Warm and humming with enthusiasm, the Liverpool O2 Academy is plunged into darkness to accommodate for the familiar ritual of collective agitation. Faces hard with pensive forward stares, the crowd scrutinise the vacant instruments ahead of them, confronted only by the continued swallowing darkness and the prospect of the Glaswegian quartet who muster within. An atmosphere of anticipation pushes heavily on every surface, fastening forward the enthusiastic glares and encouraging a humidity of impatience to simmer throughout the room.

However, for many within the crowd, this heat is not entirely foreign. They would recall the last time alternative rock zealots, Twin Atlantic, headlined at Liverpool, performing at the notoriously sweltering venue, Korova.

Almost two hours earlier I had been sat with drummer, Craig Kneale, who was recalling that same gig. Through his unique yet contagious grin, he confessed: “It was nearly too hot to play”. Describing the experience of playing in Liverpool that night, he contended that it was “Definitely one of the most mental gigs we have ever played”. “It was a tiny little gig and it was really busy. Totally packed out. It was amazing!” added bassist, Ross McNae.

Infact, the venue was so reputably hot that Korova recently burnt down, an incident that Ross playfully puts down to “Too much rock!”

The shifting of bodies onstage is enough to cut the tension, if only for a second. Anxiety had been instantly replaced with a rumble of applause and the shuffling of feet as the feverish crowd condensed. While dry, expectant mouths were quenched by a flooding of incandescent light and the final sip of beer, the audience’s senses aptly heightened.

Frontman, Sam McTrusty, clenching guitar with white knuckles, confidently steps forward under the lamplight to reveal his stature. Fixed and buzzing, Sam makes his introductions, bending each word with his distinctive Scottish accent. Already, Twin Atlantic has indulged the room in their self-assured potential; McTrusty had lived up to the rumours. 

Earlier that evening I had quoted Sam McTrusty’s ambitions to become one of the biggest bands in the world.

“I think we are probably a bit more modest in the way that we say it”, explained Craig. “I think we’ve definitely all got that same aspiration. You can’t aim for a middle-ground. That has to be the eventual goal”.

When asked to describe their most defining moments, Ross immediately suggests Twin Atlantic’s 2009 performance at T in the Park: “It’s a festival we used to go to or would still go to if we weren’t playing. Playing on an actual stage when people have come to see you – that’s the kind of thing that makes you think we are actually in a legitimate band!”

All this isn’t forgetting, of course, the abundance of big-name artists that Twin Atlantic have toured with. When you consider the likes of Blink 182, Smashing Pumpkins, My Chemical Romance, Taking Back Sunday and The Gaslight Anthem, it becomes clear that the lads are already tremendously accomplished. It comes as no surprise that they are so enthusiastic to get the most out of their own headline tour. UK aside, Craig details their forthcoming European tour dates…

“We were just lucky enough to get the opportunity to support a band called Angels & Airwaves. It’s not actually part of our tour, but it’s obviously an offer you cannot refuse!”

“Some of these places we have never played before, yet all these people are coming to see us. There’s a bit more atmosphere and that’s always really encouraging. Now we know we are going in the right direction”

Glancing around the crowded Academy, the tone generously reflects Twin Atlantic fame.

Collectively, the band take only a few moments to examine the crushing energy the audience push upon them, before throwing us into their new single Edit Me with such vigour that even the lighting engineer hesitates to react. The crowd, already ecstatic with anticipation, erupts with recognition, as the raucous transfers into movement. Onstage, the boys exchange smiles while the hardened frontman stares past stage-lights, bellowing into the crowd: ‘Is that all you’ve got, Liverpool!?!’

When asked about Edit Me Craig explains: “It’s really fun to play… It’s tricky to play. It’s quite an exciting song and short aswell”. Ross promptly admits his excitement with the new material: “It feels like a bit of a progression from the last time aswell. We’re playing two or three new songs this time around. It’s always good to spice things up with new material.”

When I probe over the new album, Free, Ross doesn’t hesitate to guarantee exciting new songs. Wide-eyed, he teases…

“We finished recording with Gil Norton (Foo Fighter, Pixies) five days before Christmas and are now at a point where we are getting mixes bounced backwards and forwards from California. The album will be released May the second. Its sounding really good and we are really really proud of it. Just can’t wait for people to hear it now”

Familiar with Twin Atlantic’s catalogue of music from album Vivarium and EPs before it, these fans are well rehearsed. Unrestrained, they remain visibly hungry throughout the evening. ‘I’m beginning to feel intimidated’, exclaims Sam during one interval.

