Reviews+Critiques

Analysis of Smile In The Square Review.

Tue, 15 May 2012 09:22:13 -0400

This review is very different from the rest. It was a very different event to the others and it was written in the style of a student magazine, so the tone is quite relaxed.

The student scene isn’t your typical example of a subculture, but I would certainly say the theories involved are very relevant. Ken Gelder believes that one way in which subcultures can be understood is through movement out of the home into “non-domestic forms of belonging”, (2007). This is without doubt applicable to students, the vast majority of which will be living away from family for the first time in their lives. Another way Gelder believes subcultures can be identified is through their “stylistic ties to excess and exaggeration”. This theory is less obviously identifiable regarding the student scene, as not all students dress similarly, but the common stereotype is that one students move to university they start to dress differently, or get tattoos, or piercings, or grow their hair etc to fit in with the new scene they find themselves in.

Regarding the role of the music journalist, the power they hold for artists as young as those on display at Smile in the Square is staggering. Were a high profiled journalist to take a shine to one of the performers on display, even something as small as a mention on the magazines website could escalate the band to heights which may otherwise be inaccessible.

Subcultures: Cultural Histories and Social Practice’

Smile In The Square Live Review

Tue, 15 May 2012 08:54:43 -0400

The promise of Solent’s young performers was clear for all to see, as the setting sun cast the mighty Guildhalls shadow over the Cardinals closing set, with promises of what might be. The Coldplay/U2-esque guitar riffs made for a pleasant if not thrilling climax to what had been another successful Smile week.

The audience made up what it lacked in numbers with enthusiastic support for their peers. The sunniest day in Southampton’s existence, (honest), did draw some interesting support from the local pub dwellers. The biggest entertainment during Fly Frankie Fly’s set being the topless middle age man leading the offense against the barrier between the band and audience.

The most exciting band of the day was without doubt the Cardinals, whose set deceived the audience of the bands young years. Band interaction however was as lacking as the local drunks clothing, as the guitarist and bassist peaked by smiling at each other. Whilst the singer, whose singing drew clear comparisons with a less-nasally version of Bombay Bicycle Club’s Jack Steadman, didn’t quiet, however, manage to move from the spot he stood on.

The event however, was a credit to the Universities students who had successfully arranged the whole day, and whose bands, with a little more experience, are looking set to make a name for themselves.

Analysis of Modern Life Has Let Me Down Review.

Tue, 15 May 2012 08:49:30 -0400

This review to me sounds very formal and I don’t think I hide my displeasure at their announced split very well, but I like the song and I think the album is going to be really good. Although the conclusion is quite ‘wordy’ I like it as a conclusion as one of the most intriguing things about the band are their apparently careless attitude towards the cares of the press or the government.

With the announcement and reasoning for their split I think a question of Authenticity is very relevant. In my review of Keane’s Strangeland I discuss how I believe it is an album written and recorded solely to play to arena crowds with catchy piano riffs and shout along choruses. There is therefore a huge question over the authenticity of that album as it is written to make money, not through any creative passion for music. The King Blues reasoning for their split however is the definition of authenticity in music. To split before they go through the motions like “so many bands do” is both brave and honest. They could easily have kept producing similar albums to those they already have, making a hefty sum of money in the process. However relating to Alan Moore’s theories on authenticity in music The King Blues certainly make music for “integrity”, they’ve never objected to making enemies and they make music which preaches their beliefs very strongly. For example song about women’s rights and songs relating to politics. They also write music for “social standing amongst musicians” (Moore, 1993). They have decided to split for example when they could keep producing what they deem to be unworthy albums.

The importance of a journalist regarding The King Blues is highly relevant. The King Blues have slated the press in a number of songs, The Daily Mail have subsequently erased any mention of The King Blues from both their newspaper plus all the attached companies The Daily Mail Owns. With more backing from the press and journalists The King Blues maybe have achieved a lot more commercially before they decided to split.

Alan Moore, (1993), Rock: The Primary Text

The King Blues, Modern Life Has Let Me Down.

