Little Discourage

BEAT CONNECTION - SURF NOIR

THE SONG ABOVE IS IN THE WATER

   Beat Connection’s debut mini album, Surf Noir has been filling the space between my ears with dreams of hazy stoned summer days for weeks now, and urging me to spend every possible hour outside with a few good friends and a few more warm beers.

  Beat connection have created a brilliant new-genre that begs to soundtrack your perfect summer. From the first echoing guitar strums, into the driving simplistic drum beat and then the delicate explosion of the XX-esque riff that dominates the final two minutes, the band who named themselves after LCD Soundsystem’s genre defining album have created an indulgent instrumental sound-scape first track, one that sets the album’s atmosphere and leaves you anticipating more.

   On second track In The Water, the electro-pop comparisons are inevitable, but completely unjustified. The groovy hand-plucked bassline, repetitive lyrics and background vocal harmonics do lend their debut single a pop accessibility, but the true beauty of the song lies in its ability to continue building. The bassline evolves and breaks down, joined by a concord of synth noises, ascending vocals and euphoric steel drums. It’s completely infectious, and you find yourself singing along to the repeating chorus in falsetto. By the time it finishes, it is nearly impossible not to hit the repeat button, (which should be done, as the following short track is simply a cacophony of industrial noises.)

   Then A Theme From Yours Truly kicks in and you can forgive its immediate onslaught of keyboards and synthesisers, as by now Beat Connections combination of electronic, pop and house music has you completely besotted, held at your own will. It’s the most shamelessly euphoric song on the mini-album, verging on the sort of eighties electro-cheese that made Grand Theft Auto –Vice City such a pleasure to play.  At six and a half minutes long, and without any real progression except for a beat-heavy breakdown, it drags on slightly too long, as if ashamed of its electro-pop accusation.

   Harshly echoing hand-claps that sound like waves crashing on the shore are joined by a monotonous electronic feedback for Fresh Touch. This gives in to a slow and deliberate drum beat that’s punctuated by a variety of high pitched sounds. Heavily effected vocals speak indiscernible lyrics and the song loses any real direction. This is until a hard drum beat that sounds like a human heart kicking its final life is joined by what sounds like an electronic wood-flute and a high hat picks up the beat and takes the song in a different direction, at least it seems that way, but looking at your music player, you realise that Beat Connection have blended effortlessly into the next track, Silver Screen.

   It’s a fractured march, with heavy atmospheric and dragging synths lying in the background of the mix, whilst high-pitched riffs play in the foreground with the most accessible vocal-delivery yet. Just as the song begins to sound perfectly accessible, it becomes littered with sounds fresh from a 16bit console that fluctuate between the front and the background of the mix. An incredibly diverse and interesting song, with the potential to be a smash festival hit.

   At just under one and a half minutes, Motorway sounds like the trophy presentation from Mario Kart 64. Despite having several riffs that play off each other, the songs predictable beat and instant flurry conjure the image of a fat Bowser dancing in circles with a trophy spinning above his head.  The least successful, and most unnecessary track on Surf Noir.

   By the time Same Damn Time kicks in, you haven’t really realised, as you’ve been completely euthanized by its shoegaze charm. That is until two minutes in when the snare becomes sharper and the song is punctuated by sharp and growing synth snaps that are more commonly found in dark dubstep tracks. Again the song breaks down, but this time more menacingly as these dubstep sounds grow in volume and in intensity, Until the whole thing threatens to explode. With an unpredictability common for Surf Noir , the whole song implodes back on itself, returning to the same engulfing riff and placing you back in that hazy summer dreamland.

   An incredibly diverse and genre-spanning album, Surf Noir, whilst being slightly too-long and at points spoilt by its own self indulgence, is an album that deserves the opportunity to soundtrack your half-drunk days sat under trees in parks, swigging away at the last flat drops of your last can of beer.

The band play The Old Blue Last on 23^rd May.

Hayvanlar Alemi - Crossroad Metamorphosis

(clicking on the title above will take you to the bands myspace page, crossroad metamorphosis is the sixth song down. It’s hard to find music links in Turkish…)

Turkish band Hayvanlar Alemi have created an eight minute epic; a beautiful twisted waltz. Crossroad metamorphosis explodes eerily and sporadically making the repeated riff that carries the song far from monotonous, instead it becomes gently harrowing as it etches itself into your skin.

