Public Enemy – Live from Metropolis

Posted on by edwardlayland

Public EnemyBack in 2014 a handful of lucky fans had the privilege of witnessing a one off show from rap legends Public Enemy, backed by a full live band, S1W, in the intimate setting of West London’s Metropolis Studios, in the very room where Amy Winehouse recorded Back to Black. Tickets were trading for somewhere in the region of $7000 for this exclusive gig and based on this 1h20m soundtrack to the DVD/Blu Ray, it was money very well spent. To put it simply, Public Enemy absolutely kill it.

We are treated to a selection of career spanning tracks from ‘Miuzi Weighs a Ton’, through ‘911 is a Joke’ and “Bring the Noise’ to the surprise hit from the London Paralympics ‘Harder than you Think’; they are all here, barring one or two personal favorites from Muse Sick, so it’s essentially a ‘Best of’ played live in this awe inspiring performance.

Twenty-eight years into their career at the time of recording; “He’s 55, I’m 54, that’s a hundred an’ nine fuckin years”; and Public Enemy are still at the top of their game. Chuck D’s flow is as sharp as ever, his baritone bite on every syllable the perfect foil to the insouciant style of partner in crime Flavor Flav. Not that Flav is found slacking, on the contrary, he works the crowd tirelessly and is a superb counterpoint to Chuck’s relentless attack. There is an almost telepathic understanding between the two, born of nigh on thirty years prowling the stage together, which reflects in their interplay; Flav conducting the small crowd like an excited pied piper while Chuck challenges them to keep pace. It’s a lesson to any performer in how to work a room, whatever its size; there’s only 125 people watching the show but PE are blowing the roof off.

Public Enemy may be old school but everything sounds as fresh as the day it was pressed, hitting the spot time and again. ‘Rebel Without a Pause’ is the first to really get things rocking, with DJ Lord scratching some serious vinyl, before Flavor turns up the heat on ‘911’ and Chuck piles on the pressure on ‘Terrordome’ – you can almost feel the room heaving through the speakers. S1W add a whole new depth and flexibility to PE’s sound, with some serious shredding on ‘Hoovermusic’ and ‘Black Steel’; the house is rocking and the show has barely started. “Real Hip Hop is here!”

Bring the Noise nails it, the rapping urgent and on point. There’s a funky bounce to the vibe on ‘Don’t Believe the Hype’ as Chuck and Flav work it; is that Liam Gallagher in the house? The temperature just keeps on rising as ‘Can’t Truss It’ struts out to some badass beats. Chuck D described ‘Man Plans, God Laughs’ as the most intense Public Enemy record of the century, sorry Mr D but you were way off, Metropolis is destroying it dude. ‘Fight the Power’ actually provides a slight breather after Chuck nails Bring the Noise a’capella. Flav brings it on again for 31 flavours before Shut em Down and the stunning climax that is the uplifting ‘Harder than you Think’, Public Enemy’s biggest UK hit; the horns actually give me goosebumps before some badass guitar rocks the midsection. Chuck D and Flavor Flav then bring the show to an intense close, “Just like that”.

The truly remarkable thing about this record is that the intensity and vibe of the performance comes through loud and clear; it’s rare for a live album to live up to the memory of a great show, but here you have the finest possible document of the Public Enemy live experience imaginable.

10/10

http://www.publicenemy.com/
https://www.facebook.com/publicenemy
https://twitter.com/MrChuckD
https://twitter.com/PublicEnemyFTP

Iron Maiden – The Book of Souls

Posted on by edwardlayland

Iron MaidenThere is a tendency among fans of great bands to live in the hope that the object of their affection will somehow recapture whatever it was that made them great, so making comparisons with a band’s peak period is inevitable, and, as such, totally unfair. Music is very contextual and lets face it, it’s not 1985 anymore, so even if they released Seventh Beast of a Powerslave in Time, it just wouldn’t be the same. That said, after a five year break, Iron Maiden have “come back” with a very strong album, and in terms of quality, in terms of Maidenness and potential future classics, it doesn’t get much better than this.

