Album Review: The Drums - Self-titled

The Drums - The Drums

It would be easy to write-off the Drums as yet another throwback pop band. However, that would be too simple to do. Don't we all want some new Smiths material? Or how about something that sounds like them, Joy Division, the Cure, and all the rest of those great 80s acts? The Drums may be the band that has come up with the best effort so far. There's been much eightiesgazing, but so far none have been this good.

The Drums self-titled debut album stands out because these guys know their way around a pop hook. Opener 'Best Friend' sounds like it could have been a huge hit for the Sundays, and they performed a wonderful version of the song on Jonathan Ross just a few weeks back. In fact, BBC seems to be promoting them a fair bit, probably because they came in fifth on the BBC Sound of 2010 Poll. So far, this is far and away the best release from anyone on that poll. Yeah, I said it, screw you Ellie and Marina!

The whole thing is very head-down, arms-straight-down danceable - the kind of thing my old college housemate would have loved. He couldn't dance to the like of Justin Timberlake or whatever the clubs are banging out these days, but he could definitely dance to this. And whistle along. Every album needs whistling. It's featured here on the single 'Let's Go Surfing', which is probably the album's worst moment. It's a song that tries too hard to be a hit. The Drums work much better when they're just enjoying it.

There's plenty to enjoy here, 'Book of Stories' and 'Forever and Ever Amen' are highpoints, particularly the former, which is a real smooth summery Cure-type track. Overall, the album is nothing amazing, it's far from groundbreaking, but it is a lot better than all the rest of the 80s pastiches out there. If they can build on this, the follow-up should be superb.

Album Review: Ryan Adams - Orion

If you follow the comings and goings of the maverick born David Ryan Adams, you'll probably have heard of his new metal-country album. "Oh Ryan..." Yeah, that's what it's called. It's a clever pun, and is a great title for the record. Not because you'll find yourself with your head in your hands after listening to it, but for the fact that it's sort of a sci-fi concept album. (Sort of - you can never make sweeping statements when Ryan Adams is concerned.)

I'm not sure if this was the proposed 2006 album Star Wars, but it does come from that time, and is produced by the man who helmed Easy Tiger, Jamie Candiloro, and is an album full of songs like 'Halloweenhead'. So if you thought that was the weak link on ET, stay away from this one. On the other hand, if you loved that tune and are looking for something louder and shoutier, Orion is definitely for you.

It's hard to know what to make of the record. It's nothing like Heartbreaker, Gold, or any of his previous releases. It is however, like some of the online stuff he streamed in 2006-2007 under various ridiculous monikers: Sad Dracula, Rhoda Ro, and Warren Peace. In actual fact, one of the songs here, 'Fire and Ice' was originally featured on a Warren Peace album (yeah, that name is another pun too). It was probably the best Warren Peace song too.

The songs are quick sub-three minute rock riots where Adams screams nonsense lyrics about galaxies, intergalactic wars, metal spiders, and all the rest of that stuff you'll find in a teenager's science fiction wet dream. It would be terrible only for the fact that it's actually great fun. It's hilarious, but also so much better than anything a teenager could concoct. Some of the riffs are among Adams' best guitarwork. 'Signal Fade' has a fantastic solo, and 'Disappyramid' is musically wonderful from the outset.

By now, you should have an inkling whether you want to hear this album or not. Unfortunately, only a limited number of vinyl copies were pressed, and it hasn't been released on CD. So you may have to find other means to get your hands on it. Have a look at eBay, I'm sure you can get really ripped off for a copy on there.

If you're in two minds about buying the record for a hiked-up price, then this should sway you. There's a song halfway through the album called 'Ghorgon, Master of War', and yes, it's every bit as good as it sounds.

Overall, this is actually worth listening to. It's not for everyone, and will probably only appeal to hardcore Ryan Adams fans. But it's great that's he's back releasing music. Hopefully that trend will continue and we'll get more unreleased albums, like Darkbreaker, or perhaps even that track-by-track cover album of the Strokes' Is This It. Maybe he'll go back into the studio and do something totally new. Nobody knows. I doubt he does himself. We'll just have to wait and see.

Album Review: Villagers - Becoming a Jackal

Conor O'Brien is receiving a lot of hype from all directions. Critics are praising him everywhere. And justifiably so. His debut album as Villagers, Becoming a Jackal, is yet another reason why 2010 is turning out to be the best year for Irish music ever.

Since the dissolution of the Immediate a few years ago, you'd think that O'Brien may have gotten rusty, but if anything, his vocals have improved tenfold since then. His voice is glorious and soars on many of the tracks. 'I Saw the Dead' is a perfect album opener, with a wonderful entwining piano melody and enchanting vocals from O'Brien.

The album's highpoint is the title track, and the song which introduced him to the world on Later with Jools Holland a few weeks back. It's one of the songs of the year, regardless of nationality. But luckily for us, the album is full of gems. The first four songs are as good as any opening run in recent memory. 'Ship of Promises' could be a fantastic radio single, and if his new label Domino have the sense (which I imagine they do, they've done everything else perfectly up til now) then it will be all over the airwaves this summer.

'The Meaning of the Ritual' had been originally on last year's Hollow Kind EP, but has been spruced up for the full-length, and I must say the improvements have turned it into a better song. The album's guitarist Tommy McLaughlin was in charge of production duties, and this hands-on approach has really added a warmth to the album. This can be heard throughout, particularly in the breezy 'That Day'. It's also perfect for radio, as is 'Home' and 'The Pact'.

