Press, buzz, “the things in the air”, all seem to suggest that Manchester, UK is returning to its buzzing best. When you have three of the finest new bands (Lost Knives, Egyptian Hip Hop, Hurts) all sharing the same studio space, you know it’s more than a coincidence – something’s in the water.
Manchester’s obviously had its status as a fine up bringer of local talent for some time, but since the unfortunate run-down of the superb music show on Channel M, a little hesitancy was amidst. The man who ran that visual-spectrum (Dan Parrott) has taken a determined stance however, and is brining out a stunning collection of songs, all made by those Manchester folk.
Included in ‘Love & Disaster‘ is two BBC Sound of 2010 tips: Delphic and Everything Everything, one remixing the other. Keeping to an on-the-door position of “intelligent bands only”, Dutch Uncles also make a stunning appearance with the cacophonous ’Ocduc’. The accelerating Airship and the truly affecting Jo Rose also feature. This is right on the ball in terms of spotting the Manchester acts making waves. Have a listen for yourself via. the medium of widget!
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.
Manchester-based Delphic continue to hit new heights. It’s been a momentous year for the four-piece indie-dance crossover act (Richard Boardman, Matt Cocksedge, James Cook and Dan Hadley). A year in which they have released two utterly brilliant singles: the epic ‘Counterpoint’, and ‘This Momentary’. Both tracks are set to feature on the band’s debut album ‘Acolyte’, due January 11th. So too is this first slice of new material from the band, forthcoming single ‘Doubt’. It was quite something on Later With Jools Holland last week. The studio version seems to have quite a great deal more oomph, though. Some exceptional drumming powers the song, which features some great harmonies and an absolute belter of a chorus. They’re already very hotly-tipped for next year, and it is quite clear why. Previews of the album are around, and believe me when I say that ‘Acolyte’ could well be one of the albums of 2010, without any doubt.
HURTS hail from Manchester, they play in the same studio as Lost Knives and Egyptian Hip Hop and they make the kind of swooning, sax-led pop music that many of us have been hoping for ever since Mark Ronson bastardised the instrument.
You’d expect most songs this band make won’t feature a saxaphone and some light keyboard chords but ‘Wonderful Life’ does and it makes for some charming, albeit simplistic pop music.
Rumour has it they’ve got a deal with Sony and they are officially the. next. big. thing. Coming to some scaffolding with builders on it playing Chris Moyles near you…
ALBUM REVIEW: Doves – Kingdom Of Rust words: Jamie Milton originally scribed for gigwise
Doves have been made for the big-time ever since they started writing their second album, ‘The Last Broadcast’. But alas, the closest they’ve come to headlining any such setting has been on support slots with U2. So you can’t say they’ve had a hard life, but all the same, they deserve more. And the most annoying thing is, most people know it. This expectation to reach a bigger stage might finally erupt into something you can touch, this time round. ‘Kingdom of Rust’ is this year’s answer to ‘The Seldom Seen Kid’, the final step Jimi Goodwin and co. have to take before finally receiving their riches. Come on, you can’t say that you didn’t expect Gigwise to give you an Elbow comparison, did you? It’s uncanny how similar the two band’s careers are: Manchester-bred, criminally underrated etc. Here, Doves look set to follow a new trend that Elbow led this time last year: commercial success.
The record begins punchy with ‘Jetstream’ and the more firey ‘The Outsiders’ and this never seems like stopping. But gradually you become accustomed to the sound of Goodwin and co. exploring new methods of churning out delightful alt-rock affairs.The electronic tint that shines from the very opening with “Jetstream’ is never re-discovered, merely highlighting Doves up-most efforts to create something more diverse than the rest of their discography. There are still times where you get treated to the Doves of old: ‘Kingdom Of Rust’ and ‘Spellbound’ never feel like they’re going to end and you yourself hardly feel the need to save them the hassle. The latter in particular, hints at a Doves-circa-2001, fresh from their Sub Sub days, writing some of the more beautiful, melancholic songs of their career. Acoustic at its heart, remaining pretty much the only track on the record not to divert into something edgier at its climax, it’s a stand-out.
Truthfully, this album could have remained close to the band’s roots such as it does in ‘Spellbound’ and still been hailed as a triumph. But credit to the band, they spent a good 3 and a half years working at something they could declare as ‘fresh’ and almost incomparable. They escape from tradition most notably in ‘Compulsion’, a complete misfit with the rest of the songs, funk-led and not embarrassed of it. ‘Birds Flew Backwards’, a slight dent in the flawless output of the record up to a point, features what is known in India as a delruba, which nearly distracts you from in inferiority of the song in comparsion to the rest of the album.