There is air of excitement about The Book of Souls, possibly down to the live element of the recording process at their “special” Guillaume Tell Studios, Paris, or possibly as a result of the on running theme of death, both on the record in the numerous references to the Mayan belief that souls live on after death; and off the record; Steve Harris having suffered two significant losses, while Bruce Dickinson discovered a lump that would turn out to be a tumour. With Steve contributing a little less than normal, albeit in stirring fashion on the likes of ‘Tears of a Clown’, Bruce was involved extensively with songs on subjects as diverse as the 1930 R101 airship crash, ‘Empire of the Clouds’, and stories of WWI triplanes on Death or Glory’. Throw in further contributions from the three guitarists and you’ve got a monster of an album, 92 minutes all told, packed with epic tunes.

‘If Eternity Should Fail’ gets things underway with an atmospheric spaghetti western style opening, but then the riff kicks in with that dum dada dum bass line and it’s pure Maiden heaven. ‘Speed of Light’, the first single, follows with a real old school hard rock feel to it and suddenly the Irons are sounding as fresh as ever.

There are more atmospherics on ‘The Great Unknown’, with its unhurried riffs and air of drama; it’s good intense stuff and is a formula that is put to good effect elsewhere, the epic ‘Book of Souls’ being not dissimilar in structure. In fact Maiden have a number of instrumentally complex tracks weighing in on the lengthy side on offer here. At times it does border on the indulgent, three guitar solos where one might do, but I guess they’re working on the premise that what Maiden fans need is more Maiden, nowhere more so than on ‘The Red and the Black’. Here a familiar riff bounces along atop a rumbling bass line like a derailed locomotive to a chant of “whoa o oh oh oh” and a never-ending instrumental break brings the song to a massive thirteen and a half minutes; and it’s not even the longest track on the album!

It’s not all epic bombast mind, some of the most effective tracks being the shortest; the lyrically reflective ‘When the River Runs Deep’ is classic hard rock, as is the frantic ‘Death or Glory’, which has instant classic written all over it; while ‘Tears of a Clown’, reportedly inspired by the Suicide of Robin Williams, is a slower, more thoughtful, measured rocker and one of Steve Harris’ finest moments.

You don’t get to this stage of your career without a bit of recycling going on though, the intro to ‘Shadows of the Valley’ sounding very much like ‘Wasted Years’; and haven’t we heard those ‘woah oh oh’s somewhere before? Even so, the gargantuan eighteen minutes (yes EIGHTEEN!) of ‘Empire of the Clouds’ is all new territory, with Bruce going all Axl at the piano; still it’s a fine melody and is a grandiose finale to a grandiose record.

So basically we have got as much Iron Maiden as you could possibly squeeze into a double album, ok, so it’s overly long, very overblown and more than a little over the top, but there is plenty of extremely strong material to get your teeth into, die-hard fan or otherwise. It would be a fine swan song to the band’s career, should they decide to call it a day, or it could even mark the start of an exciting new phase of creativity. I can’t help but wonder how they’d sound if Rick Rubin were to get hold of them and strip them back to basics, maybe then it would sound like 1985 again.

8.5/10

Follow Iron Maiden online:
Official Site: http://ironmaiden.com/
Facebook: https://www.facebook.com/ironmaiden
Twitter: http://twitter.com/ironmaiden
Instagram: https://instagram.com/ironmaiden/
Spotify: https://play.spotify.com/artist/6mdiA…
Apple Music: https://itun.es/gb/nzfc

Eight times Madonna Totally Nailed Being Madonna

Posted on by edwardlayland

Love her or hate her, there’s no denying that Madonna’s constant presence in the industry over the last thirty plus years has generated some memorable moments that only she could’ve pulled off. Along the way she’s entertained people, let her ego and imagination run beyond wild and managed to rub more than one section of society up the wrong way. Ever controversial, ever changing, ever pushing boundaries; when it comes to popular music, will we ever see her like again? Ok, there are better singers, better performers, better everything really, but lets face it, Madonna is the last of the greats – when I was young a new Madonna song was an event; there aren’t many artists around today that could make the front pages with a new song/video/live show – and do you know what? Every now and then she actually came up with a killer tune.

Like a Prayer
She’d already played the sex card on Like a Virgin and she’d already had number one singles, but Like a Prayer was THE defining moment that would shape the years to come. The madcap, pseudo arty video with its sexual and religious imagery and the black Jesus masterstroke upset conservatives across the board, throw in the gospel choir and the superbly executed tempo changes in the mid section and you’ve got perfect Madonnaness.

