Reviews

Whitney – Light Upon The Lake Review

Posted on by edwardlayland

52287-light-upon-the-lakeFormed from the ashes of indie/rock band Smith Westerns and Unknown Mortal Orchestra, Whitney grew out of exploratory songwriting between Max Kakacek and Julien Ehrlich, soon becoming something of a collective, with seven members playing a variety of instruments. Their sound is an enjoyable blend of indie folk rock with a heavy seventies influence and a touch of Americana, and although it’s not exactly at the vanguard, boy, do these guys make a lovely noise.

‘No Woman’ starts out lullaby smooth before a horn motif gives way to an acoustic strum and a fairly watery vocal, but as the falsetto gains a little strength so to does the song. There’s a little orchestration from lilting violins, meandering guitar lines and rich percussion, by the time the uplifting horns come back it’s a richly textured multi-layered thing of beauty, what could easily sound crowded is instead complimentary, with each element given a little breathing space; masterful.

Their use of horns is a constant throughout the album, and along with the groovy guitar licks and the subtle orchestration, many of the songs end up taking on a whole new dimension. ‘The Falls’ for instance, is a quirky two minutes of indie folk, but it features an array of nice little touches that give it a little depth, while ‘Golden Days’ suffles along pleasantly enough until the uplifting horns take it to a whole new level.

At its worst, the album is merely likeable, as on the stripped down title track or the jazzy interlude of ‘Red Moon’, but when everything comes together ‘Light Upon The Lake’ makes for compelling listening. Take ‘Dave´s Song’, the 70s tinged guitar licks add an emotional edge to this easy tale of lost love, the horns once again making it another lovely track. Then there´s ‘Polly’, which is a gorgeous piece of heartfelt crooning that showcases what they are all about – uplifting horns, emotive licks, soft percusion and emotion filled vocals that all makes for beautiful textures.

Although there is a strong nod in the direction of the past, they sound fresh yet retro, be it on the upbeat groove to ‘No Matter Where We Go’ or the Hawaiian vibe of ‘On My Own’, it’s all very likeable. ‘Follow’ closes the album in similar vein with an easy bass groove and bright guitars that give way to a melancholic horn, before building to a characteristically vibrant finale.

There are some quite gorgeous moments on this sublime record from Whitney, and it´s a strong debut album, with beautifully constructed songs boasting rich textures that make for highly enjoyable listening.

8.5/10

Lonely The Brave – Things Will Matter Review

Posted on by edwardlayland

LonelyTheBraveI recently wrote an article on the “difficult” second album, highlighting a variety of bands that under pressure of time, money and success either failed to meet expectations or totally fucked it up. So, you’ve got to hand it to Lonely The Brave, not only have they taken their time, but they haven’t succumbed to the lure of the big time and staked all their chips on their commercial appeal. They have instead come up with another fine record, building on the template of debut album ‘This Day’s War’, only slightly darker and a little more substantial.

The atmospheric ‘Wait in the Car’ opens proceedings at a melancholic pace with a wonderfully understated vocal before segueing into the massive ‘Black Mire’, its goose bump inducing guitar lines crawling all over the power chords and rumbling bass line. Again it’s a fairly measured track but its powerfully intense and has classic written all over it.

This arena sized intensity that is something of a signature sound for LTB pervades throughout; the meandering guitar lines of ‘What If You Fall In’ soon giving way to big riffs in the intensely hooky chorus, while tracks like ‘Strange Like I’ and ‘Boxes’ find them delivering enormous guitars and soaring vocals in no nonsense fashion. ‘Rattlesnakes’, meantime, twists around a guitar motif before reaching its own searing climax.

Another thing that shines through is the superb musicianship adding so many different dimensions to this collection. ‘Diamond Days’, for example, rolls effortlessly along in melancholic reflection, while the restrained guitars shape a laid back vibe and vocalist David Jakes shows his versatility with a great vocal. The more urgent ‘Play Dead’ then builds hypnotically to a car crash finale, whereas the clattering percussion on ‘Tank Wave’ collides into its atmospheric chords, giving it an uncomfortable air, before gaining in power and emotion on the back of another stirring vocal.‘Dust and Bones’ comes across as quite ordinary by comparison, but it’s got a good hook and links nicely with the power rock riffing and frantic beats of ‘Radar’.

