words: Jamie Milton originally scribed for gigwise.com
The previous decade left us with music in a state of evolution, spiralling out of control. A hype machine; playing God with bands plummeting themselves either voluntarily or through a dedicated PR team, into an increasingly influential (when powers combine) blogosphere. It left us with many a popular act, usually American (although The xx managed to take the US before they even played a show there thanks to technology), getting rave reviews across the globe following a flurried spell of being the “next big thing” or producing the “album of the year”. Animal Collective, Vampire Weekend, Grizzly Bear – they all managed it. Question is, are they, and Yeasayer, immune to criticism to some extent because there is such a powerful buzz around them, the senses shattered and objectivity undermined?
It seems about the right time to make every effort to view an album like ‘Odd Blood‘ in its separate context; to ignore the surroundings, to take it and to play it like it’s a spontaneous purchase from a record store. Pretend ‘All Hour Cymbals’, the stunning but flawed starting point from the band, released in 2007, doesn’t exist. Everyone expects Yeasayer to step up, turning promise into something really substantial, but forget that. ‘Odd Blood’, on its own, would be an exceptional start to a band’s career. Context included, and it’s an outstanding follow-up.
Divided into two halves, Yeasayer seem intent on proving many points with their second album; the first being to remove a mass-produced tag of being “world hippies”, the second to demonstrate togetherness and even progression despite a minor line-up change, the third to prove themselves to be amongst some of the finest American exports. They come out of ‘Odd Blood‘ as experts at carefully crafting pop (‘O.N.E, ‘Ambling Alp‘), as well as pervious experimenters of the same genre (‘Love Me Girl’, ‘Rome‘). From the instant to the challenging, ‘Odd Blood‘ swings its position dramatically from streamlined and concise to restless and unpredictable.
The main talking point has to be ‘Ambling Alp’, the leading single, an anthemic tug at your heartstrings. The motto of “stick up for yourself, son!” and the sense of defiance and triumph that comes with it, sets a precedent for memorable one-liners with huge meanings: From the sex-fuelled “Everybody’s talking ’bout me and my baby, makin’ love till the mornin’ light” in ‘Mondegreen’ to the frank “You’re stuck in my mind, all the time” in ‘I Remember’. Every meaning and notion sees more poignant, more directly applied. And that’s very much replicated in the first five tracks of ‘Odd Blood’. Onwards from snarling, low-tempo opener ‘The Children’, the album evolves into a gung-ho giver of hits, ‘O.N.E‘ stands out; frantic drums merging with a stunning bass-line and the cry of “Hold me like the phone, hold me like you used to, control me like you used to“.
Balladry is where the band particularly shine. The latter half of the record shows a retreating to roots of old in ‘Strange Reunions’ but more noticeable is ‘Madder Red’; a song that explores the kind of melody every musician’s had in their head all their life, only they’ve forgotten to apply it. A Bollywood-vibe sets a background for which Chris Keating’ covers his melancholic vocals with. Keating is the show-man on ‘Odd Blood’; even though he doesn’t write or perform on every song, his switch from love-struck to love-less, from confident to thin-skinned, is strikingly evident.
But no matter where ‘Odd Blood’ seems intent on going, regardless of whether it plays quick-fix pop or something more indirect, consistence arrives in the band’s knack for making frighteningly complex music, deep; ideas roaming around in corners and the shadows. This is pop music immune to criticism, not because of its context, but because of its innate ability to cover all bases – to write pop at its purest form.
Having been making music together for the best part of six years, some might say that Mancunians James Cook, Matt Cocksedge, Richard Boardman and Dan Hadley’s time to ‘make it’ as musicians has been and gone. That would be quite unfair. As Snowfight in the City Centre, the four displayed real potential. While it was clear that many thought the same, important people didn’t come knocking, so things didn’t work out, leading to a split in May of 2007.
However, the band regrouped, and, following a name change and a shift in sound, began working as Delphic. The group have so far released a handful of knockout singles, but of course, a few stunning singles does not a great debut album make. ‘Acolyte’ quite clearly relies on new songs, six of the album’s tracks being new. Granted, while the band didn’t exactly have a wealth of material written prior to the album, the finished product is ambitious enough to suggest that even if they’d been in a position in which they could have played it safe and, say, propped up new songs with old singles, they wouldn’t have.
