"How does a band record an album without their lead vocalist?"
"Yuck... is Daniel."
"Which one is Daniel?"
Just six of the amass of comments on the band's recent facebook post that revealed that Yuck were to record their long awaited (well... 2 years) second album WITHOUT the band's lead singer and second guitarist Daniel Blumberg. When I read this I was perhaps a little less surprised than other fans. I have a bit of a sad devotion to certain bands and tend to check twitter/facebook/instagram pages when theres been silence like a musical progression detective... ahem. Much like when Johnny Marr left The Cribs, the clues were already there. With guitarist Max Bloom in charge of the band's twitter page, pictures of the band's recent activity conveniently coinciding with their profile picture changing from Ilana Blumberg (Daniel's sister/occasion backing vocalist) to the cover of the band's debut album seemed to indicate that Daniel was doing other things (Sherlock eat your heart out!). And so it seems with his recent revealing of his new project Hebronix (see my review of single "Unreal"), and last year's solo outing under the name Oupa, he's not one to linger on the same thing.
The question on everybody's lips seems to be "So whose singing then?". Well as any self-respecting Yuck fan should know, even as a Blumberg-less 3 piece unit the band is not devoid of good singers. Firstly bassist Mariko Doi has been busy between Yuck album's with her side project Parakeet in which she has both sung more that capably and written some insatiably good songs. However I think Daniel's role will most likely be filled in by guitarist Max Bloom. Being the sole musical writer of Yuck's debut album he was the man behind the songs whilst Daniel (in no disrespect to his ability) seemed to just make more of a charming frontman. "Yeah ok but can this Max guy even sing?", yes he can! "Operation" from the band's debut LP was actually the first Yuck song ever made and its many might be shocked to hear its Bloom singing. Blumberg overheard it in demo form and liked it, forging the idea of Bloom writing songs for Blumberg to sing. Its possibly the albums rockiest affair (apart from perhaps "Holing Out") and a promising indication of Bloom's vocal ability as well as a sign that Blumberg's departure wont affect the quality of songs. His vocals are also incredibly similar to Blumberg's, no better or worse, so unless people are really fickle enough to care about the face of a band, I think this next album can only succeed if people are willing to give it a chance. For anyone still doubting the guitarist's abilities, I've included a live performance of b-side "Soothe Me" in which Bloom real steals the show with... well... you'll see why.
I liked Yuck's first album. I liked it a lot. At that moment in time it was incredibly refreshing to hear an indie band who weren't afraid of distortion pedals, especially when the songwriting team of guitarist Max Bloom and singer Daniel Blumberg could seemingly do no wrong. However the band were always haunted by two factors, firstly their age (with band members barely having reached their 20th birthdays) and their heart on sleeve influences that gave the music press a field day with taglines like 'The Teenage Teenage Fanclub', 'Dinosaur Jr Jr', 'Sonic Youthful' and several more awful puns. Perhaps that is the reason, to the shock of many, that Blumberg left the band (as was revealed earlier this month). The band announced they would be going to New York to record their Sophomore album as a 3-piece whilst Daniel would not join them as he had 'decided to focus on other things'. Days later Blumberg (probably sooner than intended) revealed his new project Hebronix and that an album entitled "Unreal" would be released this July. With this came a stream of a new track, also titled "Unreal".
From the get go its familiar territory. Like a more delicate moment on Yuck's debut LP, "Unreal" mixes Blumberg's signature whine with spindly spaced out guitars that wind the song into a steadily expansive affair almost resembling the dreamy psych pop of The Verve's early days, in particular the song "Slide Away". Its not a million miles away from Blumberg's former solo project Oupa, its just that the piano has been replaced with guitars. With lyrics like "Been sleeping for hours" and "I feel so unreal", its once again, you guessed it, signature Blumberg. This isn't necessarily a bad thing, personally it just makes me wonder why he's quit Yuck. Unless Max Bloom, the debut album's sole musical writer (Blumberg was lyricist), is taking the band in a drastically different direction, this song would have probably fit in seamlessly with the band's back catalogue. It's probably wrong to expect something wildly different but "Unreal" is a lacklustre outing in my eyes, hopefully what Yuck have to offer later this year will be more exciting. The album "Unreal" will be available July 8th on ATP Recordings.
