Former Spellemann’s winners, The Cheaters, return to the fray armed with a new single, ‘Diamond Light’, which is taken from the band’s soon-to-be released album, ‘Hooked!’. With the title of The Cheaters’ single being borrowed from the same name for the Diamond Light Source science facility located in Oxfordshire (UK), the energy required to source one of the laser beams in question appears to have transmitted to this three-piece band as the single, ‘Diamond Light’, rattles along at some pace with a pounding backbeat and roaring guitars. Surprisingly, the song never derails considering its anxious energy, but this is the skill at the centre of the band as The Cheaters weave all of the components tightly together and, in the process, give off a memorable indie pop melody. From this corner, the release date for The Cheaters’ ‘Hooked!’ can’t arrive soon enough considering the initial excitement this latest single has generated. Now, to address those Interpol comparisons…
Album Reviews
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Beach Buns (Single)
Cloroform
Kaada Recordings
Having spent the best part of six years in hibernation, Norwegian three-piece, Cloroform, show that they’re ready for the next phase in their recording career with brand new single ‘Beach Buns’. The truth is that all three band members – comprising of John Erik Kaada, Børge Fjordheim and Øyvind Storesund – have been busy with other activities involving solo projects, film compositions and moonlighting for other artists including the likes of Kaisers Orchestra, Morten Abel and Sivert Høyem. Kick-starting 2016 off with the cheekily named and out-of-season single, ‘Beach Buns’, the first offering from their upcoming long player, Cloroform show that they have lost none of their eccentricity and unpredictability when it comes to their creative output as ‘Beach Buns’ is a somewhat slippery character to define. The closest indication, however, is the presence of QOTSA entwined in the driving (stoner) rhythm underpinning the song, whereas the rest is open to numerous interpretations as small fragments of electronica, handclapping and interchanging vocals add their contributions, making this an intriguing appetizer until the main course later this spring.
North
Jonathan Kawchuk
Eilean Records
Finding new ways of expressing himself through different sounds is all in a day’s work for instrumentalist, Jonathan Kawchuk. Hailing from Canada, this architect of sound has explored various parts of the globe in order to achieve a broad source of sounds, whether from individual movement or the natural elements playing their part. Having worked previously on albums for artists Nico Muhly and Ben Frost, as well as serving as an assistant sound technician for the Philip Glass Ensemble, Kawchuk has more than served his apprenticeship by acquiring enough experience to produce an album that is entirely his own work. Such a time has arrived as ‘North’ offers a palette of different sound textures, captured (interestingly) in the Norwegian forests and various other places in Canada, Iceland, Israel, Portugal and the UK. With the album being recorded between 2013 – 2014, and mixing and mastering handled by Paul Evans, ‘North’ represents Kawchuk’s vision, retold through fragments of sound patched together. From the quivering and often fleeting drafts of noise where use of cello and, more frequently, piano dictate during the opening ‘Right Into You’, the mood throughout ‘North’ is often changeable, and therefore reflective of its natural surrounds. Such varying tones can be heard in the darker shades of the tracks ‘Aware’ and ‘Overhang’, with the latter piece possessing an edgy backdrop via a distant yet noticeable recurring beat (quite possibly the ‘actual heartbeats’ described by the album’s liner notes). A compelling experience made with care and the closest attention to detail, ‘North’ is the perfect start for Jonathan Kawchuk as he embarks on his solo recording career.
Different Paths (Single)
Matchstick Men
Holier Than Thou Records
With Matchstick Men’s new single arriving at Famous last Words (FLW) recently, and knowing next to nothing about this band from Liverpool, the immediate feeling before hearing a single note of ‘Different Paths’ was of 90s era baggy and Britpop. The truth of the matter is far from such a prediction, as Matchstick Men forge a sound that is far closer to American (alternative) rock than anything resembling a Merseyside influence when considering what has gone before. Country of origin aside, Matchstick Men deliver the goods in fine style with the ballad-esque ‘Different Paths’. With this new single acting as a precursor to the band’s forthcoming sophomore long player, ‘From Our Own Ashes’, it certainly bodes well for what’s to come as lead vocalist, Lewis Wright, offers a reason for one to confront their fears by way of a compelling voice, that is enhanced via Iain Forsyth’s backing vocal and tight musicianship from the band in general. More Goo Goo Dolls than anything resembling CAST for example, Matchstick Men is certainly taking a different route, but one that serves the contents of ‘Different Paths’ perfectly.
