SINGLE REVIEW: Friendly Fires - Live Those Days Tonight

The last encounter I had with St. Alban’s band Friendly Fires was at last year’s Reading Festival in a writhing mess of flailing limbs and Ed MacFarlane’s snake hips. As their lead singer sweatily strutted and shimmied his way along the barrier to the rhythm of dance-y synths and frantic cowbells, I realised what an exciting three-piece this band were. Back then their set predominantly comprised material from their explosive, Mercury-nominated debut album, hence my surprise when I heard the latest offering from the disco trio.

Although aesthetically there hasn’t been much of a shift of direction, something feels different to me on ‘Live Those Days Tonight’. Maybe it’s the retro, fade-in chords that open the track, maybe it’s Ed MacFarlane’s crooning “don’t hold back” or the slightly harebrained Late of the Pier-esque synths that underscore the layered interlude towards the end of the five minutes. Friendly Fires’ music has always had the brilliant quality of seeming to be intensely well-structured chaos.

Sadly, this single doesn’t seem to have captured that raw, jungle energy of the first album that crawled under your skin and was almost feverishly addictive. There is less of the hedonistic, carnival fun of the first album (see the funky ‘Lovesick’ and almost feral ‘Kiss of Life’), ‘Live Those Days Tonight’ is a little too polished, too sleek, (dare I say) a little too Ministry of Sound. The jolty, math-rock guitars and thumping percussion give me brief hope at something with more allure but these are vastly overshadowed by layer upon layer of over-produced dance floor-friendly synths. Although a vastly more ambitious track, Friendly Fires are more at home (and, well, better) when they’re stripped back to groovy basslines and primal beats and MacFarlane is doing less crooning and more yelping. I hope the boys will realise this for themselves and I’ll be waiting for them, with open arms. Until then, I’m just a little bored.

Written for The Whiteboard Project

SINGLE REVIEW: Chapel Club - Blind

Some bands simply refuse to be labelled. Other bands let their influences shine through to such an extent that it is easy to locate them within a specific genre. Native Londoner’s Chapel Club, for me, find themselves in the latter category and their latest single ‘Blind’ perfectly illustrates why. From the crashing wave of dense guitars and cymbal-heavy percussion to the stripped back verse, simply a solemn voice and the solitary throb of a bassline. It’s all a bit…familiar. Editors, Glasvegas, Hurts, White Lies; countless bands have channelled the dark desperation of Joy Division in recent years, some with more success than others. Taken from their debut album ‘Palace’, the quintet has included all the usual suspects – mellow, subdued verses, a deep, velveteen vocal (of which I am quite fond) building up to an intentionally climactic chorus, led by a soaring guitar riff. Lyrically, the track borders on poetic, delivered by Lewis Bowman’s resonant bass, with much of the same thematically; mourning for the death of a passionate, overwhelming love affair and the resultant heartbreak, as Bowman laments he is ‘too busy with regrets.’ It is clear what Chapel Club are aiming for with ‘Blind’ and it is a shame that their well-crafted musicianship is void of much originality. I really want to like them but, unfortunately, I’ve heard much of it before.

Written for The Whiteboard Project

SINGLE REVIEW: Foo Fighters - Rope

Their frontman Dave Grohl has recently been awarded with prestigious NME Godlike genius award, it has been just over two years since their last album and their previous six have been Grammy nominated. I think it’s fair to say, from the very beginning, Foo Fighters have set the bar sky high. On the eve of the release of their new single, ‘Rope’, from their upcoming album ‘Wasting Light’, it is certainly no different. And, as ever, Grohl and Co. certainly do not disappoint.

