Released: May 19th 2009

Glam band IAMX is not as well-known or well-regarded by music snobs as Chris Corner‘s other project, the Sneaker Pimps, but with the release of a frankly fantastic third album, Kingdom of Welcome Addiction, on the heels of a fantastic second, doubters need not apply.

Immediately hitting it off on a large scale, “Nature of Inviting” sounds as a late-night dance track should, a pervasive beat running through a highly charged song, with Chris belting it out for all he’s worth. “The Stupid, The Proud” and “I Am Terrified” slow down the pace; though far from ballads (that honor belongs to “Running”), they lend a melancholy gravity to the album, which exposes Chris‘s “bleeding heart” side admirably.

“My Secret Friend” is a stand-out track, featuring Imogen Heap in a pitch-perfect duet, Imogen‘s smoky vocals complimenting Chris‘s tenor until they blend into one. And the title track is a marvel of melody and oompa-oompa percussion, whirling so dizzily that it borders on the hypnotic. “The Great Shipwreck of Life” has a fairground feel to it with its tambourine and bells, a more upbeat score to a song that suggests that “we all fall down.”

Previously published on The Owl Mag.

Released: January 19th 2009

The new British “it” band White Lies has been compared to many others, Joy Division chief amongst them. Interpol and Editors also come to mind, themselves hailed as Joy Division knock-offs, but each earning a place in the hearts of music lovers everywhere. At first listen, White Lies does not seem to be any different than the procession of those other depressing, monotone songsters, but if you give them a chance, they worm their way in with a few well-placed songs and some great lyrics.

“Death” starts the record off on the right foot, both thematically and musically. Harry McVeigh sings quite cheerfully, if flatly, about the fear of dying while the music pounds in time to a heartbeat. The chorus of catchy breakout single, “To Lose My Life” — “Let’s grow old together / and die at the same time” — sounds quite romantic in its own morbid way as long as you don’t use it in the pursuit of love, which is bound to fail miserably. “Farewell to the Fairground” has the makings of a hit with yet another catchy chorus and some downer lyrics. “E.S.T.” roars large and anthemic, the guitar weaving a cool melody in the quieter parts, while “From the Stars” recounts the story of a funeral in minute detail of pitch-perfect storytelling.

Previously published on The Owl Mag.

Released: March 3rd 2009

Only Ladytron could get away with an EP stuffed full of remixes of the same tune. Especially when the song in question from their latest album, Velocifero, doesn’t strike us as the ultimate dance track. The first to catch our attention is the “Dirty Vegas Club Remix,” which clocks in at 9:15 min and has the honor of being the longest and most boring of the six remixes on the Tomorrow EP. “Port Royal Remix” is far more palatable though still far from making a runaway dance floor hit.

“Vector Lovers Lucky Remix” is furthest from improving upon the original, sounding nothing like it and dragging on in a plodding fashion for over six minutes. Thankfully the “Great Northern Remix” saves the day by infusing some life into the EP and even manages to give an interesting twist to the melancholy sound of “Tomorrow.” Perhaps because Great Northern is a band in its own right instead of a DJ, the male vocals and added harmonies layered on top of Helen‘s unvarying intonation add actual richness to the track.

Previously published on The Owl Mag.

Released: October 18th 2008

Lo and Ben are the heart of Heartsrevolution, which they’ve branded as an “Anime trash pop” band or, something a bit more palatable, “electro-punk.” In the vein of Crystal Castles, it’s less about melody and more about noise; far from garage rock, it’s all about the beats and switches of a complicated keyboard with prerecorded samples.

Starting with “Switchblade,” it all sounds well and good until Lo’s singing cuts into the layered techno. Sometimes the vocals are a muddled noise in the background, sometimes it’s high-pitched, childish screaming. The former is very much preferred. There’s some glam in the track “Dance Until Dawn,” probably the most straightforward dance song on the EP, but it doesn’t save the overall impression of this aural mess.

