Album// The Pigeon Detectives, Up, Guards and At 'Em, 4.4.11.

After a three year gap since last album “Emergency”, The Pigeon Detectives are back with quite a lot of change in sound. “Up, Guards and At ‘em” doesn’t really pick up until midway through third track “What Can I Say?” during the breakdown into the more upbeat, typical Pigeons’ sound.

Yet latest single “Done In Secret” does revert back to what’s expected from the band, with its arpeggiated final chorus licks, jaunty power chords and general catchiness (even if the guitar line is perhaps too similar to The Strokes’ “12:51”.)  Also “What You Gonna Do” purveying an constant infectious bass line, and “Go At It Completely.” But it seems a shame that the only songs on the album with true substance are those that sound reasonably alike those from first album “Wait For Me.” Plus, fair enough the band have tried at incorporating some slower, ballad-like songs such as; “I Don’t Know You” and “Turn Out The Lights,” a reasonable attempt to prove their maturation.

Thus in all, “Up, Guards and At ‘em” isn’t a bad album, but it certainly isn’t as great as what was expected from a prolonged break for the band. But at least now they’re back on the scene and will hopefully triumph with their next writing effort and main stage slots this summer at Reading and Leeds.  

Jonathan Hatchman.

Album// Cat's Eyes, Cat's Eyes, 11.4.11.

Following their debut EP “Broken Glass” and live performance at The Vatican, Cat’s Eyes- the new side project from The Horrors’ front-man; Faris Badwan and Canadian opera singer Rachel Zeffira have gone on to release their debut, self titled, album.

Their sound is evidently heavily influenced by 60’s girl groups, with Zeffira’s voice perfectly accentuated by it’s contrast to Badwan’s baritone vocal style. Expressed through their stronger songs such as; “Face in the Crowd,” “Best Person I Know” and self titled opener purveying a recurring slinky guitar line. Also on tracks like “I’m Not Stupid” and the beautifully orchestrated “I Knew It Was Over” conveying a haunting, melodic melancholia, of which is virtually completely absent; within so much of today’s disposable pop music. Also divulging a softer, yet still dark, side of Badwan, different to that shown through The Horrors’ music.

Therefore, “Cat’s Eyes” is an overall brilliant album, not so much in a conventional contemporary sense, but in a sense of presenting the never ending talents of Faris Badwan and of shining a light unto Rachel Zeffira’s subtle, enchanting voice.

Jonathan Hatchman.

http://counteract-magazine.com/2011/04/19/album-cats-eyes-cats-eyes/

Live// The Vaccines, Camden Electric Ballroom, London, 7,4,11.

"Wow, it feels like just last week we were playing The Barfly"- the unbelievable amount of irony in that statement from front-man Justin Young. Firstly because the band did play The Barfly extremely recently, but primarily because they have escalated to such a high status in just under a year. Off the back of a fantastic debut and have now sold-out two consecutive nights at Camden's Electric Ballroom.

Whirring through a short set of just 45 minutes but cramming in hits, album tracks and b-sides, sending the crowd absolutely wild. With punk riffs, punchy little solos and literal hands on crowd participation. Ending with fan favourite "Norgaard" introduced with an invitation for the crowd to go "absolutely mental" which was well received and, as ever, taken upon. As well as through first single "Wrecking bar," latest single "If You Wanna" and b-side "We're Happening."

Tonight marked The Vaccines biggest headline show to date. It's genuinely amazing to think of where the band would have developed themselves to this time next year with performances as strong and memorable as tonight’s.
Jonathan Hatchman. 

Album// The Vaccines - "What Did You Expect From The Vaccines?", 14.3.11.

What did you expect from The Vaccines? A pretty strong question, from one of 2011’s most hotly tipped bands. Being that generally when a group of toffs are provided with studio time and a record deal the final results are usually symphonies and concerto’s, as opposed to a catalogue of songs with such raw, punk power, especially conveyed in their live performances. Just one of the reasons why The Vaccines are so great.

Lasting only a mere thirty-six minutes in total, the band have some great songs under their belts. Such as latest single “If You Wanna,” “Post Break-Up Sex” and “All in White.” Plus “Wrecking Bar” and “Norgaard,” both baring a striking resemblance to The Ramones and both crammed into less than two minutes.

Taking away the frankly ridiculous chorus lyrics of “Wetsuit”: “Put a wet suit on, come on come on, grow your hair out long,” “What Did You Expect” is a very good debut, of a band really flying the flag for British guitar music. Hopefully the enormous amount of success they have already achieved in just under a year is set to continue, and increase phenomenally.

Jonathan Hatchman.

http://counteract-magazine.com/2011/03/28/album-the-vaccines-what-did-you-expect-from-the-vaccines/

Live// Crocodiles - Camden Barfly, London, 21.2.11.

Tonight, San Diego indie outfit Crocodiles take to the stage at Camden Barfly, headlining John Kennedy’s “Xfm Xposure.” Bringing their own brand of lo-fi, noise pop. Reminiscent of a 21st century Jesus and Mary Chain.

