Live// Hatcham Social, Shacklewell Arms, London, 29/9/11.

Tonight’s secret show could have gone one of two ways: On the one hand, the band could have such an unbelievable cult status, that the band don’t even have to announce dates as the masses of diehard fans somehow know about its whereabouts before the band even confirm, through which could only be described as telepathy or fiendish obsession. Yet, on the other hand it could have simply been just a bit too much of a secret.

Sadly for London based Hatcham Social, the overall result was much closer to the latter. Taking to the make do stage of the dingy backroom of the tropical post-Rasta venue dressed like 1930’s lothario’s, an hour later than scheduled, flitting through a short set of 80’s indie nostalgia.

Including new single; “Like an Animal,” with amusing lyrics fit for the soundtrack of a cartoon version of American Werewolf in London, with sharp guitars and a beat-pop style chorus. Followed by the introduction of an acoustic guitar for the show’s definite highlight in the form of their outstanding single; “Crocodile,” taken from “that wonderful album that front-man Toby Kidd heard just last week.” Purveying snappy, jangly guitars and stammering vocals reminiscent of Orange Juice and Aztec Camera. Ending with a crowd invite back to Toby Kidd’s house for an after show orgy.

Another great performance from Hatcham Social, making it so hard to understand how they’re still playing to half full dimly lit pubs.

Jonathan Hatchman.

Single// Kele Ft. Lucy Taylor, What Did I Do

In the recent week there has been a great deal of press and hearsay regarding Kele Okereke, particularly surrounding a mischievous piece of journalism claiming Bloc Party have been auditioning new singers to take his place, a claim shot down by Okereke.

Anyhow, his new single- “What Did I Do” is the first set to be released from his new The Hunter EP. Taking Lucy Taylor onboard to assist in the way of vocal accompaniment. Retaining his typical electro driven sound as from his debut solo album; Boxer, but with an almost dub step element. On the down side, the single lacks Kele’s soulful voice, being replaced with Lucy Taylor’s incredibly chart pop sounding voice.

However, if Kele keeps churning out singles as good as this and his previous solo material, who cares about where the story of Bloc Party’s strange desire to take on a new front man came from?

Jonathan Hatchman.

Single// Korallreven, As Young As Yesterday.

In the preparation for their debut album release on November 15th, the Swedish duo have taken on Taken By Trees’ Victoria Bergsman.

Opening with a sweeping percussive element wrestling against the pounding bass-line, the song develops into a new-age, Narnia-fitting ensemble. With Bergsman’s swooning and almost haunting vocals, it becomes the equivalent of an audio rollercoaster, with upbeat soaring vocals to match the heavy synthesizers and tropical drumbeat.

Here lies evident proof that summer 2011 isn’t over just yet, so let’s make the most of it with tracks like this one. Also check out the remixes on the limited 12” before they’re all gone. 

Jonathan Hatchman.

Single// Benjamin Shaw, Somewhere Over the M6.

The new single from the Blackpool via London singer-songwriter; Benjamin Shaw proves a progression from his debut EP.
Starting as a folksy acoustic number with the dark, grim realities of aspects and elements of 21 st Century suburban life, with surreal poetic connotations amid apprehensive splendour, through lyrics such as “and we kiss using our eyes.” So simple, but in the same sense, so effective. Nonetheless, as the song evolves the trait that Shaw’s song writing is known for plunges to the surface, as the soft acoustic guitar line gradually builds into a diminutive wall of sound amongst gritty fuzz, into what can only be described as accidental shoegaze. Until its bedraggled ending brings a surreal track to a bizarre halt.
Whether you like it or not, alike so many pioneers of the neo-folk/pop movement, Benjamin Shaw’s level of success will be colossal.
Jonathan Hatchman.

Single// Totally Enormous Extinct Dinosaurs, Garden.

The name of the Oxford based duo may seem like a bit of a mouthful, but that certainly doesn’t play a part on new single “Garden.” Dissimilar to most modern dance music, the track doesn’t comprise layer upon layer of instrumentation and distinct sounds, also it doesn’t contain one hundred and one different hooks, sending the mind into complete overdrive, being that in all there isn’t an evident complicity.
However, what the track does have is a 1990’s nostalgic smooth, house vibe, presented throughout, under the boy-girl vocal harmonies. Morphing into a track that sounds like the product of a duet between The XX and Daft Punk.
All in all, it lacks the key features of most dance music, however that is hardly a bad thing, but proves itself to be a blissful, smooth, bass driven powerpop track.

Jonathan Hatchman.

Single// The Horrors, I Can See Through You.

It is often claimed that a band’s third album is arguably their greatest masterpiece. For instance; The Smiths’ “The Queen Is Dead,” Blur’s “Parklife” and Iron Maiden’s “Number of The Beast” to name a few. A statement that is certainly not irrelevant to The Horrors’ “Skying.” Disregarding the heavy punk guitars of their debut, plus adding a psychedelic element to the shoegaze of “Primary Colours.”

