Author Archives: Alex Knott

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Hatcham Social – About Girls | Music Review

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I like About Girls. It’s a record that reminds me of the time when I first got into music, in the late 1990’s, and went to shows. It was a time when Britpop was dying and the last of the scene was coming through. The likes of the Warm Jets and Gay Dad. It’s a time that most people look back on with regret and perhaps a little bit of a snigger. Nobody’s going to describe being there in the same way they do as San Francisco in the 60’s or New York in 1977 but, d’you know what – it’s my Hacienda and I rather like it.

About Girls captures the post-Britpop sound brilliantly. It’s a better effort than their debut,You Dig The Tunnel, I’ll Hide The Soil, released in 2009 which tried to hard and had too much going on. About Girls is a less complicated and straightforward album. Less try-hard. Nobody likes a try-hard. The album works best when played as a complete album in the order it was intended. I’ve listened to this album a dozen or so times and it sounds best when you turn shuffle off on your mp3 player and play it from 1-13 with each song telling the next chapter of the story.

It begins with NY Girl, the archetypal tale of lost love, which could be Olympian-era Gene and with its driving bassline it begins with a confidence and swagger, which dissipates as the song goes on and it becomes clear this won’t end well. Nicola Tells Me is a slice of Shed Seven-esque jangly pop, Lois Lane is built entirely around a beautiful swooning bass. Little Savage appears to have borrowed heavily from the Johnny Borrell songbook but setting that aside is two and a half minutes of nice catchy hooky pop. Escape From London is that moment, committed to tape, where once in a while you need to escape the business of living in the big city and run to the hills.

About Girls isn’t just a record that’s borrowed heavily from the dying days of Britpop, it’s a record that’s the soundtrack to your emotions. Every emotion. It’s about growing up, something the band have clearly done on this record. It’s about life. It’s about love. It’s about loss. It’s about whatever emotion you want it to be, it’s got everything on here. Buy it and enjoy it and whatever you do don’t put it on shuffle!

 

About Girls is released on 2nd April 2012 by Fierce Panda Records

 

 

 

 

 

King of Cats – America | Music Review

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King of Cats is a boy called Max from Oxford but I’m afraid I don’t know about the name. I don’t like to ask. He sends me nice emails and is very polite but I do need to get one thing off my chest: I don’t much like cats. My sister has one that looks like it is going to defecate when you look at it. My parents have one called Pumpkin who drew blood from me the first day we met, and 19 years later she’s nothing if not Machiavellian. What I do like, though, is the King of Cats.

This album is what happens when a singer-songwriter from Oxford takes himself off to America to travel around on greyhound buses armed with only an acoustic guitar and a four track. I say only but I hoped he’d taken some clean pants and a toothbrush but Max hasn’t let on to me about that so we’ll have to assume.

America, the debut record by KoC, was committed to tape in some odd places whilst on his travels in the USA. Max recorded on a cherry picker in Seattle, in the mountains of Oregon and at a hardcore show in San Fransisco. Having sat in on more recording sessions than is enjoyable I wish more were conducted in such delightful surroundings. The results are really rather good.

Each song on the album is named after where it was recorded. My personal favourite is “Hooters Casino, Las Vegas, whilst Mike was showering” but other stand out titles include “Next to the train-tracks in Flagstaff, Arizona” and “on a plane, in the high desert and Seattle”. It’s a nice record.

The album begins with the aforementioned “One a plane . . . “which builds with each of the many plucking of guitar strings. It sounds like Super XX Man were they to have been from Middle England.

Each song captures not only the sound of Max’s guitars and vocals but also incidental sounds such as dogs barking and the sounds of people clapping and talking. At the end of “Golden Gate Park . . .” a couple can be heard arguing between themselves including the female, Suzie, uttering the cutting line of “I’m not trying to be mean but I just don’t give a shit.” She’s set her stall out clearly there and so I will do the same for you: this is a good record. If you like the idea of the folky acoustic sound of the Mouldy Peaches with the vocals of Jeff Mangum of Neutral Milk Hotel then this is a record for you. Otherwise move along, because, like Suzie, you just won’t give a shit.

America is released on 19th May 2012 via http://kingofcats.bandcamp.com/album/america

 

Swearing at Motorists – Burn Down the Wire EP | Music Review

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Swearing at Motorists – Burn Down the Wire EP

Dave Doughman is a tough man to please if Wikipedia is to be believed. According to the website, always an infallible source of information, the Swearing at Motorists singer has seen 16 changes of drummers during the band’s 17 year existence.

S@M were originally formed in Dayton, Ohio in 1995 when Doughman teamed up with Don Thrasher, formerly of lo-fi kings Guided by Voices and since then he’s averaged one new drummer per year. Impressive too considering that “Burn Down the Wire” is the band’s work since 2006.

