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<title>The Big Pink - Future This [YourFeedback]</title>
<pubDate>Thu, 02 Feb 2012 02:35:39 GMT</pubDate>
<description><![CDATA[The British duo’s sophomore release is a severe let down following the promise of their melancholic debut A Brief History of Love (2009). Their hit single “Dominos” was one of the top songs of that year, and the album was impressive too. Future This still has the noteworthy singles, but the album is primarily made up of ‘filler’ and lyrical banality. This time, Furze and Cordell have opted for an even denser sound, more gadgets, slicker production and a more upbeat feel. With more buttons to press and a newfound love of Ableton, the band has gone awry in the song-writing department. The vocals are refined, the beats tighter and the effects sonically captivating. Still, the songs fall short. Simply, this record is a good example of when ‘more is less’.  

The album starts off promisingly with the two singles “Stay Gold” and “Hit the Ground (Superman)”. Both are radio-friendly, catchy electro-pop tunes, and are interesting enough in themselves. Nevertheless, both are undeniably reincarnations of earlier material. Excluding the trite ‘follow your dreams’ lyrics, “Stay Gold” is egregiously similar to “Dominos” – the far superior elder sibling. It’s like comparing Liam to Noel. “Hit the Ground (Superman)” is the more bouncy of the two singles, still with the same mammoth choruses and auditory swirls. The most intriguing aspect of this song is that it samples Laurie Anderson’s “O Superman”. 

With the exception of the final song “77”, the body of the album is tedious and moments of brilliance, few a far between. The Yeasayer-esque “Give it up” is reasonably interesting on a rhythmic level. On “1313” five minutes of aimless meandering is concluded with a tantalising, one-minute industrial drum pattern, around which a whole song could have been carved, but wasn’t. “Rubbernecking” has an infectious chorus, a la “Stay Gold”, but has little more to offer in verse acuity.             

Song-writing will always be a human craft; technology may aid it, but will never define it. That is why the thinly orchestrated “77” is the record’s strongest track. Lyrical sincerity takes a front seat here and does not hide in a backseat of buttons and effects. Sparse drum patterns and strings, spacious piano, delicate synth and unfussy guitar support the tear-jerking lines: “You were my hero/ My brother and my good friend/ Now I’ve been bleeding/ For three and a half years” and “Now I’m all fucked up/And sometimes I forget I miss you”. This song essentially saves Future This and serves greatly as a closing track. This is an album bookended by strong tracks, though with little to be found on the shelf.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/68/the-big-pink-future-this/</link>
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<title>The Drums - Portamento [YourFeedback]</title>
<pubDate>Thu, 02 Feb 2012 02:27:08 GMT</pubDate>
<description><![CDATA[The Drums are a musical melodrama: guitarist, Adam Kessler, parted ways with the Brooklyn-based band at the end of 2010, internal bickering ensued and a break-up seemed imminent. Instead, the three remaining members managed to put together an even stronger album than their self-titled debut (2010). Portamento has been carved out of unstable circumstances, and is appropriately dramatic – capturing life in art. Front man and drummer, Jonathan Pierce, sings of insecurities, death, love and loss, or simply not having enough money to buy his beloved something nice, as on the single “Money”.   

For a group that is often derided for imitating other artists such as The Smiths or Joy Division, they sound remarkably distinctive and modern. They are definitely not imitative, but more influenced by the abovementioned greats. Their electro-pop feel and Brian Wilson-like vocal arrangements indicate that they are not a banal product of the post-punk revival. Jacob Graham’s layered, atmospheric synth and Connor Hanwick’s bouncy guitar licks untiringly support Pierce’s shattering vocals, most notably on “Book of Revelation”, “Hard to Love”, “Please Don’t Leave” and “How It Ended”. What some will deem to be ‘emo’ is actually quite the opposite. Yes, the album is highly emotive, yet is also lyrically sincere and self-deprecating. The abundance of rhythmic and melodic beauty on tracks like “Days”, “Money” and “I Need a Doctor” balance the dark thematic content, making this album all the more interesting and accessible.    

In spite of all praises, sometimes they misfire. A tendency to crescendo at songs’ outro is, though generally exquisite, sometimes unnecessary and could have been executed more selectively. Furthermore, this is clearly a record of two halves, the first being the stronger. It is not so much that the album’s latter half is weak in itself; rather that it is foreshadowed by the brilliance of the former. Regardless, The Drums, against odds, have produced an engrossing collection of whimsical and wholehearted songs to be listened to, enjoyed, and mostly, felt.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/67/the-drums-portamento/</link>
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<title>The Drums - Portamento [YourFeedback]</title>
<pubDate>Thu, 02 Feb 2012 02:22:00 GMT</pubDate>
<description><![CDATA[The Drums are a musical melodrama: guitarist, Adam Kessler, parted ways with the Brooklyn-based band at the end of 2010, internal bickering ensued and a break-up seemed imminent. Instead, the three remaining members managed to put together an even stronger album than their self-titled debut (2010). Portamento has been carved out of unstable circumstances, and is appropriately dramatic – capturing life in art. Front man and drummer, Jonathan Pierce, sings of insecurities, death, love and loss, or simply not having enough money to buy his beloved something nice, as on the single “Money”.   

