YOUR TWENTIES (Levi's OnesToWatch Residency)

THE BORDERLINE, LONDON

Opening proceedings this evening are the brooding and frenetic The Bridport Dagger, a band who take their onerous epithet from a euphemism for noose rope. This three piece make atmospheric gloomy blues rock tunes that sound totally fresh and yet referential of some of the greats. Imagine Elvis or Orbision teaming up with a grim rock 'n' roll reaper; given enough rope this band could really turn some heads.

Second up are The Brute Chorus, a band whose energy isn't so much brooding in the shadows as it is flaunted in the foreground. Their chaotic, ramshackle 50's rock sound is ambitious and ballsy, and yet not overt about the careful craftsmanship holding it all together. You might say this band wear their metaphorical cocks on their sleeves – even if this can be slightly nauseating at times.

Headliners Your Twenties, on the other hand, are a band that seem hormonally challenged. Yes, the big tunes do elevate; yes, there are riffs catchy enough to spool out an entire adult-sized onesy in the duration of their short set, and yes, the grooves are Solid. As. A. Rock. ... but there's just no heart. I want to like this band, but their bloodless performance is all too stiff-upper-lip and very-cool-for-school. Think Kowalski without half the charm and, on average, slightly longer songs.
Aaron Kennedy

Part Chimp

Thriller

Rock Action

Thriller is the third full-length to come from the gnarly South London noise rock ensemble Part Chimp. The initiated may not have considered the possibility of their ears registering any increase in blisteringly dense white noise after 2005's 'I Am Come' – surely the pool of blood on the floor beside your head testified to this? Think again my friends, think again.

Not only have the Chimp succeeded in tapping into a fresh seam of primordial musical sludge, they have created even louder blend of solid grooves, timber shiveringly-loud guitars and droning melodies.

Opener 'Trad' is, a pastiche of the stoner rock genre, is no less of a satisfying melodic drone-fest for being a piss-take. Dirty Sun is a grimy, epic strut that sees them exalting in some reframed Sabbath-like tropes.

Released on Mogwai's Rock Action label, the album represents something of an evolution in their noise-mongering ways – a progression from their indie/grunge roots, to sludgier, stonier ground, while at the same time remaining true to their rock band roots. If bleeding ears is your thing, Thriller is worth checking out.
Aaron Kennedy

Score: 7/10
Download: Trad, Dirty Sun
For fans of: Jesus Lizard, The Melvins, Harvey Milk

Fanfarlo, Reservoir

Fanfarlo Records


Reservoir is the first LP to come from London-based folk pop band Fanfarlo. Released under the band's own label, it completes the picture sketched by a preceding bevy of singles. Produced by Peter Katis (The National, Interpol), and with ringing endorsements from David Bowie, Sigur Ros and Rough Trade Shops, this record demands attention.

Balthazar's soulful intonations provide the emotional center of the record. On the rousing and triumphant Ghosts it recalls the ecstatic wailing of 'Clap Your Hands' frontman Alec Onunsworth. The production is a densely layered, kitchen sink affair, lending another gear of compulsion to the sound. Third track, Luna, drives along like a full force gale, and is saturated with everything from violin to synthesiser parts, and much more besides. On the surface, this an all-round beautiful and absorbing listen.

That said, while the vocal is melancholic and possessing of a certain whimsical abondon, becomes easy to ignore the longer you hear it. Balthazar's open, almost dispassionate singing style is partly to blame. The disappointment ensuing from a closer inspection of the lyrics explains why it has been recessed snugly into the weave of the mix.

While fans of Arcade Fire and Beirut should initially enjoy this album, the discerning devotee will think twice. If you'll forgive the word-play, barring a few stand-out tracks (numbers one, two and three), Fanfarlo's Revervoir seems to draw from waters less deep than their better-loved musical progenitors.
Aaron Kennedy

Score: 6/10
Download: Ghost, Luna
For fans of: Arcade Fire, Beirut, Clap Your Hands Say Yeah

Live Review: DANANANANAYKROYD

Levi’s OneToWatch, VIBE BAR, LONDON, 7 July

Monday night is perhaps not the best night of the week for a live show, however there is already a good crowd gathering as support act The Late Greats begin their set. Whether they're named after the Wilco song of the same name we can't be sure, but The Late Greats’ cathartic, lo-fi alt-rock sound owes a lot to them. They also sport a chaotic Frank Black vocal style and solid rock grooves. Their performance is earnest but fun, and chock full of good riffs and driving beats – more than enough to warm up the crowd.

Dananananaykroyd take to the stage with a certain understated confidence and verve that immediately sets a promising tone for the evening. Many of the punters are hanging back, waiting to see what this Levi's headlining OnetoWatch act has to offer; at least fifty other people, however, have clearly made their minds up, bare-chested in anticipation of some craziness.