The set continues with the contagious melodies of popular tracks What is Light? Where is Laughter? and Caribbean War Syndrome, launching sweat and energy from the stage. Craving the impending new material, the audience remains thirsty for the tonal twists in McTrusty’s hard singing-style and the new lyrics that form it. There is simply no denying the unique appeal of that addictive Glaswegian accent, nor the effortlessness with which Twin Atlantic stride the musical spectrum.

Showing no signs of retreat, the boys continue with ‘Lightspeed’.

The audiences cries of “Liaghtspid Liaghtspid!” deflect off Sam as he leans forward to join his fans. Extending out his guitar, he confronts the rush as it grows a flurry of arms.

As You’re Turning into John Wayne came to a close and the lights faded, the crowd composed themselves, returning to an impatient state of whistles and requests. A moment of inactivity onstage vindicates the restlessness in front of it. Not soon enough does the unrelenting quartet return for their encore, Crash Land, a track which, despite its obvious popularity, remains unrecorded. The four are received with the familiar vocal appreciation. Despite all that has passed over the last hour, I was convinced this level of energy could be sustained all night. 

Twin Atlantic are an extremely talented, incredibly enthusiastic group of uncompromising musicians. Given what they have already achieved in such a short space of time, and the stamina with which they realise it, we can all expect even greater things from this Scottish outfit.

For the second year, LSRadio and LSFilm have teamed up to produce a series of sessions with local artists in the run-up to Merseyside’s biggest music festival, Liverpool Soundcity. Over the next four weeks we’ll be releasing four exclusive acoustic sessions with some of the most exciting acts to come out of the city over the last year, all of whom have earned slots at the prestigious music festival. With it’s reputation for championing emerging talent and record label and music press presence high over the three days of live performances, Soundcity is an opportunity for local acts to play to an audience of influential tastemakers in the modern music industry. 

Our aim with this series of Soundcity Sessions is to encourage interest in the local music on offer at the festival. First on our list of must-see acts at this year’s Soundcity…the superb All We Are. 

It’s not often that a band have a European tour booked before their first practice, but with members already well established and respected on Merseyside as individual musicians in their own right, the prospect of a collaboration between Rich, Luis and Guro was enough to prompt Stealing Sheep to invite the three-piece to join them on their jaunt around mainland Europe in June 2011. After two weeks of constant rehearsal, All We Are headed out on tour with a set of beautifully constructed alternative folk tinged with psychedelia and enough delicate harmonies to make the hair on the back of your neck stand on end.

Since their dramatic inception the band have quite rightly earned a reputation as a hard working collective, honing their sound, recording and producing their own demos, shooting, editing and releasing their own videos. The hard work has clearly paid off as the release of new EP, We Hunt, sees the band’s sound blossom into an altogether more expansive offering. The simple drums and three part harmonies give All We Are an aesthetic bordering on tribal, whilst the influences of traditional folk and more experimental psychedelia remain clear. In a live setting, Rich, Guro and Luis have proved unparalleled, with a sense of uncontrollable euphoria accompanying the few gigs they’ve played in Liverpool to date, a characteristic perhaps best captured in the glorious swelling guitar loops of session trackGo. 

Despite the release of We Hunt  the band show no signs of relenting from their intense work ethic, with new material already in the pipeline and another European tour scheduled for the hazy summer months. This is a band with the drive and motivation to make things happen themselves and the creativity and skill to produce ethereal pop songs destined for bigger things.

Catch them, while you can, on Thursday 17th May, 9pm @ Leaf (Bold Street) as part of Soundcity. Or head down to their EP launch, Saturday 28th April, 7pm @ St Brides Church … I’d recommend both.

Until then you can stream We Hunt for free on http://soundcloud.com/thisisallweare

Next week our Soundcity Session comes from the seemingly unstoppable Ninetails. Visit LSRadio.co.uk next Wednesday to see the band perform an exclusive version of their new single, Blue Bottle Flu, live for LSRadio & LSFilm.

Ola Amigos! Seen as it’s a Monday and we know you love free stuff, LSRadio are giving away two tickets to see one of the most hotly tipped bands of 2012 live in Liverpool. Spector play the Kazimier on 22nd February and you could be there for free! All you have to do is answer one simple question…

What instrument do the band throw off a sand-dune in the video for new single, Chevy Thunder?

Could it be any simpler? Watch the video below and email your answers to music@lsradio.co.uk

(The Boring Bit… Entries close at Midday on Tuesday 21st February 2012. Winners will be picked at random and emailed the same day. Participants must be over 18 and available on 22nd February for Spector’s show at The Kazimier, Liverpool.)