For a group that is often derided for imitating other artists such as The Smiths or Joy Division, they sound remarkably distinctive and modern. They are definitely not imitative, but more influenced by the abovementioned greats. Their electro-pop feel and Brian Wilson-like vocal arrangements indicate that they are not a banal product of the post-punk revival. Jacob Graham’s layered, atmospheric synth and Connor Hanwick’s bouncy guitar licks untiringly support Pierce’s shattering vocals, most notably on “Book of Revelation”, “Hard to Love”, “Please Don’t Leave” and “How It Ended”. What some will deem to be ‘emo’ is actually quite the opposite. Yes, the album is highly emotive, yet is also lyrically sincere and self-deprecating. The abundance of rhythmic and melodic beauty on tracks like “Days”, “Money” and “I Need a Doctor” balance the dark thematic content, making this album all the more interesting and accessible.    

In spite of all praises, sometimes they misfire. A tendency to crescendo at songs’ outro is, though generally exquisite, sometimes unnecessary and could have been executed more selectively. Furthermore, this is clearly a record of two halves, the first being the stronger. It is not so much that the album’s latter half is weak in itself; rather that it is foreshadowed by the brilliance of the former. Regardless, The Drums, against odds, have produced an engrossing collection of whimsical and wholehearted songs to be listened to, enjoyed, and mostly, felt.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/66/the-drums-portamento/</link>
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<title>The Black Keys - El Camino [YourFeedback]</title>
<pubDate>Sun, 22 Jan 2012 08:46:23 GMT</pubDate>
<description><![CDATA[It has been 18 months since The Black Keys released the immensely successful Brothers. The Ohio blues-rock duo’s new release, El Camino, is clearly a product of the same period of inspiration and creativity, albeit on the tail end. The new album complements its predecessor nicely. Whereas Brothers was melodically catchy and addictive, El Camino is energetic, rhythmically driven and dense in sound. The latter aspect can be credited to the guidance of Brian Burton, aka Danger Mouse. Keyboards and bass refigure the classic guitar and drums artillery found on earlier releases. Though this process evidently began with the stylistic digressions of Attack & Release (2008) and their Rap Rock collaboration, Blakroc (2009), El Camino voyages into previously uncharted worlds of sonic solidity and energy. The sticker “Play Loud”, which adorns the album cover, signifies that intent clearly.  

Thickfreakness and Rubber Factory were lively but thin; Brothers was full yet restrained; El Camino draws a line down the middle, perfectly balancing studio tinkering and ruffian musicianship. As well as the extra bass and keys, songs are frequently decorated by a multitude of guitar tracks. The album’s opening track and single, “Lonely Boy” is a stereogasmic blend of classic Keys riffs and pulsating distorted keyboards. Other standout tracks are the stomping “Gold on the Ceiling”, the wailing “Run Right Back”, “Hell of a Season” and the emotive “Mind Eraser”, which closes the album. Despite the electrified feel, Auerbach and Carney still manage to weave beautiful acoustic pockets. “Little Black Submarines”, at least for its first half before being detonated by distortion, is a genuine acoustic folksong. A sense of that genre’s storytelling tradition is preserved by way of lyricism, Auerbach singing the standout line of the album: “Everybody knows that a broken heart is blind”.     