But for much of the time, the results of 40-demoed-songs, 3 and a half years of work are as rewarding as Goodwin and the Williams’ could have hoped for. ‘10:03′ re-visits the gentle yet near-overwhelming beauty of ‘M62 Song’. ”The Greatest Denier’ and closer ‘Lifelines’, although easily-dismissible as the kind of radio-friendly mockery the likes of Snow Patrol, among others deliver, are both the absolute highlights of a thrilling excavation into electronic rock. Although it might not come to light, ‘Kingdom Of Rust’ is the most daring album of Doves’ career to date, one so backbreaking to work on that the final results are gratifying enough to hail the record as perhaps the band’s best.
A good 40 tracks to choose from, a good 3 years to choose, ‘Kingdom Of Rust’, by Doves’ standards, should be nothing short of a masterpiece. Already, the praises are pouring in: Q, OMM, Mojo, all handing the album 4 stars. It’s difficult to defy Jimi Goodwin in creating another melodic, loveable album but you couldn’t help but think that the pressure might be getting to them. I heard all sorts of rumours myself: Jimi seen buying a six-pack of Special Brew in Asda, that sort of stuff. Whether times were tough or not, Doves have, let’s face it, unsurprisingly, produced another gem of a record.
‘Kingdom Of Rust’ is a tiring listen at first, no matter how besotted with Doves you are. ‘Jetstream’ and ‘Kingdom Of Rust’ are both beautiful numbers but neither come to any proper musical conclusion, no climatic ending. It’s almost as if the album is building and building and building and it’s difficult to pick out the very moment it turns into something more melancholic, more delicate and most of all, more experimental. The record begins punchy and never seems like stopping, but gradually you become accustomed to the sound of Goodwin and co. exploring new methods of churning out delightful four-minute affairs.
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SHUFFLED///
Three reviews of three randomly-selected tracks from ‘Kingdom Of Rust’
#1 – Spellbound
More Doves-circa-2001 than anything, remeniscent of the gorgeous breakthrough-single ‘The Man Who Told Everything’. This being the longest track on the album, it’s a fact that goes surprisingly unnoticed without a careful look at the tracklisting. Acoustic-led but sparser than ’The Man…’ or anything else on ‘Lost Souls’, for that matter, it’s proof that Doves still firmly keep their roots in the area which brought to light their initial likeability factor.
84%
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#2 – House Of Mirrors
After the first third of the album, there’s a clear departure from the punchy rhythms that draw you into the record in the first place. This ‘Pounding’ v.2.0 might just stand out as the best track in the record, giving the album not only a stand-out track but also a great flow and consistency. A short, snappy, Flamenco-strummed guitar line catches the ear before anything else, Goodwin’s vocals emerge above the bass-heavy background and dare I say it, it reminds me, in terms of ambitiousness, of the latest U2 album.
#3 – Compulsion
Who’d have thought that Doves were playing funk to themselves when recording this record? It sure sounds like some of the finest groove-numbers have been on repeat judging by this. As on ‘Jetstream’, Andy Williams takes lead role on the vocals and his voice, verging on sounding overwhelmed by the experimentation and the funk-bass, just about stays afloat. The song would sound farcical were it not for occasional periods of more streamlined-sounding Doves which we’re all accustomed to.
When you can see a big wave making its way from the horizon, you’re quick to make a move.
Lost Knives have officially been a ‘band’ for just under a month but believe it or not already they’re already beginning to stand out amongst the current crop of young indie hopefuls. With support slots next to Broken Records and Whitest Boy Alive already sitting pretty in their upcoming tour dates, you can tell this is all beginning to make for something exciting.
Of course for the time being the Manchester four-piece remain unsigned but with local acts and an already loyal fanbase beginning to react upon the ferocity and edge of their miniscule back catalogue, you wonder just when an important man with a suit and a contract will be bagging a lift up to Manchester.
It’s difficult to disagree with the fuss that’s arrived upon the band’s entrance to the music scene. They first declared themselves to have serious intentions with ‘Cold Morning’ and ‘Solistice’: both firey, instantaneous numbers capable of stopping a passer-by in their tracks. The latest installment of the plan is a more complex, muddled effort, this time requiring a little more than just a casual listen.
Upcoming tour dates: 30 Mar 2009
// Ruby Lounge, Manchester w / Broken Records Manchester, Northwest
18 Apr 2009
//Ruby Lounge w/ Whitest Boy Alive + The Answering Machine Manchester, Northwest
3 May 2009
//Sounds from the Other City Festival w/ Plugs+ Bring on the Dancing Horses Salford, Northwest
15 May 2009
//Roadhouse, Manchester w / Violens (tbc) Manchester, Northwest
12 Jun 2009
// Grounded, Darlington w / Our Secret Sins Darlington, Northeast
Formed in 1991 by James Mudriczki, Neil McDonald, Anthony Szuminski and Kevin Matthews, the band released their debut single ‘Siamese’ through Rough Trade in 1992. Two EPs followed, before the release of the band’s debut, self-titled album on Island Records in April 1996. ‘Puressence’ received rave reviews, yet neither it nor its singles, ‘I Suppose’, ‘Fire’, ‘India’, ‘Traffic Jam In Memory Lane’ and ‘Casting Lazy Shadows’, managed to chart.