However it’s closing track ‘Jaws of Hell’ that really shows what this band can do, as well as how they might develop in future. The erratic rhythms and brooding atmosphere gather in power as the track cuts back and forth, layering texture upon texture until flurries of feedback close it out. A one minute silence is then followed by ponderous piano and a poignant vocal lamenting that “time goes quicker now” to provide an enigmatic closure.

In the end, what we have here is a selection of deeply textured tracks that play to the multiple strengths of this talented band. This is the future of British Rock right here.

9/10

lonelythebrave.com/

Sixx:A.M. – Prayers For The Damned Vol.1 Review

Posted on by edwardlayland

SixxAM_Cover_PrayersForTheDamned-960x960There aren’t too many surprises on the ‘Prayers for the Damned Vol. 1’, the new album from Sixx:A.M., but hey, if it ain’t broke, why try to fix it? Nikki Sixx and co have hit upon a formula for their killer brand of hard rock that works; there’s massive choruses, massive guitars, massive bass lines and massive harmonies that all make for a massive sound on this loosely biblical album of pop metal.

Pop metal? Yep. When your lead singer is a man who writes hits for the likes of Kelly Clarkson and has an ear for a melody Katy Perry would kill for, if you took out the totally badass guitaring of the superb DJ Ashba and Sixx’s penchant for a bit of twisted darkness, make no bones about it, you’d be left with radio friendly, commercially appealing, uber positive pop.

From the word go on the first single ‘Rise’ we get everything this power trio holds dear; a hard rock groove from the low slung guitar, a hook filled chorus that flies ever higher as it progresses, a killer solo and Nikki’s bass bubbling away in the background. Damn it, there’s even the a ‘capella line before the grand finale. It ticks all the formula songwriting boxes, but when your band is this tight and your production this slick, you can’t fail to deliver.

How do you follow that? With another swaggering riff straight from Sunset Strip of course! It’s a thin disguise though, You Have Come To The Right Place is about as perfect a piece of hard driving pop as you can get. I’m Sick starts out as more of a slow boiler, but soon picks up to continue in pretty much the same vein, but what the hell, I love a bit of radio friendly rock as much as the next man, like they say in the song: “I’m sick, gimme some more of it!. There’s a particularly awesome solo though, as the song gathers pace for the climax.

The middle section of the album takes on a more serious tone with a more measured pace, the Sixx:A.M. brand of self help delving into issues of making amends, finding hope out of the darkness and turning to God. Better Man possesses an undercurrent of melancholy to the atmospheric guitar lines and James Michael’s vocal is a little more understated, while ‘Prayers for the Damned’ and ‘When We Were Gods’ have a particularly epic feel to the uplift as they push the religious imagery, the latter mixing things up a little arrangement wise with an unexpected twist towards the end.

Sandwiched between is ‘Can’t Stop’ with its marching vibe, but there’s an air of filler to it, although it is sure to work better in the live arena. ‘Belly of the Beast’ pricked my ears up a little further though, it really showcases what Michael can do vocally when he leaves his comfort zone and it’s a cool switch up.

There’s more than a hint of Motley Crüe in the opening chords to ‘Everything Went To Hell’ but the comparison ends there and it turns into something of a vehicle showcasing Ashba’s playing. DJ has to be one of the most underrated guitarists in the game and his playing throughout this album is nothing short of stunning, the killer riffing and sublime soloing a constant, adding another dimension to otherwise ordinary tracks like ‘The Last Time (My Heart Will Hit The Ground).

Album closer ‘Rise of the Melancholy Empire’ rounds things off in predictably epic style, though the delicate piano and atmospheric guitar lines add a touch of class. It is a quality way to end Volume 1, with the second half of this double album project set to drop later in the year.

This is probably Sixx:A.M’s strongest record since ‘Heroin Diaries’, pretty much every track has a winning hook, the playing is first rate and the production superb. Ok, so they like a pop melody and know how to deliver a chorus, but it’s not like they have art rock aspirations and what they do is done in style. There is a massive market for this kind of music, so when a band are writing songs with a message and turning in such great performances, superstardom is pretty much a given, not bad for what started as a side project.

