Artist: Postcards From Jeff
Album: Postcards From Jeff
Year: 2014
Label: Alien Boutique
Ever since I started inviting readers of this blog to send me their music, I've been sent a wide array of music from all over the world. From the atmospheric of hip-hop of Ceiling Demons to the sun-kissed reggae vibes of Dojo, I've been more than happy to try and spread the word about some brilliant underground musical talent. But one submission this week may have topped the lot. Postcards from Jeff's self-titled debut EP is a thing of beauty, underpinned by cinematic pop soundscapes and the wonderful voice of singer Joss Worthington.
Falling somewhere between Matt Berninger's baritone, Jason Pierce's hoarse vocals and the gravelly tones of Mark 'E' Everett, Worthington's voice seems strangely familiar yet entirely unique at the same time. It also seems to take from the best of Manchester contemporary Ian Brown's husky, comforting, 20-fags-a-day voice.
Musically, the EP is backed by an ever-changing array of instruments of sounds, with orchestral strings, pentatonic piano lines and processed guitars serving up anthemic and often dramatic sonic backgrounds. Remarkably, the accomplished sound of Postcards From Jeff is brought together entirely by Worthington, who plays, records and mixes everything himself. It's a heck of an achievement to bring so many influences into a cohesive piece of work, but the part-time producer has certainly managed it here.
It's kicked off by A House, an anthemic opener which sets the tone for the rest of the EP. Wandering synths soon give way to a backdrop of pounding drums and acoustic guitars, the familiarity of Worthington's voice a suitable accompaniment to his honest and homely lyrics. It's melancholic and one of the standout songs that I've heard so far this year. Veronica follows suit, the ode to a former lover laying bare the honesty of Worthington once more: I'm like a sick rabbit/in the mouth of a dog.
The supremely-titled Agoraphobic House Party ventures more into dream territory than pop, the relatively sparse arrangement of the song making for a clear midpoint to the EP. Despite its short length, Postcards From Jeff has been put together with the sort of care normally reserved for much larger projects, from the carefully-ordered tracklist to the fittingly cinematic videos for A House and latest single Awake. And it is Awake which is the glorious closing track. With a infectious piano line leading the charge into your eardrums, it has all the hallmarks of a great pop song. Skilfully put together and masterfully executed, it is symbolic of this release as a whole.
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New music blog covering indie, alternative, hip-hop, reggae and, well, pretty much anything actually.
Sunday 30 March 2014
Wednesday 26 March 2014
William Onyeabor vs. Hot Chip - Atomic Bomb
I recently featured a classic compilation of William Onyeabor's songs released by Luaka Bop on this blog. Now, as a special record store day release (not just some reissue), Hot Chip have covered Onyeabor's Atomic Bomb for an album of covers and remixes entitled What!? - William Onyeabor Remixed.
The combination of Onyeabor's afro-electro-synth-funk and Hot Chip's off-beat disco-pop is as positively awesome as you might expect. The track premiered on Lauren Laverne's 6 Music show earlier this week, where she quipped that Atomic Bomb feels like it was written for Alexis Taylor to sing. I couldn't agree more!
An all-star cast of musicians including Damon Albarn, Kele Okereke (Bloc Party), Pat Mahoney (LCD Soundsystem) and Ghostpoet join Taylor in performing Onyeabor's music live for the first time next month. Just two dates have been announced at London's Barbican Centre (April 1st) and Bristol's Colston Hall (April 2nd). Tickets to Bristol can be found here and London here. You would be mad to miss out - listen below!
The combination of Onyeabor's afro-electro-synth-funk and Hot Chip's off-beat disco-pop is as positively awesome as you might expect. The track premiered on Lauren Laverne's 6 Music show earlier this week, where she quipped that Atomic Bomb feels like it was written for Alexis Taylor to sing. I couldn't agree more!
An all-star cast of musicians including Damon Albarn, Kele Okereke (Bloc Party), Pat Mahoney (LCD Soundsystem) and Ghostpoet join Taylor in performing Onyeabor's music live for the first time next month. Just two dates have been announced at London's Barbican Centre (April 1st) and Bristol's Colston Hall (April 2nd). Tickets to Bristol can be found here and London here. You would be mad to miss out - listen below!
