Music - Singles of the Week - Monday, June 9
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: LAURA MARLING – CROSS YOUR FINGERS: One of the highlights from Laura Marling’s excellent debut album is Cross Your Fingers, her latest single. A dark nursery rhyme, it’s a huskily delivered, uptempo song that builds to a really strong chorus complete with some notable lyrics (“cross your fingers, hold your toes, we’re all gonna die when the building blows…”). It’s a clever mix of dark lyrics and upbeat melodies that elevate it above the norm for this kind of songwriting and confirms Marling as one of the best breakthrough singer-songwriters of the year so far. Mystery Jets fans will, of course, remember Laura for her excellent contribution to their similarly fantastic hit, Young Love. Well, if you dug her on that record, then rush out and buy her album, Alas I Cannot Swim. It boasts just as many musical gems.
Rating: 4 out of 5
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SINGLE OF THE WEEK 2: FEEDER – WE ARE THE PEOPLE: Feeder release We Are The People as the lead single and album opener from new long-player, Silent Cry, which lands on June 16. And the first thing to say is that it’s an epic song in every sense – towering guitar riffs, foreboding drums, luscious solos and some skyscraping vocals (especially with the “woo hoo” backing that drifts in and out during the chorus). The song itself is very bittersweet in nature, elevating lyrics such as “what do you say, what do you think about miracles, miracles are something you dream about, we’re looking for a new way out” into something kind of hopeful. Nods to “sacrificing love and democracy” are also in tune with the disaffection of our times, as are lines like “all our lives, we’re waiting for something new”. But the chorus is inspiring in its optimism, while the guitars retain that keen sense of Feeder melody, whilst hinting at something even more mature (possibly akin to the likes of U2 and Coldplay). Get it, play it loud, and above all enjoy the return of this great Welsh band.
Rating: 4 out of 5
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SINGLE OF THE WEEK 3: SONNY J – HANDSFREE (IF YOU HOLD MY HAND): Sonny J returns with the utterly infectious summer party anthem Handsfree (If You Hold My Hand), an effortlessly addictive collage of northern soul, Ennio Morricone cinematics, and The Fifth Dimension, with an added splash of The Avalanches thrown in for good measure. With one busted record deck, virtually no technical expertise, and a letterbox full of final demands, Sonny has lovingly crafted a fun, cheeky, head-spinning slice of psychedelic future pop that could quite easily waltz its way on the soundtrack of a Quentin Tarantino movie as well. Admittedly, the decision to bring things to a quick pause midway through is a little odd, but on the whole this is a slick, dance-floor friendly and easily capable of putting a smile on your face for the duration of its breezy running time. As you might expect, Handsfree is backed with remixes from Phonat and Heavyfeet, while J Star also contributes by flipping the original on its head – but as is usually the case, they pale by comparison to the original. So kick back and savour what could well become one of the summer’s most popular records. The album, Disastro, drops into record stores on June 16.
Rating: 4 out of 5
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THE CURE – FREAKSHOW: The second instalment of the Cure’s new singles bonanza (ahead of their 13th album) is a slightly more jerky offering than its predecessor, the lush, deeply melodic The Only One. But it’s still distinctively the sound that looks poised to make a terrific comeback in 2008. Freakshow still retains a keen sense of melody (as all Cure records do), but adds some extra grit to some of the guitar work, with a wah-wah making the most immediate impression as the busier of the instruments. Frontman Robert Smith delivers a suitably darker set of vocals that are in keeping with the imagery-laden lyrics, while the song is over almost as quickly as it begins (in a little over two and a half minutes). Judging by the number of YouTube offerings from concerts around the world, this is rapidly becoming a live favourite among fans, which should help it to become a suitably reasonable sized hit for them – and deservedly so.
