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/

What’s Hot In My House – April

Posted on by edwardlayland

The big problem with music is that there’s too damn much of it. I mean, I was just putting a playlist together, so I was going through the gargantuan collection on my phone and I was like: “oooo haven’t heard that for ages; I miss that album; shit, I used to love that” and so on…. Anyway, I was basically left marvelling at what a wonderful thing it is to be so damn spoilt for choice, and everyday there’s more and more of the stuff!

As such, my listening is more often than not dominated by things I’ve been reviewing or researching for whatever reason, and April had been a busy month! I’ve heard a lot of seriously excellent records – the new albums from singer songwriter Kevin Morby and Canadian rockers Greys being particularly outstanding, although it’s the sublime new album from Ben Watt that’s taken up most of my journey’s home. However, as coincidence would have it, over the last couple of weeks I’ve had three EPs, all alternative rock, all female fronted, but all distinctly different, vying for my undivided attention. Check them out…

Haybaby – Blood Harvest EP
This power trio from Brooklyn are an intriguing mix of indie, grunge and sludge punk (whatever that may be) and last year’s ‘Sleepy Kids’ was one of my favourite albums of 2015. So, I was understandably excited to discover they had new music hitting the racks, and after managing to get an advance copy, was not disappointed. In fact, Leslie Hong and company have built on their loose style and added a little more bite on five scathing tunes stacked with cool bass grooves, histrionic guitar lines and massive riffs; not to mention the excellent vocals. Check out the killer ‘Kramer/Dreams’:

False Advertising – Brainless EP
Like Haybaby, False Advertising also released an album towards the end of 2015 and have followed it up with an EP less than six months later. In the case of Jen, Chris and Josh, who describe themselves as “twisted power grunge” and have a more nineties feel to their sound, it was a case of not only maintaining creative momentum but also dealing with some personal issues. As a result, their sound has also toughened up a little more, yet they still mange to include some killer hooks. What you get are five furiously energetic tunes that neatly blend punky grunge rock and angular indie with a touch of pop sensibility – frantic guitars with badass choruses. Here’s a snippet of their live show and the disturbing ‘Alopecia’.

Making Monsters – Bad Blood EP
This record won’t actually be released until the middle of next month, but the Northern Irish quartet are definitely ones to watch – whatever ‘it’ is, they’ve got it and I for one am loving it. Besides being blessed with a heavy alternative sound, bursting with top drawer guitar work and some really well constructed songs, in Emma Gallagher they have an exceptionally good vocalist of quite stunning versatility. This is a band that definitely stand out from the pack and there are plenty of moments on ‘Bad Blood’ that really nail it – watch this band rise.

Ben Watt
Like I said above, Ben’s new album, ‘Fever Dream’ is quite sublime, but I have also been revisiting the previous offering, ‘Hendra’ with some regularity of late. Both records are packed with quality songwriting, where the attention to the tiny details of everyday life manages to paint vivid pictures of loss and regret or love and relationships. The accompaniment from Bernard Butler is nothing short of superb and both albums make for a truly involving listen.

Here are a bunch of links to find out more about everything I’ve been going on about and maybe even purchase some the bands’ music at ridiculously low prices – some of the earlier releases may even be name your price!
http://haybabyband.com/
https://falseadvertising.bandcamp.com/
https://makingmonsters.bandcamp.com/
http://benwatt.com/

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

Nine Cover Versions That Are Cool As

Posted on by edwardlayland

The good old cover version, you gotta love it. Some are so ill advised that they’re cringeworthy – All Saints ruination of ‘Under The Bridge’ by the Chilis immediately springing to mind – but every now and again the cover becomes more famous or respected than the original. I mean, can Bob Dylan really say ‘Knockin on Heaven’s Door’ or ‘All Along The Watchtower’ are still his songs? One strange thing about covers is that when a pop band does a rock/alternative tune, a few notable exceptions aside, it’s more often a miss than a hit, whereas the opposite tends to be true; it’s probably a credibility thing I guess. Anyway, a good cover version involves paying tribute to the original while putting just enough of a twist on it to make it your own. There have been some surprisingly awesome (unlikely) cover versions over the years and here are a handful I particularly like. Check em out.

