Album Review: Tricot's 'AND' LP

2015
12 songs
Length: 47:51
Available to buy on vinyl or Spotify or Google Play

Tricot are a three-piece math rock band from Kyoto, Japan. The band is made up of three permanent members; guitarist/vocalist, ‎Ikumi ‘Ikkyu’ Nakajima, guitarist Motoko ‘Motifour’ Kida and bassist Hiromi ‘Hirohiro’ Sagane, with rotating drummers. ‘AND’ is their sophomore album. Complex with is unusual rhythms, clashing guitars and frantic drumming; it is electrifying math rock with sweet-sounding vocals.

The band formed in 2010. In 2011, Kazutaka Komaki joined as drummer and in 2013, they released their first album ‘THE’. In 2014, Komaki left the band and Tricot became a three-piece with rotating drummers. They released ‘AND’ in 2015, enlisting multiple drummers to play on the album.

The band have a variety of influences including Japanese bands Number Girl and Acidman (NME), Fallout Boy, the Red Hot Chili Peppers, and the Eagles; the latter Kida states she was influenced by ‘in terms of their backing chorus work.’ Tricot have said that ‘AND’ was written primarily by starting with Kida’s guitar phrases (Rolling Stone Magazine).

‘Noradrenaline’ is the first track on the album and opens with a thundering drumbeat leading into jerky guitar, a strong bassline and Nakajima’s honeyed vocals; a precursor to the exploding chorus. ‘Hashire’ emphasises Nakajima’s sweet voice with reverb, tricky guitar lines, intricate effects and a constantly fluctuating tempo. ‘E’ has a very frenzied vibe, adopting the band’s signature angular guitars with arpeggio backing vocals. Erratic describes Tricot’s style perfectly.

Tricot also have a pop-punk sound, which shines on the punch packing ‘Colorless Aquarium,’ ‘kieru,’ and ‘Shoku-taku,’ which has a bit of a Paramore feel about it. Tricot do pop-punk very well, without losing sight of the fundamental elements that make them a math rock band.

Tricot can be fun too. They get rowdy on ‘Niwa,’ adding a little samba into the mix, and ‘Break’ incorporates a Red Hot Chili Peppers style funky bassline. ‘Pieeen’ begins with a tranquil piano solo, then abruptly breaks into dirty guitars and pulsating drums. The bassline is funky too, and the piano kicks in again; becoming more prominent in the song’s second half. ‘Kobe Number’ also has a funky sound, but it’s heavier on the pop while incorporating an ethereal bridge, pounding drums and Nakajima’s sugary, sweet vocals.

‘AND,’ is a natural progression from Tricot’s first album ‘THE’. Tricot have matured as a band and obviously work exceptionally well as a three-piece. ‘AND’ is energetic, spontaneous and interesting; potent math rock wrapped up in a pretty, pop-punk package.

Classic Album Review: Purple Rain

Check out my review for the classic Prince and the Revolution album 'Purple Rain'.' You can read it here BOOP!

Album Review: The Gray Vines EP

2017
6 songs
Length: 19:44
Available to buy from Bandcamp

The Gray Vines are a two-piece alternative rock band based in New Jersey. With Jake Hoffman on guitar and lead vocals, and Jill Deegan on bass; the duo boast a post-grunge sound that incorporates elements of power pop, post-punk and glam rock, while tipping their hat to their musical influences.

Their debut self-titled debut EP is explosive, energetic and raw with an overarching power pop sound. Produced by Marc Swersky, a two time Grammy winner who has previously worked with such artists as Joe Cocker and Roger Daltry; it was recorded at Shorefire Recording Studios in Long Branch, New Jersey over five days.

‘Walkin’ On’ combines a power pop chorus with post-punk swagger. Hoffman exudes self-assurance, both with his guitar playing and vocally, spitting out lyrics with Iggy Pop attitude. Deegan adds a robust, fuzzy bassline to the mix.

‘Dear Friend’ is unadulterated power pop a la The Posies. With its strong melody, striking guitar riffs and uplifting vocal harmonies, it is perfectly executed.

‘Just to You,’ is the EP’s catchy debut single (you can check out the video below). It kicks off with a dirty bassline and Hoffman’s compelling vocals, before the interjection of crisp guitar chords and then a catchy power pop chorus. Deegan’s backing vocals harmonise nicely with Hoffman’s and the heavy guitar; particularly throughout the bridge, which again is another exquisite example of power pop at its finest.

‘Do You,’ is a catchy, pop rock number with dirty guitars that hints at psychedelic, space rock. Personally, I would love to see The Gray Vines explore the space rock sound further.

The band wear their influences on their sleeve at times. Steeped in glam rock charm, ‘Silver Moon’ encompasses an elongated, wistful, wah guitar sound that is unmistakably 1970’s Bowie. ‘Turn Around’ could be a Queens of the Stone Age song. The power chord progressions, crunchy guitars, booming percussion; Hoffman even sings like Josh Homme.