This four-song EP begins with the lovely Stop, Drop & Roll, which is typical S@M, built around Doughman’s scraggly voice with him strumming away with a beautiful melodic guitar sound. This is trademark ‘motorists. A cover of The Smiths’ “Please, Please, Please, Let Me Get What I Want” gets put through the mincer and comes out rather nicely with the trademark S@M sound – often described as “the two-man Who”. I know I’m supposed to but I couldn’t have put it better myself.

It’s a lovely offering and one that you hope will be followed by more. And more. What the band do best is good songwriting, vocals that are at times angry and at others fragile and a mix of melodic guitar and skuzzy garage rock riffs. Imagine Thin Lizzy mixed with Queens of the Stone Age and you’re close.

Has it been worth the 6 year wait? Burn Down the Wire’s splendid but a mere morsel at four songs short and so hard to judge on that basis. A bit like when you’re thirsty – the quality of the water’s hard to tell with any clarity, you just need to ingest it quickly. Anyway, I’m still thirsty – more please Dave!

Burn Down the Wire is out now via http://swearingatmotorists.bandcamp.com/album/burn-down-the-wire

Scout Niblett – The Calcination of Scout Niblett | Music Review

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Born in Nottingham and now residing in Portland, Emma Niblett adopted the moniker Scout after Jean Louise “Scout” Finch, the protagonist from ‘To Kill a Mockingbird’. Releasing under Scout Niblett, The Calcination of Scout Niblett is her 5th studio album. One thing that’s evident, having listened to her previous efforts, is that she doesn’t hold with musical evolution; not one to push the envelope with new layers and sounds, textures and structures of musical brilliance. Not Scouty, no. Everybody loves a big new idea but you know what, sometimes it’s just nice to have something brilliant, regardless. Tried and tested? So what. Brilliant’s brilliant, no?

The Scout Niblett trademark sound is a variation of quiet/loud guitar and drums, not necessarily concerned with hitting the right notes every time – a bit scratchy, if you will. Very much verse/chorus/verse and very openly Kurt Cobain-esque. Over the top she layers her PJ Harvey-esque vocals. It’s a tempting sound. I’ve covered the fact that “The Calcination of Scout Niblett” is more of the same formula. The fact is, it’s better. I imagine she looks at people expecting her to push the envelope in the same way that Toyota would look at somebody who expected them to make a toasted cheese sandwich maker; with one eyebrow raised and a big dollop of suspicion.

Sticking to the one sound has allowed Niblett, over the course of the last decade and with the help of producer Steve Albini, to hone and fine-tune her sound to the absolute basics and absolute best. A decade of playing incredible live shows but not ever quite capturing the live sound well on record, “The Calcination . . .” is Niblett at her most driven and intense and the sound comes over like In Utero-era Nirvana with the lyrical drive of Catpower’s Moonpix.

The record begins with”Just Do It!” a song with cuts from moments of buzzing feedback before cutting back to the sparsity of just a single string. The girl deals in beautiful contrasts and wants you to know it early on. “Cheeky Cherry Bomb” spends 3 minutes building between quiet/loud before launching into a menacing crunching, powerful doom-rock sound.

Ultimately nothing new. Just better at it. More honed and refined. Better guitars, better drums, better vocals than previous records. The album ends on the 9 minute wonder that is “Meet and Greet” – a song which uses every shade on the palette to sketch out the sound, just to remind us all what she’s capable of. Blood and guts, heart and soul come in spades though. Basically, it’s all you need.

 

Thomas White – Yalla! | Music Review

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In August 2010 Thomas White, after a decade on the road with The Electric Soft Parade, The Brakes and British Sea Power and following the death of his mother, took himself off on holiday. Firstly to Dubai, then onto Egypt. On arrival in Egypt, White realised he didn’t much like it and wasn’t having the time of his life. Fortunately the troubador was armed with an acoustic guitar and a laptop and so spent his days in his documenting backwards a story that has often been; the story of a man somewhere quite drab dreaming of glorious sunshine. White was somewhere beautiful in the sun but was dreaming of home; specifically Brighton in the drabness of autumn. Whatever the circumstances, though, a delicious record came of it.

White’s previous record, The Maximist, was his David Bowie moment, a bombastic stop of glam-punk. Yalla! is White’s Beatles moment. The spirit of Lennon and McCartney run down the spine of this record, as if they were sat in that hotel room in Dahab.  Opening track ‘All The Fallen Leaves’ oozes regret; ‘I’ll See Her Again’ is a tale of lost love that appears to have picked up the baton from Elliott Smith, the same one that was mistakenly picked up by Graham Coxon. ‘The Heavy Sunshine Sound’ is his finest Lennon/McCartney impression with the moods and shades turning from dark to light and back again as quick as his voice moves.

