It strikes me that this might be a very sensible way forward for smaller bands in the modern music industry. There are a number of bands with solid fanbases who might either struggle to be signed in the traditional label model, or not enjoy working within that framework. This kind of website allows bands to allow fans to purchase something which they’ll really appreciate and in the process fund the release of new material.

Since I started composing this post Grammatics not only announced that they were splitting up, but that they were funding the release of their final EP via Pledge Music due in part to the success of the I Like Trains project. For my part I snagged their new EP and also a rarities CD. In addition to the release of the EP they’re going to tour for a final time, I’ll aim to catch them when they’re in Scotland. Pledge Music has enabled this release, something which might not have happened otherwise. It seems like a lot of bands are repaing the benefits of this business model already.

It seems they’ve decided to make 65daysofstatic’s new album We Were Exploding Anyway available for streaming on their myspace for the week before its release. It sounds pretty good even through the muddy filter of internet streaming. Of particular note are Come To Me featuring Robert Smith of The Cure on vocals and Tiger Girl (which I mentioned in my previous post.

So if you fancy it, give the album a spin. I’d expect a review of this album once I’ve had the CD for a week or so.

Personally I’d probably have preferred had Matt Bigland’s old band Mother Vulpine stayed together instead. Their brilliantly named song Keep Your Wits Sharp (Her Words Are Quick) was something of a favourite of mine a few years back.

Rolo Tomassi – Party Wounds
Rolo Tomassi’s debut album was a fantastically noisy thing. They have this real ear for creating monstrous sounding songs, with moments of beautiful fragility. This is more of the same. It’s much more amusing when you imagine the growling coming out of the diminutive female singer’s mouth. That blindsided a few people when I saw them live. You can grab the track here.

65daysofstatic – Crash Tactics
This has been a real grower. When I first heard it I was slightly disoriented by it. Is this 65daysofstatic dumbing down? Are they targeting a more mainstream audience? Probably not, it’s a completely different sound, but it’s probably no more accessible. Once I got my head around it, it really whetted my appetite for the new album. Grab it here.

65daysofstatic – Tiger Girl
Tiger Girl really got me going. The new album sounds like it could be a cracker. This is a plus ten minute dance epic. It builds layer upon layer, in wave upon wave. By the time the drums are being piled on and the guitar kicks in the song turns into something really beautiful. It’s clearly the euphoric outro to the album. Here’s hoping everything else is as good. Check it out on The Hype Machine, then grab it here.

I Like Trains – When We Were Kings
Another band with an album due out this year, I Like Trains are coming on strong. With guitars that sound like they’ll crystalise your ear drums, Dave’s trademark deep vocals and ever dynamic drums, it’s a great taster of the new direction. The track features some delicate vocal harmonies and a stunning middle eight, before segueing into the brilliant refrain “We rise. We fall. We pitch. We Yaw. No sleep, no sleep, no sleep. Repeat”, the song certainly knows how to capture the attention of the listener. Check it out here.

The Loudness War is a result of artists wanting to make their music stand out by artificially increasing the volume of their recordings. This makes the music stand out on the radio and sound better on the more standard – rubbish quality – laptop speakers most people will listen to music on these days. It’s achieved by increasing the average volume of the recording, which itself is often achieved by compressing the dynamic range. The image below shows the effect of successive increases in the volume on the waveform of Something by The Beatles. You’ll note that by 2000 the waveform has been pushed to the point where it is nearly hitting the limits of what is possible in the recording format. Probably the most famous example of where this has been pushed too far is the Metallica album Death Magnetic. This image shows two versions of the song My Apocalypse. The top is that from the CD release, the lower is from the Guitar Hero version. Note that the CD waveform has actually been pushed to the point where it is clipping on the edges of what can be stored in the digital format. This kind of waveform results in audible artifacts, or distortion. Laughably the version from Guitar Hero (which was mastered separately) has been shown much more care and as such is actually the superior recording. It brings me much joy to imagine Lars Ulrich in a recording studio repeatedly saying “No, we need more volume. Louder…louder!”.

