feel about it. The darkness, and some degree of emo apathy, must have spilled into the Prophet’s studio as even the sound quality has a shadowy feel. The bass is heavy and dull; whilst the guitars appear to aim for a fussy vs. clean tone contrast. However, they are predominately fussy throughout. The contrasting cleaner tones suffer from lack of volume. In fact contrast is only successfully reached when the song turns ‘Muse-y/ Matt Bellamy-esc’ in the guitar breakdown mid track that seems dramatically different to the darkness of track as a whole.
On first listen ‘End of the World’ is a disappointment (unless it is indeed the first Prophets track you’ve ever listened to). Even the happy choruses and chanting characteristic of ‘Liberation Transmission’ have been warped and seem sinister. In fact, I would describe ‘the woahs’ throughout ‘end of the world’ as uninspired. Akin to a noisy group of idiotic and drunken lads out on the razz; the Prophets fail to produce a convincing or fitting chorus harmony. Saving grace you plea? Luckily there is. In the last 50 seconds there is a moment of sheer quality. Ian Watkins actually unleashes his voice. So good is his voice in these fleeting seconds I will even go as far to say it actually saves the song. Instead of playing the song all the way through, you can, like me, just skip to that brilliantly loud moment over and over. No doubt, this track will continue to cause debate amongst Prophets Fans.
Nevertheless, I believe a complete removal of expectation, and a fresh look at the Lost Prophets is required whenever they release anything. They regularly reinvent their sound, and this must be complimented. Yet, if this was the first Lost Prophets track I ever heard I’m sure I’d enjoy it, but I’m not sure I’d rate it as special. I think on this one the listener should decide.
My Opinion: an on the fence 2.5/5….Ian Watkins’ scream alone 4/5
Potentially more polarising for fans than their last studio album ‘Liberation transmission’, ‘Its Not the End of The World’, the latest single from the Lost Prophets, is a further step away from their pop punk break through material. Fans disenchanted by ‘Liberation Transmission’ will not find a return to the Welsh rockers glory days of ‘Shinobi Vs Dragon Ninja’, ‘Burn Burn’ or ‘Last Train Home’. Likewise, Transmission fans may too be disenchanted. ‘End of the World’, perhaps appropriately, does have a darker feel about it. The darkness, and some degree of emo apathy, must have spilled into the Prophet’s studio as even the sound quality has a shadowy feel. The bass is heavy and dull; whilst the guitars appear to aim for a fussy vs. clean tone contrast. However, they are predominately fussy throughout. The contrasting cleaner tones suffer from lack of volume. In fact contrast is only successfully reached when the song turns ‘Muse-y/ Matt Bellamy-esc’ in the guitar breakdown mid track that seems dramatically different to the darkness of track as a whole.
On first listen ‘End of the World’ is a disappointment (unless it is indeed the first Prophets track you’ve ever listened to). Even the happy choruses and chanting characteristic of ‘Liberation Transmission’ have been warped and seem sinister. In fact, I would describe ‘the woahs’ throughout ‘end of the world’ as uninspired. Akin to a noisy group of idiotic and drunken lads out on the razz; the Prophets fail to produce a convincing or fitting chorus harmony. Saving grace you plea? Luckily there is. In the last 50 seconds there is a moment of sheer quality. Ian Watkins actually unleashes his voice. So good is his voice in these fleeting seconds I will even go as far to say it actually saves the song. Instead of playing the song all the way through, you can, like me, just skip to that brilliantly loud moment over and over. No doubt, this track will continue to cause debate amongst Prophets Fans.
Nevertheless, I believe a complete removal of expectation, and a fresh look at the Lost Prophets is required whenever they release anything. They regularly reinvent their sound, and this must be complimented. Yet, if this was the first Lost Prophets track I ever heard I’m sure I’d enjoy it, but I’m not sure I’d rate it as special. I think on this one the listener should decide.