In fact, anyone who’s expecting the album to be full of immediacy, do yourself a favour and stop reading now. It’s definitely more of a ‘grower’ album – and the rewards are great indeed if you give it time.
‘Clarion Call’ opens the record, and is set to become quite the live song, if the studio version is anything to by. It explodes into life halfway through, silencing those who have dismissed Delphic as lacking in power. One thing becomes clear by the time the song comes to an abrupt halt, and it’s something that’s going to be the cornerstone of any criticism levelled at the band in the wake of the album’s release: the record’s production has made the music seem emotionless and calculated. Most anyone who has seen the band live will say that they are quite intense on stage. It’s a real shame, then, that they decided to run with this sound on record, as a warmer-sounding debut would have worked wonders for them.
This is a stumbling block, yes, but one that becomes less of a concern with each listen. Singles ‘Doubt’ and ‘This Momentary’ showcase the band’s ear for melody, as well as their songwriting. While comparisons have been made to New Order and Kraftwerk, there’s some Bloc Party in the mix as well – ‘Doubt’’s guitar solo is proof of this.
However, ‘Acolyte’ as a whole has much more in common with dance and rave music than indie rock. This is indicated quite clearly by its lengthy title track, which is probably the most out-there thing the band have recorded to date, relying on atmospherics and crescendos, rather than being driven by its hook, which is slowly overtaken by everything going on around it. A breathtaking nine minutes, it shows that Delphic are more than just one-trick ponies.
It is followed by ‘Halcyon’, the most likely of the new tracks to become a single (though ‘Red Lights’ has single potential as well, the perfect way to pick things up again after ‘This Momentary’). It sounds Klaxons-esque at parts, although more because of the vocals than anything else, some of you will be quite relieved to hear. It also boasts quite the chorus.
‘Submission’ is next; a track that’s been knocking about in demo form for a while, the album version is very much an improvement on its predecessor. Beefed up quite considerably, it has quite the amount of ‘oomph’ to it, as well as a guitar solo that could be best described as, well, ripping. This three-song sequence sums up the album very well indeed: three completely different songs that still manage to sound as though they’re by the same band.
A sparkling new mix of debut single ‘Counterpoint’, a song that has a good chance of becoming a classic – and a re-release would be a wise move – sets up ‘Acolyte’’s penultimate track. ‘Ephemera’ is two minutes of gentle vocals, a perfect contrast to the rush of ‘Counterpoint’ that calms things down considerably for the album closer, ‘Remain’, which finishes the album in excellent fashion.
Delphic have gotten their year off to an absolute flyer with this record. Though its sound says otherwise, you get the feeling that the band have poured everything they’ve got into making it. The production issue is only a slight niggle when you look at the bigger picture. However, by far the best thing about ‘Acolyte’ is its replay value. The songs come into their own after you’ve spent some time with them, and there’s no higher praise to give an album, really.
What a couple of years it’s been for Los Campesinos!, that hyper-productive Welsh (despite none of its members actually being from Wales) seven-piece. Two albums and an extended EP in two years. They don’t think of last October’s ‘We Are Beautiful, We Are Doomed’ as an album, and while it is a crucial piece in the puzzle, as it is the bridging point between ‘Hold On Now, Youngster’ and their forthcoming ‘Romance Is Boring’, it lacked that sense of real cohesion that second albums tend to have – though it was brilliant nonetheless.
One thing is clear to the listener even before RIB’s opener ‘In Medias Res’ finishes: They are not what they used to be. The only link between the debut and the follow-up is Gareth Campesinos!’ stunning lyrics, which have lost none of their wit or impact over the years, despite the fact that he’s now concerned with things quite far removed from dancing and K Records t-shirts; like ‘death and decay of the human body, sex, lost love, mental breakdown, football and, ultimately, that there probably isn’t a light at the end of the tunnel’.
Heavy stuff indeed, and yes, the lyrics seem quite dark and unsettling at points, as on the opener, which finishes with the truly depressing, ‘If you were given the option of dying painlessly, peaceful at 45 / With a lover at your side, after a full and happy life / Is this something that would interest you…? / Would this interest you at all?‘ Coupled with Gareth’s desperate vocals, it makes for a truly heartwrenching finish.