Chibuku have had a traumatic couple of months. The closure of the venue that was its home for so long was met with much bravado and suitable replacement venues were quickly found. The show, it seems, must go on. But the fact remains, that permanently finding a new venue to match the Masque in size and flexibility is no easy feet. Where else in Liverpool can provide three rooms for DJ’s and live electronic acts? 

Tonights show marks something different from Chibuku, perhaps a reaction to their current circumstance. The densely packed Hold of the Shipping Forecast is a far cry from the Masque Theatre but it suits Totally Enormous Extinct Dinosaurs, aka Oxford’s Orlando Higginbottom, down to the ground. His dark, evolving beats and thick bass lines sound dense in these intimate settings, rumbling in the chests of every soul in the room. It’s a messy, sweaty affair with personal space a forgotten concept as people edge closer together, straining to see T.E.E.D’s exuberant getup. For some people, wearing a tribal head-dress and dinosaur one-sy could seem dangerously gimmicky. In the case of Oxford latest electro export though, Higginbottom’s live getup is compensated for by his pure musicianship. Working his own vocals into more and more of his new material, Orlando glides between a bedazzling array of synths, pads and gadgetry like it’s the easiest thing in the world.

You’d be a fool to under-estimate this artist, not to take him seriously despite his taste is stage attire. Simultaneously though, his various costumes reflect the music T.E.E.D produces. Tracks like Bournemouth, reek of childish fun whilst set highlight Garden is all glitchy goodness and synth blips that are anything but pretentious. There’s not a serious face in the room by the time curfew brings an end to the fun and frivolities suggesting Totally Enormous Extinct Dinosaurs are going to be…well…totally enormous. 

As for the future of Chibuku, there can be no danger that the club night will cease to be the force it has become in the last decade. If anything, now could be time for a change in direction, an expansion of operations. More intimate live shows dictate a completely different vibe to the traditional Chibuku madness and more of a connection with the artists on show. So let us hope this is not a temporary venture and that Liverpool’s one and only dance deities expand their repertoire over the coming months to include the more intimate and exclusive.  

Single Reviews:

Submotion Orchestra // Always

Jittery drum beats, jazzy piano/saxophone and Soul II Soul-y vocals…it’s hard to have a better introduction to this ‘Leodensian’ progressive-dubstep act.  My only quibble is that the track never really seems to progress or change throughout. Sadly the Synkro remix doesn’t really add much to the original, but the Laxx remix is, to not be overly hyperbolic,  flippin’ awesome. Starting off with eerie ambience, you wait for that absolutely cavernous dub bass line to kick in only to hear the track mutate into some freaky dub-acid house hybrid. It’s perfect. (By Laurence Cheesman.)

Patrick Wolf // Together

Having released his last album Lupercalia in April earlier this year- which on the whole, achieved encouraging reviews, there is hope for great things from the release of his new EP Brumelia, out December 4th. The track list includes songs he has written over the last year and also features a song he wrong whilst travelling through the swamps of Florida. One song that may seem familiar however, is “Together”, which Wolf has reworked especially for the release of the EP. With his renowned baritone voice and beautifully put together strings, “Together” is a romantic indie pop song, in which Patrick’s broody lyrics and electronic composition merge to form a single which meets the high expectations of the new release. (By Tilly Sharp)

Album Reviews:

Low Level Flight // Through These Walls

With its funky looking art-work, Through these Walls was looking promising. The start was pretty hopeful, all rolling drums and epic guitars in the intro to album opener Cash Machine. And then the vocals come in. Oh! The vocals…they sound like the worst kind of late 90s American wimp-punk and the kind of chant-alongs that belong solely in the realm of Blink-182 and jimmy Eat World. Exit, Raining Castles and the songs that follow are in the same vein; varying between a lacklustre amalgam of early-naughties dance-punk and Fugazi, and the sort of beige landfill indie that flooded the charts a few years back. With added whining. However, when picked apart each song could be pretty darn good, but one minute it’s moody-teen angst-rock, then all of a sudden it goes Editors, and for reasons known only to the band, it transmogrifies to shouty, laddy ‘indeh’…all in the space of a minute. That pretty much sums up the whole album too; it comes off as trying to appeal to too many people and attracting no-one. It should be great but it just isn’t. (By Laurence Cheesman.)

