“Tales From Albion” by MITCHELL TAYLOR
Review: Phil
The record opens in a pub barroom with “Pub Politics” in which a carefree Mitchell tells us "we're all going to die, so let’s enjoy tonight, let’s not fuss and fight." Casually throwing caution to the wind for one more pint over conversation involving furniture and revolutionary politics, the record plunges us into the uncertain world of being 18 and in England in the first decade of the 21st Century. It’s a world he paints clearly as he lets us glimpse fleeting images of life through his eyes that capture all the joy, heartache, ambivalence and certainty of life just on the edge of adulthood.
“Tales From Albion” is the exceptional debut album from Mitchell Taylor - at 18, the artist formally known as Project Wolverine has recorded something of a masterpiece carefully assembled into ten superbly crafted songs. Yes, it’s high praise but it’s well deserved as the culmination of several years’ hard work. In 2009 and 2010 Mitchell Taylor (under the name Project Wolverine) released two albums - 2009's “Life, Love, Loss & Politics” and 2010’s “Lost Boy Blues”, two great lo-fi records that sometimes played more like demos but showed an artist with a burgeoning talent - and it is songs culled and re-recorded from these two collections that make up the bulk of “Tales From Albion”. But even then, with two lo-fi albums and a string of impressive live performances under his belt, the leap to “Tales From Albion” is still a very big one and not just in the production or the addition of a smattering of extra instruments - or the near perfect performances captured in these recordings. It is in the songs he's chosen and the order they play. If being an artist is about making decisions then Mitchell has made all the right ones here. He has recorded an album that is above all shockingly cohesive and single-minded in its vision.
On “Daily Mail” Mitchell proclaims that his generation just need some clarification that they are the future of this nation, sliding the statement next to the image of him and some friends being moved on by a policeman for loitering. He explains it wasn’t like they really meant to cause any trouble, they were just looking for somewhere to hang. On “Cold Baked Beans”, Mitchell sounds defeated and lonely in a world consumed by rampant consumerism, and he takes the same tone later on the album with “England”, an alternative anthem that paints an England defeated and cold - yet the song still sounds patriotic, the sadness conveying the curious love we all have deep inside for our cynical island. On “Socialism Is For Lovers” Mitchell worries about the life of debt he's destined to live after university while he expresses his darkest fears for the future on “Coalition Blues” when he paints a dystopian future without a National Health Service.
Mitchell’s 21st Century England is a dark and cynical place, obsessed with consumerism and rampant with lazy tabloid journalists and overzealous policemen ready to pull apart today’s youth at every turn, but it is also an England cluttered with characters - friend and foe - whose encounters fill the lyrics of every song like Polaroid snapshots tacked onto a bedroom wall. The album’s final two tracks take us even closer to home; what picture of teenage life would be complete without the girl he pines for on “Loves You More Than I” and asks “is there a man who loves you more than I?” The final track ("Some Girl"), framed inside an encounter with a police officer who tells Mitchell he looks like a thief, has him responding that he's not looking to steal, he's just looking for love. There's hope still for Mitchell in his dark world of policemen and politicians. Yes, his subject matter can be heavy but this doesn’t stop the album being enjoyable and uplifting in its youthful exuberance.
“Tales From Albion” is a meteoric step forward, well arranged and almost perfectly crafted, and with just enough fray around the edges to retain the rawness we loved on his earlier records. Throughout the record the smattering of extra instruments is just enough to keep the record interesting but not so many that it takes the focus away from Mitchell as a solo artist. From the drums on “Cold Baked Beans”, the strings on “Coalition Blues” and the uprising of instruments on “Some Girl”, the balance is never over-powering leaving Mitchell with his tunes and his lyrics to take centre stage. “Tales From Albion” is nothing short of a masterpiece from the prolific Mitchell Taylor, for forty minutes or so he lets us see the world through his eyes and this is his greatest achievement. He sounds like the voice of his generation; he shows us how the youth see the world of today and he dares us not to ignore him. And ignoring an album as good as this would be criminal.
Showing posts with label Project Wolverine. Show all posts
Showing posts with label Project Wolverine. Show all posts
Friday, 8 April 2011
Thursday, 20 May 2010
Project Wolverine ALBUM
“Lost Boy Blues” by PROJECT WOLVERINE
Review: MMT.
Is it really only six months since we reviewed Project Wolverine’s debut album? Criminy, the enthusiasm of the young, eh? Well, he’s already back with a second CD in under a year – the mammoth 17-track, hour-long “Lost Boy Blues”.
Even in this short time-frame though, a step on from “Life, Love, Loss & Politics” has definitely been taken - as you’ll probably know if you’ve caught Proj W live recently (his set at the MADCAP Battle of the Bands was one of the best gigs by a local artist we’ve seen this year!). His songwriting is developing fast – there’s still reassuring dashes of his trademark pro-Labour anti-Murdoch rhetoric, but I’m more enthused (as always) by his more personal-sounding lyrics. Generally he’s sounding more confident, more comfortable with his voice and his music.
The recordings are occasionally scrappy-edged or raw – more akin to demos perhaps, but if you’re into the lo-fi, urgent sound of a live musician then it works fine. I enjoy it. During “Won’t See Us Again” he coughs while singing, laughs and at the end chuckles “leave it in, leave it in”. And at the start of the fragile “Broken Glass” he informs us “this is another miserable one, by the way”. I think I'd call it 'downbeat' rather than 'miserable'! ;-)
So this is an impressive album. You can’t argue with his prolificity (I wish I wrote half as many songs!), but 17 tracks is a lot to get through without too many changes in the musical soundscape. I’m tempted to wonder how some of these songs might sound with a full band, or at least some bass and percussion. I think the bouncy “Walls Come Down” and “Max’s Song” would be killer. I can almost hear cellos on “Two Months Ago”… but then I do tend to hear cellos everywhere! The mournful piano on the excellent “Socialism Is For Lovers” leads into a beautiful chorus melody, maybe some strings wouldn’t be overkill?
But having said that, there is a musical development too. Quite apart from the start of the chorus to “Socialism Is For Lovers”, the laid-back “Some Girl” has a lovely shimmery guitar melody. So a lengthy work it may be, but worth persevering with – especially as an accurate snapshot of the Project Wolverine live experience.
As I described in the last review though, it’s his lyrics I’m most into. “Snap Election” is the pick of the political ones – though “Organise” (a protest song about the possibility that Cameron’s Tories might get in!) is particularly poignant in hindsight*. There’s even love songs! (“Loves You More Than I”, “Two Months Ago” etc) “Max’s Song” is possibly the best song on the CD, though I’m also very much into the pessimistic piano ballad “Sonny Boy” - and find myself singing the chorus to myself as I potter round the flat today!
Well then... a definite step on from Project Wolverine, one of the city’s most unique songwriting voices. He’s off to University at the end of the Summer, so it’ll be intriguing to see which direction that ends up sending him in! In the meantime, try and catch him live in MK if you can!
* Though on his MySpace he’s already up to date – check out new track, the bitter “Coalition Blues”!
Review: MMT.
Is it really only six months since we reviewed Project Wolverine’s debut album? Criminy, the enthusiasm of the young, eh? Well, he’s already back with a second CD in under a year – the mammoth 17-track, hour-long “Lost Boy Blues”.