Jane’s Addiction – Sympathy
‘Sympathy for the Devil’ is such a quintessential Stones song that it borders on the untouchable, but on their live self-titled debut album Perry Farrell and Co. pretty much nail it. Their version of Velvet Underground‘s ‘Rock n Roll flows neatly into ‘Sympathy’, which fits Farrell’s voice perfectly, his unusual vocal style giving the track an intensity way beyond the woo-hoos. Throw in the understated guitar rhythms, Dave Navarro‘s scorching soloing and the rich percussion sound of bongos and tambourines that build to the final meltdown and we have a superb version of a classic on our hands. They actually did a second version a few years ago, and although it’s beautifully arranged and is a damn cool version of the song, it lacks the passion and intensity of their original cover.

Chris Cornell – I Will Always Love You
Watch this and try to not get goose bumps.

Florence & the Machine with Dizzee Rascal – You Got The Dirtee Love
There’s only one thing better than a good cover and that’s two good covers (Ok, one and a half) in a mash up! ‘You Got The Love’ has long been Florence’s own, the ‘Candi Staton’ original barely a memory, and Dizzee’s reworking/sampling of The Adventures of Stevie V classic ‘Dirty Cash (Money Talks)’ worthy of respect, but when the two came together for this unlikely collaboration, the Brit Awards were ecstatic and a partnership formed. A few other live performances followed its release as a single, which entered the UK charts at number 2, this version from Glastonbury being nothing short of amazing. Check it out.

Mary J Blige – One
The vocal performance on Mary’s own version, not the one with U2, is so sick that she totally wipes the floor with the original. It’s got so much power and emotion that Bono sounds bland by comparison (maybe because he is).

Stereophonics – Nothing Compares 2 U
The Prince penned heart breaker originally made famous by Sinead O’Conner got dusted off and reworked by the Stereophonics for an NME/Warchild compilation back in 2002. It stays true to the original, but Kelly Jones raspy voice adds an emotional edge to this already classic break up song. Pass the tissues.

Cake – I Will Survive
This version of the Gloria Gaynor banger has got it all; funny yet stylish with its own louche cool, pure genius.

Leona Lewis – Run
Radio One’s Live Lounge has thrown up all kinds of killer performances over the years and one of the most notable is Leona Lewis’ version of Run by Snow Patrol. Leona succeeds in taking it to a whole new level. Damn that girl can sing.

Disturbed – The Sound of Silence
Oh. My. God.
How powerfully epic can you get?
Awesome.

Homeless Mustard – Creep
Left me speechless.

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

Ben Watt – Hendra

Posted on by edwardlayland

Ben WattBen Watt‘s ‘Hendra’ is not exactly old but no doubt slipped under a lot of people’s radars, including mine. I actually discovered it a few months back after an Amazon browse when I stumbled across Ben’s highly rated books, Patient and the memoir of his parents’ marriage ‘Romany and Tom’. Anyway, something drew me to his first solo outing in 31 years, which is quite removed from the sophisticated pop of Everything But The Girl and even further away from his electronic stuff, but these beautifully crafted songs make for a compelling listen nonetheless.

There is a lot to like about ‘Hendra’ even if you are not battling with the (not so) mundane difficulties of mid-life. The laid back feel to these acoustic/piano songs tackling issues such as loss, regret, break ups and aging are imbued with the richness of some sublime guitar strokes from Bernard Butler. Also, there is a likeable honesty to Watt’s voice and his lyrics, which focus on the minor details of everyday life, and succeed in evoking vivid tapestries we can all identify with; the awkwardness of the ordinary and the snapshots of emotive scenes adding such a strong touch of reality to these heartfelt tales that it’s impossible not to empathise.