And craziness is what we get. Take the six-person lineup for starters: two are drummers, one of whom shares the lead vocals when he's not being spectacular and ostentatious behind the kit (at least two other members get up to play during the set). By the end of the first song half the band are topless and both of the singers can be found surfing the crowd, mics in hand, screaming themselves senseless. They are frenetic, gleeful performers who spend as much time in the crowd as on the stage. By the second song the crowd is heaving and Dananananaykroyd have us in the palms of their sweaty hands.

Among their influences you can detect the wayward math-rock approach of At The Drive-In, the non-linear structures of post-rockers Idlewild. The two drummers seem to lead the charge, directing the melodies with their exacting beats, flamboyant hits and riotous fills. Their brassy lyrics and catchy riffs make all this innovation very accessible.

Dananananaykroyd are the most exciting thing I've witnessed since, well, since ever. For one reason or another I seem to have missed most of the significant musical moments of my lifetime. It might be saying a smidgen too much, but watching Dananananaykroyd went a small way toward making up for this. They have to be seen to be believed.

[This picture is from the same night: yes, there is a guitar lodged in the ceiling.]

Foreign Slippers

Oh Death
Izumi Records

As its title suggests, the first release for alt folk singer Foreign Slippers was born out of the experience of death. Its varied subject matter, whether personal, mystical or romantic, are filtered through the lens of this loss.

Gabrielle Froden, as she is otherwise known, has a created a dark treat of a record, which is so laden with poignant beauty and regret that it seems to stir memories from the womb. Released on Izumi Records, Oh Death has earned Foreign Slippers support slots with the likes of Brit nominee Beth Rowley and Duke Special.

Foreign Slipper's sparse sound is warm and uncomplicated, making use of a surprisingly wide a variety of instruments. Her voice recalls the delicate intonations of Emiliana Torrini, or the cool, otherworldly croon of Kate Bush, and at times the soulful textures of Gillian Welch. When gentle nostalgic whisperings give way to searing full-bodied lamentation, you're feeling like you've listened to the musical equivalent of Grey's Anatomy's weepiest episode.

Opener 'Packed the Car' documents a day trip, a hazy, glowing memory of a summer's day culminating in boozy fireside reminiscences between old friends. Title track, 'Oh Death' is transfixing in its melancholic, meditative repetition, nailing you to your seat with a depth of feeling that is, quite simply, uncommon is today's commercially driven music industry.

Sad though her songs often are, they are buoyed by the comfort of friends, with soothing poetry about the-way-things-are, and hopeful hints of the way-things-could-be. Foreign Slipper's first release augurs auspiciously for a future full length that is currently at the mixing stage. We wait in eager anticipation.

Score: 9/10
Download: Packed the Car, Fisherman
For fans of: Emiliana Torrini, Kristin Hersch, Gillian Welch


Buy the EP on the Rough Trade website, iTunes or the Izumi website.

Tomorrow Today, Seeland

This is Seeland’s third release to date, and their first for Loaf recordings. Based in Birmingham, the band was formed from the burning embers of that city’s ‘retro futurist electronic scene’.

‘Tomorrow Today’ is an eclectic mish-mash of influences ranging from space age pop, to the BBC Radiophonic workshop, from the Human League to ‘eccentric 60s library music’.

Seeland sound like a pop-leaning Kraftwerk blended with Pink Floyd on happy juice. It’s also hard not to make a connection with the lo-fi sounds of Elliot Smith or ‘Under the Western Freeway Era’ Grandaddy. Indie electronic sound

Almost all the songs are gentle growers, with fifth track ‘Captured’ being the stand pop single. Its sweet melody and sing-able, lovelorn chorus are enough to get you closing your eyes and pretending it wasn’t actually winter. ‘Colour Dream’ is worth downloading for the chilled-out, blippy warmth of it all, if not for the slightly banal lyrics.

The shoegazing quality of the vocals may present something of an obstacle for some, but their shiny, unobtrusive consistency will appeal to others. The production of the album is impeccable and uncommonly creative; in short, ‘Tomorrow Today’ is a entertaining, eclectic collection of indie pop treats. I recommend it.

Download: Colour Dream, Captured
For fans of: Kraftwerk, Plone, Broadcast
Score: 7/10

Preacher Blues, Le Skeleton Band

It's hard to know how to judge 'Preacher Blues', Le Skeleton Band’s first full-length album. As the name suggests, they are a group of French guys, who mostly sing in French and their music definitely has an air of the thoughtfulness and intelligence that you might, perhaps, imagine is a prerequisite for any self-respecting Frenchmen. In a word, its all a bit foreign to the British listener.

Nevertheless, several reassuring influences become apparent with closer listening: the influence of Tom Waits' sparse garage-jazz sound is clear, and at times the vocals recall his dulcet tones; the folk-punk intricacies of the Violent Femmes begin to emerge as a significant feature; and the fractured art-rock sounds of psycho-billy band The Dead Brothers give the album a volatility which is cathartic.

The album is packed full of great musicianship, and the songs, which could by no means be described as ‘pop’, will reward repeated listens, particularly, I imagine, if you speak French.

Download: L’Automme
Score: 7/10
For Fans of: Violent Femmes, The Dead Brothers, Tom Waits