Even in this short time-frame though, a step on from “Life, Love, Loss & Politics” has definitely been taken - as you’ll probably know if you’ve caught Proj W live recently (his set at the MADCAP Battle of the Bands was one of the best gigs by a local artist we’ve seen this year!). His songwriting is developing fast – there’s still reassuring dashes of his trademark pro-Labour anti-Murdoch rhetoric, but I’m more enthused (as always) by his more personal-sounding lyrics. Generally he’s sounding more confident, more comfortable with his voice and his music.
The recordings are occasionally scrappy-edged or raw – more akin to demos perhaps, but if you’re into the lo-fi, urgent sound of a live musician then it works fine. I enjoy it. During “Won’t See Us Again” he coughs while singing, laughs and at the end chuckles “leave it in, leave it in”. And at the start of the fragile “Broken Glass” he informs us “this is another miserable one, by the way”. I think I'd call it 'downbeat' rather than 'miserable'! ;-)
So this is an impressive album. You can’t argue with his prolificity (I wish I wrote half as many songs!), but 17 tracks is a lot to get through without too many changes in the musical soundscape. I’m tempted to wonder how some of these songs might sound with a full band, or at least some bass and percussion. I think the bouncy “Walls Come Down” and “Max’s Song” would be killer. I can almost hear cellos on “Two Months Ago”… but then I do tend to hear cellos everywhere! The mournful piano on the excellent “Socialism Is For Lovers” leads into a beautiful chorus melody, maybe some strings wouldn’t be overkill?
But having said that, there is a musical development too. Quite apart from the start of the chorus to “Socialism Is For Lovers”, the laid-back “Some Girl” has a lovely shimmery guitar melody. So a lengthy work it may be, but worth persevering with – especially as an accurate snapshot of the Project Wolverine live experience.
As I described in the last review though, it’s his lyrics I’m most into. “Snap Election” is the pick of the political ones – though “Organise” (a protest song about the possibility that Cameron’s Tories might get in!) is particularly poignant in hindsight*. There’s even love songs! (“Loves You More Than I”, “Two Months Ago” etc) “Max’s Song” is possibly the best song on the CD, though I’m also very much into the pessimistic piano ballad “Sonny Boy” - and find myself singing the chorus to myself as I potter round the flat today!
Well then... a definite step on from Project Wolverine, one of the city’s most unique songwriting voices. He’s off to University at the end of the Summer, so it’ll be intriguing to see which direction that ends up sending him in! In the meantime, try and catch him live in MK if you can!
* Though on his MySpace he’s already up to date – check out new track, the bitter “Coalition Blues”!
Friday, 23 April 2010
TURN IT UP Battle of the Bands - Heat # 2
HEAT TWO – Thursday night
The curse of the teen bands has struck again and for the second night in a row (and a third tomorrow already confirmed) one of the bands has dropped out, leaving a straight three-way dust-up between Hikaru, The Abyss and Project Wolverine. It’s immediately obvious that the audience appears to be split into two big gangs brought along by the two full bands – so which one has brought the most? Or can the acoustic stylings of Project Wolverine split the vote? Away we go!
HIKARU
In a way, Hikaru are a lot more like I was expecting the bands competing in a 14 – 19 year old Battle of the Bands to sound - I’d describe them as “metally metal”. Brilliantly, they apologise for their second vocalist’s absence – “he does the screams”. The lead vocalist does his best to make up for it though, foot up on the monitor he switches between singing and growling gutturally. But they’re good musicians into the bargain: the drummer and the lead guitarist are particularly noticeable - the rhythms are a barrage, and the widdly soloing produced by the little dude on lead is impressive. Despite the slightly muddy sound, I enjoyed the three songs, particularly the second one which contains a gothy circling riff.
Phil sez: "Dude, I totally missed them! I can't believe they started on time!"
THE ABYSS
The Abyss have a metal sound too, but it’s a more regimented yet melodic affair. Their mix seems better, their riffs heavier and more precise. I’m struggling to think which band they remind me of when on their fourth song they announce “this is our second System Of A Down cover tonight, this is Chop Suey”. Aha! Overall, their second track was their best, I don’t think that was a SOAD cover – though I did get a bit busy at the bar, so I didn’t see the whole set, just heard it. But there’s a nice balance to their loudness and quietness. Good stuff. Also, they’re all dressed in black except the guitarist on the left who clearly didn’t get the memo!
Phil sez: “Solid alterna-metal, I liked the second song best with the slightly more melodic feel that almost echoed My Bloody Valentine, and the final instrumental closer with the surfy guitar lead.”
PROJECT WOLVERINE
Regular Monkey Kettle watchers will know that we have “previous” with the fantastic Project Wolverine, so hopefully this won’t sound too biased. As if already resigned to not winning – he later told us that if he’d got through to the final he’d have struggled to book the night off work! – Proj W is relaxed enough with the audience to banter away, yet also seemingly determined to get through as many songs as he can while he’s on the stage! He manages twelve choons, easily more than the other two bands put together! Many of his classic left-leaning anthems are included, along with a Billy Bragg cover - and he’s even stuck a “Vote Labour” poster on the front monitor! But I’m really pleased to hear his newer songs also contain some even more well-turned lyrics about life and love. In fact my “Tune Of The Night” combines both: “Socialism Is For Lovers”. There’s widespread singing along from the audience, plus a philosophical discussion on the nature of Metaphor. What more could you ask? Coming soon to an Open Mic near you!!! ;-)
Phil sez: “A brilliant almost-headline set from Project Wolverine, with intelligent song writing and a confident performance he won over the crowd with his tales of teenage woe in the Mirror City. If I could choose, he'd have been the winner.”
RESULT:
I don’t think it’ll surprise you that my vote (I made sure I got a voting slip this time!) was for Project Wolverine too, but the biggest army of fans was clearly brought by Hikaru – they join Knuckle*Down in Saturday’s final. Just one slot left – who will join them?
The curse of the teen bands has struck again and for the second night in a row (and a third tomorrow already confirmed) one of the bands has dropped out, leaving a straight three-way dust-up between Hikaru, The Abyss and Project Wolverine. It’s immediately obvious that the audience appears to be split into two big gangs brought along by the two full bands – so which one has brought the most? Or can the acoustic stylings of Project Wolverine split the vote? Away we go!
HIKARU
In a way, Hikaru are a lot more like I was expecting the bands competing in a 14 – 19 year old Battle of the Bands to sound - I’d describe them as “metally metal”. Brilliantly, they apologise for their second vocalist’s absence – “he does the screams”. The lead vocalist does his best to make up for it though, foot up on the monitor he switches between singing and growling gutturally. But they’re good musicians into the bargain: the drummer and the lead guitarist are particularly noticeable - the rhythms are a barrage, and the widdly soloing produced by the little dude on lead is impressive. Despite the slightly muddy sound, I enjoyed the three songs, particularly the second one which contains a gothy circling riff.
Phil sez: "Dude, I totally missed them! I can't believe they started on time!"
THE ABYSS
The Abyss have a metal sound too, but it’s a more regimented yet melodic affair. Their mix seems better, their riffs heavier and more precise. I’m struggling to think which band they remind me of when on their fourth song they announce “this is our second System Of A Down cover tonight, this is Chop Suey”. Aha! Overall, their second track was their best, I don’t think that was a SOAD cover – though I did get a bit busy at the bar, so I didn’t see the whole set, just heard it. But there’s a nice balance to their loudness and quietness. Good stuff. Also, they’re all dressed in black except the guitarist on the left who clearly didn’t get the memo!