www.facebook.com/Hebronix Upcoming Tour Dates: Birmingham Glee Club (April 24) Manchester Central Methodist Hall (25) Gateshead The Sage (26) Glasgow Classic Grand (27) Bristol Trinity Centre (29) London Barbican Centre (30)
With such a long winded last post I thought I'd keep this one brief. You know when a song feels like its been crafted to put a smile on your face? "All I Wanna Do" does that for me, the band's first widely known song that set the mood for sun in Spring last year. It was a good feeling listening to that song in the sun, so good in fact the band have decided to rerelease it for this Spring! This new version comes with an obvious improvement in production with singer Sasha Carlson's vocals drenched in spacey reverb and the nostalgia its lyrical content describes while the guitar and synth sounds are enhanced adding a new layer of swirly psychedelic cheer. The new video isn't a huge departure from the old one, glimpses of the Hackney based band (now 4 members instead of 2) playing in a small room is paired with footage of them going about town, mucking around and looking like they're enjoying a good dose irresponsible fun. If you're like me it'll have you craving the same thing. The song is will be on the bands forthcoming album "Comfort" released June 3rd on Luv Luv Luv Records.
FOREWORD: A slightly personal post, sorry if it drags/is badly written, just got thinking about this and thought it could be good fun to write about. Hope you enjoy, might do this kind of thing more in the future.
Like every dedicated music fan, I take a great deal of pride in my musical taste. Back in those MySpace days (2006-2008... y'know, the proper MySpace), when you had the little box on your profile you could fill with favourite bands and artists, I would literally compile an extensive (& alphabetical!) list of dozens, possibly hundreds, of my favourite's. It didn't matter that nobody would read the whole thing, at the time it felt as vital a part of my identity as my name. Not to mention the tireless hours I know we all spent searching for the right song to have playing on your profile.
The same goes for real life. Over the years I've used band t-shirts, posters, even lyrics scrawled onto my bag to express my taste to others as well as lengthy chats with all my friends (well... the ones that listen) about a new band or song I'm digging/old bands I'm going back to or just discovering. When it comes to this, something funny happens. We all do it too. I adopt bands as my own possessions, often talking as if I am the sole and greatest fan when the truth is, I'm so obviously not. While I pride myself on keeping up to date with new music and studying the history of genre's I enjoy, the foundations of my musical taste don't really originate from me, but from the people in my life. I owe a great deal of my taste to so many people who have come and gone in my life, and I would hazard a guess that so do you! We often forget the fact that favourite band of ours didn't come though music blogs/magazines/tv/gigs, but from our family, friends and loved ones.
Imagine a cubby cheeked four year old boy with a colourful chunky sweater and hilarious blonde bowl cut, y'know the kind you can see those hip n fresh Dalston twenty-somethings wearing today (shudder). Cross legged on the brown carpet of his front room, the boy waits obediently still as his mother puts a strange black circular disc out of a blue sleeve. She places the disc on a flat service and a needle on a stick on top. "These are the songs I sing for you and your sister" she says whilst the boy fidgets impatiently from the toddler's greatest foe, boredom. "Mom, I wanna go in the gard.." the boy begins before being interrupted by the unfamiliarly hypnotic sound of an organ erupting from the speakers of his parents' hi-fi. "Let me take you down, 'cause I'm going to Strawberry Fields" an unknown voice chimes in before a group of instruments kick in and a little boy's life is changed forever.
OK, that story is partly (largely) fabricated, but is no doubt fairly accurate in my induction to the world of music. The Blue Album, a Beatles compilation of their later and last releases (1967-1970), was a staple in my life. It was my first real association with any kind of music and would have me begging my parents to play it on those once never-ending weekends. Before then I had assumed those songs came from the supposedly musical genius mind of my mom rather than John Lennon or Paul McCartney. Learning otherwise certainly changed that opinion, but nowadays I find myself looking back with pangs of gratefulness to my mom for letting me into this world and realising that it was the first in a series of moments where I was presented with the gift of great music from another person.
