Thursday 31 July 2014

The Bilinda Butchers - Heaven

Album review by andy@thesoundofconfusion.com


Life loves nothing more than being a contrary tease, one that drops obstacles on the road to our aspirations and offers diversions with routes contradictory to the desired destination. So it is for those of a creative bent, who all too often find that their initial passion-fuelled wish to capture a little slice of their vision of heaven, can steadily become mired in an intricate and prolonged journey that begins to weigh heavy like a hellish torment.

One suspects this could be a feeling The Bilinda Butchers are able to relate to. Though the creation of their debut album didn't exactly see them cast into the depths of Tarturus, it certainly appears, from digesting a series of the bands' blog entries, that the recording process at very least began to resemble an indefinite spell in purgatory, where ideas and expectation tangled with the practicalities of, you know, actually getting the thing done! With no St Michael the Archangel swooping down to fight the good fight, the role of protecting this particular stretch of 'Heaven' fell on another Michal, who, along with band mates Adam and Ryan, had no choice but to battle on through the dark days determined and compelled to bring their lofty ambitions to fruition.

That the maturation of the record proved such a struggle is perhaps testament to two factors. Firstly the passion and precise desires the San Franciscan trio hold for their art, and secondly, that 'Heaven' is a concept album, one whose themes (forbidden love and entangled emotions) are universal but whose narrative and framework (a recounting of a young woman's entries in a fictitious 19th Century Japanese diary) are complex and creatively demanding. Let's be honest here though readers, concept records can at times be a lesson in pretentiousness can't they? All too often an artist labours on in ever decreasing circles of quality, while losing sight of what we the listener most care about, namely hearing some great tunes!

Delivering heart melting melodies has never been a problem for The Bilinda Butchers before though, and it's a pleasure to report that there's no sign they plan to stop now, because thankfully, putting the interesting back story to one side, what 'Heaven' ultimately holds at its core are a series of wonderfully crafted, effortlessly impressive, and most importantly, properly formed songs. In doing so it also showcases what is arguably the young group's most diverse collection of material to date.

Not that opener ‘Ume’ would necessarily lead you to believe this to be the case. While the band themselves may have recently been vocal in their desire to distance themselves from the dreampop and chillwave tags attached to their previous work, this introductory ode to romantic thought, is firmly fixed in the familiar woozy and sweeping synths that characterised 2011's 'Regret, Love, Guilt, Dreams' EP. Indeed, long term fans should worry not, because while the trio's repertoire may have expanded for the better, they certainly haven't discarded dreampop altogether - The Radio Dept. styled spoken word segments that litter the record bear witness to that. Nope, rather than ripping up the roots of whence they came, they've instead spread outwards and in doing so blossomed into something ever more beautiful.

Evidence of this growth is readily apparent as early as second track 'Less Than', a breezy pair of minutes which channel the spirit of paisley underground and college rock, to topple 'Teen Dream' as arguably the bands purest pop dalliance to date. The lovely lush, warm synths and garden chatter of 'Old Style Amami' woo next up, before one of the LP's real high points, 'Shadow Beat', appears on the horizon. A grinding rock chorus marks the band heaviest blast to date, but it's the warped atmospherics and oriental melodies of the verses and middle eight that provide this composition with its hypnotic beauty, while, intriguingly, the drum rhythms bring a touch of hip-hop to the table, akin to that prospered by 9th Wonder or 'Low End Theory' era A Tribe Called Quest.

Not prepared to let that standard tail off, Sarah Psalti is drafted in to provide vocals on subsequent number 'Golden House', her Carol Decker-esque delivery casting a breathy, impassioned air over the type of big sounding 1980s electronic pop that Sarah's previous collaborators Keep Shelly In Athens will surely approve of. With the excellent DJ Shadow reminiscent 'New Style Akashi' marking the midpoint of proceedings, the interlude of a rainstorm outro supplies the platform into which the fleet fingered, solid gold guitar riff of last year's single 'The Lovers' Suicide' is able to launch in marauding fashion; familiarity has not dulled its impact in the slightest and it's this tune that bestows upon the record its zenith, amongst what are unravelling to be numerous towering moments.

For break-beat backed 'Tanka', Josh Davis is again at the forefront of the mind, though the band's original source of inspiration, My Bloody Valentine, are also deserving of due acknowledgment. Significantly the latter's influence is further carried forth into the chunky electro rock of'‘Edo Method' which is likely to sit well with fans of The Big Pink, before, set to the sound of water lapping and children at play, 'The River Sumida' softly assembles a reflective and peaceful prelude to the LP's final knockings and the diary's denouement. Dazzling with the funky freshness of jangle-pop inspired Prince and the rhythmic fluency of The Stone Roses' 'How Do You Sleep', 'Heaven Holds A Place' is an impossibly upbeat acceptance of impending suicide. Layers of angelic harmony and soaring falsetto propelling the track, and the record as a whole, into the coveted realms of its celestial title; it is in short, a gem.

One final uttering of explanation from our heroine as to her new found emotional equilibrium and the chronicle comes to its close; a tale that evolves from discovering and chasing a dream, onwards through weary struggle and pain, finally resolved in the tranquillity of a glorious conclusion – you know, perhaps the recording process was simply a embodiment of the story. Thanks Bilinda Butchers, this right here is 'Heaven'.





The Bilinda Butchers' website

Stream or buy the album





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Obligatory Record Of The Day! Goat - Hide From The Sun

Single review by KevW


With the big psych surge from down under, as well as the UK and Danish scenes which are in rude health, it's been easy to let Swedish band Goat slip from your memory, despite their 2012 debut album 'World Music' receiving the kind of acclaim that's usually reserved for any occasion that Usian Bolt sets foot inside an athletics stadium. They were heroes, they were the next force to be reckoned with in the psychedelic movement. But then it went a bit quiet. Quite why isn't clear, because a gap of two years between albums is hardly rare, but still, they'll be looking to reclaim their crowns in September with second album 'Commune'.

As well as giving sound advice for those worried about skin cancer, 'Hide From The Sun' is a gloriously off-kilter song that plunders a treasure trove of lost '60s 45s and picks out the best bits. The guitar melody that mirrors the warped and faraway vocals, a rolling, rampaging drumbeat, breaks for a neat garage riff and then cranking up the noise ratio so that those guitars give off a bit more power. If this song was visual then it would be a heat haze shimmering its way off a hot desert road, seen through coloured shades and probably after narcotics have been consumed. Expect press excitement to recommence shortly.