My Opinion: an on the fence 2.5/5….Ian Watkins’ scream alone 4/5
Absent Elk - Change My World
Reviewed by Scott McLoughlin
Unlike many, I had the advantage of knowing Absent Elk prior to being asked to review their track ‘Change My World’; an absolutely lovely and thoroughly enjoyable track. Serene, gentle and composed, ‘change my world’ is very agreeable. The vocals of Kjetil Morland are likewise as agreeable; reaffirming this Anglo-Norwegian five pieces tranquil charm. However, ‘change my world’ is not their strongest song, or the song of theirs I would tout to a friend hoping they become a fan. Though beautiful, it is quite forgettable, unlike, for example, their ubër catchy tune ‘Cannibals’. What I do know, however, is that ‘change my world’ adds credibility and variety to a band sporting a largely indie-pop sound. In the age of x-factor and what I like to call ‘capital orientated crap pop’ (a big general opinion I know) it is refreshing to hear a good band playing and writing good popular music. This track has everything a good pop song needs; likable vocals, pleasant acoustic guitar, strings, and drums that build up but don’t over power. It isn’t even over produced! When the drums kick in you can’t help but smile, and think things like; ‘Wow…life really isn’t all bad, at least we have sparrows…and chaffinches’. Mindless mental wanderings aside, it seems pop has become somewhat of a taboo term, associated with less than ‘indie-cool’ things. If you ask me Absent Elk are indie-cool, yet remain categorically pop. Just looking at the bands Absent Elk have supported gives you an inclination that they are indeed pop act (for those interested Elk have supported: Girl’s Aloud, the Script, Keane, and the Hoosiers). They have also done a pretty good home recording and reworking of Lady Gaga’s Pokerface: available to listen to on YouTube. Unashamedly, as a result of listening to Absent Elk I am happy to say I have some faith in good pop again. If you really wanted to you could describe Absent Elk as Scandinavian folk driven gentle indie, but that’s stupid, it’s guitar pop, and that’s nothing to be put off by. Well done Absent Elk, and thank you for bringing back some pop hope to the ‘scene’ generations (even if that wasn’t your intention).
Absent Elk’s album is out now, and ‘Change my World’ is released as a single on the 30/11/2009.
3.5/5
Unlike many, I had the advantage of knowing Absent Elk prior to being asked to review their track ‘Change My World’; an absolutely lovely and thoroughly enjoyable track. Serene, gentle and composed, ‘change my world’ is very agreeable. The vocals of Kjetil Morland are likewise as agreeable; reaffirming this Anglo-Norwegian five pieces tranquil charm. However, ‘change my world’ is not their strongest song, or the song of theirs I would tout to a friend hoping they become a fan. Though beautiful, it is quite forgettable, unlike, for example, their ubër catchy tune ‘Cannibals’. What I do know, however, is that ‘change my world’ adds credibility and variety to a band sporting a largely indie-pop sound. In the age of x-factor and what I like to call ‘capital orientated crap pop’ (a big general opinion I know) it is refreshing to hear a good band playing and writing good popular music. This track has everything a good pop song needs; likable vocals, pleasant acoustic guitar, strings, and drums that build up but don’t over power. It isn’t even over produced! When the drums kick in you can’t help but smile, and think things like; ‘Wow…life really isn’t all bad, at least we have sparrows…and chaffinches’. Mindless mental wanderings aside, it seems pop has become somewhat of a taboo term, associated with less than ‘indie-cool’ things. If you ask me Absent Elk are indie-cool, yet remain categorically pop. Just looking at the bands Absent Elk have supported gives you an inclination that they are indeed pop act (for those interested Elk have supported: Girl’s Aloud, the Script, Keane, and the Hoosiers). They have also done a pretty good home recording and reworking of Lady Gaga’s Pokerface: available to listen to on YouTube. Unashamedly, as a result of listening to Absent Elk I am happy to say I have some faith in good pop again. If you really wanted to you could describe Absent Elk as Scandinavian folk driven gentle indie, but that’s stupid, it’s guitar pop, and that’s nothing to be put off by. Well done Absent Elk, and thank you for bringing back some pop hope to the ‘scene’ generations (even if that wasn’t your intention).
Absent Elk’s album is out now, and ‘Change my World’ is released as a single on the 30/11/2009.
3.5/5
Thursday, 22 October 2009
Greyhounds in the Slips - The Joy Formidable
Reviewed by Scott McLoughlin
The combination of hook heavy lyrics and droning guitar, force the Joy Formidable to your attention, if nothing else. Yet, it is somewhat darker than their 2008 offering Austere. Admittedly this is not every body’s cup of tea, but it engenders a reaction similar to said cup of tea being thrown into your face. Perhaps this is the reason the trio are supporting the likes of: The Editors, Passion Pit in the UK, and then are on a European tour with the Temper Trap; all this after a mini tour of Japan. The guest vocals of Paul Draper (of Mansun fame) compliment the now industrial tones of a band born in the welsh country. All this, and energetic live performances indicate they should be monitored for chance of future success.