Rating: 3.5 out of 5
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WE ARE SCIENTISTS – CHICK LIT: New York art rock/punk rock specialists We Are Scientists may have had their detractors following the release of sophomore album Brain Thrust Mastery, but I’m one of its biggest fans. If anything, I think it marks a major improvement on their debut, With Love & Squalor. New single Chick Lit is a revved-up disco-influenced club-banger that easily competes with bands like The Rapture and Klaxons for dancefloor-cred. It’s loud and lively and easily capable of occupying a key position on the indie-dancefloors of the summer party season. What’s more, it boasts another great, madcap video that’s well worth watching in its own right. And yes, we did mark it out as one of the highlights from the latest long-player – stick with it, for while it may sound derivative of plenty of other bands for the first couple of listens, it quickly lays down its own credentials and boasts a cracking chorus that’s difficult to shake from your head.
Rating: 3.5 out of 5
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A FINE FRENZY – ALMOST LOVER: Almost Lover is the latest track to be taken from A Fine Frenzy’s debut album One Cell In The Sea – and it’s another beautifully serene pop gem. At its heart, it’s a song that tells the story of a relationship that wasn’t meant to be. As delivered in the smooth style that is Alison Sudol, it’s a haunting, even heartbreaking effort that’s delivered with genuinely heartfelt emotion. Accompanied by some sweeping piano and soothing orchestration, it really ought to mark the arrival of a major new British singer-songwriting female talent. For those wanting to know a little more, A Fine Frenzy is 22 year-old Alison Sudol, an anglophile at heart who grew up on a diet of British music, listing influences such as Radiohead, The Smiths, Keane and Coldplay. Her unusual name also stems from her love of all things British, as “a fine frenzy” is taken from a line in Shakespeare’s A Midsummer Night’s Dream. But then storytelling appears to be a key part of A Fine Frenzy’s songs and Alison puts this down to a love of English classics. She’s definitely another artist to keep an eye on as the summer progresses.
Rating: 4 out of 5
THE MUSIC – STRENGTH IN NUMBERS: You’d be forgiven for thinking The Music have never been away after hearing their comeback single Strength In Numbers given that so little appears to have changed in their sound. The formula is exactly the same: namely heavy, pounding electro rock backed by direct, howled choruses. Lead singer Robert Harvey remains as brash and unapologetic as ever before, while his delivery is just as distinct – which is part of the problem. Given that they enjoyed only limited success on the first time of asking, you really have to wonder whether they’ll enjoy much more now when they really haven’t attempted to update their sound that much. It’s punchy, for sure, but the headrush is quickly replaced by a “been there, heard that” quality after the third or fourth listen. It makes this single a somewhat disappointing return, no matter how many tanks and helicopters they include in the striking video!
Rating: 2.5 out of 5
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LITTLE MAN TATE – WHAT YOUR BOYFRIEND SAID: What Your Boyfriend Said marks the livewire return of Sheffield’s Little Man Tate, who exploded onto the indie-pop scene in emphatic fashion with their debut album, About What You Know. Comprised of Jon Windle (vocals), Maz (guitar), Ben Surtees (bass) and Dan Fields (drums), Little Man Tate are very much a no-nonsense band who blend cheeky, rapidly delivered lyrics with punchy guitar riffs and a keen sense of indie rock melody. They share plenty in common with their fellow Sheffield contemporaries (Arctic Monkeys and Milburn) but they also retain a distinct identity of their own. This new single, released through Yellow Van Records/Skint, is loud, defiantly proud and quite a belting indie-rock effort that boasts some cracking guitar work, an endearing “na na na” chorus that’s geared up for the live scene, and an infectiously defiant set of lyrics about playing with fire and getting fingers burned with another man’s girlfriend. A welcome return.
