Review: Mac DeMarco - Salad Days

That’s right, the king of easy listening, Mac DeMarco, is back with album number three and it seems his level of maturity has been sufficiently upped. From the slightly ominous back alleys of his 2012 LP, ‘Rock and Roll Night Club,’ characterised by its barbarically baritone vocals, to the imaginatively titled ‘2,’ in which DeMarco had explored resolutely more melodic territory- it is clear that the Brooklyn based songwriter has upped his game on his third pursuit ‘Salad Days.’

On the surface, ‘Salad Days’ offers a romanticised, summer-infused perspective on that bluesy-stoner-rock genre the Canadian musician has seemingly got down to a tee. His laid back, “slacker” style is instantly addressed on the LP’s title track, with its quirky central riff and equally as wacky vocals in a track that owes much to that of the fifties rockabilly era, juxtaposed by angst ridden lyricism. ‘Jonny’s Odyssey’ corresponds, in a bluesy blur of lazy drums and a very vintage guitar line that oscillates throughout. Aside from the jerky instrumentals that are heavily apparent on the album, ‘Salad Days’ certainly beholds its fair share of romantic slow jams. Take ‘Brother’ for example, with its seductive opening guitars, steady drums and thoughtful lyrics. ‘Let my Baby Stay’ sounding equally as thoughtful, with a sparse instrumental paired with enough “ooh ah’s” to reduce the most robust of men to tears. Whereas ‘Treat her Better’ sees the British-Columbia native take on the role of a marriage councillor, with lyrics evoking that of a drippy love song- though the incredible choric guitar riff prevents the track from becoming too cynical.

Though DeMarco is primarily a master of the good old-fashioned guitar track, it appears he has been embracing a wider range of musical elements on certain tracks within this album. Such tracks include ‘Chamber of Reflection’ which could undoubtedly put up a good fight for the most credible four minutes of the entire LP. With a relatively simple keyboard sequence that sounds lavishly remarkable amidst the slow paced drums and superior, polished vocals compared with the majority of DeMarco’s easy-going, rough cut back catalogue. ‘Passing out Pieces’ also sees DeMarco stray from that predominant guitar sound, with chintzy synths and a vocal style claiming resonance of raw, nineties Britpop.

On the whole, I thoroughly enjoyed Mac DeMarco’s third helping of self-loathing and half-hearted love songs, though the LP is not something I would choose to listen to all in one go; unless of course I was looking for a soundtrack to my occasional teenage sobbing outbursts. Although no one can deny his capabilities when it comes to honest lyricism, and that beloved seven year old guitar he supposedly purchased for thirty dollars.

Written for PostMusicDepression.

Review: The Orwells - 'Let it Burn'

image: cincymusic.com

Chicago’s very own garage rock pundits, The Orwells’, most recent endeavour comes in the form of the third new cut to be taken from their upcoming sophomore album ‘Disgraceland’- and boy does it bite.

‘Let it Burn’ is the perfect encapsulation of what The Orwells’ are about. That scuzzy sound that dominated their 2012 debut ‘Remember When’ is assuredly paid homage to on this hard-hitting track. With a heavy yet melodic three chord intro that runs through the entire three minutes or so, making for what I imagine to be an impeccable crowd pleaser- given the masses of festival appearances and tour dates the band are set to play over the next 12 months.

That rough-around-the-edges charm that has become somewhat an Orwells’ trademark has certainly been adhered to on this punchy, riff-ridden track, resonant of late nineties-early noughties grunge pandemonium. Who’d have thought a song about the perils of Gonorrhoea would be so very remarkable?

Written for PostMusicDepression.

Review: Metronomy - Love Letters

image: metronomy.co.uk

Devon quartet, Metronomy, have finally made their highly anticipated return in the form of their fourth studio album, Love Letters. Metronomy's primarily electronic sound has been known to fluctuate between that purely instrumental phase the band underwent - especially apparent on debut album, Pip Paine, when Joe Mount's side project suddenly rose to prominence back in 2006. However, the addition of Anna Prior and Olugbenga Adelekan saw a transformation in the 'Metronomy sound' as we knew it on critically acclaimed third album, The English Riviera, in which the band explored much more vintage sounding, vocally focused territory. Despite my incredulously high opinions of The English Riviera, Metronomy's second album, Nights Out, always had that edge over it for me with stunning tracks like On Dancefloors and Heartbreaker taking the crown. However, the question as to whether or not Love Letters has surpassed any of its three predecessors still remains unanswered for me...    

From the outset, it's blatant that, Love Letters, is a clear progression from where they left off with The English Riviera, with predominantly 60's inspired instrumentals and that electronic undertone that continues to set Metronomy apart as one of the most unique pop-rock bands today. However, despite the resounding similarities that can be drawn between the two albums, something seems miraculously different.