8/10

Check out more on Sixx:A.M. here:http://sixxammusic.com/
For some superb photography of the band and a whole load of other rock stars visit this amazing webpage: http://www.stephansdotter.com/gallery/people/

Greys – Outer Heaven Review

Posted on by edwardlayland

v600_greys_outer_heaven_900Greys are a quartet from Toronto that have really come of age on their second album, ‘Outer Heaven’. They succeed in blending chaotic punk frenzy and expansive textures on ten well thought out tracks that are as engaging and reflective as they are furious and cleansing.

‘Cruelty’ begins with a slightly jarring intro and downbeat vocals, giving it a shoegazey feel, but the calmness is deceptive – the song is about a group of teenagers brutally killing their classmate – and is soon blown away by the rocky ‘No Star’. Another song inspired by last year’s Paris attacks, it’s punk rock vibe builds into an aggressive wrecking ball of wild abandon, the chaotic guitar sound pleasingly abrasive.

There’s plenty more where that came from too, ‘If It’s All The Same To You’ blends the expansive elements of their guitar sound with the aggressive approach, while the indie pop vocal melody makes for a catchy thrash around. ‘Blown Out’, which tackles the issue of depression within a relationship, has a similarly vibrant energy to the melody, though the dirty grunge riff and histrionic guitars hint at a deeper sense of disquiet.

There are multiple levels to this record and the band has succeeded in slipping all kinds of killer moments into its fabric. For instance, ‘Complaint Rock’ is pure punk rock and brilliant in its simplicity, but then an atmospheric interlude of crashing percussion and guitar lines offers some reflection before the bass kicks back in for a frenzied punk finale. On the other hand, ‘Strange World’ works in the opposite direction; the dreamlike opening of lazy chords and measured beats rolls along reflectively, while a background of feedback gives a slight air of disquiet that suddenly explodes with occasional bursts of screaming chaos – did not see that coming – it gets even more expansive and chilled thereafter, but a melancholy piano played over feedback finishes in style – sublime.

A particularly enjoyable aspect of this album is its variety, although they do have a kind of signature sound, they manage to explore different aspects of it in different ways. For example, ‘Erosion’, one of the standout tracks, takes a more measured approach, employing an atmospheric guitar sound, yet there’s a kind of urgency to the melody that takes a slightly darker feel as it progresses. Conversely, ‘Sorcerer’ is a furiously hard anger fueled track with a killer hook and a sludge punk feel, while ‘In For A Penny’ is upbeat and frenzied, but throws a curve ball with the twee melody of the midsection that is pure indie.

There is not one bad track on this record and it all draws to a somewhat disturbing finale on ‘My Life As A Cloud’. The use of a drum machine, in reference to the emptiness of technology, gives a dystopian feel to this atmospheric meandering and the long instrumental section rounds it all off with a real sense of disquiet, excellent stuff.

All in all, this is a cracker of an album – it’s punk, it’s rock, it’s indie, yet very individual sounding and infused with a sense of daring to the songwriting that gives it a freshness and energy that really set it apart. Superb.

9/10

‘Outer Heaven’ is out now and available here: http://store.carparkrecords.com/categories/greys

Kevin Morby – Singing Saw Review

Posted on by edwardlayland

kevin-morby-singing-saw-album-newIt’s well worth immersing yourself in the deeply textured reflections of ‘Singing Saw’, the third solo outing of atmospheric folk rock from ex Woods bassist (and The Babies front man) Kevin Morby. The Texan singer songwriter proves himself a prodigious talent on this highly enjoyable collection of songs packed with subtle details that punctuate the album with sublime moments of musical brilliance.

‘Cut Me Down’ gets things off to an atmospheric start, the laid back folky vibe and intimate sound accentuating the subtle guitar lines and bluesy acoustics, while ‘I Have Been To The Mountain’ follows in more upbeat style. There’s an easy funkiness to the bass line and a swirling quality to the acoustic riff that make for a hypnotic groove; throw in some percussion, layers of horns and backing vocals and we have a very cool track.

The first half of the album is probably the stronger; there’s a dark air to the stark acoustic guitar underpinning ‘Singing Saw’, which is one of the stand out tracks. It slowly builds to a mechanical drum sound and guitar licks and is an unhurried richly textured gem, the spidery solo adding to the atmospheric seven minute sound scape. ‘Drunk and On a Star’ follows with more unhurried beauty and some nice touches of orchestration.