Casually sauntering through the crowd onto the stage, opening with their latest album’s title track ‘Sleep Forever’ – almost instantly getting a great crowd reaction, building up to tonight’s chaotic atmosphere. Followed by a complaint about the lights from cooler-than-thou front man Brendon Welchez, claiming that they were hurting his eyes and “showing his zits.” Their performance lasted only a mere 40 minutes. Disappointingly short for a headline slot.

Though within their short set they fuzzed through some great tracks, including debut album classics such as ‘Neon Jesus’ and tonight’s closer ‘I Wanna Kill’ in addition to new album crowd pleasers such as ‘Hearts of Love’ and ‘Mirrors’ with its fuzzy, distorted guitar riffs and wall of synthesizers. Tonight’s performance even contained a rant from Welchez about commercial radio, claiming that it is good that we have a good radio station that doesn’t only play songs from mainstream artists such as Rihanna and Lady Gaga.
Drawing the gig to it’s finale, Crocodiles were on top form. Hopefully they’ll announce a full UK tour soon, in which case you should definitely catch them live if possible before they are no longer playing to tiny crowds in such small venues.
Jonathan Hatchman.

http://counteract-magazine.com/2011/02/24/crocodiles-barfly-london-210211/

Album// Frankie & The Heartstrings - Hunger, 21.2.11.

Hunger: Sunderland quintet Frankie & the Heartstrings’ debut album. Named after and heavily influenced by Knut Hamsun’s novel with the same name. At first glance the band resemble a 21^st century rip off of The Smiths, therefore building a preconception of gloomy, poetic lyrics accompanied by a poor copy of Johnny Marr’s jangly guitar riffs.

However this preconception couldn’t be any further from the truth, apart from the heavy influence of literary works. But instead the band has gone in a more Orange Juice direction, being taken under the wing of Edwyn Collins and recording the album in his West Heath Yard studio, incorporating quirky guitars and corny lyrics. Mostly about being in love. The album also has aspects alike Blondie- Shown in the bass line of “Ungrateful,” being unbelievably similar to Blondie’s “Heart of Glass.” Also tongue in cheek, upbeat tracks, reminiscent of Dexy’s Midnight Runners, minus the strings and dungarees. In tracks such as latest single “Hunger,” also “Possibilities” and possibly the best track on the album; “Tender,” blatantly inspired by Fitzgerald’s book; “Tender is the Night.” Starting slowly then leading into a full blown blissful, early 80’s pop anthem.

Coming to an ultimate end after amazingly fitting ten tracks into just Thirty-Four minutes. With the album’s climax, “Don’t Look Surprised,” Finishing off a great, upbeat album. Virtually impossible not to fall in love with and leave you hungry for more from these charming, northern bookworms. One of the most enjoyable albums to be released in a long while.

Jonathan Hatchman.

Live// White Lies - Junction, Cambridge, 4.2.11.

Tonight, the first of White Lies' eleven night, sold out, U.K tour. Promoting the release of their new album "Ritual."

Taking to the stage following "Crocodiles," one of tonight's two
support bands. With their own brand of San Diego Lo-Fi, noise pop. 
Fuzzing their way through their short set.

Followed by tonight's headliners, though when formed in 2007, I’m pretty sure that they were just a trio, yet seem to be obviously breeding rapidly. Yet tonight the audience were in for a treat; what with an airing of so many new album tracks, accompanied of course by some classics, added in-between. Though it has to be said that "To Lose My Life" and "Death" were thrown in very early, into tonight's performance.

Yet their tremendous power making up for these early airings, with new songs such as; "Strangers," "Streetlights" and finale "Bigger Than Us"- their latest single. Building a crescendo of keys, ominous bass lines and punchy power chords. Each song feeling like a round of a heavy-weight title fight.

Bringing tonight's show to an end on an absolute high. With tonight truly setting the bar for what looks to be an absolutely fantastic tour.
Jonathan Hatchman.

Album// Funeral Party, Golden Age of Knowhere, 24.1.11

Golden Age of Knowhere is LA five piece Funeral Party’s long awaited debut album. Voted one of the best new bands of 2010 and tipped to be huge in this forthcoming year.

The LP kicks off with the band’s debut single ‘New York City Moves to the Sound of LA’. Catchy but seeming like a desperate attempt to produce an indie disco floor filler crossed with an effort to write great punk songs, with lyrics spewing hatred, or so it seems, to unoriginal sounds. This is a bit of a contradiction in terms. Being that although the single has a catchy chorus and beat, it does lack originality and substance, though the instrumental use of cow bells is pretty admirable in itself.

However there are some pretty good tracks, such as ‘Finale’ with its guitar riffs that could even be at most mistaken for The Strokes, but without Julian Casablancas’ legendary vocals, instead to an extent similar to those of a much less aggravating Gerard Way of My Chemical Romance. ‘Car Wars’ holds an infectious “Dance-Punk” beat and nifty little “wah-wah” guitar solo. ‘Postcards of Persuasion’ and ‘Where Did It Go Wrong’ are also impressive tracks off this album.

However after these it becomes somewhat monotonous. With a great deal of similarity in each track, but with the exception of the lower tempo; ‘Relics to Ruins’.