Carried along by a slowly walking bassline that sits far back in the mix, the band mix harsh guitar strokes and rapid strumming to create an extremely subversive and hypnotic rhythm.

Guarana Superpower is out now on Sublime Frequencies, and, incredibly, the band play the Barbican centre on May 13^th. I’m going.

http://www.barbican.org.uk/music/event-detail.asp?ID=11648

A review of the album will follow shortly, just as soon as I have time to listen to it in its entirety on my headphones. 

The mixture of anticipation, excitement and fear that moulds in your stomach as you press play on track one of any album is one of the finest feelings the world has to offer.

Below, in alphabetical artist order are some of my favourite opening songs of all time. Some are just great songs by their own merit, others lay the foundations of the great albums that follow them. This is the all important; Track 1.

Today, A, B and C.

ARCADE FIRE – NEIGHBOURHOOD #1 (TUNNELS)

http://www.youtube.com/watch?v=DxA2kR3r5bM

Funeral starts with a looping piano riff that’s joined by a grungy bassline and some of the most unique vocal patterns ever used. Two minutes in and a driving drum beat leads the song into a crescendo of raw emotion, the song ending with instantly gripping backing vocals that beg to be screamed by thousands in a field. This song doesn’t only hint at the sheer beauty of Funeral, but at the now realised possibility for this band.

AUDIOSLAVE – COCHISE

http://www.youtube.com/watch?v=KDMvN45sjo4

A harsh, scratching wall of feedback with a pulse is joined by a cock-sure drum beat with a life of its own and just as you begin to settle in it the whole thing explodes. Tim Commerford’s thumping, thunderous bass dominates and Chris Cornell screams holes in his throat. I defy you to keep still listening to this song.

BECK – ELEVATOR MUSIC

http://www.youtube.com/watch?v=MFR2OSoJNz0

“One, Two, you know what to do.” The Information is an underrated gem of an album. I am not Beck’s biggest fan, finding his career patchy at best, but this album harbours an ability to involve you instantly. It contains some of his most accomplished lyrics and a successful fusion of hip hop beats and indie samples. The lyric, “A little bit worse for wear but i’m wearing it well” is a true air-puncher of a line.

BEN HARPER – THE THREE OF US

http://www.youtube.com/watch?v=ZuqGI0kS3Z4

Slowly building and encapsulating, this three guitar instrumental proves that Ben Harper’s success is not just a result of his incredible voice. The guitars work against each other, but also in perfect harmony. The pauses of silence are breathtaking and two and a half minutes pass before you snap out of your daydream. Beautiful.

BILLY TALENT – THIS IS HOW IT GOES

http://www.youtube.com/watch?v=cNhPb_BPfLA

A audibly plucked bassline attacks the ears and then all the instruments crash into our ears and fill the empty space between them. By the time Ben starts, what can only be described as retching the words in the breakdown, “unscrew my head and rinse it out” the bass is plucked and smooth and shows the talent of this band, evident throughout an accomplished and overlooked debut album.

BLACK REBEL MOTORCYCLE CLUB – LOVE BURNS

http://www.youtube.com/watch?v=aGXsmj2YRew

A simple riff played over ambient samples gives way to a clearly strung guitar and reverberating tambourine. The drum kicks in and Peter Hayes begins to drawl lazily over the by now unstoppable beat and you know you have a truly great Rock N Roll band on your hands.  

BLONDIE – HANGING ON THE TELEPHONE

http://www.youtube.com/watch?v=uWhkbDMISl8

Ring Ring. Ring Ring. Two seconds of Debbie’s voice and then a double snare tap and bang, you’re in Parallel Lines. The song showcases all of Blondie’s strong points, looping and scratchy riffs, furious drum fills and unforgettable choruses. The “oh” on “oh I can’t control myself” may be the sexiest noise I have ever heard. Grr.

BLUR – AMBULANCE

http://www.youtube.com/watch?v=N_Vu3liF4W0

A mood setter from Blur’s last album (probably last album). Full of mechanical and undecipherable sounds creating a tense atmosphere that perfectly encapsulates the band at that time. Damon’s finest vocal performances, across his entire career are on Think Tank, an album that is begging for an improved retrospective review.

BON IVER – FLUME

http://www.youtube.com/watch?v=LuQrLsTUcN0

It only takes twenty seconds of this song to fall head over heels in love with Bon Iver. You can’t just hear the skin on the steel strings of Justin Vernon’s guitar, you can hear the sound echo off the walls of the cabin in which he wrote For Emma, For Ever Ago. By the time his layered and harrowing voice utters, “I am my mother’s only one” you are hypnotised, invited to witness Justin’s complete, dark and beautiful emotion.