Smoove and Turrell // Eccentric Audio

Eccentric Audio is definitely eccentric. Its opening song Higher sets the groovy vibe within seconds of pressing play, its up-tempo style creating the same sort of feel as Beggin’ by Madcon - catchy, dancey, fun. The instruments put together for the songs – particularly the electric guitar and percussion – bring Jimmy Hendrix’s funky style back to life. The instruments are also a great accompaniment to the lead singer’s voice, which has a kind of retro, husky feel to it at times- the guy sure has range in his voice-what a set of lungs! It’s that sort of album that will make you want to stand on a chair and dance with joy -very feel good. There are also calmer sounds on Eccentric Audio, for example, Wasted Man put more emphasis on the main singer’s voice - you can hear his pain and passion. To give perhaps a bit of criticism I would say shame about the disc being scratched and causing some songs to be inaudible. Neverthless, these artists are all about the funk; singing about feeling it “deep in your soul” and mixing guitar blues into a more contemporary, R&B sound. Very original and very fluid. Stand back Joss Stone; Smoove and Turrell are the new sound of soul and they mean business. (By Kat Koumourou)

Stealing Sheep are a female trio from Liverpool. Becky, Emily & Lucy, armed with Casio keyboards and Yamaha synths, create lo-fi atmospheric pop that evokes the 1960’s of hippies and the velvets.  Swirling guitars, hypnotic beats and beautifully quirky harmonies, Stealing Sheep are fresh in their approach of utilizing past trends and taking inspiration to create something totally left-field and new. Recording songs in abandoned buildings here in Liverpool using retro cassettes and experimental recording techniques, they create warm layered and at times, eerie sounds. The band released their debut ‘Noah and the Paper Moon’ only a year after forming, which suggests this is a band with a clear vision and the impetus to make things happen.

The highlight of their glistening debut album comes courtesy of lead single ‘I Am The Rain’, which with its downbeat percussion and mesmerising vocals is a cleverly worked cross between modern indie folk stalwarts Fleet Foxes and classic Nico era Velvet Underground. These types of reviews always beg for more contemporary comparisons (a file next to section maybe?), however Stealing Sheep seem to me, simply too unique and in their own magical and mystical world to be bracketed alongside other far more bland nu-folkies.

Stealing Sheep’s debut LP ‘Noah & the Paper Moon’ is out now on iTunes and available on vinyl and other physical formats from Probe Records (Liverpool).

The band play the Kazimier in Liverpool on 8th March 2012.

By Leo Gibbons-Plowright

Hello, and welcome to the second instalment of LS Introducing! For those who don’t know what that means, LS Radio has launched a new section where we bring you the best in up and coming local talent, straight from our home and base, Liverpool!

This week we move over to the Urban side of things, to bring you the sweet sounds of rapper/singer KOF. Having already received consistent airplay on BBC 1Xtra, BBC Radio 1 and the Capital Network, the Merseyside artist has also earnt accolades from the likes of radio DJs Trevor Nelson, Mistajam, and DJ Target. Collaborations wise, the list is already admirable. Not only has KOF teamed up with other local artists such as Chelcee Grimes and Esco Williams, he has also featured on tracks with up and coming Birmingham MC Lady Leshurr and well known artists Wretch 32 and Wiley.

With 3 previous EP releases, this September saw the delivery of the Looking At Me EP. The first single from his forthcoming debut album, Looking At Me has had great success and was added to multiple Radio and TV playlists including BBC 1Xtra and MTV. On December 11th 2011, the second album single Be Like You will be released. Smooth vocals run over a mellow drum and bass track, with lyrics that stand for the purity of music and its purpose in the world. The track showcases KOF’s impressive songwriting, vocals and production skills, and is set to continue his elevation on the path to re-inject Soul back into the UK scene.

As you can see KOF has already achieved a great amount, and hopefully 2012 will be the year he gets the recognition he deserves.

Be Like You is released on 11.12.11 via Nothin’ But The Music

by Georgina Upton

Despite our apparent preoccupation with music making global waves in both our reviews and playlist content, LSRadio’s heart is rooted firmly in Liverpool and, as such, beats to the sound of local music. This illustrious musical city has produced some truly ground-breaking talent from the Fab Four to the Wombats. With new bands a constant on Liverpool’s ever changing landscape we’ve been hard at work with our ears to the ground to find the most promising acts who might just be next in taking their music from their Mersey base to the big bad world of Britain and beyond.

First on our list of acts oozing star quality and pop potential? Super Cannes.

 Super-Cannes, named after a JG Ballard novel, consists of Richie; lead vocals and guitar, Davy, lead guitar, Billy, bass guitar and Jams, drums. Huge devotees of Radiohead, this strikingly comes across in their sound, which is a mix of the brooding, the anxious and jittery. Songs such as When People Die In Small Rooms with its ominous bass rumble lingering over sharp guitar stabs and Richie’s inauspicious vocal performance create a truly claustrophobic atmosphere, a theme common throughout their debut EP. Vocalist Richie himself put it in one interview that there is a ‘melancholy undertow’ in the lyrics of the band and even in their more up-tempo songs there is vulnerability lurking behind some of the dark boots and leather jacket posturing that fronts the stage. If you only listen to just one track then New York-London-Paris-Tokyo is the stand out feature and contains all the Super-Cannes trademarks, Jams tight militarist drums, Davy’s swirling guitar effects and Richie’s intense baritone.