There is a slight change in direction half way through with the up tempo rocky riffing and Jesus and Mary Chain-esque melody of ‘Dorothy’. It’s cool enough though, with plenty of nice touches of piano and horns between the lines. ‘Ferris Wheel’ is slightly laboured by comparison and is a bit of a mid album lull of piano led reflection.

Prior to the country style meanderings of album closer ‘Water’ we get a couple of mighty fine, albeit slightly quirky, songs in ‘Destroyer’ and ‘Black Flowers’. The mechanical melody of the former gains another dimension when the strings come in, the lilting violin superb, and when the horns enter it takes on a vibe of free jazz to contrast with the piano monotony. Meanwhile there is a slight Oriental feel to ‘Black Flowers’, its easy acoustic picking underscored by an almost jaunty rhythm – instrumentally speaking it’s really quite lovely, delicate drops of piano punctuating the song as it subtly increases in tempo, growing ever richer; excellent stuff.

On the whole this is a fine record from Morby; it is beautifully executed and has so many layers, yet also allows individual passages to stand out in breathtaking style. Well worth exploring deeply to get to know it intimately.

8.5/10

‘Singing Saw’ is out now.

http://deadoceans.com/artist.php?name=morbykevin

Ben Watt – Fever Dream Review

Posted on by edwardlayland

Ben Watt Fever Dream PACKSHOT - HI RES AmazonOn 2014’s Hendra, Ben Watt rekindled his solo career with a deeply reflective album of hauntingly beautiful songs. The writing, recording and subsequent touring caused the singer-songwriter to rediscover his voice and helped open up a rich vein of creativity to produce a flurry of new songs.

The resulting album, ‘Fever Dream’, is a loosely conceptual voyage musing on the ever evolving complexities of love and relationships, purposely progressing from a hard edged, almost difficult, atmosphere to a lighter feel of hope as the album develops. It builds on the template of the previous outing, both stylistically and in terms of personnel; Bernard Butler once again contributing sublime guitar work, while new double bassist Rex Horan adds a little extra depth.

The first single ‘Gradually’ kicks off with atmospherically bluesy guitar lines from Butler and is a spacious slow burner with a hard edge. The textured layers of guitar build intensely to give a gorgeous richness to the sound as Ben fires off an emotive vocal performance. The title track, ‘Fever Dream’, follows with an acoustic melody and understated touches from Butler, who seems to be plucking notes out of the air with ease. M.C. Taylor of Hiss Golden Messenger adds a subtle layer of vocals, while Watt seems to be stretching his voice a little more; an emotional edge also appearing on the brooding ‘Women’s Company’, with its killer hook to the chorus. Watt’s ability to work a hook is evident throughout the album, especially on the upbeat ‘Between Two Fires’, with its subtly shifting percussion, and on the otherwise melancholy atmosphere of ‘Winter’s Eve’.

The second half of the album is no less textured, but takes a noticeable turn towards a more relaxed vibe. ‘Faces of My Friends’ has rhythms reminiscent of Everything But The Girl and is a light but sophisticated pop song on how people’s lives intertwine as “We fall through the world like flakes of snow”. There is a similarly tropical feel to the rhythms of ‘Running With The Front Runners’, the double bass sound superb, though it contrasts sharply with the living on the edge lyrical content.

Watt has the ability to paint such vivid pictures with the everyday details of his words, ‘Bricks and Wood’ being a master class in simple yet descriptive story telling. Here he turns a drive to the (now ruined) family home into a reflection on the importance we attach to physical things, when it’s the untouchable memory that carries the warmth or pain. The song manages to retain that sense of hope underpinning the laid back reflection of previous track ‘Never Goes Away’, with its bluesy guitar licks and whispers of organ.

Although many of the songs capture a similar vibe, they are all distinctive in terms of style; none more so than closing track ‘New Year of Grace’. The delicate folk melody is spacious and airy, the guest vocal of Marissa Nadler providing beautiful accompaniment to this understated tale of enduring love. It’s a simple yet emotional note with which to finish.