Tue, 15 May 2012 08:48:46 -0400

“Its soul destroying, don’t you love it? You can take this job and shove it; modern life has let me down.”

The King Blues have recently announced their split after the release of the final album ‘Long Live the Struggle’. ‘Modern Life Has Let Me Down’ is the first single release from the up and coming album. The above quote from the song sums up perfectly their reasoning for ending the band …

Reminiscent of Pink Floyd’s ‘Money’, the opening seconds see a build up of office, everyday sound effects configure themselves into a rhythm which is soon joined by the bands vocalist Itch shouting of his displeasure at the worlds current state of affairs. You can see how the band have tried to progress from previous albums, for example there’s a breakdown section involving a harp and choir like backing vocals. However the themes and the chord progressions are so typical of what the King Blues have already offered you can’t help but feel this single suggests the album is going to be more of the same rather than anything new or exciting. But the King Blues themselves seem to be fully aware of this. The statement they released in their website regarding the split of the band reads, “We simply feel we have taken things as far as they can go and it would be unfair on you if we were to go through the motions like so many artists do.”

Refreshingly honest it certainly is to see a band remember why they make music; The King Blues could easily keep producing the same album over and over, but they feel as though their fans deserve better. They’re are a band who have always intrigued with their bizarre mash up of styles and themes and this song has certainly delivered more of that, with a chorus which is suited perfectly for the angry crowds of a live venue, which it is unfortunately, unlikely to ever see. The lyrics are as genuinely poetic as Itch has every managed to deliver, and the guitars reflect the driven style of Itch’s speech.

The King Blues are without doubt a talented bunch, their split is unfortunate as it is necessary, it’s just a shame they never quite reached the heights they were capable of, but without the backing of the press and with songs that regularly slate the government, perhaps the never were going to reach those heights. But then I don’t think they mind too much …

Analysis of Red Face Review.

Mon, 14 May 2012 06:35:00 -0400

Lucy Rose is, for now, such as small artist that it was quite hard to find enough to say for a review, but I think it read well in the end. I tried to use the angle that she’s very much been under the shadows of Bombay Bicycle Club for so long now but she is finally starting to emerge as a solo artist, done so by the closing line, “… who knows, she may out do her friends in the bicycle club as of yet …”.

One of the first points I made about Rose is that she was brought up in rural Warwickshire. I did so as when you read the ‘about’ section on her website that is also one of the first points they make about her. This raises question of class to me. It doesn’t state she was ‘brought up by working class parents in the city’, instead it’s quite the opposite. Class is a debate which has been brought up in the past, for instance the punk movement was aimed entirely at the working classes. Songs like ‘Anarchy In The UK’ for example by the Sex Pistols which speaks of rising against the upper classes.

Another example of class debates in pop music is the Britpop battle between Oasis and Blur. Blur were accused of being “Arty southern fops”, with songs such as ‘Country House’ talking about drinking herbal tea in the country. Whereas Oasis were described by some as “salt of the earth northern yobs” (Irvine, 2005, introduction). How much truth there is in this observation I would argue against. Blur may have written ‘Country House’ but they also wrote songs like ‘Parklife’, which sum up the working class and the everyday ‘rat race’ routine perfectly. Nevertheless it was a reputation they were stuck with, once again thanks to the power of the music journalist. Blur would not have had the middle class reputation had some journalist not decided to label them with it.

Blur however were hugely successful in the charts which suggests whether they were looked upon as middle class or not, people still liked, and so bought, their music on a massive scale. Therefore I would not worry for Lucy Rose coming across as middle class, as as Blur have proved, if the music is good enough, people of all classes will buy it.

IRVINE, 2005, The Importance of being Idols, Viewed 15/01/12, Available from: http://www.guardian.co.uk/culture/culturevultureblog/2005/sep/02/theimportance?INTCMP=SRCH

Lucy Rose, Red Face.

Mon, 14 May 2012 06:34:26 -0400

Lucy Rose has toured repeatedly with pals Bombay Bicycle Club, but 2012 looks to be the year she comes good by herself. ‘Red Face’ is one of a few singles Rose has released in the build up to her album release, a date for which has yet to be confirmed.