Title track ‘Hendra’ provides a downbeat introduction with some subtle touches from Butler and light orchestration, whereas ‘Forget’ is contrastingly upbeat with an easy keyboard melody and understated guitar lines. Butler puts in some fine work and Watt delivers a great hook in the chorus; good straightforward songwriting.

Although it is a very chilled out record, it has plenty to keep it interesting, exploring all kinds of melodies. There’s the lazy piano and bluesy guitar licks making ‘Spring’ such an emotional track while the vaguely tropicalia feel to the laid back celebration of life on ‘Golden Ratio’ is reminiscent of John Martyn. The melancholic meanderings of ‘Matthew Arnold’s Field’, where Ben scatters his father’s ashes “beside a couple with sandwiches and tea”, provides a contrastingly bare prelude to the edgy guitar lines of ‘The Gun’. Here, Watt wades into the gun debate accompanied by sweeping organ chords and subtly intelligent lyrics.

In fact, death is an oft returned to subject whether it’s on the upbeat Americana tinged
‘Nathaniel’, or the haunting ‘The Levels’, featuring Dave Gilmour playing an atmospheric lap steel in this song written after the unexpected loss of Watt’s sister.

‘Young Man’s Game’ is very much about life though, and there’s a lovely vibe to this lament on aging. ‘The Heart is a Mirror’ then closes the record to an acoustic strum over a discordant synth line and a rich double bass sound; it’s a poignant note on which things shuffle to a stop.

While ‘Hendra’ may not exactly be overflowing with pop classics, it is a master class in quality songwriting and features plenty of sublime moments; well worth sitting back and immersing yourself in these emotional slices of life.

Check out the sublime new track, Gradually, from the forthcoming album Fever Dream, out next month.

What’s Hot In My House – March

Posted on by edwardlayland

Since the release of The Cult‘s largely awesome ‘Hidden City’ I have been streaming the shit out of it, the album having become my default option for pretty much any and every time of day. Even so, there has still been plenty of room for other aural delights, what with the stack of awesome new music http://www.alreadyheard.com have been making me review; twisting my arm until I give in and put fingers to keyboard. Then there’s all the interesting new releases outside of AH’s remit; 2016 shaping up to be a damn fine year for new music. However, given the subject matter of some of my recent posts I’ve also been doing more than a little memory lane, so check out the diverse selection of listening pleasures that have been riding my personal air waves of late….

The Mission
The Mish are a band I tend to listen to fairly regularly anyway, but one of the most recent things that I have written is a look at their 30 year career with a definitive top 10. As such, in the name of research I went trawling through their catalogue, agonising over what to include, so there’s been days when they were the only band ringing in my ears. Here’s a classic performance on British TV:


https://hardpresseded.wordpress.com/2016/03/14/30-years-of-the-mission/

Aztec Camera
I always had a bit of a soft spot for Roddy Frame when I was a kid, he came up with a handful of really good tunes, which have actually stood the test of time. I was reminded of AC while reading the tome that is ‘How Soon Is Now’, on the mavericks behind 80s indie, and was thus inspired to write about the vibrant Scottish scene which spawned so much of the music that sound tracked the UK during the 1980s, including Aztec Camera. Anyway, I tracked the greatest hits down on Deezer and was pleasantly surprised by the enduring quality of the songs, ‘Working in a Goldmine’ being a personal favourite as its a lesson to any budding songwriter in how to nail a good hook.


https://hardpresseded.wordpress.com/2016/02/23/postcards-from-glasgow/

Noise – Heck and So Pitted
The DIY ethic around the music business right now and the whole indie punk vibe afforded by the internet is leading to some really exciting new music. Seattle’s So Pitted are a recent discovery, their sound being really quite horribly awesome. They have an air of disquiet about their heavy bruising brand of alternative rock, soaked in flurries of feedback, and their debut album, ‘Neo’, makes for a brilliant but disconcerting listen. https://hardpresseded.wordpress.com/2016/02/24/so-pitted-neo-review/