At times White sounds like he’s about to enjoy himself with a big soaring chorus but then he pulls it all back to the bleak; that post-tragedy feeling where life should never be enjoyed again and that any feelings to the contrary are self-indulgent. ‘I’ve Seen the Sunrise’ documents lost love and loneliness but muddles it with the highs and the feeling that all is not lost.

The one criticism of this record is that the pill tastes a little bit dull after 7-8 songs of the same shade. A stunning record but one to be eaten in reasonable sized chunks but if you’re feeling melancholic then pop it on repeat and it’ll soothe your soul.

Throughout Yalla! White seems as homesick-for and rooted in Brighton and his favourite landmarks that he lists, as it is possible to be. He’s a veteran of the music scene there having burst onto the scene aged 17 with the much-hyped Electric Soft Parade and having been around for over a decade and been in more bands than Mike Patton (possible exaggeration), it is easy to think of White as a veteran but at 27 you hope he’s just getting started and has enough melancholy to make a record like Yalla! at least once more.

Deer Chicago – Lantern Collapse / Rolling of the Ocean EP | Music Review

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I’m going to start by saying something totally unpleasant but very necessary. Once I have done this please read on. In fact I assume since you’re still reading this you’re probably in my thrall and that my subtle form of hypnotism has been successful. So please, read on. Ok, here comes the unpleasant bit; Deer Chicago sound exactly like if Biffy Clyro had made their first album using the singer from The Wombats.

Ok I’m glad we got that out-of-the-way. Ignoring that fact, this works. The whole is greater than the sum of its parts. This limited-edition two-track EP was released in November by the Oxford trio and physical copies sold out almost immediately. It’s two tracks of fairly typical post-rock, quiet/loud with Jonathan Payne’s vocals flying excitedly over the top of them. What the band do well are volume spikes, long crescendos, and the cumulative effects of repetition over long periods with subtle changes. At the risk of boxing the band in, though, they sound like nice boys who you’d happily take home to meet your mother. Not the most alluring of things for a rock n roll band – if they can develop a nastier edge then expect to see them disappear like those other Oxford geniuses, Meanwhile, Back In Communist Russia, otherwise catch them while you can!

 

 

Alex Knott on Home Nations

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Last month, former Northern Ireland and Fulham manager, Lawrie Sanchez took to the airwaves to launch a blistering attack on Liverpool stating: “They are no longer a big club. The Premier League has been going for 18 years and they have not won it. They won the Champions League [in 2005] by default. It was one of those days where everything went right, having gone wrong. I mean, they lost 17 games that season.” He went on to tell BBC Radio Five Live: “I remember when they used to win the title, then go on to win the European Cup in the same season. That’s when they were a big club.” One of the unwritten rules of football is that Liverpool are a BIG club, no matter what state they currently lie in.

It is with this sort of straight talking that, in December 2006, Sanchez, then manager of the Northern Ireland national team, bandied around the idea of resurrecting the defunct British Home Championship. Sanchez was fed up with the games he was playing and stated that reviving the competition would be much more beneficial than playing non-interesting friendlies. He did immediately concede that there was ‘not a lot in it for England’ and went on to cite both a fear-factor from England regarding losing the games and also a lack of commercial attractiveness for them. Walter Smith, manager of Scotland at the time and now boss at Rangers, agreed saying: “Sometimes the friendly matches that we have at international level are not worthwhile having.”

A few months later, Sanchez left the Northern Ireland job to take over at Premier League Fulham, but the seed had been planted and the ball begun to roll. In September 2008, presumably after a few behind-the-scenes conversations between the respective FA’s, it was announced that from 2011 the Nations Cup would take place in Dublin featuring Scotland, Wales, Northern Ireland and the Republic of Ireland. England declined to take part in the tournament.

Fast forward two and a half years and England find themselves playing a somewhat meaningless friendly in Denmark while the rest of the home nations battle for regional pride in Éire. All because England felt themselves above things – both from a commercial and a competitive angle.

According to the FIFA rankings, that is true regards the competitiveness, but any ranking system that puts England sixth and Wales 116th is as flawed as the day is long. England’s current ranking puts them above Portugal and Uruguay, which cannot be right, and Wales’ current position puts them behind Malawi, Qatar and Niger.

A meaningless friendly is something that England players frequently experience. But the feel of a tournament, albeit a slightly meaningless one, can only be a good thing – especially the England players who complained of being bored while in South Africa. Indications are that England will compete in 2013, at least as a one-off, to mark the 150th anniversary of the Football Association. The FA will no doubt wait until the tournament is successfully established and then ask to join. Most likely to be told to push off. England arrogant? Never!