BRIGHT EYES – AT THE BOTTOM OF EVERYTHING

http://www.youtube.com/watch?v=aXDAhnbYobE

I have previously mentioned on this blog Conor Oberst’s tendency to write deliberately inaccessible opening tracks. Here, my second favourite recorded single sound of all time, Conor slurping his drink starts the track. Conor struggles to articulate himself as he speaks into the microphone, he struggles with rhythm and the speech is going nowhere, until he says, “Where are we going?” and starts thrashing his guitar furiously, the speech continues until he counts himself in, “It kinda goes like this, one two one two three four.” Then joy hits. The guitar echoes as if filling every open space in an empty field and Conor expertly juxtaposes his hateful lyrics against this backdrop, creating a call to arms full of lyrics you could live your life by. “We must memorise nine numbers and deny we have a soul.” Truly incredible. (It wins the right to have the picture for today’s entry.)

BROKEN BELLS – THE HIGH ROAD

http://www.youtube.com/watch?v=gWBG1j_flrg

The stand out track on an incredibly diverse album that successfully soundtracked an entire summer. Even the ambient noises at the start are catchy enough to hum along to. The song is at a constant war with itself, as the vocal patterns are restrained then explode, and the samples loop madly over catchy choruses until it all fades down into a quotable outro sung in harmony. “It’s too late to change your mind, you let love, be your guide.”

CARIBOU – ODESSA

http://www.youtube.com/watch?v=aiSa7THgxrI

Two seconds of feedback and then that strange noise and bumping bass kick in. That sample, so strange that when you first hear the song you smile with a question mark on your face, saying what is that? I like that. The song has incredible groove and whilst instantly accessible, has the ability to have you listening again and again as you discover its excellent mix of quality production and accomplished song-writing.

THE CLASH – LONDON CALLING

http://www.youtube.com/watch?v=EfK-WX2pa8c

This simple bass line is a call to arms, and thirty seconds in you are prepared to go to war and fight for what you believe in. It’s continuous and thumping drum beat confound and support the sheer anger of the lyrics. This song needs no introduction and deserves its place in history.

CLOUD CULT – NOONE SAID IT WOULD BE EASY

http://www.youtube.com/watch?v=fQyhNfmjcOg

A frankly insane piano riff is joined by electronic noises that operate on separate planets and implode quietly building down to a slower, more deliberate repetitive piano riff that has your feet-tapping: All in the space of forty-five seconds. Then the acoustic guitar kicks in, and the backing harmonies and lend all this insanity a folk-rock mentality and you realise, this band are truly unique. When Craig Minowa starts singing and the bass kicks in to the words, “It all came crashing down.” You realise that this album is going to be an incredible journey. 

ELBOW - A VERY BRITISH LOVE AFFAIR

It’s difficult to count the number of bands that I have shunned for years simply because I missed the boat. I am ashamed to admit, but there have been countless bands that I have dismissed as overrated and not worth my time. When I was 14, I saw a Radiohead video on mtv2, I had heard of Radiohead before, of course, but I didn’t own any of their albums. I dismissed them as overrated and undecipherable, I hated their music and I hated the people that liked their music. If ever I have the chance, I will go back in time and punch my 14 year old self in the penis while screaming in his immature ears; because my musical arrogance denied me the opportunity of discovering Radiohead until years afterwards. In retrospect, I could have seen the band performing songs off albums from which they may never dip into again.

Everybody does this. Everybody harbours unnecessary and unjustified musical hatreds that stem from not supporting a band from the beginning, or even worse, from the fear of being exposed as somebody who has missed the boat, who doesn’t own that “career best” first album. Sometimes we get lucky, and we can watch a small band flourish into something beautiful, epic and on the tip of everyone’s tongues. Other times, we just miss out.

Elbow have become one of these bands. If you say you don’t like Elbow, frankly, I struggle to believe you. Try them again, because theirs is a rich, diverse and completely immersive back catalogue that begs to soundtrack multiple aspects of your life. From Summer walks through familiar towns, all the way through to Winter nights that last for days, as you sit, sharp eyed staring at the sleepless shadows on your ceiling. Elbow are a phenomenal British band, with an exceptional career to date and the ability to progress further. It’s okay to like them, even if their popular, critically acclaimed and advertised. It’s okay to like them, even if your Mum does.