Rating: 4 out of 5
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THE BLACK KEYS – I GOT MINE: The Black Keys and Gnarls Barkley made a formidable, critically acclaimed partnership on the former’s latest album, Attack And Release and new single I Got Mine is evidence of why. Opening with some killer slightly warped guitar riffs that recall both the contemporary vibe of The White Stripes with a classic sound more akin to the bluesy riffs of ZZ Top and Jimi Hendrix, this is a powerhouse record that’s an absolute blast for followers of raw, ragged blues-rock. That it also manages to retain a cool vibe is due to the presence of Barkley, who also lends some soulful vocals as backing just to make sure his presence is equally felt. I Got Mine probably won’t appeal to anyone with a distaste for the guitar thing, but anyone who gets their kicks from the likes of Hendrix and The White Stripes had best rush out to savour this. We certainly dig its unfussy charms.
Rating: 4 out of 5
BRYN CHRISTOPHER – THE QUEST: Birmingham-born singer songwriter Bryn Christopher is bringing old-school soul bang into the 21st century with his first release The Quest out June 9th through Polydor Records. Recently featured on the season finale of hit US medical drama Grey’s Anatomy (which brought it an instant fanbase), the song emphatically showcases his incredibly powerful and effusive voice over a haunting Hammond organ melody, as well as a footstomping backbeat. The theme of the song is powerful stuff too, drawing on his brother’s personal experience as a soldier stationed in Basra – even though the lyrics were apparently written on his own mobile phone! Nevertheless, there’s no escaping the power and passion in Bryn’s voice, or the fact that he does achieve what he set out to – re-establishing that old-school soul back into the mainstream. Expect to be hearing plenty more about Bryn as the year progresses – and on both sides of the Atlantic thanks to its Grey’s Anatomy success.
Rating: 3.5 out of 5
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MATTAFIX – THINGS HAVE CHANGED: Mattafix return with the sunny, upbeat Things Have Changed, best described in their own PR as “an up-tempo cousin of their initial hit, Big City Life”. This features some trademark beatboxing with some middle Eastern-influenced strings and some bittersweet boy-girl vocals. It’s at its best when the female vocals are placed to the fore, when the melodies really get to cast their sunshine vibe, but the optimistic nature of the melodies is difficult not to be swept along with no matter whose performing vocal duties. If anything, the song gets better the longer it lasts. Remixes comes from the the likes of Moody Boyz, who deliver a future dub, as well as Wookie (funky house), Rui Da Silva (acid house) and Linus Love (glitch-electro-house). None, of course, can surpass the original, which is tailor-made to capitalise on the warmer weather.
Rating: 3.5 out of 5
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GABRIELLA CILMI – SWEET ABOUT ME: Tipped by the press as yet another major new talent for 2008, Gabriella Cilmi is now forced to re-release her debut single Sweet About Me after it gained more attention following its use in a deodorant commercial. Immediately, the singer draws favourable comparisons with the style of both Norah Jones (don’t cringe) and Morcheeba. For, in spite of a slightly inauspicious opening, the song eventually opens up into a slinky soulful pop song, about making trouble and getting away with it. Vocally, she’s sweet and soulful, while the melodies are enough to brighten your mood on a cloudy day. Indeed, it’s the kind of song that refuses to budge from the brain once you’ve heard it a few times – more so since it’s been used on that advertising campaign. We liked it the first time, and it’s lost none of its sheen. Gabriella certainly deserves a bigger hit this time around!
Rating: 4 out of 5
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SCOOTER – JUMPING ALL OVER THE WORLD: German techno kings Scooter release the droning Jumping All Over The World from their latest album of the same name. The mainstream element comes from the chanty, football-style chorus, as well as the warped Looney Tunes-style vocals, that seem designed to help it become a signature track for the approaching Euro 2008 football tournament (you can well imagine the odd TV montage being set to the chant-along section of the song). But in all other respects, this is a hardcore piece of techno that is best left to that particular dance genre. There’s some fun to be had in watching some of the dance routines that punctuate the video, but really this is pretty wretched stuff that all too quickly outstays its welcome. Indeed, it’s best left in Germany!