Sunday 23 March 2014
Album of the Week #17
Artist: Crocodiles
Album: Crimes of Passion
Year: 2013
Label: Frenchkiss
Distortion-heavy 90s rock with pop sensibilities
As the end-of-year lists were flooding in late last year, I couldn't help but feel that one album was being constantly overlooked by the critics - though I'm sure I wasn't alone in feeling like that about at least one album. American duo Crocodiles mix 60s psychedelia with 90s rock in Crimes of Passion, a criminally underrated record that deserves to be brought back to people's attention.
Fuzz, feedback and noise is the name of the game here. It's noise rock in some places, psychedelic rock in others and plain old rock'n'roll elsewhere, all of which are held together by consistently strong pop melodies and crunching riffs. Distorted guitars weave in and out of almost indecipherable vocals telling tales of heartbreak and despair, this sonically chaotic setting the perfect accompaniment to the anguished lyrics.
Crimes of Passion is a record held together and defined by its riffs. She Splits Me Up is the perfect example, its jangly guitar line backed up by another exceptionally strong melody, whilst Teardrop Guitar is more of the same fuzz-pop goodness. Although Crocodiles' influences are fairly signposted - think San Francisco of the 60s and Seattle of the 90s - they have managed to mix these influences and throw in their own pop sensibilities to form a sleek, modern and refined version of this melting pot.
Consistency is another prevalent theme of the record. Although certain songs soar more than others, you're never left skipping any and pretty much all these slices of distortion-coated pop manage to weave their way into your head one way or another. So in that sense, it's difficult to pick any stand-out tracks. Instead, what you have here is an accomplished, consistent selection of tracks in a record that manages to strike the right balance in so many different areas - between noise and pop, long and short, psychedelia and rock. It was only released 7 months ago, so perhaps not quite enough time to be blowing the dust off it just yet, but give this one a spin and you'll be rethinking your best albums of 2013.
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Album: Crimes of Passion
Year: 2013
Label: Frenchkiss
Distortion-heavy 90s rock with pop sensibilities
As the end-of-year lists were flooding in late last year, I couldn't help but feel that one album was being constantly overlooked by the critics - though I'm sure I wasn't alone in feeling like that about at least one album. American duo Crocodiles mix 60s psychedelia with 90s rock in Crimes of Passion, a criminally underrated record that deserves to be brought back to people's attention.
Fuzz, feedback and noise is the name of the game here. It's noise rock in some places, psychedelic rock in others and plain old rock'n'roll elsewhere, all of which are held together by consistently strong pop melodies and crunching riffs. Distorted guitars weave in and out of almost indecipherable vocals telling tales of heartbreak and despair, this sonically chaotic setting the perfect accompaniment to the anguished lyrics.
Crimes of Passion is a record held together and defined by its riffs. She Splits Me Up is the perfect example, its jangly guitar line backed up by another exceptionally strong melody, whilst Teardrop Guitar is more of the same fuzz-pop goodness. Although Crocodiles' influences are fairly signposted - think San Francisco of the 60s and Seattle of the 90s - they have managed to mix these influences and throw in their own pop sensibilities to form a sleek, modern and refined version of this melting pot.
Consistency is another prevalent theme of the record. Although certain songs soar more than others, you're never left skipping any and pretty much all these slices of distortion-coated pop manage to weave their way into your head one way or another. So in that sense, it's difficult to pick any stand-out tracks. Instead, what you have here is an accomplished, consistent selection of tracks in a record that manages to strike the right balance in so many different areas - between noise and pop, long and short, psychedelia and rock. It was only released 7 months ago, so perhaps not quite enough time to be blowing the dust off it just yet, but give this one a spin and you'll be rethinking your best albums of 2013.
Follow @AlbumAWeek
To be the first to hear the latest album of the week on the blog, simply enter your email address in the box to the right (and up a little!) of here.
Tuesday 18 March 2014
Album of the Week #16
Artist: William Onyeabor
Album: Who is William Onyeabor?
Year: 2013
Label: Luaka Bop
Enigmatic afro-electro-synth-funk
Who is William Onyeabor? It's a question I pondered for the first time earlier this year - and thank goodness I did - even though nobody appears to be any closer to answering the original question. The mysterious Onyeabor released no fewer than eight albums between 1977 and 1985, then suddenly disappeared without a trace, retiring from music. No interviews, no explanation. It was only last year that record label Luaka Bop elected to gather together his finest work in the latest compilation in their World Psychedelic Classics series. Now, finally, his pioneering music has reached the widespread audience that it deserves.