The ten songs on offer here make for a quality listen, the space and richness to the sound with the altered tunings, reverb and blurred lines between the instrumental textures packed with sublime subtleties. As well as finding a little extra edge to his vocal, Ben Watt has once again proved himself a damn fine songwriter, repeated listens revealing ever more detail; in a nutshell – excellent.

9/10

Fever Dream is out now on Unmade Road through Caroline International.

Catch Ben, Bernard and Co. on tour during the coming months: http://benwatt.com/dates

Ben-Watt-Photo-by-Tom-Sheehan-2016-DSC_9292_b-MASTER

Grant Lee Phillips – The Narrows Review

Posted on by edwardlayland

LP_YEP_2468_GrantLeePhillips_TheNarrows_COVER_12x12Grant Lee Phillips’ eighth solo album ‘The Narrows’ is a delightfully easy going listen; reflecting on hazy summers and country life. This record is a wonderful example of a singer songwriter deep in his niche, doing precisely what he does best, on these finely tuned tracks that talk directly to the humanity of us all.
The hopeful warmth to the cleansing waters of ‘Tennessee Rain kicks things off with an air of country tinged rock, reflecting Phillips’ California roots and new home of Nashville, whilst setting a comfortably familiar tone to the record. ‘Smoke and Sparks’ follows with an intimacy to the country style picking and a vocal reminiscent of Nebraska era Springsteen that gains depth from the clean touches of piano.

Phillips’ brand of country tinged Americana is real easy on the ear, as we are treated to an array of instruments offering a deeply textured canvas to these tales of life. There’s the lilting violin intro to the reflective slice of down home nostalgia of ‘Moccasin Creek’ that’s filled with a yearning we can all relate to. Then there’s the banjo riff underpinning the electric down home bar filler of ‘Rolling Pin and the rich pedal steel of ‘Taking on Weight in Hot Springs’, which muses on the pace of country life “Moving slower than molasses”.

The theme of life in the country underscores the album; recurring in ‘Just Another River Town’, which has “seen its share of life go down” and borrows heavily from country music traditions while avoiding cliché and keeping that laid back warmth. The shuffling rhythms of ‘Loaded Gun’ provide a little contrast though, as it goes “Flyin’, down the back roads” in a flurry of foot taps and hand claps.

‘Cry Cry’ offers up subtly rolling rhythms and an understated soothing vocal that really captures the comfortable feel to this album, which is also evident on the lovely guitar sound of the easy balladry of ‘Holy Irons’. Phillips’ ability to paint a vivid picture is at its finest on the sweltering ‘No Mercy In July’, which shuffles easily through its summer heat of sleepless nights and stifling days – “Shade’s no shelter on days like these”.

To be honest, there is not a bad track on the album, even the fairly predictable lovelorn lament of ‘Find My Way’ succeeds in sounding honest. In fact, the overall feel is so pleasant that it would be difficult to pick a winner. Besides those already mentioned, the reflective ‘Yellow Weeds’ adds a dash of melancholy and ‘San Andreas Fault’, which looks back on life in the shadow of the California fault line, finds Phillips stretching his voice with an emotional performance.

All in all, ‘The Narrows’ shows Grant Lee Phillips at his thoughtful best and is a fine example of good old fashioned quality songwriting. Ok, it’s not exactly innovative, but it’s a thoroughly likeable record of remarkable warmth – grab a beer, sit in your favourite chair and settle into its richly comfortable vibe.

9/10

Find out more at GLP’s official site:http://www.grantleephillips.com/

Kendrick Lamar – Untitled Unmastered Review

Posted on by edwardlayland

kendrick-lamar-untitled-unmastered-surprise-new-album-compressedThis surprise release of eight off cuts/demos from the ‘To Pimp a Butterfly’ sessions making up ‘Untitled Unmastered’ is testament to the genius that is Kendrick Lamar. Despite sounding more like a session than an actual album, there is plenty on display to justify Lamar’s multiple grammies and is a fine insight into the man’s creative process.
These untitled tracks almost never saw the light of day, but recent performances on late night talk shows and a tweet from Lebron James led to last week’s timely drop. As such, the lack of context means there’s something intriguing about these songs and makes for a challenging but interesting listen.