Phil sez: “Solid alterna-metal, I liked the second song best with the slightly more melodic feel that almost echoed My Bloody Valentine, and the final instrumental closer with the surfy guitar lead.”
PROJECT WOLVERINE
Regular Monkey Kettle watchers will know that we have “previous” with the fantastic Project Wolverine, so hopefully this won’t sound too biased. As if already resigned to not winning – he later told us that if he’d got through to the final he’d have struggled to book the night off work! – Proj W is relaxed enough with the audience to banter away, yet also seemingly determined to get through as many songs as he can while he’s on the stage! He manages twelve choons, easily more than the other two bands put together! Many of his classic left-leaning anthems are included, along with a Billy Bragg cover - and he’s even stuck a “Vote Labour” poster on the front monitor! But I’m really pleased to hear his newer songs also contain some even more well-turned lyrics about life and love. In fact my “Tune Of The Night” combines both: “Socialism Is For Lovers”. There’s widespread singing along from the audience, plus a philosophical discussion on the nature of Metaphor. What more could you ask? Coming soon to an Open Mic near you!!! ;-)
Phil sez: “A brilliant almost-headline set from Project Wolverine, with intelligent song writing and a confident performance he won over the crowd with his tales of teenage woe in the Mirror City. If I could choose, he'd have been the winner.”
RESULT:
I don’t think it’ll surprise you that my vote (I made sure I got a voting slip this time!) was for Project Wolverine too, but the biggest army of fans was clearly brought by Hikaru – they join Knuckle*Down in Saturday’s final. Just one slot left – who will join them?
Sunday, 10 January 2010
Dudebox "Track Of The Autumn / Christmas"
Reviewers: Brian, Grahame, Matthew, Phil
Happy New Year, Dudebox fans! We’re kicking Twenty Ten off with a gigantic beast as we reveal the long-awaited latest Dudebox Track Of The Season: for the Autumny / Festive period that was Late 2009 – but this time with the added bonus that we attempted to review a bunch of MK MySpace tracks as a communal foursome!
Phil and I decided we’d like another (perhaps less overtly enthusiastic-about-everything!) voice, so we asked Brian along to temper us – and he arrived hotfoot from the pub with Grahame in tow too! As it turned out, we couldn’t use a lot of the stuff Grahame said – he’s clearly the Simon Cowell of our panel, keen on good production, accomplished musicianship, drum machines being in time etc etc. – but it was a splendid experience nonetheless, with plenty of cups of tea and much raucous laughter. And despite plenty of arguments over such subjects as how long “potential” can last before something more needs to be delivered – and loads on what constitutes “generic”, we even almost managed to come to a consensus. Plus Phil got in his now-obligatory mention of the Smashing Pumpkins. So we’re all good.
As always, thanks to the bands – almost exclusively they haven’t asked us to review their work, we’ve just done so by picking stuff almost at random off of their MySpaces. And our main aim really is just to try and bring you something new you might love. Why not try it yourself at home? The MK Music Scene – dive in!
“Sex For Cigarettes”: TOMBSTONE BULLETS
[[70s Hard Rock coming atcha from MOST of the members of MonKeyVision winners Harassing Anna]]
Grahame: “They’re playing something that really appeals to me.”
Phil: “What I like about them is they sound really noisy and really loud. The guitar sounds loud.”
Matthew: “Did you like them at the Waterside when they played [on the Monkey Kettle stage]?”
Phil: “I did. I would say I dug them. It’s interesting to compare them to Harassing Anna.”
Grahame: “They’re very very good. All of them are incredibly good instrumental players. They’ve got a really good pop sensibility.”
Brian: “It’s good, it’s accomplished, but I listen to that and I think ‘I’ve heard that all my life’”. But I’ve seen them play live, and they’re full of energy, they can really entertain a crowd.”
Matthew: “Playing Devil’s Advocate though, is there a sense that Harassing Anna are the ‘real band’ and Tombstone Bullets are them ‘having fun’? I’d be interested to know what they think.”
“Get It / M.I.A. / Used To Be (samplers)”: LIONSEX
[[Self-professed “balls-out” rockers, one of Brian’s total favourite local bands]]
Brian: “They’ve got energy, they’ve got a different look… They’re not scared to be different. They actually try and live it. They’re scuzzy Eighties throwbacks and they love their rock n’ roll. They’re very good value for money live, they know how to work a crowd. The lead singer’s got a great voice.”
Phil: “I think they’re alright. Sounds good, but it’s not really… I was never really into that anyway. I quite like the fake name thing. They’re doing their thing.”
Grahame: “They’re very tight, they’re very accomplished. I like the design of their MySpace. They’ve actually personalised it really well. Very slick.”
Matthew: “Compared to Tombstone Bullets, musically they’re doing similar things from slightly different eras - but with a different image too, I guess. They were one of the only bands at MonKeyVision that brought their own t-shirts as well, weren’t they? Which is pretty cool.”
Brian: “I own a Lionsex t-shirt, and I wear it with pride. [NB – no pun intended, we checked!] I think I’m a bona fide fan now. I reckon I’ll go and see them on a regular basis.”
“Saving Grace”: THE BITTER SUITE
[[Dark electro-pop duo who you could almost class as local music “veterans” now, having formed in 2004.]]
Matthew: “I really liked it. I’d like to go and see them play live.”
Phil: “The first time I saw them, I was drawn to the Waterside stage three years ago on account of they were playing a Smashing Pumpkins cover. The second time I saw them in Bedford – both times as a five-piece. Cure-y, Depeche Mode-y. I like it a lot.”
Brian: “It’s very much “These Guys Wear Black”. It’s not a comfortable type of music for me.”
Grahame: “You can tell they’ve been going a while, the calibre of the actual song itself is really good. I like the sound of his voice.”
“Crystals”: THE MACHINIST
[[Hard-edged prog metal six-piece still in their early days of writing and recording. In fact I think this may even be an unfinished instrumental track, so it’s probably unfair to review it at this stage. And here goes...]]
Grahame: “Musically it’s not that appealing to me. It’s played perfectly, it’s all in tune, it’s all very very well done, really nice quality recording as well, but for me… lacked the through line of a vocal.”
Brian: “They’ve got a sound, and they’ve got it down pat.”
Phil: “It’s more a tank than a sports car.”
Brian: “I think they’re going along the right lines. They need a vocalist.” [NB – they do actually have one now]
Matthew: “What I’m really keen on, we’ve been waiting a long time to see them live, and I would like to see that.”
Phil: “The influence of Tool is massive. It’s slow… but that’s the idea. I think these guys could get really really good.”
[this section of the review descends into jokes about massive tools. Sigh.]
“The Seas / Vermillion” : BOBBY WOTNOT
[[Experienced producer of electronica as featured on National Radio!… not to mention a bona fide visual artist in his own right and of course mates with Jimi Volcano]]
Phil: “Perhaps it’s not really my thing. It feels very mathematical.”
Brian: “They’re very structured tracks… very… what’s the word?”
Grahame: “A bit of a feel of Bristol… trip-hop stuff. I don’t think it’s any of our kind of music. But I would listen to that, if someone played it in a club I’d dance for a while.”
Phil: “I think it would go well as a film soundtrack sort of thing.”