Described by BBC Merseyside presenter Dave Monk as ‘a group you really have to listen to’, Super Cannes are carrying on the fine tradition in Liverpool of superb Neo-Psychedelia acts such as The Teardrop Explodes and Echo & the Bunnymen and I for one hope their star continues to rise.

Their debut EP ‘Idee Fix’ is out now. 

New York-London-Paris-Tokyo- by supercannes

by Leo Gibbons-Plowright

Another week and another mixed bag of musical offerings from artists new, old and frankly past it. Some of the most satisfying music to review is those new artists who surprise (see this weeks Single of the Week). So prepare to be pleased, surprised or disappointed by how our reviewers rate or slate a selection of new music making its debut over the few days and weeks. 

Single of the Week

This weeks highlight comes in the form of London based, Alt-Folk band Urusen who charmed reviewer Sean Howlett with their refreshing brand of infectious folk pop.

Urusen // The Islander/A Once Was Tramp & Tree (Double A Side)

Urusen’s double A-side single The Islander/A Once Was Tramp And Tree is a joy to listen to. Their folk-inspired melodies don’t just fit in to the current folk spectrum, marked by Marling and Mumford, but rely on a greater heritage of alt-folk. The songs are great, first of all. The lyrics are bold yet calming and the production really presents archaic images of Britishness. Lush harmonies and orchestration accompany these incredibly catchy ditties, taking them from nice songs to melodies that get stuck in your head for days. You can really tell that at the core of this act is incredible passion, yet they remain to touch the heartstrings and offer a beautifully constructed pastiche of sound. In this David Guetta day and age, it’s a stunningly refreshing change. Out November 14^th. (by Sean Howlett)

Singles

The Submarines // Shoelaces/Fires (Double A Side)

Brimming with Electronic-Indie Pop goodness and some damn fine melodies, the Submarines are worth a listen. ‘Shoelaces’ keeps the raw vocals of the husband and wife duo contrasted against a mix of experimental style instrumental. Reminiscent of The Cardigans; a definite feel-good song. Meanwhile, folky vocals against an Electronic backdrop, Fire is a beautifully layered song with a catchy melody and punchy beat. The Submarines have done it again, a song to make you feel good…it’ll have your foot tapping. (by Emma Sims)

Maverick Sabre // I Need

Maverick Sabre burst onto the music scene this time last year when he featured on Professor Green’s single, Jungle. Since then, his music has been going from strength to strength. In March this year he released The Lost Words EP which featured 4 singles, including the amazing song Look What I’ve Done. His voice is highly distinguishable, quirky yet beautiful, and that tone certainly doesn’t differ on his new single I Need. The single, which is out on the 6th November, is a smooth, chilled out track featuring silky strings flowing throughout, along with the odd guitar strum and piano motif. The great thing about Maverick Sabre is although he is able to sing in a beautiful way, he still manages add an urban vibe to the music with his almost rap like vocal style. I highly recommend this track, but just to warn you, if you press play it is more than likely you’ll have to put it on repeat! Look out for Mavericks album, due 2012. (by Georgina Upton)

The Bullits // Supercool

Infectious ‘Supercool’ vocals, the swagger of early Kasabian with added dance ability makes this track from the Bullits an instant hit in my books. Perhaps not as full sounding as earlier single Landspeeder but a different direction from London producer and song writer Jeymes Samuel’s group is very much welcomed. (by Rob Dewis)

Albums

Wretch-32 // Black & White

I must admit, I was never a big fan of Wretch 32 when he first came out with Traktor or Don’t Go and before playing the album Black & White I did have pre-conceptions about the album, expecting to hear the sound of your typical rap album. However, I was pleasantly surprised by the album as a whole, especially certain songs such as I’m Not The Man and Anniversary depicting his effortless style. The phrase “write about what you know” is evident in his songs as he mentions life growing up in Tottenham, London and some of the worries of youth living in similar areas. The album shows off some great collaborations between Wretch 32 and other artists such as Chipmunk, Example, Ed Sheeran and Delilah to name a few. The collaborations seem to stand out from the other tracks on the album, pulling on from different influences in the music industry. (by Saadiya Yusuf)