Lauded by long-time fans as some of their heaviest material yet, the Foos do not shy away from their deep-rooted rock credentials whilst also clearly incorporating influences from Grohl’s super massive super group Them Crooked Vultures. Heavy, choppy riffs form the meaty underbelly of the track, complimented by Grohl’s signature rough-around-the-edges vocal propelling the track forward, punctuating the 4:19 with regular, hedonistic interjection of “yoooow!” Compared with previous hits such as “The Pretender”, Grohl’s vocal is, to some extent, tamed by Taylor Hawkins’ smoother tones melding to almost-delicately harmonise amongst the rawk.

My personal highlight comes when the track escalates into a brilliant noisy climax of thumping guitars and face-melting guitar slides, showcasing the intense technical ability that lies at the heart of everything this band do. Classic, excellent, moshtastic Foos.

Written for The Whiteboard Project

SINGLE REVIEW: Crystal Stilts - Through The Floor

With last year’s release of albums from the lo-fi Best Coast and Wavves and Lovvers’ debut the year before, I think it’s safe to say that the garage rock revival is in full swing. And much like that of Blue’s upcoming Eurovision appearance, this is a revival that I welcome with open arms. Best of all, the widespread success of aforementioned Californian (and, err, Nottingham) bands has seen a number of similarly scuzzy new bands rise from the woodwork. One of these bands joining the ranks is Brooklyn locals Crystal Stilts with their new single “Through The Floor”.

Despite being short and sweet at just 1 minute, 55 seconds, “Through The Floor” provides a injection of much needed sunshine into an otherwise arctic March. All of the usual suspects get an airing by the quintet: a driving rhythm established by thumping percussion, grungy guitars offset by a jangly tambourine and a vocal drenched in reverb. All of these elements messily flung together have an endearing quality to cast me back to hazy cider-fuelled summer afternoons. However, unlike their American cousins, the focus is not so much on drawling, cutting vocals but rather on the instrumental itself. In fact, the lyrics to “Through The Floor” are almost incomprehensible, shrouded by the heavy drums and tattered guitar riffs. Contrasted with the upbeat, poppy tambourine is the weight of the track which lies with the deep vocal drawing comparisons with Ian Curtis of Joy Division fame. This mix of overt brightness and darkness results in Crystal Stilts’ delightful discord that makes them so distinctive. “Through The Floor” is a slice of sunshine-laced garage rock that will make you feel like it’s summer inside…if not out

Written for The Whiteboard Project

SINGLE REVIEW: Lykke Li - Love Out Of Lust

I love Lykke Li. I feel I should establish that from the off. I’ve been an avid follower from the outset and this Swedish songstress has the ability to inspire devotion in everyone who experiences her music, both on record and in a live arena. This was proven when I saw her at Latitude Festival 2009 in a whirlwind of chiffon, leather, fur, percussion, gospel singers and dry ice. She captivated every audience member from start to finish.

Lykke’s latest single, Love Out Of Lust, showcases a similar aesthetic to that displayed on her 2008 debut “Youth Novels”; a collection of simple, polished, rhythmical pop songs. However, this 4 minutes, 43 seconds also sees an exploration into a more layered, ambient approach to making music. Taken from her upcoming album “Wounded Rhymes”, the deep, haunting hum which underlies the track is offset by the feather-lightness of Lykke’s soaring tones. The lyrics are both sugar-sweet and simultaneously laced with melancholy as Lykke breathes: “Rather die in your arms, than die lonesome.” The heavy throb of layered percussion is a key component, driving the track forward and fast becoming Lykke’s trademark.

That’s not to say that this track is utterly devoid of light; the choruses offer a distinct sense of optimism as we are encouraged to “dance while you can…for life is like a flameand the ashes for wasting”. This is accompanied by high pitched whistling and textured “oohs” bringing to the track to its dreamy height. It’s difficult to draw any substantial comparisons; a little Beach House but more torn around the edges, a little Girls but perhaps with less bite. I think it is fair to say that a true individual is to be found in Lykke Li and “Love Out Of Lust” marks the beginning of a very exciting second chapter in this Swede’s career. Roll on album number two!

Written for The Whiteboard Project