Matthew: “I like it. They’re still songs, every bit as much as the other bands. In fact, there’s more variety here than with many guitar acts. Different sounds, different vibes. Works for me.”
“Limosine”: SOCIAL RESIN
[[Kinda funky acoustic three-piece who describe themselves as “Like Engine Oil For Your Eardrums”]]
Phil: “It’s the sort of thing that goes down very well in pubs.”
Matthew: “It’s not really my sort of thing.”
Grahame: “There’s not enough of bands doing this sort of thing. I know it’s quite poppy, but I mean… I like that. They’re going for quite a soulful sort of sound there.”
“KyteFlying (GoiaGoia SuperRemix)”: KIDS PICKED LAST
[[Exuberant blipcore remix from Matthew’s favourite local punk-pop laser-toting scamps. Brian has to have “blipcore” explained to him]]
Brian: “I was a champion at Tetris when I was in my early twenties at university, and I feel like I’m on Level 17.”
Matthew: “Look… that’s a photo of their album in HMV!”
Grahame: “They’re playing with sound, which is good, because they’re experimenting… I don’t think they’re ‘There’ yet. They might well get ‘There’, because they seem quite confident to explore like, different combinations of sounds and timings.”
Phil: “The first time I saw them I was really drunk and did really dig the synth…”
Matthew: “They were one of the most exciting things I’d ever seen!”
Phil: “I like the idea, but I’m not quite as keen on the reality. Having said that, the song we just heard I loved. I just couldn’t help smiling all the way through it. This is not just great, but genius.”
“Sonny Boy”: PROJECT WOLVERINE
[[More new work by prolific young Monkey Kettle fave Project W – this time just piano & vocals]]
Grahame: “I like that. It’s a really nice sweet little folky love song.”
Brian: “I’ve always been a person who’s enjoyed loud cranking guitars rather than voices… However, this guy’s thinking about the world around him, and he’s asking you to look at the world around him with him, through his eyes. And there’s not enough of that going on, so all power to his elbow.”
Matthew: “I love him for his lyrics. This song is beautiful.”
Phil: “It’s all about his lyrics. I think it’s a great song. Good stuff.”
Brian: “He’s got… he’s got something coming out of him.”
[predictable dissolution into childish laughter again]
RUNNER UP DUDEBOX TRACK OF THE SEASON
“Rebound”: FINAL CLEARANCE
[[A rare”traditional indie” local band in amongst the metal and the teen-punks, and all the better for it]]
Brian: “From that song, they’ve got a very catchy style, um… they hooked me and they had my foot tapping.”
Phil: “While I hear their influences too, I don’t mind, because I like the bands they’re influenced by. These guys don’t smile in their photos – and I know that indie bands never do smile in their photos, but um… I think it could be something they could start doing? This song pushes my buttons.”
Matthew: “It’s much more my sort of thing. I would like to see them live.”
[checks gig list on MySpace]
DUDEBOX TRACK OF THE SEASON
“Infected Lights”: 1000 HERTZ
[[Popular MK hardcore chaps, reviewed in Kerrang and everything - about to release their second album!]]
Matthew: “I like the screaming-stroke-melody of it, I liked the melody in the chorus. They’re confident in their playing. If I saw them live I would probably be quite scared… and stand near the side. But it makes me move around.”
Grahame: “Er… yeah – it was good, it was polished, it was tight, it was all those other sort of generic blank shit words you use… they’ve ticked the most boxes in terms of what I would say is good.”
Phil: “Strong drums, strong guitars. They’ve avoided all the pitfalls, really. Other bands fall in the trap of hair metal solos. It’s a great song.”
Grahame: “Confident is about right. A well put-together song.”
Brian: “I tell you what, there is something to that. There’s an awful lot of cleverness behind it, the musicians are very very tight. They’re thinkin’ about the music, I really like that. I can see me playing that in my car first thing in the morning as I was driving out of my driveway. And that’s actually a very important decision for me in my life.”
Happy New Year, Dudebox fans! We’re kicking Twenty Ten off with a gigantic beast as we reveal the long-awaited latest Dudebox Track Of The Season: for the Autumny / Festive period that was Late 2009 – but this time with the added bonus that we attempted to review a bunch of MK MySpace tracks as a communal foursome!
Phil and I decided we’d like another (perhaps less overtly enthusiastic-about-everything!) voice, so we asked Brian along to temper us – and he arrived hotfoot from the pub with Grahame in tow too! As it turned out, we couldn’t use a lot of the stuff Grahame said – he’s clearly the Simon Cowell of our panel, keen on good production, accomplished musicianship, drum machines being in time etc etc. – but it was a splendid experience nonetheless, with plenty of cups of tea and much raucous laughter. And despite plenty of arguments over such subjects as how long “potential” can last before something more needs to be delivered – and loads on what constitutes “generic”, we even almost managed to come to a consensus. Plus Phil got in his now-obligatory mention of the Smashing Pumpkins. So we’re all good.
As always, thanks to the bands – almost exclusively they haven’t asked us to review their work, we’ve just done so by picking stuff almost at random off of their MySpaces. And our main aim really is just to try and bring you something new you might love. Why not try it yourself at home? The MK Music Scene – dive in!
“Sex For Cigarettes”: TOMBSTONE BULLETS
[[70s Hard Rock coming atcha from MOST of the members of MonKeyVision winners Harassing Anna]]
Grahame: “They’re playing something that really appeals to me.”
Phil: “What I like about them is they sound really noisy and really loud. The guitar sounds loud.”
Matthew: “Did you like them at the Waterside when they played [on the Monkey Kettle stage]?”
Phil: “I did. I would say I dug them. It’s interesting to compare them to Harassing Anna.”
Grahame: “They’re very very good. All of them are incredibly good instrumental players. They’ve got a really good pop sensibility.”
Brian: “It’s good, it’s accomplished, but I listen to that and I think ‘I’ve heard that all my life’”. But I’ve seen them play live, and they’re full of energy, they can really entertain a crowd.”
Matthew: “Playing Devil’s Advocate though, is there a sense that Harassing Anna are the ‘real band’ and Tombstone Bullets are them ‘having fun’? I’d be interested to know what they think.”
“Get It / M.I.A. / Used To Be (samplers)”: LIONSEX
[[Self-professed “balls-out” rockers, one of Brian’s total favourite local bands]]
Brian: “They’ve got energy, they’ve got a different look… They’re not scared to be different. They actually try and live it. They’re scuzzy Eighties throwbacks and they love their rock n’ roll. They’re very good value for money live, they know how to work a crowd. The lead singer’s got a great voice.”
Phil: “I think they’re alright. Sounds good, but it’s not really… I was never really into that anyway. I quite like the fake name thing. They’re doing their thing.”
Grahame: “They’re very tight, they’re very accomplished. I like the design of their MySpace. They’ve actually personalised it really well. Very slick.”
Matthew: “Compared to Tombstone Bullets, musically they’re doing similar things from slightly different eras - but with a different image too, I guess. They were one of the only bands at MonKeyVision that brought their own t-shirts as well, weren’t they? Which is pretty cool.”
Brian: “I own a Lionsex t-shirt, and I wear it with pride. [NB – no pun intended, we checked!] I think I’m a bona fide fan now. I reckon I’ll go and see them on a regular basis.”
“Saving Grace”: THE BITTER SUITE
[[Dark electro-pop duo who you could almost class as local music “veterans” now, having formed in 2004.]]