Rating: 2 out of 5
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JESSE McCARTNEY – LEAVIN’: After selling two million albums, US singer-songwriter Jesse McCartney has apparently decided to reinvent his sound and go for a smooth groove R’n’B sound that’s more reminiscent of the likes of Usher and Justin Timberlake. Leavin’ is produced by Tricky and The-Dream, the team behind Rihanna’s Umbrella, and is heavy on the melodic hooks, electronica and lush vocals. There’s a limited pop appeal to it in that you might not want to turn it off straight away, and it’s certainly a marked improvement from previous McCartney material. The maturer sound he promises throughout the rest of his new album, Departure, is certainly evident. But you can’t help but feel this has been slickly produced with an eye on the profits and feels a little bit soulless as a result. There’s remixes from the likes of MSTRKRFT and Ralph Rosario, but they add nothing whatsoever to the original. For those interested in the album, it also features collaborations with Sean Garrett, Balewa Muhammad, JR Rotem and The Clutch (all producers, by the way).
Rating: 2.5 out of 5
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MILLIMETRE – MISSING HAITCH: Millimetre is the musical outlet for Irish singer-songwriter and producer Terence J McGaughey. Formed in 1998 in Belfast and comprised solely of Terence J, they released their second LP last year. New single Missing Haitch is an oddly appealing effort that’s best described by Terence himself as “dreampop”. It’s certainly both cinematic and out there, combining some swirling electronics with a thumping back beat and some spaced out vocals. According to one interview I’ve read, the song was inspired by a sectarian beating that Terence received while in Belfast at the hands of a group of thugs who were trying to establish whether he was a Catholic. It helps to explain the slightly menacing element of the beats – but this is cleverly offset by those expansive electronics that take it into the dream pop realm. Millimetre may yet to have establish a mainstream presence, but on the strength of this offering his music is well worth seeking out. It boasts plenty of ambition and unfolds on a heady scale.
Rating: 3.5 out of 5
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THE INDIGO ROAD – SIMPLE/GOODBYE TO YOU: New London band The Indigo Road release their debut single Simple/Goodybe To You as a download in June. The former features guest vocals from Heidi Jo Hines, daughter of former Wings guitarist Denny Laine, and is an acoustic guitar-based song suffused with the sweet tone of reconciliation and forgiveness. It’s lovingly put together and instantly impressive, making fine use of Hines’ sweet vocal style and some excellent guitar work. It offers a strong introduction to what they have to offer as a unit. Goodbye to You, on the other hand, taps into a darker side to their make-up, recounting the dark aftermath of a love gone sour and featuring some electric guitar riffs and a more pronounced sense of percussion. The vocals are huskier, darker and more biting as the singer proclaims: “I say goodbye to you, there’s no way back.” It serves as a nice contrast to the sweeter, more breezy style of Simple, and even provokes comparisons with the art-rock sound of acts like Yeah Yeah Yeahs and Gossip once it opens up (especially vocally). Once again, The Indigo Road appear to be a band that’s worth keeping an eye on.
Rating: 3.5 out of 5
NNEKA – HEARTBEAT: Nigerian-born Nneka releases the new single Heartbeat from her forthcoming album No Longer At Ease. Built around a haunting piano and a menacing bassline, the song benefits from the singer’s smoky tones and weaves a journey through intricate beat patterns and twisted samples that have helped the singer to draw favourable comparisons with the likes of Bloc Party and Massive Attack. It’s certainly soulful, strangely catchy, but probably not destined to make much of an impression on the mainstream. Nneka herself states: “The song is about the heart. Especially the heartbeat, which most people don’t feel although they are alive.“ With that in mind, it’s little wonder that it drops such an insistent drum ‘n’ bass groove that drives it forward and gives it such a pulsating energy. B-side Walk The Line is a haunting slice of dub bass that further marks her out as an artist to keep an eye on as the due date for her new LP approaches.
Rating: 3 out of 5
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