Album Review: Dream Wife's 'Dream Wife'

2018
11 songs
Length: 34:39
Available to buy on vinyl or CD or digital download

Dream Wife are a British punk rock trio based in London. Comprising of Rakel Mjöll on lead vocals, Alice Go on guitar and Bella Podpadec on bass, the band released their self titled debut album in January this year to critical acclaim. Its super fun, sugar-coated punk pop, with Mjöll’s accent (she’s an Icelandic native) giving it a fresh sound.

Mjöll, Go and Podpadec met at art college and formed Dream Wife in 2014. The band is named after the 1953 romantic comedy starring Cary Grant and Deborah Kerr and romance is rife on the album; on songs like ‘Let’s Make Out,’ ‘Taste,’ and ‘Spend The Night.’ Although it’s a far more liberated brand of romance than the 1950’s version. The band count David Bowie and Madonna among their influences. I imagine this would be the kind of album Madonna may have made herself if she was a punk rocker in the 1980’s or 90’s.

The album mixes honeyed pop melodies and harmonies with raw garage rock. Mjöll’s vocal range is interesting; shifting from sweet to powerful with so many inflections in between. ‘Let’s Make Out’ is a prime example. On ‘Act My Age’ Mjöll seems to be channeling Karen O of Yeah Yeah Yeahs. Flashes of the 90’s rock band Elastica can also be heard throughout the album, in the mighty guitar riffs on ‘Fire’ and the catchy as hell, ‘Hey Heartbreaker.’

Dream Wife spruik a strong message of women’s autonomy. Songs like ‘Somebody’ (“I am not my body / I am somebody”), ‘Spend The Night’ (“Spend the night with me / I would like to know you better”) and ‘Let’s Make Out’ (“Or are you too shy? Or are we too shy?”) reject the notion of women’s sexual submissiveness; much like the Riot grrrl punk rock of the 90’s and bands like L7, Sleater Kinney and Bikini Kill. But Dream Wife are girly too, with the lush pop melodies of ‘Kids’ and ‘Love You Without Reason’ and herein lies their great appeal. Don’t get the wrong idea though, Dream Wife still have plenty of hardcore rage; ‘F.U.U’ attests to this.

‘Dream Wife’ is a brash and sparkling punk rock debut. It is party punk rock at its best and I can’t wait to hear more from this exciting new band.

Album Review: Derrick Anderson's 'A World Of My Own'

2017
13 songs
Length: 51:16
Available to buy on CD or digital download

Derrick Anderson has been around. Previously a member of 1990’s power pop band The Andersons!, Los- Angeles based Anderson is the current bassist for The Bangles and has toured and recorded with The Kinks’ Dave Davies, The Smithereens and Matthew Sweet, among others.

It’s no surprise then that Anderson’s debut album, ‘A World of My Own’ is a power pop dream. Crunchy, guitar-driven songs with strong melodies, catchy hooks and happy harmonies. Anderson has a smooth voice too. The complete package puts this album up there with anything by Teenage Fanclub, Matthew Sweet or The Smithereens.

The album starts strong with the opening track ‘Send Me Down a Sign.’ Energetic with an infectious hook, it could easily be a Teenage Fanclub song. ‘Phyllis & Sharon’ has the same kind of energy with powerful guitar riffs, and I’d challenge anybody to keep their foot still through the entirety of either song.

‘Happiness’ instantly made me think of Matthew Sweet, who it turns out plays guitar on the track. Sweet is not the only guest star on the album either, with The Smithereens featuring on the sweet sounding, dreamy ‘Waiting For You’ and also ‘Send Me Down a Sign’. Debbi and Vicki Peterson from The Bangles, and The Muffs’ Kim Shattuck backup Anderson on ‘When I Was Your Man’ with indie pop style jangly guitars, hand claps and backing vocals. The Bangles frontwoman, Susanna Hoffs joins the Peterson sisters for backup vocals on the lilting lullabies ‘Something New’ and ‘Spring.’

Anderson’s debut, although unashamedly power pop, is not limited to one sound. ‘You Don’t Have to Hurt No More’ is tinged with funk and ‘A Mother’s Love’ sounds like 1960’s bubblegum pop. Anderson really rocks out too; with pounding drums and driving guitars on ‘Checking Out’ and the stand out classic rock and roll track ‘Stop Messin’ About’, which is reminiscent of Little Richard. To top it all off, Anderson closes the album with a mind blowing, psychedelic blues rock version of the Beatles’ ‘Norwegian Wood (This Bird Has Flown)’.