The album title, which in Spanish means “the road”, is an apt metaphor to signify the new path The Black Keys have taken in the past few years. El Camino does indeed seem to be both a progressive and regressive record, a redefinition of their sound and style whilst honouring the anti-virtuosity – raw and reckless riffs – that brought them to the forefront of indie rock a decade ago.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/65/the-black-keys-el-camino/</link>
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<title>Delays - Star Tiger Star Ariel (Lookout Mountain) [YourFeedback]</title>
<pubDate>Tue, 27 Sep 2011 10:48:44 GMT</pubDate>
<description><![CDATA[Yeah, I think that's how quite a lot of people feel about this album. You forgot to mention that 'In Brilliant Sunshine' comes off Phil Collins-esque. I'm only giving the review 3/5 - it's not your review of this album so much as your comment about them never making a remarkable album. Faded Seaside Glamour is a keeper!]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/64/delays-star-tiger-star-ariel-lookout-mountain/</link>
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<title>Lucy Rose @ Cargo 05.07.11 [YourFeedback]</title>
<pubDate>Thu, 07 Jul 2011 07:02:15 GMT</pubDate>
<description><![CDATA[You could taste the hype in the darkened cavern of Cargo in East London on Tuesday night as hundreds of people were crammed in to witness an unassuming Lucy Rose take to the stage. Recent plays of her heavenly and uplifting acoustic offerings on Radio 1 have garnered an enthusiastic following, and she didn’t disappoint. She floated through her set with some “very very nice” whiskey nearby to the incredibly eager crowd. Gamble Like I Used To and Bikes were the sure fire high points of the set - until she soared into her debut single Middle of the Bed with a huge smile on her face. Her voice is a mixture of thick, sweet and strong. If there is a practical equivalent to the sound of Lucy’s voice, it would probably feel a bit like floating in the sky on a bed of marsh mallows. Stopping for a joke now and then, she was truly bowled over by the amount of people in the room “this night is really special, I know I haven’t won an award but it feels like I have.” She was also selling home-made jam on her merchandise stall afterwards, so it looks like Lucy is doing everything her own way – and it looks like it’s about to pay off.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/63/lucy-rose-cargo-050711/</link>
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<title>Bombay Bicycle Club - Shuffle  [YourFeedback]</title>
<pubDate>Mon, 27 Jun 2011 06:10:08 GMT</pubDate>
<description><![CDATA[After the success of last years acoustic album flaws, the youthful Indie favourites return back to their electric roots with the release of new single shuffle, a reminder of why the four piece have become a chart topping band and still kept their original fan base whilst doing so. An unfamiliar house piano sample dominates the track throughout along with singer Jack Steadman’s trademark eery vocal style establishing the song with meaning and deepness, “you gave to me all I know/I will stay here, I will not go” Steadman echoes through a trademark BBC breakdown which is reminiscent of their first album with a more mature twist. This song is a clear example of why the band have sprung to such popularity, a catchy floor filler with  lyrics to love. The track is a definite grower and may not be as instantly loved as previous singles such as Always like this and Ivy and gold were but definitely expect shuffle to be an Indie anthem of the summer and to be over-played on radio 1 until you resent it, so enjoy the track now whilst you can.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/62/bombay-bicycle-club-shuffle/</link>
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<title>Three Trapped Tigers - Route One Or Die (Blood &amp; Biscuits) [YourFeedback]</title>
<pubDate>Sat, 18 Jun 2011 04:32:15 GMT</pubDate>
<description><![CDATA[http://tinyurl.com/tttnoisetrade

Their new single Noise Trade live at Meadowlands festival.