You Me At Six // Sinners Never Sleep

Sinners Never Sleep is You Me At Six’s third album and having only just come out of their teens is quite the achievement. The album is definitely an attempt at leaving behind their pop punk songs about girls breaking hearts and leaving their lipstick on your best friend’s car and instead have opted for a more serious rock sound. This is shown by having Parkway Drive’s lead vocalist; Winston McCall to emphasise the more hard-core side of the new album in “Time is Money”. It would have been a disaster if the boys totally left their pop punk days behind, so there are still songs about those who have broken poor, unlucky in love lead singer Josh Franceschi’s heart to keep already devoted fans happy. Personally I enjoy the sound they already had going for them, it has brought them so much success, and feel that they shouldn’t have to mature and turn into the Foo Fighters just because they are now in their early twenties. The album has some good songs, including “Bite my Tongue” a song Josh wrote about the tensions within the band at the time, but surely the band is still young enough not to take themselves too seriously and keep on chasing “blondes with green eyes”. (by Tilly Sharp)

The Kooks // Junk of the Heart (Album)

Listening to the marmite-esque vocals of Luke Pritchard, consistently sounding like he can’t quite be bothered to open his mouth properly, the new Kooks album comes across more relaxed than their previous, Konk. They seem to have stripped down their up-beat songs in favour of a more mature, acoustic sound. Unfortunately lacking any prospects of matching the hits (Naïve and She Moves In Her Own Way) heard on Inside In Inside Out, Junk of the Heart seems to be taking a slightly different direction that just isn’t different enough. Some songs come across dated and repetitive with lyrics sounding suspiciously like they were stolen from the diary of a thirteen year old girl. Undoubtedly die-hard Kooks fans will still enjoy this album; they ultimately retain their distinctive style but honestly, don’t get too excited. (by Emma Sims)

Skrillex //More Monsters and Sprites EP

For anyone familiar with Skrillex’s Scary Monsters and Nice Sprites EP, the question is how can you actually get ‘More’? With so much wobble bass, Skrillex should probably call himself ‘Obi Wub Kinobi’, the original hits you over the head like Godzilla with a laser gun.

As individual tracks, this ‘extras’ EP is pretty decent and has some unexpected gems. Who would have thought a Phonat remix would include slow dub, more in line with SBTRKT number. However there are only so many ‘OH MY GODS!’ that you can take in one listening. In other words, Skrillex’s intensity, that is often so genius, actually creates the fall of this EP. For me, More Monsters and Nice Sprites EP is just a means by which a box gets ticked with the words, ‘new release’. (by Rob Dewis)

Next week we’ll have reviews of Lou Reed & Metallica, Jay-Z & Kanye West and Delilah. Until then, have a good one! 

And so it begins…our musical voyage into the unknown and unheard. New tracks this week come courtesy of Laidback Luke, Bruno Mars and Jodie Marie with the full spectrum of good, bad and awful covered neatly. Albums from Swedish songstress Lykke Li and Chucky from the Rugrats, a.k.a Ed Sheeran, also get the LSRadio Music Team once over with varying results. There are some crackers to kick off our reviews for 2011/12 so read on you inquisitive souls.

Single of the Week! 

Every week we’ll be picking the best track that we’ve reviewed over the past 7 days to be our Single of the Week. This weeks it’s the ever charming, Bruno Mars. Check and rep.

Bruno Mars // Marry You (Words by Emma Furlong)

With a pop chart full of songs about heartbreak and deceit, Bruno Mars’ Marry You is a refreshingly modern day twist on a song that wouldn’t sound out of place on a 60’s hit album. The fourth single from his hugely successful album, Doo Wops & Hooligans, it takes a delightfully upbeat change of direction from his previous single Grenade and one step further than Just The Way You Are. “Just say I do/I think I wanna marry you”…With an upbeat melody and church bells a-ringing, Mars has balanced the themes of a sickly sweet love song with insanely catchy lyrics and created one of the most addictive pop songs of the year. 

Single Reviews

Jodie Marie // On The Road (Words by Becky Martin)

On The Road is a nice song…but this is almost out of Jodie Marie’s favour, because it is difficult to say anything more about it. It just does not contain anything particularly striking, which reminds the listener of the type of music that would be played in the background in a restaurant, pleasant but not particularly noticeable to the ears. The chorus demonstrates the oomph this artist is capable of, but the verses are very slow and almost bland, which lets the song down…it would be good to listen to if you couldn’t get to sleep though.

