Firstly, this is not Dave Sitek and friends, nor is it a band created around the somewhat considerable talent of aforementioned Sitek, nor is it a five out of five album which every reviewer has felt compelled to lavish upon it. (more…)

It’s grim up North apparently (by default this includes Scotland)….not the North people not from there know about, the REAL North, the places that used to be there….they are still there but out of sight.

That’s why Glasvegas have instantly become a special thing to cherish, Glasvegas are giving people a voice, the lyrics will resonate with every disaffected teenager or older folk dissatisfied with the lot they’ve received, the places they will just about exist in, (more…)

For some people, Abba iare inexplicably one of the greatest pop bands of all time, each three-and-a-half minutes is a little nugget of sweet Pop of the highest order. Then there are those who think Abba is one of the most over-rated bands in history; their vomit inducing pop causing annoyance every time they are heard and the only good thing to come out of their existence is influencing of Steve Naives’ piano playing on Elvis Costello Classic ‘Oliver’s Army’.
(more…)

Casio synths, electronic drum pads, pastel moccasins and jackets with rolled up sleeves, all things which were consigned to the bin of things we used to like from the 80s are held up as things of wonder on this bizarre album, the gayest album you’ll ever hear by a couple of straight guys.
Based on the dodgy sidelines of fast living John De Lorean (of Back to the future car fame), the desirable celebrity girlfriends (such as Ursula Andress and Raquel Welsh), ripping of millions from the British government and running a massive drug running scam provides plenty of subjects to sing about on this concept album from LA producer Boom Bip and Super Furry Animals front man Gryff Rhys.
(more…)

After Tim Booth announced he was quitting the band in 2001, it seemed ludicrous that the band would continue without their front man. Of course it couldn’t and didn’t happen. The years passed and then, like many former success stories who called it a day, there was talk of a reformation and a surprise sell out arena tour last year cemented the decision to record again.

For die hard James fan’s who cite the ‘SEVEN’ era as their peak years, they won’t be disappointed. In both production and arrangement, ‘Hey Ma’ delivers a healthy fusion of celebratory brass riffs with rolling guitar melodies and Booth’s typical attention grabbing lyrics. “Hey Ma boys in body bags coming home in pieces” he sings on the title track, which is probably the most poignant lyric I’ve ever heard in regards to the Iraq conflict.

The critics will of course have the knives out as ever, attacking him for his political and outlandish religious statements and Hey Ma, as an album, will be damned for apparently pandering to the glory days, but any band who comes back with 11 songs of this standard can frankly do as they like.

8/10

James Heward

It’s hard to believe its 16 years since The Tindersticks first released ‘Patchwork’ as limited edition 7”. Even harder to believe it’s that long ago since I attended Uni (all be it one year. In fact it was probably bunking off to buy records such as this one than caused me to drop out!

It’s difficult to put a finger on exactly what it is about The Tindersticks I love so much, it’s probably a combination of things. The fact that they are an acquired taste, praised and damned in equal measures. Stuart Staples rich tones, gravelly, sometimes not quite hitting the notes, a distinctive hard to place vocal that falls somewhere between Leonard Cohen and a London club singer from the 60’s who has struck upon hard times. The emotive score and arrangements of their orchestration, a unique melancholy that shows a deep affection for John Barry’s sweeping soundtracks and many other classic 60’s and 70’s musicians from Glenn Cambell to Jacque Brel. Then there’s the lyrics. I defy anyone able to tell a truly more depressing monologue than Staples ‘My Sister’!!

The Tindersticks appeal to the pretentious component within those who like them, and for those that don’t, it’s that very pretentiousness that puts them off. But I’m guilty as charged. I find the musical and lyrical snobbery strangely appealing (but that’s what daytime radio 1 does to you).

After a break of 5 years the Tindersticks have re-emerged. It was a much needed rest. 2003’s ‘Waiting For The Moon’, though impressive, it was clear they had lost some of their sparkle. It was business as usual and the ‘going through the motions’ routine was becoming a little too obvious. Staples released a solo album in that time, a stripped down almost soul affair that saw him revaluate his position. I’m convinced this project made it possible to write and record The Tindersticks 7th album and possibly their best in over 12 years!

‘The Hungry Saw’ begins as it means to continue, letting us know from the outset that it’s dressed to impress, a mood setting piano intro leads straight into a soul/bluesy number. ‘Yesterday’s Tomorrow’ awash with flats and sharps, displaying Staples heart aching vocals delivering long overdue desperate misery. The following track, ‘The Flicker Of A Girl’, with Echo’s of early Scott Walker , breezes along a folk melody, vaguely upbeat but kept in its place by Staples Baritone vocal.

The 60’s psychedelia soundtrack inspired instrumental ‘E-Type’ complete with trademark organ and mystical female backing vox, will have the most hardened of Tindersticks fans beside themselves with excitement (yes that is possible). The Beauty of ‘The Hungry Saw’ saw is the bands compliance to look at where it all started for them and retrace their steps, incorporating classic moments whilst embellishing it with new ideas an influences. The need to break away from what they were once loved for is no longer an issue. Here we have 12 songs from a band comfortable being themselves. This is never more apparent than on ‘The Organist Entertains’, another instrumental reminiscent of the 95 period, evoking images of a ghostly figure playing an organ in an old deserted seaside cinema, it’s steeped in nostalgia and eerie beauty. The title track takes us back to the blues with an almost motown arrangement, The lyrics depicting the loss of a girlfriend to a suave and attractively dangerous man about town, described in Staples colourful way. “The First cut is the skin second is the muscle then there’s a crack of the bone and he’s at your heart”.

To say The Tindersticks have come back with a masterpiece would be an understatement. In an age where a band is lucky to get their debut album out before being unceremoniously dropped, these guys are one of few acts able to command a following of considerable size and consistency. The Hungry Saw won’t do much to alter that!

9/10

James Heward

Reading four-piece, DIOYY are the epitome of Hoxton Twat or the Shoreditch slut. The joke name, the cartoon rock band image they have, the uniformed individuality of colourful Top-Man clothes, the lot.

(more…)

The Long Blondes - ‘Couples’ (Rough Trade)

Sheffield band The Long Blondes have always been an interesting proposition but their style has outshone the music. Their 2006 debut, ‘Someone to drive you home’, had the correct boxes ticked but due to ex Pulp member Steve Mackeys’ production, it was a lame offering with only occasional hints of brilliance.

It is the golden touch of electro/indie dj and producer Erol Alkan who has taken this potential and together with the band, produced an album which is instantly up there as one of the best albums from these shores this decade, which let’s face it, wouldn’t be difficult. 22.20’s, Gorillaz and Artic Monkeys (1st album only) aside, we have been totally eclipsed by our Atlantic cousins this decade.

(more…)