'Set the Tigers Free' is yet another highpoint, as is the growl of 'Pieces'. There's some more straightforward singer-songwriter tunes on here too, such as 'Twenty Seven Strangers' and the splendid closer 'To Be Counted Among Men'. In fact, there's not a weak point on the album. It's a perfectly well rounded record

Album Review: The Divine Comedy - Bang Goes The Knighthood

The Divine Comedy - Bang Goes the Knighthood

Neil Hannon has always been a fantastic lyricist. It's probably the best thing about the Divine Comedy. (That said the music is awesome too). Less than a minute into Bang Goes the Knighthood, you know you're in for a treat. Who can't relate to the line "Talk about how the film ain't half as good as the book"? Fabulous. This is the Divine Comedy's tenth album, and is probably their best since Fin de Siecle. Don't get me wrong, I'm not a hater of their recent material (Absent Friends still gets regular plays), it's just that this is a standout record in a career full of brilliance.

Opener 'Down in the Street Below' is a gorgeous song about looking at the world through the eyes of others, and features a masterful breakdown and wonderful harmonies. But don't worry, Hannon is still clever and witty (much like he was on his last release, 2009's Duckworth Lewis Method). 'The Complete Banker' is a typical Hannon-esque look at the banking crisis and those who caused it. The first time I listened to it, I had to check the inlay booklet to see if there was a diagram telling you to pull your mouth apart and say "complete banker". (Some of the more juvenile among you will know what I'm talking about "My daddy's a banker".)

As always, there are songs here to transport you to another world. 'Neapolitan Girl' is set in Italy in 1944 after the occupation, and is based on Norman Lewis' war memoir Naples '44. The lyrics are totally at odds with the jangly melody. Inspired genius.

I have only mentioned three songs so far and I've already run out of superlatives. That's how this album makes me feel. Definitely a career highpoint.

'Bang Goes the Knighthood' is about, well I won't ruin it on you, but it reminded me of the only good section in Joseph O'Connor's Star of the Sea. The bridge is utterly splendid though. Lead single 'At the Indie Disco' was a perfect choice to show off the album's strengths. There is sure to be many more tunes selected, but none as fun as this namedropper. This is definitely going to be one of my songs of the summer.

Not all the songs are belters. The title track is a slower, more mellow tune. 'Have You Ever Been In Love?' is an old-school romantic song, along the lines of Bacharach and David. Which is exactly what Neil Hannon was going for. Mission accomplished. Similarly, 'The Lost Art of Conversation' has a wonderful old-time feel to it. Apart from talking about Frank Lampard in the first chorus, of course. 'When A Man Cries' is the saddest tune on the album by far, but Hannon is as easily able to handle this kind of song as he is the more jaunty numbers. The fluttery Alice in Wonderland/Peter Pan feel is fantastic too.

'Assume the Perpendicular' is another one of those songs to showcase Hannon's verbal dexterity. Who else could get away with lines like "Crunch of the gravel driveway / Dash by the grand facade / Just for today we're lords and ladies / Oh what a gay charade / Livinia loves the lintels / Anna the architraves / Ben's impressed by the buttresses / Thrust up the chapel knave". The title is brilliant too.

'Can You Stand Upon One Leg' reminds me of 'Raindrops Keep Falling on My Head', and makes me want to dance just as much. 'Island Life' was originally written for the musical version of Swallows and Amazons and has that kind of feel to it. Neil, you're my Dorothy. The album ends brilliantly with 'I Like' a love song to everyone. You know what I like? This album. A lot, a lorra lorra lot. Simply glorious. Easily one of the Divine Comedy's finest releases.

Album Review: Cathy Davey - The Nameless

Cathy Davey - The Nameless

After being knocked off her one-week perch at number 1 in the Irish charts, Cathy Davey could not have asked to have been supplanted by anyone closer to home. Conor J O'Brien did not only record Villagers' Becoming a Jackal recently, he also was involved in the entirety of Cathy Davey's third album The Nameless. Oh and it's still #2 this week. Not a bad 1-2, right?

Davey's third record may well be her best yet. It takes everything that made Something Ilk and Tales of Silversleeve great and turned them up a notch. Her singing is as bewitching as ever, and her and O'Brien's music is first-rate throughout.

Opening song and title track 'The Nameless' is a captivating tune, showing off her powerful vocals, especially during the splendid closing section. It's like wrapping yourself in the warmest of blankets and blocking everything else out.

There's much to enjoy here, 'Army of Tears' with Neil Hannon is led by wonderful strings until it leaps into a wonderful chorus. Symphonic brilliance. The press release calls the tune the best ever Eurovision song not to appear at the Eurovision, but I feel that belittles it. It's so much better. 'In He Comes', 'Bad Weather', and 'Wild Rum' are equally beautiful, the first is a particular standout in the Kate Bush mould.

Single 'Little Red' showcases her talents further, and highlights how her move away from a major label has actually helped rather than hindered her career. It has given her the time to record something as mystifyingly beautiful as this.

The album is masterfully arranged, a tremendous job has gone into the album, from everyone involved. But the star of the show remains that gorgeous voice. There isn't many better instruments in Ireland. Glorious, and yet another reason why 2010 is proving to be the best year ever for Irish music.

Album Review: The National - High Violet

I am getting the sense from a lot of people I talk to, that High Violet is many people's first introduction to the National. It's probably going to be the album where their career really takes off over here. But it should be pointed out early and often that this album is not a patch on the two records that came immediately before it (although it is better than their first few). In fact, it's not even more commercial than their last, Boxer. So it's kind of strange that this is their biggest yet.

Don't get me wrong, High Violet is one of the better albums of 2010, it's just not the National's best. It's a great album full of wonderful, captivating tunes, not least album opener, the gritty 'Terrible Love'.