Noble ft. Soloman // Nightlife (Words by Kat Koumourou)

The catchy, upbeat instrumental of the song is something I’m really into, making you really feel like you’re in London listening to this tune. But the drop into the song could have been better produced, it was quite poorly done. Noble does a good job with his verse, it goes well with the beat and I like the chorus too. But I’m in two minds about the Jamaican vocals that Soloman provides in the chorus, his voice is perhaps too slow for this fast-tempo, dance song. Reminded me a bit of Rafiki from the Lion King for some reason? I wonder if this will catch on as much as ‘Headz, Shoulders, Knees and Toez’ did…

Laidback Luke vs. Example // Natural Disaster (Words by Olly Wheeler)

Laidback Luke has produced another room filling house anthem with a brilliant piano hook and big synth sounds. Unfortunately this is mired by the addition of Example’s vocals over the top, whose affected london accent somehow fails to gel with the club tune. But it is his rapping and lyrics that really bring the song down. It’s a shame, because listening to the instrumental version, you can see the song it could have been. Out of the remixes my favourite by far was the Andy C remix, in which he twists the tune into a percussion driven drum and bass track, which I think I possibly prefer to the original. Overall a great track, unfortunately spoiled by poor vocals.

Fanfarlo // Deconstruction (Words by Louis Van Kleef)

Fanfarlo’s latest effort is a quietly enjoyable affair, it sounds lovely but sadly it lacks any real excitement. The twinkly guitar lines and muted, spoken vocals are all perfectly nice but it never really gets beyond that, making it seem quite middle of the road. Something you would happily listen to absent-mindedly in a bar maybe, but probably not destined to become a favourite on your ipod.

Album / EP Reviews

Ankit Love // Forever (Words by Akin Ogunsanya)

Ankit Love is probably one of the funniest artists I come across in a long time, maybe since Soulja Boy in 2007? The album is so terrible that I think he should stick to a career in modelling and not music. His subtle rapping on the first track People Are My Favourite Thing was the epitome of “wackness” and Unite + Funk was just useless. I don’t understand which record label had the time to give this ‘model’ a chance to pick up a mic to do music. One high point on his album are the instrumentals which showcase Ankit’s Rock/Alternative credentials but he does a completely different genre of music which still ends up being a disaster. Track 10, Forever, is another calamity on the album I must add. Beethoven Burst is the best song on this project although the song fails to live up to the name bestowed upon it. Other tracks aren’t the best either.

Echogram // Conspiracy (Words by Emma Sims)

Conspiracy is frankly dismal. I’m bitter because I got quite excited at the prospect of Irish accents, but alas, Echogram sound like every other American techno-pop-rock band ever. Their music is horrifically generic and predictable, not one of their songs progress, it’s just boring. Honestly, they’ve probably got more hope following in the steps of Burn (Acoustic), the third song on the EP, if you get over the fact that the singer is wailing at you in his bizarre Irish-American ways, some of the harmonies are almost bearable. Harsh but true. Sorry Echogram.

Lykke Li // Wounded Rhymes (Words by Joe Hallsworth)

Lykke Li’s sophomore album Wounded Rhymes expands on her excellent 2008 debut Youth Novels with a beautiful presentation of contrasts; the album goes in and out of powerful and expansive songs that are rich in melody to ones that elicit the Swedish singer’s vulnerabilities. The heart-wrenching epic I Know Places is a prime example of her susceptibility with her soulful voice straining to exhibit all of her emotion in a single track that absolutely captivates the listener.

In comparison to her debut effort, the album feels more direct and Li has obviously matured dramatically in the 3 year gap in between records. The album is laced with a Phil Spector, Wall of Sound esque production, with Sadness is a Blessing encompassing this through everything from the rhythm section, to Li’s vocal techniques and wouldn’t feel out of place it were slotted in to the middle of Back to Mono.

The album begins with fast paced numbers such as the opener Youth Knows No Pain and eventually settling down gradually through the course of the album to fully exhibit Li’s eloquent lyrics about lost love and youthful frustrations - her general dissatisfaction with certain values of life. The recent single, Rich Kid Blues, is probably the weakest song on the album, which if anything is a testimony to the strength of songs as it isn’t necessarily a poor effort. It feels Li now fully understands her strengths in this album, amplifying the sentiments she tries to convey with her powerful voice and it’ll be interesting to see if she will expand on this further with her next effort.