Leave Everything Move Out
Craig Ward
Wardism
The highly productive Craig Ward returns for a second solo jaunt with latest album, ‘Leave Everything Move Out’. After dropping in and out of this current project, the former dEUS guitarist finally found the appetite to complete the task by writing and recording the five instrumentals on offer here. With the barebones of this record having started as far back as 2009, when Craig Ward was in the middle of a sabbatical year in North America, the creative drive to recover a previous attempt at recording ‘Leave Everything Move Out’ managed to find its way back to this artist. To aid this newly found impetus, Craig Ward enlisted friend and producer, David Odlum, as well as being fortunate to receive Lottery funding from Creative Scotland to help pay the bills. After such a lengthy duration to get to the point where ‘Leave Everything Move Out’ finally gets to air it contents in the public sphere is no doubt of great relief to Craig Ward, and all those who caught wind of the initial foundations of this project and therefore waiting in anticipation for its release. You will not be disappointed as the five compositions of ‘Leave Everything Move Out’ are built of sturdy materials, with their architect patiently applying the layers whether beginning with synths or guitar and drums. ‘New Haven’ is one such example where the faintest waft of electronica gives way to a repetitive piano pattern and a glistening guitar sound that is trademark Explosions in the Sky, only for Craig Ward to develop it further by adding a slight Celtic influence accompanied by a semi-military procession beat. From such a strong opening ‘Addict’ applies considerable weight by looping a firm guitar and solid drum sound that becomes increasingly raw nearing its end. The closing ‘Trinity’ contains aspects of the former ‘New Haven’, but where that song appeared to take its time, ‘Trinity’ is more direct with the guitar(s) forceful and on the verge of breaking into a melodic sound. ‘Leave Everything Move Out’ is an accomplished achievement, and one that was wisely resumed by Craig Ward after nearly discarding it altogether.
Until The Morning Comes
Richard Ginns
Eilean Records
Beautifully packaged, with artwork by Cameron Robbins and mastering handled by Fletcher McDermott, is the latest album, ‘Until The Morning Comes’, by musician Richard Ginns. What sounds like an attempt to capture the smallest of sounds, Ginns proves a master of his craft where the vibrations of the acoustic guitar strings can be heard once plucked, for example, down to the fizzing static of background atmospherics that surround all of us. By opening with ‘Threads Of Light And The Quiet Hum’ the intimacy created by capturing numerous sounds, such as the faint trickle of water and the creaking of furniture, produces a sense of wonder as it does unease in the listener because it generates of feeling of prying on the privacy of this particular individual or household. This of course does not detract Ginns, who continues to weave an instrumental spell that attempts to capture any nuances of human behaviour, as well as the environment, through varying degrees of sounds that are often the thinnest of threads and where, for example, (sun)light is breaking through the darkest and coldest of winters (other descriptions available such is this record’s ability to generate different moods). It’s an expertly controlled lo-fi record that offers much beauty as it does melancholy in its sonic textures, rendering ‘Until The Morning Comes’ a worthy addition to Ginns’ recorded output.