The National have long been a music first band, and thus the songs features big melodies and intense crescendos, which are then layered with Matt Beringer's enchanting lyrics. How can you argue with "We'll play nuns versus priests until somebody cries"?

There's plenty of highpoints to savour, particularly singles 'Anyone's Ghost' and 'Bloodbuzz Ohio', but for me, nothing tops the utterly compelling 'Little Faith'. The album is strong throughout, and closing tracks 'London' and 'Vanderlyle Crybaby Geeks' are both standouts. However, overall it's not as good as Boxer or Alligator. Maybe it lacks the immediacy of those two albums, but it's just not as good.

Fantastic, but not as good. That said, 'A Little Faith' ranks among the best songs they've recorded. Immense.

Album Review: The Dead Weather - Sea of Cowards

Yesterday saw the Irish release of the second album from Jack White and Alison Mosshart's Dead Weather. The album, Sea of Cowards came with four exclusive photos if you bought it at HMV (there's still some available as far as I know), and will be released worldwide early next week.

Sea of Cowards probably isn't as immediately accessible as their debut, Horehound, which launched them on the scene last year, but the highs are much higher this time around.

The album is as dirty and as aggressive as the first, and the greasy 'Blue Blood Blues' really sets the tone. It's a great, gritty opener with a fantastic repeated riff, and includes the amazing line "shake your hips like battleships" and the refrain "I sing at Sunday service". Nobody else but a Jack White band could pull this off.

'Hustle and Cuss' is the album's first Alison-fronted tune, and although it has a fantastic title, it's one of the album's weaker tracks. I probably was expecting a lot more from the song's name. It just never really gets going. You know what its problem is? It's not loud enough. Loud is exactly what you want/need (delete as appropriate) from the Dead Weather.

'The Difference Between Us' is the only song solely credited to just Mosshart and White, and is one of their finest songs yet. It's got a kind of B-movie sci-fi theme, and has the feel that it wouldn't be out of place on a White Stripes record. 'I Can't Hear You' is similar, and features fantastic guitar lines. How can you not love the squeal from White's guitar?

Some of the songs are complete throwaway tunes, 'I'm Mad' and 'Old Mary' particularly. The schizophrenic 'I'm Mad' totally interrupts the flow of the album, and is the worst song in the Dead Weather canon (and probably one of the worst things White has put his name to).

Luckily, most of the album is fantastic. Single 'Die By the Drop' (which is missing White's name in the credits) was a fantastic way to introduce the new album, but the highpoint comes later on 'Gasoline', which improves on 'Cut Like A Buffalo' in every way. 'Die By the Drop' features fantastic vocal interplay between Mosshart and White, and has a chorus that demands to be sung along with at maximum volume.

'Gasoline' is the best song so far from the Dead Weather, and would probably be in a list of the top ten Jack White songs. It's that damn good, and is worth the admission price along. Even the opening few bars are incredible. It's definitely Mosshart's best song of her career (Kills tunes included). Go and listen to it now...

Album Review: The Butterfly Graveyard

The liner notes/booklet for the self-titled album from The Butterfly Graveyard (which is the brainchild of Terence O'Connor along with the Corkonian producer Herbie Macken) would indicate you're in for something overly-lyrical and self-indulgent. There's references to Shelley and Prospero, as well as songs about Fenian mythology. However, on the surface (all that is under the surface to be explored on further listens), it's a wonderfully melodic album in the vein of Blue Nile's Hats.

Opening song and debut single 'Writing You Off' is a gorgeous tune carved out on a wonderful ambient landscape. Herbie Macken did a great job here (he has previously worked with Gavin Friday, Daniel Lanois, and Bic Runga) and no note seems superfluous.

'Underdog' is a gritty Jack White-style tune, and is much more aggressive than the opener. The album mixes these ups and downs, the mellow and the heavy perfectly. It's a wonderful meld, but wouldn't be complete without O'Connor's sharp vocal. Three years in the making, this is an album that epitomises hard work, and shows in its construction.

'Pray' is the song that stands out as being the most influenced by the Blue Nile, and the whole thing is sure to appeal to fans of the Scottish band (particularly as there's been nothing from the Blue Nile in 6 years!)

The album contrasts brilliantly: 'One in a Million' is a haunting, sensitive tune, whereas 'Sunburn' could easily be a radio single.

Overall, it's an enchanting record that yields more with each listen - especially when you take time to investigate the beautiful lyrics. 'Butterfly Graveyard' particularly, it's full of fantastic lines "The sad muse sat like a photograph / Biting her nails with worry / And the lark sang and his song it rang / It was me for you and you for me".

A wonderful debut, it's out now on Oracle Records.

Album Review: O Emperor - Reverie EP

What's that bit in 'Sitting on the Dock of the Bay' that everybody loves? Yeah, the whistling. Whistle that one anywhere, and it's bound to get another few joining in for the chorus. It's almost like imagining yourself sitting high on a girder overlooking New York City in the 20s with your hod on your back.

The opening track ('Don't Mind Me') of O Emperor's debut EP Reverie has a similar moment when the whistling kicks in. It's instantly embracing, and lets you know you're on to a winner. O Emperor have release this little four track EP, but all the songs are winners.

They are radio-friendly to the extreme, but never cheesy. These five Waterford guys know how to craft melody and great hooks. 'Ghost of My Heart' is a floaty, almost ethereal tune, but tones it down before it gets a chance to go out of control. It's much more varied and introspective than many songs you hear on radio, but at the same time, wouldn't appear out of place in a Top 40 Countdown.