The NME may have decided to brand Heartsrevolution as one of its “top 50 bands, artists and innovators driving music forward,” but, in this case, it’d be more accurate to amend that last to “most headache inducing.”

Previously published on The Owl Mag.

Released: May 24th 2008

Easy-going is the adjective that seems to best describe The New Centuries (recently renamed Jetskiis), until they hit their groove. With a healthy mix of guitars, synths, and intense gasping, crooning from Ryan Beaujolais, one-fourth of the creative force behind the band, each track on this EP is catchy. Taking their cues from the legendary Talking Heads, Sonic Youth, and The Cure, The New Centuries are a mix of angsty lyrics and upbeat music.

“Birds in the Garden” is slightly frenzied, pitch-perfect for a sweaty dance in a small club with its steady riffs and heavy percussion. While “The Lynde Lake Skull” hits all the moody low points the vocals imply, “There’s No ‘P’ in my Aradise” rollicks good-naturedly, though it strays unwisely into solo territory, slowing its momentum.

With some more practice and a full album under their belts, they shall be well on their way to becoming the next indie darlings.

Previously published on The Owl Mag.

Released: September 22nd 2008

Ladyhawke (aka Pip Brown) is a one-woman show. A lady of many talents, she’s been playing music one way or another since she was eleven and it shows: the whole album, track for track, is polished and catchy. Her slightly rough and breathy vocals are accompanied by backing vocals, bass guitar, drums, electric guitar, guitar, keyboards, synthesizer, and, you guessed it, she does it all.

‘Magic’ sets the tone: immense, theatrical and synth-tastic. ‘Another Runaway’ a throwback to the decade of big hair, the influence of the 70s and 8os evident in the measured guitar riffs layered by rhythmic synth-work. ‘Morning Dreams’ is the ballad of the album, still grand in design, but more wistful, better for swaying – lighters and glowing cell phones held aloft, waving in the gloom, – rather than a dance-floor filler.

The second single, ‘Paris Is Burning,’ would fit right in, booming from the foot-tall speakers of a nightclub. Though thoroughly modern with a beat measured in hand-claps, it’s still reminiscent of Gary Numan‘s ‘Cars,’ and you just want to sing along. ‘Professional Suicide,’ na-na-naing with a cynic’s advice, and ‘Dusk Till Dawn,’ methodic do-do-doos are a double-hit. They cement the dichotomy of upbeat beats and downtrodden lyrics.

The album is arena-worthy and pyrotechnics-inspiring, and you start seeing that Ladyhawke is very serious when she says, “The louder, the better.”

Previously published on This Is Fake DIY.

Released: September 1st 2008

The Peth is something of a superband, featuring Super Furry Animals drummer Dafydd Ieuan along with Rhys Ifans, who is better known for his acting talents than his musical career. Recorded over a two year period in Cardiff, the album tries to tell various stories all taking place along one particular stretch of road, hence the title: ‘The Golden Mile.’

Unlike the first hesitant, tentative notes of ‘Half a Brain,’ the album opener, which is a mish-mash of instruments and synths and ambient noise, the first single, ‘Let’s Go Fucking Mental,’ is relentless in its tempo. It follows the rhythm of turning wheels with a regular, pig-headed beat. And the album, taking its cue from the single, never seems to relent, pounding steadily away.

Though as far as slow songs go, ‘Honey, Take A Bow’ starts out with a promise, but soon starts to drag; ‘Stonefinger’ is a little whiny. Maybe they should stick with the more upbeat, after all. While ‘Shoot on Sight’ has quite an ear-catching melody, but the whole effect is ruined by muddy vocals. On the upside, ‘Sunset Veranda’ is the best mix of vocals and music, possibly because of the female vocals that compliment Ifans’ raspy mumble, and ‘Last Man Standing’ carries an 80′s vibe and carries it well.

Overall the album feels a bit meandering, as if alcohol sodden, or just in a trance. But it does fulfill the promise of psychedelic rock, one spin through had us dizzy with vertigo.

Previously published on This Is Fake DIY.