As well as this, the band are in fine form musically. The melodies captured here are the best they’ve written to date; case in point, the title track and second single; the stunning ‘We’ve Got Your Back (Documented Minor Emotional Breakdown #2)’. I think I might have already found my Song of the Year for 2010, as something truly spectacular is going to have to come along to beat what I think is Los Campesinos!‘ best song so far, ‘I Just Sighed. I Just Sighed, Just So You Know’.
They are quite far from their roots now, and the band have just kept getting better. From their first EP ‘Sticking Fingers Into Sockets’ to now, it’s been a remarkable journey. An entire album of emotionally charged songs like ‘The Sea Is A Good Place To Think Of The Future’ really would have been too much to bear, for when the septet go for raw emotion here, as they do on album closer ‘Coda: A Burn Scar In The Shape Of The Sooner State’, the effect is devastating. The song, with its refrain of ‘I can’t believe I chose the mountains every time you chose the sea’, seems to encapsulate everything they have become.
The album’s definitely going to stand the test of time over the next twelve months, for a collection of songs this good is going to be difficult as hell to sweep aside. A real contender for 2010.
For the next ten days, Music Fan’s Mic will be posting about the names likely to forge a successful 12 months from January onwards. We’ll be turning each name inside out, x-raying them and evaluating three things:
- Whether the MFM writers are fans
- Whether [insert artist here] deserves to be successful
- Whether [insert artist here] will be successful
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Finally, we have Delphic, a Manchester band who some are calling an electronic inspiration whilst others are dismissing them as “the next White Lies”.
______________________________________________________ Delphic are setting themselves up to be in a similar position to fellow Manchester band Everything Everything by trying to do away with the town’s recent trend of dull lad rock by numbers acts such as Twisted Wheel or the Ting Tings. However, while the latter make their case by rebuilding Manchester’s legacy of new styles and experimentation, Delphic are attempting to forge a comeback for the rock and dance stylings the town was famous for during the 80’s, you could even imagine their song titles put against a Peter Saville esque background just by looking at them.
There’s certainly been no drought of dance-rock bands since the Hacienda scene collapsed, but Delphic set themselves apart from other similar acts by taking their electronic instruments very seriously. These are no guitar kids who are confusingly pushing keys they only had for a few months, they write their songs by creating electronic music and move it over to a full band set up. The songs are well crafted, an obvious influence from New Order is apparent, but Delphic do add their own flourishes. It’s a shame, then, that the songs really aren’t that exciting. On evidence of their singles to date – “Counterpoint”, “This Momentary” and “Doubt”, Delphic try their best to push all the right buttons but fail to keep the tracks engrossing despite their best attempts to make big choruses or build up to a grand finish. It doesn’t help that the lyrics are vague and meaningless at best, it’s hard to love music that tries this hard to invoke passion into every vocal crevice when the songs are basically not about anything at all.
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‘Doubt’
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Despite this though, Delphic could well turn out to be a surprise success story for the year – their debut album “Acolyte” is already getting glowing reviews and the band are growing quite a large fanbase. Who knows, perhaps the singles were offering a unrepresentative look of Delphic’s vision, and the album could be wonderful – then again, I can easily see them going a similar route as White Lies – successful release before being almost forgotten by the time the year closes. Only time will tell. [David Molloy]
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For the next ten days, Music Fan??s Mic will be posting about the names likely to forge a successful 12 months from January onwards. We??ll be turning each name inside out, x-raying them and evaluating three things:
- Whether the MFM writers are fans
- Whether [insert artist here] deserves to be successful
- Whether [insert artist here] will be successful
With a debut album due out in just under two months, Marina and the Diamonds is a serious contender for newcomer of the year, having already built up quite a following.
I heard just yesterday that 2010 was going to be the year of female artists. You can take that any way you want. Whether you’re tearing your hair out at the prospect of another year of the charts being dominated by the fairer sex, or, like me, genuinely excited about up-and-coming acts, you can’t deny that this is going to be true to an extent. We already have Ellie Goulding in our feature, but it is quite clear from her three singles, ‘Obsessions’, ‘Mowgli’s Road’ and the glorious ‘Hollywood’ – which is going to be inescapable in about a month’s time, trust me – that Marina and the Diamonds is set for even bigger things.