‘A World of My Own’ showcases Anderson’s many talents as a songwriter and musician, not least of all his knack for blues, psychedelic and classic rock and roll. It’s also a quintessential power pop album. If power pop is your thing (and it’s definitely mine), you need ‘A World of My Own’ in your life.

Album Review: Lady Wray's 'Queen Alone'

2016
11 songs
Length: 34:53
Available to buy on vinyl or CD or digital download

I first heard Lady Wray’s second studio album Queen Alone a few weeks ago and could have sworn it was a Motown release, circa 1960s-70s. It’s a sweet, soul record with a classic vintage sound.

Wray’s voice is powerful with an impressive range and a gospel sound, which is unsurprising given her church upbringing. Released by Brooklyn based Big Crown Records, Queen Alone is Wray’s first solo album since her 1998 release Make It Hot and is quite a departure from her debut, which was produced by Missy Elliott and Timbaland. Make It Hot is contemporary R&B, much closer to hip hop than the retro soul of her latest offering.

The album’s opening track ‘It’s Been a Long Time’ sets the tone with a classic big horn, drum and guitar driven Motown sound. The call-and-response singing style and perfectly arranged backing vocals, also quintessentially Motown, is a big feature too, and perfectly executed on songs including the easy going ‘They Won't Hang Around,’ the cheerful ‘Smiling’ and ‘Guilty,’ which is arguably my favourite track on the album.

Wray’s voice is smooth and strong, reminiscent of soul queen, Aretha Franklin. She has a range and a warmth that is delightful and heartfelt, while being versatile too. Her voice is perfectly suited to the big band sound; as evidenced by the passionately belted out ‘Bad Girl’, just as much as it is to the slower, sultrier, jazzier number ‘Make Me Over’. It has a sweetness to it, most notable on the retro pop ditty ‘In Love (Don’t Mess Things Up)’. But it's also commanding and sassy on the swamp pop tune ‘Underneath My Feet’.

Queen Alone is a fantastic album that marks Lady Wray as a fantastic retro soul artist to watch. I can’t recommend this one enough!

Album Review: St.Vincent's 'Masseduction'

2017
13 songs
Length: 41:37
Available to buy on vinyl or CD, Apple Music or Spotify

St.Vincent had been on my radar for awhile now. Some months ago, reading SPIN’s 100 Greatest Guitarists of All Time I came across Annie Clark (St.Vincent is Clark’s stage name) at number 93. I made a mental note to check her out. Not long after that, I listened to her critically acclaimed fourth album ‘St.Vincent’ and my interest was piqued. Then my record club, Vinyl, Me Please, hinted it would be releasing a club edition of St.Vincent’s fifth album ‘Masseduction’ as its November album of the month. This has now been confirmed. ‘Masseduction’ was released publicly last week (well ahead of the Vinyl, Me Please special release), so naturally I was very eager to hear it.

Clark has a knack for making really interesting sounds with her guitar. And they mesh perfectly with a whole host of other sounds to make for some really catchy rhythms. Her songs are never boring, often morphing into different styles part way through. ’Pills,’ is an excellent example of this; beginning with a catchy electro beat, which becomes peppered with Clark’s squalling guitar, before finding a wistfully Bowiesque conclusion.

David Bowie is clearly a major influence on Clark, and the album has a sound reminiscent of Bowie’s 1990’s industrial albums ‘Outside’ and ‘Earthling.’ At that time, Bowie’s work was heavily influenced by Nine Inch Nails, which is another band that springs to mind while listening to ‘Masseduction.’ But this isn’t to say that Clark’s album is a cheap reproduction of something that’s been done before. On the contrary, she wears her influences on her sleeve while adding her own fresh stamp.

Clark gives us elements of synth pop, with retro, chiptune sounds. ‘Sugarboy’ with its pulsing beat, ‘Los Ageless,’ a touch more sultry, and ‘Savior,’ along with the album’s title track, ‘Masseduction,’ both have a somewhat Prince feel about them.