Two Years No Basement
Vicky Speedboat
Huber & Lindsay Music
After a hefty bout of travelling and considerable soul searching along the way, the duo of Sean Huber (Modern Baseball) and Will Lindsay (W.C. Lindsay) came to a decision that a once talked about creative pairing between the two should actually become a reality. The two years spent trawling through several foreign lands, and meeting countless strangers, provided the impetus to set the creative wheels in motion, and thus Vicky Speedboat was born. The results of this decision to combine their creative efforts is ‘Two Years No Basement’; a six-track EP containing a mixture of melodic and raw indie punk rock, and a trading of vocals between the two central musicians of Huber and Lindsay that makes for an engaging listen. Recorded in 2015 at Kennedy Studios in Burlington, MA, by Steve Aliperta and Chris LaRoque (The Colour and Sound), ‘Two Years No Basement’ leaves you wondering why the pairing of Huber and Lindsay left it so long because it’s an impressive start for Vicky Speedboat. Evidence of the quality of the songs on offer here can be heard from the energetic intro, ‘Philadelphia Contact High’, and then followed by the far grittier and passionate vocals of ‘Roman Candle Fires’. By naming one of your songs ‘Passing Through Wales’ is enough to spark intrigue here, but it’s also the speed of its delivery via some punk-pop and sharp lyrics about issues concerning a midlife crisis for example. As its chant of, “I’m not going to be alone any more” rings out, the chance of that continuing is highly unlikely because ‘Two Years No Basement’ is a record that will acquire friends quickly and deservedly so.
Seed EP
Glue Foot
Crust Baby Records
Grunge is alive and well and residing in the South West of England and South Wales. With a sound that is more akin to the cities of Boston and Seattle rather than the cities of Bristol and near neighbour Cardiff, relatively new trio, Glue Foot, is ready to unleash their noise for a second time with the forthcoming ‘Seed’ EP. With a loyal following having been steadily built through a number of gigs but, more interestingly, by opting for a different environment of performing at multiple house shows with a variety of their contemporaries, Glue Foot reveal a strong identity that is fiercely independent and backed up by a robust sound. Such qualities can be heard in the band’s ‘Seed’ EP where opening song ‘Guilt Milk Mix’ begins in a low-key, hazy acoustic strum that eventually gives way to a barrage of noise where drums crash and tumble, and the guitars sound gigantic. The ensuing ‘Silk’ is built of a slightly different consistency that is very bruised and sore around its edges as emphasised by its rugged bass and detached sounding vocal, before it develops into a fuller sound that is quite seething by the time it runs out. The high quality continues with the loose pop strands attached to a predominant grunge sound of ‘Grangetown’ where kicking one’s heels in frustration, due to a small-town existence, is definitely the main emotion expressed. With the final song, ‘Floating Like A Leaf’, splintering in two, with its second act offering a few poetic words, Glue Foot is delivering their own message, with a small amount of assistance from 90s era grunge that is definitely ripe for a revival.
Perdition (Single)
Kolektiv
Kolektiv Music
Having arrived on the FLW desk recently with the briefest of paragraphs confessing a great attraction to the practices of DIY when it comes to creativity, very little is known about this indie band who go by the name of Kolektiv. Apart from Belgium being the country of origin, the only other known fact is that ‘Perdition’ and ‘Potemkin’ are the two nominated songs making up the current single by Kolektiv. With this being a digital download only release, coupled with a lack of information to go by, any notion regarding promotion in relation to this single release is definitely not at the top of the agenda here. The idea of burying as far underground as feasibly possible regarding one’s creative ideas and processes is more in line with the sounds of Kolektiv. Lead track, ‘Perdition’ certainly takes its time by weaving a drum and guitar pattern with atmospheric vocals, that sets a gradual rhythm and ends up sounding rather scorched around the edges as it reaches its conclusion. The flipside, ‘Potemkin’, introduces a short flurry of electronic pulses and then proceeds to build in similar manner to ‘Perdition’ only for segments of its rhythmic pattern sounding slightly more complex by giving the impression of playing out in reverse. Whether it’s post-grunge, math rock or quite simply alternative rock, Kolektiv is certainly building towards something rather intriguing, especially considering the scant information given. It’s definitely a case of let the music speak for itself when it comes to Kolektiv.
Why?