Brought up in rural Warwickshire, Rose left for London at a young age to seek a career out with her acoustic guitar, something which appears to be on the verge of happening in a very big way. ‘Red Face’ lends itself to a number genre, the opening seconds jerk the knee into action as the listener expects to start bouncing their foot along to a Marling, Mumford-esq barn dance, but instead a much more acoustic feel dominates the rest of the record. ‘Red Face’, as with her singles previous to this, rely heavily on Rose’s delicately beautiful vocals which have seen her success rise from Bombay Bicycle Club backing singer to one of Vogue’s “Indie music breakout stars for 2012”.

What’s refreshing about Lucy Rose is although her music is very much a general Indie record; she’s not easy to pin-point comparisons to. Not folk enough to label as a Laura Marling follower, or pop enough to draw comparison to Adele, you can’t even fall back on the classic female comparison of Kate Bush. Rose does seem to fit quite comfortably into her own small musical zone, with the only near comparisons that can be made are Bombay Bicycle Club (obviously), and perhaps Noah and The Whale; although these are both male dominated bands whilst Lucy Rose is very much a solo female performer.

Red face has been a successful single release for Rose and with her unique set of musical sounds, together with her effortless, whispering vocal style, who knows, she may out do her friends in the bicycle club as of yet …

Analysis of Strangland Review.

Mon, 14 May 2012 06:32:47 -0400

I tried to alter my style of writing in this review to firstly give it a bit more personality and try to make it stand out more than previous ones. I like it, I think it would fit quite comfortably into a corner of a magazine, as long as it was the right one.

I said the same earlier when discussing my review of The King Blues, but different magazines call for very different readerships. This one is more colloquial than some previous so would be more suited to a more light-hearted publishing such as the NME as opposed to the more formal broadsheet newspapers such as The Guardian.

This review also raises questions of authenticity when I say, “… this album won’t be remembered for being anything special, but it will give Keane some memorable nights and a memorable pay check.” This questions Keane’s motives in the writing of this album. To write the album purely for financial gain would mean the album is not authentic in its intentions, but that it is written in a standard format which has been proved to work, and proven to make money.

“Regardless of what aberrations occur, the hit will lead back to the same familiar experience, and nothing novel will be introduced.” (Adorno, 1990).

Adorno, On Popular Music’, from ed. Frith, S & Goodwin, A, (1990) On Record: Rock, Pop & The Written Word.

Keane, Strangeland, Island.

Mon, 14 May 2012 06:32:00 -0400

There is nothing wrong with an album full of shout along hooks and piano riffs you hum on your way to work, is there? That’s just good song writing isn’t it?

Keane’s latest offering is as readymade for an arena tour as their earlier top hits such as ‘Somewhere only we Know’ and ‘Bedshaped’. The opening track has the line “Coz you are young, you’ve got time, you’ve got to try to bring some good into this world. Coz you are young.” Now if that doesn’t scream ‘Give us an 02 date’ I don’t know what does. There’s a definite influence of Coldplay within the same track, ‘You are Young’, a big shouty sing-a-long bit reminiscent of Coldplay’s ‘Paradise’.

What I’m trying to say is I think Keane have now been around long enough that they’ve had enough of trying new things, and they now want to return to what brought them so much success in the first place; which is writing good, catchy pop songs which appeal to virtually everyone, and will see their album land solidly in the top 10. The problem is, they’ve done all that before. Which is why this album won’t be remembered for being anything special, but it will give Keane some memorable nights and a memorable pay check, but creatively, a bit dull Keane …

Analysis of Electric Ballroom Gig Review

Mon, 14 May 2012 06:31:09 -0400

This review didn’t come out as I intended it too, possibly because I’m a big fan of the band. I focused on trivial points such as whether the album was running out of steam already, because it is to me, but should have focused more on how well the band performed on the night as it is a gig review, not an album review. I tried to make it sounds a bit less formal, to make it more suited to a music magazine rather than a newspaper, which I preferred.