Matthew: “I really liked it. I’d like to go and see them play live.”
Phil: “The first time I saw them, I was drawn to the Waterside stage three years ago on account of they were playing a Smashing Pumpkins cover. The second time I saw them in Bedford – both times as a five-piece. Cure-y, Depeche Mode-y. I like it a lot.”
Brian: “It’s very much “These Guys Wear Black”. It’s not a comfortable type of music for me.”
Grahame: “You can tell they’ve been going a while, the calibre of the actual song itself is really good. I like the sound of his voice.”
“Crystals”: THE MACHINIST
[[Hard-edged prog metal six-piece still in their early days of writing and recording. In fact I think this may even be an unfinished instrumental track, so it’s probably unfair to review it at this stage. And here goes...]]
Grahame: “Musically it’s not that appealing to me. It’s played perfectly, it’s all in tune, it’s all very very well done, really nice quality recording as well, but for me… lacked the through line of a vocal.”
Brian: “They’ve got a sound, and they’ve got it down pat.”
Phil: “It’s more a tank than a sports car.”
Brian: “I think they’re going along the right lines. They need a vocalist.” [NB – they do actually have one now]
Matthew: “What I’m really keen on, we’ve been waiting a long time to see them live, and I would like to see that.”
Phil: “The influence of Tool is massive. It’s slow… but that’s the idea. I think these guys could get really really good.”
[this section of the review descends into jokes about massive tools. Sigh.]
“The Seas / Vermillion” : BOBBY WOTNOT
[[Experienced producer of electronica as featured on National Radio!… not to mention a bona fide visual artist in his own right and of course mates with Jimi Volcano]]
Phil: “Perhaps it’s not really my thing. It feels very mathematical.”
Brian: “They’re very structured tracks… very… what’s the word?”
Grahame: “A bit of a feel of Bristol… trip-hop stuff. I don’t think it’s any of our kind of music. But I would listen to that, if someone played it in a club I’d dance for a while.”
Phil: “I think it would go well as a film soundtrack sort of thing.”
Matthew: “I like it. They’re still songs, every bit as much as the other bands. In fact, there’s more variety here than with many guitar acts. Different sounds, different vibes. Works for me.”
“Limosine”: SOCIAL RESIN
[[Kinda funky acoustic three-piece who describe themselves as “Like Engine Oil For Your Eardrums”]]
Phil: “It’s the sort of thing that goes down very well in pubs.”
Matthew: “It’s not really my sort of thing.”
Grahame: “There’s not enough of bands doing this sort of thing. I know it’s quite poppy, but I mean… I like that. They’re going for quite a soulful sort of sound there.”
“KyteFlying (GoiaGoia SuperRemix)”: KIDS PICKED LAST
[[Exuberant blipcore remix from Matthew’s favourite local punk-pop laser-toting scamps. Brian has to have “blipcore” explained to him]]
Brian: “I was a champion at Tetris when I was in my early twenties at university, and I feel like I’m on Level 17.”
Matthew: “Look… that’s a photo of their album in HMV!”
Grahame: “They’re playing with sound, which is good, because they’re experimenting… I don’t think they’re ‘There’ yet. They might well get ‘There’, because they seem quite confident to explore like, different combinations of sounds and timings.”
Phil: “The first time I saw them I was really drunk and did really dig the synth…”
Matthew: “They were one of the most exciting things I’d ever seen!”
Phil: “I like the idea, but I’m not quite as keen on the reality. Having said that, the song we just heard I loved. I just couldn’t help smiling all the way through it. This is not just great, but genius.”
“Sonny Boy”: PROJECT WOLVERINE
[[More new work by prolific young Monkey Kettle fave Project W – this time just piano & vocals]]
Grahame: “I like that. It’s a really nice sweet little folky love song.”
Brian: “I’ve always been a person who’s enjoyed loud cranking guitars rather than voices… However, this guy’s thinking about the world around him, and he’s asking you to look at the world around him with him, through his eyes. And there’s not enough of that going on, so all power to his elbow.”
Matthew: “I love him for his lyrics. This song is beautiful.”
Phil: “It’s all about his lyrics. I think it’s a great song. Good stuff.”
Brian: “He’s got… he’s got something coming out of him.”
[predictable dissolution into childish laughter again]
RUNNER UP DUDEBOX TRACK OF THE SEASON
“Rebound”: FINAL CLEARANCE
[[A rare”traditional indie” local band in amongst the metal and the teen-punks, and all the better for it]]
Brian: “From that song, they’ve got a very catchy style, um… they hooked me and they had my foot tapping.”
Phil: “While I hear their influences too, I don’t mind, because I like the bands they’re influenced by. These guys don’t smile in their photos – and I know that indie bands never do smile in their photos, but um… I think it could be something they could start doing? This song pushes my buttons.”
Matthew: “It’s much more my sort of thing. I would like to see them live.”
[checks gig list on MySpace]
DUDEBOX TRACK OF THE SEASON
“Infected Lights”: 1000 HERTZ
[[Popular MK hardcore chaps, reviewed in Kerrang and everything - about to release their second album!]]
Matthew: “I like the screaming-stroke-melody of it, I liked the melody in the chorus. They’re confident in their playing. If I saw them live I would probably be quite scared… and stand near the side. But it makes me move around.”
Grahame: “Er… yeah – it was good, it was polished, it was tight, it was all those other sort of generic blank shit words you use… they’ve ticked the most boxes in terms of what I would say is good.”
Phil: “Strong drums, strong guitars. They’ve avoided all the pitfalls, really. Other bands fall in the trap of hair metal solos. It’s a great song.”
Grahame: “Confident is about right. A well put-together song.”
Brian: “I tell you what, there is something to that. There’s an awful lot of cleverness behind it, the musicians are very very tight. They’re thinkin’ about the music, I really like that. I can see me playing that in my car first thing in the morning as I was driving out of my driveway. And that’s actually a very important decision for me in my life.”
Tuesday, 10 November 2009
Project Wolverine / Felix ALBUMS
I’m extremely biased, of course, but I think it’s been an absolutely magnificent year for music in Milton Keynes. The always-healthy Rock n’ Metal scene has provided the sturdy bassline as ever, but there’s plenty of other stuff going on right now too – the rise of the Craufurd Arms as a national venue; a Hip-Hop presence that we’re definitely vaguely aware of; certainly the extremely wide variety of ace bands we came across through the MonKeyVision Song Contest – and also the rise of what I’m going to call the New Acoustic Generation, curated by the brilliant open mics in Newport, Wolverton and now in CMK!
So what better way to tip the salute to this superlative year than by reviewing hot new albums by two of our very favourite MK-related acts? – namely rising local singer-songwriter Project Wolverine and rising national stars Felix (one half of whom hails from these parts originally and featured in the classic MK band The Holistic Cleansing Quintet who we saw at The Pitz on more than one occasion back in’t day!). Grand!
First up Project Wolverine, who we were lucky enough to have play a set for us at the most recent Vodka Boy @ The Enigma Tavern gig in September. His new full-length demo album “Life, Love, Loss & Politics” can be picked up for £3 – contact him through his MySpace if you’re interested.
He describes himself on his MySpace as “Bargin Bucket Billy Bragg”, and you can definitely hear that influence, as well as regular touches of a thrashy acoustic Jamie T bounce – his accent is present throughout, though that’s not to say he can’t sing too, cos he can. Bragg’s present too in his subject matter - you certainly don’t hear many young singers penning attacks on the Daily Mail and Rupert Murdoch’s press empire in 2009. But considering his tender years this kind of lyrical and thematic maturity is impressive.