Goat's website

Pre-order the album





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Wednesday 30 July 2014

Band To Check Out: Makaras Pen

Article by KevW


We sometimes think we're up to speed with what's happening in the world of shoegaze and dreampop, but such is the growth in popularity of music of this variety in recent years that such a feat would be almost impossible. It's not just keeping up with all the newcomers that's the challenge either; we regularly hear about quality bands who've been in operation for several years but have yet to grace our humble web space. So we should finally say hello to New York band Makaras Pen, a group who've been together for a while and have three albums to their name. It just goes to show that however hard you look, there are always splendid bands just waiting to be found.

Boasting a sound that ties in very nicely with what was happening in the UK indie scene of the late '80s and early '90s, Makaras Pen give the effects pedals a good airing on songs like 'Mountain View' which recalls the more shoegaze-oriented bands of the time, but they concentrate firmly on writing songs, so it's not all about the atmospherics. Take 'Interventionist' for example, this is a pristine jangle-pop song that also piles on some ambiance so that it's less fey than some others who've plunged into similar musical waters. The heavier undertones emphasise this further. How they've evaded us for so long we don't know, but they're not the first. The good news is that we have a rather fetching back-catalogue to catch up on.





Makaras Pen's website

Buy their new album





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Obligatory Record Of The Day! The Underground Youth - Heart On A Chain

Single review by KevW


The Sound Of Confusion has been around in one form or another for seven years, and in that time there's been one constant sound that has remained popular with us and with our readers/listeners: melody over noise. The sound of tunes that could be borrowed from '60s girl groups combined with the psychedelic distortion of guitars. So pick your favourite fuzz merchants. The Jesus & Mary Chain? Glasvegas? The Raveonettes? Crocodiles? Or how about Manchester's wonderful The Underground Youth? A group who've been going several years themselves, but have somehow missed our radar, so it's brilliant to be able to rectify that.

Their latest album 'Sadovaya' is streaming now and single 'Heart On A Chain' ticks all the right boxes. Warped harmonies, a slightly sleazy version of a Phil Spector song, guitars that hum and are lazily strummed, and a psychedelic edge to give that shimmering vibe that often defines such bands. The simple solo fits neatly too. If you want some twisted anthems that will add a strange darkness to the summer sun, you might just find them here. 'Heart On A Chain' defines a lot of what we've been about, and it's a pleasure to finally be introduced to such a great band.





The Underground Youth's website

Stream the album in full

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Tuesday 29 July 2014

The Mercy Beat - Mercy Beat EP

EP review by KevW


Not always does a band's debut EP gain a good amount of press attention, but that's what happened with The Mercy Beat. Based in L.A. with members from Hong Kong, Hawaii and New York, the reason why their first songs were deemed worthy of investigation by some noted publications is likely due to the fact that they're fronted by former singer of The Bravery, Sam Endicott who's also written hits for other popstars. So interest in finding out just what his own band would sound like was bound to be high. Things went well, and now the EP is set for a release on this side of the Atlantic on September 1st.

So, is it much cop? The Bravery ended up slightly maligned, so the knives being out for this one would perhaps be likely, but they can be put away again because it turns out that The Mercy Beat have some very good synth-pop/indie-rock tunes. The slower and more poppy 'Sweet' arrived first, and may have indicated that the band were looking for a slightly more commercial sound, but when you contrast that to the EP's opening track 'An Act Of Mercy' then something more solid appears. Yeah, this is pop, but definitely of the alternative variety, and the indie crowd shouldn't be too put off either. It's a catchy song that would suit radio play and could become fairly omnipresent - certainly future recordings in a similar style will do this should the band take off. Lastly is the mildly epic sounding '80s pop of 'Fool For A Fool', and here they do dive head-first into pop. They may have missed the revival boat on this one, but it's well written, and the other material suggests that there could be a good future ahead.





The Mercy Beat's website

Stream the EP in full





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Obligatory Record Of The Day! The Hobbes Fanclub - Stay Gold

Single review by KevW


Fresh from playing this years' Indietracks festival, Bradford trio The Hobbes Fanclub will be releasing their long-awaited (they formed in 2010) debut album 'Up At Lagrange' on August 19th and it's already had some very nice things said about it. Even a cursory listen to single 'Stay Gold' will let you know why, and the fact that past singles have been brought to us by ever reliable labels such as Cloudberry and Dufflecoat add strength to the argument that this is one guitar-pop band who are going to be worth a little of your time.

With a sweet hook and some distant and reverberating drums, there is a dreampop element to this song, and the vocals are also given a good coat of echo and pushed back in the mix for an added ethereal vibe. Don't go thinking wishy-washy twee-pop though, because the constant buzz of guitar creates a wall of beautiful noise which acts as the canvas on which these different sheets of sound are placed. The production is spot on, but with a track this strong, it'd be a challenge to bugger it up really.



The Hobbes Fanclub's website

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Monday 28 July 2014

Band To Check Out: The Artisans

Article by KevW


Yes, the boxing paraphernalia in the photo above is relevant to the music of The Artisans. "I know I shouldn't like boxing, but I do" doesn't sound much like the line from a love song, yet the North Easterners run through the names of many famous fighters in the classic indiepop sounding 'However Much I Love You, I Love Lloyd Honeyghan More'. This very brutal of sports is something of a contrast to the '80s inspired guitar music of this group who are "old enough to know better but young enough to still try", although we'd argue that you're never too old. The fact that the band are are named after a line from an Orange Juice song should give you an idea of where they're at musically.

Boy/girl vocals work their magic on 'The Nearly Man' and 'The Night I Met Tracy Emin', and each of their four demos (or at least that's how many are online) are filled to the brim with melody, C86 influences, jangly guitars, the odd touch of surf and occasional organ. A list of influences is somewhat futile as you can probably guess what they are already, but it's safe to say that The Artisans follow in the footsteps of those bands in an extremely capable way and can compete with most of the other current revivalists doing the rounds. It's something I often find myself saying, but if these are demos then they should probably be left as they are because there's nothing at all wrong with any of the tracks. They might score low on originality, but are near the top of the class when it comes to tunes.