Vogue
The whole concept was vaguely ridiculous with the cone shaped bras and the silly poses but, somehow, god knows how, she actually got away with it and came up with one of the most enduring pop songs of the time. It looked as though it could have come from a Saturday Night Live skit poking fun at the star but at the time she could do no wrong, amazing how far a little confidence can go.

Justify My Love
Actually written by Lenny Kravitz, who also provides the moany na na nas of the backing vocal, this one made the front pages for its excessive sexual content. Strangely though the most memorable image is the theatrical giggle from Madge as she rushes down the corridor at the end. Perfect Madonna marketing.

Music
After all kinds of reinventions to keep herself in the public eye throughout the nineties; being controversial and then enlisting top producers to stay one step ahead, what does she do? Reinvent herself as herself. It was pretty much back to basics just singing songs and in Music she totally nailed it, it was fresh, had groove and was instantly catchy – perfect pop song….”Is you Madonna?”

American Life
The Ray of Light/Music/ American Life trilogy was arguably the most creative of Madonna’s career and on the title track of the latter she was way out on a limb being Madonna. Live, it had war theatrics, gun shots and helicopters, metal guitars and that rap about drinking Soy Latte and doing Yoga, I mean, what the actual fuck? It’s as mad as a box of frogs but totally kills it; this multi-faceted track chops and changes and goes places where no other pop star would dare to go – she had Michael Moore gushing and upset the entire Republican establishment of George W. Bush’s Iraq invading America.

Into the Groove (American Life tour)
So you’re a forty something pop star with a string of number ones behind you, how do you breathe new life into a classic? A five minute bagpipe intro with your dancers kilted up as a marching band plus Missy Elliott, all executed with a supreme sense of timing of course.

Hung Up
Just when we thought there would be no more reinventions, back she comes as a marauding disco queen with a hook so sharp and a sample so genius that she inadvertently came up with one of the best pop songs of recent years.

Bitch I’m Madonna
She may be pushing sixty, she may be playing catch up rather than setting trends, there may well be just the vaguest air of desperation about her latest guise (the outrageous “S.E.X” totally lacking the cool of Justify my Love) but is it catchy? Yep. Is it current? Yep. Has she still got one butt cheek on the throne of queen of pop? Not really. She’s given up that fight but I think she’s showing that she can still slug it out when she wants to and would maybe be a strong note to finish on.

Maybe now it’s time for Madge to call it a day, not that she is too old to make music, I don’t believe in the ‘too old’ ethic, but maybe it’s time for something different before she becomes a parody of herself. After years of shaking things up how about a break, one last bad ass tour then an MTV unplugged before mentoring the next big thing?

Free Downloads

Posted on by edwardlayland

The more I have explored music outside of the mainstream the more acutely aware I have become of the difficulties of upcoming artists and recently came to the conclusion that I was no longer comfortable with illegal downloading. People can make a case for it, I’m sure there are valid and compelling arguments, but what it basically amounts to is stealing a musicians hard graft – would you steal a table from a carpenter or a painting by an artist?
Even so, many artists do, for whatever reason, actually make their music available for you to download freely and legally, si as a result of bands that I have featured offering stuff and then stumbling around on bandcamp, I’ve put together a list here, which will be updated occasionally in future, but in the meantime here’s a whole bunch of stuff worth checking out.

Already Heard Compilation
http://alreadyheard.bandcamp.com/album/already-heard-recommends-volume-3

Of Allies
http://email.superflymarketing.co.uk/h/j/116548E6A9F3EC26

Tairrie B.
http://tairrieb.bandcamp.com/album/vintage-curses

Wolf Alice
http://marianomundo.bandcamp.com/track/she Wolf Alice

Honeyblood
http://honeyblood.bandcamp.com/album/thrift-shop

Smoker
https://smoker.bandcamp.com/album/monchu-i

Lux Lisbon
http://luxlisbon.com/free

Heyrocco
http://heyrocco.bandcamp.com/album/greatest-hits-of-the-90s

Endeavour
https://endeavourofficial.bandcamp.com/album/the-advancement-in-atrophy

Five Grand Stereo
http://www.fivegrandstereo.com/download-david-bowie-mobile

Honeybear
http://honeybear.bandcamp.com/releases

Haybaby
http://haybabyband.com/album/nightmare-man
http://haybabyband.com/album/its-okay