They played the New Band Stage at Oxegen last year, and are destined for bigger things. 'Devil Don't Dance' has a Spanish flair, which will enchant listeners outside of Ireland. 'It Only Comes to Pass' has a totally different feel to the other tunes, much more gritty and acoustic. It's a great song, and one that fits in perfectly with the Irish singer-songwriter mode many of us are used to.

Immediately impressive, O Emperor have created an astonishing debut, and one which will stay on record players long after the summer ends.

Album Review: Lady Antebellum - Need You Now

What's the best thing about the fact Lady Antebellum are releasing their second album Need You Now this Friday in Europe? The fact that it was only released two months ago in the States, making it eligible for my Year End Best of list. I'm not going to hide my love of this album at the start of a review. I love it. It's a gorgeous record, and will probably end up being one of my top ten albums of the year.

American country doesn't get enough credit over here. Just look at the 2009 Country Music Association Awards. Of the winners, the only one most people over here would've heard is Taylor Swift. Even the runaway success of the last decade, Carrie Underwood, is little known on this side of the Atlantic. Lady Antebellum won Best newcomer at the 2008 ceremony, and followed that up by winning Vocal Group of the Year.

And that's what Need You Now has in spades: gorgeous vocals, combined with wonderful melody. The harmonies between Dave Haywood and Hillary Scott are incredible. Opener and title track 'Need You Now' will probably end up being my song of the year. I can't get it off repeat. It's marvellous. The chorus is amazing, we've all felt it: "It's a quarter after one / I'm all alone / And I need you now / And I said I wouldn't call / But I'm a little drunk / And I need you now". Song of the Year? Definitely.

But they're not just a one-trick pony. The rest of the album is fantastic too, 'American Honey' is the second single from the album, and is just as sweet and tasty as the title suggests, and just sticks in your head (sorry, couldn't resist the pun). The Dave Haywood-led songs are damn good too: 'Our Kind of Love' is a big highlight. 'If I Knew Then' is a lovely slower tune, and shows the band's all-round ability.

This is a feel great album: 'Stars Tonight' has one of those infectious upbeat chorus with a real toe-tapping beat. 'Hello World' and 'Perfect Day' are a fantastic one-two punch of catchy country numbers, with the latter a real standout.

Another good thing about Lady Antebellum is that they write the songs themselves - unlike than their main competitors Gloriana, whose debut is over-produced by Matt Serletic. Although this album is heavily polished, it never overburdens the songs. It's just enough to be a wonderful crossover hit.

The best pop-country album of 2010? Definitely. And you know what? It's probably the best pop album of the year too. Wonderful.

Album Review: The Tallest Man on Earth - The Wild Hunt

Every year some young singer-songwriter is pronounced the new Bob Dylan. They come out with an encouraging debut album and then sort of disappear into obscurity. In 2008, Kristian Matsson released Shallow Grave to much acclaim, a 8.3 Pitchfork review, and those inevitable Dylan comparisons.

Second albums are always difficult. It's become a clichéd phrase in music criticism, but it's still apt. There's a few options, you can do an MGMT and try something different, you can branch out here and there, or else you can do what the Tallest Man on Earth has done and taken the initial blueprint and made it better in every way.

The Wild Hunt is better than Shallow Grave - it's even decimally 2% better according to some sources. Plus, those Dylan comparisons aren't going away. It's unfair to compare the two. It's apt, but unfair.

The lead single for the album, 'King of Spain' was made available as a free mp3 download, and is one of the best songs on here. However, there's not one dud on what is an excellent album. Matsson performed everything himself, and his vocals have even improved from the full-length debut.

That's the one thing that may have held him back before. His vocals are croaky which some may find hard to bear, but when the lyrics and melody are so beautiful, how can anyone resist?

At just under 35 minutes, it's a short album, and never outstays its welcome. It's a collection of beautiful songs, of which there are many highlights: 'A Lion's Heart', 'Burden of Tomorrow', and 'Troubles Will Be Gone' to name a few.

Each time you play it, you'll have a new favourite, and it's an album that I can't help coming back to again and again. Gorgeous.

Review: The Hold Steady - Heaven is Whenever

I'll admit it, I was late(ish) to the Hold Steady party. I didn't become a fan until Boys and Girls in America. Even though people were singing the praises of their second album Separation Sunday (it even made the albums of the year list on the site where I used to write) I still didn't bother checking them out. But after hearing BAGIA, I was hooked. I got everything I could, listened to everything Craig Finn has done (even the Lifter Puller years), so when the band's fourth album Stay Positive was announced, I eagerly awaited it. It wasn't as good as Boys and Girls, but it was still a great album. Next month sees the release of their fifth record, Heaven is Whenever (although it came out on vinyl for Record Store Day), and it's currently streaming online.

So what's Heaven is Whenever like then?

Relationships are strange beasts. At the beginning of one, you always aim to do everything right - you laugh at their jokes, you tell them funny anecdotes (but only ones that paint you in a good light), and you never mention ex-girlfriends or ex-boyfriends. It's only after a few dates that you start to uncover the real person underneath. But it takes years before you really know everything about them.

Hold Steady albums are similar. Some of the tracks are instantly catchy, you pick out a lyric here and there that catches your attention, and you pump your first and grin wildly at the "woah-oh" parts. This was definitely true of Boys and Girls and Stay Positive, and both Almost Killed Me and Separation Sunday definitely had these moments.

A first date with Heaven is Whenever is like going out with your ex's sister. She may look similar in the distance, but once you sit down for dinner and try to discover her nuances, she's in no way the same. Some mannerisms are repeated definitely, there's a saying or phrase taken from this conversation or that, but deep down, you know she's not the same.

