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Chunky bubblegum punk pop, like Helen Love, only a little less slick and without the lyrical savvy. Great pogo-friendly clap-beat fun nonetheless. Skif
A blistering, careering spin in the Balor Knights grazed-finger jangle leaves one breathless, despite the breaks for a little brass. The Scarlet for a little brass. The Scarlet Tuesday are a more sophisticated alternative, a kind of dinner jacket indie, the male/female vocal paths interweaving majestivally with the cheeky sprite-ish recorder motif. Skif. www.theespc.com
Like Ricky, The Bank Holidays take West Coast harmonies a crisp but feathery jangle that dips into the annals of Beach Boys history, but also fit contemporaneously with the Bluetones and Belle & Sebastian. The orchestration and gentle vocal of Bekk Reczek on ‘Like A Piano’ is where the EP kicks in earnest continuing on the tricksy delight of ‘Can’t Be Beat’, which has a Dressy Bessy atmos. Skif
Appearing in many a 2006 breakthrough list, and it’s easy to see why. A similar swagger to last year’s golden boys, Kaiser Chiefs, but with a more Muse-like pomp-rock gusto in their strong dramatic guitar wrangling, synth falling like an axe to finish it. Skif
A cracking proper tinny 7” release, with the crashing, distorted ‘Careful What You Wish For’ kicking the door in emphatically. A Weddoes formula with cuter harmonies allied to a frenzied attack on the guitar strings. Elsewhere they play things down for a gorgeous version of the Softies ‘It’s Love’. Skif
A sweeping, swooning cutesy vocal piece from the multi-talented Mr. Eno. Not what one might have expected, perhaps it’s a middle age thing. Skif
Norway’s finest Cadillac deal in spikey rock riffage. There’s nothing particularly punk about them, but they make a good job of shaving the dead skin of pop-rock. This is particularly case on the pacey echo-chamber of a b-side, ‘The Sinner’ showcasing their pizzazz. Skif
Histronic jangle-friendly rock music that aims to leave a lasting effect on the listener. The guitar lines reel in the ears in a friendly manner. Skif. www.caplyn.com.
Title track, ankles bit by snappy hardcore, guitars chiming and virtually dowining out the increasingly scorched yelp. It spoons, it rolls and hopscotches into myriad directions of post-rock, post-punk, dada squall and further. ‘The Record Industry Is A Giant Penis’ does similarly stubborn things, quite Eastern European alternative insurrectionist Zappa-jazz in its way, with a touch of Prolapse about it as well, which will never be a facet that detracts from anything. Skif. greenshake@aol.com
Pantomime keys and foreboding slap-bass, Chapter XIII’s atmospheric rock has an 80’s b-movie thing going on. If that b-move was directed by Les Claypool though. Skif
The Walker-esque richness in the vocal, and a will to be a little be irreverent. God, I’d love to hear this band have a crack at the Rentaghost theme. However I will have to make do with their cut n’ shut job on ‘Forever Autumn’ from Jeff Wayne’s War Of The Worlds thing, which bookends their brief take on the Floyd’s psych-freak masterpiece. Certainly a change of pace for them, but this appears, if anything, to be a kind of showcase single, as the Pulpish-swoon of ‘You’re The Prettiest Thing’ from their excellent recent LP comes attached along with a couple of other new tracks that show they are willing to challenge themselves and wrongfoot their listeners, such as with the electronica fillip of ‘Bell & Shoelaces’. An ideal way to find out about a tremendous band. Skif
‘History of Robotics 1066’ is classic slow-build post-rock dusting down lapels before grabbing listeners by them. Finally it implodes in on itself after 11 minutes leaving a delicate, eerie void. ‘The Longest Walk On A Short Beach’ is less intense, more joyous and has a kind of Zimbabwean, Four Brothers-like, guitar rhythm running through it. Nonetheless it still climaxes in extraordinary fashion. Skif. www.clyndersound.com.
