ROME – ‘Seasons Trees’ feat. Norah Jones

 Danger Mouse & Danile Luppi release “Season’s Trees”, the latest single to be taken from their super Spaghetti Western themed opus ‘Rome’.

“Season’s Trees” features the honeyed vocals of jazz poster girl Norah Jones wandering delicately over a backdrop provided mainly by a restless bassline and some slightly melancholy strings, all of which combine to present us with a track which could quite easily be from the Zero 7 songbook.

Danger Mouse Season’s Trees glides through your mind and Jones’ silk-tinged voice works perfectly as a vehicle here, providing the only real change in melody. This is both a strength and a weakness, as you want to listen to it again when it ends but this is mainly because you’re worried you’ve missed something. It’s great background music.

Dangermouse’s production & Luppi’s arrangement is subtle but effective, though, this is still destined to be one of those songs that ends up on a coffee table compilation, where people can say “Who’s singing?, is it Norah Jones?, good to hear she’s still doing something.”

‘Season’s Trees’ is out now on EMI.
‘Rome’ is also out now on EMI.
3 out of 5

Educate your Ears with….Alpines – Cocoon

 

 

Hotly tipped South-west London based duo ‘Alpines’; aka Catherine and Bob (which wouldn’t have been quite as catchy a name), release new single ‘Cocoon’, a hauntingly beautiful 3 and a half minutes of innovative alternative pop.

 

Soaring across like the harmonious ghost of an unrequited love in an empty nightclub, ‘Alpines’ have presented us with a song which garners favourable comparisons with the likes of Portishead, Antony and the Johnsons and Burial; an emotionally entwined story, steeped in regret.

Building from a solid beat, with a classic electronica bass and temporal synths, the song builds into a powerful chorus: “I want you / more than I think you do / and I used to / be blinded by you”.

Catherine’s voice is one of those that you’ll either love or hate, but it’s undeniably unique and works in sync with the dense backdrop sharing many of the fragile hypnotic qualities which has made Kate Bush’s voice so distinctive.

3.5/5

Cocoon is out on the 22nd of August – Polydor

London Gigs:
August 16th – Old Blue Last
August 23rd – XOYO

/ Review / – The Electric Modern / Cuba Cuba @ Water Rats

I received a text a couple of weeks ago from a friend, inviting me to this gig to see his ‘new favourite band’. I accept, it’s a good chance to have a catch up, as he doesn’t live in London. Thusly, when the 5th arrived and I turn up outside the Water Rats (one of my favourite intimate venues in London) I realise I have absolutely no idea what to expect.

The Electric Modern took me back to my late teenage years, with a performance of upbeat, riff-driven american style punk-pop, that reminded me of Fall Out Boy, but with a British tinge around the edge. There’s nothing particularly new or original about their sound, but there doesn’t need to be.

If you want a good performance, and some music to get your feet tapping to then you should give these guys a listen, their stand out track was ‘Oxygen’ – with a catchy ‘ooo ee ooo’ chorus that (after slight encouragement, and geeing from an enthusiastic member of the crowd) everyone sang along to. Good, polished fun.

Cuba Cuba have a similar sound, but have added more of an edge and some more ‘intelligent’ writing. Again, it’s food-tapping sing-a-long stuff, but is more reminiscent of Bloc Party. They have a bright future.  Sadly by this point, the evening was running behind and there were less people in the crowd to enjoy what was a great set, ruined (as with the Electic Modern) by a sound engineer who sadly couldn’t mix. Stand out tracks were ‘We Rode’ and ‘Bonus’. Definitely a band on the rise…

Loved both bands and performances, it’s a shame about the sound.

LIVE – PRINCE – Hop Farm Festival

 Sunday night saw Prince Rogers Nelson, formerly ‘Symbol’ but better known as ‘Prince’, perform his first, hotly anticipated, open air gig in Britain for nearly 20 years. ‘This is real music…by real musicians’ repeatedly proclaimed the pop funk legend on a night that will live long in the memory for the 30,000 assembled in the serene, quintessentially English surroundings of Kent’s Hop Farm.