I was fortunate enough to live above a pub for a small while in my youth, and, when it was released as a single, Red was played at least twice an evening. This is where my love for Elbow started.

http://www.youtube.com/watch?v=HMH1UXlM9OE

It serves as a great introduction to Elbow. Piano laden, multi layered with sharp snares that are years ahead of their time and neatly polished by Guy Garvey’s voice, 40-fags a day hoarse and harrowingly soulful in equal measure. Like their entire discography, it’s littered with lyrical hooks that stay stuck in your head and affect your heart with their delivery. Over delayed strings we hear, “You’re a tragedy starting to happen.”

http://www.youtube.com/watch?v=Vu8Mr0mvdVA&feature=relmfu&fmt=18

Elbow’s debut album Asleep in the Back (2001) contains some of their finest moments, but isn’t their finest album. Opener Any Day Now, (above) is an incredible album opener, one of the best of all time. A fuzzy bassline is cut through by a sharp snare rattle and echoing keyboard sound. By the time Guy opens his mouth, the drum beat is more complicated and the bassline has a dark and unmistakable groove that pushes the song into one of the most instantly repeatable and engrossing choruses ever. The song progresses with samples of children playing, organ style keyboards and simple guitar riffs that create an aural landscape that is both immensely rich and instantly immersive.

http://www.youtube.com/watch?v=78JT3z5flPU&fmt=18

The album also features one of Guy Garvey’s finest vocal performances. On Don’t Mix Your Drinks (above) he provides the melody in this simple beat driven song which is overlaid by mechanical sounds and delicate acoustic strings. It’s hard to decide whether the vocal melody enhances the lyrics, or the lyrics enhance the melody. They stand apart and alone, quaint and provocative. “Don’t mix your drinks, don’t mix with him, it might kill you.”

Elbows second album, Cast of Thousands (2003) sees the band flirt with the stadium filling emotional outpour that has had a great influence on their current success. It is, however, mixed erratically, unexpectedly and ultimately, successfully with the moments of subtlety and raw poetic honesty that provide the highlights of their first album. For me, it is their best album, mixing their tight percussion and more experimental rhythms with an obvious and emotive ambition, one that manifests itself through each song’s structure and the tangible intensity of the individual band members.

http://www.youtube.com/watch?v=-hyIpDzTnpU&fmt=18

Album opener, Ribcage (above) is an excellent example of this. It starts with high pitched beeping that provides a beat for snarling vocals, until Guy invites us to, “Pull my ribs apart and let the sun inside.” On the word sun, the drums literally kick in like a ribcage snapping. A simple piano riff is interjected by layered guitar loops, epic vocal harmonies and simple yet thunderously deep bass. It’s an incredible feat, and one that is difficult to describe, but put simply, Elbow have managed to create a song in which the lyrics successfully replicate the emotive journey caused by the structure and layering of the song. It’s a six minute epic, a journey, and by the end you come out stronger, realising, “All I need is you.”

They sound like a band constantly on the brink of explosion, the aural equivalent of your life flashing before your eyes before you die. Lyrically, Elbow deliver simplicity and emotional subtleties that you realised were in your life, but could never articulate. On Not A Job (below) Guy deals with crippling loneliness without whining or lamenting, but by embracing it and appreciating it. Simple synths and yet another deep and short series of bass fills provide the rhythm for a song that sits on the edge of docile and delicate, and the edge of immersive and arena filling as strings play in the background of a chorus in which we are, “walking through the long grass of your hands.” It fades out to through a high pitched piano riff, it would demand the repeat button, were it not for the fact that each song on this album flows so neatly into another that the album should be listened to as a whole. Then, of course, listened to again.

http://www.youtube.com/watch?v=zXwHHtS5ZJ4&fmt=18

After critical acclaim, Elbow released their third album Leaders of the Free World (2005). It’s much more guitar based, and at times an uncharacteristically, (but nonetheless successfully,) angry and venomous album. It is Elbow’s Be Here Now, not to say anything the quality of that album, or this one, just to say that it is Leaders of the Free World that you will find in cheap CD sale bins and charity shops. There are standout moments, but the album is littered with filler, songs likePicky Bugger have incredibly groove-led and catchy riffs, but fail to build on the foundations of their first two records, fail to either explode into extroverted chorus led emotion, or implode into whispered acoustic emotional subtlety.