Seedy sex talk leads into ‘Untitled 1’ and a bass line Cypress Hill would be proud of. Kendrick proceeds to wax biblical, switching between judgement day and utopia; “I guess I’m running in place tryin to make it to church”; his urgent vocal is straight up smokin Lamar, tripping over itself to get the message across. A (much repeated) call of “Pimp, Pimp: Hooray!” leads into ‘Untitled 2’, which offers up Kendrick firing off all the vocal guns in his armour over an RnB groove to this free jazz fuelled cut.

There’s plenty of jazz peppered throughout the record, we get a cool vibe on ‘Untitled 3’ with its rhyming on race, philosophy and exploitation – “I shall enjoy the fruits of my labor if I get freed today”, while ‘Untitled 5’ goes back to the free jazz feel with a sublime bass line and cutting rhythms. When it finally kicks in, Kendrick’s flow is incisive contrast to the otherwise late night smoothness and is a badass piece of rhyme.

Sandwiched between, ‘Untitled 4’ feels more like an interlude, its reflective soul sounding more like a vague idea than anything concrete, but it’s intimate and seems to offer a little hope. ‘Untitled 6’ has a similarly soulful feel as it rolls out a bossa groove with a touch of funky soul. It’s swimming in the 1970s, like many of the samples on TPAB, and there’s an easy feel to the rapping on what is one of the most complete tracks on offer.

The dissonant darkness of the first of three parts on ‘Untitled 7 is reminiscent of funk carioca and its starkness would work well in the live arena. It cuts (too soon) into an atmospheric gangster rap that is another killer moment, but again, it’s just a moment. The following studio jam reiterates the message of 4 and gives a glimpse into the creative process, but just feels like a DVD extra. In contrast, the superb ‘Untitled 8’, aka Blue Faces and previously called Untitled 2, is as slick a slice of Lamar as you could hope to find and would slip easily alongside the likes of ‘King Kunta’ or ‘Alright’.

At worst, ‘Untitled Unmastered’ is a sublime companion disc of outtakes and off cuts for last year’s phenomenal ‘To Pimp a Butterfly’, but that would not be doing the record justice. Ok, it’s incomplete, imperfect and, at 35 minutes long, can barely be called an album, but even so, the creative rhymes and the variety of styles embraced here showcase just how far ahead of the game the sublime talent of Kendrick Lamar really is; quality.

9/10

So Pitted – Neo Review

Posted on by edwardlayland

SoPitted_R4_DraftsSince Nirvana’s game changing mega stardom redefined alternative as the mainstream, most guitar based music has become somewhat stylised and, even in its most intense forms, there’s often more than the vaguest whiff of formula following. So, it is disconcertingly uncomfortable, but a welcome challenge, to happen across such an imperfect listen as the bruising So Pitted.

This quirky three piece from Seattle, who bonded over a love of mainstream alternative, are a loose combination of self taught musicians who swap instruments, take turns singing, play guitars through bass amps and basically flout all conventions to cook up an invigorating slice of sludgy rage. There’s an air of paranoia and disquiet to the band’s aesthetic that is captured in the angular rhythms and fuzzy guitars; ‘Neo’ boasting eleven powerful bursts of feedback fueled slop in the finest traditions of Sub Pop.

Album opener ‘Cat Scratch’ is all dirty disjointed riffing, clattering rhythms and drawled vocals, kinda like a hyper raw Mudhoney. ‘Pay Attention To Me’ is more urgent and is one of the more instant tracks, with just the vaguest hint of a hook, as the rudimentary bass line hurries along beneath the guitar slaughter. The jarring close to the track leads perfectly into the alarming riff of ‘Woe’ whose feedback tinged guitar lines are cutting and stark in compliment to the simplistic insistence of the vocal pattern, it’s horribly brilliant. This mechanical vocal technique appears on a few tracks, like the disjointed ‘Get Out of My Room’, which turns the intensity up to eleven, and the sinister ‘Feed Me’ with its waves of feedback tinged guitar bashing that wash over the listener.

‘Holding the Void’ has an angry urgency about it and a more indie feel to the guitars, though once again there’s some melody fighting for room in the ripping vocal. This is actually quite a versatile band and there are a number of influences on display, for instance, ‘No Nuke Country’ has a slight punky feel to its swirling rhythms and pounding riffage, while ‘The Sickness’ is very college radio with its the drawled vocal over the uptempo grungy thrashing.