The angle I tried to take in this review is that this performance was simply a stepping stone to what the band will eventually achieve. It is already true in a sense as the band have a headline date booked at the Shepard’s Bush Empire in November. I believe I achieved this angle with lines such as, “… with everyone feeling quietly smug that they’ve managed to catch the band in what is still a relatively small venue…”. I think the difference between reviews of new, up and coming bands, compared to those already established, is vast. To review a band that are on their fourth album release and have already had arena tours all over the UK, the review may focus on what they’ve already achieved, or how this album compares to their previous. Whereas for a band on their first album release, they have yet to achieve anything, and you have nothing to compare their album to, so you focus on points such as what you think they will be able to achieve in the future …

Since it is the bands first album, to say they are headed for bigger things may seem an obvious statement. However I think this is where the role of the journalist becomes so important. Had the journalist disliked the gig, and thought the band were unworthy of the stage they were already playing, depending on his/her influence in the industry, he/she could play a part in ending their career right there and then. Whereas if the journalist did like the gig, it would be up to them to label that band the ‘next big thing’ and all of a sudden the band’s fortunes would surely rise. Journalists are responsible for the success or decline of bands in a very serious way. As Simon Frith says,

“Music celebrates the inarticulate; the music journalist’s aim is to articulate that celebration.” (1983).

In other words, it is up to the journalist to even make music interesting …

Simon Frith, (1983) Sound Effects: Youth, Leisure and the Politics of Rock n’ Roll.

Dry The River, Electric Ballroom, 2nd May.

Sun, 13 May 2012 13:29:00 -0400

Dry the Rivers last three London dates sum up the huge steps they’ve been taking over the past nine months. From upstairs in a pub in Kingston, to the gloomy downstairs of the trendy XOYO to most recently their biggest UK headline slot to date at the historic Electric Ballroom in Camden.

There was an undoubted sense of community amongst the crowd, with everyone feeling quietly smug that they’ve managed to catch this band in what is still a relatively small venue compared to the stages they might be playing in the years to come. The band walked out spot on the promised time of 9.20pm, headed by Peter Liddle, the brains behind the act. The transformation of his onstage demeanour walks hand in hand with the progress the band has made. It certainly felt as though Liddle has grown from the shy boy who sings when he must, to the confident man who’s proud of what he has achieved, and belts songs out with passion and ferocity. The majority of the talking was left as usual to the bassist, Scott Miller, who mostly spoke about how privileged and grateful they felt and so on.

One of the singles released during the approach to the release of the bands debut album, Shallow Bed, was ‘Weights and Measures’, this was a highlight of the evening. The band likes to play the intro to the song without any amplification, giving the audience a chance to sing along. As the chorus of the crowd started to outdo Liddle, Miller and Taylors vocal efforts they could hardly hide their obvious joy in defeat, a gruelling schedule of European and UK tours finally being rewarded by a successful sing-a-long with their record crowd.

Rarely have I witnessed a band having more fun than when watching Dry the Rivers closing song ‘Lions Den’ reach its climax. The song loops again and again, faster and faster, until any sense of a rhythm is completely lost and the band is simply throwing their hair around the stage barely trying to avoid each other. The audience undoubtedly enjoy it just as much as the band, just a bit more jealousy as their lack of space limits their hair-throwing ability.

One concern for the band however would be is this album running out of steam already? It has only been out for a matter of weeks, however as it is there first release these are songs the band would have been playing for several years, and for the early fans they would have been listening since at least last summer. The band is now set for a mammoth tour of UK and European summer festivals, and then a huge date at Shepards Bush, whilst the entire time still playing the same set list. Such things are unavoidable as is the nature of a bands first release, but I would hope a second album isn’t too long in the coming.

The night was however an undoubted success, with every eye in the room being drawn un-waveringly to the centre of the Camden stage, and every ear in the room being spoilt rotten.

Analysis of Soap & Skin Review.

Sun, 13 May 2012 13:28:10 -0400

This is one of my preferred reviews, I think the balance between criticism and complement is good. To summarise it’s a good album but an average gig. I found her very interesting as a person, to be raised where she was and in the way she was and to then go on to achieve the things she has musically.