The Artisans' website





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The Away Days - Your Colour

Single review by KevW


I was having a discussion a couple of weeks ago with some fellow music nerds enthusiasts and we were talking about whether or not the protest song is dead - or if not dead, then at least less prominent. You could argue either side until you're blue in the face, but one fact remains, and that's that there are less protest songs enjoying commercial success than there have been in the past. Delving into the reasons for this opens up a whole different can of worms, so we'll leave that for another time. Turkey has seen its fair share of problems recently, not least some vicious riots, and it's Istanbul that The Away Days call home, so their songs are often based on the volatile situation their country has found itself in. Being situated in the mid-point between the current crisis in Ukraine and the ongoing battles in the Middle East can only add fuel to the fire.

You may not notice that their music has such a political slant or is informed by the ongoing troubles, as singles like 'Your Colour' are bright and breezy, Americana-infused shoegaze filtered through the shimmering haze of sunkissed psychedelia. Vocals aren't angry, they're more heavenly and velveteen than that, especially the backing, plus, the guitar rings and chimes like all the best bands who also dabble in associated genres. Perhaps this form of dreamy indie acts as a form of escapism, or at least does so musically. Their country's problems may have been overshadowed by events elsewhere for the time being, but songs with a sound as heavenly and lush as this should get maximum exposure. Given the industry's preference for making a quick buck this is perhaps unlikely, but they're already becoming stars in our eyes.





The Away Days' website

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Sunday 27 July 2014

Video Beast - Season's Greetings From Video Beast EP

EP review by ethan@thesoundofconfusion.com


Video Beast: Queens grunge. Bizarre song titles, strange voiceovers, angsty lyrics, big drums, big aggressive, but still sort of wonky guitars. They just put out an EP, 'Seasons Greetings From Video Bitch', three songs. It is more than grunge though, it doesn't sound like it was made in 1992, i'ts contemporary, almost a spoof on grunge. There is a psychedelic-stoner thing happening too.

The vocal delivery is almost cartoonish, switching into fake voices and going back again, and jumping all over high and low. It seems like songs using humor to address serious things, in an off-color, irreverent way. The melodies are reminiscent of Nirvana songs. They are all upbeat headbangers. While a lot of it seems silly on the surface, if you actually listen, it's actually quite depressing! The album cover is the drummer Dave Weinstein with a fake beard and poop on him. Fabian Jimenez on guitar and vocals.





Video Beast's website

Stream or buy the EP

Catch them live:

Aug 15th - Palisades - Brooklyn
Aug 23rd - Mr Beerys - East Rockaway
Oct 31st - Halloween Show as Misfits





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Obligatory Record Of The Day! The Sunday Reeds - Jean-Luc

Single review by KevW


Not being much of a movie person, I can only say I recognise the names. However, the film buffs amongst you might be able to garner a little more information from the fact that "Jean-Luc is about the tumultuous relationship between French New Wave film director Jean-Luc Godard and actress Anna Karina". One would assume that, with all the talk of guns and the fact that the EP from which the track is taken is called 'Amour Tragique', that the relationship may have been a bit tumultuous. Melbourne group The Sunday Reeds are putting this tune out as the first from the EP, which is set for release on August 1st. Originally formed as a duo back in 2009, they soon expanded to a trio and this has served them well.

There's a slightly unusual juxtaposition about 'Jean-Luc' and their music in general, one that traditionally comes from more of a band set-up than a pairing. With a bassline and atmosphere borrowed straight from post-punk, the addition of heaps of guitar - the kind that could have graced a rougher '70s rock number - prevents the song from falling into the seemingly bottomless pit of post-rock and new-wave that seems intent on taking over the world. So having a signature sound like this could be the making of them. Plus, they manage to maintain a certain elusive coolness whilst allowing musical proficiency the space to wow fans who know their way around a fretboard. A dark gem, but with a few surprises in store.



The Sunday Reeds' website

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Saturday 26 July 2014

The Raveonettes - Pe'ahi

Album review by KevW


It wasn't us missing the boat that led to The Raveonettes' new album 'Pe'ahi' arriving without any fanfare; the band chose not to go for much in the way of advance promotion or a release date, opting to put out their latest as a "surprise" album. Storming first single 'Sisters' dropped out of nowhere a week before, and that was the first that the outside world knew about the record. That track with its mixture of grace, fuzz and mild orchestration means it remains one of their more impressive and easily absorbed singles. The line "smiling faces always pretend" could be a metaphor for 'Pe'ahi' itself. Named after a popular surfing spot in Hawaii, boasting a cover that's a little less black than normal, incorporating a lusher sounds (including choirs and harps) and a new producer in Justin Meldal-Johnsen, this could be The Raveonettes bidding farewell to their seedy, nocturnal existence and heading for the beach.

Such a transformation would never suit Denmark's finest musical pairing though, and when you delve a little deeper you realise that, aside from the more sweeping production, staccato touches and bigger electronic beats found on, say, 'Wake Me Up', all is not well in paradise, however glorious the music sounds. Following the death of his father last year, frontman Sune Rose Wagner decamped to California and took to surf culture as a way of dealing with the sudden grief. Final track and highlight 'Summer Ends' tackles this subject head-on. The guitars still twang, the melodies are still sweet, Sharin Foo's combined vocal is still there, but a somewhat fractured relationship is revealed, despite the fact that his father is now "chasing angels up in heaven". Their sometimes difficult relationship is documented further on 'Kill!', a beat-heavy, screeching number that shows the band at their most electronic, and statements like "one time I saw my dad fuck a redhead whore, I never ever thought I would" paint a less than homely existence, as the music edges closer to the harder end of trip-hop (the more tender 'Wake Me Up' sticks to that genre, but chooses its more majestic elements). Despite this, there's something touching about the simple line "never gonna see you again".