http://www.youtube.com/watch?v=RZGGrHcC_xM&fmt=18

The video above is incredible, and shows Elbow reaching huge heights, playing main stage Reading and creating the best crowd-involvement scene I have ever been a part, that nobody there thought would ever work. Leaders of the Free World(above) is undoubtedly Elbow’s most emphatic Rock n Roll song. The distorted driving bass line punctuates the sheer angst of the vocal delivery. The song contains one of my favourite verse lines of all time. “I’m sick of working for a living, I’m just ticking off the days ‘till I die.” It is Elbow’s protest song, the chorus dropping delicately to demonstrate the absurdity of the political landscape in 2005, to describe the fact we, “dropped the baton like the sixties didn’t happen.” Whilst littered with moments of lyrical genius and intensely infectious choruses and guitar riffs, the album’s problem is explained by Guy himself on Forget Myself, “Are you falling in love with every second song.”

http://www.youtube.com/watch?v=_smRhuJSQpg&fmt=18

The Seldom Seen Kid (2008) needs no introduction. It received the Mercury award, and propelled Elbow to the heights to which they were deserving of five years before.

Lyrically, as displayed on The Bones of You  (above) it is their most accomplished piece of work. The impact of each song is accentuated by Elbow’s ability to perfectly match their lyrics and music, as the thudding baselines and echoing guitar strokes, (reminiscent of Air, circa Moon Safari) hit you with immediate impact, “Straight to the head like the first cigarette of the day.” An Audience with the Pope(Below) combines a soft vocal delivery with a irresistible foot-tapping beat. The piano riffs that dominate the mix and the double vocal harmony in the middle of the song are a nod to their earlier work. The difference here, is Elbow have managed to create a sound that is delicate and intricate yet undeniably upbeat with obvious pop-influences.

http://www.youtube.com/watch?v=Loy8lPJKdXA&fmt=18

http://www.youtube.com/watch?v=SQIdXKz4sE8&fmt=18

One day Like This (above) is a fine morning song. A perfect start to any day. It is also the manifestation of Elbow realising their potential. Unafraid and experienced, the band threw everything into this song. The emphatic strings and a simple drum beat that force us slowly toward a chorus that explodes with sharp strings are coupled with a lyrical ability that is both profound and understated, in a way which hasn’t been achieved since Morrissey wrote lyrics for The Smiths. “Kiss me like we’ll die tonight.” And “Holy cow I love your eyes, and only now I see the light, lying with you half awake.” Rank among some of the most perfectly executed lyrics I have ever had the pleasure of hearing.

http://www.youtube.com/watch?v=_rk34FV_WyU&fmt=18

And finally, to Build a Rocket Boys (2011), their most anticipated record to date. Keeping with tradition, their album opener, The Birds (above) is bass driven and subconsciously catchy. In recent days I have found myself singing “The Birds are the keepers of our secrets” randomly to anyone within spurting distance. It is littered with electronic riffs and short bursts of string arrangements that retain emotion and make the album undeniably foot-stomping. It’s their darkest album since their debut, the only difference being Elbow are now unafraid to explode, and frequently do so, like the sun over a gray morning hillside, about 5:30 into The Birds.

http://www.youtube.com/watch?v=GGzIm7Ylkqw&fmt=18

Other album highlights include Jesus is a Rochdale Girl, (above) which mixes acoustic simplicity and humble deep vocal delivery with high pitched and heavily effected riffs to a devastatingly intoxicating effect. It almost forces you to take a step back from your day and give it your full attention so that you can picture the landscape that Guy is creating. “And Jesus is a Rochdale girl, with forty-five CDs, and a house that you can smoke in.”

http://www.we7.com/#/song/Elbow/high-ideals

The album highlight is High Ideals, (the audio for which I could not upload due to file restrictions, there is a we7 link above, my apologies for the adverts.) The deep bass builds and is joined by hand beaten drums that explode into a crescendo of strongly plucked guitars and pirouetting string arrangements. The song exists on the foundations of an extremely simple bass line and a small amount of piano, and is testament to Guy Garvey’s lyrical and vocal ability, as he creates the majority of the harmony for a song that constantly builds itself up then tears itself down. It is a literal representation of its lyrics, of its high ideals. “And any noble fire that was burning in my chest, is acid in my belly at the very best.”