The album also sports some beautiful melancholy ballads. ’Happy Birthday, Johnny,’ with it’s understated piano is an earnest dedication, and ‘New York,’ speaks of personal loss. Both bear striking similarities to Tori Amos in parts. The celestial sound of ‘Slow Disco,’ makes me think of Annie Lennox on the similarly ethereal Eurythmics tune, ‘Miracle of Love.’

‘Masseduction’ is a masterful album. Every track is so interesting and every time I listen, I hear something or make a connection that I hadn’t before. ‘Masseduction’ has inspired me to go back and listen to all of St.Vincent’s albums in depth. Call me a newly minted St.Vincent fan!  I’d say that’s an indication of a successful album.

Album Review: Raphael Saadiq's 'Stone Rollin''

2011
10 songs
Length: 43:01
Available to buy on vinyl or CD, Apple Music or Spotify

About a month ago, while at work, I got an email from my husband. ‘You should listen to this album,’ it said, ‘on your way home from work tonight. I think you’ll really like it.’ The email included a Google Play link to ‘Stone Rollin’.’ So I listened to it on my hour plus commute. Then I listened to it again. He was right; I did really like it (he knows me so well!) In fact, I liked it so much, I couldn’t get enough of it. I listened to it the next day and the day after that too. I played it all the next weekend. Since then, I’ve listened to ‘Stone Rollin’’ countless times and I own a copy on vinyl.

‘Stone Rollin’’ is the fourth studio album from American R&B singer, songwriter and producer, Raphael Saadiq. Saadiq began his illustrious career touring with Prince as a teenager before becoming the lead vocalist and bassist for the hugely successful 1980’s-90’s R&B group, Tony, Toni, Toné! After they split, he went on to form Lucy Pearl with Dawn Robinson (En Vogue) and Ali Shaheed Muhammad (A Tribe Called Quest). Lucy Pearl only recorded one album. Saadiq has collaborated with many notable artists including Erykah Badu, The Roots, Whitney Houston, Lionel Richie, Ghostface Killah and The Isley Brothers.

‘Stone Rollin’’ builds on the traditional soul style of Saadiq’s previous album ‘The Way I See It,’ to create a melting pot of styles including funk, blues, R&B and old time rock and roll. Every track on this album is an absolute gem and Saadiq delivers each style with perfect execution. The opening track ‘Heart Attack’ is a rollicking, up-tempo earworm with a classic Motown sound and echoes of James Brown. ‘Radio’ gets the vintage R&B rock and roll vibe just right (think Chuck Berry), and the album's title track ‘Stone Rollin’,’ blends electric guitar and some sassy harmonica into a flawless Chicago blues number.

Saadiq’s slower songs are just as good as his energetic ones, incorporating some beautiful and emotive orchestral arrangements. ‘Good Man’ is as gut wrenchingly soulful as they come, while ‘The Answer’ complements Saadiq’s impressive vocal range with a delicate composition of strings. The psychedelic soul tune, ‘Over You’ is my favourite track on the album. It’s a perfect hybrid of R&B, soul and rock and roll that transports me to my happy place every time I hear it. I could seriously listen to it on repeat ALL.DAY.LONG.

Saadiq is a master. ‘Stone Rollin’’ is an overwhelmingly fantastic album with a polished, classic sound that everyone should listen to. In fact, I’m so enthusiastic about this album; I want to give it away! When I bought ‘Stone Rollin’’on vinyl, it came with a free CD copy. I’ll post the CD to the first person to comment below. What are you waiting for? Get to it!

Album Review: The Preatures' 'Girlhood'

2017
11 songs
Length: 43:26
Available to buy from the band's website

I’m a big fan of The Preatures. I love their first album, the 2014 hit ‘Blue Planet Eyes,’ and listen to it regularly. It’s a feel good, pop rock album; a guaranteed mood lifter. Needless to say, I was pretty excited about the release of the band’s second album ‘Girlhood.’

The Sydney four piece, fronted by Isabella ‘Izzi’ Manfredi on vocals and guitar, initially achieved success with their breakthrough hit single ‘Is This How You Feel?’ which came in at number 9 on Triple J’s Hottest 100 and saw them playing Glastonbury, Coachella, Bonnaroo and the Jimmy Kimmel Live show. ‘Blue Planet Eyes’ was an extension of ‘Is This How You Feel?’ chock full of catchy, rock and soul tunes that you just HAVE to shake your hips to. ‘Girlhood’ however, is something quite different.

