I have to say I was more than a little excited about seeing this Toronto five piece. Having purchased the latest album, ‘Set Yourself On Fire’, earlier in they year (yes I actually paid for it), I had fallen head over heals for them, so much so they were the only band that managed to prise my beloved Arcade Fire album away from my sytem at any given time. For those familiar with Stars fluffy indie leanings you could be forgiven for envisaging a duffel coat wearing Stuart Murdoch of Belle and Sebastian, dueting with the delicate tones of The Delgadoes Emma Pollack. In reality it’s more like Shane Macgowen and Kirstie Mccall. So ok they’re not spring chickens but like another excellent import, The National, they’ve had years to perfect their talent…..and boy they have.
 
Tonight they pander to our ignorance, for as we all big one another up for being the intellectual elite to recognise their brilliance, we are blissfully aware that they have already had two other albums out previously in their native Canada. They politely acknowledge this by playing ‘Set Yourself on Fire’ in its virtual entirety.
 
from the sublime heady shoegazing of ‘Ageless Beauty’ and the touching developing melody of ‘What I’m trying To Say’, Stars embody everything many British bands have forgotten about. The strength of a great lyric for starters, this is particularly noticeable throughout the brilliantly penned ‘Your Ex Lover Is Dead’ . A song about a couple who once dated and are re-introduced as strangers years later by a mutual friend. The chemistry between singers Torquil Campbell and Amy Millan is overwhelming as they tell this story through the combined emotions of indifference and certain reflective sentimentality.
 
Something that particular struck me about Stars was their genuine appreciation that people had actually turned up to this gig. Torquil’s relentless witty in-between song banter eluded to his slight frustration with certain factions of  the British media, in particular The NME, and it is criminal that a band with such originality and emotive depth should be shunned in favour of fly by night coke heads with tabloid friendly lovers, but perhaps that’s what makes them ever more special. Tonight, for a small but perfectly formed audience it was the ultimate Christmas gift and something that I personally feel very grateful to have been a part of.
 
9/10
 
James Heward

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Koko, London 18th December 2005

When Noel Gallagher recently commented on the recent exciting new music Britain has produced particularly over the past year he described Bloc Party amongst others as indie shit. Although this produced another headlining sound bite, it was also an act of desperation and sour faced jealousy on his part. 

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Franz Ferdinand live at Newcastle Arena 27th November 2005

With the current spate of UK guitar bands riding roughshod over the charts at the moment, this overdue resurgence has been likened, somewhat unfairly, to a pitiable Saturday morning re-enactment of the Britpop Wars of 10 years ago.

Parallels have been crudely drawn, linking the pouting young pups of today with the great bands of the mid-90s. The stage has been set and the places have been taken. The boundless verve of The Kaiser Chiefs sees them aligned with the fresh-faced  Supergrass of yore (cruelly so, as they’re pretty much the same age). The kitchen sink drama of The Arctic Monkeys has them coarsely correlated with Pulp (thankfully without the 18 year holding pattern). Mercifully, the musical descendents of Welsh janglers Catatonia- a group whose singer Cerys Matthews sounded like a Rabbi coughing up a pube – have yet to make an appearance.

There are, however, a number of glaring non-attendances in the schedule, but at present there is only one band big enough to fill the desert boots of the mighty Blur or the big floppy red shoes of unintentional clown Liam Gallagher.

That band is Franz Ferdinand.

Whilst they have the ability to knock out crowd-pleasing anthems that appeal to the everyman, they also have the literary aspirations and spirit of adventure that suggest  they’ll be above peddling pointless nostalgia to the masses in years to come. So whose position do they take?

Before the concert even begins, there is a buzz around the arena that this will be a homecoming of sorts for Alex Kapranos, as his family from nearby Sunderland will be turning up (possibly in a stolen Cortina). Factor in that local heroes The Futureheads are in attendance, and the mood of the evening is somewhat heightened.

First up on stage are The Rakes, and they sadly disappoint. With the Jam infused etchings of their debut album, they fail to fill the cavernous arena, as their sound is as thin as their name suggests. Whilst they trudge their way, workmanlike, through their debut ‘Capture/Release’, they only manage to ignite the emotions of the crowd during an untitled new song towards the end of their set, which displays a dynamic not heard in their output to date. The song suggests a possible future for The Rakes which could elevate them above the ranks of being their fans’ third favourite band. In the Britpop re-enactment, they are The Bluetones. They just need to write their ‘Slight Return’ to guarantee their place in history as a footnote in the story of Franz Ferdinand.