The production is clear and sounds “live” (you can even just about hear some other band playing way down in the mix and a long way in the distance on one or two songs!) – as befits songs which are mostly one voice one guitar, or one voice one piano. There’s an ear-catching guest vocal appearance from Philippa Moyle on “Same Old Game”, her soaring theatrics counter-pointing PW’s gruffer edge to great effect.
For me though, it’s the lyrics that do it. Like a younger Brit-cousin of the fantastic Bright Eyes, you get the sense of a real person behind the songs, that they’re acoustical snapshots of a real life being lived – the rueful “Tame”, the ramshackle busk of “Chance Encounter”, and Official Dudebox Track Of The Summer “Cold Baked Beans” the best examples of this (“It’s £3.20 to get into town… you get there and realise no-one’s around…”). And how could I not love the mournful piano track “Murder Ballad” which seems to literally be a song based on one of my favourite albums of all time?
There’s even a hint at future directions - a possible wider sound - on “Critical Stage” when an electric guitar gives a fittingly emotional backdrop to the dark urgency of the protest song underneath. And the album closes with stand-out track “The Mis-Informed”, which is genuinely touching – gentle but with a steely resolve.
So – a new voice definitely worth listening to. Plus, eleven tracks for just three quid? Where’s the catch? Get involved. And watch out for him on the local circuit too…
Meanwhile in the wider world the debut album from the wonderful Felix is finally out – and on a record label based in Chicago no less! Local girl done extremely good Lucinda should be incredibly proud of herself: “You Are The One I Pick” is not only the best thing I’ve ever heard from a musician outta MK, it’s one of the best albums I’ve heard this year by anyone. So I’ll try and review it without being too gushing. Hopefully.
To be entirely honest, it is musically right up my alley anyway – laid-back intimately recorded girl vox, dramatic yet minimalist orchestration (w/ plenty of cellos and crystalline pianos), and topped off with a light sprinkling of thump-drummy drone-rock. Yes please! And all the tracks kind of flow into each other cinematically, and it swims in effortless cool. At times it even aches with some sort of calm, sad acceptance. Simply beautiful.
It’s almost tricky to pick out favourite tracks, the whole album has a very evocative sound as a whole. But “What I Learned From TV” feels just a wee bit more intimate, more wistful – and is then followed up with Dudebox Track Of The Winter “Back In Style” with its shuffling beats and oblique Twin Peaks references. So that’s definitely a high point in this already lofty plateau.
And the intertwining of Lucinda’s vocal tracks on “Bernard St” is just lovely – the closest Felix come to some kind of mainstream sound maybe, though it’d never sit quite right there. It’s too sinister somehow. Well, not quite sinister p'raps, but something to do with the weirdness of the mundane… what’s really going on behind those nice curtains in that house down your street. And that’s brilliant. It’s not easy to create this effect well, but Felix have absolutely nailed it.
Repeated listens to the album bring the lyrics out from the mix more and more, and with them this uneasy sense of the oddness of normality hangs over proceedings. The bleak side of childhood naivety. So “Ode To The Marlboro Man” becomes a nursery rhyme sung in a round about running away with a cowboy. “I Wish I Was A Pony” becomes far darker than the gently sad little song it at first appeared. And I’m still not sure after five listens, but I think in final track “Song About Zoo” they might even kill their children and escape together from their drab lives. Outstanding.
So. Proof of just what can be achieved from this humble platform, this brilliant city. Let’s see what all you other bands have got. This is the bar, up here. You can do it. Here comes 2010.
So what better way to tip the salute to this superlative year than by reviewing hot new albums by two of our very favourite MK-related acts? – namely rising local singer-songwriter Project Wolverine and rising national stars Felix (one half of whom hails from these parts originally and featured in the classic MK band The Holistic Cleansing Quintet who we saw at The Pitz on more than one occasion back in’t day!). Grand!
First up Project Wolverine, who we were lucky enough to have play a set for us at the most recent Vodka Boy @ The Enigma Tavern gig in September. His new full-length demo album “Life, Love, Loss & Politics” can be picked up for £3 – contact him through his MySpace if you’re interested.
He describes himself on his MySpace as “Bargin Bucket Billy Bragg”, and you can definitely hear that influence, as well as regular touches of a thrashy acoustic Jamie T bounce – his accent is present throughout, though that’s not to say he can’t sing too, cos he can. Bragg’s present too in his subject matter - you certainly don’t hear many young singers penning attacks on the Daily Mail and Rupert Murdoch’s press empire in 2009. But considering his tender years this kind of lyrical and thematic maturity is impressive.
The production is clear and sounds “live” (you can even just about hear some other band playing way down in the mix and a long way in the distance on one or two songs!) – as befits songs which are mostly one voice one guitar, or one voice one piano. There’s an ear-catching guest vocal appearance from Philippa Moyle on “Same Old Game”, her soaring theatrics counter-pointing PW’s gruffer edge to great effect.
For me though, it’s the lyrics that do it. Like a younger Brit-cousin of the fantastic Bright Eyes, you get the sense of a real person behind the songs, that they’re acoustical snapshots of a real life being lived – the rueful “Tame”, the ramshackle busk of “Chance Encounter”, and Official Dudebox Track Of The Summer “Cold Baked Beans” the best examples of this (“It’s £3.20 to get into town… you get there and realise no-one’s around…”). And how could I not love the mournful piano track “Murder Ballad” which seems to literally be a song based on one of my favourite albums of all time?
There’s even a hint at future directions - a possible wider sound - on “Critical Stage” when an electric guitar gives a fittingly emotional backdrop to the dark urgency of the protest song underneath. And the album closes with stand-out track “The Mis-Informed”, which is genuinely touching – gentle but with a steely resolve.
So – a new voice definitely worth listening to. Plus, eleven tracks for just three quid? Where’s the catch? Get involved. And watch out for him on the local circuit too…
Meanwhile in the wider world the debut album from the wonderful Felix is finally out – and on a record label based in Chicago no less! Local girl done extremely good Lucinda should be incredibly proud of herself: “You Are The One I Pick” is not only the best thing I’ve ever heard from a musician outta MK, it’s one of the best albums I’ve heard this year by anyone. So I’ll try and review it without being too gushing. Hopefully.
To be entirely honest, it is musically right up my alley anyway – laid-back intimately recorded girl vox, dramatic yet minimalist orchestration (w/ plenty of cellos and crystalline pianos), and topped off with a light sprinkling of thump-drummy drone-rock. Yes please! And all the tracks kind of flow into each other cinematically, and it swims in effortless cool. At times it even aches with some sort of calm, sad acceptance. Simply beautiful.
It’s almost tricky to pick out favourite tracks, the whole album has a very evocative sound as a whole. But “What I Learned From TV” feels just a wee bit more intimate, more wistful – and is then followed up with Dudebox Track Of The Winter “Back In Style” with its shuffling beats and oblique Twin Peaks references. So that’s definitely a high point in this already lofty plateau.
And the intertwining of Lucinda’s vocal tracks on “Bernard St” is just lovely – the closest Felix come to some kind of mainstream sound maybe, though it’d never sit quite right there. It’s too sinister somehow. Well, not quite sinister p'raps, but something to do with the weirdness of the mundane… what’s really going on behind those nice curtains in that house down your street. And that’s brilliant. It’s not easy to create this effect well, but Felix have absolutely nailed it.
