Alternative music reviews

March 22, 2018

Sorry Part II

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As mentioned two days ago, Sorry are putting out the Home Demo/ns Vol 2 and it arrived on YouTube today. Credit to whoever planned/directed the video because it is full of whimsical ideas and fun to watch. Musically this is playful but lyrically it is deadly serious.

I really can’t figure out where this band is coming from. What influences are coming out? Feel free to correct me but does anyone else produce work like this? I am a little bit awestruck at just how different this sounds to other music I hear. I think my first description of them as a guitar Indie band was just so wrong.

March 21, 2018

Super Unison

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I joined Facebook last Thursday. I finally decided that it was the only way to stay in touch with working bands. I linked to my twenty favourites and now can see what they are doing. Obviously I have no friends and will keep it that way because that would interfere with the music posts.

I was disappointed to see that Super Unison hadn’t posted for about a year but that changed a few days ago when they posted a picture from inside a recording studio called LP2 Day 1. This carried on to Day 5 before they headed for a gig in Chicago. So we should get to hear some more wonderful music like You Don’t Tell above. It will be interesting to see whether they veer towards the Hardcode or Sonic Youth style of the above track. It’s been a wonderful trip so far and it’s great to see it is going to continue.

March 20, 2018

Sorry

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I’m just going to jump back in and talk about the band I think are the most exciting in the UK. Sorry are from North London and have recently been signed to Domino Records. They are ostensibly a guitar-based Indie band. But whenever I hear them I hear echoes of trip-hop. There’s a natural flow to their music and a playfulness that attracts me. Their ideas also lead to intriguing lyrics like on the track Drag King. 2 Down 2 Dance is their most recent single available as a 7 inch vinyl in the next few days. It follows one other single and a remarkable set of songs Home demo/ns Vol 1 (Vol 2 on its way) available from their bandcamp and on YouTube.

Awake Again

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It has been around nine years snce I last posted. I think that should be long enough to drive away anyone who might have read this site.

So, why start again?

Firstly, there is just so much great music about that I need to talk about it. There are just so many great bands making music now that it reminds me of 1979. It doesn’t seem to matter that there is likely no-one reading this but it should stop me boring people who really are not interested in the sort of new music that enthuses me.

Secondly, there is a chance someone will stumble across a post while investigating a band. Hopefully they can get a few pointers to other bands they might like. Maybe (depending on the type of post) I can put a little historical context or at the very least a name drop of a band from the past that has some similarity.

Thirdly this gives me a change to expound a few theories such as all the good music is being made in the US by female fronted bands (though I can also tell you about the exceptions).

Lastly, it will be a sort of musical diary to remind me in my old age what was going on.

January 15, 2010

Coolnoise Is Sleeping…

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I don’t expect to publish any more opinions or reviews. Existing reviews are being kept as an archive.

Cheers

Dave

August 24, 2009

GG Allin

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As I mentioned in my review of Varshons, I needed to check out GG Allin after hearing the Layin’ Up With Linda track. First was the Wikipedia article GG Allin. I urge you to follow the link and read the article because it is a fine example of just how far you live a life to the extremes.

I then listened to his album “The Singles 1977-1991: Expose Yourself” to try and get a complete picture of GG Allin’s career. I wasn’t impressed with a such a limited voice and fairly turgid, predictable music. On some of the live material he does sound disturbingly like an Iggy Pop soundalike – try comparing Cock On The Loose with Got My Cock In My Pocket from Metallic KO and numerous other Stooges bootlegs and you could barely slide a cigarette paper between them. But Iggy was doing this in the late 60s onwards and also had made some of the most imnportant and influential albums of all time.

I view this material as of historical interest only. Much like Charles Manson’s album I’m glad I’ve heard it but the best thing is really the notoriety of the protagonist as musically it is pretty poor. It has increased my admiration of Evan Dando who managed to make a very palatable Country number out of one of his tunes (although I have yet to hear the original). He certainly proved, unlike what my Grandmother used to insist, that you can polish a turd.

August 18, 2009

Varshons by The Lemonheads

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Some of my favourite records are by The Lemonheads – I loved “It’s A Shame About Ray” and then went back in time to discover the wonderful (and very different from “Ray”) Pop/Punk of the early days. But I lost interest – perhaps put off by the cult of Evan Dando and his celebrity rather than the music. Now The Lemonheads (just a name for Dando now, from what I can gather) have a collection of covers for our entertainment.

The album is dominated by a Gram Parsons style (and starts with one of his song) but ranges into a vaguely psychedelic sound at times. The cover of Wire’s Fragile is very brave – it almost suceeds in humanising Wire’s characteristic detachment and adding a sort of acoustic grungey quality to the chorus. The GG Allin track Layin’ Up With Linda makes me want to rush out and find out more about the original artist. I love the sound of Dando’s voice in this lower register.

if you are going to cover one of the greatest songs ever written by a legend like Townes Van Zandt then you are facing a big challenge. Dando’s version Waiting Around To Die is really very good. He has a great voice (better than Townes) and delivers the song with conviction.

What covers album wouldn’t be complete with a real stinkers. Dirty Robot certainly fits the bill. Kate Moss over an electro backing. My first reaction was it’s so bad it’s almost good but that has now worn off completely and it is just awful. Thankfully he hands Liv Tyler a less embarassing song and she just about survives a very predictable version of leonard Cohen’s Hey, That’s No Way To Say Goodbye.

In the end, I just feel that Evan Dando has one of the finest voices in Rock but perhaps has too much talent. He can make just about any style of music and it turns out well without him really putting his heart and soul into it. But I like this album more than I like him, if you see what I mean; it is varied and entertaining with some cracking songs.

The Lemonheads

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