I said in the review there felt to be a sense of unity that the people there were some of the few people who could really get this kind of music. Although the fanbase on display at the gig wasn’t your classic subculture, everyone wasn’t wearing the same thing, there was a mixture of nationalities and age groups, there was a clear sense of the bonds music can create. The way the people there obviously appreciated music which isn’t your everyday pop music, and embraced the unusual, created a feeling of subculture. If a well known journalist was to turn up to the gig and label the listeners with a catchy phrase or title, then it may well catch on. Then before you know it at the next Soap & Skin gig people will turn up wearing similar clothes, embracing their new found title and status as a subculture. The media is after all hugely responsible for tthe formation of new musical groups,

“… undergrounds define themselves against the mass media. Their main antagonist is not the law which might suppress but the media who continually threaten to release thier knowledges to others.” (Sarah Thornton).

Furthermore Thornton says the media is central to the way we “create groups with words”, which refers to my earlier point, if a big named journalist was to label all those gathered to watch the bizarre Soap & Skin with the title, that could be all it takes to create a subculture in music.

Soap & Skin, Scala, 12th April.

Sun, 13 May 2012 09:05:13 -0400

Instantly likable she is not. UK chart topping she will never be, but; this 21 year old daughter to a family of Austrian pig farmers certainly has a way with a piano, and more to the point, with making unique, emotive music.

There felt to be a sense of mutual consent to all the people who had devoted their time and money to see Soap & Skin, (Born Anja Franziska Plaschg), as they waited around for the support to stop and the gloomy darkness to begin. As if everybody knew that they were some of the few who could really get this kind of music.

Well I didn’t get it. I enjoy listening to Plaschg’s latest offering, Narrow, said to be a tribute to her deceased father, which, for that reason perhaps, seems to make sense on record. All the clashy wailing actually sounding quite beautiful after a few listens. Live however her distant body language betrayed the immense closeness you can feel by listening to her through headphones, and too often did she hide behind her laptop screen and piano which were set way behind the lead microphone, despite the fact she only approached this microphone on a handful of occasions.

Her music is bizarre as her stage presence is un-captivating. Her album however, is brilliant. If only that passion could be properly transferred to her live performances.

Analysis of A Creature I Dont Know Review

Sun, 13 May 2012 09:01:34 -0400

Again, it’s very clear that I like this lady a lot by this review, but not without justification. Although overall it probably does sound a bit bias. I like it as a review though, I think the overall appreciation of Marling is better than the track by track analysis I did earlier on in the King Blues review. The review still lacks originality and emphasis. The best reviews have lines that you want to re-read after just having read them, and ones that will then stick in your head for the rest of the day. But overall I believe it is an improvement to previous reviews.

A question which is still relevant, even today, is how seriously women are taken by the music press. The majority of music journalists are men, but in terms of the performers the balance is much more equal and I believe Laura Marling is a refreshing example of a female taken very seriously by the music press. Her previous albumI Speak Because I Can,was nominated for the Mercury Prize and Marling won an award at perhaps the most commercialized music awards, the Brits, for best newcomer. It was an unusual award for Marling to win as she had been around for a very long time prior to that, however it shows how seriously the music press take Marling as an artist. Women are often accused by the press of using their sex to sell records, but you will never see Laura Marling dancing in a bikini in any of her videos. Furthermore women are often referred to as female versions of a male star, whereas Marling’s important role in the progression of the ‘Nu-folk’ scene actually see male artists referred to as male versions of Marling, for example Ben Howard. With female talent such as Marling always emerging there is strong hope of disproving the following. . .

“There is little sense of an ongoing tradition of women in the music industry” (Gaar, 1993).

Laura Marling, A Creature I Dont Know, Virgin.

Sun, 13 May 2012 08:14:00 -0400

Front-runner of the booming ‘Nu-Folk’ scene Laura Marling achieved massive success with her album ‘I Speak Because I Can’ before the release of her newest, ‘A Creature I Don’t Know’. There was a lot to live up to and many a critic waiting to sink their teeth into what promised to be another folk/country orientated album.