Euphoria manifests itself in many ways, but I doubt that it has ever been portrayed with the same dryness and laid back, Leonard Cohen approach than on this Davey McManus engineered offering. Springtime piano’s, deft guitars and earthy, yet out of this world (or off this planet, whatever you prefer?) lyrics catapult The Crimea to the status of underrated and underexposed genius. This mesmerizing and refreshing Irish quartet continue to dazzle and puzzle listeners alike; one thing is for sure people will certainly take note after this offering. David Adair
Phew, the Cutters certainly cut in sharp on this contentiously titled single. ‘If you were Jesus, would you come back here?’ they ask. Good point. He’d fancy getting amongst the mosh for this track I shouldn’t wonder, spirited Who-like rock with a 70’s flare flapping away beneath the simple but effective bass-line. ‘One Look Back’ is much more lightweight but with a very cute cyclical guitar line. Skif. www.cutters.co.uk.
Rap or not, hip hop producers are putting together some of the most fascinating mainstream-accessible sounds around. The rattle, swing and thump of the backing track of ‘Back Again’ overshadows the words of the MCs. Excitable scratch bursts and warped vocodered backing harmonies make this an enthralling listen. Skif
Punk, but with capital P emphasis on pop, bouncing basslines and vivid vocal hooks at the centre of their efforts. ‘Glimmer Cross’ has that zombie, glottal rumble familiar from Eighties Matchbox records. However their muscle is adorned with festive lights and jaunty decoration. Skif. djangoblackensemble@yahoo.co.uk.
A couple of remixes for download from www.karmadownload.com. The two tunes in their original form will feature on their forthcoming 2nd LP ‘Bubblewrapped’. These tunes are wroth getting your hands on though as ‘Boys Don’t Bother’ is particularly effervescent, but arch, dance-pop. ‘Teenage Timebomb’ captures an increased Bis/Grange Hill kinda sugar/street thing in its first half, dropping the sweeteners for its back 9. Skif. www.electroluvs.com
One of my singles of the year for 2005 despite being a demo and being hotly tipped as a Portsmouth band that may just break out of the city. This demo is excellent quality with four stunning tracks that show the band off perfectly; opener ‘Neon City’ is an anthem waiting to happen with the big squelchy synth opening a real killer hit, yeah there’s a healthy dose of 80s in there but they have scavenged the best bits and woven them into modern sounding indie rock that will have dance floors heaving like a massive orgy given the chance. What is striking whilst listening to The Exits is that every song is top notch, all have killer pop hooks that grab you instantly while still remaining threatening and edgy. If The Killers, Bloc Party etc are your thing then this is essential as it wipes the floor with them. Grebo. www.theexits.co.uk.
Thumping Hammer-horror keys, a strident semi-gothic Kinski-like stomp with a hint of early-Fall within the otherwise quite sparkly vocal combo which is particularly well showcased towards the end of b-side ‘The Edge’. Skif
They call themselves ‘slum rock’ and have carved out their sound in South Wales and Bristol, but rather than slums this appears to be a pretty decent rock des-res (commanding excellent views of the Severn). Quality harmonies make this quite a rush of a rock record. Skif
There are those who make things happen and, there are those who wait for them to happen and then realise that is a darn good idea. Unfortunately, for all their throaty jibing, the crescendo guitars and some catchy lyricism (especially in B-side ‘Four’) this Leeds music making team, fail to shake off that reactionary feel that seems to be following them like a stranger in the night. David Adair
Not the best sounding demo in the world but it gives you a great idea of what Frosthold are about and if titles such as ‘Winterswar’, ‘Once Again In Humankind’ and ‘Into The Underworld’ don’t say it all then read on. This is metal, perhaps veering towards the black side of things but that’s just being picky, intense shredding dissolve into blast beats and collapse into gentle waves of prog before the demonic possessed vocals kick in again and the power rises up with guitar cutting through the steady beats like a knife through flesh. It’s intense and ideal for the bullet belt wearing long hair types who enjoy synchronized headbanging when not standing around looking miserable. Grebo. james@total-carnage.org.