A Wild Bees Production.
wildbeesproduction.blogspot.com]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/61/three-trapped-tigers-route-one-or-die-blood-biscuits/</link>
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<title>Pigeon Detectives @ The Old Firestation, Bournemouth [YourFeedback]</title>
<pubDate>Fri, 08 Apr 2011 03:10:04 GMT</pubDate>
<description><![CDATA[For fans of indie rockers the Pigeon Detectives the current tour has been eagerly awaited. Hundreds of fans flocked to Bournemouth’s Old Firestation on Friday night for a chance to see the band perform a cross section of tracks from their beginnings right up to the present day. Having been out of the musical spotlight for a year their hiatus has given them time to pour their energies into ‘Up, Guards and At ‘Em!’, their brand new album for 2011. The change in scenery for the band (trading hometown Leeds for NYC to record the new set of tracks) seems to have done them good. They look like a band fresh from a long relaxing holiday and tracks ‘This is an Emergency’ and ‘Take Her Back’ sounded fantastic despite these being part of their impressive back catalogue. While the old ones are still the best their new stuff isn’t to be sneered at. ‘What You Gonna Do?’ is Pigeon Detectives all the way; the heartfelt lyrics, enthusiasm behind the drums and the mic; Matt Bowman believes in every line of their songs and it shows.  He does the same on other new tracks ‘Lost’ and ‘Done in Secret’, where the faint ripple of recognition became nods of approval. Are these future classics for the band? Who knows. They’ve skirted under the radar for a little while now so hopefully this new album and tour with see them take flight properly.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/60/pigeon-detectives-the-old-firestation-bournemouth/</link>
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<title>Madness @ BIC, Bournemouth [YourFeedback]</title>
<pubDate>Fri, 08 Apr 2011 11:39:39 GMT</pubDate>
<description><![CDATA[A regular Wednesday in the depths of winter would probably involve a steaming hot cup of tea, a few biscuits, the TV on and cuddling a radiator somewhere. Not in the seaside town of Bournemouth though. This is one of the biggest party towns on the south coast with its huge array of bars, restaurants and clubs, not forgetting the seven miles of sandy beaches it boats and to help keep the warmth in Madness literally descended on the town with the London based band (also known as the Nutty Boys) partying up a storm at local venue the BIC with their ‘Do Not Adjust Your Nut’ tour. Having whipped the crowd up into a frenzy they walked on stage to a video backdrop of TV classics Bill and Ben and the Magic Roundabout.  This may seem strange but all was forgiven when the three words from backing vocalist Chas Smash ‘don’t watch that...!’ were enough for the packed out venue to holler back ‘watch this!’ before jumping around to old school opener ‘One Step Beyond’.  Despite the absence of Lee ‘Kix’ Thompson and his saxophone due to an accident at their Leicester gig, the band satisfied the loyal crowd with a mix of the old and the very very new (a track called ‘My Girl 2’ is on their new album, scheduled for release sometime in 2011).  The favourites and classic tracks of ‘Our House’, ‘Embarrassment’ and ‘It Must Be Love’ where in amongst the bands newer tracks called ‘NW5’, ‘Love Struck’ and ‘Forever Young’.  This song is apt for these guys who are all in their forties but have the spirit and wit of schoolboys, something which they are at heart.  Madness gave a performance worthy of every penny of the ticket price and more besides – the age range of the crowd heavily mixed from the young to the old - but sheer enjoyment and barely contained excitement was clear on every face.  The band has had a hugely successful career covering over three decades and has consistently pulled in many new fans each time.  They never fail to make each gig a proper party atmosphere just right for the time of year.  The cold snap all but melted away in the heat generated from the contagious energy and pure fun the magnificent seven bring every time.  You know you’re guaranteed a superb night out when these boys are in town.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/59/madness-bic-bournemouth/</link>
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<title>Ghostpoet: ‘Peanut Butter Blues and Melancholy Jam’  [YourFeedback]</title>
<pubDate>Fri, 08 Apr 2011 11:36:24 GMT</pubDate>
<description><![CDATA[Mike Skinner may have only just hung up his mic with The Streets last album but there’s already a contender for his shiny crown; the rising MC and grime artist that is Ghostpoet.  His debut album ‘Peanut Butter Blues and Melancholy Jam’ is a sweet combination of intelligent lyrics and dark dubstep beats that make it one hell of an album for the iPod playlist.  While it’s not one for the dance floors (although someone out there may feel the need to re-mix a track or two) it’s more of an album that requires a good listen too.  The thoughts and feelings of one man are all there, soul baring, beautiful and tragic all at once.  Heady stuff right?  Correct.  The album’s opening track ‘One Twos/Run Run Run’ is well worth sticking with even if the first 40 seconds get you contemplating the ‘off’ button.  You get the jist of a track but it’s a messy affair.  The remaining 3.2 minutes however are what it’s all about.  A blissful 200 seconds of chill out beats interspersed with lyric repetition make it a great intro to a great album.  ‘Us Against Whatever Ever’ has an ever present dubstep pulse; it’s dark and grimy beats disguising the soft-hearted nice guy that Ghostpoet is.  No really.  Lyrics like ‘love is here not over there’ and ‘sometimes my heart’s deaf/it must need a hearing aid’ give the song the romantic undertone not too dissimilar to Kano’s ‘Nite Nite’.  Only this is 100% urban with a moody edge.  ‘Longing for the Night’ is probably as Streets as it gets.  While Mr. Skinner is a narrative genius Ghostpoet matches his intelligent lyrics easily and somehow betters them.  You can’t go wrong with ‘Acting like a plum/got some A-Levels/ain’t dumb’.  Chilled out and easy on the ear this is one of the album’s stand out tracks.  ‘Cash and Carry Me Home’ must surely be a future dubstep classic.  A drunken night out resulting in the plea of ‘I’m begging you/just carry me home’ is one thing most of us have uttered at some time.  The tune speaks to the masses and makes you cringe/giggle/cry (delete as applicable) over memories of nights on the lash.  In short it’s brilliant.  The entire album is a work of genius.  It’s an opinion but it’s the right one.  The strong vibes of finding your way through life the best you can while avoiding its many pitfalls is there in every beat and every word.  Ghostpoet has thankfully stepped out of the shadows and into the light that will surely shine brightly for him and future releases.  Spend your hard earned cash and carry a copy home.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/58/ghostpoet-peanut-butter-blues-and-melancholy-jam/</link>
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<title>Interpol @ O2 Academy Bournemouth [YourFeedback]</title>
<pubDate>Fri, 08 Apr 2011 11:34:16 GMT</pubDate>
<description><![CDATA[There are some gigs you go to just to jump around, some to keep a friend happy and the ones where you can’t wait to get to.  Interpol at Bournemouth’s O2 Academy on Friday night was one of the latter.  And it truly was a cracker of a night.  With beer in hand and a (for once) uninterrupted view of the stage from the gallery their 9.30pm arrival was well worth waiting for.  A sea of arms raised up to welcome the New Yorkers who took it all in their stride and went on to play a generous mix of old ‘n’ new tracks.  Their latest self-titled release (this being their fourth studio album) holds some fantastic stuff.  ‘Barricade’ boomed its way across the crowd, its instantly recognisable guitar riff making its connection to the room and all those in it.  ‘Lights’ is from the same production shed; recognisable, loud but with an added pinch of oomph that carries through the track from its humble beginnings all the way up through its gradual climb.  It builds gracefully and its repetition of ‘that’s why I hold you/that’s why I hold you, dear’ creeps up on you and literally holds you in its grip until the final note and the lights go out.  ‘Untitled’ is one definite favourite with the masses.  Taken from debut album ‘Turn On the Bright Lights’ (2002) it’s an ambient and dark track throughout. Heavily loaded with deep drum beats it has an almost haunting quality that pulses through your bones and cuts straight into your soul.  Peppered with a few lyrics the track is truly about the music and the moody aura of it all works well in the venue’s smoky atmosphere.  For a band who have emerged victorious from the early noughties post-punk revival they have a quiet demeanour that seems out of place with their musical style.  Big on noise but small on action (they hardly moved during their set), they’re not what your stereotypical rockers should behave like.  And for a change it’s nice.  Really nice.  There’s no heroics to this band.  Interpol are the essence of a rock band; all the right things are there without any nonsense or flim-flam.  That small stage was purely theirs tonight and their honest, simple performance brought their music to life.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/57/interpol-o2-academy-bournemouth/</link>
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<title>Mogwai @ O2 Academy Bournemouth [YourFeedback]</title>
<pubDate>Fri, 08 Apr 2011 11:26:43 GMT</pubDate>
<description><![CDATA[If there’s one band guaranteed to drag you from the telly box then it’s the Scottish tune makers Mogwai.  In general terms theirs is not a name that trips off the tongue in musical conversation.  They’re not underground (they’ve been in the business since 1995) but they’re also not, thankfully, mainstream either.  They’re on that mezzanine floor in between and that’s no bad place to be.  Tonight’s gig is the 10th date on this mostly European tour (there’s a Japan date too), which happily coincides with the release of their 7th studio album ‘Hardcore Will Never Die, But You Will’. And blimey it’s a good one.  New single ‘Mexican Grand Prix’ has an almost sinister touch to it with ghostly, barely there lyrics that remind you Mogwai are really just about the music.  ‘White Noise’ sounds like it could be just that but it’s got a voice that sneaks out of its hidey-hole behind the gentle mix of keys and chords , pounces, and steals your dinner money.  ‘Rano Pano’ has the power to make your head nod for the full five minutes and a tune that burns onto your brain for the next three days.  It’s definite Mogwai territory and the subtle Pixies vibe shimmying through it makes it a belter.  The beauty of the sound scape comes through on ‘Letter to The Metro’, a dreamy and floaty track that swings between a melancholic sadness to a warm feeling of contentment.  And all in 280 seconds.  An amazing gig.  A quick look round the room sees every head turned stage-ward and revelling in every note.  The only naff element of the night was the ridiculous amounts of dry ice being pumped onto the stage that made the band not so much Scotch mist but more like Scots in the mist.  There are many bands out there who need a gimmick or two to help them hobble along but not these guys.  They’re so distinctly, brilliantly different to most of what’s on shelves to buy at the moment they’re like a breath of cool, refreshing air in a smoky (or dry-iced) room.  Pop along to your local music store or online to get the album now.  You won’t regret it.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/56/mogwai-o2-academy-bournemouth/</link>
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<title>Rival Schools - Pedals [YourFeedback]</title>
<pubDate>Tue, 29 Mar 2011 02:16:57 GMT</pubDate>
<description><![CDATA[RIVAL SCHOOLS – PEDALS
(Atlantic/Warner)

