Alabama Shakes

alabama-shakes

Alabama Shakes -‘Boys & Girls’ (Rough Trade)

I’ve never been to the Southern States of America (not a snub to anyone, just never got further than New Jersey so far), but I guess I do have an idea of what consitutes lot of southern music: rock that’s dirty in a different way to New York or LA, with blues, soul, gospel and country thrown in for good measure (I have now idea whether people from Ala

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bama see Grime as being ‘East London’ and Dubstep as being ‘South London.’ But hey.) And Alabama Shakes tick a lot of those boxes in a mighty fine way.

The thing that draws you in most to Alabama Shakes is the vocals of frontperson and guitarist Brittany Howard. Recent single ‘Hold On’ (currently picking up a fair bit of radio play, and rightly so) is like a manifesto for what they are as a band. In fact, Ms. Howard’s vocals are so strong, that you wonder if in a repetition of the blokes from Blondie whether there will a ‘Alabama Shak

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es is a band’ t-shirt (anything for them to end up being tagged ‘Sleeper-blokes -go and ask your Mum). She’s cetainly got a bright future ahead of her. Her vocals genuinely comparable to the likes of Aretha Franklin and Nina Simone – and I don’t make that comparison lightly.

It’s a strong debut, with other very strong tracks in the form of the beuatiful ‘You Ain’t Alone’, ‘Rise to the sun’ and ‘Be Mine’. It’s a wonderful antidote to so much of the dross that’s out there. What I’d love to hear them do is a really, raw soul album, with someone like Steve Albini at the controls. I think they have it in them to make a jaw-dropping record -but this is a fine starting-point.

Watch closely.

***1/2

Boys & Girls is released by Rough Trade on April 9.

Stream it over here at The Guardian’s website

For free downloads go to their site

Atari Teenage Riot: perfect name and awesome new single

atari-teenage-riot

I remember my Mum telling me that there were certain things that made for the perfect headline grabbers. To the extent that she reckoned the all-time perfect headline would be something along the lines of ‘Teenage Sex-change Priest in Motorcycle Mercy Dash to Palace.’ I still thin

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k it sounds like the best song title for a Fall song.

Along those lines, I remember Smash Hits (of all magazines) saying that Atari Teenage Riot was perhaps the most perfect name for a band. Certain

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how long it has been since the ‘Digital Hardcore’ band formed , back in Berlin in 1992.

This track ‘The Collapse Of History’ combines the best of Chicks On Speed and The Prodigy and sounds like an anthem. If I was young enough, I’d dance to this in a club or drive around with it pumping out of my car. As it is, it’s taken hours to get the wee man to get to sleep tonight (serious respect to Mrs. 17 Seconds) so I will cran

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k it up on the headphones.

Main ATR man Alec Empire has modestly described it as ‘

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Suburbs. This will hopefully unnerve Daily Mail readers.

Album Review: The Futureheads

futureheads_rant

Futureheads -‘Rant’ (Nul)

The Futureheads aren’t daft. Five albums and nearly ten years into their career, they’re aware -probably all too painfully so-that the majority of

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people remember them for their cover of Kate Bush’s ‘the Hounds Of Love.’ But the thing is: they put their own spin on it. And one of the most electrifying things about that was the opening which was completely a capella.

As indeed is this album. Entirely a capella, if you haven’t yet caught on. See, the things is that The Futureheads have got on with creating their own brilliant strand of guitar pop even if

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t of ideas’ the concept here works.

So as well as takes on tracks like ‘Meantime’ ‘Robot’ and ‘Man Ray’ they also offer up seriously different takes on other songs. Including covers of The Black Eyes Peas (‘Meet Me Halfway’), The Sparks (‘Number One Song In Heaven’) and Kelis’ umm, ‘A capella’), and some tradit

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t necessarily used to it (and let’s face it, most of us aren’t). But as a concept, it’s unusual. As an album, it actually works. Sure I love them with guitar and drums. But there’s something brilliant about doing this -a sure sign that they’re happier putting out stuff on their own label, I cannot see a major ever having agreed to this- and it’s a joy. Whether people will cherry pick tracks is another matter. But this album should be heard-and bought in its entirety.

****

Rant is out now on Nul Recordings.

Album Review: Orbital

orbital-wonky

Orbital -‘Wonky’ (ACP Recordings)

Welcome back, Phil and Paul. A few years back, I argued that perhaps the really important brothers in music over the last 20 years had, in fact, not been the brothers Gallagher but the brothers Hartnoll. And I stand by that.

This is their first album in eight years, although they came off ‘indefinite hiatus’ in 2009. They had a fearsome reputat

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ion as a live act, made some brilliant albums that were thought-provoking and danceable, and enjoyed a number of hit singles.

Wonky is a great album, period. It pretty much picks up where they left off to the ears of this listener, no desperate attempts to appear dahn wiv der kids, or sounding like they’re flogging any dead horses going to pay the mortgage. It sounds like Classic Orbital and current at the same time. The album features contributions from Zola Jesus (on the single ‘New France’) and Lady Leshur on the title track.

If I said this was business as usual for Orbital, it would probably come across as if I was being dismissive. But the awesome work that characterized their great albums back in the 1990s is here in spades. It may seem that the album takes a while to get going the first time you hear it – but by the second or third time you are hooked. So great to be able to report that they are retreading past glories or offering this up as an exercise in nostalgia. Will we really be able to say the same when the yawningly inevitable Oasis reunion happens?

****

Wonky is released on ACP Recordings on April 2.

Introducing…Safe Barracks

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Safe Barracks simply put ‘Shine Your Shoes?’ in the subject box. They also said that if featured, they promised to discl

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ose one fantastic joke. If it’s a good write up, they would up that to two jokes.

Well, as well as offering the possibility of jokes (how could I refuse that?), Safe Barracks are an Irish-Iranian project based in Hackney, East London. They write, perform and produce what they call (rightly) cinematic pop in their own studio; combining orchestral elements with big beats, synths and vocals. They are Kaveh Ayati and Patrick O’ Keeffe, I am not going to assume which is Irish and which is Iranian, that would lead me open to accusations of stereotyping. Although you may be interested to learn that according to their Soundcloud Kaveh was raised by wolves in the mountains of Iran. While learning to howl, he found his life path in music. Patrick heard these howls. He trekked many day

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s and nights across deserts and ice and found Kaveh, in a cave, shredding on the bass.” It is also possible this is not the truth, but it is possible that this is more ex

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citing than the truth (By the way, the description abut how Belle & Sebastian came together on the back of Tigermilk is fictitions. Stevie Jackson told me>)

There are five tracks on their soundcloud page at the moment, all of which can be downloaded. They are working on a new album, which they hope to release in late May or early June.

Check them out:

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More tunes can be found here at their Soundcloud

…and assuming they are fit for human consumption, I will share their jokes with you, dear reader(s)!