The Gray Vines is a strong debut from an accomplished band. Both Deegan and Hoffman are clearly very talented musicians with a grasp on a variety of rock music genres. The band nail every style they try their hand at on this EP. As they continue to make music and evolve their sound, I think we can expect some very exciting things to come from The Gray Vines.

Album Review: Melody's Echo Chamber LP

2012
11 songs
Length: 44:30
Available to buy from Fat Possum Records

French musician, Melody Prochet, released her debut album as Melody's Echo Chamber in 2012. Described as psychedelic rock/dream pop, it was produced by Kevin Parker of Australian rock and roll band, Tame Impala. With her second album 'Bon Voyage,' due to be released this year, I figured now would be the perfect time to revisit Prochet's stunning debut.

Prochet began as a classical music student. She met Parker while supporting Tame Impala on their 2010 European tour with her previous act, My Bee's Garden. Prochet claimed that she found the study of classicism restrictive, so it was a natural progression for her to collaborate with someone with a rock and roll background (Fat Possum Records). The result is a psychedelic, space rock/dream pop adventure.

Prochet delivers beautiful melodies and sings with a sugary sweet voice. 'I Follow You' has an ethereal quality to it, the sweetness ruffled slightly by fuzzed out guitars and finishing off with a noisy riff reminiscent of that signature Dinosaur Jr. sound. 'Crystallized' begins with dreamlike, echoing melodies, before descending into psychedelic, distorted space rock madness. 'You Won't be Missing That Part of Me' sounds like rock and roll chamber music from space.

Prochet's classical background is apparent, meshing nicely with a rock and roll sound. 'Some Time Alone, Alone' pairs beautiful arpeggios with a heavier rock sound and the album's quintessential reverb. 'Quand Vas Tu Rentrer' incorporates beguiling chord arrangements that create a 1960’s French pop feel; a bit like Francoise Hardy or France Gall. 'Bisou Magique' employs musical texture to great effect, imbuing it with a dark, otherworldly quality.

The album delves into experimental territory on, 'IsThatWhatYouSaid,'a mish mash of distortion and effects that has the feeling of a bad acid trip; and 'Snowcapped Andes Crash,' which sharply veers away from the album's mostly pop rock sound. On 'Be Proud of Your Kids' we are treated to the prattle of a cute, little French kid, while Prochet croons in her sweet, girlish voice that we should show our children love every chance that we get.

'Melody's Echo Chamber,' is an interesting ride. The overall dream pop/space rock flavour works nicely with Prochet's sweet sounding voice and enchanting arrangements. The first half of the album is definitely stronger, with the second half losing focus towards the end. But it's well worth a listen (or thirty) and I'm looking forward to hearing more from Melody's Echo Chamber in the very near future.

Album Review: The New Respects' 'Here Comes Trouble' EP

2017
5 songs
Length: 16:26
Available to buy from The New Respects website or Google Play

The New Respects are a dynamic young rock n’ soul band (yes, I said it!) from Nashville, Tennessee. The band is comprised of singer/guitarist Jasmine Mullen and her cousins, the Fitzgerald siblings; twin sisters Alexandria and Alexis on guitar and bass respectively, and their brother Darius on drums. Their debut EP, ‘Here Comes Trouble,’ is high-energy, rock and roll soul, with funky beats and a classic rock guitar sound.

The Fitzgeralds are children of preachers and were raised on gospel music. Mullen is the daughter of Nicole C. Mullen, a successful Christian singer-songwriter. By their own admission, the band lived a pretty sheltered life musically; so their reference points were mostly limited to gospel music, and this forced them to experiment (Rolling Stone Magazine).

The gospel influence comes through loud and clear; particularly on the track ‘Shoes’, with the combination of Mullens’ uplifting vocals, simple percussion, choir sound, and the use of call and response. Gospel overtones are also paired well with classic rock on ‘Frightening Lightning,’ which opens with a Lenny Kravitz style guitar riff, and incorporates a raw guitar sound throughout.

Mullen’s voice is smooth, powerful and versatile, like a young Lyn Collins. ‘Come As You Are,’ is a soulful ballad that shows off her impressive vocal range. She also funks it up superbly on ‘Money,’ her rich voice accompanied by a funky bassline and jazzy drums. On ‘Trouble,’ we’re given a shot of blues rock, with Mullens’ commanding voice lending itself wholly to the blues rock sound, oozing attitude from every fibre of her being.

‘Here Comes Trouble’ is infused with youthful exuberance and positivity. There is definitely a Christian bent to the lyrics, but the aim is not to promote Christianity; it’s just indicative of who they are. The band think of themselves as a band of Christians, rather than a Christian band. As Mullen asserts ‘We have enough people, I think, writing songs about what each one believes’ (World Cafe).

The New Respects show some adaptability on their debut EP, toying with different musical styles to great effect, while knitting the whole thing together with their own signature style. And it’s refreshing! Honestly, I’ll take my rock and roll with a side of gospel any day of the week.