The difference between a long-awaited album and one that merely takes a long time to release is dependent on the band’s last output. It’s the difference between Chinese Democracy being greeted by a sound similar to 20 million simultaneous expressions of ‘meh’ and why people still check Myspace – an anomaly in itself – to see if The Avalanches have made any giant revelations re: release dates. If you’re at the top of your game before some catastrophic fail occurs, fans will allow for almost all reasonable distractions and still stay faithful, from public feuds to Caligula-esque tales of recording studio hedonism. Enter Rival Schools, who released the landmark post-hardcore album United By Fate at the turn of the century and imploded soon after. A decade of follow-up albums murmurs grew louder until they officially reunited in 2008, surveying an entirely different punk landscape, relegated to modestly attended summer festival afternoon slots while their younger acolytes performed to 10,000 misanthropic pre-teens. Despite - or perhaps in reaction - to all of this, Rival Schools have returned with their sophomore release acting like, on so many levels, the last 10 years never happened. All the integral pieces remain intact, from Walter Schreifel’s granular and emotive voice to the band’s subtle experimentations with the power pop punk mould, evident from the get go on opener Wring It Out. In fact, apart from a few additions – the arena rock flavour of A Part or the piano and ripping guitar solo on finale The Ghost Is Out There – this could be considered United By Fate Part II, which is not a bad thing at all. The last time I checked, that wheel still worked pretty well, so why bother reinventing it? But seriously if I have to wait another decade for album number three I will cut someone.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/55/rival-schools-pedals/</link>
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<title>The Kills - Blood Pressures [YourFeedback]</title>
<pubDate>Tue, 29 Mar 2011 02:14:54 GMT</pubDate>
<description><![CDATA[THE KILLS – BLOOD PRESSURES
(Domino/EMI)
 