Even now, it's an album that sounds futuristic and otherworldly in its soundscapes together with its bewildering fusion of afrobeat, funk and synths. Three of the songs on the collection go over the ten minute mark, which gives you some idea of the ambition and scope that underpins this compilation. But arguably the most incredible feature of this record is its total isolation from any other scenes, influences or genres. Recorded in Onyeabor's own studio, this almost mythical figure was doing things on these albums that matched or even surpassed the work of his contemporaries in Europe and America. Just as the electronic scene was slowly gathering pace across the water, this trailblazer had already made his own revolutionary sonic explorations .
It was after the recent release of the Searching for Sugarman-esque documentary, Fantastic Man, that a little more light was shone on Onyeabor. His retreat into a life devoted to religion comes as less of a surprise when you consider a lot of his lyrics, which addressed themes of materialism, war and love. These themes simply add another string to his considerable bow. Funky looped guitars and synth fade in and out to jittery afro rhythms and electronic beats on Good Name, whilst Atomic Bomb's bizarre, soaring electronic sounds are the perfect complement to its melodic chorus.
Who is William Onyeabor? is a supreme collection of songs from an almost unknown talent in the field of electronic music. He marries strong melodies with layer after layer of skittery noises and loops to create a sound that the likes of Damon Albarn, Alexis Taylor and Pat Mahoney have since confessed a love for. Yet it is the total single-minded nature of the record and the artist which sets it apart from other work. It makes the record utterly unique, and most importantly, a joy to listen to.
Follow @AlbumAWeek
To be the first to hear the latest album of the week on the blog, simply enter your email address in the box to the right (and up a little!) of here.
Album: Who is William Onyeabor?
Year: 2013
Label: Luaka Bop
Enigmatic afro-electro-synth-funk
Who is William Onyeabor? It's a question I pondered for the first time earlier this year - and thank goodness I did - even though nobody appears to be any closer to answering the original question. The mysterious Onyeabor released no fewer than eight albums between 1977 and 1985, then suddenly disappeared without a trace, retiring from music. No interviews, no explanation. It was only last year that record label Luaka Bop elected to gather together his finest work in the latest compilation in their World Psychedelic Classics series. Now, finally, his pioneering music has reached the widespread audience that it deserves.
Even now, it's an album that sounds futuristic and otherworldly in its soundscapes together with its bewildering fusion of afrobeat, funk and synths. Three of the songs on the collection go over the ten minute mark, which gives you some idea of the ambition and scope that underpins this compilation. But arguably the most incredible feature of this record is its total isolation from any other scenes, influences or genres. Recorded in Onyeabor's own studio, this almost mythical figure was doing things on these albums that matched or even surpassed the work of his contemporaries in Europe and America. Just as the electronic scene was slowly gathering pace across the water, this trailblazer had already made his own revolutionary sonic explorations .
It was after the recent release of the Searching for Sugarman-esque documentary, Fantastic Man, that a little more light was shone on Onyeabor. His retreat into a life devoted to religion comes as less of a surprise when you consider a lot of his lyrics, which addressed themes of materialism, war and love. These themes simply add another string to his considerable bow. Funky looped guitars and synth fade in and out to jittery afro rhythms and electronic beats on Good Name, whilst Atomic Bomb's bizarre, soaring electronic sounds are the perfect complement to its melodic chorus.
Who is William Onyeabor? is a supreme collection of songs from an almost unknown talent in the field of electronic music. He marries strong melodies with layer after layer of skittery noises and loops to create a sound that the likes of Damon Albarn, Alexis Taylor and Pat Mahoney have since confessed a love for. Yet it is the total single-minded nature of the record and the artist which sets it apart from other work. It makes the record utterly unique, and most importantly, a joy to listen to.
Follow @AlbumAWeek
To be the first to hear the latest album of the week on the blog, simply enter your email address in the box to the right (and up a little!) of here.
Friday 7 March 2014
Three Tracks A Week
OK. An apology. I promise you one album a week. The name of this blog is 'One Album A Week', and save for a crazy few weeks in November, I've generally delivered on that ambitious promise. But, this week I can't give you what you want, and for that, I apologise. For now, I feel like I'm above all this one album a week nonsense*, so instead, I'm going to tip you off about a few awesome new songs that I've been sent instead. They span quite a few different genres, so there's bound to be something you like, nay, LOVE here.
