Singles - September 2011

Little Fish - Wonderful

Little Fish's debut album 'Baffled and Beat' was unquestionably brilliant, but there was a palpable feeling of tension running through it - it felt like a record born of adversity, which later turned out to be pretty much the case. The band have now started again from first principles with an indie label, and it shows; 'Wonderful' feels like a joyous release from the restraints of the past - it's intimate and warm, yet packs a sunburst chorus stomped out with a passion that makes your heart want to burst. Even though the lyrics suggest a hidden darkness, the translation is one of bruised defiance, of a desire to stand and fight rather than admit defeat. The uplifting combo of chiming guitars and breezy hammond organ fires you up so that the beautifully understated yet insistent rhythm can drive it headlong into your affections. Single of the month, and a superb sign of things to come.

Letting Up Despite Great Faults - Paper Crush EP

Letting Up Despite Great Faults seem to be singlehandedly championing the dreampop movement of the late 80s/early 90s through this six track EP, a rich vein that has remained pretty much untapped for all this time. Where the bands of that era focused on deeply layering guitars under waves of reverb, this is sharper and underpinned by electronica, yet still with the wistful vocals and stories that indie kids used to fall in love to. 'I Feel You Happen' strikes a brilliant balance between intense, incendiary fuzz and lush atmospherics that reminds me of classic bands like Ride and Pale Saints. The Bonus track 'Helium' feels like what would have happened if Paris Angels had ever gone on to realise their potential. Even the stripped instrumental 'Aurora' would melt seamlessly into the soundtrack for a late night car journey home. Paper Crush is a brilliant EP that feels like it stands in a field of one, and you'd be a fool to miss it.

The Twilight Singers - Blackbird and the Fox

Blackbird and the Fox feels like an unnervingly moody and unsettling slice of a larger, more intense story, as short and incisive as it is deep. Reminiscent of the tense Americana of Sun Kil Moon yet with added fire, and with Ani DiFranco's backing vocals weaving a tautly strung thread through the shadows, it's the perfect darkly atmospheric theme for the small hours. Utterly captivating.

Nerina Pallot - Turn Me On Again

Far sweeter and more bouncy that I was expecting, Pallot's latest is a chirpy, percussive little affair soaked in strings and sugary-sweet rhymes. It sits in that strange middle ground where it's unswervingly poppy, yet with a little too much complexity to lend itself to car karaoke and radio singalongs. I tend to think she shines brighter when she's being more subtle; nevertheless it's a happy little thing and it's difficult not to like.

Squarehead - Fake Blood

Lazy 60s surf-guitar pop, punctuated by loose chiming guitars and liberally sprinkled in handclaps. The Beach Boys influence is unmistakeable, and perhaps a little too pervasive at times, but it works well in a well-trod way. There's a fine line between laid back and flat though, and I'm not convinced this particular track is quite on the right side. It's pleasant enough and suggests potential, but I reckon they need to turn up the sparkle a bit.

Dangerous! - Movers N Shakers

This is a strange mix of influences that feels like an unsteady middle ground between New York's glam rock scene, and the hardcore movement that exploded afterwards - strange really, from a bunch of Aussies. Movers N Shakers is straightforward rock n roll that does everything you'd want, but little above that to surprise. If you were raised on Skid Row and Motley Crue you might not be blown away, but maybe it's time for that scene to come back around for younger listeners?

The Dirt Tracks - Never Been to Mars

I don't think I've heard a Spanish indie guitar band before, which suggests that The Dirt Tracks are head and shoulders about their peers in making it this far. This is a three track ep that amply showcases different facets of the band; the racy fuzz of the title track leads to the heartfelt, heavily Muse-like drama of House of Dolls, and the show is rounded off by The Square - a laid back and melodic epic with spikier undercurrents that's basically Radiohead by any other name. Even though two of the three tracks wear their influences rather too heavily on their sleeves, that's not to say they aren't good - quite the contrary. If either found its way onto an album by those bands you'd be happy to have it there. I reckon The Dirt Tracks are one to watch, and can't wait for them to find the unique sound that takes them to the top.

Syd Arthur - Ode to the Summer

This is so angular that it's hard to get your head around it. It's kind of soulful jazz.. but played on indie guitars.. maybe with touches of reggae and blues in the phrasing. I don't know. Phenomenally complex and not an easy ride, but it's compelling because of that complexity; in the same way that a Zappa track won't let you stop listening in case you miss the secret that ties it all together, Syd Arthur manages to be perplexing and enigmatic seemingly without trying. I'm not entirely sure I like it, as such, but it fascinates me. You have to have a listen really, see how it grabs you.

Simian Ghost - Lovelorn EP

We seem to be getting back into the idea of EPs that are genuinely extended instead of one track plus two of filler - the mini-album is alive and well. Simian Ghost deal up seven tracks of minimalist dreamy electronica that land with varying degrees of success. What you get in the high points feels like part Cocteau Twins, part Beloved - not a bad blend. There are good moments to be had - 'Gently Submissive' balances mellow with tension to just the right degree, and 'Take my Hand and Lead Me Home' has a lovely, retro psychedelic aesthetic with glorious harmonies - but overall direction feels somewhat lacking. There are lots of moments where they seem to introduce a whole new jarring synth because they didn't have anything else there already, and not because it helps to build the atmosphere. Many of these tend towards the overly-shrill and harshly digital, which doesn't complement the laid back vibe they seem to be aiming for. If you like the genre, give it a try and just pick the bits that work for you.

Margate - Rock 'n' Roll Reserve

Margate's 6 track EP comes with an instruction to burn copies for friends if required, which marks this out as a showcase of sorts. In keeping with this there's a mix of tracks revolving around pop-punk but with subtly different spins; you're essentially in the New Found Glory / Rise Against ballpark with hints of NOFX. Overall they're tight, precise and hit the desired nail right on the head, with the exception of an ill-advised cover of Eleanor Rigby - it's not you lads, it's just that nobody else can do that song justice. The songwriting and musicianship is bang on and Margate sound like they know their trade and audience inside out. Despite the lack of a stone-dead killer track capable of propelling them into the big leagues, there's absolutely no reason why any one of these couldn't stand their ground alongside their better known peers. If pop-punk is your bag you'd be silly not to check them out.

Rise To Remain - Power Through Fear

I never really know what to say about Rise To Remain - they do what they do well, but they always feel a bit also-ran. They're not as doomy as, say, Paradise Lost, not as growly as Sepultura, not as screamy as Bullet for my Valentine, and not as melodic as Ill Nino, but they seem to cram elements of each of those into each track in order to widen their appeal. There's nothing at all wrong with Power Through Fear (except the terrible guitar solo) and I'm sure it'd slot in nicely in a soundtrack, but I'm not sure it stands up to closer scrutiny. There's a slightly uncomfortable feeling of power, but without the soul to make it come alive. As with many of their peers, I think the live experience is likely to be a far more rewarding one.