Next up is Editors. Whilst some find Tom Smith’s harrowing baritone to be as natural as a pair of Jordan’s breasts, others complain that it lacks the urgency of Paul Banks’ maudlin bleatings. Live however, there is comfort to be found in the marriage of Smith’s booming voice and Chris Urbanowicz’s monochrome soundscapes. In comparison, Interpol’s Banks sounds like a distraught Larry the Lamb in an echo chamber. 

As such, songs like ‘Bullets’ and ‘Munich’ in their live, unbridled state are well within reach of the skewed majesty of ‘Obstacle 1’ and ‘Evil’. In the re-enactment, they are Marion.

When Franz Ferdinand come onstage, ripping into new album opener ‘The Fallen’, the excessive opprobrium afforded their new album vaporises into thin air. Whilst sounding neutered and embryonic on record, ‘The Fallen’ sounds muscular and tight in the live environment, as do the many other new songs, which didn’t quite work before. Songs from their debut, such as the yearning ‘Come on home’, and the strutting ‘Michael’ are fantastically well received too, but the highlights of the evening are surprisingly the new songs.

Current single ‘Walk Away’ sees drummer Paul Thompson, resplendent in a Fire Engines T-shirt, playing wild surf guitar as their new (but ever so slightly over-literal)  video plays behind them.

‘The Outsiders’ sees Paul joined on drums by two anonymous underlings and together they beat out a tribal rhythmic head f*ck that resonates like a death-rattle headache two hours later. It verges on religious intensity and inspires near shamanic disorientation amongst the crowd, and as such should come with a health warning. It is the defining moment of a magical homecoming gig.

New album highpoint ‘Eleanor put your boots on’ is a slight disappointment though. On record it is gingerly played, but live it is manhandled into a leaden stomp that strips it of its original elegance.

Another slight let down is ‘This Boy’, which still sounds like a Bad Manners ska workout in places. It brings to mind Kapranos’ earlier incarnation in be-quiffed rockers Fonz Ferdinand, sorry, The Karelia, but the song is soon rescued by its terrace-friendly anthemic chorus.

Minor gripes aside, Franz Ferdinand are near perfect, playing what feels like a Greatest Hits set.

With their inherent ability to reshape their own songs, adding extra dimensions whilst keeping things fresh, the question posed earlier as to whose shoes they fill, is easily answered. In years to come, expect to find an animated Kapranos and friends suckling on the teats of a six nippled electrobeast whilst collaborating on the side with gifted musicians from The Congo.

The finale to this wonderful night is a rousing ‘This Fire’, which sends the auditorium spilling out onto the streets of Newcastle in a heightened state and a willingness in some to re-evaluate that second album.

At such an unprecedented rate of growth, by album number 3 they’ll be nigh on unstoppable. U2 and Coldplay, better take cover.

Ash Barua

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1. Gorillaz – Dare
It could only ever be this gargantuan moment of genius pop music for me, the chunkiest beat and the filthiest 80s influenced synth line, great soulful female vocals juxtaposed with the ugliest sounding voice ever, Shaun Ryder, the finest and funkiest number one in years, it doesn’t get any better than this!

2. Bloc Party – Two More Years
A track where the boys became men. Two more years had Bloc Party looking towards pop stardom but still kept the shimmering guitars and indie sensitivity which made us love them in the first place.  

3. Chemical Brothers – Galvanize
A great come-back, at the start of the year The Chemical Brothers were dead and buried, big beat had finally died and their last album was as dull and as stodgy as old porridge, then this! A great attitude filled track featuring Tribe called Quest legend Q-Tip who we hear way too little of these days, every time this track comes on you can’t help but walk down the street with a stroll on.