This came again from my mom and from many others. Many thanks to my Dad, a great compiler of greatest hits compilations (don't judge him, he's almost 60) and during my teenage years would have all sorts of music on in the car. "Have a listen to this Huw" he'd always say before educating me with fantastic collections of songs from bands that to this day I still love. The Cure, Daft Punk, REM, Weezer, Led Zeppelin, Blur, and the one that really changed my life, The Smiths were all introduced to me at the hands of my Dad who'd usually end a CD by grinning and saying "See? Not such a square dad after all am I?" before arguing with a McDonalds server over the price of sauce.
Cheers to my sister Beth who also provided a massive influence on my listening habits, particularly in my teens. Being the older sibling she knew more about what was cool within the more indie scene and had all the must have noughties band's records like The Strokes, Kings Of Leon (the first 3 albums were amazing and you know it) and Arctic Monkeys as well as much more obscure and challenging music that she had found from her own musical search such as Elliott Smith, Sufjan Stevens and more recently Jens Lekman. She often reminds me of this when I listen to any of these artists to which I always reply "I am thankful, gawd!"
Ta to friend's that bought interesting bands to the table with the obligatory metal, emo, hip-hop, scene and rave phases of teendom. I'm glad I went through phases of listening to bands like Tool, Metallica, My Chemical Romance, Jay Z, Klaxons, Enter Shikari, etc because I feel like it created a much broader realm of taste to my musical pallet without which I would probably dismiss too many good bands. Credit to my former Drum teacher Daryl (who sadly I haven't spoken to in 3 years) as he introduced me to some great music as he taught me to be a part of it. Rock giants like Nirvana, Foo Fighters, Smashing Pumpkins, QOTSA and Red Hot Chili Peppers were introduced to me as bands he thought I might enjoy.
Even today I owe so much. Without my friend Liam pestering me to listen to a certain Australian psychedelic band (Tame Impala), my 2012 may have been a totally different experience as one of the most important albums to me that I feel will stick with me for a lifetime thanks to him. Further recognition goes to my friend Lee who got me listening to Tom Petty, a legend I had somehow missed for 20 years of my life and a maker of truly fantastic records. Last but certainly not least, huge appreciation to my girlfriend Kayleigh for sharing fantastic bands/artists like Charli XCX, Sneaker Pimps and Jamie Woon but more so for music we've discovered together. Peace, Swim Deep, Haim are all bands we've enjoyed together and have been made better because of it. Whatever happens in the future I know I'll listen back to these records fondly as I'm no doubt reminded of fun times and awesome passionate conversations we've shared as music lovers.
The same goes for everyone on this list, its just a massive thank you really, there are so many good feelings that come with certain songs and albums because of close ones. Though I now find most new music through other resources, without the bands you introduced me to and more importantly the bond we've shared over any music, I truly would not be the person I am today and I am grateful. I shall continue to try and do the same for you ;)
After a kinda boring opening episode I was left a bit uncaring for this series of BBC2's Later... with Jools Holland. With reformed brit-pop inventors Suede in the headlining episode it was never going to be enthralling. The band, now looking thoroughly middle-aged, haven't really released anything exciting in about 17 years and their new songs didn't make for particularly interesting viewing. As such, I wasn't in last night and pretty much forgot the program was on until I got home and I approached the episode info with only a small bite of curiosity. I was pleasantly surprised to see Primal Scream and Everything Everything on the bill, both of whom performed well, but it was LA's trio of sisters Haim that really had me on the edge of my seat.