DFH
http://www.pureliquidmetal.com/

Age of Atlas
http://ageofatlas.us4.list-manage1.com/subscribe?u=d7b943afbb70868a5ce1847b0&id=be1988e275

4 Dead in 5 Seconds
https://4deadin5seconds.bandcamp.com/album/curses-free-download

Noam Bleen EP
https://noambleen.bandcamp.com/album/noam-bleen

Forever Still Scars EP
https://foreverstill.bandcamp.com/album/scars-ep-name-your-price

I Talk To Strangers
https://ittsmusic.bandcamp.com/album/i-talk-to-strangers

British IBM – Psychopaths Dream in Black and White Review

Posted on by edwardlayland

British IBM Image Even though I readily admit to being a bit of a sucker for folky Indie melancholy, the somewhat strangely titled ‘Psychopaths Dream in Black and White’ turned out to be a delightful surprise. As well as possessing some comforting down beat slices of introspection from the Cambridge three piece, I couldn’t help but fall in love with the beautifully rich swathes of Anna Scott’s Cello, which adds another dimension to the wistful sound of the prolific songwriting skills of front man Adrian Killens.

The folky bliss of ‘All the time’ opens proceedings with an almost childlike comfort to it, which spills over into ‘Hey Mikie’ with its well worn acoustic guitar sound over the bubbly bass line. However, it’s ‘Just Get By’ that first grabs the attention with its melancholic air and beautiful orchestration; the Cello providing a depth and sophistication to enrich their sound. Anna Scott’s orchestral contribution transforms otherwise average tracks such as ‘I’m just like you’ and ‘We were stars’ into soothingly hypnotic slices of aural tenderness.

‘Nothing ever lasts that long’ is another of the stand out moments, conjuring up memories of evenings spent with friends in a laid back vein of easy percussion and acoustic strum to accompany the orchestral melody.

“We walked back through the city lights / Watched the girls on the corner fight /
But now the evening’s gone and nothing ever lasts that long / And all the money doesn’t count / I made a choice to be here now.”

Equally lovely is ‘Silver Cigarette Case’, which once again uses strings to define the melody, though the addition of horns adds another dimension, providing a rare moment of perfectly timed uplift. Although one or two tracks like ‘Tread Carefully’ and ‘Evolution’ are on the predictable side they still make for pleasant enough listening.

So as ‘What more can I Say?’ draws the album to its downbeat close (it takes a minute to realize that’s it and the next track ain’t gonna start) what you are left with is the warm glow of pleasant tunes, evoking that almost elusive feeling of bittersweet nostalgia. It’s most definitely an album to go to after a long day when you need something chilled, but would also be perfect for a boozy night in chatting with old friends about times gone by.

8/10

Psychopaths Dream in Black and White is a self release out on September 4th

http://www.thebritishibm.com
http://www.twitter.com/thebritishibm
http://www.facebook.com/thebritishibm
http://www.youtube.com/thebritishibm

Twitter Bands

Posted on by edwardlayland

It seems that the more involved I become with all things music, the more music becomes involved with me. A quick glance through my Twitter followers will reveal a number of bands, individual artists, fan clubs, clothes stores and fellow writers; and though not all the artists are to my taste, it seems only fair to reciprocate the interest by actually listening to what’s on offer and give a little publicity. Often, these bands are very much D.I.Y and are really struggling to make a breakthrough in the industry, despite their obvious talent; in other cases they are getting there but could still use more support. So here’s the latest crop of “Margraves” (bands or singers I have discovered through Twitter); you never know, it could be the one artist you’ve been waiting for…..or not…but if you don’t listen how will you know?

Black Sonic Revolver – Hard touring Indie Rock band with a strong Manchester influence; they’ve got a robust sound with a bit of groove bubbling under the surface. They have been building a good following, so expect bigger things when the new album drops in December.

Smoker – Authors of the Monchu project (two songs a month for a year), they have a trippy indie feel to them, with a very accomplished sound – interesting stuff. Check out free downloads here: http://www.smokermusic.com/audio

(I am) Warface – Eighties influenced electro rock with an industrial edge. Still at the demo stage but sounding very promising with some great hooks and already building a strong following online. If the forthcoming album is well produced it could make a few headlines.