4. Arctic Monkeys – From the ritz to the rubble
Not even a single but if you’re a fan and you own a pc then you will already love this track. When they closed their debut appearance on the Jools Holland show with this recently you could hear the collective sound of Doherty and co’s chin dropping when they realised that they were redundant lyrically, musically and attitude-wise.  Anyone who has tried to get into a club up North wearing trainers will relate to this story of meat-head townies who think a brilliant night involves violence. As I used to say when getting turned away – any twat can buy shoes, they’re probably the ones causing the trouble in there, to which I got the response – yeah ok, now fuck off.

5. Arcade fire – Rebellion (Lies)
For an album pre-occupied with death and loss in general, this was a shot of hope so uplifting and almost religious sounding it’d make you actually believe in him upstairs

6. Editors – Munich
Hey, it may be generic but is that a problem? This, their finest moment has its influences so steeped in the guitar music of the early 90’s, it stares at its feet under a fringe and makes you realise you’re getting old, where’s that Ride album?

7. Missy Elliott – Lose Control
Missy always has he knack of dropping a killer party tune that is so dumb-assed, so stooped fresh that you just have to submit. This killer piece of electro influenced hip hop proved that despite all of fiddy and Eminem’s efforts, the genre isn’t dead yet. Missy is a true visionary and does it with maximum style and even more grace.

8. White Stripes – My Doorbell
The highlight from a confusing album that got better with plays but, well, is still weird, this piano lade-ah, fuck it, you know it and love it anyway!

9. Fischerspooner – Just Let go (Thin white duke remix)
This remix holds testament to the fact that you can indeed pollish a turd. Fischerspooner are the lowest common denominator in music, fashion magazine over-stylized, pompous rubbish, or in short – shit. Thin White Duke aka Stuart Price aka Jacques Le Cont aka Les Rhythm Digitales excels in his Thin White Duke guise and this pumping 4/4 beated electro-track took all the best components of electronic music from Kraftwerk, new Order, Eurythmics and brought them right up to date with this wicked dancefloor filler. And if Madonna uses him to produce her latest album then he must be doing something right! 

10. Whitey – Y U H 2 B M
A regular track in any 2 Many Dj’s set you may have experienced this year, this frazzled track is a moody clash of hard chunky beats, Nine Inch Nails attitude smothered with fuzzy base and mad techno percussion. Like Soulwax on speed (or add other drug connotation of choice), this mammoth tune will always make you move with beats that hit you with jaw shattering effect. This originally came out last Year on 7” but seeing as only about 10 copies of it were released and the fact it features on his album released this is Year allows it in…er, ok?  

Chris Todd

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We’ve waited a long time for this. The Scottish wordsmith and emotional musical whirl wind’s follow up to the hugely acclaimed “Rocket DIY”, that KC even more intense and honest in his heart pourings.

Shooting into the publics consciousness with a little help from the cult psychedelic Mancuniuns, ‘The Earlies’. King Creosote, (real name Kenny Anderson), has established himself as a highly credible singer songwriter. Imagine Badly Drawn Boy….done that……? Good. Now imagine Badly Drawn Boy’s still good and you get an idea of his talent.

KC Rules, explores many genres and generations of musical styles. From the tinny microphone techniques of the roaring twenties, through to 50’s jazz, 60’s skiffle and modern day alternative folk. Lyrically he lays himself bare, posing questions about himself, many of us inwardly ask of our selves but never shout from the roof tops. There’s something very strong minded about King Creosotes work, despite his songs exposing the frailty of the human emotion.

KC Rules OK is perhaps King Creosote’s most consistent release. He’s spent many an hour alone in his bedroom with nothing but a four track for company, delivering song upon song of creative outpourings and finally he’s homed his talent to a fine art. A wonderful collection of songs that he should be very proud of.

8/10

James Heward

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Kitsch indie is back in…it’s official, whether it be the beat girl inspired Pipettes, or the flirtation with retro dance that is ‘The Go Team. Cute legions of chanting girl singers having vocal disputes with cute indie boys to the tune of fuzzy lo-fi guitars.

The Chalets are no exception but amazingly they’re far more musically competent than just kids with a P.A system and guitars. As their influences suggest, they’ve looked beyond the last five years, sighting the U.S alternative rock scene as a career pointer. Bands such as The Breeders, Blake Babies and Veruca Salt’s more delicate moments are all visible here, whilst also incorporating the late 70’s surf punk pop of early B52’s. It’s all cemented by a thick blob of disjointed guitar riffs that are 2005’s trademark of course, but the strength of songwriting is undeniable.