Back on point, the beautiful thing about the production of The Destruction of Small Ideas is that they took all of this into account. This means that the album has a fantastic sound. The quiet moments are really delicate and the difference between these moments and the loud moments is astounding. It offered what should have been the perfect rebuttal to the continual pushing of the Loudness War. Instead people were left disoriented by something which was produced in a slightly different way. If we take a quick look at the waveform for one of the songs from the album we can clearly see that a greater range of volume levels are being utilised.

Yes it still has loud sections, but these are contrasted with just about everything in between. This is in sharp contrast to the Metallica track in which the dynamic range of had been throttled out of existence, similarly the multiple increases in volume of releases of Something by The Beatles would have a similar effect. It’s something which I would really like to see less of, but I’m not entirely sure the music industry is willing to go that way. Hopefully artists will continually make a deliberate retreat from the front lines of the Loudness War. It’s a battle that has already resulted in at least one major casualty, the production quality of which was criticised far beyond the realms of the hardcore music fan.

With that note out of the way, on with the important stuff; the music. Minnaars immediately broke out into the excellent Busy Hands. Given that this is what I would consider a genuine dancefloor filler, that’s some statement of intent. Between the pulsating synth, delay-laden, staccato, dueling guitars and dynamic drums and baseline it would be difficult not to dance. The breakdown in the middle with the refrain “I’ve been falling into bits, been like this since the blitz” has always been something I’ve found hypnotically good. This was even more true live. The song has been reworked since it was last put on record and now has an extra bit at the end where a recording of the vocal line has been cut up and placed over new synth lines, before breaking out into an outro. It was a fantastic re-imagining of an already great song. Below is the original version of Busy Hands.

From there the band went on to play a mix of old songs and songs which have been written for their debut LP. This was their first gig since recording some of that album, but you wouldn’t know it from the performance. The band are nearly all extremely dynamic and charismatic performers. Special mention here has to go to the frontman and the two guitarists who were almost always doing something else, different, new, or unexpected. The new material all sounded very interesting, exploring a similar shouty, danceable guitar based area in a number of different ways.

The gig finished with an interesting new song (possibly just an intro for Are Lovers) which had 3 members of the band doing almost nothing but singing at the same time, all over the top of the drums, bass and synth. This led into the fantastic Are Lovers, before the band left having pleased at least a significant subsection of the crowd and it looked like they had fun along the way.

Hopefully their album will come out later this year. In the meantime I’ll make do with the compilation of their work to date “Of Our Delirious Former Loving Hours”.

This time last year I was expecting their debut album to appear and blow me away. I’m still waiting.

¡Forward, Russia! are still undoubtedly my favourite band and it’s good to see that things aren’t completely quiet on that front. Though a number of the members of the band have been involved in various things which I’m going to be talking about soon, so that’s a positive.

For a seven year career (in their various guises) their two mini albums, two EPs and one album perhaps seems like a poor return. However the quality more than makes up for the relative paucity of releases. There is to be one more tour, for which I will definitely make my way to at least one date. Rumour has it that they’ll again be supported by their excellent sometime collaborator Adam Gnade once more as well. Here’s to another great band, which will be missed by many.

Grammatics

Grammatics are a band who concentrate on creating intelligent pop songs. They’ve occasionally been accused of being too clever for their own good, though I have to disagree based on their output to date. The really interesting dynamic is that a cellist features prominently, something not often seen in modern popular music. The cello is integrated really well with the rest of the music, it makes you wonder why it isn’t more common. Vocals are likely to be a point of contention for some, falsetto is a bit of a love/hate thing so it’s easy to see why. The really interesting point for me is that one of my favourite songs of last year, New Franchise, hasn’t even made it onto the album. Usually this is a good sign.

Dilemma video:

‘Dilemma’ video for the Leeds band Grammatics from Marcus Macaulay on Vimeo.

New Franchise video:

Grammatics – New Franchise from LEFT EYE BLIND on Vimeo.

Dananananakroyd

Dananananakroyd come from almost the opposite direction. It’s still clever music but, instead of seeming careful and considered, it’s a big, fun punch in the face. The lead single for their debut album Hey Everyone is a bit more relaxed, but features nearly all of their trademark musical touches. Based on their output so far, you can expect intro-verse-chorus-verse-chorus-middle eight-outro, but it’s executed in such a way as to make it irresistable. They’re probably going to be more famous as a live band, but I have high hopes for their studio recordings too.