Your first hint is 'The Sweet Part of the City'. A splendid introduction, although it's smoother, softer, and a little gentler. Maybe this girl is the one you've been waiting for. As the date goes on, you see that she's entertaining too. Sure, she's got some problems, but who doesn't? 'Rock Problems' is charming, it just reels you in further.

Near the end of the first date, you're captivated. We've all been waiting for something like this: 'Our Whole Lives'. And by the time it's over, you're finished 'A Slight Discomfort', you just want to do it all over again.

Fast forward to the fifth date and you really start to discover what makes this girl tick. You start to notice her name drops, her stories, her interests, her hobbies. You start to see what's really there. Like 'We Can Get Together' and its repeated Husker Du references. She's clever, she's got good taste - maybe not the exact same taste as you, but those sure are some sweet words she's saying. Hey, was that a Meat Loaf reference? I thought I was the only one...

There's a lot here to like. 'The Weekenders', even first introduction 'Hurricane J', but we all have our flaws. She's probably more well-rounded than her older sisters. And there's heaps going on to bring you back for moref. Her beauty wasn't evident from the start, and there's still some things that niggle you, things you may never like.

But remember, you've had experience with other girls before. You can't be constantly comparing and contrasting - I wish she was like..., or that she did...
You've also got to remember that she's coming out of a relationship too. Franz is no longer around. She'll need time to settle down, to adjust. Let's just hope the transition doesn't last too long.

And the fiftieth date? Well, you're not there yet. And you know you probably won't like her as much as some of the others, but you're going to see this through. She's worth it. There's a lot to like, not as much to love, but definitely a lot to keep you around for more.

Album Review: John, Shelly and the Creatures - Dinosaur

John, Shelly and the Creatures is not John Shelly and the Creatures. There's no John Shelly. Actually, I'm not sure if there's a John or a Shelly either. I definitely don't see it in the band lineup, but rumour has it, they're in Berlin somewhere.

Anyhow, John, Shelly & the Creatures are the best band to come out of Northern Ireland this year (and that includes Two Door Cinema Club). Their debut album Dinosaur has just been self-released, and is highly worth checking out.

It's a breezy pop album, with fantastic instrumentation throughout. The piano on 'Cold War' is glorious, and the vocals on opener 'Blinded and Cross' are hugely uplifting. The vocals on the whole album really soar, and the harmonies on some of the tracks are almost Byrdsian.

Dinosaur is not a rock album the way Tourist History is, but rather a melodic pop record, with great melodies and fantastic hooks. 'Sunny Side Street' is the perfect example of this. It's not all straightforward pop though, as demonstrated by the slow-burning, pedal-steel led 'Sight of Your Chest' (performed by guest Stuart Bell). Maybe the Irish alt-country movement may be set to arrive!

You may already recognise 'Long May You Reign', as it was featured on the Discover Northern Ireland adverts. A great selection, but there are loads of fantastic songs here which are sure to get airplay - such as 'Rust', 'Marley Street' and 'Killer'. The latter especially. It's the album's highpoint and an utterly gorgeous rock song. Destined to be a hit.

Overall, it's a very impressive debut, and a quite cohesive record. Impressive from start to finish, this is the beginning of something good.

Album Review: The Last Tycoons - Self-titled

Need a Rolling Stones kick? Mick Jagger not getting you up any more? Why not try Dublin's the Last Tycoons? Formed from the ruins of former band Porn Trauma, The Last Tycoons are a dirty, greasy, high-spirited rock band, sure to suit your needs.

Their debut album, The Last Tycoons was released on Good Friday and features the excellent single 'The Dry Law', which NME Radio described as "great narrative tinged country pop". The description doesn't apply to the whole record, which is somewhere nearer a cross between Beggar's Banquet and the Bad Seeds' The Boatman's Call than straight-up country pop.

It's a dirty rock album, with some fantastic story-driven tunes. Single 'The Dry Law' takes place in prohibition-era America. 'Not At All' is a National-esque tune featuring Strokesian vocals. The Last Tycoons pull their influences from everywhere, meaning that the album is a wonderful melting pot of melodies. 'Speed' is the song that really evokes memories of Mick Jagger, with it's dirty riff and growling vocals.

'The Dry Law' is a old-school pedal-steel driven tune, and although selected as the lead single, it's probably the album's weak point. The lyrics are good, but it lacks the grease of the other songs. Like 'Don't Let me Catch You', the song immediately after it. It wouldn't sound out of place on Beggar's Banquet and is a song that is sure to work perfectly in a live environment. It's easy to imagine a crowd of revellers singing along to the lines "I'm gonna keep movin and get drunker than I've ever been".

Many of the songs here are instantly memorable: 'Seven Days (Off the Road)' is a really catchy song with a lovely breakdown, 'Alaska Hotel' is a lovely piano-driven ballad. 'The Love Song' is another highlight. It's a wonderful narrative-driven song, like most of the album. Overall, this is a highly accomplished debut from a tremendous new Irish talent. Definitely one to watch for the future.

Tour dates:
11 April - Crane Lane Theatre, Cork
13 April - Ruby Sessions, Doyle's, Dublin
14 April - The Village, Dublin (Haiti Charity gig)
22 April - Roisin Dubh, Galway
23 April - The Ryston, Newbridge
24 April - Flanagans, Newbridge
30 April - Electric Avenue, Waterford
12 May - GB Shaw Theatre, Carlow

Album Review: Oliver Cole - We Albatri

Oliver Cole - We Albatri

Today's review of Oliver Cole's debut album We Albatri in the Irish Times awards the solo record from the Turn frontman five stars. An impressive feat, but what stood out for me reading the review was that when some of the songs were mentioned by name I found myself singing the lyrics in my head. This is the true test of a great pop tune. If someone says the title of 'Can't Get You Out of My Head' or 'Just Dance' or 'Hey Ya', you find yourself immediately humming the tune. The same with many of the songs here. As soon as I read 'Moth's Wing' in that Irish Times review earlier, the chorus popped into my head.