The Cringe – These guys are not exactly new, nor are they entirely unheard of, especially when you find out they’ve been opening for Motley Crüe, but they followed me and I’d never heard of them so had to check them out. What’s on offer from the NYC based four-piece is good quality alternative rock with a grungy rock n’ roll feel. They already have four albums behind them so there’s plenty to get your teeth into.

The Danbury Lie – Slightly leftfield experimental indie folksters with some interesting guitar work on offer.

Of Allies – I have already actually featured these guys in a separate article on British Bands that could use a break, but as they have followed me it seems only fair to give them another mention, especially as they are a band I really believe in. They have a hard edged alternative metal sound with just enough in the melody department to make them radio friendly without sounding overtly commercial. As far as alternative rock/metal goes, they are as good as anyone else currently on the scene and their recent EP, Fragments, has plenty of quality tracks which really hold up. In a fair and just world they could go on to much bigger things, but given the current musical climate they’re going to have to work put in some serious hard work. I have previously shared something from Fragments, so here is an acoustic version of an earlier track, ‘Ghosts’, which is a good indication of what they’re capable of doing. Check their website for a free download ( http://ofallies.com/listen/).

I’ve already had more follows from other artists and bands so I will be covering them in the near future, watch this space.

Why Britpop Was Actually The Business

Posted on by edwardlayland

Recently, it was the twentieth anniversary of the Blur vs Oasis battle for number one at the grotesque height of Britpop. It was a defining moment in a divisive period of British music which is as maligned as it is celebrated.
Largely born as a reaction to Nirvana sweeping all the plates off the dinner table with one deft movement, the somewhat ridiculously dubbed Britpop movement was characterized by a necessity for British rock/pop/indie to take back a bit of cultural identity (including the flag from the fascists) and sing about British things to British people. It was actually something of a watershed in the music industry, forcing Indie as a genre to cheer up, take a shower and usurp the mainstream. Indie pop has gone on to become a dominant force in the UK music industry, allowing the likes of Coldplay and Mumford and Sons to become global megastars (oh.), but also providing a platform for bands like Arctic Monkeys and the Foals etc (phew). Ok, so much of what went on in Britpop was forgettable and actually quite embarrassing; but there were a few occasions when it really was something special….

Suede at the Brits
The Brit awards, the British Music industry’s annual pat on the back, were nothing short of awful at the turn of the nineties so it was quite a shock to all and sundry when Suede were invited to play – the disquiet amongst the audience is palpable, but the teenagers around the country glued to their TV sets hoping to be drip fed something they could get hold of were finally rewarded. Killer.

This is a Low
Blur’s Parklife album was the real game changer, they’d built on the confidence gained on Modern Life Is Rubbish and had crashed into the top five with the trashy Girls and Boys, but outside of the big hits there was what some consider to be Blur’s most accomplished track – the gorgeous ‘This is a Low”, inspired by a handkerchief showing the shipping lanes around the UK given to him by Alex James, Damon and co. crafted a quite beautiful, extremely British, slice of melancholy. Superb.

Live Forever
While Nirvana were singing about hating themselves and wanting to die, Oasis were uniting the masses in mutual dissatisfaction and lovin it.

Common People
No description necessary; genuine classic that helped make Jarvis a national treasure. Still awesome.

Connection
Hardly the most original song of the period but the wonderfully angular riff is instantly recognisable and still widely used in TV soundtracks. It stands up as a wonderful pop song and Justine Frischmann’s finest moment, without whom none of this would ever have happened.

Aquiesce
Once upon a time Noel Gallagher was the most prolific songwriter in Britain, although he was never shy in recycling an idea or two, he was actually overflowing with top drawer tracks and chucking them out on b-sides when he coulda/shoulda saved them for the third LP. Still, pretty much sums up the times – livin it large like it would never end – money and tunes to burn.

Road Rage
One of the endearing qualities of the Britpop era was the number of strong females involved; while the Spice Girls “Girl Power” brand was running concurrently, Britpop had its own version with Justine, Shirley Manson’s Garbage, Lauren Laverne and Kenickie, Louise Wener’s Sleeper and the Cerys Matthews fronted Catatonia. Cerys’ voice was nothing short of fantastic and her band were responsible for two of the finest pop tunes of the era; the X-files inspired Mulder and Scully and the hook filled ‘Road Rage’.