Ed Sheeran // + (Words by Saadiya Yusuf)

Ed Sheeran seems to have walked out of nowhere and into the charts within the last few months. However, this 20 year old from Suffolk has been working vigorously behind the scenes ever since leaving school and his debut studio album + shows this clearly. The great thing about the album is that his songs are real, describing experiences that reflect the issues that matter to people; the issues that his expected listeners will be experiencing themselves. U.N.I, for example, describes perfectly a break-up that occurs before the departure for university, whilst This City explains the feeling of moving to a new city for the first time. His album is a mix of light hearted love songs, from Grade 8 and Wake Me Up, to sensitive issues such as prostitution in The A Team and experiencing a miscarriage in Small Bump. Something I find that keeps the album interesting.
Whilst the album starts strong, half way through the songs seem to fade slowly into the background. However, I guess you could argue that this makes for easy listening.

Awolnation // Megalithic Symphony (Words by Louis Van Kleef)

Awolnation seem to have set out to make something grand with this album. The title suggests as much and the intro track, a minute long interlude followed with some pretty gritty synth lines suggest we’re in for a treat. However it all kind of dies away from there into an odd mix of so many genres, Soul Wars sounds like 80’s metal rehashed with some electronic undercurrent, Jump On My Shoulders, Guilty Filthy Soul, All I Need and Wake Up are unrepentant pop songs, but there’s an attempt to combine this with piano and choirs which really stops any of them from being enjoyable. It’s only when we get to lead single Sail and Not Your Fault where we regain that gritty and heavy synth sound that made the album sound pretty promising, Sail definitely being the stand out track. Ultimately an attempt to do too much without ever pinning down a definitive sound they could run with, ruining what could have been a great album.

Cage the Elephant //Thank You Happy Birthday (Words by Tom Churchill)
After their successful debut album was released in 2008 in the UK, Cage the Elephant return with their second effort titled Thank You Happy Birthday. Their more blues/garage driven debut consisted of popular songs such as In One Ear and Ain’t No Rest for the Wicked; the follow-up album allowing the band to experiment more with their sound, focusing a lot a more on vocal delivery which shows homage to a certain Mr Cobain and guitar sounds in the background that resemble a similarity to early 90’s American bands such as Pavement. The intriguing title of the new album suggests an element of satire that brings about an image of a matured band; gone are the band that wrote songs for the 14 year old teenage audience, that enjoyed the energetic live shows and not much more. On first listen to the sophomore effort, it is clear the influences of the band have taken a dramatic shift with new sound leaning more on the shoulders of alternative American artists such as the Pixies and Nirvana.

Opening the album with Always Something instantly states the band’s new direction in terms of sound and reminds us exactly why frontman Matt Schultz’s onstage energy is something that should be highly credited. The frantic vocal performances continue through the Pixies-esque Aberdeen; once again bleeding through perfectly onto the intertwining and rapturous guitars that would make Frank Black weak at the knees. Lead single Shake Me Down is a song that dominated this summer’s music festivals and listening to the song on record makes clear exactly why Schultz’s pained vocals are a joy to let ring through your little ears; as he yelps ‘I’ll keep my eyes fixed on the sun’.This adds a rare element of emotion to the song, which many bands nowadays try to pull off; it appears now that only few can do it well. The heavily ironic and paranoia induced Indy Kidz perhaps firmly places the knife between the shoulder blades of the audience that fell for their debut; Schultz snarls ‘I don’t watch TV cause it’s just a box of lies/It makes me want to stick a toothpick in my eyes’. The mocking vocals perhaps instigating how easily a certain audience can be manipulated by what is given to them by the media. Track 10 on the album is the one that firmly points towards Nirvana however and the grunge sound that this album kicks back into life; the pause around 1:50 adds an extra lick to the intensity before the fire is rekindled as Schultz hurls another shriek of ‘He’s a sabertooth tiger’. Finally, Schultz lowers the tone of vocals in songs like album closer Flow which appears more as an eye to eye song with the audience, something that allows the emotional connection to fizzle out graciously after 45 minutes of frenzy.

Unfortunately, like the vast majority of albums, it is not completely flawless; the weaker songs appearing more like fillers on the album, 2024 suggesting shaky vocals and Japanese Buffalo which fails to live up to earlier tracks on the record. The sad fact is, these weaker songs on the album appear just as good live as the better songs. It’s a sad cliche about Cage the Elephant but it is hard to understand the band until you have witnessed their live performances. The sophomore effort suggests a matured band that aren’t afraid to experiment with vocals or with guitar sounds and the stronger songs on Thank You Happy Birthday firmly place them as a changed band; gone are the indie pretences that the NME love to rave about. It is evident that Cage the Elephant have the potential to be one of the greatest bands of this new decade; it is just frustrating at times to listen to them on record as it appears that they are holding something back from the audience. Something that adds as that elusive connection.  

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So ends our first week of tasty music morsels. Next week we’ll be back with reviews of You Me At Six, The Bullits, Skrllex, Maverick Sabre and many more!