Be-suited spirited types from Sunderland with their heavily synthed dandy archness at once as enthused with New Romanticism as with Ian Curtis style misanthropy. All of this towed along with the sharpness of Elvis Costello’s sarcastic bile. Skif
Gags! Wordplay! Wacky references to rectile tissue! No, come back. TGPLTTT(P) often have a Stanshall-like music-hall surrealist thing going on (‘Tractor Love’) but it heaves toward a Doobie Bros. riffed Barron Knights effort come the ‘Wrestling’, while they can sing ‘I want to get quizzical, quizzical’ with a poker-face on ‘Scrabble’ which delves into the underbelly of the wordgaming world. It feels like the start of a joke rather than a punchline, so stick around. C’m’ere. There’s more. Skif
Sarah Howells backs herself with cello, guitar and drums and these simple artifacts are the perfect push-start for her emotive songwriting that brings to mind KT Tunstall, Sheryl Crow and to a lesser extent Cat Power. ‘Smiles And Air’ is gorgeously dramatic, ‘Paper Cuts’ applies a trip-hop beat to a calmer ballad and again this works extremely well with her sharp but warming voice. Halflight’s is a familiar sound, very welcome at that, and certainly of their type. Of their type though, they are one of the very best. Skif
Five track offering from more rock fuelled types that like it hard and heavy but with a smattering of melody and odd time changes. This demo is dripping with classic guitar riffs but is brought up to date with some heavy riffing while they have a vocalist with a decent singing voice that compliments the inventive music well. ‘Albino’ is perhaps the stand out here having a slight out there stoner feel with a loose groove that floats along on a haze of smoke closely followed by ‘Pyramiss’ that begins with a very metal guitar solo before hitting a heavy groove. Interesting metal with the power to make people dance and hints of very good things to come. Grebo. www.hellcyon.co.uk.
Concerning adolescent struggles of drug addiction, self-harm and the suicide of a friend, ‘Old Britannia’ nonetheless is as jaunty-sounding a record as you’ll hear which, if anything, only increases it’s emotive weight. With banjos and bar-room piano and the prospect of a UK prison tour, Hey Negrita have a message and wish to use to it totry and make a difference, which is to be admired. B-side ‘Come On Jane; is ethereal with a Dawn of the Replicants touch within their Americana bent. Skif
With the mad-eyed eccentricity of Kate Bush, the wide eyed faux innocence of the 60’s girl groups and an eager infusion of garage Hammond, ‘Terry’ is just the slinky ticket. Skif
With the darkness of Joy Division but the peppy sprint of Jane’s Addiction and the synth swirl that is both gothic and 80’s pop-art, Humanzi career into our lives in dramatic fashion. Skif
Grunge-style hard rock powered with a fondess for Bon Scott-era Acca Dacca, guitar solo breaks and drums to be smacked, not tapped. Skif
More filthy rock n roll action from the gutters and seedy nightclubs fuelled by whiskey, dirty angels and Junkie Queens; as it rubs up against your leg you know it’s wrong and you know it’s going to take you to places you shouldn’t go but you want to dive into those dirty sheets and get on down. It isn’t pretty but it feels good and leaves you wanting more of the Viper sound. What’s more they will make you feel dirty and good all at the same time for free, just email gimmeademo@jackviper.com with your details and they’ll pop your cherry or head to www.jackviper.com to find out more about these old school rockers. Grebo. .
Possibly what Avril Lavigne would sound like if she didn’t have one eye on the pop starlet lifestyle once the less-savvy skaters have been suckered. The harmonies and vocal lines on ‘Gutter Girl’ are great, and the Veruca Salt influence comes through both musically and lyrically. Dynamic punkishness. Skif
Beefed-up ethereal post-shoegaze, post-jangle pop-music. Shines brightly, like guitar pop should. Skif