So 'Pe'ahi' isn't 'The Raveonettes Do Summer!' then. Opening with 'Endless Sleeper', a song that takes their retro influences (it's Buddy Holly meets JAMC, as they've done so many times), and adds lyrics about the time in 2008 when Sune was nearly drowned in an accident. This may all point towards a morbid and perhaps even off-putting album, but the music is stunningly beautiful at times, especially the breaks for piano or vocals to shine as the scuzz clears for a few seconds. Raveonettes albums have always talked about life dealing you a bad hand, and this is no different, but with a slightly altered musical approach, the monochrome sound often associated with their output lifts more often, and while distortion and classic melodies are the order of the day, this does have a fresh feel and the new additions mark it out as a potential change of direction (if only by a couple of degrees). The upbeat 'Killer In The Street' is more layered and gives us a splash more funk in the beat and the bass; you could nearly call it baggy-noir; 'Z-Boys' and 'A Hell Below' could both make for classy singles. With so little time for most people to have got to know any of these songs, 'Pe'ahi' is continuing to grow in stature, and it stands out as perhaps one of the best in their now sizable canon. The fuzz remains the same, but those personal touches and that extra sprinkling of magic lift this album that little bit higher than you may be anticipating.


https://soundcloud.com/the-raveonettes/sisters





https://soundcloud.com/the-raveonettes/endless-sleeper-1

The Raveonettes' website

Buy the album

Stream the album in full

Catch them live:

Sep 22 Bimbo's 365 Club, San Francisco, CA
Sep 23 The Observatory, Santa Ana, CA
Sep 24 El Rey Theatre, Los Angeles, CA
Sep 26 Double Door, Chicago, IL
Sep 27 Midpoint Music Festival, Cincinnati, OH
Sep 29 Music Hall of Williamsburg, Brooklyn, NY
Sep 30 Music Hall of Williamsburg, Brooklyn, NY
Oct 01 Black Cat, Washington, DC





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Obligatory Record Of The Day! I Heart The Monster Hero - Toni Bailey

Single review by KevW


With a name like I Heart The Monster Hero it's likely that you're already guessing that this Dublin band are purveyors of twee indiepop. Well, you're kind of right. They prefer to describe themselves with words including dance and psych thrown in as well, and this paints a more accurate picture. The quintet have just released their debut album 'Rhythm & Pals', and 'Toni Bailey' is a single from the aforementioned record. This song fits all of the above descriptions, but you can probably get rid of the whole twee thing, there's not much cutesy about this tune.

It is a hectic track though, one with a rampant beat and vintage electronics as a constant undercurrent, and on top of this is plenty of spangly guitar and some mildly distorted vocals that are also full of beans. You could dance to this indiepop; it's constant, never breaking down, and also seems to get more and more urgent as it progresses. The psychedelic side they speak of can also be detected, although you'd hardly compare it to most people's idea of what that word may describe in musical form. 'Toni Bailey' is moreish and catchy, and it could also appeal to a broad section of the listening public. Let's hope they get the chance to showcase their music as far afield as possible.



I Heart The Monster Hero's website

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Friday 25 July 2014

Let It Flow 4: Free MP3 Playlist, 25th July 2014 - 7 Days, 7 Downloads!


Here are the best free downloads to land in our inbox this week. For a continuous playlist, scroll to the bottom of the page.


Anto Dust - Traitor's Gate



London dreampoppers Anto Dust kick-off this week's freebies with 'Traitor's Gate', a "psychedelic ballad" that follows on nicely from the relaxed wonder of recent single '1955' and is once again pure floaty escapism. The good news is that this time the track arrives in the middle of glorious sunshine, not the worst storm in years: a far more fitting environment.

Anto Dust's website


Luckless - When You Asked her To Stay



Providing us with a more upbeat tune to celebrate the (possibly) fleeting moments of glorious weather with are New Zealand band Luckless. OK, so it may be winter there, but they can be safe in the knowledge that single 'When You Asked Her To Stay' is just the kind of indie-rock with a pinch of electro that sounds perfect for long sunny days. It's from their new album 'Vindication Blues', out now.

Download 'When You Asked Her To Stay' for free by heading here

Luckless' website

Buy the album


One Finger Riot - The Sea 



Less than a month on from recent free download 'Give Me A Drug That Works Forever', L.A. artist One Finger Riot releases his album 'The Sea' and simultaneously offers the title-track as another free download. Following less of an indiepop line with this track, 'The Sea' is a maudlin piece of lo-fi psych that's high on the melody front.

One Finger Riot's website


El Xicano - La Grande Paura



It's all turning a bit psychedelic this week. Perhaps the heat is getting to everyone. Facts on El Xicana then? Well, there probably are some, but none that we know of. We know not who they/he is or where he/they reside, or even if there are more songs. We think it's in Spanish though, or Italian. Maybe. Anyway, it's a lovely, twangy, trippy song that drifts right through you.

El Xicano's website


Pacific Horrific - You And I Alone



Dutch band Pacific Horrific are a bit more forthcoming on the information front, having just released their debut EP 'Vol. 1' of which each song is yours for nothing. We've picked out 'You And I Alone' for its modern take on mellow synth-pop that gradually transforms itself into a melee of fizzing guitars and energetic beats, traversing genres as it does so.

Pacific Horrific's website


Cokemosa - Finale



Specialising in lo-fi, experimental post-punk sounds is Chicago's Cokemosa who has a brace of songs streaming on his site, both for free. 'Finale' shows a clear Suicide influence and combines cluttered percussion with minimalist production and sharp guitar that wraps and contorts itself through the song. It'll be interesting to see where he goes.

Cokemosa's website


Field report - Wings



With their second album 'Marigolden' due out in October, US trio Field Report take us on a bit of a journey with new single 'Wings'. Beginning as a slightly gritty yet mellow Americana track, it soon starts to develop into an epic alt-rock song as it gradually builds into something that's more universal without ever even considering selling out.

Field Report's website









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PREMIERE: Escapists - Only Bodies + Album Preview

Article by KevW


The release of your debut album is often crunch time for a band; the moment when we start to learn whether they've lived up to any hype they've had or produced the goods that earlier tracks may have promised. Things started well, and with the release of 'Breaking It Up' at the start of the year we said ourselves that London guitar band Escapists could well have what it takes to become big. With 'Only Bodies' released next week, it's not only a pleasure to be able to bring you the premiere of the album's title-track, but also to report that expectations have been lived up to. The band say that the song is a very collaborative effort, and this shows in the way that it all gels so tightly. Lyrically the song talks of the strange rituals that people partake in, often without even realising why. This is experimental indie with a driving rhythm section and a chorus that smoothly glides by as if it has the wind in its sails.