Monster Jaw
Cobra Kitten Records/Code 7
Under a cloud of mixed emotions, Monster Jaw is parting ways after three years together. With the spilt described as “amicable”, the final track to be left as part of their legacy is the appropriately named ‘Why?’. Appropriate because there are a number of questions that remain unanswered in terms of an industry that seems to be increasingly concerned with social media figures and, in the process, forgetting where the real song writing lies. Truth be said, Monster Jaw were never really going to fit in with such plastic times with a sound that would have appealed to fans of the much-missed indie music channel SnubTV of the early 90s, and therefore a classic example of right band, but wrong time. Still, final single, ‘Why?’, is the perfect send off as it brings together the lo-fi qualities of more recent works, only for a soaring guitar sound loosening the intensity somewhat yet generating an emotive feel where there is a real sense of letting go. It will be difficult to wave goodbye to the trio of Mik Davis, Neil Short and John Bradford, but at least they are leaving behind a trail of EPs and singles that really stirred the emotions and generated much enthusiasm from those true believers.
This December (Single)
Ine Hoem
Slaraffen Songs / Starbox Recordings
After this year’s debut album, ‘Angerville’, and appropriate single, ‘This Year’ that received much radio play in her home country of Norway, Ine Hoem made a swift return to the recording studio to maintain the attention her indie electronic pop has been receiving. Sweden has been the choice of destination to record the new material for Ine Hoem’s next album, with producer Tobias Fröberg (Ane Brun, Loreen, Anna Bergendahl) selected, along with musicians Lars Skoglund (Lykke Li) and Robert Elovsson (Robyn) to add their guidance and expertise as well. The first fruit to surface from this process is the song, ‘This December’ that pays reference to personal aspects of Ine Hoem’s life, against a seasonal period that can be both impressive and miserable in equal measure. Such feelings are echoed by the lyrics and the manner in which Ine Hoem expresses these words, where the enthusiasm for “I plan to have a party” is not really quite there, and seems more a nostalgic reference than anything else. The low-key electronic pop generated here also gives the game away that all is perhaps not well in the Hoem household, where the desire for a feline friend at the top of the Christmas list looks odds on favourite to win. There is a dark humour at the bottom of this song, it just takes a few rounds to hear it. In terms of what to expect regarding the new album is as good as anybody’s guess because Ine Hoem is definitely keeping her cards close to her chest.
Social Coma
Cold Sweats
Six 3 Collective
Incredible to think that Binghamton and Brooklyn’s Cold Sweats formed only five months ago, yet here they are with full album in hand and living true to that punk DIY ethic where rock and roll really is for everyone, if you have the audacity to give it a go that is. What’s even more impressive, however, is the manner in which Cold Sweats set about their business by constructing a series of songs that contain a considerable amount of variation between the layers of punk rock, where influences range from indie, pop and surf rock, but ultimately Cold Sweats has managed to cultivate a sound that is uniquely their own. Evidence of this can be garnered from the opening song, ‘The Business’ that stretches out its message by means of wavering guitar noises and a sinister vocal that has a habit of lingering, before crossing paths and imploding in a crescendo of noise. Elsewhere, ‘Coney Island Cops’ is straining at the leash, full of snarling attitude via its vocal and backed with a real vicious edge by way of a razor-sharp guitar. It’s a definite short sharp jolt to the system, and one with a single finger salute to authority. As mentioned, rather than pursuing the formulaic route of a punk rock album, Cold Sweats continue the variation with the scathing sentiments of ‘Waste of a Day’, that comes complete with a jarring guitar riff and pounding drums that manages to wedge itself deep in the mind, and continue echoing there long after it’s finished. ‘Souvenir’ takes an immediate stranglehold via the guitar and pretty much continues its hold over the entire song, only to find next the vocal taking centre stage, or at least try, as it staggers about in what sounds like a drunken state, relaying fragments of disaffected lives during ‘Problem Kids’. With the album having been produced by Hunter Davidsohn and recorded in a destitute and abandoned area of Binghamton, which just happens to be home to Twilight Zone creator Rod Sterling, it’s no wonder that Cold Sweats became influenced, in part, by their surroundings, where a combination of an extremely raw punk sound, in addition to various aspects of post-hardcore, combined with darker and more eccentric influences such as The Cramps, for example, can be heard,. ‘Social Coma’ is an astute collection of ideas, compellingly executed, and one that stands (far) outside the usual formula and expectations when it comes to punk rock albums, which makes this long player one of the definite highlights of this year without any doubt.