That applies to most of the songs on the record. Opener 'What Will You Do?' is guided by a fantastic piano riff, and has a chorus that sounds eerily like a lot of Jon Brion's Meaningless - and I don't compare anyone to Jon Brion unless I really mean it, the man is a musical deity. This is a fantastic pop song, and the perfect way to begin an album.

All the songs on here are fantastic pop tunes. Single 'Oh My Girl' is irresistibly catchy, with a hook that could win any listener's attention. 'Too Many People' is one a lot of people have heard before, written by Cole for the Cake Sale album, where it was performed by Glen Hansard. Cole's doesn't differ too much from that version, but is sparkling nonetheless. Perhaps an Oscar could be somewhere in the future for Ollie? I could definitely see him scoring movies anyway - there's hints of Randy Newman and Harry Nilsson in here.

There are highlights galore on here. The smooth soulful 'Close Your Eyes' is a gorgeous song, the title track is a sweet piano ballad which requests multiple listens, and 'Little Bad Dream' is an instantly memorable singalong song. Fans of Turn will definitely not be alienated, but new fans will also be captivated by the brilliance of 'Drug Song', probably the album's highest point.

It's impossible to find any flaws with this album. It's a perfect pop record. Not tween/teen pop, but pop for grown-ups. Pop that people raised on the Beatles or the Beach Boys, or even ABBA, can appreciate. Wonderful in every way.

Oh, and after the album has ended, I'm still singing 'Moth's Wing' in my head. I will be all day...

Album Review: The Cast of Cheers - Chariot

The Cast of Cheers - Chariot

My good friend Michael is a huge fan of rock. Thus when I recommend an album to him, I always make sure that it's rocking. Definitely rocking. Last week, I recommended the debut album from Dublin rock band The Cast of Cheers. Named after Ted Danson, Woody Harrelson and co., googling this band of Irish barroom patrons will get you tonnes of links to "Where are they now pages", and if you're lucky, the link to download this album for free - legally too.

Chariot opens with 'Goose', and just five seconds in, you know you're on to a winner. It's territory which has been well trampled by Bloc Party, and this foursome easily could be Ireland's answer. They describe themselves as 'Robot Rock', which isn't too far off the mark, but the emphasis should really be on the rock. This album contains foot-stomping material from start to finish.

The strangely titled 'I am Lion' is more spectral than the opener, with moments of woozy melody which add an unsettling quality to the music. Unsettling in a good way though. Kind of like how Paranormal Activity is a great film. Unsettling, but great. 'Tip the Can' slides towards breathy mathrock, as it races along at a momentous pace. 'Auricorn' brings more Bloc Party comparisons, and has some great lyrics including the clever "I am not the deputy / And he was not the sheriff / We stole her identity".

There are plenty of great tunes on this album, including the gritty 'Derp', the angry outburst of 'Tigerfox', and the slow-building 'Strangers' injects a surprisingly good change of pace. All the songs are punchy, with only the closer 'Glitter' over four minutes, but this is why the album works so well. It's a fantastic one-two punch of an album which briefly sticks around, but makes enough of a mark to be memorable after the last note rings out. A fine debut from an emerging Irish rock behemoth.

Download:
Full Album

Album Review: Clancy - Road to the Heart

Clancy - Road to the Heart

Paul Clancy recorded this album before his death earlier this year. Sadly, he never got the chance to hear it. Thus, his tragic story has echoes of Mic Christopher. Paul Clancy was best known for his band National Prayer Breakfast, but on this album, he was set to carve out a name for himself as a solo act.

The album follows the trend of Irish singer-songwriters, of which dozens have emerged in the last decade or so. David Gray has a lot to answer for. Paul's voice is more like Tom Dunne of Something Happens, except without the bells and whistles. The album is sparse, leaving the vocals and lyrics to do the work.

Opener and title track 'Road to the Heart' is a lovely introduction, and one of the most powerful songs on the record. 'Sad Song' is exactly as the title suggest, it's slow, melodic, and starkly memorable. Being the drummer in NPB gave Paul a great sense of rhythm, and this is none more obvious than on the angry 'Lancelot'. "Oh how has life won me over / Ain't this life a motherfucker". Sure is, when talented acts like Paul are taken from us at 34.

Many of the songs here are in the Josh Ritter mould - especially 'Led Astray', 'Your Paul' and 'Baby You're So Cool'. There are many influences that can be heard here. 'Led Astray' has moments of the Jeff Buckley version of Leonard Cohen's 'Hallelujah', and the repeated lyrics "no more will I be led astray" are particularly poignant.

'Sweet Sunshine' is a gorgeous ballad, with some beautiful arrangements. All the songs on the album were arranged and performed by Paul himself and Kevin Connolly from Herm - the two musicians working brilliantly together - there is not a hint of embellishment here. Nothing ever outstays its welcome.

It's a lovely, warm album, and a must-listen to anyone who's a fan of Irish singer-songwriters, or National Prayer Breakfast. Paul Clancy made a gem with this one, it's just an awful pity he wasn't around to see its release.