As well as the aforementioned 'Breaking It Up', singles 'Blood' and 'Eyes' show a neat diversity, the kind that can make or break a band. Having a clutch of songs that are all the same make and model may work well over the course of an EP or in some cases an album, but for longevity more is needed. 'Eyes' is a nice contrast to 'Only Bodies', slower and more emotive, it's one of those tracks that creeps up on you, leaving you pleasantly surprised by just how much thought and feeling can be encapsulated in a piece of music. Towards the other end of the spectrum, 'Blood' fires up the guitars a bit more and teeters on the brink of indie-rock and pop; there's a catchiness to this one that lends itself well to radio play and more instant gratification. The harder chorus adds a more dynamic touch. Frontman Simon states that the band wanted to make a diverse record, and this they've done. What's more, when you allow these songs to sink in and fully ingrain themselves into your psyche then the lyrics, which talk of life and death, spirituality and science, and the relationship between the head and the body amongst other things, should provide plenty of food for thought. A good job well done.





Escapists' website

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Obligatory Record Of The Day! Jaws - Be Slowly

Single review by KevW


Have the mainstream music press stopped banging on about their made up "B-Town" movement yet? I stopped reading ages ago. Birmingham does indeed have a thriving music scene, but so to do many other places, so perhaps they've moved on to somewhere else in search of greater sales figures (last report, we were getting more hits than NME were selling copies, and that's really not very good). Jaws are a great band though, and if you want to tie them in with some kind of movement, or even make up a new one entirely then go for it, but just remember it's about the music, not where they're from or anything else. After covering a couple of stellar singles by them last year, Jaws have announced their debut album for a September release.

They've done so with another single: the title-track. 'Jaws' is perhaps the best they've served up so far; a massive pop song that's left frayed around the edges so that it feels comfortably worn and not like you've just taken the store tags off of it. This is uplifting guitar music with a strong hook and some nifty lead towards the end, all given a slightly scuzzy makeover so that those vocals echo a little and everything has an oddly distant feel. It's also so summery that it should probably be prescribed for SAD during the winter months and will probably boost your levels of vitamin D. Call it shoegaze, call it indie-pop, call it fuzz-rock, call it flipping B-Town if you must, but the only important thing to know is that this is a stunning track and one of the finest singles we've heard for a while.





Jaws' website

Buy the single

Catch them live:

25/07 Redfest, Redhill
26/07 Bungalows & Bears, Sheffield
08/08 Strawberry Fields, Heather
09/08 Beacons Festival, Skipton
10/08 Boardmasters, Newquay
15/09 The Haunt, Brighton
16/09 Exchange, Bristol
17/09 Bodega, Nottingham
18/09 McCluskys, Kingston
19/09 Garage, London
20/09 The Oobeleck, Birmingham
22/09 Deaf Institute, Manchester
23/09 Belgrave, Leeds
24/09 Think Tank, Newcastle
25/09 King Tuts, Glasgow
26/09 East Village Arts Centre, Liverpool





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Thursday 24 July 2014

Hyla - Hyla

EP review by KevW


'Hyla' might be a self-titled EP, but it's not quite the band's first release. These new garage-rock and shoegaze enthusiasts from Perth, Australia, released a one-off free download track, 'Enemies Sworn', in May, but this is their first EP and perhaps the first chance we get to suss out just what Hyla are all about. A glance at their influences reveals a familiar list of bands that many groups of this ilk absorb the energies from (Slowdive, My Bloody Valentine, The Byrds, Mogwai, Ride etc.), and in that respect their music isn't exactly full of surprises, but you get the impression that it's not particularly supposed to be. Sure, they want their own sound and their own hallmarks to be imprinted on these songs, but there's no wild originality.

It matters little, as Hyla seem to have strong enough tracks to carry them. Take 'Remedy' for example; it's a scuzzy number with barely decipherable vocals and isn't unlike early BRMC or even JAMC, but they execute it well and with confidence. Plus, they have the production sorted to a high standard. First track 'Sides' is a bit less full-on, casually entering our ear space with what sounds like organ and then a firm drum beat. The guitars are allowed to jangle a bit more crisply here, but it would still compare well with, say, Crocodiles, and brings plenty of fuggy atmosphere with it. Perhaps the best is saved for last with 'To Safety Or Ruin', a song that fully embraces the grandeur of certain shoegaze bands. You can detect Slowdive and The Radio Dept. here for sure, and the extra stateliness shows another string to their bow. They're off to a flying start.





Hyla's website

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Obligatory Record Of The Day! Immigrant Union - I Can't Return

Single review by KevW


As we discovered on their single 'Alison' from last summer, Immigrant Union consist of several well respected musicians from the mightily impressive Melbourne scene, and can count The Dandy Warhols' Brent DeBoer and The Lazy Sons' Bob Harrow amongst their ranks. Having decamped to the equally rich music centre of Portland to work on their debut full-length, they now return with new single, ironically titled 'I Can't Return'. Well they have returned, and we're extremely glad they did so as the second record promises to be worth plenty of your precious listening time, with DeBoer describing the sound as "Spiritualized being baptized in a warm bath of Creedence Clearwater."

Yeah, that sounds pretty good to us, so is the single up to scratch? You bet it is. Immigrant Union have taken a little of the woozy psych that Spiritualized have been known to tamper with on occasion and given it a more rootsy spin. This is expansive and breezy psychedelic Americana with a laid-back vocal and guitars that weave in and out of the loose-limbed rhythm section. The gentle hum of all these electronic instruments provides a comforting background noise that's barely audible, but the production and arrangement make this a more lush track than the description may hint at. Especially as we hurtle towards the end with everything piling on top of each other and driving us to a grand finale that seems to drift away into infinity. A few more like this would suit us just fine.





Immigrant Union's website

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Wednesday 23 July 2014

Fractions - Fractions EP

EP review by KevW


Newcastle collective Fractions were originally conceived as a musical concept with no real ideas of releasing records or looking for any kind of public success. A motley crew made up of producers, an ex member of a hardcore band, a sweet-voiced female singer and more, their music soon began to take the form of songs that really should be heard outside of their inner circle. And so we arrive at their self-titled debut EP (due out on September 8th) and lead-track 'Breathe'. They were right to take this step, and the single has already generated some hype, with expectations running fairly high even at this early stage. 'Breathe' is perhaps the most accessible, the most "single" sounding track on the EP, and its mixture of industrial backing with lush synths is the perfect foil for for a strong melody and the vocals to do their work upon. As far as instant appeal goes, you could say this was the highlight, but it's not all about this one track at all.