Elbow are a great British band. One of the best I have ever heard. Their consistency and productivity is matched only by their ability to constantly reinvent themselves whilst keeping a sound that is unmistakably theirs. The boat may have sailed on this one, but if you have the will power, you can swim fast enough and you can catch up. I don’t know where it’s going, or whether there’s much fuel left in the tank, but I can tell you it’s been an incredible journey so far.

THE HEAD AND THE HEART - THE HEAD AND THE HEART

THE SONGS ABOVE ARE CATS AND DOGS/ COEUR D’ALENE

With elements of the rawkus blues of The Black Keys, the unashamedly pop-sensibilities of I’m From Barcelona and the gentle simplicity of early Ryan Adams, The Head and the Heart’s self titled debut long player is not genre transcending or by any means groundbreaking, but it is an undoubtedly accomplished and accessible record littered with moments of heartfelt honesty. 

Highlights include Ghosts, where subtle vocal harmonies intertwine with driving piano riffs and basslines that add a blues edge and undeniable groove. Whilst the vocal delivery is not always polished, it does always feel genuine, and nowhere is Josiah Johnson more convincing than in piano chord and string ballad Down in the Valley. 

The album is consistent, managing to flow neatly whilst still having a diversity of genre atmosphere and tone to keep it interesting. They’re a little known band from Seattle, and their country ballads make me dream and question the life we have been sold. 

Get the Album, it’s self titled. Then see them live,

April 12th, Hoxton Bar and Kitchen, London. 

I’ve spent forty minutes choosing which song to put on. they’re all incredible, an oboviously incredibly tight live band.

THOM YORKE/ BURIAL/ FOUR TET - MIRROR/EGO 12”

THE SONG ABOVE IS EGO 

This track seems to be more heavily driven by four tet, with house influences, rythmic steel drums providing the driving force, intersected by hollow whistling sounds and then piercing synths that lead into a Yorke owned melody. 

Yorke’s vocal patterns are both higher in pitch and higher in the mix than the previous track, and this song, nearly, has a chorus. It definitely has a hook, sandwiched in the middle of threatening synth fills, that like this track, never take off. Instead, Ego leaves you in a suspended state of tension, immersion and joyous disbelief. The piano fill towards the end of the song is truly mystical, unraveling on top of the beat in disjointed motion. A beat like this should never end, it should just evolve. 

THOM YORKE/ BURIAL / FOUR TET - EGO/MIRROR 12”

THE SONG ABOVE IS MIRROR

It should come as no surprise that this song is fucking phenomenal. Thom Yorke’s deep and meandering vocal tone add a melody to Burial’s harrowing and atmospheric beats. It is the soundtrack to walking through a motorway underpass at 4am, past the rambling stench-ridden crack addict dancing in the corner. It’s Four Tet’s constant house snare rattling that provides the foundation upon which the entire song builds and evolves. This snare is your determination to make it to the other side.

It transcends genre, the way that Thom Yorke, Burial and Kieran Hebden have been individually and effortlessly for years. 

The 12” single, EGO/Mirror will be available through Text records and Bleep.com today. I’m going to buy a copy as soon as I upload EGO

BOY & BEAR - WITH EMPEROR ANTARCTICA EP

THE SONG ABOVE IS MEXICAN MAVIS

When I played this song to a friend the other day, he commented that there was a lot of this type of music floating about. This may be true, but Australian outfit Boy & Bear stand out from the crowd with their mixture of foot-tapping rock n roll hooks and ambient folk harmonies. 

The EP is solid, with the correct mixture of lively jig-along anthems and hoarse-throat piano led ballads. The Storm in particular is both captivating and dance inducing in equal measure. Lyrically, Dave Hosking is accomplished in both writing and delivery, with backing harmonies adding weight to his words and irresistible folk hooks.

This EP seems to be all they’ve released, but having sold out most of their Australian 2011 tour, surely a UK crossover is imminent. We can hope

DAUGHTER - DEMO EP

Elena Tonra is the latest in a growing list of names that makes Communion the most exciting record label to emerge in a long time. This collection of demo tracks is a haunting and captivating glimpse of Daughter’s breathtaking live performances. 

Run is an example of Daughter mixing simple guitar and hauntingly beautiful vocals to perfection, with Elena singing of drugs, the fear of death and the end of the world in such an honest and captivating way that its impossible not to want to hold her hand and experience it all with her.