More info:
http://www.myspace.com/clancysongs

Album Review: Holy Roman Army - Desecrations EP

The Holy Roman Army - Desecrations EP

On Saturday, the Guardian had a feature in its weekly Guide supplement entitled "Is it time for your rubbish covers album?" which was highly entertaining, and very pertinent in an era where everyone seems to release a covers album due to sheer laziness or else to make money.

Luckily, the Holy Roman Army don't fit into either of these categories. Desecration is a free EP, where each of the five songs covered have been reinterpreted into the Holy Roman Army's own style, and fit in perfectly with their already established tunes.

So let's follow the Guardian flowchart for the Holy Roman Army?

1. Are you a pop musician?
Not necessarily pop, but definitely music. So we'll go for "Yes".

2. Do you think you are better than Marvin Gaye, Roy Orbison or Public Enemy, or indeed all of them?
Well I can't speak for the band, but I'm going to go with "No" on this one. I'd like to think they're humble enough.

4. Have you have any hits this past decade?
Well, they've only been around a few years, and last year's debut album How the Light Gets In was met to much critical acclaim. So "Yes".

7. How have you spent most of this last decade?
Not sure about the "cocaine" answer, and it's not the money one, so I'm plumping with "Consistently releasing perfectly serviceable, very successful albums"

11. Don't bother releasing an album of cover versions. It's the last dice-roll of a desperate act. Unless you're Johnny Cash. And to be fair, it's unlikely you're reading this if you are.

So perhaps not the best time for Holy Roman Army to release a covers album. It's good for us that they only released half an album then. There are some interesting choices of covers here. It opens with the Pixies 'Wave of Mutilation' which has been beautifully mutilated into something they can call their own. Rollerskate Skinny's 'Speed to my Side' is an inspired choice, and is given a whole new dimension here.

The songs which work the best are Pavement's 'Here' and Bon Iver's 'Skinny Love'. The latter is almost unrecognisable from the original, with only the lyrics left to connect the dots. Holy Roman Army haven't desecrated anything, but rather redrawn and refined in their own fashionable way. A great little EP, and a nice stopgap until the next proper album comes along. Take that Guardian!

Download the album in a variety of formats from ogg to mp3 to flac here:
http://theholyromanarmy.bandcamp.com/album/desecrations

Or alternatively, have a listen here:

Album Review: Drive-By Truckers - The Big To-Do

Drive-By Truckers - The Big To Do

The Big To-Do is the eight studio album from Alabaman rock juggernauts Drive-By Truckers. Their first, Gangstabilly came in 1998, and since then they have gone from strength to strength, with 2004's The Dirty South marking their highpoint. They're one of the most consistent bands around, and the departure of Jason Isbell following A Blessing and a Curse has allowed Shonna Tucker to shine. She contributed three songs to the lengthy Brighter Than Creation's Dark, but here the songs really fit the mood of the album.

Another reason the band has improved on that last outing (and don't get me wrong, BTCD is an outright four-star record) is that they've cut down on the number of songs on this album. It's more cohesive than previous attempts, with only 13 songs on the physical CD release. In an interview with yours truly in December of last year, Patterson Hood said that the album was "very much a rock album. Very melodic and more rocking than anything since disc 2 of Southern Rock Opera." From the opening chords of 'Daddy Learned to Fly' you realise he definitely wasn't lying.

One part of DBT's famed "three axe attack" that often goes unsaid is the harmony vocals, which really shine through on the oohs of 'Daddy Learned to Fly'. Keyboardist Jay Gonzalez also figures prominently on the tune, adding to the melody rather than overshadowing it. There's nothing on this album that is over-cooked. It's all the perfect blend of balls-out-rock and memorable melody.

There are many brand new anthems here. 'The Fourth Night of My Drinking' is a wonderful tale of drunken recollection. Many of the lines are inspired: "The second night of my drinking / I was looking for my car / And as luck would have it / I found it parked outside my favourite bar". The repeated refrain "It's gonna be through with me before I'm through with it" will undoubtedly become a carrion call for many late night revellers. 'This Fucking Job' is another tune bound to connect with many listeners: "Workin' this job is a kick in the pants / Workin' this job is like a knife in the back / It ain't gettin' me further than the dump I live in / It ain't gettin' me further than the next paycheck". A brand new anthem for commuters everywhere.

There are many highlights here. 'After the Scene Dies' is the song the Hold Steady wish they could write. 'Santa Fé' is a beautiful track with a gorgeous chorus. It also makes splendid use of John Neff's pedal steel. Highly addictive. 'The Flying Wallendas' is a great example of how Patterson Hood can make a slow song work just as well as the more upbeat ones. The musicianship on it is immense, as it must be said it is throughout this album.

Mike Cooley contributes only a few songs to this album, but all are instant classics: 'Birthday Boy' opens with the brilliant image: "Which one's the birthday boy / She aid I ain't got all night / What your mamma name ya / You can call me what you like". The song is full of gems like this: "Got a girlfriend don't ya boy / Nervous hands can't lie / Married men don't ask how much / Single ones ain't buying". 'Get Downtown' is another Cooley-penned track, and is the album's best song. It's irresistibly catchy, featuring some marvellous guitar/keyboard interplay. Possibly the most upbeat track the Drive-By Truckers have ever recorded. His 'Eyes Like Glue' ends the album strongly, and is the only one of these 13 tracks that hasn't been played live. Anyone yet to hear it will be impressed when they get a chance to listen, and based on the three Cooley-penned tracks here, the band's Record Store Day release Your Woman is a Living Thing will be fantastic.

Shonna Tucker's two contributions 'You Got Another' are fantastic ballads. 'You Got Another' is a song in the 'I'm Sorry Houston' mould, but is much better than its predecessor. It's a lovely slow-burning tune and contrasts sharply with the rest of the album. 'It's Gonna Be (I Told You So)' is even better. It's short, snappy and doesn't outstay its welcome - kind of like a rockier Stevie Nicks.

