Archive for the ‘Track’ Category

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Garbage – Sex Is Not The Enemy

Sunday, June 12th, 2005
Released: June 13th 2005

Released: June 13th 2005

Sex is definitely not the enemy, and Shirley Manson proves it in her usual manner – singing throatily with wayward ‘ooh’s’ punctuating the message. You can almost see the artful sneer that must be firmly in place. And what a great way to stir things up a bit; it’s rock ‘n’ roll, after all.

’A revolution is the solution,’ Manson insinuates; it’s all about the ‘free love’, her language highly reminiscent of that favored in the hippie 60’s. Climbing guitar chords are cushioned by a sing along bass line – this track is utterly infectious, standing up to multiple, consecutive, listens.

Garbage have finally returned.

Previously published on This Is Fake DIY.

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Sons & Daughters – Dance Me In

Sunday, May 8th, 2005

Released: May 23rd 2005

Released: May 23rd 2005

Sons & Daughters are all about the beat. Foot stomping, something to get caught up in on the dancefloor, ‘Dance Me In’ has all of it. Whirling off in to the dark, taking everyone along for the ride. Be warned; listen to this on a loop and it will definitely take over your brain.

The soft lilt of Adele Bethel highlights the forceful delivery of each word, backed by as much breath as she can muster. The energy put in to the track is almost palpable, the underlying chords simple, effective and everything needed to complete their sound.

Turn up the volume, close your eyes, feel the bass kick, and shudder.

Previously published on This Is Fake DIY.

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Maximo Park – Graffiti

Tuesday, April 26th, 2005
Released: May 2nd 2005

Released: May 2nd 2005

Delightfully catchy, danceable and even strangely contradictory in its aplomb, ‘Graffiti’ unfortunately lacks something to make it even more so. It is not easy, admittedly, to follow up the pure jerky pop that was ‘Apply Some Pressure’.

When compared to the sonic muddle that was the demo, it sounds much clearer and relentless in battering out the stop/start, irregular percussion. The words are not as carefree as the music (“What are we doing here if romance isn’t dead?”). Moreover, it comes backed with some early studio material which showcases the raw beginnings of Maximo Park‘s pervasive sound, a good gauge of the way they have developed, and the way they will continue on.

Even if it’s not the pinnacle of genius, it’s every inch Maximo Park, and that’s what counts.

Previously published on This Is Fake DIY.

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The Tears – Refugees

Sunday, April 17th, 2005

Released: April 25th 2005

Released: April 25th 2005

The reunion of Bernard Butler and Brett Anderson prompted much rejoicing. And there is good reason for it. ‘Refugees’ channels all the free and fresh things – an unbridled optimism – and it manages it in just under three minutes.

The sound is blissfully triumphant, a more upbeat tune to suit the new, upbeat attitude. It’s an easy song to take to and an easy song to hum to and maybe even twirl to a bit. Anderson even takes the opportunity to insinuate a political opinion that he’s held for two years in between the guitar flourishes. This is the perfect chance to start anew and raise something innovative from the ashes of the old.

You cannot escape the comparison with the early Suede material; after all, the creative team has not changed. But just think of it as a long, silent hiatus that replenished their creativity and helped them gather the strength to take the charts by storm.

Previously published on This Is Fake DIY.

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Interpol – C’mere

Friday, April 8th, 2005

Released: April 11th 2005

Released: April 11th 2005

The third single from ‘Antics’ is straightforward and may even be considered cheerful by Interpol standards. Music-wise that is.

Paul Banks‘ vocals are as dispassionate as always and the content makes little sense whichever way you read it, but it works wonders when combined with the guitar and bass twining around each other and backed by the complimentary drum beat. Sounds and – dare we say – smells like spring if you just close your eyes and let the music sweep through, though be mindful not to breathe too deep – it may go to your head.

It does not stand out as brightly as ‘Slow Hands’, melding into anonymity for those unfamiliar with the moody sound. It may require a few repeat listens before it manages to distinguish itself, but ‘C’Mere’ gradually establishes its own comfortable familiarity. And once you learn to recognise the easy sound, the ride’s as smooth as Carlos D‘s bass chords.

Previously published on This Is Fake DIY.

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