I remember when the first Korn album came out. Thanks to producer Ross Robinson, Korn had a genuinely new sound on their hands. Unfortunately, ‘new’ became ‘nu’ and a depressingly sterile, overtly macho, creatively stifled, and very American genre was born. Korn’s debut sounded organic: it sounded like it had been recorded in the late 60’s. The aggression was born out of 80’s stadium metal, the introspection was a result of grunge, but in every other respect Korn were direct descendants of Sabbath and Zeppelin. How unfortunate that all that followed – including Korn’s subsequent albums - were predictable and over produced to the point of bands being on auto-pilot. The exception would, for me, be Deftones. But I digress. ‘Twisted Transistor’ is nu-metal by numbers and confirms my suspicion that Korn have broken no new/nu ground post-debut. This is exemplified in the lyrics - how much longer can singer Jonathan Davis flog the demons from his past? Jonny boy, take your lead from Eminem, who has at last realised that there is no artistic merit in continually washing dirty linen in public. In short, grow the fcuk up, realise you aren’t the centre of the universe, and take a look around (crap nu-metal reference completely intended.) Leon Michael Tricker
The work of the Morrisons’ Ian Churchward and Guy Bolt, ‘Hung Up On The Past’ is affecting, melancholic lo-fi pop-music with a Nick Cave/Scott Walker flourish on its breezy riffs. Proper guitar pop this, with a ‘Medieval Garage’ a quirky flourish at it’s end. Skif
Perhaps it’s something about being a passing itinerant with no long term responsibilities, but I swear this is the 3rd or 4th ‘Lodger’ I’ve come across. This is one of the better ones with careering, rumbling but yet humble and gentle in spirit. Rooted in lo-fi but not allowing themselves to be bound away from the pursuit of perfect pop. Skif
Theremin, reel-to-reel, analogue keyboards, modular synths, drum machines, random electronics and shortwave radio. These ingredients may give the impression of something cold and clinical but this is not always the case, tunes like ‘Wild Animals Ate My Mother’ being cheeky, impish and cutely, gingerly percussive. The chromed cellar whine of ‘Yellow Beam Death’ reverting back to type. ‘Floating Dead Astronaut’ is perfectly titled, bleak and hope-less, while ‘Satellite Link To Sun Ra’ returns the bouncing party-funk spirit. ‘3 Surreal Euro Girls’ whirrs as though clattering up and down a half-pipe on a whisk. Skif
A ‘Subterranean Homesick Blues’ for rinky-dink Ian Dury pub-rockers or their antecedents, like The Streets and such. Mind you for all it’s Mike Skinner-isms, it does feel very much like Lonnie Donegan’s post-skiffle appeal to music hall. If he’d got his Good Olde Days comedy numbers backed by Mclusky. Of course. Skif
Emphatic lip-glossed whirlwind that doesn’t whip around the dancefloor so much as aggressively pull up it’s sprung wooden panels. A gothic archness leaning across the most blatant pre-‘clash, new romantic electro-current flowing out today. Skif
Tynemouth formed 70s disco style frolicking thumps out with aid from the brothers Jed and Jack, who are the mainstay of this teetering trio. ‘Super Heartbeats’ pumps out crashing guitars that holds up the stammering vocals to give the offering beat and a provocative pinch. The Moterettes have the makings of a power trio, who can step into the territory occupied by The Cribs to bring blasting rhythm into your life. David Adair. www.themotorettes.com.
Mr. Fogg aka Phil Barry’s ‘Giving In’ single is synth-pop but applied with a light brush that merges the colours of the Blue Nile and White Town creating an opaque turquoise and a mostly cloudless sky. The beats come slightly more fleshed into Kraftwerkian style on ‘Cogs’, while ‘Bloodrush’ even manages to touch on Coldplay territory. Skif
My Enemy – Roo EP (Yellowmica)
Unassuming tweelectronica taking as much of it’s heart from ‘Kids In America’ as ‘Avenue’ or ‘Testcard Girl’ and indeed a cover of Kim Wilde’s ‘Cambodia’ rounds of the V&G single. The Roo EP skids and skates, dolling out flowers to passers-by with an embarrassed, shy smile, particularly on ‘Khreis’ and ‘My Time Coming’ which appear on both singlettes. While the Yellowmica release focuses on their songwriting, their gentle indie-pop heart, the V&G ‘Khreis’ single centres on a set of remixes that examine the possibilities, the potential of the electronic element. Tommy Eld’s version of the title track doesn’t morph too excessively and is arguably the most successful version because of it, although Claudia’s shoegaze take on ‘My Time…’ has an Ozric Tentacles/Buddhist mantra tug that is difficult not to be swept along with while the Mein Feind version approaches Banghra levels of percussive joyousness. Skif