Make a cup of tea and treat yourself to her Demos EP which she is kindly giving away for free, here: https://fan.musicglue.com/sale/promoproducts.aspx?productid=14cb428f-ebd4-4240-890a-c1a902edd6e6

And then, when you have fallen in love, try and see Daughter live. The unrecorded electric guitar parts add an atmospheric sound scape that squeezes your heart and leaves you unable to clap your hands for a few seconds, until you realise the whole room is holding a collective silence and then, remembering why, begins to applaud. 

She plays Notting Hill Arts Club, in a support slot on the 8th March.

The song above is called Run.

BRIGHT EYES - THE PEOPLE’S KEY

THE SONG ABOVE IS TRACK 7 - TRIPLE SPIRAL.

   Whether under the current moniker of Bright Eyes, or just his name, Conor Oberst has always tried to alienate potential new listeners through the opening track of his albums. Firewall, the opening track on The People’s Key, (His Sixteenth studio album, although this is debatable) follows this trend, a monotone voiceover drags on until a simple riff kicks in and Conor mutters indecipherable words loosely over the top. It is similar to The Big Picture, so on first listen it does not deter me from the rest of the album, I’ve been here many times before. It hasn’t always been this bad, At The Bottom of Everything, the opening track on 2005 album I’m Wide Awake It’s Morning, (IWAIM) uses a storytelling technique that adds weight and emotion to the opening song, setting an aural landscape for the entirety of the album. IWAIM is not just the standout record of Conor’s career, but the culmination of over a decade of open vulnerability and heavily documented growth into maturity. IWAIM was my first Bright Eyes record. Now, six years, four studio albums and one self-gratifying Reading festival appearance later, I start to admit that I discovered Conor at his peak. 

   When I scoured through Bright Eyes’ back catalogue, I discovered that Conor’s true genius was his honesty. Strange electronic noises and echoing snares are overlapped by dry throat and nasal vocals on Padraig My Prince. The whole of that album, Letting Off The Happiness was recorded on a 2-track recorder, the emotion was raw, it was more honest than you could be with yourself, and it was shared for everybody to hear. Now, on The People’s Key, (TPK) Shell Games sounds like a song that has been re-touched by a thousand hands in the studio, drunk on their own self-importance. Instead of sitting in the back of the track, waiting patiently to be discovered, the electronic loops are second only to the vocals in the mix, sounding like the loading screen of a 16bit computer game. Yes, that is Conor’s voice, but no it does not sound genuine, it sounds hollow and double tracked. It is so self serving that you can imagine him stood in front of a full length mirror reciting these words; the reverb a result of the sound vibrating against the glass and his skin. It lacks what the unheralded, disturbed and manically depressed Conor had: Real and savage emotion, a fusion of hatred and misguided hope that created an angst filled breed of folk and punk rock honesty that defied categorisation. 

   Approximate Sunlight is lazy. The drum beat doesn’t change and the song doesn’t build, the introduction of slide guitar and more reverb just builds frustration as predictable lines are spoken with a now worn and imitable voice. The thing that hurts is I want to like this, I want to hang on to his every word like I once did, I want his characters to relate to mine. Without looking at his songs or listening to them, I try and think of a lyric, and the one I find isn’t just immensely profound it is also completely effortless and hidden in the middle of a verse, “While my mother waters plants my father loads his gun.” I have listened to TPK five times and can only recite, “We are the chosen people, safe from the next evil.” It is not just lazy, but insignificant and without passion in comparison. It sums up TPK with frustrating accuracy.  

   A Machine Spiritual finally renders some genuine emotion, but not from the expected source of his voice, which is again over produced and lifeless, but from the sound of his skin brushing the steel strings of his guitar as he changes chords. It’s the first song on the album with a discernable verse and chorus structure. 

   It picks up here. Triple Spiral sounds like Ryan Adams circa Rock N Roll. Here the synth fills are much more effective, lower in the mix behind the female joint vocals. The vocal melody an octave higher sand the edges of his voice, a device that has been successful previously in Conor’s career, the example most prominent in my mind being Make A Plan to love Me. For the first time, instrumental subtleties are explored and those looking for detail find subtle handclaps and meandering vocal patterns. 

   It’s a rare moment of triumph though, for an album that can be summed up as an echoey strange dreariness, a repeated formula, where simplicity becomes drudgery and vocal strains, be it shouts or whispers, replace the genuine raw emotion that made Conor Oberst the cult hero he once was.