What that collection of musicians from different backgrounds make when they're together is a form of synth-pop, perhaps best described as darkwave at times, but lighter on some tracks. There's an almost ambient, dreampop aspect to 'Into The Earth', but with a bleaker side hiding below the surface. The same vibe is taken a step further on the excellent 'Burst', a goth-influenced new-wave number that crosses just a touch into the realms of pop. Curiously, it's both modern and retro at the same time. More forbidding is 'Resist' with its eerie intro and whip-crack beat that really embraces the gothic side of the band; it's a dark and haunting number that could compare to someone like Zola Jesus. The most lingering and brooding of all is probably final track 'Fate', a mysterious shoegaze song where the music steadily moves along like a deadly mist rolling in as the vocals cry out in the distance. It's early days, but we probably haven't heard the last of this lot.



Fractions' website

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Obligatory Record Of The Day! Big Deal - Always Boys

Single review by KevW


You know when it's a bit baffling that a band aren't much bigger than they deserve to be? It's actually a daily occurrence around these parts, and one such band who fit the bill are London duo Big Deal. They have a name that accurately describes what their position should currently be, and they do have a substantial following and usually pull in some rave reviews (if you want to check out a few tracks and words on last year's 'June Gloom' album then just search for their name, we featured a few), but still, if the world worked as it should then the pair should be even higher in the public consciousness.

Their new EP might just help this a little. 'Sakura' is fresh out of the blocks and its first single, 'Always Boys', is thrillingly robust and impeccably made. A deceivingly gentle intro gets it going, before everything gets cranked up to 11 and we suddenly have bursts of burning guitar interspersed between the rock-solid beat and inch-perfect, powerful vocals. It doesn't break the mould when it comes to alt-rock, but it does come out looking more perfectly-formed than so many others who tread a similar line. The guitars build until we reach a pared-down end section. Perhaps the line "now I walk out into the ocean just for calm" is more fitting than it was intended. Yes, the ocean isn't always calm, but when Big Deal do calm it's not exactly 'Panpipe Moods' either. Now we just need more of the world to take notice.





Big Deal's website

Buy the EP

Catch them live:

Jul 25 Secret Garden Party, Cambridgeshire, United Kingdom
Aug 01 Nozstock Festival, Hereford, United Kingdom
Aug 08 Boardmasters Festival, Newquay, United Kingdom





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Tuesday 22 July 2014

The Assyrians - Tundra

Album review by KevW for www.soundsxp.com


The Assyrians want to take you on a trip. It's not a trip you won't have been on before, but it's always one worth revisiting, especially when your guides are as magnificent as this Milan quartet. Songs drift wonderfully around your head, glorious sounds emanate from the speakers and an uplifting vibe is the order of the day. Taking aspects from dreampop, psychedelia, indie, ambient soundscapes and simply unusual but fantastical alt-pop, 'Tundra' is an album that provides a non-stop journey through sound; not difficult or specialist sound, this is experimental in a way that's also readily accessible and will curry favour with folks whose tastes lie in many different corners of the music world, and will do so without the need to flit about and change style very often. This is definitely a cohesive whole.

The strange, warped intro to 'Emerald' sounds as though someone's taken a soundtrack from the golden era of Hollywood and played around with it, before suddenly the song is upon us, all thumping drums, sheets of guitar and subtle electronic textures hiding in the background. They start as they mean to go on: with an otherworldly track that's carefully composed and has great attention to detail. 'Hellebore' goes one further, taking '60s psychedelia and many of its hallmarks but filtering it through a modern studio, then suddenly it breaks for an instrumental section that floats off into the ether, taking you with it. It's quite lush and spectacular. Something of this nature is difficult to top, but The Assyrians give it a good go throughout the rest of the album, and they never really let us down by supplying a consistently high standard of music. Single 'Baobab' is another track that soars, lifting you away from the mundane and into fantasy land.

Certain Grandaddy tracks could be used as reference points, and perhaps even more so, the work of Mercury Rev at their most magical. Unsurprisingly, space isn't too far away, and 'Orion' would fit the space-rock category quite well, but as reimagined by MGMT, and another single, 'Astronaut', pauses the journey slightly by mellowing things out and adding a more woozy and atmospheric sound, yet it's not a low-point, in fact it's quite the opposite, recalling early Pink Floyd. The joy of 'Tundra' is that it's full of tunes that are worthy of individual mentions: 'Fossyls' is nicely melodic with some acid-fired guitar; the tempo is upped for possible future indie/synth-rock single 'Oceans'; the short and mysteriously eerie 'Buccaneer' is followed by the oddly nautical and slightly out of step 'Buccaneer's'; the title-track gives us an ambient interlude that's quite befitting of its name; and finally The Assyrians ensure you know that this has been a voyage to remember and return to by giving us the wobbly, coulourful and mildly anthemic 'Darwin'. The name 'Tundra' conjures up images of barren landscapes, but the truth is anything but.





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Buffalo Sunn - By Your Side

Single review by KevW


If you like your guitar tunes to come with a slightly classic feel, have plenty of wall-to-wall sound and a sunny disposition - much like The Sound Of Confusion favourites Elephant Stone in fact - then welcome to your new favourite band. With a name like Buffalo Sunn and a very American-looking desert mountains shot on the cover, it might be a surprise to learn that these guys are Irish; and in fact they're essentially a family band consisting of the brothers Paxton (with drummer Donagh O'Brien as an honorary family member). The sextet have an album in the bag, 'By The Ocean, By The Sea',  which will hopefully be landing later this year, and also an EP called 'Witches' which is out now.

It's the glorious 'By Your Side' that's on heavy rotation here though, and rightly so; they've taken indie-psych and perfected it, seemingly without batting an eyelid. This track is assured, very strong and sounds as though it's always existed; as if it was a naturally-formed phenomenon. Nothing feels forced or contrived and at no point is it lacklustre. With melodies that are built to stand the test of time and production and arrangement that gives a casual jangly sheen, you know you're going to love it from the very first bars. Drums crash and guitars wind through the chorus but are never allowed to overpower the harmonies. It's a neat trick. It could be argued that 'By Your Side' is a retro song, but it sounds fresh and the overall feel is timeless, not dated. I have a feeling this will become essential listening for a fair few people out there.