Synth-laden dark pop-rock with the histrionic bent of Athlete given a boot up it’s lilywhite arse. B-side ‘Tiredness Can Kill’ has the cheeky spurt of Grandaddy’s ‘Crystal Lake’ awash throughout, while ‘Under The Surveillance Re-Styled By Camp America’ brings the short single to a swiping, intriguing conclusion. Skif
Champion Kickboxer/The Interiors/Chuck – Thinking/She’s In Japan/Kill ‘Em All (Wrath)
The second of this volume and no.’s #9 and #10 in the Wrath Super Seven’s vinyl single series, these two records have a lot to live up to. Piskie Sits’ ‘Props’ has Breeders-like scuzzy power with a ramshackle old yelp over the top, while This Old House combine vocal trajectories meeting and do-se-do-ing at points with college lo-fi being the basis for their verbal footwork. On the other single 3 of South Yorkshire’s finest come together on loan from Thee Sheffield Phonographic Corporation, with Champion Kickboxer perfecting their fabulous, twinkling, twirling fuzz and The Interiors clattering Kaito-esque post-garage chic. The only minor let-down is Chuck, whose last 2 singles have been close to genius whereas this number is typically spirited and doesn’t quite have the giddy thrills of their prior classics. Skif
The cascading thump of this post-punk juke-box is fed, powered-up if you like, with the sparkly coins of Hendrix-skinned funk soul. ‘Mournin’ Light’ meanwhile digs out Zep-era vox and guitars, in celebratory mood rather than as a cheeky steal. Skif
‘The Resin Rain’ highlights a bent for the epic a la U2 or The Mars Volta, the prism-light of the guitars peeking through the crack in the doors of Oliver Barrow’s strong vocal performance. ‘Urban Child’ is more direct, the plush strum and piano ballad ‘Then I Was Alone’ highlighting their emotive intent as it skids into it’s drum coda. Skif
This is the sort of minimal electronica I love but fail to write successfully myself. Reminds me of the wonderful Horrorist. The female singers are French but intone in a Nico stylee, while the production rocks a menacing house vibe. All the tracks are variations on a theme and ‘Psych Doll’ works best as a single. But it’s b-side ‘Six On Saturday’ that gets my vote as the most attractive offering. Leon Michael Tricker
Earnest but brittle beneath the surface indie-rock music setting no new standards in songwriting but pushing the right buttons with what they have as the pursue an accessibility which will win them many admirers. Skif
They describe it as street level rock and roll, which is exactly what it is. Rough and ready round the edges they sound as if they like nothing better than getting drunk on whiskey, letting rip and jumping about like a shed load of punks high on glue. It’s certainly not rocket science and no new ground is broken but it’s good raucous fun and for ‘Jonny Riot’ they add some skankin’ ska to the mix for a short but sweet knees up. Robben Island sound like the kind of band you really need to see live rather than listen too on a neat shiny disc. Grebo. www.myspace.com/robbenisland
I love it when a record’s title alone provokes thought. In this case it was "surely all kids these days ARE thieves? Kids and thieves aren’t separate entities." My granny, God bless her dear departed soul, would have probably chipped in at that point with "especially these kids in those hoodies, they’re all bad news." But now she’s dead... Anyroadup, Roger is a Finnish architect from Manchester, and ‘Kids and Thieves’ was produced by Roger Lyons of New Order and Ladytron fame. The vocal is pure Neil Tenant and this is shameless 80’s pop sound. I leave the judgement in your capable hands. Leon Michael Tricker
The plan is for 4x7 7” mini-LPs on different labels, with all 4 labels to unite for a CD compilation release at the end. ‘The Miniest Album’ appeared on Run Out, ‘The Big Flame’ (which we missed, I think) on Banazan, and now this. The ethic is to not over-rehearse, indeed barely rehearse, before laying down their nuggety, truffley pop onto tape. This time we have brass, trumpets squalling through ‘Don’t Say No’. Elsewhere the drum hammer of ‘Health’ leads perfectly into the pacey chaaang of ‘Manky’. Finishes up with the jaunty, clipping ‘George & Maisie’. Skif
Huddersfield electronic musician, guiding light like a prism and shooting it into a refracted distance. ‘Memory Helmet’ glides and scampers, spider-like and with an innocent glee. ‘Cerebral Sit’ drops, weir-like, akin to amalgam of Banco De Gaia and FortDax. This is ambient, exquisite and highly recommended. Skif. www.occasionalrecords.tripod.com.