With good reason too. And no its not because its three very attractive sisters with guitars... ok it is a bit, but thats just a bonus! The trio can really play their instruments brilliantly it has to be said and they put their talent to excellent use by writing the most powerful guitar pop songs I've heard in years, and their songs are actually popular! With "Forever" its easy to see why as they slam their way through the loose rhythms similar to that of 80s era Stevie Nicks/Fleetwood Mac (a comparison often made, apologies) with the impressive vocal projection coming from Danielle Haim. It has to be said all three Haim sisters are on fire with Alana adding synthy keys to the mix as bassist Este slams her four string weapon of choice, she makes some brilliant bass faces too. Their debut LP (expected some time this year) is looking to be a classic in the making. So yeah, sit back and relax to the video below, or better yet, get on your feet and have a boogie.
Yes, its only April. Yes, its still windy. Yes, it will probably only be out for a couple of hours. But ladies and gentlemen, the sun has arrived! I don't really know about the rest of the world but in the UK, the last year has seen very few sunny days and an especially long winter (snow in March!!) it would appear Spring has decided to get a move on. So yeah, here I am in a comfy chair in the conservatory, windows wide open, in a t-shirt (shock horror) and in a great mood (shockier horror)! For me, with the sun always comes an obligation to play a certain type of music. As a result, the 'vibey' (I'm sorry) choons have come out in the form of the likes of Swim Deep, Yens Lekman, Patrick Wolf, Best Coast, Kurt Vile, Crocodiles and many more. At the front of the pack however have been a band I have only recently got into despite a couple years of interest, the compelling Unknown Mortal Orchestra.
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Their most recent album "II", released in February this year, has been on constant repeat walking down the road and on the bus whilst I bask in glare of the golden god in the sky (can you tell I've missed it?). The funky drum patterns, groovy bass and deliciously intricate guitar work mixed with singer Ruben Nielson's soulful reverberating vocals create the perfect musical concoction for chilling with the warmth on your back. Below is both a live version of some of the songs taken from "II" as well as one from their debut self-titled LP and the full album of "II" that I can't praise highly enough. Personal recommendation for the live version is the penultimate song "From The Sun", the opening track on "II" thats really explodes to life live. Enjoy!
There used to be a time when for a band to wait more than 2 years between any of their first 8 or so albums was virtually unheard of. Sadly these days it feels like a forever that we wait for well established groups to record and release their albums and often the years of expectation bring massive disappointment. For Queens Of The Stone Age fans, the wait has been 6 whole years since the band's fifth outing, 2007's "Era Vulgaris" which seemed to divide critics whom either loved or loathed it. Myself being part of the former, found it to be an excitingly refreshing album that really challenged perceptions of the band. Tracks like "Turning Of The Screw", "Misfit Love", bonus title track "Era Vulgaris" as well as particular singles "Sick, Sick, Sick" and "3's and 7's" felt like such a great leap forward to me with groovy drums from Joey Castillo and some of Troy Van Leeuwen and frontman Josh Homme's riffs were incredibly inspired. However many longed for the band at their most popular "Songs For The Deaf" era which while of course was a fantastic album, unfairly over-shadows the compelling former two albums and the excitingly evolving direction of the previous two outings. "My God Is The Sun" would suggest the band aren't completely unaffected by the majority's preference.
Coming with the announcement of their 6th album "...Like Clockwork" (details below), Josh Homme appeared on Zane Lowe's Radio 1 show to debut the song before sharing it on the band's youtube page. With it also came the revelation that "My God Is The Sun" at least features Nirvana drummer/Foo Fighter Dave Grohl behind the drum seat (returning there, after drumming on "Songs For The Deaf" after the confirmation of Joey Castillo's departure, sad news in my opinion). The track begins with rattling percussion and a winding guitar riff before we are thrown into a waltz stoner rock jam that brings to mind SFTD tracks "The Sky Is Falling" and "A Song For The Deaf". Grohl's presence is made known with his signature shuffles thrown in at the climactic end. Homme remains a domineering presence with his smooth yet powerful vocals as charming as always proclaiming "Heal them, like fire from a gun, kneeling, my god is the sun". Whilst stylistically more similar to older albums it does retain a bit of the robotic charm of "Era Vulagris" and even brings back the darker melodies of "Lullabies To Paralyze". To be honest, I personally can see a lot of similarities with Homme and Grohl's side project Them Crooked Vultures, whose self titled album felt, at least to me, slightly lacklustre. I think I am probably slightly bitter to see the exit of Joey Castillo whose drumming on the previous two albums I had really enjoyed, though apparently he will appear on the album at points. "My God Is The Sun" is however an exciting song, and doesn't make me any less excited for the album.