The album’s opening and title track kicks off in the same vein as their debut album and is catchy as hell; the stuff hit singles are made of. But the rest of the album doesn’t follow suit. There are more layers on ‘Girlhood,’ which make for a more mature offering this time around.

Listening to this album, I can’t help thinking of the Divinyls or the Pretenders. Particularly on the tracks ‘Lip Balm’ and ‘Girlhood.’ There is definitely the sense that the band is exploring a host of different influences here, more so than on their debut, and not limited to musical influences either. The indigenous Darug language of Sydney is featured on the track ‘Yanada,’ which is Darug for moon. Manfredi also speaks some Italian on ‘Something New.’ Says Manfredi ‘I’m a first generation Australian, My dad came over here on a boat as an Italian immigrant. My mother is Scottish, Irish and English-Australian. I was born on Gadigal land. Understanding and respecting those histories is part of who I am. I’m trying to find some harmony in the contrasts.’

‘Girlhood’ is full of ballads that showcase Manfredi’s sweet voice. ‘Your Fan’ is the most classic example. ‘The First Night’ is a slow burn, heavy on the guitar with some crashing cymbals and gorgeous reverb. ‘Magick’ is a dreamy pop rock ballad that creates an ethereal atmosphere. ‘Cherry Ripe’ pairs percussive beats with a lovely slow, dreamy tempo.

‘Girlhood’ is also more of a rock album than its predecessor. That isn’t to say that there aren’t plenty of pop gems though. ‘Mess It Up’ sports an 80’s tropicana vibe, complete with synth, a funky bassline and a killer guitar lick. ‘Nite Machine’ feels like disco rock and ‘I Like You’ is perfectly pop.

As a follow up to ‘Blue Planet Eyes,’ the latest album from The Preatures, ‘Girlhood,’ doesn’t disappoint. If you’re expecting more of the same, don’t be. ‘Girlhood’ is not a sequel. It’s an exploration into new territory for the band, but a natural evolution as opposed to a step away from the groovy pop rock of their debut.

Album Review: Songhoy Blues' 'Résistance'

2017
12 songs
Length: 44:59
Available to buy from Bandcamp

Songhoy Blues are a desert blues band from Timbuktu, Mali. Their second album ‘Résistance,’ which was released this year, is guitar-driven blues rock with elements of funk, jazz and psychedelic rock thrown into the mix.

Songhoy Blues comprises four members; Garba Touré, Aliou Touré, Oumar Touré and Nathanael Dembélé. The band was formed in Mali’s capital city of Bamako after guitarists Garba and Oumar, and singer Aliou (no relation) were exiled from their home in northern Mali by the jihadist group ‘Ansar Dine,’ who took control of the region and outlawed cigarettes, alcohol and music. Garba, Aliou and Oumar identify as Songhoy people, a West African ethnic group that was once-prominent, but is now marginalized by Islamist militias who’ve imposed an incredibly strict reading of Sharia rule. The band’s name is a hybrid of their ethnicity and the style of music (desert blues) they play.

Songhoy Blues are heavily influenced by western styles of music and name Jimi Hendrix, John Lee Hooker and BB King among their inspirations. The band also worked with Yeah Yeah Yeahs’ guitarist Nick Zinner on their 2015 debut album ‘Music in Exile.’

‘Résistance’ could be described as a ‘world music’ album, and the tracks ‘Ici Bas’ and ‘Badji’ certainly have world folk music appeal. But to label it ‘world music’ would be dismissive of it’s retro, psychedelic rock/funk essence and the myriad of other styles the band dabble in.

The album’s opening track ‘Voter’ is quintessential psychedelic rock, charged with whimsical, extended guitar solos. ‘Bamako’ is a beautiful acid jazz/ psychedelic rock hybrid, with an uber-funky bassline reminiscent of George Clinton’s Funkadelic. ‘Sahara,’ incorporates a bluesy swagger with some English lyrics that add an almost post-punk feel. ‘Sahara’ is one of the few tracks on the album on which English is heard; ‘Mali Nord,’ is another that includes English in the form of a rap, telling of the band’s longing to return to a home they have been banished from.

Songhoy Blues are as diverse in their use of sounds and instruments as they are in their exploration of styles. ‘Yersi Yadda’ shifts between synths and brass, and Santana style rhythm guitar. The lovely folk sounding ‘Hometown’ pairs banjo with strings. ‘Dabari’ is driven by a steady guitar rhythm, interspersed with chanting and some well placed crescendos.