Repeated listens to the album bring the lyrics out from the mix more and more, and with them this uneasy sense of the oddness of normality hangs over proceedings. The bleak side of childhood naivety. So “Ode To The Marlboro Man” becomes a nursery rhyme sung in a round about running away with a cowboy. “I Wish I Was A Pony” becomes far darker than the gently sad little song it at first appeared. And I’m still not sure after five listens, but I think in final track “Song About Zoo” they might even kill their children and escape together from their drab lives. Outstanding.
So. Proof of just what can be achieved from this humble platform, this brilliant city. Let’s see what all you other bands have got. This is the bar, up here. You can do it. Here comes 2010.
Saturday, 29 August 2009
Dudebox "Track Of The Summer"
Reviewers: MMT & Phil.
Well, it’s been a quiet old Summer here on The Dudebox, but we’re back now – and planning on having a busy Autumn! Phil’s got tickets to plenty of national gigs, we’re hoping to get to far more local bands’ stuff, and there’ll be more reviews from under my bed too! So… what better way to kick things off than to have another of our regular looks at the best new(ish) tracks from the MySpaces of the Milton Keynes talent!
Sadly Re-Writing Destiny - who we dished out the coveted Dudebox Runner-Up Track Of The Winter gong to just a few short months ago – have split up, brilliantly citing “musical indifferences” as one of the reasons. Still, they were one of the better bands we’ve heard this year, so we listened to newish track “Coming Home” in tribute.
P: “I think they’re great.”
M: “Although we never saw them live, sadly. There’s a pattern to when bands break up, isn’t there? There’s a peak in the likelihood when I guess they’re 17, 18 and University calls, that’s the biggest peak. Then there’s probably a peak in their early 20s when they’ve all decided they don’t wanna do it any more, there’s probably another peak when people start getting married and having kids. And then if you get past all those hurdles, you’re good for life! And you can just carry on until you’re old.”
P: “My opinion of the song is clouded a bit by the fact I know it’s a bit like their swansong.”
Then we kicked on with some more local bands who haven't split up yet. Some have been on our radar a while thanks to the MonKeyVision Song Contest and/or the Monkey Kettle Stage at the Waterside Festival, some are totally new to us. Hope you might find something you like…
“HMW” by Dusque
M: “They were so great at the Waterside, that was one of the best sets of the weekend.”
P: "They were. It was an early set, so there wasn’t really anyone to watch them. But they were SO good. And I’m enjoying this now, but I preferred it live.”
M: “It’s good outdoors… festival… it’s mellow, and it’s…”
P: “They’re seasoned musicians.”
M: “This bit now is the kind of stuff I like… like ravey keyboard. I’m at a Trance Tent in Ibiza. And the sun’s rising. I’m in the Chill Zone.”
“No Place Like Rome” by Embrace The Tide
M: “Their singer is Chris Weaver who was in one of our Ludamus plays a few years ago (‘Zombies The Musical’). He’s got a few more tattoos in the meantime, of course.”
P: “Maybe if he’d never done ‘Zombies’ he’d never have ended up here.”
M: “Yeah, I did him a ‘Lead Singer Workshop’ as part of the rehearsals for that.”
P: “Some of these MySpaces look so professional…”
M: “And again, they’re really tight musically when you think of how young they still are.”
“Tap Out” by The Kranx
P: “He’s got a really good voice.”
M: “I know a lot of our mates really liked them at MonKeyVision, didn’t they? (reads from their MySpace) ‘it’d be sick to see you at one of our gigs’. I’m guessing sick means good in the young person’s vernacular…”
P: “They went down really well. A really energetic performance.”
“Recluse” (demo version) by Joshua Timmins & The Newborns
M: “What I… like about him is he seems to still embody that ‘I’ll just take my guitar and do a gig anywhere’ kind of spirit. You can imagine him with his guitar just going anywhere.”
P: “I like that, definitely. He’s got a nice easiness in front of the audience that I kind of envy. And there’s something about this song, and his songs… that he’s always REACHING for something.”
M: “There’s a crack in his voice a bit like Conor Oberst from Bright Eyes, but it’s kind of what makes what he’s singing work. And cos he’s young he’s good at all this technical stuff, look… he’s got a Twitter built into his MySpace.”
“Scar On An Empty Crusade” by Stabbed By Paranoia
M: “What really touched me about them was… not only have they got embedded YouTube footage of them practicing at school, but their Blog from July says ‘we’re still working on new material to complete our set. We have 3 songs and a 4th one nearly finished. We plan to make a 5th song after which will complete our set. so we can go book gigs!’”
P: “I like it. I like the complicated solo, they’re very technically proficient.”
M: “Fair play to ‘em. We should re-visit them when they’ve finished their 5th song.”
“Missing Helstone (Economy Groove)” by Harassing Anna
P: “I thought they played really well at MonKeyVision.”
M: “I think I like the spin-off acts (Tombstone Bullets and Bine The Peg) just as much though. But I like this track particularly, where they sound a little bit bluesy.”
P: “There’s something very retro about it. But I’d like it in a pub atmosphere, after a few pints.”
“Wolves” by Acacia Close
(during the first thirty seconds: Phil laughs in immediate response at the intensity of these 2008 Pitz Band Blitz winners, then both are silent. Then they read the advert for a new guitarist / singer. Phil decides not to apply. Then the song changes, gets less screamy, and they start enjoying it)
M: “It’s really well produced actually, innit.”
P: “It’s a real professional demo. I’m liking it now, actually. I think I’d really like them live.”
M: “There’s more levels to it than it seemed from the start. I like how from their Biog they seem keen to expand, not be ‘just’ a ‘Pitz Band’.”
P: “I can hear where the new guitarist / singer would fit in there.”
“First Light After” by Altersketch
P: “I thought their song at MonKeyVision was one of the best songs of the night, and it still gets stuck in my head.”
M: “I like this one. It’s more sort of… ‘Dark Indie’.”
P: “It’s Indie but it Rocks.”
“The Disappointment” by Rozism
M: “I’m not sure we can allow this to be track of the season, though it is excellent. But cos she’s from Northampton I don’t think she can ‘count’. Shona recommended her to me, and I think she sounds really impressive.”
P: “I always… when I meet people who are really really good musicians, I just want to hear something that makes me go ‘Wow! Where did that come from?’.”
M: “I love a world where people can make this sort of stuff in their bedrooms. That all across the world, people could be making this sort of stuff in their bedrooms.”
(Phil nods enthusiastically)
RUNNER-UP DUDEBOX TRACK OF THE SEASON
“Find And Replace” by Equinox
M: “They really really impressed me at the Waterside. They’re still really young, but I think their songwriting is deceptively mature. I mean, they’re clearly influenced by, like… Muse… Franz Ferdinand… The Killers…”
P: “They are, but there’s more than that. Seeing them live, I thought there was a lot of different stuff going on.”
M: “Their demo CD which was being handed round at the Waterside is one of the best local demos I’ve heard in the last couple of years, for definite. And they brought the biggest audience too, that was really impressive. Made us look good.”
P: “I like this a lot.”
DUDEBOX TRACK OF THE SEASON
“Cold Baked Beans” by Project Wolverine
M: “Describes himself here as… ‘the Bargain Bucket Billy Bragg’.”