The songs that Marina Diamandis (and do you see what she did there?) creates are shamelessly poppy and wonderfully weird at the same time. It’s easy to hear that her sound has been influenced by ’80s pop. albeit only to an extent: this is no La Roux / Little Boots affair. One thing that will draw as many to her as push away is Diamandis’ voice. Neither as high-pitched as Elly Jackson’s, nor as unremarkable as Victoria Hesketh’s, it displays her talent as a vocalist. Unlike so many recent pop acts, she certainly can sing – although there is minimal vocal acrobatics here; hello, Florence Welch!
Diamandis’ debut album is entitled ‘The Family Jewels’, set for release on February 15th via SixSeveNine, and follows on from ‘Hollywood’’s release two weeks earlier. The future certainly looks bright for Marina and the Diamonds. All that remains to be seen now is that she doesn’t turn out to be a relative flop ?? la Little Boots, and that her debut album delivers the goods. If she can retain even half of the sparkle of her singles, Diamandis is on to a winner. [Gareth O'Malley]
For the next ten days, Music Fan’s Mic will be posting about the names likely to forge a successful 12 months from January onwards. We’ll be turning each name inside out, x-raying them and evaluating three things:
- Whether the MFM writers are fans
- Whether [insert artist here] deserves to be successful
- Whether [insert artist here] will be successful
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Coming up strong is Surfer Blood, a West Palm Beach, Florida entity, with debut album, ‘Astro Coast‘, not far off.
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It’s refreshing when a band, forced to endure comparison after comparison with the same, single act, don’t go off on one: “We love Pinkerton and we love the Blue Album”, said guitarist Thomas Fekete in a recent interview with Interview Magazine. Weezer seems to be just about the only name associated with Surfer Blood’s potent, no-looking-back sound of thick feedback and up-tempo optimism. They list Women, Yo La Tengo as more suitable influences and whilst it’s easy to pick up a similar vibe from the both the aforementioned and Surfer Blood’s songs, the latter have a more nostalgic vibe to their songs, one that ultimately recalls Weezer.
And it’s one of the first times we’ve been allowed to call a 90s sound “nostalgic”. The influx of 80s-synth-pop-reminiscing acts in the past couple of years has allowed Surfer Blood to strike 2010 as an “about time” band, one that we’ve been waiting for. They won’t be remembered solely for bringing back the hazy memories of a pop-orientated decade (members themselves declare that they’re in it for the long run), and other bands will master the nostalgic vibe more so than Surfer Blood, but it’s easy to see the forthcoming debut, ‘Astro Coast’, as a real musical breakthrough, even if it doesn’t sound entirely original.
The album comes out in January, announcing Surfer Blood as not just an exciting prospect, but one with substance. With the support of 98% of the American blogosphere, as well as the ever-influential Pitchfork, ‘Astro Coast’ merely needs a couple of decent reviews to kick-start its reign over the next twelve months. On the receiving end of a positive rambling of words from Spin already, the outlook on the horizon looks fine from the coast.
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‘Floating Vibes (Live)’
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The record itself? Well it’s far from just fully-flung power chords and hazy noise, as recent single ‘Swim (To Reach The End)‘ might have you believe. It packs subtle build-up, afro-pop, gentle guitar patterns and a Japandroids-esque sense of triumph. As starting points go, ‘Astro Coast’ puts Surfer Blood in a fine position. [Jamie Milton]
For the next ten days, Music Fan’s Mic will be posting about the names likely to forge a successful 12 months from January onwards. We’ll be turning each name inside out, x-raying them and evaluating three things: – Whether the MFM writers are fans – Whether [insert artist here] deserves to be successful – Whether [insert artist here] will be successful #1 – Ellie Goulding #2 – The Drums #3 – Everything Everything ———————— Third up is Everything Everything, a clever bunch of Manchester-bred lads who mix soulful, metrosexual pop hymns with intelligent guitar hooks. —————————————————————————————- Manchester band Everything Everything have said that their number one rule is to “avoid cliché at all costs”. One listen to one of their magnificently crafted pop songs can confirm this, especially in latest single “My Keys, Your Boyfriend” where the big drums pound and the guitars click-clack over the members’ falsettos, flailing all sorts of references about paper guillotines and Faraday cages into the lyrics, and frontman Jonathan Everything even making seemingly off the cuff beatboxing out of desperation to get the right words out. In short, it’s a near faultless single that cemented Everything Everything as something to be excited about. The band are being named by some people as “Manchester’s new musical heroes”, after