On the opposite side of the Atlantic, but equally noisy, are the chaotic Heck. There is something refreshingly free about the wrecking ball sound of debut album ‘Instructions’ and I’ve had it on heavy rotation since giving it a 5/5 over at AH. http://alreadyheard.com/post/140796180606/album-review-heck-instructions

The Cult
Which brings me back to The Cult. I make no secret of the fact that this is my favourite band and have written about them a lot. Most recently I did a retrospective review of their supremely underrated self-titled album, as I believe that there are a number of seriously good tunes getting seriously overlooked. Check out ‘Gone’ here:


https://hardpresseded.wordpress.com/2016/03/11/the-cult-the-cult/

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/

30 Years of The Mission

Posted on by edwardlayland

MissionThis year, British Goth rockers The Mission are set to celebrate 30 turbulent years in the industry by doing precisely what they do best – touring extensively and reliving former and more recent successes.

Once upon a time the Mish ruled; achieving an enviable level of commercial success with multiple top 40 singles and top ten albums, as well as being one of only a handful of bands to have headlined the Reading festival on more than one occasion. Their first headline slot is testament to the quality of their early releases as it came a little over a year after Wayne Hussey and Craig Adams had said goodbye to the Sisters of Mercy to form first The Sisterhood and subsequently The Mission.

Their debut album, ‘Gods Own Medicine’, and the amalgamation of their early EPs, The First Chapter, had struck a chord and catapulted the band to early success; tracks like ‘Wasteland’, ‘Garden of Delight’ and cover versions of ‘Like a Hurricane’ and ‘Dancing Barefoot’ were indicative of their growing reputation and a lot of hard work on the road, supporting the likes of The Cult, The Psychedelic Furs and a still credible U2, as well as on their own, soon expanded their hard core of fervent fans – ‘The Eskimos’.

The band’s penchant for the theatrical, Hussey’s resonant baritone and Simon Hinkler‘s intricate guitar work, meant that the Celtic rhythms and rich melodies to their particular brand of atmospherically dark pop could do no wrong. In the period from early 86 to the end of 1990, successive releases saw the band grow in stature and confidence, the John Paul Jones produced ‘Children’ peaking at number 2 in the UK, while the first single from ‘Carved in Sand’, ‘Butterfly on a Wheel’, just missed out on the top ten. As Wayne says:

“Our record label were making us a ‘worldwide priority'” … “We were a band on the cusp of being very successful internationally. It was something that we collectively really wanted at that time.”

However, behind the scenes the excesses of the rock ‘n roll lifestyle were beginning to take their toll and the wheels were starting to come off. Internal conflicts and record company input meant that ‘Carved in Sand’ never did quite as well as it deserved, Wayne having been forced to compromise the track listing; in the words of the man himself:

“I have to say that the only true professional regret I have to this day is that I allowed the final track listing for ‘Carved in Sand’ to be chosen by committee rather than the usual practice of yours truly stamping my feet until I got my own way. I think at this point in time we the band and, more regretfully so, myself were more than willing to allow other people to make important decisions for us. We relinquished control and responsibility and unfortunately I think ‘Carved In Sand’, as an album, suffered as a result.”

The subsequent tour was also wrought with difficulties ranging from illness and staggering levels of debauchery to conflict and walk outs, with Hinkler taking his leave mid-tour.

Wayne:“With the release of ‘Carved in Sand’ (which, almost ironically, actually went on to become our biggest selling album) we were set up to go and conquer the world but instead within the space of a few short months in early 1990 after its release we internally combusted and our trajectory was set downward for the first time since our beginning in late 1985. We were never to recover.”

Nevertheless, that five year period to the end of 1990 had produced five albums worth of genre defining material and makes for an impressive achievement. Such prolific production documents the sound of a band that had hit a rich vein and were peaking in more ways than one. Their early catalogue of releases has certainly stood the test of time and is packed with classic tracks that comprise a fine record of Hussey and co’s songwriting talent.