Songhoy Blues effortlessly blend psychedelic rock, funk, jazz, blues and folk on ‘Résistance’ to create a groovy, smooth sounding album with some intricate guitar work and an old school sound. It’s a fantastic album from a very promising band.

Album Review: Benjamin Booker's 'Witness'

2017
10 songs
Length: 32:07
Available to buy from his store

I can’t get enough of Benjamin Booker. I first heard his latest album ‘Witness’ a couple of weeks ago and it’s pretty much all I’ve listened to since. ‘Witness’ is a mix of blues and garage rock that pairs the raw blues guitar of his first album with a more extensive sound.

Booker’s debut self-titled album was recorded in Nashville in 2013 and released in 2014. It was an instant success, debuting in the top 10 of Billboard's Alternative Albums and Independent Albums charts. It lead to appearances on ‘Late Night with David Letterman’ and ‘Conan’ and touring with Jack White and Courtney Barnett. It shows off some impressive guitar work with a vintage rock ‘n roll sound. 

‘Witness’ encompasses elements of Booker’s self-titled debut, but also much more. It also has less of the raw, frantic energy of Booker’s debut, although you wouldn’t know it from the opening track ‘Right on You,’ which is an uptempo, rock ‘n roll gem. ‘Off the Ground’ is another throwback, lulling you into sleepy submission before exploding into a rock ‘n roll number. 

Booker has embraced a more soulful, gospel sound that complements his husky voice beautifully. The title track features gospel singer Mavis Staples, and was described by the New York Times as ‘a piano-pounding hymn for Black Lives Matter.’ ‘Believe’ incorporates strings with gospel harmonies for a poignant examination of faith and ‘Carry’ is incredibly heartfelt. 

Booker carves out some lovely melodies.‘The Slow Drag Under,’ has the feel of an African-American folk song. ‘Truth is Heavy,’ is richly textured with some intricate guitar work. ‘Overtime’ has a surf rock tinge. 

‘Witness’ is a fantastic sophomore album from an accomplished singer, songwriter and guitarist. The album is proof of Booker’s evolution as an artist; incorporating enough of the old sound with some wonderful new elements.

Album Review: The Ghost Wolves' 'Texa$ Platinum'

2017
16 songs
Length: 39:31
Available to buy on CD or vinyl or as a digital download from Bandcamp

The Ghost Wolves are a two-piece garage, punk rock band from Austin, Texas. Comprising Jonny Wolf on drums, synthesiser and vocals, and Carley Wolf on vocals and guitar; the band’s name was inspired by Carley’s upbringing among hybrid wolves on her family’s Texas ranch.The duo merge a variety of musical styles like blues, rock and roll, punk rock, roots and swamp rock to create their own style, which they’ve dubbed ‘stomp 'n roll.’

The Ghost Wolves formed in 2010 and released their debut EP ‘In Ya Neck’ in 2011, followed by the seven inch ‘Getchya Hip Thrust.’ The band released their first full length album ‘Man, Woman, Beast’ in 2014 through the Nashville label, Plowboy Records. ‘Texa$ Platinum’ is the second full length album from The Ghost Wolves.

‘Texa$ Platinum’ has a raw sound that blends the genres of punk rock and blues masterfully. Searing, dirty guitars and untamed, pounding drums characterise the album, while the tracks are all really short and sharp. The opening track ‘Attitude Problem’ is distinctly punk, with high energy, distorted guitar riffs and Carly’s jarring vocals preaching rebellion and non-conformance. Other markedly punk tracks are ‘Journey On’ with it’s up tempo, simple and repetitive guitar riff, and ‘Whettin’ My Knife,’ which incorporates the band’s signature dirty guitars and Carly’s defiant vocals with some simple piano and synth that sounds like laser guns from a low-budget, 1960's science fiction film. Incidentally, outer space inspired synth springs up on various tracks throughout the album.

Most of the tracks on ‘Texa$ Platinum’ are blues heavy though. ‘Strychnine in My Lemonade,’ combines a bluesy bassline and up-tempo boogie style drumming with some crunchy guitar work for a blues rock feel. ‘Bunny Run,’ is tinged with bluegrass and ‘Triple Full Moon,’ is punk rock infused hillbilly blues. Blues rock is The Ghost Wolves bread and butter and they know how to serve it up every which way. The band has a sense of fun too, and their jovial style and blues country twang remind me of another American rock band, Southern Culture on the Skids.