Pan Atlantic duo’s fourth show they’re human after all
 
So who got more out of The Dead Weather, Jack White or Alison Mosshart? You could base it on several criteria – greater exposure, a solid songwriting partnership that led to evocative songs, even the revelation that the reportedly control freak Jack White was content to play second fiddle (or first drumkit). In the end it’s a trick question anyway, the people who most benefited from the Dead Weather where probably those other two guys who got to come along for the ride. But while The Dead Weather may have been another nail in The White Stripes’ coffin, Mosshart has taken some of the cues from that band’s gritty and foreboding sound and injected it into the fourth album from The Kills. Not that she or guitar man Jamie Hince ever needed much help in that department, as one acclaimed album after another suggested their stockpile of menacing electro blues was bursting at the edges, to be opened with thankfully frequent regularity. Where past efforts like No Wow or Midnight Boom could have been constructed by a super sexy robot, Blood Pressures adds a certain humanity to their swagger, a product of their further experimentation with live instruments. Satellite’s dark and stormy dub beats are complemented by the duo’s echoing octave vocals – Mosshart is sultry where Hince’s delivery is almost lethargic. The 90 seconds of Hince-led ballad Wild Charms is reminiscent of John Lennon’s dreamy Jealous Guy, gloriously counterbalanced by the simmering attack of DNA. It’s a lean, raw and muscular release, and in just under 42 minutes you’ll be urging to do it all over again. It’s not too early to be making album of the year recommendations, is it? Not the top spot of course, there are too many obvious or slightly more obscure choices falling into the waiting arms of reviewers – Radiohead, Fleet Foxes and as yet unnamed dark horses – but I’ll fight until it gets into the top ten.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/54/the-kills-blood-pressures/</link>
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<title>The Phoenix Foundation – Buffalo (Memphis Industries) [YourFeedback]</title>
<pubDate>Fri, 28 Jan 2011 07:43:18 GMT</pubDate>
<description><![CDATA[FLash Bang Band are supporting The Phoenix Foundation at The Hope in Brighton, UK on 9th of February. New single out April 1st with a Brighton launch with support from Barringtone. Come check us out! http://www.myspace.com/flashbangwallop]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/53/the-phoenix-foundation-buffalo-memphis-industries/</link>
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<title>I dub thee JAAKU [YourFeedback]</title>
<pubDate>Tue, 25 Jan 2011 05:01:56 GMT</pubDate>
<description><![CDATA[Shrugging off the name ‘Xpresive’, Luke Vivian is rechristening himself ‘JAAKU’, giving his music a set of two different personalities like the monstrous, comic book villain ‘Two Face’ of the Dubstep scene. Luke’s decision to tweak his familiar name to ‘JAAKU’ (meaning ‘Evil’) sets off wondrous assumptions before the play button has even been pressed, (especially as he describes his music as ‘Kimbo Slice slapping Hitler’)…and it fails no expectation. Recognisable from the blustery wind of ‘Cool Sound Recordings’ that once swept through Tunbridge Wells, Vivian is slinking through with a new fresh breeze of Dubstep. A genre of music that has become like a monstrous troll of British popular music- happily slithering and searing its way through the dingy underground and then stumbling up onto the blinding surface with ease.