To be honest, there’s not a bad track on Neo, everything works within the context, but it’s an intense listen with plenty of anger on display; ‘I’m Not Over It’ boasting heavy repetitive riffing and offering a rage filled vocal battering. ‘Rot In Hell’ is similarly upset as the throbbing hypnotic bass underscores the histrionic guitar lines. ‘Chop Down That Tree’ brings the album to a fitting end with two minutes of attacking riffs, attacking drums and attacking vocals that combine everything the band has to offer in a resounding finale.

Ok, So Pitted won’t be winning any awards for intricate technique or refined musicianship, but that is so not the point; what you get here is an intense display of noise filled abandon on these eleven cuts of raw emotion, which is precisely what good art should be about. Killer.
9/10

You can purchase Neo in various formats right here:
https://sopitted.bandcamp.com/

The Cult – Hidden City Review

Posted on by edwardlayland

The-Cult-Hidden-CityThe prospect of a new record from my favourite band can be a worrying prospect, because as much as I love The Cult, I am the first to admit that they don’t always hit the spot. Not that they make bad records, just that some material, despite its apparent quality, has left me cold – ‘Beyond Good and Evil’ being prime example. “Hallelujah” and “Praise the Lord” then for ‘Hidden City’, the follow up to 2012’s largely quality effort ‘Choice of Weapon’.

There must be something in the air, because like so many of their rock peers that have stayed the course, there seems to be a feeling of reinvigoration about Ian Astbury and Billy Duffy that has enthused the album with a dynamic reminiscent of their glory days. Maybe it’s down to the difficult times in which we live or as a reaction to the puerile aspects of social media that have so invaded everyday life, who knows? Suffice to say that many bands that have been going through the motions for so many years are now turning out work that stands up alongside their best – The Cult included.

‘Dark Energy’ is a no nonsense starter; it doesn’t get more basic than this, the upbeat drumming and straightforward insistent riffing, as Astbury comes into his own vocally, are meat and potatoes, but sure taste good. ‘No Love Lost’ then starts out with a slow burning riff that suddenly bursts into life, rocking in classic cult fashion – killer hook, killer track.

This is one of the most varied Cult records I have ever heard. We get dark atmospheric numbers, like the classy ‘In Blood’, its piano melody, light orchestration and brooding guitars underpinning a powerful song with a wonderful arrangement. In contrast there’s a track like ‘G O A T’, Greatest Of All Time, which is a down n dirty rocker that gives Billy Duffy the chance to let rip – man this record is rocking.

There are one or two tracks like ‘Dance The Night’ and ‘Avalanche Of Light’ which are fairly disposable, but their upbeat pop/rock is pleasant enough. Their blandness is more than compensated by the last two pre-release teasers. ‘Hinterland’ has that classic cult feel to the rhythm, and what a hook! It is stylishly executed rock with an up-to-date feel, great track – The Cult are on fire – especially Billy Duffy with a superb variety of guitar sounds, both to the riffs and in the soloing. ‘Deeply Ordered Chaos’ written in reaction to the Charlie Hebdo shootings, is similarly high quality, this tale of Euro empathy slow boiling in brooding fashion, with touches of orchestration adding drama beneath the clashing guitar sound as Astbury’s familiar baritone croons “I’m a European, blood for holy water/I’m a European Africa my mother”. Duffy is on top form with some lovely touches on lingering notes in the solo as the track gathers urgency on the highly charged finale.

Even so, there are still more high points on ‘Hidden City’, the synth fueled ‘Birds of Paradise’ featuring one of the most heartfelt vocal performances I’ve ever heard from Ian, while ‘Lilies’ is an unexpected gem with its touches of Spanish guitar; it’s totally different to what you might expect, but sounds fresh and highly accomplished. There is even more surprise on closing track ‘Sound and Fury’ which is an intense piano croon with a theatrical feel that rambles to an enigmatic close; inspired.

This is surely one of the most artistically diverse Cult albums; there’s a fearless edge here that has added a freshness to their sound and it’s great to see such a fine band pushing their creative boundaries on what is their tenth studio album. Bravo!

9/10

http://thecult.us/HIDDEN_CITY/