A shift in sound and mood was noticeable on the band’s sophomore effort, ‘Only Forever’, and for a moment it seemed that this would result in chart success, as ‘This Feeling’ came in at #33, and that ‘Only Forever’ would be their breakthrough record. Astonishingly, it only managed a #36 spot in the U.K. charts… but it was successful in Greece. Yes. Greece. You read that right. Two more U.K. singles followed, ‘It Doesn’t Matter Anymore’, and a double A-side. ‘All I Want’/'Never Be The Same Again’, which reached #39. Once again, the album was the subject of overwhelmingly positive reviews, but still commercial success eluded the band.
The band released their third album in August 2002. ‘Planet Helpless’ failed to chart in the U.K., but cracked the top 5 in Greece. The album’s lone single, ‘Walking Dead’, scraped in at #40 in the charts. ‘She’s Gotten Over You’ was planned at the second single, but due to trouble with Island Records, it was shelved. This friction between the band and label led to Puressence sacking their manager and leaving Island. McDonald left the band in August 2003, and was replaced by Lowell Killen.
The band struggled to find a label through which to release new material. Album four, ‘Don’t Forget To Remember’, was reported as finished as early as 2006, and a taster of the band’s efforts was put up on the MySpace page – the eventual second single ‘Drop Down To Earth’.
The band were eventually snapped up by Reaction Records in late 2006, and the band’s first release in four years, another double A-side, ‘Palisades’/'Moonbeam’, was released through them on December 4th of that year. It reached #5 on the U.K. independent singles chart.
In July of 2007, it was announced that the band’s fourth album would be released on September 24th, with the aforementioned ‘Drop Down To Earth’ to precede the album by two weeks. It was around this time that I discovered them, and everything just clicked, straight away. The defining feature of the band’s sound for me, though, was James’ voice. Some might say it is an acquired taste, but the man has an astonishing set of lungs. Manchester has a thing for producing exceptional vocalists – Guy Garvey much?
Anyways, first listen of the album, blown away, cue obsession, et cetera.
Once again, the album was successful in Greece, was critically acclaimed, yet failed to sell in the band’s home country.
I went to see them in London last October, and was again blown away. These guys are an exceptional live band, sounding even better than on record, in my opinion.
And there is a new album in the pipeline as well. That much is clear through the September 7th, 2009 release of a compilation album, ‘Sharpen Up The Knives’ (named after the opening track on ‘Only Forever’) – full details below.
The band’s 1990s output has been compared to early U2, Radiohead, and various shoegazing bands such as Ride and Slowdive, whereas their most recent work has a more stadium-ready feel to it – epic-sounding songs, anthemic choruses, and, above all, atmospherics – and it puts the current crop of arena bands (Snow Patrol, Coldplay et al) to shame.
I cannot recommend this band highly enough. How such talent and passion has largely gone unnoticed all these years is beyond me. Do yourself a favour and give the tracks below a listen – trust me, you won’t regret it.
Puressence – Sharpen Up The Knives (September 7th)
1. This Feeling
2. Standing In Your Shadow
3. All I Want
4. Traffic Jam In Memory Lane (2009 version)
5. It Doesn’t Matter Anymore
6. Never Be The Same Again
7. Sharpen Up The Knives
8. She’s Gotten Over You
9. India
10. I Suppose
11. How Does It Feel
12. Street Lights
13. Raise Me To The Ground (exclusive track)
14. Our Numbers Oracle (exclusive track)
15. Che (piano/vocal version exclusive track)
P.S. ‘Planet Helpless’ and ‘Don’t Forget To Remember’ can be easily bought, but the first two albums, the self-titled and ‘Only Forever’ were deleted by Island Records in November 2007, so if you want to pick them up, eBay and Amazon Marketplace are the places to go.
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
omething they could declare as ‘fresh’ and almost incomparable. They escape from tradition most notably in ‘Compulsion’, a complete misfit with the rest of the songs, funk-led and not embarrassed of it. ‘Birds Flew Backwards’, a slight dent in the flawless output of the record up to a point, features what is known in India as a delruba, which nearly distracts you from in inferiority of the song in comparsion to the rest of the album.
MFM @ HYPEM
