A few years ago, if you had said to anyone that Jamie T was releasing an album, bottom line is they wouldn’t have believed you, and then if you had said he was releasing two albums in two years, you would have been called a fool.
However, in 2016, we have exactly that, a second Jamie T album in two years. “Carry on the grudge” was released in 2014 and proved to be a really interesting record looking back. It wasn’t particularly the singles from the record that, for me, was what pushed it into the “really good” band of albums that year; it was the album tracks like “The Prophet” and “Mary Lee” that proved to be really impressive.
For “Trick” the big hit singles such as “Power over men”, “Tinfoil Boy” and “Tescoland” are highly commendable and all feature a new side to Jamie T we haven’t particularly heard before. A heavier, darker and more anarchic approach is seemed to have taken place here. “Tinfoil Boy” is the track for me, that is the darkest on the album and in “Drone Strike” you can hear a Kasabian type influence, especially in the chorus, which works really well.
But again, its the other album tracks from “Trick” that make this an album that I really really like. “Jone of Arc” and “Drone Strike” in particular are stand out tracks for me, their unique approach and Jamie’s lyrics set these aside from other album singles on this album.
Overall, Jamie T’s fourth studio album expands and develops on from where “Carry On The Grudge” left off, offering a new, diverse approach to songwriting I haven’t quite heard much of this year. More festival performances next year please.
The Heavy have been one of those bands where I don’t really know why they haven’t got, as such, a massive fan base. Hits such as “How you like me now”, “Short Change Hero” and “Same Ol”have been often used for tv adverts, movie trailers and “Short Change Hero” was even used for the title sequence for the TV War Drama “Strike Back”. They have obviously got something about them, but they have just never seemed to hold themselves in the public eye for a long period.
The 2016 release, “Hurt and the Merciless” is album that, again, hasn’t really been subject to much in the way of publicity and attention from mainstream media. Possibly for good reason.
I have been a fan of The Heavy ever since I first heard “How you like me now” a few years ago, their hard hitting bluesy rock style they adopted worked really well with the impressive range of lead singers’, Kelvin Swaby’s, vocals.
The new record keeps some of the older stylistic choices the Heavy previously adopted, but it certainly comes with more funky rhythms with it, keeping with the orchestral on many of the tracks, it really helps add a new layer of depth to the Heavy’s funk blues approach.
This is clearly evident on the track “Turn Up”, without the orchestral background, this particular record would fall flat on its feet, and you could say this about the whole album to be honest.
The simple and safe choices the Heavy go for in this record, with the writing and guitar riffs, are really nothing new for this British quartet; but at the same time, the new, and very few additions they have acquired help the record become more listenable.
“The apology” is a track that sounds like it could be played by a band performing on centre stage at a 1920s London club. Which isn’t a bad thing necessarily but it does epitomise the album in a sense, its good, but its not quite going to be blowing any minds.
Overall, I was previously surprised as to how The Heavy’s following is more of a cult one but this album isn’t really going to propel the quartet into arena shows, but is an adequate addition to a discography that for me, is still impressive; however this record doesn’t really add too much to it in terms of standout singles.
There always seems to be a constant stream of young, solo artists trying to build steam in order to breakthrough. Most of it though, is just talk and really just smoke without the fire.
Yes, you might be reading this and thinking this is just talk as well, and you’re right, it is, but this guy is a genuine “one to watch”.
Watford born, singer-songwriter Louis Antoniou has been on the blues indie scene in both Watford and Nottingham for a while now, but its after his recent performance at Y-Not festival that it could be time for you to keep an eye on this blues rocker, as his momentum is now really starting to gather steam.
His track “Forever climbing” is considered to be Louis’ foot-stomping opener when it comes to his live performances, which always seems to go down well as an up-beat opener that really sets the mood for the whole set.
“Modern day blues” could be arguably Louis’ most recognisable track, (the single that Louis has played most on numerous TV appearances for example), offering a punky skittle sound, this crowd favourite is always a record that goes down with a great reception at any of his live performances.
His maturity to be able to understand his audience in order to provide a kick-ass live show is fantastic and probably why he was asked to play at Y-Not festival, plus the incredibly catchy blues rock tunes that have always been great to listen to, especially live.
These singles I’ve mentioned are just tasters though, I personally still feel that Louis will continue to improve alongside the momentum that is really starting to build behind this young artist.
The future looks bright for Louis, the gathering momentum will only send him onwards and upwards.
Even though Julian Casablancas has been off doing his own “side project” with The Voidz recently, this is the first time anyone’s really heard anything new from The Strokes since “Comedown Machine” in 2013.
I was expecting Julian to bring that more heavier, rock approach he took with The Voidz and carry that through into The Strokes’ latest EP. Did that happen?