P: “I really like this an awful lot. I think it’s great. It’s funny… I like the guitar work… the vocals are really good.”
M: “I like the lyrics. I can see the Billy Bragg comparison. I’d love to see him at The Cannon on a Thursday night. I think he’d go down really well. “Pub Politics” is a good song as well.”
P: “I like the fact it’s all a little bit punky too.”
M: "Good skills. He's the winner."
Well, it’s been a quiet old Summer here on The Dudebox, but we’re back now – and planning on having a busy Autumn! Phil’s got tickets to plenty of national gigs, we’re hoping to get to far more local bands’ stuff, and there’ll be more reviews from under my bed too! So… what better way to kick things off than to have another of our regular looks at the best new(ish) tracks from the MySpaces of the Milton Keynes talent!
Sadly Re-Writing Destiny - who we dished out the coveted Dudebox Runner-Up Track Of The Winter gong to just a few short months ago – have split up, brilliantly citing “musical indifferences” as one of the reasons. Still, they were one of the better bands we’ve heard this year, so we listened to newish track “Coming Home” in tribute.
P: “I think they’re great.”
M: “Although we never saw them live, sadly. There’s a pattern to when bands break up, isn’t there? There’s a peak in the likelihood when I guess they’re 17, 18 and University calls, that’s the biggest peak. Then there’s probably a peak in their early 20s when they’ve all decided they don’t wanna do it any more, there’s probably another peak when people start getting married and having kids. And then if you get past all those hurdles, you’re good for life! And you can just carry on until you’re old.”
P: “My opinion of the song is clouded a bit by the fact I know it’s a bit like their swansong.”
Then we kicked on with some more local bands who haven't split up yet. Some have been on our radar a while thanks to the MonKeyVision Song Contest and/or the Monkey Kettle Stage at the Waterside Festival, some are totally new to us. Hope you might find something you like…
“HMW” by Dusque
M: “They were so great at the Waterside, that was one of the best sets of the weekend.”
P: "They were. It was an early set, so there wasn’t really anyone to watch them. But they were SO good. And I’m enjoying this now, but I preferred it live.”
M: “It’s good outdoors… festival… it’s mellow, and it’s…”
P: “They’re seasoned musicians.”
M: “This bit now is the kind of stuff I like… like ravey keyboard. I’m at a Trance Tent in Ibiza. And the sun’s rising. I’m in the Chill Zone.”
“No Place Like Rome” by Embrace The Tide
M: “Their singer is Chris Weaver who was in one of our Ludamus plays a few years ago (‘Zombies The Musical’). He’s got a few more tattoos in the meantime, of course.”
P: “Maybe if he’d never done ‘Zombies’ he’d never have ended up here.”
M: “Yeah, I did him a ‘Lead Singer Workshop’ as part of the rehearsals for that.”
P: “Some of these MySpaces look so professional…”
M: “And again, they’re really tight musically when you think of how young they still are.”
“Tap Out” by The Kranx
P: “He’s got a really good voice.”
M: “I know a lot of our mates really liked them at MonKeyVision, didn’t they? (reads from their MySpace) ‘it’d be sick to see you at one of our gigs’. I’m guessing sick means good in the young person’s vernacular…”
P: “They went down really well. A really energetic performance.”
“Recluse” (demo version) by Joshua Timmins & The Newborns
M: “What I… like about him is he seems to still embody that ‘I’ll just take my guitar and do a gig anywhere’ kind of spirit. You can imagine him with his guitar just going anywhere.”
P: “I like that, definitely. He’s got a nice easiness in front of the audience that I kind of envy. And there’s something about this song, and his songs… that he’s always REACHING for something.”
M: “There’s a crack in his voice a bit like Conor Oberst from Bright Eyes, but it’s kind of what makes what he’s singing work. And cos he’s young he’s good at all this technical stuff, look… he’s got a Twitter built into his MySpace.”
“Scar On An Empty Crusade” by Stabbed By Paranoia
M: “What really touched me about them was… not only have they got embedded YouTube footage of them practicing at school, but their Blog from July says ‘we’re still working on new material to complete our set. We have 3 songs and a 4th one nearly finished. We plan to make a 5th song after which will complete our set. so we can go book gigs!’”
P: “I like it. I like the complicated solo, they’re very technically proficient.”
M: “Fair play to ‘em. We should re-visit them when they’ve finished their 5th song.”
“Missing Helstone (Economy Groove)” by Harassing Anna
P: “I thought they played really well at MonKeyVision.”
M: “I think I like the spin-off acts (Tombstone Bullets and Bine The Peg) just as much though. But I like this track particularly, where they sound a little bit bluesy.”
P: “There’s something very retro about it. But I’d like it in a pub atmosphere, after a few pints.”
“Wolves” by Acacia Close
(during the first thirty seconds: Phil laughs in immediate response at the intensity of these 2008 Pitz Band Blitz winners, then both are silent. Then they read the advert for a new guitarist / singer. Phil decides not to apply. Then the song changes, gets less screamy, and they start enjoying it)
M: “It’s really well produced actually, innit.”
P: “It’s a real professional demo. I’m liking it now, actually. I think I’d really like them live.”
M: “There’s more levels to it than it seemed from the start. I like how from their Biog they seem keen to expand, not be ‘just’ a ‘Pitz Band’.”
P: “I can hear where the new guitarist / singer would fit in there.”
“First Light After” by Altersketch
P: “I thought their song at MonKeyVision was one of the best songs of the night, and it still gets stuck in my head.”
M: “I like this one. It’s more sort of… ‘Dark Indie’.”
P: “It’s Indie but it Rocks.”
“The Disappointment” by Rozism
M: “I’m not sure we can allow this to be track of the season, though it is excellent. But cos she’s from Northampton I don’t think she can ‘count’. Shona recommended her to me, and I think she sounds really impressive.”
P: “I always… when I meet people who are really really good musicians, I just want to hear something that makes me go ‘Wow! Where did that come from?’.”
M: “I love a world where people can make this sort of stuff in their bedrooms. That all across the world, people could be making this sort of stuff in their bedrooms.”
(Phil nods enthusiastically)
RUNNER-UP DUDEBOX TRACK OF THE SEASON
“Find And Replace” by Equinox
M: “They really really impressed me at the Waterside. They’re still really young, but I think their songwriting is deceptively mature. I mean, they’re clearly influenced by, like… Muse… Franz Ferdinand… The Killers…”
P: “They are, but there’s more than that. Seeing them live, I thought there was a lot of different stuff going on.”
M: “Their demo CD which was being handed round at the Waterside is one of the best local demos I’ve heard in the last couple of years, for definite. And they brought the biggest audience too, that was really impressive. Made us look good.”
P: “I like this a lot.”
DUDEBOX TRACK OF THE SEASON
“Cold Baked Beans” by Project Wolverine
M: “Describes himself here as… ‘the Bargain Bucket Billy Bragg’.”
P: “I really like this an awful lot. I think it’s great. It’s funny… I like the guitar work… the vocals are really good.”
M: “I like the lyrics. I can see the Billy Bragg comparison. I’d love to see him at The Cannon on a Thursday night. I think he’d go down really well. “Pub Politics” is a good song as well.”
P: “I like the fact it’s all a little bit punky too.”
M: "Good skills. He's the winner."
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