Archive for the ‘Album’ Category

Ladyhawke – Ladyhawke

Friday, October 3rd, 2008

Released: September 22nd 2008

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.

The Peth – The Golden Mile

Saturday, September 20th, 2008

Released: September 1st 2008

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.

Blaqk Audio – CexCells

Monday, August 20th, 2007
Released: August 7th 2007

Released: August 7th 2007

It must be like a shot of adrenaline to be able to create without giving any thought to what the critics or fans will make of it, much less worrying about record sales. After all, Blaqk Audio is a side project, long in gestation and lovingly tended by Davey Havok and Jade Puget, one half of AFI. You can see why they won’t be chasing after validation from anyone. Of course, it also helps to have an album worth a listen. Luckily, ‘CexCells’ delivers on its promise of synthesizers and club beats that are all heart; as much heart as keyboards can express.


Drawing on influences ranging from VNV Nation, Depeche Mode and Daft Punk to the more foreign Einstürzende Neubauten, half of it runs like a moody soundtrack of a shadowed, sleazy hole-in-the-wall, the other booms over a flashy rave, and it all has been made to dance. ‘Stiff Kittens’ is the first single and it’s as anthemic and unrelenting as ‘Wake Up, Open the Door and Escape to the Sea’ is despondent and full of words of wisdom: “oh, my, my, you’re so sly / let’s leave unsaid what’s left unspoken / oh, my boy, you’re oh so coy / let’s just pretend that nothing’s broken”.

The theme, as the album name suggests, is quite sexually charged, the one topic never really touched upon in any of the AFI albums. ‘Where Would You Like Them Left?’ is a shining example of the sweeter side, or as sweet as you can get with lyrics like these: “strip for me as I have stripped for you / we’ve got nothing to hide and we’ve got less to lose”, but even that’s tame and very friendly when you stand it next to ‘Between Breaths (an XX perspective)’. If erotic asphyxiation had a theme song, that would be it. ‘Semiotic Love’ is a sad, electronic love song and ‘The Love Letter’ (don’t let that title fool you) is like a rock opera on loneliness.

More than a few bands even with a moderation of success have branched out into side projects to try their hand at something extraordinary. Some never make it past the planning stage and some fall through without making so much as a peep. From the sound of it, Blaqk Audio will be sticking around and marching to the beat of their own drum machine.

Previously published on This Is Fake DIY.

AFI – Decemberunderground

Friday, June 2nd, 2006
Released: June 6th 2006

Released: June 6th 2006

It took two years for AFI to write and record this, their seventh album, and follow-up to ‘Sing The Sorrow’, and ‘Decemberunderground’ shows the deep thoughtfulness and thematic cohesiveness that went in to making it. It may even be a little too thought out, trailing behind it an elaborate mystery left over from the ‘…Sorrow’ days involving the number 37, rabbits, and phone numbers. It’s a bit of a muddle.

Our story begins with ‘Prelude 12/21′, the first day of Winter, and it’s as chilly as you’d like: full of chimes, precise beats, and steady vocals. ‘Affliction’, on the other hand, is a fiery one, raw and emotional. It may have something to do with the rawness with which Davey Havok is spitting out the lyrics at us; and what lyrics they are, too! ‘Kiss And Control’ boasts lines that read like poetry (“part your lips a bit more/i’ll swallow your fear/I will show you how all the bite marks impress a need to be here”).

‘Miss Murder’, the first single, pales in comparison to some of these, but it is nonetheless worthy, and gives the album some of its musical pop tones. ‘Summer Shudder’ along with ‘Love Like Winter’ (see a trend?) finally show the influences many 80s UK bands, including The Cure, Depeche Mode, and even U2 was mentioned, have on the band. ‘The Interview’ has an epic feel to it, languid and melancholy. But the star is ‘Endlessly, She Said’, playing word games – “I will wait for you/she said endlessly/I will wait for you/so spoke misery” – and mixing the tenderness and violence seen on previous tracks to create something heartbreaking.

Time to press repeat!

Previously published on Rocklouder.

Delays – You See Colours

Tuesday, March 14th, 2006

Released: March 6th 2006

Released: March 6th 2006

Delays‘ debut album ‘Faded Seaside Glamour’ was as wispy and drowsy as the name suggested. With this, the follow-up ‘You See Colours’ it’s the same idea; the band’s more electronic side – as previously seen on one-off single ‘Lost In A Melody’ – is now full blown. We’d also imagine Aaron Gilbert has more electronics to fiddle with.

The most obvious point on here is that the more uptempo melodies and stronger tunes enable Greg Gilbert to show us the full power of his voice. ‘You And Me’ starts like any other Delays song is presumed to – until the music kicks in. It’s a great segue in to lead single ‘Valentine’, which wouldn’t be out of place blasted in a crowded club, complete with disco lights. Yet, the peachy music covers up some dark lyrics on dark subjects (“New Orleans’ll tremble tonight/With bleeding hearts and swaying lights”) – not what we’d expect from ‘You See Colours’.

‘Winter’s Memory Of Summer’ is a mixture of Delays‘ old and new styles, and ‘Lillian’ blazes in like some sort of late pinnacle with its oohs and ohs and pure brilliance. Although there are still some downers without the benefit of an emotionally neutral title and high-gloss tune – ‘Waste Of Space’ being a perfect example, ‘You See Colours’ sees Delays show us their new musical side. A different colour, if you will.

Previously published on This Is Fake DIY.