years of retrospective glorifying of the city’s past musical achievements, the band aim to arrive with something different, an antidote to bands who seemingly keep Oasis or Joy Division not just as primary, but sole influences, and while many bands have set themselves up as something similar, the music on offer here shows that Everything Everything may finally be the band that can justify such claims. An album from a band that uses a fantastic unique epic like “NASA Is On Your Side” as a b-side is a mouth watering concept. Commercial success is another story however. Despite notable positive media attention (an inclusion on the BBC’s Sound of 2010 longlist will no doubt help), it’s easy to see how many people wouldn’t get the band’s really quite odd sound, but with a lot of the other tips for the year going to the familiar female electronic songwriter business which had already gotten a bit a tiresome over the course of 2009, the want of something interesting and different in pop music may well work in Everything Everything’s favour. ———————————- ‘MY KZ, UR BF’ ————————————- Commercial success is another story however. Despite notable positive media attention (an inclusion on the BBC’s Sound of 2010 longlist will no doubt help), it’s easy to see how many people wouldn’t get the band’s really quite odd sound, but with a lot of the other tips for the year going to the familiar female electronic songwriter business which had already gotten a bit a tiresome over the course of 2009, the want of something interesting and different in pop music may well work in Everything Everything’s favour. —————————————–
For the next ten days, Music Fan’s Mic will be posting about the names likely to forge a successful 12 months from January onwards. We’ll be turning each name inside out, x-raying them and evaluating three things:
- Whether the MFM writers are fans
- Whether [insert artist here] deserves to be successful
- Whether [insert artist here] will be successful
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Third up is Everything Everything, a clever bunch of Manchester-bred lads who mix soulful, metrosexual pop hymns with intelligent guitar hooks.
—————————————————————————————-
Manchester band Everything Everything have said that their number one rule is to “avoid cliché at all costs”. One listen to one of their magnificently crafted pop songs can confirm this, especially in latest single “My Keys, Your Boyfriend” where the big drums pound and the guitars click-clack over the members’ falsettos, flailing all sorts of references about paper guillotines and Faraday cages into the lyrics, and frontman Jonathan Everything even making seemingly off the cuff beatboxing out of desperation to get the right words out. In short, it’s a near faultless single that cemented Everything Everything as something to be excited about.
The band are being named by some people as “Manchester’s new musical heroes”, after years of retrospective glorifying of the city’s past musical achievements, the band aim to arrive with something different, an antidote to bands who seemingly keep Oasis or Joy Division not just as primary, but sole influences, and while many bands have set themselves up as something similar, the music on offer here shows that Everything Everything may finally be the band that can justify such claims. An album from a band that uses a fantastic unique epic like “NASA Is On Your Side” as a b-side is a mouth watering concept.
Commercial success is another story however. Despite notable positive media attention (an inclusion on the BBC’s Sound of 2010 longlist will no doubt help), it’s easy to see how many people wouldn’t get the band’s really quite odd sound, but with a lot of the other tips for the year going to the familiar female electronic songwriter business which had already gotten a bit a tiresome over the course of 2009, the want of something interesting and different in pop music may well work in Everything Everything’s favour.
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‘MY KZ, UR BF’
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Commercial success is another story however. Despite notable positive media attention (an inclusion on the BBC’s Sound of 2010 longlist will no doubt help), it’s easy to see how many people wouldn’t get the band’s really quite odd sound, but with a lot of the other tips for the year going to the familiar female electronic songwriter business which had already gotten a bit a tiresome over the course of 2009, the want of something interesting and different in pop music may well work in Everything Everything’s favour.
For the next ten days, Music Fan’s Mic will be posting about the names likely to forge a successful 12 months from January onwards. We’ll be turning each name inside out, x-raying them and evaluating three things:
- Whether the MFM writers are fans
- Whether [insert artist here] deserves to be successful
- Whether [insert artist here] will be successful
Secondly we have Florida-cum-NY The Drums, a band backed heavily by NME, so much so that they’re the only band without an album out to feature on their forthcoming Awards Tour.