Joe Mount's recent move to the city of love has clearly had an effect on his music writing abilities as he seems to have scrapped those heavily electronic basslines and swapped them for softer instrumentals, drawing on the more romantic aspects that were already apparent within the Metronomy back catalogue. This is certainly the case on the LP's opener, The Upsetter. The simple (and very French) acoustic guitar that runs through the entire track (resonant of that of Everything Goes My Way), accompanied by Joe Mount's blissfully high pitched vocals, channelling Bowie particularly on the chorus, makes for one of my favourite tracks on the album. I'm Aquarius, however, introduces a brand new take on Metronomy's electronic capabilities in a much more toned down manner, with unmistakably Metronomy-esque lyrics and enough shoo doo doo ah's to make you question the decade. This was the track that filled me with irrevocable excitement for the album and it certainly still remains one of Metronomy's most credible tracks to date despite its simple, effortless nature.

The album's title track wasn't an immediate grower for me but after a few listens it becomes somewhat addictive. It's drawn out intro, combining trumpets and an electronic undertone, starts it off in typical Metronomy fashion until you are hit with a very 60's, motown feel, especially a result of Anna Prior's vintage backing vocals.

Despite Metronomy's slight sound revamp, Boy Racers, certainly wouldn't sound out of place on either of the bands first two albums with no vocals whatsoever and an electronically rich instrumental. This is certainly a shock seeing as The English Riviera really lacked tracks like this.

Love Letters has certainly showcased some of Metronomy's most credible material to date, however there are some not so exciting tracks that I didn't feel were worth a mention. Although I did find some tracks disappointing, I feel like the standard of some of the better tracks redeem the album in a huge way. Ok, so it may not be Metronomy's best album ever, but they have definitely evolved in terms of sound and I look forward to find out which direction they will take in the future. 

***

8.5/10

Introducing: The Districts

image: rollingstone.com

Lancaster County, Pennsylvania's the Districts are the new indie-meets-folk-rock band on the agenda with a seemingly strong collection of tracks to get them started on what looks like a very successful year for the US four piece.

Their self-titled EP was released in January and it truly is a masterpiece. Rocking Chair kicks it all off in a highly memorable fashion as a simple, rough around the edges rock song, whereas Lyla sounds much more heartfelt with slow paced drums and great lyrics. Funeral Beds continues that warmness as a very folk-sounding track - you always know a song's going to be extra good when its intro involves a harmonica. My favourite track from these guys however has got to be Long Distance. Its laidback nature eventually caves into an anthemic gem with glorious guitars and a chorus that proves impossible not to sing a long to, even on the first listen.

From what I have heard so far, the Districts should have a pretty promising future ahead of them. I think there is a gap for a band like this, producing real, rough-cut, bluesy folk rock music. It's about time the world were enlightened to this brilliant band, I certainly can't get enough of them!

Review: Skaters - Manhattan

image: press.wbr.com/skaters

After much deliberation, I have finally reached the conclusion that New York newcomers, Skaters', debut album is a thoroughly enjoyable listen. It might not be the most spectacular first pursuit the world has ever seen, but it does showcase that signature Skaters rough-cut-readiness we heard on  tracks like Schemers, Miss Teen Massachusetts and Deadbolt. 

Skaters' experimental side is instantly adhered to on the opener of the LP, One of Us, with its electronic intro, soon to be transformed into that scuzzy guitar sound that seems to dominate the band's overall vibe. Another stand out track has to be Bandbreaker, with yet another instrumental that oscillates from what we are used to with Skaters (in a good way). With very laid back guitars and drums and an understated yet groovy bass line, this track oozes New York coolness, which is what I loved about Skaters from the moment I heard Deadbolt.

To Be Young In NYC is another lovely track that encapsulates all that is brilliant about Skaters; definitely the kind of song that's made to be played while driving through the city that never sleeps in the dead of night (if only). The heaviest moment on the album comes in the form of guitar ridden Nice Hat. This is probably my least favourite track on the album is it takes away from the band's ability to make a killer melody without having to go OTT on guitars.

Aside from the new tracks we have been introduced to on Manhattan,  there are quite a few old gems that make a well deserved return on the LP, including I Wanna Dance (But I Don't Know How), Miss Teen Massachusetts, Schemers and of course Deadbolt. All of which prove to be the band's most credible tracks, it's no wonder they released them prior to the LP release.

Although I should detest the album for making me long to live in New York even more than I already did, I truly am a fan of Skaters' debut. I am impressed with the quality of tracks like One of Us and Bandbreaker seeing as I thought it pretty impossible for them to live up to tracks like their wonderful Deadbolt. A great band and a great starting point for what looks like a blossoming career for Manhattan's very own.

***

7/10

Review: Bombay Bicycle Club - So Long, See You Tomorrow

image: bombaybicycleclubmusic.com/

On the surface, Bombay Bicycle Club's fourth album is a huge contrast from their previous three, but despite the slightly more electronic route they have taken on this record, it soon becomes apparent that this new sound is just another evolution of a band who are stepping out of their comfort zone, not to please a wider audience, but simply to show off their versatility as a band who have been playing together for eight whole years.

The album's opener, Overdone, instantly showcases that brand new sound the London four piece have gone for on their most recent endeavour with a heavily electronic intro and a slightly R&B resonant feel from the outset. However, Bombay's sound hasn't undergone a complete refurbishment, there are still a fair few punchy riffs in there, and Jack Steadman's quirky vocals haven't had the Beyonce treatment or anything...