A sinister, dirty vibe seeps out of the tracks which are tinged with an unexpected juxtaposition of Mario samplings, giving the track a quirky switch aside the heavy momentum of the drops.  Tracks like ‘Colours’ and ‘Mo’Fucka sneakily welcome you into jumpy, yet peaceful offbeat section before strapping you down and catapulting you into agitated punch up of dubstep beats. Unlike ‘Rock Your Face’ where the claustrophobic and chaotic movements of Mario and his Kart engulf your eardrums from the very beginning before giving you a little drop to fall onto.   

Dutch dub stepper, ‘Devnik’ and grimy Londoner’s ‘The Newham Generals’  have been giving new boy, JAAKU, a great deal of attention. Collaboration with one half of ‘The Newham General’s- ‘Footsie’ on the high energy track ‘Light this up’ is impressively soon to be released on Dizzee Rascals’ appropriately named label, ‘Dirtee Stank’.

His new tracks are available on ‘The Elektrik Ritual EP’ from www.chemical-records.co.uk    

 

www.myspace.com/xpresivesound]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/52/i-dub-thee-jaaku/</link>
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<title>Sufjan Stevens - The Age of Adz [YourFeedback]</title>
<pubDate>Mon, 01 Nov 2010 07:04:54 GMT</pubDate>
<description><![CDATA[Having recently released the incredible All Delighted People EP it should already be clear to most that the past 5 years of relative obscurity and lack of original solo output have been good to Sufjan Steven’s creativity. And, in case you were left in any doubt The Age of Adz sees the maverick find his way firmly back to his own songs.

Leaving behind for the most part the banjo led nu-folk of his, now admittedly defunct, “50 States Project”, The Age of Adz spins a fragmented and oblique narrative punctuated by intimate lyrics, electronic glitches and swirling string arrangements.

Opening with the warm, gentle strums of ‘Futile Devices’, the pulsating, rhythmic orchestration swells beneath Stevens’ sombre, fragile vocals. Soaring over staccato plucking and piano keys he expresses the fallibility and futility of employing words to describe emotions, particularly love.

Distorted synths and percussion bubble beneath the electronic surface as the infectious pop of ‘Too Much’ ebbs back and forth. Soft keys and layered vocals build into a cacophony of instruments before the thunderous horn section and choral harmonies of the title track come crashing down. In amongst such manic electronic experimentation Steven’s offers up some extremely personal moments: Renowned as a composer as well as a lyricist, these moments come in songs such as ‘Now That I’m Older’ and lines like “somewhere I lost whatever else I had.”

This album is a sumptuous mix of lo-fi percussion, off-kilter beats and sweeping instrumentation that have re-invigorated Stevens’ sound: captivating the listener from the off, flowing perfectly from one song to the next until the very last 25-minute epic that is ‘Impossible Soul.’]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/51/sufjan-stevens-the-age-of-adz/</link>
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<title>Yeasayer - The Roundhouse, London 21/10/10 [YourFeedback]</title>
<pubDate>Mon, 01 Nov 2010 07:03:28 GMT</pubDate>
<description><![CDATA[Photograph courtesy of Sonny Malhotra

The year is 2007, and a shuffling, seemingly disinterested crowd is gathering at The Barfly awaiting the live London debut of a four-piece from Brooklyn. Ripping their way through infectious percussion, hand claps, electronic noises and a vocal range that most would be jealous of; this was Yeasayer 3 years ago. Skip forward to present day and the bands previous longing looks across the road to The Roundhouse seem to have paid off. By their own admission, tonights sold-out show signifies that they have “made it”. And even though they’ve only made the physical journey of a few hundred yards across the road from The Barfly, tonight’s show is worlds apart.

Up first are fellow Brooklynites Suckers, whose eponymous EP was produced by Yeasayer’s Anaud Wilder and Chris Moore (Yeah Yeah Yeah’s, TV On The Radio). Drummer/keyboardist Brian Aiken and fellow multi-instrumental chanters Austin Fisher and Pan join frontman Quinn Walker on stage as they construct jarring electronic rhythms punctuated by screeching staccato guitars and an contagious eccentricity. Flailing his arms around and imitating sock puppets as he sings, Quinns’ gritty vocals ring out over glitchy synths and whistled melodies as the band attempt to free whistling from its twee folkster trappings.

With the circular hall of The Roundhouse beginning to fill, the lights dim as the synth stands on stage begin to glow green, throbbing with the pulsating synths of ‘Madder Red.’ Tonight’s opening soundscape reverberates around the room, followed by the gently plucked guitar and euphoric sing-along accompaniment of Chris Keating, Ira Wolf Tuton and Anand Wilder’s sweeping, harmonised vocals. The stands turn red as the band’s stop-start rhythms and unusual instrumental pairings induce particularly jittery dance moves.  Taking a breather from the electronic distortions of Odd Blood,Yeasayer break into ‘Wait for The Summer’ with its more organic structure that replaces heavy sampling with physical instrumentals.