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Sick of synths, The Drums’ attempt on making pop music is a more guitar orientated one to many of the other ten acts we’re choosing to cover. Jangly, tight riffs carry unoriginal albeit stunningly catchy melodies and nothing goes on too long. They keep religiously to a verse/chorus/sometimes a bridge structure of song-writing – no ambience, no build-up, no come down. Their live performances reek of attitude, as each members moves animatedly back and forth, breaths away from an audience in equal swagger.
Their very first gig in the UK was more of a media showcase than an iPod conference. In attendance were journalists, record company heads and Boy George. Interviews with the band can’t avoid use of the word “buzz”, so much so the band must by now have an automated response to the predictable “how do you deal with so much buzz?” question. But there is something stirring. The Drums could be important to the 2010’s as The Strokes were to the 2000’s. They have similar origin, similar energy to their songs. You get the sense however, that a lot of people aren’t going to sit well with The Drums’ music. This is attention-seeking pop music that when played in excess, can grate. Their ‘Summertime!’ EP, limited to six songs, was near flawless. But any more than six might begin to push things. Repeat listens of ‘Let’s Go Surffing’ have already irritated a fair few. Don’t count out a huge backlash against the band’s popularity in 2010.
But here’s the fact: The Drums may already be irritating to some, but at the same time they’re gathering in a loyal, bulky fanbase of young, love-struck music lovers. The biggest-selling artists are the ones that divide opinion.
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‘Let’s Go Surfing’
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But there’s just something undeniably fresh and exciting about this band. They seem committed, focused. They conduct themselves well in interviews, and seem intent on only one thing: creating perfect pop. Perfect pop is not everybody’s cup of tea, but The Drums are in full awareness of that.
All mp3s posted on Music Fan's Mic are posted after gaining the relevant permission.
Jamie Milton began Music Fan's Mic in 2006 as a means of publishing and collecting his reviews for other publications. Since then both Milton and Gareth O'Malley are co-running the blog and posting the best new music on a regular basis.
Boom-box-in':
Yeasayer - Odd Blood LP
Final Fantasy Heartland LP
Beach House - Teen Dream LP
These New Puritans - We Want War
Gigi - The Old Graveyard
jj - The xx Intro
Toro Y Moi - Causers of This LP
Liars - Sisterworld LP
Vampire Weekend - White Sky
Los Campesinos! - In Medias Res
Third up is Everything Everything, a clever bunch of Manchester-bred lads who mix soulful, metrosexual pop hymns with intelligent guitar hooks. —————————————————————————————- Manchester band Everything Everything have said that their number one rule is to “avoid cliché at all costs”. One listen to one of their magnificently crafted pop songs can confirm this, especially in latest single “My Keys, Your Boyfriend” where the big drums pound and the guitars click-clack over the members’ falsettos, flailing all sorts of references about paper guillotines and Faraday cages into the lyrics, and frontman Jonathan Everything even making seemingly off the cuff beatboxing out of desperation to get the right words out. In short, it’s a near faultless single that cemented Everything Everything as something to be excited about. The band are being named by some people as “Manchester’s new musical heroes”, after years of retrospective glorifying of the city’s past musical achievements, the band aim to arrive with something different, an antidote to bands who seemingly keep Oasis or Joy Division not just as primary, but sole influences, and while many bands have set themselves up as something similar, the music on offer here shows that Everything Everything may finally be the band that can justify such claims. An album from a band that uses a fantastic unique epic like “NASA Is On Your Side” as a b-side is a mouth watering concept. Commercial success is another story however. Despite notable positive media attention (an inclusion on the BBC’s Sound of 2010 longlist will no doubt help), it’s easy to see how many people wouldn’t get the band’s really quite odd sound, but with a lot of the other tips for the year going to the familiar female electronic songwriter business which had already gotten a bit a tiresome over the course of 2009, the want of something interesting and different in pop music may well work in Everything Everything’s favour. ———————————- ‘MY KZ, UR BF’ ————————————- Commercial success is another story however. Despite notable positive media attention (an inclusion on the BBC’s Sound of 2010 longlist will no doubt help), it’s easy to see how many people wouldn’t get the band’s really quite odd sound, but with a lot of the other tips for the year going to the familiar female electronic songwriter business which had already gotten a bit a tiresome over the course of 2009, the want of something interesting and different in pop music may well work in Everything Everything’s favour. 
MFM @ HYPEM