I do however have a few issues with the recording itself. The Vocals, though undoubtedly catchy in the chorus, are blurred in the verse; blending the vocals into the body of the music as whole so that they are eventually lost. Those of you wanting poetic sentiments throughout will also be disappointed. Furthermore, if you are that annoying person on facebook; the one who loves to quote inspired song lyrics as their status, you too will not find what you are looking for. However, if you love household appliances you are in luck. The vocal-less ‘bridge section’ towards the end of the song sounds like a washing machine drumming and whirring to the ambience of a kitchen radio. Check them out, but this I have to say is largely an injustice to their live quality.
2.5 / 5
The combination of hook heavy lyrics and droning guitar, force the Joy Formidable to your attention, if nothing else. Yet, it is somewhat darker than their 2008 offering Austere. Admittedly this is not every body’s cup of tea, but it engenders a reaction similar to said cup of tea being thrown into your face. Perhaps this is the reason the trio are supporting the likes of: The Editors, Passion Pit in the UK, and then are on a European tour with the Temper Trap; all this after a mini tour of Japan. The guest vocals of Paul Draper (of Mansun fame) compliment the now industrial tones of a band born in the welsh country. All this, and energetic live performances indicate they should be monitored for chance of future success.
I do however have a few issues with the recording itself. The Vocals, though undoubtedly catchy in the chorus, are blurred in the verse; blending the vocals into the body of the music as whole so that they are eventually lost. Those of you wanting poetic sentiments throughout will also be disappointed. Furthermore, if you are that annoying person on facebook; the one who loves to quote inspired song lyrics as their status, you too will not find what you are looking for. However, if you love household appliances you are in luck. The vocal-less ‘bridge section’ towards the end of the song sounds like a washing machine drumming and whirring to the ambience of a kitchen radio. Check them out, but this I have to say is largely an injustice to their live quality.
2.5 / 5
Tuesday, 20 October 2009
Kill It Kid
Reviewed by Scott McLoughlin
Like a shot of bourbon to the eye, Kill It Kid’s debut Album (self titled but known as ‘Songs of Love and Loss and Debauchery’) is as hot as an iron prod to cowhide. They are probably the first band of 2009 to leave the listener branded. Not your generic blues, indie, folk or even country sound. In fact many arguments will be had trying to define them. The lead vocal is nothing short of breath taking. The blues and country influences in this album are manifest and self-evident. However, this album does not give the listener a one-genre handle to grasp. Unique male vocals, raw guitar, and dynamic fiddle playing are mellowed by heartfelt piano and soulful female harmony. Even the lyrics are educated and catchy, far from mindless. There is so much to grab your attention it is easy to overlook the thundering drums; drums which at the same time are finely balanced and produced. Highly evocative tracks such as send me an ‘Angel Down’ and ‘Private Idaho’ gives the album a softer and at times beautiful core. A necessary contrast to furious tracks such as the albums hard-hitting opener ‘Heaven Never Seemed So Close’, and the electric bluesy feel of the ‘Troubles of Loretta’ and ‘Burst it Banks’. In fact the album is filled with controlled out pourings of emotion. Emotion expressed through the music’s variety of pace and tone, and not forgetting Chris Turpin’s unbelievable voice. The song’s layouts even have more depth than your standard formulaic pop. Nothing I write can adequately describe this bands truly massive and exciting sound. You’ll struggle to choose a favourite track by them. Honestly, this is the best album I’ve bought in a long time. Not bad for five young guns from Bath.
4/5
Like a shot of bourbon to the eye, Kill It Kid’s debut Album (self titled but known as ‘Songs of Love and Loss and Debauchery’) is as hot as an iron prod to cowhide. They are probably the first band of 2009 to leave the listener branded. Not your generic blues, indie, folk or even country sound. In fact many arguments will be had trying to define them. The lead vocal is nothing short of breath taking. The blues and country influences in this album are manifest and self-evident. However, this album does not give the listener a one-genre handle to grasp. Unique male vocals, raw guitar, and dynamic fiddle playing are mellowed by heartfelt piano and soulful female harmony. Even the lyrics are educated and catchy, far from mindless. There is so much to grab your attention it is easy to overlook the thundering drums; drums which at the same time are finely balanced and produced. Highly evocative tracks such as send me an ‘Angel Down’ and ‘Private Idaho’ gives the album a softer and at times beautiful core. A necessary contrast to furious tracks such as the albums hard-hitting opener ‘Heaven Never Seemed So Close’, and the electric bluesy feel of the ‘Troubles of Loretta’ and ‘Burst it Banks’. In fact the album is filled with controlled out pourings of emotion. Emotion expressed through the music’s variety of pace and tone, and not forgetting Chris Turpin’s unbelievable voice. The song’s layouts even have more depth than your standard formulaic pop. Nothing I write can adequately describe this bands truly massive and exciting sound. You’ll struggle to choose a favourite track by them. Honestly, this is the best album I’ve bought in a long time. Not bad for five young guns from Bath.