Yeasayer have always walked a fine line between infectious off-kilter, left field melodies and glossy electro pop; fusing both elements perfectly in numbers such as Dark Was the Night only track ‘Tightrope,’ an absolute highlight of this evening. Playing through classic cult indie anthems such as ‘Ambling Alp’, ‘Sunrise’ and ‘2080’ ensure an audience so loud even the vibrating bass of the speakers situated directly in front of me can’t drown them out.

Leaving their more difficult art-rock numbers behind, tonight sees Yeasayer largely abandon the gloomy in favour of confident jubilation. Just before the blistering keys, muted bass lines and distorted bleeps of ‘O.N.E’ echo forth from the speakers Keating screams: “If everyone here doesn’t dance to this, I’m going to quit music right here and now.” Happily, every single person obliges.]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/50/yeasayer-the-roundhouse-london-211010/</link>
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<title>Yuck - The Lexington, London 27/10/10 [YourFeedback]</title>
<pubDate>Mon, 01 Nov 2010 07:00:43 GMT</pubDate>
<description><![CDATA[Photographs by Sonny Malhotra

Dragging grunge music kicking and screaming from it’s home in the early 90s, picking up shoegaze listlessness along the way, Yuck are one of the most exciting acts of 2010…now if only the crowd could see that. 

Did I miss something? Do we not clap or dance at gigs anymore? Is that no longer the done thing? Do we instead offer up the alternative of shifting awkwardly, praying that no one calls upon us for any kind of enthusiasm whilst staring at our shoes as the tumbleweed floats on by? No? We are still free to clap and dance et al if we want to? Maybe someone should have told tonight’s Lexington crowd that before the London based five piece Echo Lake shuffled nervously onto the stage.

Stepping out for what is only their 8th show to date, the young purveyors of ambient dream pop generate a subtly infectious soundscape that softly drifts forth from the speakers. Fuzzy guitars and ghostly vocals populate the warm rhythm of ‘In Dreams’ whilst sparse percussion and a howling hook punctuate the swirling feedback of former TLOBF Song Of The Day ‘Young Silence’. The lacklustre crowd definitely detracts something from the show tonight, as I struggle to look past the generally disinterested expressions around me, towards the soft sweeping shoegaze infused beauty of Echo Lake’s melodies.

Barely managing a cheer as they take to the stage for their sold out, headline show Yuck launch into the howling, buzzing guitar number that is ‘The Wall’ with its contagious hook, blistering instrumental crashes and simple refrain. Guitarist Max Bloom and singer Daniel Blumberg stop for a breath on the gentler sweeping harmony of ‘Suicide Policeman’ as drummer Jonny Rogoff yells “we’re Yuck and we’re here to play some songs for you…for an hour and a half…for three hours and a half.” Having rocked up late, the prospect of playing an hour and half set is obviously as ridiculous as that of a three and half hour set without the material to fill it. Nevertheless, for the hour that they’re on stage Yuck offer up ferocious and gritty slices of anarchic indie rock with ‘Rubber’ and brand new song ‘Milkshake.’

Luckily, as I found myself wondering when in the hell they were going to get around to releasing a full-length album, Rogoff announces that they finished recording yesterday as he delves straight into the thunderous drums of ‘Operation’. Bloom curls over his guitar, frantically strumming against the crackling feedback and epic noise of extended the instrumentals before they jolt to a finish. White noise fizzes through the air underneath the low, nasal murmuring and vocal drone as the lights flicker and the feedback loop from Mariko Doi’s bass echoes until the very end.

Yuck are easily one of my favourite bands of the year and have of course been on the radar for quite some time now: the shoegaze inspired grunge revival of live highlight ‘Georgia’ capturing a lost analogue sound. Perhaps it is the accolades and hype surrounding this young quartet, (born of Cajun Dance Party), that are to blame for tonight’s audience of passing fancy as opposed to genuine interest. I just hope Yuck can convert enough of the former to the latter to avoid collapsing under the weight of the ‘Next Big Thing’ tag, as Bloom and Blumberg’s previous incarnation did.

With a sound akin to The Pixies, Sonic Youth, Dinosaur Jr and Teenage Fanclub all meshed into one, how can you not want this band to hang around? Only time and next year’s album release will tell if they have the stamina but in the meantime would it kill you people to clap, cheer and jump around a little bit?]]></description>
<link>http://www.rockfeedback.com/yourfeedbackreview/49/yuck-the-lexington-london-271010/</link>
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