Album Review – Kid Canaveral

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Kid Canaveral -‘Now That You Are A Dancer.’ (Fence)

It’s been three years since Kid Canaveral’s debut Shouting At Wildlife. And in that time, they’ve gigged like fury, signed to Fence and collaborated with head honcho King Creosote (yours truly was privileged to be DJing at the launch party for the Last Battle’s Springwell EP where King Creosote played with Kid Canaveral as his backing band as the support), and found time to write and record their sophomore album.

Now That You Are A Dancer isn’t a wild break from the template that gave us Shouting At Wildlife, but what they have done is to hone their act even further, and listening to the two albums side by side, it’s their new album that emerges the stronger. Kid Canaveral have always specialised in their own unique brand of indie-pop (that’s as opposed to stadium indie-landfilll-by numbers variety, by the

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way), and to listen to this album is to feel that it hol

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ds its own with the likes of The Pastels and The Wedding Present.

Amongst the highlights are album opener and first single ‘The Wrench’ and the rather fabulously titled ‘Breaking Up Is The New Getting Married’ but I’m also head over heels for the Kate Lazda-sung ‘Skeletons’ and ‘Without A Backing Track.’ (I look forward to her solo album when she feels so inclined>)

In writing my review for this new album, I decided to check out what I’d written for Shouting At Wildlife, three years ago. I’d concluded then that ‘…regardless of how long the second album takes, I’m sure it will be worth the wait.’ I was right, it would see

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****1/2

Now That You Are A Dancer is released by Fence on March 4.

Album Review: Robyn Hitchcock

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Robyn Hitchcock -‘Love From L

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ondon.’ (Yep Roc)

Sixty this month, former Soft Boys frontman Robyn Hitchcock has apparently (at least, it’s what the press release says) described his songs as ‘Paintings you can listen too.’ The thing is, whilst that might ring alarm bells for some people, there’s something about these ten songs that sit together rather nicely. And they are constructed in a way that suggests that he knows his craft and that

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his work comes from his own soul.

It’s not always that albums open with quite soft numbers, and yet ‘Harry’s Song’ actually sets the tone for the record rather wonderfully. And along with the single ‘Be Still’ there’s the album’s standout track ‘Strawberries Dress’ which combines The Beatles circa The White album with Around The World In A Day-era Prince. The cherry on the top of this song most definitely being the gorgeous ‘cello from Jenny Adejayan.

So, a rather lovely record all round. If you aren’t familiar with hi

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****

Love From London is released on Yep Roc on March 4.

Gig review: Richard Thompson

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Richard Thompson: Usher Hall, Edinburgh, February 28, 2013

Despite the fact that he now resides in America, Richard Thompson has made a number of visits to Edinburgh over the past few years. I’ve seen him no less than three times at this city’s Queen’s Hall venue since 2005, but this time he was promoting his new album, appropriately entitled Electric, and he was here as part of a three-piece band. Michael Jerome (drums) and Taras Prodaniuk (bass) were certainly what muso-types might refer to as ‘tight’ and in the absence of any female backing singers (and I suspect we aren’t going to see him onstage with Linda Thompson, any more than Sandy Denny’s going to be back to play with him), their harmonies certainly added to the sound.

Electric his new album has given him his highest chart placing in the UK ever (no.16) and not surprisingly it formed the basis for much of tonight’s gig. The album is Thompson firing on all cylinders and if it’s not quite as amazing as some of the records he has made over his forty years plus in the business, it’s because he has set th

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e bar so high. Certainly; no-one can really accuse him of relying on past glories, and songs like ‘Good Things Happen To Bad People’ ‘Sally B’ and ‘Salford Sunday’ (which he acknowledges as being more about the Salford described in Ewan MacColl’s Dirty Old Town than where the B

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BC has now decamped to) are welcome additions to the fine inventory that is the Richard Thompson songbook.