This is just a glimpse of the occasions when Britpop nailed it; Blur had many a good tune, Oasis’ first album was nothing short of superb and many other bands such as Supergrass, The Bluetones and The Verve had their moments; check out a comprehensive playlist here http://www.deezer.com/playlist/1350918077?utm_source=deezer&utm_content=playlist-1350918077&utm_term=140164493_1440430600&utm_medium=web

What’s Hot in my House – August

Posted on by edwardlayland

Basically, I spend any available moment of any given day (i.e. When I’m not in the classroom) listening to music, so, I take in a fair mix of styles and genres. I readily admit to my fair share of mainstream listening; Blur, Bjork and Kendrick Lamar in particular of late, but I’m open minded and will give anything a chance, from new alternative releases to blasts from the past. So here’s what’s been on heavy rotation of late…

WOLF ALICE
‘My Love is Cool’ is required listening, from the invitingly soft laid back vocal of opener ‘Turn to Dust’, through the Pixies inspired You’re a Germ’, past the poppy ‘Lisbon’ and onto the pure indie heaven of ‘Swallowtail’ and ‘Fuzzy’s feedback fury. Track after track of top quality songs full of nuances and complexities that make this a debut album of surprising depth that keeps me coming back for more. Quality.

SAM DUCKWORTH
Sam Duckworth’s Amazing Grace has been my go to album for the last couple of months when I want something a little more reflective and a little less noisy. I actually described it as being “like a warm hug from an old friend” when I first reviewed it, and time has just turned it into an older friend. The subtleties and atmospherics make for an interesting dynamic – perfect for end of the day headphone listening.

D’ANGELO
D’Angelo has been a playlist constant since Black Messiah’s surprise release at the back end of 2014. The politically charged album defies classification, buzzing around the fringes of funk, soul and R&B with a rocky edge to the guitar playing, D’Angelo’s smooth as honey voice understated and confident on this retro- familiar collection of percussion rich tunes. Modern classic.

LED ZEPPELIN
Released in the middle of 2014, the reissue of Led Zeppelin II was a late Christmas present, and while I have more or less ignored the disc of extras, (I’m a great believer in the philosophy that if it was that good they’d’ve put it out before), it does have one or two moments of note like the rough mixes of ‘Heartbreaker’ and ‘Ramble On’ and the interesting ‘La La’. ‘Whole Lotta Love’ without the guitar solo makes for excruciating listening though! However, coming back to the original was like catching up with a childhood friend and chatting like it was just yesterday. Now we get together a couple of times a month because it is without a doubt still one of the finest collections of songs ever recorded – all killer, no filler.

LONELY THE BRAVE
I’m not entirely sure why I can’t stop playing this record, but I just keep going back to Lonely the Brave’s The Day’s War (Victory Edition). I guess it’s the measured approach to their fearless song writing – they’re not afraid to talk about how they feel and explore their own sound – I suppose there’s a kinda naked honesty that I find endearing, even on the redux versions and extra tracks. There’s been all kinds of comparisons to the likes of Biffy Clyro but LTB possess a much more robust sound, both instrumentally and vocally, which gives the music a strength that is rarely found theses days. They will be enormous.

MARY J. BLIGE
Don’t know if this counts as a guilty pleasure, especially given that she played Glastonbury this year, but I do love a bit of Mary J. and London Sessions has given a welcome reboot to her career. The collaborations with the likes of Disclosure and Emeli Sandé have reinvigorated her sound and though there are a couple of throwaways, killer moments like the intense ‘Whole Damn Year’, the retro ‘Therapy’ and the clubby ‘Follow’ make it worth repeated listens.

Tairrie B. – Vintage Curses

Posted on by edwardlayland

Tairrie BThis is not your usual rap album, but then again Tairrie B. Murphy is not your usual artist; she’s a fifty-year-old feminist heavy metal screamer (of My Ruin fame) and she does things on her terms, period. So what’s a woman like this doing making a rap record? – Well, because she can! The thing is, back in 1990 she learnt her trade with the legendary Eazy-E, yes, THE Eazy-E from NWA – go see Straight Outta Compton, which (not so?) coincidentally was released the same day, and you’ll get it. So if you’re wondering if she can actually rap, put your fears aside because Tairrie B. possesses a flow many a younger rapper would kill for.