Although the following record ‘Masque’ had its moments and there was the occasional hidden gem in subsequent albums, The Mission’s material post 1991 has offered little to compare to their peak period. The notable exception being 2013’s ‘The Brightest Light’, which saw Hussey reunite with Hinkler and fellow founder, bassist Craig Adams. This was the sound of a band reformed and reinvigorated and although it owes more to hard rock than Goth, it sounds fresh and honest. Hussey’s voice is a little more gravelly with age but no less powerful, and it sounds as if Hinkler had been given the chance to throw off the shackles a little to let rip on the guitar.

The intervening years had also seen a whole batch of re-issues, compilations and live albums, as well as (far too many to mention here) line-up changes, hiatuses and solo projects. Yet every time they hit the road there was always a faithful army helping to recapture the essence that makes the Mission such an enduring prospect; recent shows on the Blood Brothers tour with Fields of the Nephilim proving a resounding success. So this year’s anniversary tour is sure to be greeted with the adulation it will no doubt deserve, can’t help but wonder if there’s another album in the pipeline…..

In the meantime here’s my Mission top 10, which might raise the odd eyebrow amongst the faithful.

10. Amelia
Probably the bravest song Wayne has ever written, yet it is something he is rightly proud of, given the difficult subject matter of child abuse. Lyrically, it is cleverly constructed and the urgency to the instrumentation compliments it perfectly.

9. Severina
It’s theatrical, it’s magical, it’s a superb slice of Goth rock fantasia – “She’s dancing by the light of the moon”

8. Beyond The Pale
‘Children’ saw The Mission take a more measured approach with a strong nod in the direction of the grandiose; as such Beyond the Pale perfectly captures where they were at the time. There’s plenty of substance to this epic song, yet it’s a great example of their pop tropes, boasting a series of killer hooks in the chorus.

7. Swan Song
Of the tracks on ‘Brightest Light’ this is the most Goth influenced and stands tall alongside the early material. There’s some superbly atmospheric guitar work from the underrated Hinkler that builds to a climax on a fine solo, while Wayne delivers the killer hook and intense finale in fine style.

6. ‘Sacrilege’
There’s a wonderful dark energy here as the arrangement ebbs and flows with subtle time changes and chord progressions. It’s a superbly constructed song and is a fine example of Goth rock at its intriguing best.

5. Bird of Paradise
If Wayne had got his way this epic piano ballad would’ve been the closing track to Carved in Sand and a sublime way to close the album. Darkly atmospheric with a beautiful melody and beautiful lyrics, quality.

4. Wasteland
The opening track on their debut album was a killer cut to kick off with and indicative of the leverage that had secured a seven album record deal. One of their most enduring songs; there’s the evocative opening riff, the barren landscape of the verses and the battle cry chorus, all easily translating to the biggest stages; great start to a great album.

3. Like a Hurricane
If you’re gonna cover Neil Young you gotta do it right and here The Mission do not disappoint. There is sufficient tribute to the original, yet they succeed in making it their own. IMHO this is Hussey’s finest vocal performance at the helm of The Mission, where Young’s original is almost plaintive, live versions showcase Wayne’s voice as powerful, rousing and nothing short of brilliant.

2. Butterfly on A Wheel
The Mission always had a gift for melody and this beautifully atmospheric cut is one of their finest moments. It is a wonderfully evocative song featuring genuinely spine tingling moments; the time change after the second chorus and the ever building intensity sublime to say the least.

1. Deliverance
For me, this is the perfect Mission track, including every weapon in the band’s extensive armoury – from the atmospheric opening, through the driving bass, to the hook riddled chorus and hard rocking guitar parts – yet still shrouded in the Goth feel – I can never play this song loud enough.

For tour dates etc check out the official site:http://www.themissionuk.com/wp/