Tracks such as ‘Feel The Machine’, ‘Nightrocker’ and ‘Sexy Mistake’, are all credible pop singles that could easily become hits given the chance. The lyrics remain intelligent and often funny, describing one night stands, boring boyfriends and the overriding theme of  er….day to day Airport maintenance that makes Check out a quirky but a highly listenable album, which isn’t nearly as disposable as you may think.

8/10  

James Heward

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1. Ladytron – Destroy Everything You Touch
A Low in the mix plodding beat, with moog effects begins a track that suddenly bursts into a full on Stomping Industrial affair. Electronica has never sounded so dramatic or emotive. The vocals are traditionally icy and detached. It left me winded for weeks and I still haven’t fully recovered.

2 Arcade Fire – Rebellion (Lies)
The track that soon became a live favourite, a casual understated introduction that gradually builds and builds with a beautiful melodic twist. A tune that set indie clubs alight with ever play.

3. The Organ – Memorize The City
Quite simply a perfect pop song. Jangely guitars full of heady Johnny Marr nostalgia with Mozzer lyrics to match. The Organ were one of the years most exciting new acts.

4. Interpol – C’mere
The most commercial offering from last years brilliant, ‘Antics’, complete with the achingly beautiful line ‘The trouble is, your in love with someone else…..It should be me. Best sung at around 2 in the morning into a half empty pint.

5. Editors – Munich
Jaggered guitars that race with manic urgency. Editors finest moment and the track that put them on the map. 3 minutes of pure angular indie joy. It’s more Joy Divison than Joy Division despite what singer Tom Smith’s been saying in the press recently, but I still love it.

6. British Sea Power – It Ended On An Oily Stage
Earning them their first top 20 hit. 2005 was British Sea Powers year. Complete with a devilishly catchy guitar riff and quirky but intelligent lyrics, it was just one of many highlights from their second album, Open Season.

7. Richard Hawley- Coles Corner
Now being a Sheffield born lad, Coles Corner means a great deal. Once a famous meeting point in Sheffield in the days before the mobile phone, Richards 50’s crooner vocals set to the backdrop of lavish orchestration tells the story of teenage love and the heartbreak of being stood up.

8. Stars – Ageless Beauty
Combining Scotland’s finest cardigan indie that is The Delgados, with America’s   Arcade Fire, Stars have make glowingly sensitive music, boasting dynamic melodies and Lush female Harmonies, Ageless Beauty, is the missing link between early 90’s ethereal shogazing and today’s stylised guitar bands.       

9. Antony And The Johnsons – Hope There’s Someone
A Heartbreaking vocalist, whose melancholic torch songs compliment his unusual but beautiful tones. Hope There’s Someone, speaks volumes about the taboo subject of ones final hours and the circumstances in which we go. Devastatingly moving. 

10. The Subways – With You
This year’s most exciting new live act. The Subways catch all the youthful exuberance of their live shows in this perfect slice of Alt rock. With a guitar riff to die for, supplied by their talented front man Billy Lunn, Wth You, rocks like no other.

James Heward

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…or how to become one in 3 easy steps
It’s not easy being a celebrity, us being mere mortals who cannot turn water into wine we will never know how it is to be blessed with god given talent; it must be such a difficult cross to bear. It takes much effort courting the media and tipping off paparazzi with your latest whereabouts - normally a high class designer clothes shop despite the fact you get all the items for free and probably don’t need to actually be at the shop seeing as how you have 40 staff members on your books and the staff really wish you weren’t there either but hey,gets you out of the house I suppose.

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…or how to become one in 3 easy steps
It’s not easy being a celebrity, us being mere mortals who cannot turn water into wine we will never know how it is to be blessed with god given talent; it must be such a difficult cross to bear. It takes much effort courting the media and tipping off paparazzi with your latest whereabouts - normally a high class designer clothes shop despite the fact you get all the items for free and probably don’t need to actually be at the shop seeing as how you have 40 staff members on your books and the staff really wish you weren’t there either but hey,gets you out of the house I suppose.

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From January of this year, with their debut single release, “Bullets”, (sold out on day of release), Editors have experienced a year of unlimited progress.

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