*untrue
Dojo - Give Me Love
First up, some extremely soulful reggae from East London collective Dojo. Lead singer Khanyisa Twani left a South Africa fresh out of apartheid at the age of five for a new life here on our fair shores, and before too long she got together this quartet. Thank God she did. Give Me Love is an uplifting slice of Caribbean-inflected goodness complete with a sax solo, that AMAZING voice and chorus so catchy you'll be desperate to catch the next flight to Jamaica (geddit!?). I can feel summer coming along already...
The Assist - Speak It Aloud
Next, and a bit of indie music that distances itself way away from what you might consider 'landfill'. There's been a bit of renaissance of intelligent indie recently, and this Walsall four-piece have carried that on with Speak It Aloud. They've managed to pack a fair amount into this track - slap bass, an instrumental intro, a few choruses and an instrumental outro for good measure - yet somehow you're still left wanting more after just shy of 3 minutes. The Assist aren't messing around - this is a fat-free banger from a band on the up.
Wreaths - Goin' Back to Haiti
Don't be intimidated by that 14:50 length on this video. Firstly, the song itself is only thirteen glorious minutes long, and secondly, once you tune in you'll find it almost impossible to tune back out of this noisy, incessant psych fest. Unashamedly recalling My Bloody Valentine and Spacemen 3, this song weaves in and out of consciousness with its hypnotic bass line, pounding drums and spaced-out vocals before reaching a thumping crescendo and coming crashing back down to earth. One for the dreamers.
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*untrue
Dojo - Give Me Love
First up, some extremely soulful reggae from East London collective Dojo. Lead singer Khanyisa Twani left a South Africa fresh out of apartheid at the age of five for a new life here on our fair shores, and before too long she got together this quartet. Thank God she did. Give Me Love is an uplifting slice of Caribbean-inflected goodness complete with a sax solo, that AMAZING voice and chorus so catchy you'll be desperate to catch the next flight to Jamaica (geddit!?). I can feel summer coming along already...
The Assist - Speak It Aloud
Next, and a bit of indie music that distances itself way away from what you might consider 'landfill'. There's been a bit of renaissance of intelligent indie recently, and this Walsall four-piece have carried that on with Speak It Aloud. They've managed to pack a fair amount into this track - slap bass, an instrumental intro, a few choruses and an instrumental outro for good measure - yet somehow you're still left wanting more after just shy of 3 minutes. The Assist aren't messing around - this is a fat-free banger from a band on the up.
Wreaths - Goin' Back to Haiti
Don't be intimidated by that 14:50 length on this video. Firstly, the song itself is only thirteen glorious minutes long, and secondly, once you tune in you'll find it almost impossible to tune back out of this noisy, incessant psych fest. Unashamedly recalling My Bloody Valentine and Spacemen 3, this song weaves in and out of consciousness with its hypnotic bass line, pounding drums and spaced-out vocals before reaching a thumping crescendo and coming crashing back down to earth. One for the dreamers.
Follow @AlbumAWeek
To subscribe to the blog, simply enter your email address in the box to the right (and up a little!) of here. You won't regret it!
Sunday 2 March 2014
Album of the Week #15
Artist: Ceiling Demons
Album: Dual Sides
Year: 2013
Label: EmuBands
Atmospheric hip-hop with pop flourishes
I'm seemingly on a bit of a crusade to dispel a common myth at the moment. Since stating that UK hip-hop is a dirty phrase around a month back, two top quality albums from the genre have since come under the spotlight and been the album of the week on the blog. The next chapter is some hip-hop from Ceiling Demons, a hip-hop trio not from New York, or Detroit, or even London, but from North Yorkshire. Sure, it's not where you necessarily think would be fostering hip-hop talent, but Ceiling Demons are trying to change all that.
Fresh from supporting the critically-lauded Young Fathers on their recent UK tour, Dual Sides is a record that most immediately recalls that brand of slightly avant-garde UK hip-hop. The sound is atmospheric, the production string-laden and the lyrics often addressing serious themes of life and death. MCs Psy Ceiling and Dan Demon certainly don't hold back in their vocal delivery and at times it's pretty hard-hitting stuff. It may sound like an inherently dark record, but that's not entirely the case.