It delivered. Lyrics don’t come much better then when written by the hand of Laura Marling. She’s said herself she always wanted to be a writer but she found writing music much easier. And boy can she write music. The charming, gripping nature of folk music is a powerful tool. You only have to look at the commercial success of Mumford and Sons to see the extent of that power. Laura Marling has the ability to completely capture the charm of folk music in a way which oozes beauty like no one else can. Track six on the album, ‘Night after Night’, is a perfect example of the captivating tone of the current folk scene. After the first verse has been sung your attention is fixated to an extent that Angelina Jolie tapping you on your shoulder couldn’t force your eyes to open.

Whether it beats its predecessor or not is debatable. However that is probably more a statement of my admiration for the previous album then any dislike for this album. It perhaps lacks some of the hooks ‘I Speak Because I Can’ does. The title track of that album for example had that one important melody which played on loop in your head until you heard it again. ‘A Creature I Don’t Know’ does obtain hooks but ones which aren’t as instantly memorable.

She certainly has delivered, however this album has more continued her career rather than progressed it. However, progress will undoubtedly follow in time. Marling is an intelligent lady indeed.

Analysis of Shallow Bed Review

Sun, 13 May 2012 08:13:23 -0400

This review is clearly tainted by my admiration for the band, there are negatives to the album I perhaps should have delved in to, but I do believe it is a very strong first album. Still lacks originality though.

After writing this review, I read the NME’s review of the same album. In the review they question Dry The Rivers intentions, “… you can’t help wishing they’d put as much effort into forging an individual sound as they clearly have sharpening their hooks.” This questions the authenticity of the album. Whether it has been written out of a love of music, or a love of the money the hooks they can write will surely generate. It relates to Alan Moore’s debates on authenticity, in particular the ’social standing’ of the musician and ‘his reason for working.’ (Moore, 1993). Whether the band are writing music to earn respect musically from fellow artists, or purely for the money involved. You could certainly argue that the album was written for both respect AND money, why can the album not be respected because it’s ’catchy’ and sells a lot of copies, is that not a sign of good music? Or does a lack of originality counter-act any authentic intentions?

Books such as Moore’sRock: The Primary Textshow the music press’s importance in deciding whether something is authentic or not. Music fans tend to listen to the opinions of such authors and music magazine writers such as Lester Bangs.

http://www.nme.com/reviews/dry-the-river/12831
Alan Moore, (1993), Rock: The Primary Text

Dry The River, Shallow Bed, Sony.

Sun, 13 May 2012 07:34:48 -0400

Such is the hype around the up and coming ‘Nu-Folk’ scene, Dry The Rivers debut release Shallow Bed has been highly anticipated. The BBC ‘Sound of 2012’ nominees have been touring all over Europe since last summer and have built up quite a following. Their intriguing mix of styles leads to comparisons to bands such as Radiohead, Fleet Foxes and of course, Mumford & Sons.

Their opening efforts though suggest to me there is a lot more to them than the foot-stomping festival favourites of 2010. Highlights are many and often throughout the album, in particular ‘New Ceremony’, ‘Weights and Measures’ and ‘No Rest ’ which were all released as singles leading up to the album release. ‘New Ceremony’ in particular sees vocalist and write Peter Liddle sing of the inevitable decline of love, backed by harmonies which are typically beautiful of the album.

The lyrical content of the album is in a word, bizarre. Before devoting his time to the band, Liddle took degrees in both anthropology and medicine, (neither of which were completed), which both have strong influence on the songs words, whilst there is also clear references to Biblical content in songs such as ‘Bible Belt’ and ‘Shaker Hymns’.

The anticipation was vast, but the album has undoubtedly delivered; never a dull moment from start to finish, and even more so when seen performed live. It won’t be long before the wait starts for the all important second album … I for one, am excited.

Analysis of Alex Winston Review

Sun, 13 May 2012 07:23:23 -0400

I struggled with this review, I neither liked nor disliked the gig but when I read back on this review it sounds much harsher than intended or deserved. Also it sounds amateurish to me, I think because I’ve included too many personal opinions.