Carley’s southern drawl and ‘heavy on the twang’, crunchy guitar riff coupled with Jonny’s easy going, pounding blues drumming make ‘Shouldn’t Have Lied’ the stand out track on the album. They could be channelling The White Stripes here, and they do it superbly. It’s a dramatic, impossibly cool number on which Jonny’s drumming shines.

The Ghost Wolves are an awesome punk rock band with a knack for a multitude of blues styles. With ‘Texa$ Platinum’ they have fused them all together to make one fine psychobilly album. It’s fun and it freaking rocks! ‘Texa$ Platinum’ will be on high rotation at my house for some time to come.

Album Review: Aye Nako's 'Silver Haze'

2017
12 songs
Length: 37:08
Available to buy from Bandcamp

Aye Nako are a four-piece pop-punk rock band from Brooklyn, New York. Self-described as a ‘queer punk band,’ Aye Nako write sad punk songs about being queer, trans and black. Comprised of vocalist/guitarist Mars Dixon, bassist Joe McCann, guitarist Jade Payne, and drummer Sheena McGrath, the band formed in 2008 and self-released their first album, ‘Unleash Yourself’ in 2013. They followed up with the EP, ‘The Blackest Eye,’ in 2015, released through Don Giovanni Records. Their new album, ‘Silver Haze,’ is a fuzzed-out, melodic expression of what it’s like to be queer, black and American.

Aye Nako’s identity as a trans band of colour is central to their art. Payne and Dixon identify as people of colour, while Dixon and McCann identify as trans or multi-gender. Their songs are political, exploring the experiences of LGBTQ people in the punk/indie rock scene; a scene that is predominantly male, white and cisgender.

Opening track ‘Sissy’ begins with the screech of dissonant guitars and a classic punk sound. Dixon’s vocal style is reminiscent of Mac McCaughan from Superchunk, desperately emotive. ‘Tell me what I need to stay safe on the streets,’ he sings, ‘spit in my face.’ These words evoke experiences of public displays of vitriol that must be far too common in Dixon’s world. Dixon’s anguish is laid bare, ‘I want to see you suffer like me,’ he wails on ‘Spare Me’.

On ‘Muck,’ which sounds a bit like a Polvo song, with distorted, angular guitars that punctuate the emotion; Dixon yells, ‘when you see me, all you see is the muck.’ Dixon explains, ‘I know it makes some people feel uncomfortable, but I’m uncomfortable too. I was born and raised on feeling so ugly because of my blackness. I saw it from my family. I saw it on TV and in the movies. I saw it at school. Blackness was not to be valued. It wasn’t a positive trait. How is a child supposed to feel comfortable in her black skin if all these external voices are directly and indirectly pounding into her that her blackness is a thing to be ashamed of?’

Swirling, fuzzy guitars and a solid rhythm of bass and drums are a constant throughout the album. Dixon and Payne are a vocal tag team, a first for Aye Nako, as Dixon was previously the sole songwriter and lead vocalist. Although the themes are no less melancholy, Payne’s songs have a softer edge brought about by her more melodious voice. It works gorgeously with the crunching guitars and twanging bassline on ‘Particle Mace,’ and similarly on ‘Arrow Island.’

A lament about a broken, toxic relationship; ‘Half Dome’ begins in a similar way to ‘Sissy,’ with abrasive guitars that then give way to an up-tempo, 1990’s indie rock infused riff and the melodic voice of Payne. Sonic Youth’s ‘Daydream Nation’ also springs to mind here. ‘Nightcrawler’ could be a Speedy Ortiz song, although this is not surprising given the bands’ ongoing association with each other.

Aye Nako’s pop-punk presentation of their politics is stunning and speaks of their 1990’s influences. ‘Silver Haze’ can be a heavy, uncomfortable listen. Both Dixon and Payne write songs about the painful experience of otherness, but it’s something that we shouldn’t shy away from. Said best in their own words, Aye Nako were ‘originally formed to subdue boredom but now operating on another frequency, they are actively seeking a planet where those who fall in the margins can feel OK about being themselves.’ I hope they find it.

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.