Music - Singles of the Week - Monday, January 23
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
Monday, January 23, 2006
SINGLE OF THE WEEK – MERZ – POSTCARDS FROM A DARK STAR: Opening with a completely enchanting piano solo, Merz’s Postcards From A Dark Star is a completely beguiling record that makes excellent use of his subtle vocals and uncanny ability to conjure memorable melodies. Slightly melancholic but never depressing, this bittersweet record just keeps getting better the more you listen to and also serves to open the equally recommended album, Loveheart. A remix by Faultline adds a few layered beats that augment the stripped down style of the original, without ever allowing the track to lose its way. Put together, they make excellent companions and an even more compelling reason to venture out to buy both the album and the single. You won’t be disappointed.
PHARRELL – ANGEL: Multi-talented artist Pharrell follows up his smart hip-hop solo effort Can I Have It Like That (featuring Gwen Stefani) with a deliberate change of pace. Angel showcases the R’n’B side to his forthcoming solo album, In My Mind, which could well become one of the hottest releases of 2006. Featuring the singer’s famously smooth falsetto style set over some genuinely uplifting piano chords, this enchanting love song is simple but very effective in getting you to appreciate it. It’s a really smooth performer that suggests the album – with its mix of styles and collaborators – will continue to place Pharrell at the forefront of the genres he represents. The album hits stores in February.
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ISOBEL CAMPBELL & MARK LANEGAN – RAMBLIN’ MAN: Former Belle & Sebastian member, Isobel Campbell, and Screaming Trees/Queens Of The Stone Age contributor, Mark Lanegan, offer up a ‘quite nasty’ cover of Hank Williams’ Ramblin’ Man that, by their own admission, would fit well in a Quentin Tarantino movie. It’s the first single from their collaborative album, Ballad Of The Broken Seas, which provides a stark contrast between Campbell’s angelic vocals and the gruff tones of Lanegan. As Campbell explains: “I was going for an old-school kind of approach. I’d been listening a lot to the American Recordings by Johnny Cash and I’m a huge, huge fan of Lee Hazlewood and Nancy Sinatra. It’s kind of sun-bleached and psychedelic, with a little bit of folk or country.” The result is absolutely mesmerising, thanks to a really brisk blues guitar and a lively beat. The album looks to be a very tasty prospect on the basis of this.
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BECK – HELL YES (LIMITED EDITION): Only Beck would dream of putting out something as audacious as this in such an extremely limited edition – but it certainly makes the remixed Guerolito something you can’t resist. Taken from that remix album, Hell Yes has been reworked by 8bit and Green, Music & Gold into a similarly smart and funky performer. It’s also accompanied by an amazing video for the Ghettochip Malfunction version, featuring choreography from the brand new prototypes of the Sony QRIO robots that aren’t due to hit the marketplace for another three to four years. Like we said, trust Beck!
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A-HA – ANALOGUE (ALL I WANT): Norwegian pop heroes A-Ha return with another supremely well-crafted record that will also serve as the title track of their eighth studio album. An aching love song, infused with plenty of melody and some really lush instrumentation, Analogue (All I Want) is evidence of a band that continues to mature, even though Morten Harket’s distinct vocal style remains intact. It’s little wonder that some of their music has helped to inspire the likes of Keane, Coldplay and even U2 at certain points of their career for in songwriting terms this is a very strong effort from a band that has successfully overcome the cheesy style of earlier records to emerge as a continued major force in their own right. In pop terms, this teaches quite a few lessons to the wannabe chart-hoggers of today.
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THE STEREO MCS – SET IT OFF: The Stereo MCs (aka Rob B and Nick Hallam) look to continue last year’s welcome revival with the release of one of the album highlights, Set It Off. Featuring the elegantly soulful guest vocals of band mainstay, Cath Coffey, the track fuses an instantly recognisable and immediately funky bounce with a soulful backdrop that stands up against the best of the Stereo’s previous material. It’s the sort of track that pleases from the outset and will probably go down well among the trendy bars and nightclubs around town. Remixes come courtesy of Cavemen and Deekline & Wizard, but aside from inserting the odd grinding bassline, they do very little to improve on the original. The album, Paradise is well worth checking out if you haven’t had chance to already.