Alex Winston is a woman who largely draws upon comparisons with other female artists, notably Kate Bush. Obviously the music press scene has changed since publishing’s like Creem were publishing quotes such as: “If most guys in America could get their fave-rave poster girl in bed and have total license with this legendary body for one afternoon, at least 75% would elect to beat her up.” (Bangs, 1993). It didn’t feel to me like I had to make any particular effort to not write in a sexist way, terms like ‘girl’ or any kind of derogatory phrase just don’t occur to the brain. Alex Winston is without doubt a very attractive woman, which could not have hindered her career in any way, however it did not seem to me that she played on the fact. She was dressed very modestly and wanted to be considered only as the artist she is. Sexuality is however something often used in the history of pop music, artists such as Madonna, for example, who used her sexuality as a marketing tool. A designer of a Madonna album cover said of her: “She was already highly aware of the value of her image and was in control of it.” I think this relates to Alex Winston, she could use her image a lot more but chooses not to, whereas Madonna certainly did use it.

Bangs quoted in Greil Marcus (1993) In The Facist Bathroom: Writings on Punk 1977-1992.

Alex Winston, XOYO, 4th April

Sat, 12 May 2012 11:11:02 -0400

Never have I walked into a room with more of an uninterested vibe as I stepped down the stairs to the underground XOYO and witnessed everyone gathered around the bar with their backs to the stage. I would have put money on them all saying “Ah well, it’s a nice night out” before they walked out their front door to travel through the rain to London.

However she certainly did all she could to make the night more than just a ‘nice night out’. As seven people crammed themselves onto the undersized stage, Winston followed them holding herself with all the self confidence of a Glastonbury headliner, before bursting into a rendition of her album opener ‘Fire Ants’ which, despite myself, my foot started tapping along to. The unusual mixture of early Kate Bush vocals, Florence and the Machine backing and New Orleans Blues style backing vocals caught the attention of everyone away from the drink in their hand; and once their attention was caught, it wasn’t released. Although not all for the right reasons … As soon as Winston started coming across as likable she effectively decided to insult everyone in the room by saying: “I know we’re in London so you guys may need a little warming up …”

Her up and downs continued as after every good song, she would either get mad at her band or on one occasion even land square on her back as she attempted to sing a song whilst standing on the stage barrier. Smooth … Her talent for song writing is undeniable however with each song (with the odd exception), sounding better than the next. Climaxing with probably Winston’s most well known effort, ‘Choice Notes’ which gained fame through its use in recent Hyundai and TK Maxx adverts. She then completed her act by singing her song ‘Medicine’ whilst dancing amongst the reluctant crowd.

It was a gig which for me summarised the nature of smaller acts such as Alex Winston. People there knew and enjoyed her music, but place them all in a small, trendy London venue and it’s almost as if everyone there is looking like they’re trying to not enjoy it too much. There were the usual few drunkards who would shout the wrong words out to the wrong songs, but everyone else looked as though they were trying their best to look ‘cool’. Even when Winston was dancing amongst the fans themselves everybody looked reluctant to dance with her even though they could be clearly seen singing every word along with her. Stage-fright or shyness perhaps, but more to the point I believe, just the reserved nature of London crowds as Winston herself stated earlier on, “I know we’re in London so you guys may need a little warming up …”

Winston writes good pop songs and on a different night to a different audience maybe her performance would have been a success. But one too many trips on stage or slight insults to the crowd made her lose that awe a performer so needs to hold over the audience. However it was by no means embarrassing, and I’m sure once everybody got home and stepped into their front door out of the London rain they said, “Ah well, it was a nice night out.”

Analysis of Punk and Poetry Review

Sat, 12 May 2012 11:08:57 -0400

Overall I think this is one of the weaker reviews. I, reflectively, dont like the way I’ve tried to analyse the album track by track, furthermore I would say one of the most interesting things to do with the King Blues are their political views and the reaction they’ve had from people such as the Daily Mail, which I only briefly discussed, so needed further commenting on.