But he also delved into his back catalogue and treated us to both ‘Did She Jump Or Was She Pushed?’ and ‘Wall Of Death’ from 1982’s Shoot Out the Lights, the murder ballad ‘Sidney Wells’ from Dream Attic and to the

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delight of the crowd ‘For Shame Of Doing Wrong’ from Pour Down Like Silver. Sure, there were ommissions – ‘I Feel So Good’ ‘Dry My Tears and Move On’ ‘Turning Of The Tide’…but the reality is that genius though he undoubtedly is, even Ric

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hard Thompson can only cram so many songs into a two hour set.

Amongst the encores was a cover of ‘Hey Joe’ acknowledging that he was playing as part of a power trio, like the Jimi Hendrix Experience or Cream. The latter may have made a global superstar of Eric Clapton, but I can’t help feeling that of all the sixties singers, Thompson is the one who still has it,voice, songwriting skills and all.

May we have another visit soon, please?

Album Review: Ardentjohn

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Ardentjohn -‘Waiting For The Season.’ (self-released)

Following on from their

debut album On The Wire which came out in 2010, Ardentjohn, the band who began with a fistfight on the Isle of But

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e are back.

And if you heard their debut, and quite reasonably fell for its gentle charms, then guess what? The same gentle charms are here again. Yes, they are folky, but panic not, they sound nothing like Mumford & Sons. This is perfect Sunday morning listening, and as with their debut, there is a gentle Scottish pastoralism that runs through the album, with those gorgeous harmonies.

Ardentjohn never set out to rewrite the rule book or challenge sonic conventions. What they do set out to do is to write and play music that is lovely, and the more people that hear this album and take it to their hearts…well that can only make the world better place, at least for a time.

****

W

aiting For The Season is out now

Album Review: Draw Me Stories

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Draw Me Stories -‘Cocoon Machina’ (Glasstone Records)

At this point in history, record that come under the banner of ‘indie debuts’ far too frequently seem to be a rehash of ideas that many of us in our mid-thirties have heard too many times before being served up as the next big thing.

It is a delight, therefore, to be able to report that the debut from the Anglo-French band Tell Me Stories seems to have very few precedents. Whilst the stories of the DFA’s James Murphy yelling at bands ‘I’ve got that record too!’ are probably apocryphal, I think it would be too much of a challenge for anyone to do that with this record And if they did, they’re losi

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ng out on the joy of this.

I’ve listened to this record nowseveral times now, and even on the opener ‘Birdsong’ I’m still struck by how percussive the record is without coming under the heading of ‘dance’. The single ‘Animals’ reminds us that once in a while ‘gothic’ is not the same as ‘goth rock’- and it’s an intriguing confection.

So, this may not be getting disected and fawned over/ripped to shreds in certain quarters.

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****

Cocoon Machina is out now on Glasstone Records

Album Review: Mogwai

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Mogwai -‘Les Revenants.’ (Rock Action)

There is a school of thought -not one I subscribe to, by the way – that doesn’t quite see band’s albums that are soundtracks being, well, proper albums. In nearly 20 years of making music, this is Mogwai’s second soundtrack -following on from 2006’s Zidane – A 21st Century Portrait -and as wit

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h that album, it holds its’ own with the rest of the Mogwai back catalogue. In this case it’s a French TV series.

The definition of post-rock -which Mogwai are lumped in with – could be the subject of an entire PhD rather than a review of a few hundred words, and I won’t go into it now. But I’ve alway

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s felt that a lot of music released under that heading often feels like classical music (and no, not because it’s often instrumental), and this album encapsulates that a great deal.

And there’s still surprises from Mogwai. They’ve taken minimalism to great lengths (‘Mogwai Fear Satan’), nodded to dance music (‘The Sun Smells Too Loud’), covered Black Sabbath (‘Sweet Leaf’) and demonstrated that they can make an entire audience jump out of their skins (‘Like Herod’). This time, there are, in fact, no loud mental bits at all. And yet the end result doesn’t feel that Mogwai have ‘sold out’ or compromised. I know next to nothing about the TV series, but these fourteen

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tracks are one very impressive whole, from the opening ‘Hungry Face’ to the closing ‘Wizard Motor’ which opened the Les Revenants EP which preceeded this release.