Back before awsuits from German metal bands, Sun (as they once were) released a fabulous EP that featured the wonderful tune ‘There Will Never Be Another Me’. To my mind they have never topped this but ‘Lava’ and ‘Julia’ were fine examples of distortion-pedal-fired, Beach Boy-harmony drenched power pop. ‘Immediate’ sounds more like Cheap Trick flecked with accessible electronicisms. Fun fare, as per, it’s just a scary though that it must be the best part of a decade since I bought that debut EP and probably 5 years since James Broad and crew released anything. How it flies. Welcome back (Silver) Sun. Skif
Thick, crashing, meaty punkish rock taking the legacy of MC5, bringing it through the grunge era, particularly Soundgarden’s part in all that, and out the other side with this rush of a single. Skif
Grimy, low-slung lo-fi types from the Newcastle DIY scene caustically scuzzing about with a pop culture growing like fungus on the tilted part-harmony male/female vocal combo. Wonderfully lackadaisical. Skif
Sent in accompaniment to the LP reviewed elsewhere in this issue. ‘Season Schizophrenia’ recalls the Spartan, bass-baritone clatter of Beat Happening!, as Steveless and Syd begin flittin’ and skippin’ through dry appraisals of the festive season. ‘Christ Was Born In Bethlehem’ is a waking stumble of a tune while ‘So This Is What Dying Is Like (Xmas In Swansea)’ records both a full headlong tumble into the school music cupboard as well as the subsequent Tourettes-fit inside it. Don we now our tatty apparel as this single captures a more recognizable Christmas than most yuletide novelties. This is a record that throws a tantrum and demands the receipt. Skif
All A-sides here people, nothing cast off. You would hope so too as this is Steve Treatment’s first release in 26 years, and this 7” captures 6 short and glorious tracks, some re-recorded from his late 70’s home tapings as well as new gear. Lo-fi but crisp, brittle punk ethic rock n’ roll with barely audible vocals, ‘Echo’ a psychedelic nursery rhyme. Proper old style package here, fold out 7” cover with lyrics and other collage scribblings. An intriguing rediscovery. Skif. www.toplers.net.
Sometimes, in-between all The Bloodhound Gang cds and such guff that gets sent to VP, you get a cd that stops you in your tracks, makes your jaw hit the floor and leaves you speechless. This is one such item, so much so that it made my top ten singles of 2005, I can’t describe it, and I wish I could paint a picture of the music for each of you. It would be a fantastical painting with hidden meaning and many layers, some obvious and some sub conscious while the textures would play on your senses. This is what TSDOLE do to me, take me in, caress me, whisper to me then fly me through purple clouds as glockenspiels tinkle, guitars soar and the journeys expand. It’s progressive but in a fine way, think along the lines of Amplifier with child like qualities for creating and exploring extended instrumentals that ebb and flow, build and release. Having got radio play for this and been tipped by the likes of Drowned In Sound as ones to watch in 2006 it looks like they have hit on something special, this is one demo EP that should be in your collection, get it while you still can. Grebo. www.tsdole.co.uk
Though the debut demo from Birmingham trio StrangeTime arrives accompanied by a note written on black paper in silver pen, it’s not all whited-up faces, black ankle-length coats and gloomy demeanours round these parts. On the contrary, it’s sex rather than blood-drinking that’s on Kate Finch’s agenda. ‘Lust’ is an effectively blunt statement of intent, while the Rid Of Me era PJ Harvey would have been proud of such bollock-shrivellingly barbed songs as ‘Ex’ and ‘Dressing Up’. Ben Woolhead. www.strangetimeblog.blogspot.com.
Chiming and charming indie-rock jangle that skates along in a deceptively weightless manner. B-side ‘It Breaks’ grips like the Wedding Present and clings on as they clatter about in a clean, unadulterated fashion. Skif. www.thestrollers.co.uk.
Excellently produced folksy effort from Portsmouth trio Sweetedge that easily lives up to their impressive live performance. Eucalyptus Sun is an album oozing confident song writing, deliciously sweet melodies and creative musical flourishes such as the sexy sax that weaves a seductive dance through the title track that even the most unresponsive person would find hard to resist at least tapping a foot to. The delicately plucked strings and vibrant rhythms work as a perfect counterfoil to some dark lyrics by main lady Della Perrett who possesses a strong and distinctive vocal style that is used as an extra instrument to add light and shade to her fascinating stories. An album that takes you on a journey and engages rather than washes by as background noise, mainly in part to the strong songs and impressive musicianship and while it may not be standard Vanity Project fare it’s coming across tasty little oddities like this that keeps it fascinating wading through the cds. Grebo. www.sweetedge.com.
The original Swetbox demo ripped my head off but this re-recorded version burns the skin from your bones and will reduce your house to rubble. For this recording they have brought in Logan Mader (Machine Head/Soulfly) and Lucas Banker (JunkieXL) to twiddle the knobs and they have done a cracking job in creating a fierce wall of sound strong enough to flatten a small country. Of course the original songs are a rude punch in the mouth anyway created by some unstable patients from an underground asylum who should never have walked the earth with ‘Face Off’, ‘Abattoir Of Dreams’, ‘Ridicule’ and ‘Me And My Finger’ venting enough power and fury to blow up the earth, I really wouldn’t want to meet them in a dark alley as they would scare the pants off me. Quite why no one has picked them up yet I can’t work out, as you won’t find a better brutal metal demo than this. Grebo. www.myspace.com/swetbox.