Opening track ‘Beware the Crone’ sets the tone for things to come; smooth well rhymed verses, the occasional well placed sample, some dark rhythms (courtesy of husband Mick Murphy on drums, bass and guitar!) and plenty of bruxaria. The overriding theme of the record is witchcraft, with Tairrie cast as coven leader in this West Coast Helloween (sic). However, this, for me at least – make up your own minds by downloading (or naming your price) on the link below – is the one thing which is a little OTT and makes it a little difficult to take some tracks seriously, notably ‘Wicked Witch of the West Coast’, which is best taken with tongue firmly in cheek.

That said however, Tairrie does approach the subject of witchcraft as a form of empowerment much more seriously on the highly credible ‘Down as Dirt’ and `Carpe Noctem´, which both work the theme well. Speaking of empowerment, when the subject matter is a bit closer to home, such as the role of women in the music industry, she really nails it – ‘Ad Nauseam’ standing out for its lyrical content and hard edge rapping – killer.

Equally killer are ‘Spirit Queen’, which successfully blends rap with her hard rocking side, and the genius sampling of ‘Grease is the Word’ on ´Sky Above, City Below´. Throw in the superb bitchin finale to ‘BTCHCRVFT’ and you’ve got some really stand out moments.

I think it’s fair to say that Tairrie B. more than holds her own on the rap front and has put together some highly listenable well worked tunes, with more than a touch of the old school. She proves that a well placed sample is an art form in itself and that there is a place for the dark side in hip-hop, although in my humble opinion a little less witch and a touch more bitch would really nail it; even so, worth a listen, check it out.

7/10

http://tairrieb.bandcamp.com/

14 Reasons Why 2015 is Totally Retro:

Posted on by edwardlayland

This year is so old school I could be 16 again – punk influences are everywhere, comebacks are in, you can hear the seventies and eighties references all around and the over 40s (and 50s) are releasing killer tunes across the board; check it…

Blur are back, sounding fresh and vibrant on their superb new album, but as always the vaguest air of 90s nostalgia is  lurking beneath the surface, which in their case is no bad thing.

Iceland’s very own queen of (Brit)pop is also back and better than ever on deep dark cuts of emotional torture.

Old school rappers Public Enemy are sounding bang up-to-date whilst using all their old tricks; stacked with samples, Chuck D’s rich baritone flow kills it, nobody else could rap about being 55 and pull it off.

Kendrick’s smokey voice flows like liquid honey on this seventies fueled slice of badass rapping – there’s more than a hint of James Brown about it – precisely why Kendrick is The Negus right now. 

Courtney Barnett sounds a little like a punky Sheryl Crow recycling some familiar sounding riffs punctuated with barbed wire lyrics: “I want to wash out my head with turpentine cyanide I dislike this internal diatribe when I try to catch your eye”.

Slightly clunky guitar riff and bubbly bass dance awkwardly like mismatched partners at a school disco on this deliciously hook ridden punky pop from the original Riot Girls. 

Quite frankly this is rather a disturbing journey through the anger and frustration of recovering from a brutal beating – fodder for the 80s influenced dark synth pop tones lurking beneath the surface on this accomplished work from the Icelanders. 

Back from a 13 year hiatus, Conor Oberst and his punk buddies are rocking; angular riffing, up-tempo punky climaxes, anti-capitalism – sounds like 1983 got dusted off and brought back to life.

Full Review: http://alreadyheard.com/post/122343000330/album-review-desaparecidos-payola

Speaking of which, this 29 strong supergroup are doing their best to actually go back to 1983. 

Full Review: http://alreadyheard.com/post/126338235594/album-review-teenage-time-killers-greatest-hits

Father John Misty’s ultra sincere dark humour sounds like it was pulled straight out of the seventies, blending classic folk and country rhythms with barbed wire on Bored in the U.S.A. 

Chemical Brothers, The Prodigy and Leftfield are all back and it’s like they never went away. 

Failure are (also) back from a god knows how long hiatus and have picked up right where they left off – Tool, Queens of the Stone Age and Interpol are all soooo jealous. 

Full Review: http://alreadyheard.com/post/123977117304/album-review-failure-the-heart-is-a-monster

That Leon Bridges dude flew straight in from 1961 – described as “Authentic Retro”. 

Dammit, even Madonna has a new record.