Black Wax video:

Black Wax from Best Before Records on Vimeo.

It’s unfortunate that these albums are being released during a hectic period in my year, it will make digesting them a slightly harder process. Expect reviews sometime near the end of May at this rate…

So what expectations can you have when the new album is shock released, prefaced only by Mercury; a song which divided Bloc Party’s fanbase in two. Mercury with it’s mashed up vocals, up front drums, synth noises and brass instruments was the perfect example of a marmite song. It’s tempting to say that your opinion of Mercury is likely to give you an idea of what you think of the album, but that’s not quite true. The focus certainly isn’t exclusively on guitars in this album, though Bloc Party were always quite good at shifting the focus. Inevitably most peoples’ memories of Silent Alarm will be of one of those amazing guitar hooks.

I imagine the siren like guitar hook of Ares may have the alarm bells ringing for many. Particularly when the rest of the track comes on a bit like an awesome version of The Chemical Brothers. It’s an amazing assault of lyrics, squeals, guitar and synth stabs; all anchored by a slightly tinny drum beat. In short, it’s awesome. Similarly Trojan Horse assaults the senses. Sounding like a crazy sonic version of sparklers mixed with the sound effects from a bad science fiction film. Only not quite, somehow under it all it manages to be a guitar led tune, much more in keeping with old Bloc Party than at first apparent. The back end of the song comes on almost like a new take on Postive Tension, a cast iron Bloc classic. One Month Off is in a similar vein to  Trojan Horse, only much more visceral. It’s perhaps the most exciting track vocally from a traditional point of view.

Halo initially seems like it’s harking back to the Silent Alarm era and getting it all wrong. In short, there’s too much distortion. However the classic trick of suddenly breaking it down to guitars and bulding the song back up works its magic. Suddenly that trademark clean guitar sound re-appears, before the drums kick everything towards a scintilating conclusion.

Sandwiched between Halo and Trojan Horse is the song I’m tempted to call the centre-piece of the album. Biko is a very delicate guitar tune, with a focus not only on the main vocals; but also the ones that jump in saying “You’re not doing this alone,” these dance between your speakers, making for a truly interesting effect. By the time the beats drop in, and yes that’s beats, the song already feels magic. It feels like they managed to re-imagine their old delicate songs, but with a spin lifted from Thom Yorke’s The Eraser. Signs is another re-imagining of a slow Bloc Party song and comes with quite simply the most beautiful glockenspiel introduction I have ever heard.

Another song which includes prominent electronics is Zephyrus. It also features that oft used trick of using vocals as an instrument, with a few vocal loops staying throughout the length of the song. It also feature excellent use of a choir, which while almost making it sound like something out of Final Fantasy VIII; also ensures it’s utterly captivating. The choir gives the song a textural depth and emotional weight it wouldn’t otherwise have had. Towards the end of the song the quiet extra vocal trick from Biko re-appears, once again to great effect.

Better Than Heaven and Ion Square probably offer the strongest ending of a Bloc Party album to date. Silent Alarm struggled, stringing Plans and Compliments together where perhaps Compliments could have ended the album and Plans could have been utilised elsewhere in the album. The entrire back half of A Weekend In The City lacks weight, being mostly comprised of ballads. Intimacy doesn’t make this mistake. Better Than Heaven is dark, with an exciting end. Ion Square is a typically uplifting final track. It is worth noting though perhaps, that these two tracks still probably represent the weakest tracks on the album.

That’s not a criticism however, it merely shows the quality of the rest of the album. I can’t wholeheartedly reccomend the album to fans of older Bloc Party off by Mercury. Furthermore the album isn’t as revolutionary as Ares and Mercury suggests. This is not Bloc Party’s Kid A, though it seems evident they intend to evolve their sound to the point where they make that record. Evidently though, they’ve lost a lot of shock value with this album, by already showing they’re going in that direction. The shift will never be as seismic as that between OK Computer and Kid A.

Still, that’s a consideration for another time. This is a fantastic album that I would love to recommend to everybody, though I suspect if you didn’t like Mercury, you’ll find the album as a whole difficult to get in to at first, if you can get in to it at all.