Arriving on stage to feverish applause, dressed head to toe in white, with trademark white heeled boots that only he could get away with. Prince immediately thanked the audience for their attendance and quickly banished any whispers of a diva-esque, phoned-in performance by hyping up the crowd with a classic old skool funk jam, cleverly used to introduce his exceptionally striking band, as well as for a quick live soundcheck for what turned out to be a monster 2 1/2 hour greatest hits set.

First up was ‘Let’s Go Crazy’ and the crowd duly obliged, before flowing perfectly into ‘Delirious.’ A sudden explosive flash and an unmistakable wave of synths sent the crowd ecstatic as Prince unleashed a turbo charged version of ‘1999’. Moving effortlessly for a man of 53 and clearly happy to be here, Prince charged around the stage, the crowd in the palm of his hand, all chanting in unison to his every request. For a star often shrouded in controversy and secrecy it was genuinely surprising to see him so open and at home. It seems his 50’s have brought him a comfortable maturity where he is less about being a ‘Symbol’ and more into showing why he is one of the greatest performers and musicians of the last century.

Classic hits ‘U got the Look’, ‘Raspberry Beret’, a slowed down ‘Little Red Corvette’ and ‘Cream’ quickly followed before Prince changed the pace with a hypnotic, soulful rendition of ‘Nothing Compares 2 U’. Prince even found time for a bit of comedy, slyly suggesting ‘that was of course Sinead O’Connor’s track’ before cheekily noting ‘nah…I bought a house with that song’

The highlight, and finale of the set was an extended performance of Prince’s signature hit ‘Purple Rain’ and was arguably one of the greatest live performances this reviewer has ever seen. Prince’s haunting vocal floated mesmerically over the crowd, who were a combination of dumbstruck and euphoric as the song built to its timeless chorus. Prince has always been an incredible instrumental talent and none more so then here with a classic guitar solo that signaled the firing of Purple and Gold confetti into the sky, his own ‘Purple Rain’ mixing with the tears of many of the people of the assembled, everyone realising they were witnessing a truly epic moment.

‘Do you know how many hits we’ve got? We’ll be here till this time next year.’ This was the statement and start of Prince’s three encores, delivering a steamy version of ‘Kiss’ and even finding time for covers of Play that Funky Music and Sly and the Family Stone’s Everyday People, before the festival curfew ended a near 3 hour musical odyssey.

Nearly 25 years on from his peak, Prince is still one of the most exciting, virtuoso performances in the world today. In the sad absence James Brown and Michael Jackson, we are truly lucky to have him, they really don’t make’em like they used to. We can only hope he’s around for many years to come.
5 out of 5

 

James

Nicola Roberts – You know, Girls Aloud. Ginger…

The one off Girls Aloud who you know because she’s not any of the others… turns out, she’s actually quite good as a solo artist, and will hopefully prove that it really IS the quiet ones that surprise you. Her debut single ‘Beat of My Drum’ is below, and it’s actually really very good. And , from a shallow point of view she looks damn good in the video.

Admittedly she doesn’t look entirely comfortable as the focal point of the video, but she’ll get used to it – the album, based on this interview for the Guardian sounds interesting, and if the album continues in this song’s vein, we could be in for a cracker. So without any further ado, and with much production from Diplo, (you’ll definitely recognise one of the samples) pray silence please for; Beat of My Drum.

REVIEW – Cold War Kids – Shepherds Bush Empire – May 16th

Sounding like a cross between The White Stripes and Everclear, they have a rocky base, with a radio-friendly american-pop edge – the type that reminds you of summer in the late 90’s.. Cold War Kids have always been on of those bands that I’ve always been aware of, like many of their songs, but don’t actually pay that much attention to. You know the ones – you’re listening to a playlist, or the radio and a song comes on which you know, and love, but can’t quite remember who did it.

Unusually for this type of band, there’s nothing on the stage to remind you of who you’re watching: No drum kit ident, no banner… and this lack of identity is encapsulated in their performance to begin with.

It takes them a while to warm up, the first few songs almost seem a bit forced, (Mexican Dogs is an odd choice of opener) but about half way in, about the time they play ‘Finally Begins’, everyone in the Empire warms up and they find their stride, and it’s then that the fun side of CWK becomes evident; as they move around the stage, swapping guitars and keyboards, and sharing vocal duties.