Minimally. “Future Present Past” to me, is very confusing, and a bit all over the place. You can’t really identify which direction they’re heading for, and that’s confusing. All 3 tracks (not including the Oblivious remix) come with their own individual tone which isn’t what I have previously experienced with much that has come before.
(This EP takes elements of previous albums… and thats a bit too safe for me at this stage of The Strokes’ career.)
“OBLIVIUS” is a track where The Strokes definitely take their time. With this song leading to a climax of a cluster of modern indie guitar rifts crossed with a slight moody undertone, its definitely reminiscent of previous records on the “First Impressions of Earth” album.
“Drag Queen” takes a more darker tinge and here you can start to recognise that Voidz influence, very subtly, filtering through. There’s more electronic percussion going on which, along with Casblancas moody vocals, kept me entertained for the majority of the track, but it did start to get repetitive.
“Threat of Joy” is definitely the more modern sounding indie track.
Keeping that in mind, this track still isn’t really taking steps forward from what we know their great at, in this genre. This record just seems way too safe.
It’s more laid back than the other tracks and definitely draws influence from the “Is This It” album. It’s easy listening that flows from start to finish without any change of pace, which is the easy route to go down if you’re a popular indie rock band that’s been around for donkeys years.
Overall, buy this EP if you like to hear experimental indie rock from a band who will still hold “national treasure” status after this has been received.
But for me, the experiment doesn’t pay off too well. I may listen to this on a grey, rainy day but it’s not an EP I would think of putting on in the car.
When someone asks me “what bands do you like?”, I rack off the list, the Arctic Monkeys have never made that bracket. That same person asks me “why they’re not included”. This reply always takes an absolute age to explain, so I’m officially going to publish it in writing so I won’t have to waste a good 10 minutes of someones valuable time to explain the reasons.
So. Enjoy.
Theres a fine line between naturally being good at something and trying too hard to be good at the same thing. There’s also a make up of specific attributes that really make a band great.
These two areas are where the Arctic Monkeys fall short, in terms of actually being really good. Alex Turner has a very unqiue voice, which is really not a bad thing at all, if anything it helps a band capture their own identity, but when you (a band) really force and focus all your music on the lead singers vocal attributes, that’s where the problem lies.
It’s just not necessary.
The rather irritating aspect of this specific problem is that when they released their first few songs and their first album, they just made a lot of noise and didn’t feel obligated to satisfy anyone.
It was actually not bad, their early stuff, I didn’t mind it just for the fact that they made a lot of noise.
The album AM is a prime example of how they’ve changed for the worse, in my opinion. Every song of this record demonstrates how obvious it is for a band to have a unique selling point and just tear it to shreds. (Im talking here about Turner’s vocals. Not the vocals themselves but the way he sings them. He really doesn’t need to go full Yorkshire all the time).
If you listen to it, the question you need to be asking is that “Can any other band do the same thing?” Or “Are the Arctic Monkeys actually unique?” The answer is Yes and No. Yes, any band could produce exactly the same material with a lead singer who hasn’t got such a Yorkshire accent. No because they actually don’t add anything new as a group and don’t really have a USP.
Listen to this:
How many “o’s” does Alex Turner have to really exaggerate before we understand what he’s saying? Its a slight irritant that has run throughout this group, especially for this album.
(The guitar rhythm is simple enough to create a good tune as well, it’s just wasted).
*THE FOLLOWING POST IS TARGETED TOWARDS MY GENERATION*
Right, Im back! Its now been around a month and a half since I posted my last “article” on here. (Correct me if I’m wrong).
The reason? Uni work, uni work, and a bit more uni work. Oh… and because I didn’t want to devote my time writing about Blues Rock music. The main reason? The main reason being that ever so slowly, since Ive moulded together my own independent music taste and style, I have increasingly been giving up with the whole music industry.
(Before I really get into it, let me just say that obviously I still love music, I still love Blues Rock and I still have time to listen to my favourite artists either on my own or with people.)
However, Im going to say that since I have built up my own personal opinion on music as an industry, I have started to come to the realisation that we (Western societies) are now getting to a point where music is becoming, mundane, repetitive, and just boring.
No-one has produced really anything innovative and fresh since the start of the 2010’s (arguably before that, but as I mentioned I wasn’t really paying attention at that time). Mainstream pop culture has dominated the music culture in this country specifically, and whenever any artist really tries to produce and write something even a bit more interesting, it gets shot down by the public.
E.g. The Sleaford Mods, they have a rant about politicians, they are new, exciting, and different from any modern punk group. But what do we do? Shoot them down, call them sh*t, and write them off completely, just because they are a bit different.
Today alone, I’ve personally heard several comments about the Mods that were no way positive. Its stupid. If you don’t like them, then just respect them, and respect what they’re trying to achieve. But no-one does.
Why?