Taking their new single - “I Can See Through You,” opening with an uncharacteristic euphoria, as shown by the carousel sounding synthesizers, building up and diving into an ultimate crescendo of psychedelic fuzz, delicately introducing Faris Badwan’s husky vocals. Falling nothing short of epic.

Yet another great track from one of Britain’s best current alternative bands, what else did you expect?

Jonathan Hatchman.

Single// Chase & Status, Fool Yourself.

Taken from the London based electro duo’s second album; their new single
“Fool Yourself” falls short of the standard of their recent singles.

For instance, singles such as; “Blind Faith” and “Let You Go” understandably,
took the UK dance and even pop scene by storm. However, it’s hard to
understand how “Fool Yourself” will achieve the same effect.

In fairness, there are high points, such as the racing up-tempo bouts of
deliciously heavy synthesizers. Yet, the constant repetition of “You can only fool
yourself for so long,” which are, infact, the only lyrics that appear in the song,
looped between Plan B and Rage’s undeniably different vocal styles, does
somewhat belittle their song writing skills.

Putting it’s faults aside, the foundations of a good dance single can be seen,
although vaguely, hopefully this is just a blip in their  single discography and
their next release will be up to the standard of their previous material.

Jonathan Hatchman.

Single// Avril Lavigne, Wish You Were Here.

Taken from her fourth album “Goodbye Lullaby” subsequent to a drastic makeover from her 2002 debut “Let Go,” “Wish You Were Here” will be released on 17^th October.

Starting strong with a protest style acoustic guitar arrangement under folksy sounding vocals, an apparent shift back to her original sound, disregarding the pop-punk hooks of her number one smash hit; “Girlfriend.” But instead reverting back to the moody teenage pop of say; “Complicated,” yet equipped with a breakdown that could somewhat be categorised under the stigmatic genre of late 1990’s/ Early 2000’s girl group pop.

Let’s face it there’s never going to be another 'Sk8r Boi' but at least an evident maturation is purveyed through her latest single, if you look past the disposable pop breakdown.

Jonathan Hatchman.

Single// Toddla T, Streets So Warm.

Its fair to say that Toddla T, hasn’t been the luckiest man in the music  industry in the past months: for one his acclaimed second album; "Watch Me Dance" was leaked months before release. Secondly, the release date had to be held back due to his finished stock being destroyed in the PIAS warehouse fire, during the London riots. 

However, he has taken on dancehall singer; Wayne Marshall to take vocal duty on his latest single. Injecting a strong Jamaican reggae vibe into the track, alongside the mixture of electro, dub and hip-hop in the backing instrumentation. Lyrically purveying a bitter attack unto the government and corrupt authorities. Hopefully Marshall's philospohical yet perturbing sense of revolution and flippant outbursts wont provoke another riot. 

Either way, Toddla T mixes the noted musical styles very well, and will most
probably be the next big thing in British dance music. 


Jonathan Hatchman.

Single// The Wave Pictures, In Her Kitchen.

The latest offering from London via Leicestershire based; The Wave Pictures conforms to their general pop-rock twee and quirkiness.
Containing absolutely no lack of dramatic impact, under David Tattersall’s melodramatic vocals lie stabbing power chords struggling to push their way to the surface, until they finally succeed and building in a White Stripes signature style into a jangling, bluesy solo that carries the track to a new level of excitement, where Tattersall’s lyrics are displayed in a way that pays homage to Morrissey’s witty self adoring charm, regarding perturbing ironic romanticism.

All of these elements make up for a great track but nothing unexpected from The Wave Pictures.

Jonathan Hatchman.

Album// Roll The Dice, In Dust, 12.09.11

The follow up to Swedish computer boffins, Roll the Dice’s, Live in Gothenburg EP marks a significant difference from their eponymous debut.

Opener, “Iron Bridge” purveys a layered melancholic, industrial notion. As does “Calling All Workers,” with its spirit smashing church bell and ominous chimes.

Another key feature of the album is the minimalist piano and rumbling, bassy synthesizers as put across on the aptly named “Dark Thirty” and “The Skull is Built Into the Tool.”

However, the last three tracks- “Cause and Effect,” “Way Out,” and “see You Monday” mark a surprising rise in tempo, until the crashing halt of “See You Monday;” casting “In Dust” into a distant, faded memory.

Whilst the album lacks a sense of excitement, maybe due to the complete lack of vocals and lyricism or maybe due to the average song length of six minutes (although most are longer). “In Dust” does withhold a gloomy, noir sense of ambient beauty that is commendable within Malcolm Pardon and Peder Mannerfelt’s latest work.

Jonathan Hatchman