Dual Sides is an exhausting listen. The flow is relentless throughout, even if the Yorkshire-inflected rapping does take some getting used to, and the raw emotion in tunes such as The Mirror's Image and Someone Great makes for an intense listen. Follow the Compass is utterly frenetic and barely takes a second to draw breath, with the repetition of the title in its outro acting as a mantra and as a symbol of the album's overall sound. It's become a bit of a cliche for groups to say that they only really made a record for themselves (and if anybody else likes it, that's a bonus), but Ceiling Demons genuinely seemed to follow the path that they wanted to follow and made the record that they wanted to make.
If the title Follow the Compass is symbolic of the album's aesthetic, then the superb album closer Heartstrings is the ultimate symbol of everything that's good about the group. Awash with strings, backed by a choir and possessing a stunning vocal outro, it's powerful yet delicate, gritty yet poppy and epic yet understated. The heartfelt lyrics are finely balanced with pop flourishes, and that's arguably the one thing that sets this album apart from its contemporaries. You might expect an album packed full of such emotion to be a bit of a challenging listen, but Ceiling Demons have instead balanced this out to make it a more accessible listen. Ultimately the record is made all the better for it.
Every Step is Moving Me Up is arguably the poppiest moment of the album, but in context it makes perfect sense. It's a perfect entry point into the world of Dual Sides, a world that rewards repeated listens. Immerse yourself in this album and you'll soon find it's more evidence of the now compelling case for the renaissance of UK hip-hop.
Follow @AlbumAWeek
To be the first to hear the latest album of the week on the blog, simply enter your email address in the box to the right (and up a little!) of here.
Album: Dual Sides
Year: 2013
Label: EmuBands
Atmospheric hip-hop with pop flourishes
I'm seemingly on a bit of a crusade to dispel a common myth at the moment. Since stating that UK hip-hop is a dirty phrase around a month back, two top quality albums from the genre have since come under the spotlight and been the album of the week on the blog. The next chapter is some hip-hop from Ceiling Demons, a hip-hop trio not from New York, or Detroit, or even London, but from North Yorkshire. Sure, it's not where you necessarily think would be fostering hip-hop talent, but Ceiling Demons are trying to change all that.
Fresh from supporting the critically-lauded Young Fathers on their recent UK tour, Dual Sides is a record that most immediately recalls that brand of slightly avant-garde UK hip-hop. The sound is atmospheric, the production string-laden and the lyrics often addressing serious themes of life and death. MCs Psy Ceiling and Dan Demon certainly don't hold back in their vocal delivery and at times it's pretty hard-hitting stuff. It may sound like an inherently dark record, but that's not entirely the case.
Dual Sides is an exhausting listen. The flow is relentless throughout, even if the Yorkshire-inflected rapping does take some getting used to, and the raw emotion in tunes such as The Mirror's Image and Someone Great makes for an intense listen. Follow the Compass is utterly frenetic and barely takes a second to draw breath, with the repetition of the title in its outro acting as a mantra and as a symbol of the album's overall sound. It's become a bit of a cliche for groups to say that they only really made a record for themselves (and if anybody else likes it, that's a bonus), but Ceiling Demons genuinely seemed to follow the path that they wanted to follow and made the record that they wanted to make.
If the title Follow the Compass is symbolic of the album's aesthetic, then the superb album closer Heartstrings is the ultimate symbol of everything that's good about the group. Awash with strings, backed by a choir and possessing a stunning vocal outro, it's powerful yet delicate, gritty yet poppy and epic yet understated. The heartfelt lyrics are finely balanced with pop flourishes, and that's arguably the one thing that sets this album apart from its contemporaries. You might expect an album packed full of such emotion to be a bit of a challenging listen, but Ceiling Demons have instead balanced this out to make it a more accessible listen. Ultimately the record is made all the better for it.
Every Step is Moving Me Up is arguably the poppiest moment of the album, but in context it makes perfect sense. It's a perfect entry point into the world of Dual Sides, a world that rewards repeated listens. Immerse yourself in this album and you'll soon find it's more evidence of the now compelling case for the renaissance of UK hip-hop.
Follow @AlbumAWeek
To be the first to hear the latest album of the week on the blog, simply enter your email address in the box to the right (and up a little!) of here.
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