"...Like Clockwork" will be released the 3rd of June this year on Matador Records (with some mysterious deluxe editions on offer).
Last month it was announced much to my delight that Deerhunter would be back with new album "Monomania" in May. As a massive fan of their 2008 album "Microcastle" and the critically adored last outing "Halycon Digest" I've been eager to see what the Atlanta boys have to offer next. With singer Bradford Cox's croony side project Atlas Sound and guitarist Lockett Pundt's other band Lotus Plaza releasing relatively similar albums in the space between "Halycon Digest" I was more or less expecting the band's style to remain relatively similar to their last few with the delicate shoegazey dream pop I had grown to love. However, it seems this will certainly not be the case with the brash title track "Monomania" which was debuted on US chat show Late Night with Jimmy Fallon.
Firstly its noticeable that the line up of the group has changed with the departure of bassist Josh Fauver, replaced by Josh McKay, with additional guitarist Frankie Broyles also bought in to join Cox, Pundt and drummer Moses Archuleta. Additionally Bradford Cox's appearance is an evident change. Gone is the bowl cut and charmingly youthful baggy polo shirts replaced by a colourful Zebra print blazer and a dyed black shag of hair comparable to a 2007 Strange House era Faris Badwan (The Horrors). As well as this he dons bloody bandages on his hand (apparently as a tribute to his father who accidentally sawed a couple fingers off this year... I'm being serious). Sound wise "Monomania" is a change in direction with Cox himself describing it most accurately with the phrase "Nocturnal Garage Rock". Its a punky harsh sound that differs greatly from their past albums but it is a pretty welcome change. Its a good song, buzzing guitars and crashing drums get the heart pounding with Cox delivering his meanest vocals to date. Whether the whole record turns out similarly we'll have to wait and see.
"Monomania" (album) will be released May 7th on 4ad Records. You can stream the lead single below via Youtube and I've also included the live performance from Late Night with Jimmy Fallon. Enjoy.
The love/hate relationship I have with the West Midlands based music scene is forever fluctuating. On one hand you've got the fantastic widely acknowledged bands that come from the area (Peace and Swim Deep) as well as many exciting bands still aiming to break the region (JAWS, Wide Eyed, God Damn, Dumb). On the other hand you've got the god awful scene tags like 'b-town', 'West Madlands' and 'The Whack Country' (ok I made that last one up but its only a matter of time!!), you've got Peace openly embracing lad culture (definitely NOT a bragging point in my eyes) and lastly, there's a worry that after Swim Deep release their debut album in May, people will begin to lose interest and the scene might just die. If Superfood saw this outcome approaching, their debut offering is a weapon that fights relentlessly against it.
Before yesterday the band only had a reputation for solid live shows and firm endorsement from Harrison Koisser of Peace and Connor Schofield of JAWS to back them up. However a link posted by a friend directed me towards a free mp3 promoted by the band, the self titled tune "SUPERFOOD". The hype is finally justified as those not lucky enough to have caught them live are introduced with a rollocking and groovy track that definitely separates the band from their b-town contemporaries. The 90s influence is extremely evident with the post-grungey late Blur/early Pavement style guitar hooks and a baggy-ish beat that could have come straight from Fun Lovin Criminals' hit "Scooby Snacks". Singer Dom Ganderton is apparently the man behind the mixing desk on Peace and Swim Deep's early demoes so its no surprise the recording is catching everyones ears with his screams of "You're always hungryyyy" complimenting the fuzzy instrumental goodness. If "SUPERFOOD" is a sign of things to come, consider me hungry for more.
You can send your email to the band via THIS PAGE to receive the free mp3 or simply stream it below via Soundcloud.