It's Alright Now, follows with another intensely electronic sounding intro. However, as soon as the drumbeat kicks in, you'll know it's a Bombay Bicycle Club track for sure. This is definitely one of the many highlights of the album with stunning guest vocals from Lucy Rose. We are then greeted with a track that will probably be familiar to you (unless you have been living under a rock for four months), Carry Me. This was the albums first single and the track that started all the speculation about the bands sudden U-turn in sound. With a melody that wouldn't sound out of place on the dancefloor, this track is a wonderful encapsulation of the way in which Bombay Bicycle Club have evolved into an incredibly versatile outfit.

The best track of the album has to be Luna, a track that becomes almost anthemic towards the end. With plenty of layers and the most infectious melody. Another excellent track comes in the form of Feel, with a bit of an R&B vibe going on and the catchiest chorus on the record.

The LP comes to a close with its title track which sounds significantly similar to the bands previous material when compared to the rest of the tracks we have been graced with on the album. With a much more laid back sound and an emphasis on drums rather than the electronic elements they seem to have embraced on this record.

Overall, I think So Long, See You Tomorrow is a great effort and a refreshing revamp of Bombay Bicycle Club's sounds as we know it. There's nothing wrong with bands who can take a risk- this one has certainly paid off.

***

7/10

Review: The Family Rain - Under The Volcano

image: thefamilyrain.com

Out of all the releases 2014 has in store, Under The Volcano has been at the forefront of my excitement for months and it is safe to say that the Bath brothers certainly do not disappoint.

I have mentioned bluesy, rock 'n' roll three piece, The Family Rain, on numerous occasions and every release of theirs, leading up to their highly anticipated debut, has been absolutely faultless. Take Carnival, for example, a track that makes a fabulously polished yet punchy return on the album in question, which serves as the perfect introduction to the band's sound; guitar heavy on the surface, with a ridiculously catchy drum beat and enough 'ooh ooh's' to have a 60's girl band out of a job. What more could you want?

The next track on the album takes a slightly heavier turn with Trust Me... I'm A Genius. Another track that will be familiar to earlier Rain fans, with a guitar hook taking its inspiration from that of the iconic Still D.R.E. A strange comparison to make but just another nod at how well The Family Rain tackle that hip hop influenced rock 'n' roll sound that very few bands notably master this early on.

Feel Better (F.R.A.N.K) provides a slightly more energetic feel to the album with break-beat drums and a much more 'punk' sounding vibe overall, a further piece of evidence to support The Family Rain's versatility within the 'guitar-music' genre. This is followed by one of my personal favourite tracks on the album, a track of which the hook you may know of as Memento if, like me, you are an avid listener of the band's soundcloud. Don't Waste Your Time On Me, a track that I vividly remember from their set at Leeds festival, with every member of the crowd singing a long. Like many tracks on the album, this one starts off instrumentally sparse and slow in tempo, building up into something much more heavy and anthemic. With heartfelt lyrics and that underlying hip-hop drum beat, erupting into brash guitars and screechy vocals from front-man Will. This track definitely encapsulates what the band are about in a mere three minutes and fifty four seconds.

Another blissfully heavy track comes in the form of Reason To Die, which again makes for one of my favourite releases The Family Rain have ever put out. A track laced in exceptionally groovy riffs and ominous lyrics brought to justice by Will's aggression ridden vocals, before we are graced with my favourite track on the album, (and I say this with great caution as literally every track stands out for me) Binocular. Kicking off lightly in an extremely joyous fashion, we are introduced to yet more beautifully crafted lyrics before we are punched in the face with a very Cribs-esque sing-a-long chorus that proves impossible not to nod your head to. It's safe to say this track would get a crowd going in seconds.

On My Back comes next, another track that could put up a pretty good fight for the top spot along with Binocular and Reason To Die. With some of the album's most interesting drumbeats and an infectious hand-clapping running right through the track, not to mention its catchy lyrics that were meant to be sang-along by thousands of festival goers. This track certainly is a high point of the album. Pushing It makes for one of the band's roughest and toughest tracks yet with heavy introductory guitars and a laid back drumbeat. Did I mention it's as catchy as anything?

As the album draws closer to its end, we are introduced to one of the most beautiful and anthemic tracks on the LP, Together. With the initial vocals being recorded into a kids toy, The Family Rain are certainly not afraid to experiment. Once it kicks in, this track is slightly reminiscent of some of Kings of Leon's best work, with an anthemic, bluesy chorus that will be in your head for days. The Final track, All The Best, proves to be the perfect culmination to the album, taking a notably different direction to its predecessors. With more of a balladry feel than previous tracks and even more 'ooh-ooh's,' All The Best is an absolute masterpiece.

If you haven't already clocked on, I am a massive fan of The Family Rain. Their debut album has turned out even better than I imagined (if that's even possible) and I can't wait to hear more from them. Under The Volcano has got to be one of the best debut's in a long time, right? Let's hope some tour dates are on the horizon.

***

9/10

Under The Volcano is released February 3rd via Virgin EMI Records. Preorder it here.