Because we have listened to so much of the same beat, the same tune, and the same sh*t for so long now that our brains, are so fixated on one style of music. This has now allowed record labels and music producers to create and feed the mass market what they want to hear; the same music all over again, year after year.
Strip away the lyrics, and you will start to hear an incredibly similar sound that has remained constant throughout the industry for years.
Take a band like One Direction, how many of their utterly sh*t records sound so much like rock hits from 30 or so years ago?
Why? Theres no need what so ever. Can One Direction please, if there going to shove their sh*te down my throat, at least make it original sh*te that I can kind of respect. Not ripped of tunes from innovative bands like The Who.
Do a Nile Rodgers, create your own incredible, unique sound, and release great records.
Another example: Kanye West.
Putting my personal feelings of this compete kn*b to the side. How many times does he have to rip off artists to make a “decent” track? DO SOMETHING NEW! Stronger, gold digger, and even Black Skinhead sounds exactly like a Marilyn Manson track. Pick yourself which one.
Trust me, it doesn’t stop there. Pick any mainstream artist or band, strip the track of the lyrics, and you will have yourself the same beat, or tune, or rhythm that was probably introduced 20-30 years ago, or even since then.
More examples of artists/bands that sound the same:
David Guetta, Calvin Harris.
Avicii, Tiesto, Martin Garrix
Chris Brown, Jason Derulo, The Weeknd
The 1975, Peace, The wombats,
(The list goes on.)
Listen, and you’ll understand why I am getting to the point of where I’m just losing faith in modern music.
The worst thing about this though, the worst thing, is knowing that we, as a nation, let this happen. We constantly fall into the traps of the record labels, who obviously contribute more to a pop track than the actual artist anyway.
As well as that, I can’t even avoid it now with the progression of social media and going out on a Friday Night.
We can change the music industry, so please, lets get imaginative, lets broaden our horizons and sort this mess out.
So yeah, thats why I haven’t posted on here in while, Uni work and music. But I am going to keep promoting Blue Rock to music listeners. Its a bit different, so why not?
This Record of the Week comes from The Bootleggers feat. Mark Lanegan and the song is called “Fire and Brimstone“.
This track was on the soundtrack to the film Lawless. A truly great film and this single is probably the best track from the film. (As well as being just a very cool tune.) The soulful, acoustic blues guitar throughout is accompanied well by the, almost vintage sound the bootleggers carry with them which, in turn, helps create an atmosphere reminiscent of this time period.
Last week a New Zealand blogger (willnotfade) tweeted me suggesting that I should listen to this solo artists’ new album ‘Now‘. To be honest, I hadn’t really heard a lot about Ash Grunwald, but I thought ‘Why not?’. So I gave it a shot. Besides the fact that the tweet contained the phrase “I think you’ll like him” I didn’t really know what to expect. He could’ve just been a typical blues solo artist trying to break in to the music industry.
However, I was not disappointed, ‘Now‘ comes as Ash Grunwalds ninth album and it is very impressive. Its everything I look out for when Im listening to a solo artist. He’s confident, he lets the guitar do most of the work, and he isn’t afraid to f*ck sh*t up. No question, I would class Grunwald as Blues Rock; which automatically puts him up against names such as Jack White, Gary Clark JR and Jeff Beck, all of whom are big names within their own right. I seriously had to think whether or not I could take Grunwald seriously and put him in the same bracket as these guys. 8 previous albums does show that he has tried to make it before and it hasn’t really come off, which is probably why he’s not quite in the “Jack White” bracket just yet.
On the other hand, what I really like about this Australian born singer, is that to me, he has the ability to conjure up songs by playing the guitar like Gary Clark JR, that hard hitting, blues roots type of rock n roll, as well as having a voice that sounds like its come from the prohibition era (which is just f*ckin cool). This combination results in an album that just goes all gun ho’ and seems like Grunwald just wants to let the world know what he’s all about.
70% of this record is very upbeat and its almost as if you could really dance to some of these tracks. “In the middle” and “River” being prime examples of this. While, the other 30% of this album is there to really accompany the fast and upbeat tracks and bring listeners back down to earth with Grunwalds almost Grunge Blues sound, which sounds very dark. In other words, I wouldn’t have been surprised if “The Worst Crimes are Legal” was used as the theme tune to Sons Of Anarchy because that track in particular carries with it a very drawn out and grunge sound with it, which just sounds evil. And it sounds class.
The album goes straight through what is the essence of true blues rock and never looks back. From the first track “River” and the final track “The Least Among Us“, he never stops incorporating his own roots of heavy blues throughout.
This pick for Record of the Week is a tune and a half. The track is called “Gimme all your Lovin” and its from ZZ Top. Now I know this song isn’t exactly a new track, and I know it hasn’t been “recently released”, but it is such a banger.
Their iconic heavy blues, ‘in your face’ guitar intro is always great to listen to, and the whole song is just genius.
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