Buffalo Sunn's website

Buy the single

Catch them live:

FRI AUG 01 - 03 CASTLEPALOOZA 2014
CHARLEVILLE CASTLE, TULLAMORE, IRELAND
SUN AUG 03 THE SECRET GARDEN MUSIC FESTIVAL 2014
WICKLOW, IRELAND
MON AUG 04 ROCK'N'ROLL HALF MARATHON 2014
DUBLIN, IRELAND





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Monday 21 July 2014

Space Daze - Follow My Light Back Home

Album review by KevW


"And a light shines down, through your window...". Yes, if the lens flare of the artwork or the name of the album didn't give it away, 'Follow My Light Back Home' is an album released in summer, because it was seemingly made purely with summer in mind, and that line from the title-track is just one of many seasonal references that Space Daze makes on this set of upbeat, spangly, sunny guitar-pop tunes. Sprightly recent single 'Line Up On The Solstice' may have also given the game away. You could just about stop short of calling this a concept album, because Danny Rowland (also the guitarist and songwriter with excellent indiepoppers Seapony) is hardly the first to try and capture this time of year on record.

He does make an especially good job of it though, realising the power of the sub three-minute pop song (nothing here breaks that barrier) and also knowing that such tracks rely heavily on tunefulness to make them work. The album opens with 'Woke Up In The Summer', which just about says it all. It's a mixture of The Byrds, The Mamas and the Papas, The Hollies and a smidgen of doo-wop all formed into a more modern, lazy (in a good way) indie sound. It's not a case of eleven repeats of the same trick though, as 'The Voices Of Strangers' is darker and folkier; almost psychedelic even, but still warm, and 'I'll Know Tomorrow' also takes a folk-inspired approach, recalling Simon & Garfunkel, as does 'Kill Me'. We touch upon the lighter end of '90s alt-rock with 'It's Getting Lighter Earlier', a track that partially discards the '60s influence for something slightly more modern, but the guitars and melodies still make it shine.

Making an album where just about every track could be considered for a single is no mean feat, but it's one that Space Daze manages, and even though the songs are short, it still seems to end far too soon, which leaves you wanting more. Without the spidery guitar lines, 'It Becomes Silent' would be pure dreampop, and 'Going Out' would have registered favourably when the Britpop pack began to delve deeper into the past; the mixture of organ and a memorable tune ensures this. Maybe 'Having A Bad Time' is closest to the indiepop you may expect, yet its duration of under two-minutes means usage of the repeat button may be in order. 'Close The Curtain' takes in a little powerpop but its still mostly soft textures despite a crisper guitar sound. It's somehow fitting that the more thoughtful and dreamy 'The Fireflies Are Gone' wraps things up.There will be countless soundtracks to the summer, and these will vary depending on taste and circumstance, but many people should give Space Daze a go because might find exactly what they've been looking for.







Space Daze's website

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Obligatory Record Of The Day! Black Bananas - Powder 8 Eeeeeeeeight

Single review by KevW


Wouldn't it be nice if every band was as unpretentious as Royal Trux spin-off Black Bananas? They admit to using "time-tested elements" and fusing together different sounds they find to recreate the ideas in their head, and what's more, they do it with confidence and give a knowing nod to their forerunners. The music on their new album 'Electric Brick Wall' isn't one-dimensional by any means; these guys are magpies who absorb different ideas and then twist them into their own shapes. Take lead single 'Physical Emotions', it's a track that uses plenty of retro electronic sounds and even elements of hip-hop to craft their experimental rock sound. It could even be a different band to that which made the opening track of the LP.

'Power 8 Eeeeeeeeight' is a totally different kettle of fish. Here they take the sounds of classic psychedelic rock; heaps of guitar that's nicely contorted for that trippy effect; a more classic rock formula and the same cocksure (but not arrogant) attitude and end up with a scorching electronic blow-out that is the reason why you bought those powerful speakers in the first place. Unlike many psych tracks, 'Power 8 Eeeeeeeeight' gets down to business right away with the no major introduction, merely a few seconds before it launches it's aural assault. We're not talking overblown and intolerably intense; this is controlled and cool and allows the guitars room to roam free despite the short duration. A teasing glimpse of their more eclectic leanings creeps in towards the end, but really this is pure and simple classic psych made for all the right reasons.



Black Bananas' website

Buy the album

Catch them live:

11-01 Lisbon, Portugal - ZDB
11-02 Barcelona, Spain - Primavera Club
11-03 Dudingen, Sweden - Bad Bonn
11-04 Berlin, Germany - Kantine am Beghain
11-05 Copenhagen, Denmark - Loppen
11-06-07 Reykjavik, Iceland - Iceland Airwaves Festival
11-08 Amsterdam, Netherlands - Paridiso Upstairs
11-09 Anvers, Belgium - Autumn Falls Festival @ Trix
11-10 Leeds, England - Brudenell
11-11 London, England - 100 Club
11-12 Paris, France - Point FMR
11-14 Pordenone, Italy - Pin Box Studio
11-15 Verone, Italy - Interzona





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Sunday 20 July 2014

Devon Williams - Gilding The Lily

Album review by KevW


On his third album, recording of which began straight after the release of 'Euphoria' around 18 months ago, Los Angeles musician Devon Williams has partially dismantled what it means to be regarded as indiepop. Yes, that term could be used to describe 'Gilding The Lily', but its been deconstructed; quite possibly a masterstroke given the glut of indiepop bands doing the rounds. During the recording of this record, Williams got married and also moved on a few occasions, not locally, but around the world, and the songs he was recording saw some changes too, giving us versions that are perhaps a little different to how they were first conceived. There are guitar-pop songs, but there are some that are more in tune with '80s synth music and power ballads, as well as a heavy Beach Boys influence.