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OSKAR – RERUN EP (DOWNLOAD ONLY): Oskar specialise in ethereal dream-pop, or slow-building atmospherics that creep into your subconscious and reside their comfortably. Comprised of former Collapsed Lung bassist Jonny Dawe and former Strangelove keyboard player and soundtrack composer, Nick Powell, Oskar view themselves as true pioneers of expansive, intelligent progressive rock/electronica. It’s a shame, therefore, that their latest EP, Rerun is only available as a download – although it’ll probably find a bigger audience and a cult appeal for being so. Kicking off with the deliciously dreamy opening track, Lights, Rerun quickly puts you into a blissful state thanks to its serene beats and deliciously seductive vocals from Astrid Williamson. Track two, Episode Of One is a deliberately slow-building affair that rewards the patient listener with an utterly beguiling journey, while Pipeline drops in a haunting cello from Sarah Wilson (Belle & Sebastian) and a sample from a nuclear sub that’s sure to become a talking point. It is nu-wave ambience, replacing whale songs with the strangely alluring sonic blip of a submarine and it really has to be heard to be believed. The final effort, The Soft Talker, is probably the weakest effort on the EP, but still worthy of consideration thanks to a nice guitar riff that drops in every now and again to give the electronic sounds a break. Whether you love it or hate it, Oskar’s Rerun will certainly force you to have an opinion either way – and that can only be a good thing!
STARSAILOR – THIS TIME: Starsailor release the second single from their third album, On The Outside, in the form of This Time, the sort of passionate, angst-ridden anthem that has become their trademark. The track is as soulful and emphatic as we have come to anticipate from Wigan’s finest, yet somehow sounds lazy and all-too depressing. You really do begin to wonder whether this band will lighten up when releasing singles, although their cover version of Sugababes’ Push The Button, recorded during a session with Radio 1’s Jo Whiley, hints that they do indeed have a sense of humour. Please let it translate to their original material. It’s oh-so worthy but oh-so dull.
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SOL SEPPY – MOVE: Sophie Michalitsianos, aka Sol Seppy, releases her debut single in the form of the deeply atmospheric Move. Taken from the album, The Bells of 1 2, this epic and occasionally haunting slow-builder is reminiscent of the dark style of Massive Attack, with Seppy’s distinct and striking vocals lending themselves to obvious comparisons with Mazzy Star. The track is notable for dropping in a really compelling beat and some interesting electronic loops that only serve to highlight the raw power of Seppy’s vocals all the more. It’ll probably be an acquired taste but, for me, it’s an excellent introduction to an artist I’m hoping to hear a lot more from in 2006. The acoustic bonus track, Bobbing Lie, is another strong offering, showcasing a more stripped down side to the singer. She’s well worth checking out.
PROTOCOL – WHERE’S THE PLEASURE?: Another of the hotly-tipped bands of 2006 is Protocol who look to kick-start the year with the release of a new single. Where’s The Pleasure? combine the angular guitar sound of countless new acts with a slightly retro feel reminiscent of Duran Duran (especially vocally). Yet while there is a guilty pleasure to some of their catchy riffs and energetic style, I was left with the impression that this pop-punk hybrid sounds pretty similar to a number of other like-minded records in the marketplace at the moment. That said, the song isn’t without merit and the hype surrounding the band suggests they’re well worth keeping an eye on as the year progresses.
