A Note For The Outcast

Raw, Refreshing & Ready for BIG things: Francesqa

Contemporary/alternative rock bands have flooded the British music scenes in the last year but few have proved themselves ready, or worthy, for mainstream success. Francesqa, however, stand tall amongst their peers; absorbing their audience in layered guitar riffs and frontman Ashley Wilkie’s vocal it will be difficult for even a casual listener to not put their 2011 EP on repeat. 

Whilst many bands rush their debut EP and over produce every note, Francesqa appear to have stumbled across the perfect introduction. Even though it is just six tracks long We Lived provides an insight into what this band are capable of and that is what makes them so captivating.

As with many bands of this genre, it is frontman Ashley Wilkies that provides the deal clincher - his vocals are simply mesmerising. Second track Ghosts will be a head turner for many listeners; Wilkies teases the audience with a more placid verse before kicking into a sing-along, jump-around chorus. As Francesqa grow, this will remain the key song to every set list: sold out crowds will be screaming ‘I need to find my way out of here’ before Francesqa have even realised the golden element to this, unquestionably, favourable track.

Throughout the EP it becomes apparent that scream-your-heart-out choruses are what Francesqa do best. Crooked Little Sun explorers a slightly rockier path than the rest of the EP, with fierce guitar riffs replacing the floating melodies in earlier tracks and Wilkies adding additional bite to his vocal. Somehow, we are still greeted by a soaring sing-a-long although it is slightly harder to notice as the intense guitar brings life to the track. It is creditable that every band member oozes passion and although Wilkies shines throughout, they each fight for their right to be noticed, whilst still appearing to be united. 

Francesqa have a great deal of potential. This sound may have been attempted before but their talent and presence on stage will project them to the top of their game. I fear that Francesqa may rush the production of their next album and lose the raw, yet refreshing, quality that is apparent from start to finish of this EP. Here’s to hoping. Watch this space. 

Charlie Simpson Finds his Home

          Charlie Simpson, he’s taken us to the Year 3000 and explored the metal world with Fightstar, but after six months cooped up in his London studio, Simpson has released his debut album and it seems, finally captured the best of his many musical personas. Having, supposedly ‘only temporarily’, taken the brave leap away from his ‘metal roots’ and into the solo world, it is hard to know what to expect of Young Pilgrim or understand what Simpson really wanted from his debut. The result, is a twelve track record that oozes luscious, soul searching melodies and charming, easily loveable imperfections. 

Away from the cheesy pop and primarily heavy rock sounds we are used to, Young Pilgrim reveals a mellow, easy listening sound with a modern folk influence. From the opening track, Down Down Down, we begin to learn more about Simpson’s musicianship and toe-tapping talents. Once the near a cappella introduction has kicked in, we are greeted by distinctive, smokey vocals that distract away from the almost awkward lyrics: ‘my heart swells to the size of an orchard’.

Mostly, the song writing is very melancholic and suggests that Simpson has a great history of heartbreak, although, he appears to have learnt from said experiences and be brushing them under the carpet. It is obvious from the outset that Simpson has grown since his early days in the pop circuit, and although his lyrical misery is evident, he does not need bubblegum sweet rifts to please his audience.

Whilst I hadn’t expected to meet the softer side of Charlie Simpson in his first bid at solo stardom, it is pleasantly surprising to be met by such warmth that only comes from an artist who is 100% comfortable in his abilities. Fans of Fightstar will unquestionably find it hard to believe that these delicate melodies are coming from the same frontman, but without question, over time Young Pilgrim could grow on almost anyone. Congratulations Mr Simpson, this is your best, and most surprising, venture yet. 

Kids In Glass Houses Strike Gold

Kids In Glass Houses: they’ve done pop-punk, they’ve done cheese (think Frankie from The Saturdays) and now with their third release they are doing what they do best. Just 16 months after the release of Dirt, frontman Aled Phillips has penned an evolutionary album that defines the Welsh quintets transition from youthful pop-rockers to mature new age chart toppers. In Gold Blood is laden with refreshing hooks, edgy vocals and risky, but oh-so-right, Brit-Rock influences. 

Sophomore album Dirt was glittery, polished and sugary sweet, In Gold Blood however, is grittier, rough in all the right places and leaves us wondering where on earth the band will go next. It is obvious from the outset that this album is far more personal and based on the band’s experiences over the last few years. 

Launching with Gold Blood, Kids In Glass Houses come across as riot-ready and ballsy, this track followed by second pre-release Animals suggested the album would be all fire and screaming vocals. It is not until you listen to Teenage Wonderland that the true ‘new’ sound is revealed. With gentle, shimmering guitar riffs, a showcase of Aled’s vocals and soothing lyrics, it becomes obvious the band are ready to be taken seriously. 

Every track oozes charm, Diamond Days and Fire take centre stage as potential chart toppers whilst The Florist steps back slightly (and perfectly) into the glittery persona we’ve seen on previous albums. Although some fans will not appreciate the drive behind this album, the sincerity and subtle sexiness will gain them a whole new additional following. Together, they have penned an album that is personal, progressive and although not completely unique, a winner.