It’s a competent performance, if anything almost too competent – it’s hard to differentiate this as a live performance at times but that isn’t necessarily a bad thing. It opened my eyes/ears to some new tunes, and I like them more now than I did before the gig – though boys, a 5 song encore? A little bit indulgent – but worth it for the non-album track ‘Fashionable’ – just vocals and one guitar – a great opportunity for Nathan to show off his voice, and an altered version of ‘St John’, to close the show. They’re getting there…

Setlist:

Mexican Dogs
Welcome to the Occupation
Audience Of One
Hang Me Out To Dry
Royal Blue
Finally Begin
Avalanche in B
Passing the Hat
Cryptomnesia
We Used to Vacation
Skip the Charades
Cold Toes On The Cold Floor
Louder Than Ever
Dreams Old Men Dream
Bulldozer
Hospital Beds

Encore:
Fashionable
Every Man I Fall For
Tell Me in the Morning
I’ve Seen Enough
St.John

Photos by @V_archer

James Vs BBM *NEW MUSIC*- LizzySpit – ‘Talk You Down’

Up n’ coming UK talent Elizabeth Knights-Ward, aka LizzySpit, releases ‘Talk you down’, the eagerly-awaited new single from the 25-year-old London-based Nu-Folk singer-songwriter.

 

LizzySpit, a nickname given to her in childhood, is more than just another identikit female solo artist with an acoustic guitar and a bag full of angst.  ‘Talk you Down ‘ is a uniquely fragile tale of reflection and realization of a lost love, her truly heartfelt lyrics aiding in a depiction of a sorrowful episode that is something and someone we can all relate all to.

 

The song’s strength is in its melody, Lizzy’s voice has the ability to sound soft, close and personal one minute, and enigmatically anthemic the next as it breathily soars over its acoustic accompaniment. Kate Bush sensibilities underlined with slight elements of Sade-like soulfulness make LizzySpit’s warm vocal an aural treat to any ear. The song is very much stripped back, but this is just what this story needs.

 

With a tour of Australia planned later this year, the future’s bright for an artist who provides just that little something different….remember,you heard it here first.

 

‘Talk you Down’ is available on iTunes now.

 

4 out of 5

 

James Stapleton

 

 

James vs BBM – Exclusive Prodigy ‘Worlds on Fire’ Film Review

 

I’ve never seen a mosh pit in a cinema, in fact I’d go as far to say few people ever have or ever will.      But what could make a normal bunch of cinematic patrons descend into chair jumping chaos I hear you ask..? Only the Prodigy with their new feature length documentary/tour movie ‘Worlds on Fire’, premiered to privileged fans and press alike for one day only in selected cinemas.

 
The film begins in Rio de Janeiro, behind the scenes footage interspersed with Liam, Keith and Maxim whipping the crowd into a frenzy with an earth shattering performance of live favourite ‘Spitfire’ before swiftly moving onto the central piece of the film, an hour of live footage in the slightly less picturesque Milton Keynes bowl, in front of 65,000 of the UK Prodigy faithful.

The film shouldn’t work but it does. The superb editing and pulsating camera spinning visuals translate well onto the screen, Keith Flint mad snarling and Maxim’s raw primal drawl, animate perfectly over the classics we know and love. ‘Firestarter’, ‘Breathe’, ‘Omen’, ‘Voodoo people’, an ear splitting version of ‘Smack my Bitch Up’, it’s all there in a pure un-adulterated, adrenalin fueled frenzy.

The band close out the set with ‘Out of Space’, a subtle reminder of just how important they have been to dance music and how far they’ve come since their happy hardcore raving debut. 20 years on, still no one comes close.

‘Worlds on Fire’…is available 23rd May on DVD.

4 out of 5.

By James Stapleton

Robin Vs BBM – Lupe Fiasco “Lasers” Review

 

 

 

 

 

 

 

 