Finally, the penultimate track ‘What Are They Doing In Heaven Today?’ features that rarest of things on a Mogwai record: singing. It’s a cover of a song originally written by Charles Albert Tindley (who is also credited by some with being the man who originated the basis of the US Civil Rights Anthem ‘We Shall Overcome’) and as the sleevenotes is inspired by the version performed by Washington Philips. Mogwai geeks will realise that this is not the first time that the band have performed a song based on a religious motif – see the 2001 single ‘My Father, My King’ which is an old Jewish hymn – but this time the end

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result is a faithful reading, and yet somehow still Mogwai’s own. I’m not planning on checking out any time soon, but right now, I’m planning on having this at my funeral…

****1/2

Les Revenants is released on Rock Action on February 25.

Album Review: Palma Violets

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Palma Violets -‘180.’ (Rough Trade)

So, one of the most anticipated debuts of 2013 is with us. The Palma Violets garnered lots of praise for their debut single ‘Best of Friends’ and with people being desperate for a four-piece indie band to ‘save us’ (umm, from what, exactly?) the torch has been passed to them.

Having enjoyed the single, I was looking forward to the album, and hoping that the band could deliver on the promise, with an indication of where they might develop. After several listens, my conclusion is that there are some good songs on here, and that as well as the singles, tracks like ‘Chicken Dippers’ give an indication that they are prepared, not necessarily to experiment -yet- but to vary the template a little. This isn’t a classic debut, though.

That’s not t

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o say it’s a bad record – it certainly isn’t. It’s fun, and the band need time to develop to reach their potential. It would be nice to think they could do this in their own time, without having to constantly w

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atch for the backstabbers who will see ever chart position and sale as something to be analysed and offered up as evidence that they haven’t cracked it.

***1/2

Presenting…Girl Called Johnny

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First up, she isn’t called Johnny. And secondly, the reference is Rowland S. Howard, not The Waterboys.

Her name is Karen Anne, and under her moniker Girl called Johnny, she will shortly (April 1) release her debut single ‘Heaven Knows’ which is taken from her debut album, which should appear later in the year.

There’s no other music I can hear at the moment, but as a debut single, this does what one should – it sets out her stall, suggests what her manifesto is (classic-sounding pop) and leaves you wanting more.

Give it a listen -if I could go and buy it now, I would.

‘Heaven Knows’ is released on Bullitt Records on April 1.

…and as ever, please let me know what you think!

Album Review: Foals

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Foals –

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‘Holy Fire’ ( Transgressive)

So, six weeks into 2013, there’s every sign that this is going to be a phenomenal year for music, right? And one of the most anticipated albums of the year was Foals’ third album, Holy Fire. This album is already out, it’s debuted at no.2 in the proper album chart- so is there any point in me writing about it?

Well…yes. Because the reality is that Foals ha

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ir best album yet, and if I can persuade anyone else out there that they ought to check them out, then it will be worth it. There will be those who still file Foals under the ‘j

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ust another indie band’ but Foals have never been just another landfill gu

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itar group. Their debut Antidotes showed them to be more indebted to acts like Shellac and Four Tet than say Oasis and The Libertines.

And on Holy Fire, Foals show that they can do anthemic, but entirely on their own terms. the album is bookended by ‘Prelude’ and ‘Moon’ and inbetween, the band are p

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retty much firing on all cylinders. The singles ‘Inhaler’ and ‘My Number’ give an idea of what you might expect, but this is more than an album just cobbled together to support a couple

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album that hopefully will take the band to a new level of recognition, whilst still remaining true to themselves.

****

Holy Fire is out now on Transgressive