All is well with the world as a new Tender Trap is due, and here is a taster for it that includes the cheeky Elefant single ‘Como te llamas’. ‘Unputdownable’ gradually bears it’s teeth making full use of Claudia Gonson’s drumming. Their tribute to e-chat site ‘Friendster’ surfs on the relaxed bend of Rob Pursey’s guitar, while ‘Talking Backwards’ cements their position through their long morph-friendly history (Talulah Gosh, Heavenly etc.) as life-presidents of the ‘proper’ indie/bowlie/twee pop scene. They make it feel so easy. Skif
Nice mix of guitars and rocky beats that whiff of Kasabian with more of a rock undertow. Definitely indie rock that you can dance to, these four tracks have that Stone Roses funky bass thing going on especially opener ‘Welcome To The Zoo’ while ‘Low Without Sound’ adds funky organ to the Led Zep inspired riffing to spectacular effect. ‘The Reason Is This’ works on an electro beat but also sees heavier guitar work that stops them drifting too much towards Kasabian that leaves closing track ‘More Fool You’ that is more standard rock fare but just as effective. Grebo. www.trap2.com
6 tracks on this 10”. All fascinating. Flange’s ‘Channel 4 Is Run By Lefties’ a drum machine carried fuzz-punk splurge, the vocoder bursting titular chorus a work of lo-fi genius. Les Faux Monnayeurs – ‘Vibroskomenopatof’ like Sea Nymphs doing silent-comedy cinema-organese. OpenFireAllWeapons’ ‘Safari Death’ having the jungle drums beat out angry post-punk. Charm Offensive’s ‘Come Away’ is shoegazeyclassic rock performed inside a Hessian-covered cardboard box, while the Diabetics’ rallying ‘We Are The Diabetics’ takes a thunderous, caustic approach to Devo-like self-remark. Finally National Speed Limit’s ‘Poll Tax’ appraises the turn of the 90’s with a spin on Morrissey within a Renaldo & The Loaf post-dub electronic squirter. Get it from gestaltrecordsuk@yahoo.co.uk. Skif
Almost androgynous vocals float longingly above a catalogue of enigmatic accompaniments that include the slow acoustic variety, enigmatic sports commentary, spatters of glam rock and jazz tinged guitars to colourfully introduce this Liverpool based item. The title track sticks out for its marching style and the provocatively courting nature of it. This genre crossing 6 track tit bit of Vic Demone’s prowess embraces variety and comforts musical liberty. David Adair. vicdemone@gmail.com.
Eight leather jacket bound rock n roll explosions from this American bunch of rockers. Dirt caked melodies, guitars dripping with oil as they solo over headbanging riffage while the sweat mingles with the blood that is no doubt spilt at riotous gigs. Punk energy bolstered with some metal hardness and chant along choruses that are just aching for fist in the air action and some air guitar theatrics. Everything you would expect from a band that has songs titled ‘Spit On My Liver’, ‘Pill’ and ‘It’s All About The Rock’, which in this case it is and they do it exceptionally well, so if you like stuff such as Turbonegro and The Yo-Yos and all things in-between you are going to love these guys. Grebo. www.whitedemons.com.
Rich with soul, piano battered amongst the maraca shakin’. However this is bland by the Stripes lofty standards. However the b-side cover of the Greenhornes’ ‘Shelter Of Your Arms’ is weighty, strong and sees the Stripes revolutionary blues return to the fore. Skif
A strident yelp, a post-new-wave update of 60s pop, a Dexys Midnight Runners thing on ‘We Came All The Way From Kings Cross’. Understated examples of articulate pop music. Skif
Glamorous theatrical pomp that sails a sea of new-wave and new-romance as well as chin-jut strut. Roxy Music’s shimmer, Neil Hannon’s arched eyebrow croon and all the musical excesses of the 1980’s wrapped into an exquisite medieval ruff. The Wildean chamber pop comes particularly to the fore on b-side ‘Away From The Club’. Skif