Thus Golden Age of Knowhere isn’t a bad album at all; it just sadly lacks fundamental substance.

Jonathan Hatchman.

http://counteract-magazine.com/2011/01/27/album-funeral-party-golden-age-of-knowhere/

Album// White Lies - Ritual, 11.1.11.

Ritual is the Ealing based trio; White Lies’ second album. There are quite a few differences between this and its predecessor. Ritual is a brave, coming of age effort. Just to pick a few major differences there is the obvious introduction of more synthesizers, such as that in ‘Peace & Quiet’, baring a striking resemblance to Editors. Ritual is also a lot darker than To Lose My Life. With perplexed, dismal lyrics such as (“So sick of the taste of blood”) and (“They can see my heart is down and injured”) from the slow downed ‘Bad Love’. Accentuated beautifully by Harry McVeigh’s baritone voice, reminiscent of a modern day Ian Curtis.

Though although there are some great tracks such as, ‘Strangers’, ‘Streetlights’ and lead single ‘Bigger Than Us’ – with its powerful, hooky arena ready chorus and punchy, ominous bass line. There are sadly no songs that stand out as instant neo-classics, such as ‘Death’ or ‘Farewell to the Fairground’ from the band’s debut.
However in all Ritual is a very good, though very gloomy album. Most definitely the best of the year so far, which is already looking to be great for music.

Jonathan Hatchman.

http://counteract-magazine.com/2011/01/19/album-white-lies-ritual/

Live// Foals - O2 Brixton Academy, London. 12/11/10

Foals.

O2 Academy Brixton, London.

Friday 12^th November 2010.

Plus support: Pulled Apart by Horses & Crystal Fighters.

Tonight, the last show of Foals’ sizeable UK tour – the night of which, most reasonably new bands suffer immense exhaustion. However this is not the case for tonight’s headliners. They burst onto the stage into a sea of blue ambient lighting & dry ice, opening with the first track on their latest album, and latest single ‘Blue Blood’.

The setlist of tonight was capable of containing many great tracks from Total Life Forever such as; ‘Miami’, ‘Spanish Sahara’, and the album’s title track. The crowd were also treated to an assortment of songs from debut album; Antidotes just a couple being: ‘Balloons’, and fan favourite ‘Cassius’. Each addition building up the electric atmosphere of which would be expected in a much smaller venue, but not so much at this 5,000 capacity arena.

Nevertheless it wouldn’t have been a Foals show without Lead singer Yannis Philippakis’ quite frankly, foolish antics. Which many may see as over confidence, yet are essentially just additions to the bands incredible showmanship. What with climbing onto amplifiers and jumping into the fanatic crowd, during ‘Electric Bloom’. Yet, the highlight of the night had to be the encore which contained both, ‘Hummer’ and ‘Two Steps Twice’, Leaving the crowd poured out in to the November rain, with an air of fulfilment after tonight’s fantastic show. On selling out London’s Brixton Academy, Foals are a band that truly deserve the success that they receive in the near future, and are an absolutely fantastic live band.
Jonathan Hatchman.

Live// Wavves - Relentless Garage, London. 10/11/10

Wavves.

Relentless Garage, London.

Wednesday 10^th November 2010

Plus support: Fixers & Sexbeet.

“The guitar needs to be louder. Turn it right up. It’s the best part!” Calls Luke Lust, front man of tonight’s second support band Sexbeet. As arrogant as this may have come across, at least it slightly drained out the wailing of his, unnecessarily high-pitched voice. That of which could only be compared to Altered Images’ Claire Grogan on helium. However, vocals aside they were actually quite good, with a raw power, alike that of a traditional British punk band. Creating a great buzzing atmosphere, warming the crowd up for the band that we were all waiting for: Wavves.

The opening band of the night; Fixers also played to a satisfactory standard, nevertheless they definitely weren’t a good choice of bands to be on this bill. As ten ‘o’ clock came around. Wavves, the Californian noise pop trio, confidently strutted onto the stage, only having time for a short 45 minute set tonight. Opening with ‘Friends Were Gone’, then straight into their latest album’s title track; ‘King of the Beach’, Sending the crowd into a wild frenzy. However, unfortunately, this was one of the very few high points of their set. This is actually a great shame, having seen Wavves before, when they put on a much better show. The problem tonight was that the sound was absolutely dreadful. Yet although the atmosphere was absolutely electric, as are Wavves on record. When playing live, the sound is the cornerstone of the performance. Therefore when a band can’t cut it live at every show. We have a serious problem.

Recently, their sound has been summed up as; “A collision of brute distortion with summery pop hooks.” However tonight was dominated by distortion. Fuzzing out virtually every word that emerged from lead singer; Nathan Williams’ mouth. Even the banter throughout the band, between songs was inaudible due to an unnecessary measure of background fuzz accompanied by Stephen Pope’s pick slides along his bass guitar. Then again, although Wavves’ performance wasn’t wonderful, I would still genuinely urge anybody to head out and buy their latest album, even if only for the nostalgia of their array of youth anthems.
Jonathan Hatchman.

http://counteract-magazine.com/wavves-the-garage-london-101110/