Wasalu Muhammad Jaco, better known as Lupe Fiasco returns with new album ‘Lasers’, the final part of the trilogy, for the often underrated Chicago rapper. This is an album that almost didn’t see the light of day, but we can be glad it did. Fiasco is one of those 21st century rappers that you’re either really into and a big fan of, or someone who just blends into the generic top 40 pop/rap (prap?), which assails your ears if you listen to chart radio. This is a shame, as he’s actually a talented song-writer who deserves to stand out more than he does. With most albums of this genre beginning with a bang, Lupe takes a more somber approach, beginning with two quite melancholy songs. It’s a morose and politically charged beginning, tracks ‘Letting Go’ and ‘Words I never said’ depict images of the futility of war, lamenting the need for change: “… the war on terror is a bunch of bullshit / Just a poor excuse for you to use up all of your bullets”. Of course, this is Lupe Fiasco, so this is not in danger of becoming a protest album, and there are a fair share of songs straight from the hit factory production line, not least “I Don’t Wanna Care Right now” (which is almost an answering call to “Letting Go”) and “Out of My Head” – both tracks full of fluid beats, catchy hooks and simple lyrics: “Girl I want you to know / I can’t get you out of my head”. These are followed by the lead single (“The Show Goes On”, sampling Modest Mouse’s ‘Float On’) and the stand-out, hook driven ‘State Run Radio’. It’s fun to listen to – but you do know EXACTLY what you’ll hear – and that’s what’s can be a disappointment with Lupe Fiasco. He’s very good at what he does, but you’re always left with the feeling that he could do more. “Lasers” is a good pop album, and Fiasco has every reason to be proud of the final product, it’s sure to be massive on the radio and club scene. If only the Lasers of the title were those you could attach to sharks, and not those annoyingly weak pointing pen things. 7 out of 10 http://bbmlive.com/music-news/lupe-fiasco-lasers.html

 

James Vs BBM Magazine – Clare Maguire Review

 

 

There used to be a time when Annie Lennox was the one and only stand out British Female Solo Artist. Throughout the majority of the 90’s and early 00’s it seemed that every year she was either nominated or won herself the Brit. Then something changed. The UK was inundated with new talent. Dido had her time, Kate Nash, Lily Allen, Amy Winehouse, KT Tunstall and Duffy all took turns at the title as the undisputed Queen of emotive warbling.

Although Laura Marling won Best Female this year it is unashamedly Adele who currently sits upon the throne, but now in 2011 she is already staving off another wealth of pretenders to her crown. One of the strong favourites is the hotly tipped, BBC championed, Clare Maguire who releases her debut album – Life After Dark.

And its the influence of Annie Lennox where our journey begins, the album kicking off with a mood defining heartbeat intertwined with an soaring string accompaniment and a vocal seemingly plucked straight from the Eurthymics songbook. You instantly feel like this is something you have heard before. Like Lennox, Maguire has one of those incredible voices that can be close, soft and personal one moment and sweepingly anthemic the next but it’s not put to good use in a formula that disappointedly doesn’t change throughout the album 13 tracks.

Maguire’s vocal brings elements of gothic pop, not seen since Shakespeare’s Sister, to an otherwise frustratingly bland, generic mainstream pop template, and its these fleeting moments of edginess that provide some of the album’s highlights, a style one’s wishes acclaimed producer Fraser T Smith had done more with.

Next track Shield and the Crown, an obvious future single, sounds exactly like the Florence and the Machine’s ‘Dog Days are Over.’ joe public are sure to lap this up but it seems like its yet another life affirming ‘paint by numbers’ inspirational ballad. Tracks such as the haunting I Surrender, most recent single ‘Last Dance’ and the beautiful Bush-esque ‘Happiest Pretenders’ show that she can definitely stand her ground, it’s just a shame the production seems to have squeezed the life out of what seems to be some extremely accomplished song writing from a genuine talent.

It’s as if they have taken every successful ingredient, Florence and the Machine-esque raw epic wailings coupled with more modern Ellie Goulding sparkly electro dance sensibilities to create a album ripe for a Radio 2 playlist. Sure they are doing what is required these days but to this degree?

Legend has it that Maguire forged her way via myspace, one of her songs attracting 500,000 plays which pricked the ears of the record companies. It just feels that the album has perhaps gone through many a boardroom and every standout part of Clare has been worn down to produce a list of radio friendly tunes. In all fairness that’s where the album succeeds, almost every track could easily be released as a single, not because of their strength but because they are simply variations of the same theme.

Only This is Not the End, dripping in regal Celtic charm, provides us with an indication of what she is capable when left alone. Its certainly not the End for Clare Maguire but you feel this beginning could have been so much more….

6 out of 10.

http://bbmlive.com/music-news/clare-maguire-light-after-dark.htm

 

James