It's not always quite as straightforward as chucking each track into one of those categories though, and right from opener 'Deep In The Back Of Your Mind' we're given a guitar song that makes good use of synths and is also something of a power ballad, albeit an upbeat one. So he's throwing the lot in the mix at times, and it works very nicely; this is much the same story as with the lively 'Puzzle'. Good melodies and production that's the perfect fit ensure that 'Gilding The Lily' is a strong album from start to finish. It's refreshing to find someone who's not afraid to throw in an '80s guitar solo if the mood takes his fancy. 'Games' takes this format, guitar and all, and runs with it, again showing the power and dexterity of Williams' writing. 'Pendulum' takes this further with a near darkwave heart beating underneath, although it's lightened by some spangly guitar and makes for potential single material, and another contender comes in the lovely jangly indie of 'Will You Let Go Of My Heart?'. Talking of which, single 'Flowers' is a booming, almost Spectorish number that lays on the atmosphere with a trowel while not being the most obviously commercial song here.

Classic pop is the order of the day when it comes to the likes of 'All I Have To Do', a '60s inspired pop/soul track that could have come from the pen of Brian Wilson or one of the Brill Building team. Forget any notions of slushiness though; it's utterly delightful. It's to that decade that Williams looks to for 'Around In A Maze' which is the above with a dollop of Beatles mixed in, and perhaps 'Lost My Concentration' takes a similar idea and adds a sprinkling of more modern production. The title-track moves us into new-wave with its blend of chiming guitars and synths. 'Gilding The Lily' somehow wasn't the most immediate of albums, but that could simply be personal experience: each track here is accessible, none outstay their welcome and all of them make for good listens in their own right - and an even better one when collected together in this way. Devon Williams may not be as famous as some, but he's quietly made a record that's well worth celebrating.







Devon Williams' website

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Obligatory Record Of The Day! Jeen - Buena Vista

Single review by KevW


I think we can safely label Canadian artist Jeen O'Brien as being both prolific and adaptable. As well as her solo work, she's also the vocalist with the group Cookie Duster and has written numerous pieces to be used in major TV ad campaigns, as well as having her songs featured on national TV shows. One would assume (I have to confess that my knowledge of Canadian TV isn't great) that some of this music has been tailor-made, so discovering what style Jeen herself actually prefers and creates at free will should offer a better understanding of the lady herself. With her new album 'Tourist' being released earlier this month, we're given the opportunity to do just that.

Single 'Buena Vista' is as good a place to start as any, and the initial impression leads to thoughts of bands such as The Breeders, Throwing Muses, Belly and other early '90s alt-rock groups. However, the difference here is that the song takes that blueprint but doesn't simply fall into mimicry. It may be coming from a similar place, but doesn't sound dated at all; in fact you could also compare her favourably to more recent indie type bands such as Yeah Yeah Yeahs, Howling Bells or Metric, and this becomes more apparent if you delve deeper into her canon. The low rumble of 'Buena Vista' begins with a vocal that's almost laid-back, and harmonies that fit that style, but by the time the chorus arrives the intensity increases and a song with more raw power is unveiled. Perhaps Jeen is a musical tourist, visiting different places to craft different sounds, but if this is her natural preference then she should definitely continue to call it home.



Jeen's website

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Saturday 19 July 2014

SKYROADS – 1,2 Steps/Beyond The Doors

Single review by jose@thesoundofconfusion.com


SKYROADS is about to release a brand new double A-side single, '1,2 Steps'/'Beyond The Doors' on July 21st. These two tracks take you on a trip back into the past while maintaining modern textures of electronics. SKYROADS is based on Tel Aviv, Israel. They blend electronic pop with groovy guitars and infectious rhythms. The vocals sway in retro melodies as if they were swimming through the grooves of a record.
The first track, '1,2 Steps', opens up with a funky bassline and stomping drum beat that resembles the beating of a passionate heart. As frontman Ami enters, this song immediately turns into a future dance hit. The instrumental is showered with luscious keyboards that reprise dance music in the eighties. Beneath, a Nile Rodgers inspired guitar ties everything together. There are exploding moments of electronic madness on here, so prepare your ears, you are going to get lost in this. This song is five minutes long but once it's over you are going to wish it was longer.

On the opposite side, 'Beyond The Doors' reaches into the deep to the forgotten time of disco and shoves them right back. It has it all. From the groovy bass to the catchy chorus done so nicely by frontwoman Tamar, this song is quite an earful. It’s built to withstand multiple plays; filled with textures of synths that bloom as otherworldly plants. The rhythms gives the song a fierce power that goes up and down and up again. SKYROADS knows how to make music that affects a person to get up and dance. I don't dance, and the songs got me “trying” to dance. SKYROADS are currently on their first UK tour, so catch them around if you can. If not, get this double A-side single: you won't regret it. They had sold-out shows in Tel Aviv and played the acclaimed Liverpool Sound City festival. They are going to get big, make sure to listen to them before the world catches up.





SKYROADS' website





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Obligatory Record Of The Day! Midnight Masses - Am I A Nomad

Single review by KevW


Having released their debut EP back in 2009, Midnight Masses are no strangers to this business, especially when you factor in that they contain members of ...And You Will Know Us By The Trail Of Dead, a band who are bona fide alt-rock heroes and have been an influence to at least a couple of generations of musicians who favour a harder sound but without the trappings and stereotypes that can often involve. With their new album 'Departures' due to drop in a couple of days, Midnight Masses showcase a sound that's less heavy and more psychedelic than much by their associated band, but it does carry some of their non-conformist style with it. Given the input of other musicians, we shouldn't dwell on the connection too much, because on the strength of this single, they might share certain characteristics, but they're two clearly different bands and this is by no means a copy.

With an album named 'Departures', a song that's about travel and not having a home is somewhat fitting, yet this isn't the story of a man of the world freely going wherever he chooses as a free spirit; the lyrics here talk of loneliness, a loss of direction and a struggle to figure out a place in this world. The wavering, psychedelic guitars and motorik beat mean that 'Am I A Nomad' isn't one big downer though, it's an upbeat, inventive and experimental alt-rock track that throws out all kinds of colours, sounds, eerie voices and trippy effects. A notable bassline is the icing on the cake and the lot together could almost be the cover of a Flaming Lips song; the subtle electronics and ever so slightly poppy nature add to that effect and result in an interesting and accomplished track, and one that has us anticipating more good things from the album.



Midnight Masses' website

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