4/5
Monday, 19 October 2009
Mando Diao – Give Me Fire
Reviewed by Scott McLoughlin
If the Arctic Monkey’s were more soulful and Swedish, or if the Hives decided they wanted to ‘become more mature’ (which they should never do) you might end up with Mando Diao. ‘Give me Fire’ is their 5th Studio Album. Upon first listening this album peaks, and troughs. There are, however, some absolute standout tracks. Tracks including ‘Gloria’ which subtly incorporates strings and female backing vocals into Mando’s ‘boyish garage rock’ meets ‘gospel’ sound. A sound I’m lead to believe in the past was driven by bass lines, choppy chords, distorted guitar riffs and dancey rock /indie beats. This less produced sound perhaps best epitomised by their breakthrough 2004 album ‘Hurricane Bar’. In many respects, not a whole lot has changed, though there is indication of further diversion away from the sound of albums gone by. Perhaps the pop highlight of the album is ‘Dance with somebody’. It’s the kind of track that should, and probably will, echo around national radio for months. It has ‘sing-along-able’ lyrics, and words that will most definitely stick in your head. Stick to the extent you’ll have to beat them out of your mind with concentrated doses of Britney Spears ‘womanizer’ (or something equally repetitive) which conveniently you’ve crafted into some sort of mind baseball bat. Mercifully it’s not all just mindless pop dribble. After two or three listens you start to get what this album is all about. The in your face indie pop tracks, though still enjoyable, take a back seat. Tracks such as ‘Maybe Just Sad’, show that amongst the gospel Mando actually do have something to preach; preaching with the innocence of language only a Swedish band singing in English could. Mando frame themselves as sort of working class heroes. You can see why with reoccurring references to ‘the upper classes’. If this isn’t your political view, don’t worry, everyone can relate to death. Mando Diao’s track ‘Crystal’ is amongst the most pleasant I’ve heard dealing with the subject of the afterlife. I don’t feel this album will be the death of the band; in fact quite the contrary. ‘Give me fire’ looks set to bring Mando Diao to the attention of a fan base that has thus far eluded them. I just hope current Mando fans enjoy it. Stick with it, and give it a few listens when it’s released.
3.5/5
If the Arctic Monkey’s were more soulful and Swedish, or if the Hives decided they wanted to ‘become more mature’ (which they should never do) you might end up with Mando Diao. ‘Give me Fire’ is their 5th Studio Album. Upon first listening this album peaks, and troughs. There are, however, some absolute standout tracks. Tracks including ‘Gloria’ which subtly incorporates strings and female backing vocals into Mando’s ‘boyish garage rock’ meets ‘gospel’ sound. A sound I’m lead to believe in the past was driven by bass lines, choppy chords, distorted guitar riffs and dancey rock /indie beats. This less produced sound perhaps best epitomised by their breakthrough 2004 album ‘Hurricane Bar’. In many respects, not a whole lot has changed, though there is indication of further diversion away from the sound of albums gone by. Perhaps the pop highlight of the album is ‘Dance with somebody’. It’s the kind of track that should, and probably will, echo around national radio for months. It has ‘sing-along-able’ lyrics, and words that will most definitely stick in your head. Stick to the extent you’ll have to beat them out of your mind with concentrated doses of Britney Spears ‘womanizer’ (or something equally repetitive) which conveniently you’ve crafted into some sort of mind baseball bat. Mercifully it’s not all just mindless pop dribble. After two or three listens you start to get what this album is all about. The in your face indie pop tracks, though still enjoyable, take a back seat. Tracks such as ‘Maybe Just Sad’, show that amongst the gospel Mando actually do have something to preach; preaching with the innocence of language only a Swedish band singing in English could. Mando frame themselves as sort of working class heroes. You can see why with reoccurring references to ‘the upper classes’. If this isn’t your political view, don’t worry, everyone can relate to death. Mando Diao’s track ‘Crystal’ is amongst the most pleasant I’ve heard dealing with the subject of the afterlife. I don’t feel this album will be the death of the band; in fact quite the contrary. ‘Give me fire’ looks set to bring Mando Diao to the attention of a fan base that has thus far eluded them. I just hope current Mando fans enjoy it. Stick with it, and give it a few listens when it’s released.
3.5/5
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