Album Review: Molly Burch's 'Please Be Mine' LP

2017
10 songs
Length: 41:46
Available to buy from Bandcamp

Molly Burch is an American singer-songwriter based in Austin, Texas. Her debut album, ‘Please Be Mine’ is a collection of wistfully dreamy love songs; the perfect soundtrack to unwind to while you soak in the bath and let your cares slip away.

The album has a very nostalgic feel, reminiscent of 1960’s pop chanteuses like Dusty Springfield and Lulu, but with a country twist. Burch’s voice is complimented nicely by clean guitar licks and reverb that creates an otherworldly atmosphere. ‘Downhearted’ is the first track on the album and gives you a good indication of what to expect. Burch’s vocal range is fully realised here and the overall country, dream pop sound works wonderfully with her voice. I wouldn’t be surprised to hear this song on the soundtrack of Quentin Tarantino’s next film.

Burch gives you the impression that she is no stranger to heartbreak. Every song on this album speaks of longing and complicated love. On ‘Wrong For You,’ Burch warbles lamentations of why she can’t have someone she wants so much. ‘Please Forgive Me’ is a tale of regret and lost love capped off with a whimsical guitar solo. Her gorgeous voice has so much depth and range, and works so wonderfully with the charmingly retro guitar; you can’t help but fall under her melancholy spell.

Burch employs inflection masterfully throughout, effortlessly switching between different deliveries on every track. ‘Try’ has a lovely surf pop feel, while Burch gets a little more commanding in her vocal rendition. ‘Loneliest Heart’ is a beautiful, sleepy lullaby. I can picture Audrey Horne dreamily swaying back and forth to it while it plays on the jukebox at the Double R Diner. On ‘Fool,’ Burch spruiks the protestations of a jilted lover with a somewhat Patsy Cline vibe.

‘Please Be Mine’ introduces Molly Burch as a talented singer-songwriter. More polished than passionate, it displays the complete control that Burch has over her voice. It’s not the kind of record that serves up something different on every track; but it is a perfect representation of a flawlessly handled vocal instrument. And in the words of Audrey Horne, ‘isn’t it too dreamy?’

Album Review: Polish Club's 'Alright Already' LP

2017
14 songs
Length: 38:56
Available to buy on CD or Vinyl

‘Alright Already’ is the debut album from Polish Club; a two-piece rock band from Sydney. With David Novak on guitar and lead vocals, and John-Henry Palak on the drums; their brand of brash and bluesy rock and roll is upbeat, infectious and smacks of good times.

I must admit, I’ve been a big fan of Polish Club ever since I stumbled upon their self-titled EP last year. Released in October 2015, the EP has a real dirty blues rock feel, and Novak’s gutsy voice is soulful and tinged with a sense of urgency. ‘Alright Already’ contains two tracks from the EP, ‘Able’ and ‘Beeping’. As a side note, I would really, REALLY love to see the EP released on vinyl. My favourite song, 'Don't Fuck Me Over,' doesn't make it onto the LP and I know it would sound sooooo nice on vinyl.

‘Alright Already’ starts strong, with the up-tempo ‘Where U Been?’ Crunching guitar and crashing cymbals permeate throughout this track getting you pumped up straight off the bat. This segues nicely into the second track, ‘Come Party,’ the second single off the album. ‘Come Party’ is less bluesy and more straight rock and roll with a steady, toe tapping drum beat. This song feels like the band’s most commercial offering, a catchy power pop tune with mass appeal. The album is littered with power pop gems though, including the delightfully melodic ‘Beat Up,’ super fun ‘Shark Attack!’ and ‘Whatchuknow’ which boasts a 1970's 'Beach Boys-ish' hook.

Polish Club get really soulful too. ‘How To Be Alone,’ couples Novak’s impassioned vocals with that 1970's pop sound again, while ‘Able,’ is similarly stirring; encompassing blues rock drums, and gut wrenching vocals into a slow burn crescendo that packs a powerful punch. ‘If It Was Me,’ begins as a perfect blend of a slowed down, heavy rock sound with thrusting vocals. But then the tempo picks up towards the end, exploding in a power pop finale.

‘Alright Already’ showcases the great versatility that Polish Club are capable of. ‘Divided’ is the album’s only power ballad and is beautifully executed, using reverb to great effect. The band go for a country blues sound on ‘My Delight’ with hand claps and crooning backing vocals. Finally they wrap things up with a nod to the Polish in the form of a polka version of ‘Red River Rock,’ a folk standard that became a top ten hit in 1959 after it was recorded by Johnny and the Hurricanes as a rock and roll instrumental.

All in all, this is a very solid and exciting debut from Polish Club. Energetic, loud and fun; it’s a feel good record everyone can get down to! I can feel it in my bones; these guys are destined for great things, and I for one am going to follow them every step of the way.