The King Blues are made most interesting by both their political views and their unsual range of genre. They are a band which could be categorized easily under either punk, reggae or rap. Genre therefore is a key topic for The King Blues. Is genre fluid and interchanging or is it a rigid structure given rules and guidelines. Frith says that genre ‘reflect both musical history and marketing categories’ (1987). This album has all the social and musical characteristics of a punk album, however 90% of lyrics are rapped, so is it therefore a rap album? Genre is spoken of as being useful for things such as marketing, people find it easier to enjoy bands when they can be categorized. Perhaps then The King Blues lack of big commercial success could come down too their lack of clear genre. People may find it hard to understand them as a band whilst the singer is rapping, about class divides, over a reggae rhythm.

I criticised my lack of political analysis in this review and said I focused too much on a track by track analysis, however whether this is a fair criticism or not would depend on the readership it was aimed at: “In magazines things are not that simple: the material they cover is varied, the purposes for which they are written are diverse and the readerships are, in many cases, tightly defined in terms of interests, class or age.” (McKay, 2000). Depending on whether it was to be published in a musically orientated publishing such as the NME, or a publishing with a more political interest such asThe Guardianwould have to be considered when deciding what to include in a review.

Frith, (1987),’Towards an Aesthetic of Popular Music’, in Leppert, R and McClary, S (eds)Music and Society.

The King Blues, Punk and Poetry, Transmission Recordings

Thu, 10 May 2012 11:31:55 -0400

It’s not often you hear a modern day, self-confessed, punk band whose lyrics are as delicate and considered as most poetry. The King Blues have the unique ability to combine a mixture of punk, reggae and rap into the same album yet have it flow as well as the most accomplished of punk bands. ‘Punk and Poetry’ is the latest offering from the London based group and is as hard hitting as anything they have yet to offer.

The album opens dramatically with a sequence of piano chords which are soon accompanied by the band’s lead singer known as Itch near enough shouting for the ‘little man’, looking to inspire all those who feel under-trodden with lines such as, “This is for the origami swan, who dares to sore up to the sun.” This is a sentiment heard regularly in the bands lyrics in previous songs such as ‘What If Punk Never Happened’, for instance, where in an ever growingly passionate conclusion you hear Itch shout with all the ferocity he can muster, “Take pride in being whoever the fuck you want to be.”

This opening track is followed by one of the band’s most controversial songs to date titled, ‘We Are Fucking Angry’. The album’s punk influence being heard loud and clear through both the distorted guitars and the sentiment of the song. In a year which saw riots all over the country, some of the lyrics on show here are undeniably shocking, Such as “Cut the bankers, cut the MPs, cut the rich and the riot police.” When playing live they make their stance on the riots very clear, they condemn that anyone was hurt, be they riot police or innocents. But the anger and passion on display in this song is hard to ignore. Reminiscent of Eminem’s shocking lyrics which sent ripples all over the world, were The King Blues to have the same publicity as the American rapper the levels of controversy Eminem produced may have been equalled by The King Blues outrageous lyrical content.

The album then wonders through a number of different themes and styles, including a brief experimentation with drum and bass in ‘The Future’s Not What It Used To Be’. Itch’s unique talent to aggressively rap about everything and anything however, dominates all songs; from love, to parenthood to sex to feminism. ‘5 Bottles of Shampoo’ is the song on this album most strongly dominated by his poetry; to an extent that when performed live the band actually doesn’t perform with the singer, but instead he raps with absolutely no backing. Apart from the audience shouting every word along with him.

Passing through the albums most Biggest hit, ‘Headbutt’, in which an organ makes an interesting appearance, as it does throughout the album helping it step from a home recorded punk album to a studio album, ready to be toured with. The album concludes on a song which is a comparatively tender song compared to the rest of the album, speaking of Itch’s step into romance and fatherhood.

Punk and Poetry is an album full of some of the best, most poetic lyrics I’ve ever heard. And for that it deserves all the success it’s had and more. But with their outrageous criticisms of some of the country’s leading Media and Political figures it was always going to be hard for The King Blues to get the credit they deserve …