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INFADELS – CAN’T GET ENOUGH: Having constantly toured throughout 2005 with the likes of Hard-Fi, Prodigy and Faithless, The Infadels unleash their frenetic brand of post-punk frivolity in the form of Can’t Get Enough, a track that has become a permanent set pleaser during their frenzied live shows. Sadly, whether you’ll want any more of The Infadels after hearing it remains to be seen, given that their raw, jagged style is similar to a number of other bands currently jumping o the post-punk bandwagon at the moment. Vocally, there are similarities to the stripped down 80s style of early INXS, as well as the more recent likes of Arctic Monkeys. Sadly, this track is nowhere near as good as either of those bands and, what’s more, ends up feeling repetitive. An aggressive, blip-heavy Jagz Kooner remix does little to enhance its prospects.
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FICKLE PUBLIC – JUST LIKE I GOT USED TO SAYING COURTENEY COX ARQUETTE: The new single from Scotland’s Fickle Public is an unapologetically hard-rocking affair that boasts an overlong and slightly arty title. Fortunately, there is something strangely endearing about the crushing riff and shouty vocal style that accompanies it that hints at something to look out for in the future. It’s punky, hard-rocking yet isn’t afraid to toss in the odd off-kilter bridge to ensure that things remain fresh. As such, they’re sound is difficult to pigeon-hole, which can only be a good thing. Formerly known as Purple Munkie, Fickle Public’s current line-up is comprised of Alan Ferguson (guitar/vocals), Jim Butterly (guitar), James Cameron (bass) and Lewis Gale (drums). Expect to hear plenty more of them throughout 2006 as the music press is certainly getting excited.
ALEX PARKS – HONESTY: Honesty is the first single and title track from the former Fame Academy winner’s second album, following the download only track Looking For Water in October last year. Co-written by Alex with Judie Tzuke and Graham Kearns, this features an up-beat tempo, a guitar-driven melody and some life affirming lyrics that are designed to leave you feeling positive. It’s actually one of the better efforts to be taken from the long-player but you can’t help but feel while listening that Texas do the same sort of thing so much better.
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LOTEK HI-FI – MOVE YOUR THING (DOWNLOAD ONLY): Lotek Hi-Fi is not one of Ninja Tune/Big Dada’s best exports. Last year’s album offered a collection of dancehall, raga and dub tracks built around a gruff vocal delivery from Wayne Lotek. Similar in style to Roots Manuva, this was a distinctly urban/underground offering that spawned few impressive moments. The download-only release of Move Your Thing provides a showcase for Lotek’s repetitive style that does very little to broaden its appeal. Remixes come from the likes of Percy Filth, who lends it a classic British hip-hop vibe, and Small Arms Fiya, who infuse it with electronic ragga. But the results remain the same and are best left to their own devices.
PART 2 – ONE OF DEM DAYS (DOWNLOAD ONLY): Released on the same day as Lotek Hi-Fi’s download only single is Part 2’s remix package of album track, One Of Dem Days. The track features the urban vocals of Fallacy, who offers a blazing rhyme about what makes an ordinary day into a great one. Yet much like the Lotek Hi-Fi offering before it, the track feels overly repetitive, rooted in the underground sound of urban London and, quite frankly, boring. Second track, Take Ur Time is notable for featuring a vocal from former Shed 7 frontman, Rick Witter, which enlivens things slightly, but the beats are very routine, very flat and extremely tedious. It’s certainly not worth downloading unless you are a die-hard fan of the Part 2 sound.
CHILDREN OF BODOM – IN YOUR FACE: Finnish five-piece, Children of Bodom, combine goth metal with thrashing guitars and the Euro sound of Rammstein. Their latest video was even filmed by Katapult Productions, the team behind Rammstein’s recent video clips. Needless to say, In Your Face is a head-hurting experience that’s guaranteed to leave the ears bleeding if played loud enough. The single cover features a picture of a clenched fist aiming straight at you, which says all you need to know about the sort of throbbing assault you can expect to hear should you venture out to buy it. The single is released on the same day as the album, Are You Dead Yet?, which is as comatose as its title suggests. Avoid like the plague.
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