There's a few weak spots on the album. 'Drag the Lake Charlie' is great lyrically, but slows the mood down in the first half of the album. It probably would have fit in better in the second half. Similarly, 'The Wig He Made Her Wear' goes on for too long at nearly six minutes, and should have been cut from the album entirely.

However, the highpoints far outnumber the weak spots. Overall this is a marvellous album, and worthy of standing alongside Drive-By Truckers' finest records. Another fantastic release to add to an already wonderful catalogue. Bring on Go-Go Boots...

Album Review: James Vincent McMorrow - Early in the Morning

James Vincent McMorrow - Early in the Morning, a Timeline.

00:00:02 - Bon Iver. The Irish Bon Iver, that's what this sounds like. It actually sounds so much like Justin Vernon, I think I may have put on the wrong album. But it's so good, so damn good, I'm not going to check.

00:01:27 - 'If I Had a Boat' hits the chorus, and it's gorgeous. Upbeat but still gentle, it's that all-encompassing warmth which only the best folk songs have. Amazing.

00:03:15 - After slowing things down, it comes back around. Those harmonies are gorgeous. The lyrics are enchanting too. A beautiful love song.

00:04:23 - We're into track two now. It's branched out a little from the Bon Iver comparisons of the opener. But not too much, it's still gorgeous. In fact 'Hear the Noise That Moves So Soft and Low' is actually a step-up from the opener.

00:05:45 - Even when James Vincent McMorrow isn't singing the whole thing sounds amazing. That banjo riff infuses the song with a tremendous old-time feel.

00:08:15 - Not content with being Justin Vernon, JVMcM wants to be Robin Pecknold too. He's actually a far better singer and musician than that Fleet Foxes mainman, so perhaps they'll draft him in as a replacement.

00:09:33 - 'Sparrow and the Wolf' just screams folk. The title, the music, the crystal clear choral vocal, everything. One of the best songs of the year.

00:10:18 - Feck this breakdown lark, I want the upbeat back, oh here it is. Glorious.

00:11:31 - Even the outro section is magnificent. Why oh why does this song have to end?

00:12:03 - 'Breaking Hearts' is a much slower tune. It's a more formulaic track, with a Johnny Cash-style slow rhythm.

00:12:40 - When the chorus kicks in, it gets good. A nice little anti-love song, with tales of broken hearts and drinking the night away. We've all been there.

00:14:59 - This reminds me a little of Brett Dennen, albeit a better Brett Dennen. This would be the perfect song to close out an episode of Grey's Anatomy (do you hear me RTE producers, snap up James for some Irish shows before the Americans get him).

00:17:14 - The darkest song so far, 'We Don't Eat' is a sparse piano-driven tune.

00:18:57 - The lyrics are dark too, but it's a welcoming dark. Like those scenes in horror films where the protagonist goes into the creepy-looking woods, and you shout at the screen telling her not to. It's impossible to resist.

00:20:21 - The music has that quality too. There's probably no escape. There's even a fabulous crescendo. Hair standing on end moment.

00:22:12 - The most upbeat song so far. I'm almost tempted to dance to this one. You know the way Ellie Goulding is trying to make danceable folk, when in actual fact she's merely the new Dido? Well, that's not danceable folk. 'This Old Dark Machine' is. Irresistibly catchy.

00:24:28 - The lyrics are even a small bit smutty. "Hem of your dress" eh? Speaking of Hem, where did they go. Ah forget about them, this is so much better.

00:25:10 - That repeated 'I Will Love You' may well be the best refrain ever.

00:26:13 - Back to Justin Vernon territory. I hate continually comparing the two, but that's who it sounds like. t even was recorded in an isolated house by the sea. 'Follow You Down to the Red Oak Tree' is the song used in the Barnardos ad. See you thought it was Bon Iver too, didn't you? You can download the track from Barnados here.

00:28:50 - It's such a beautiful song, and another of the album's many highlights.

00:30:19 - The vocals are little more slurred here, but that actually works well with the melody and rhythm.

00:31:13 - 'Down the Burning Ropes' has that train-line click-clack feel, evoking images like some of the scenes in There Will Be Blood.

00:32:11 - How the hell does he do that with his voice. Amazing in every way. Who needs extra instruments when you can sing like this. McMorrow is such a better singer than Ireland's main singer-songwriter of the 00s (Damien Rice), it's unbelievable. If he doesn't become a breakout star with this album, everything is wrong with the music industry. Everything.

00:35:07 - 'From the Woods!!' comes complete with extra punctuation just to reinforce the point. It didn't need them at all, the lyrics and vocals got the point across more than well enough.

00:37:33 - I've listened to this album many, many times at this stage, and still I forget about this. I just don't expect it. Exclamation points are needed here. Definitely.

00:39:28 - 'And If My Heart Should Somehow Stop' is the best love song of the year. It's not a straightforward love song, but what love is?

00:41:53 - When he sings it, you know he really feels it. James Vincent McMorrow, if you are reading this, will you do me a favour, and sing at my wedding? It'd be perfect.

00:44:40 - The album ends with the title track 'Early in the Morning'. Good choice to bookend the record. The repeated title is flawless throughout

00:45:11 - The lyrics, oh the lyrics: "dressing in my father's suit / cleaned his shoes". Wow.

00:45:43 - Can't believe it's over. Irish album of the year? Definitely. Actually, you know what this is...

"The best album to come out of Ireland in a decade". You can quote me on that.