Even though this is a revolutionary step away from the much loved sounds of Smart Casual and Dirt, every chorus still desires maxed out volumes and a fist pumping crowd. Having taken the giant leap into maturity and away from where they started, Kids In Glass Houses have shown that they can take risks, and boy, can they do it well. They say ‘third time lucky’ and it appears that Kids In Glass Houses have struck gold. 

Blink-182 Keeping Us Up All Night?

Last night, Blink-182 streamed their much anticipated comeback single Up All Night. If you are yet to hear the single, stream it free of charge here: http://www.blink182.com/upallnight/ 

I’ve been a Blink fan from a very young age: the days of their Warped Tour, pop-punk and trashy toilet talk. If you have read a majority of my reviews, you will see that I am all for artists growing and experimenting with their talents but even so, I am hugely disappointed with the first track from the new album. 

Whilst hearing Mark and Tom’s vocals collide once again is a relief, the tone of the vocal, disappointingly, screams Angels and Airwaves. Arguably, the track combines everything the trio have done individually since their hiatus in 2005 but wholly lacks the Blink-182 sound fans have craved for the last six years: quite frankly, I’m not feeling this.

Mark Hoppus and Tom Delonge were never the best musicians, vocalists or song writers but they were true to the sound they knew fans were passionate about. Without stepping back into their pop-punk shoes and away from this AvA/+44/Box Car Racer mash up, the band may lose many of their original, adoring fans. 

The new album is scheduled for release later this year. In the meantime, here’s to hoping the forthcoming tour will still heavily incorporate the material we grew up with and miss. 

Really Gold? Or Just A Cobra…

Amid years of silence, cancelled tour dates and unexplained delays Bizkit fans, and critics alike, began to question if Gold Cobra would ever hit our shelves. Finally, Limp Bizkit’s sixth studio album is here - in true Bizkit style: if you aren’t ready to break shit, get ready.

With ‘nu-metal’ having largely died out, it was suggested that Fred Durst and co. may explore other musical avenues in a bid to reinvent themselves. Thankfully, the red caps and sweaty fringes have been left in 2008 and the band have produced a record that is, immediately, fist pumping, bounce along beat ridden! Opening the album, Introbra, is a minute and a half of gritty, siren ridden noise, suggesting that the album will be heavier and angrier that previous offerings. Although it is shamefully obvious from the outset, that Durst has put no effort what so ever into the lyrics on this album (though, Limp Bizkit fans aren’t meant to expect anything but explicit babble). After one listen, you will undoubtedly be replacing your current insult preference with ‘douche bag’ and be humming the title track, Gold Cobra, whether you like it or not. 

After being thrown knee deep into fret breaking riffs and over dosed on old school Durst raps from the word go, Shark Attack manages to maintain the high energy levels. Although in parts this may sound almost too reminiscent of the band’s back catalogue, it is a demonstration that Limp Bizkit are comfortable with the sound they found fame with and eager to please old fans, rather than expanding to a wider audience. 

After mildly losing interest with the ‘haven’t I heard this before?’ sound that is so evident throughout, I’m sucked back in by Get A Life, which is, potentially, the heaviest track Bizkit have released to date. This is a simple reminder of why we loved LB in the first place - the chorus is deliciously catchy, the vocal delivery is mesmerising and intense, perfectly rounded off with a skull-crushing instrumental. It finally appears that we’ve found a track worth repeating.

Although several tracks scream YES, the album, as a whole, begs to differ. As a 16 track compilation, far more ‘anthems’, you would expect, would be amongst a minority of side stage tracks. In a festival crowd, after one too many ciders, it may seem like this album will be worth a download on the journey home, but in reality, the golden oldies will shine through and demonstrate that the Bizkit have failed in the re-birth of Nu-Metal. 

Gold Cobra is everything I had expected from 2011 Limp Bizkit: pretentious, white-boy-violent and aurally bombastic. Durst, typically, curses to the point it is comical. Whilst this would have fitted perfectly into 1999, it feels slightly awkward, confused and outdated. Though die-hard Limp Bizkit fans may cherish the record for what it is, the rest of us will just have to keep on rolling and put this to the bottom of the pile.

You Just Won’t Know Until You Suck It & See…

I’m not going to deny that all I wanted from the latest Arctic Monkeys album was to enjoy it. Before hitting play, I was adamant that nothing would compare to the band’s early efforts, which unquestionably put them on the map – permanently. Titled Suck It And See, I expected explicit, sexual lyrics and politically incorrect opinions; sadly, the record is as inoffensive, uninspiring and about bland as it is easy to listen to. Certainly, the sound is poppier and more instantly enjoyable than Humbug was, maybe what hardcore Monkey’s fans have been crying out for, but in adding depth and an element of surprise to the record, they have failed.

Lyrically, it appears that frontman Alex Turner has crafted each line to satisfy his vocal melodies: aka. he has strung any six words together and hoped he’s managed to form an understandable sentence. A majority of the tracks are, disappointingly, meaningless, pretentious babble.

Highly hyped, and unfortunately overplayed, first single from the album Don’t Sit Down is rife with such bizarrely slung together lyrics, leaving me wondering what on earth has been running through Turner’s imagination. Initially, the track flirts with a teasing string riff before exploding into heavy crunching guitars, gaining back some hope. This is the album’s flagship tune, incasing everything the Monkeys are now about; DJs are already salivating all over this and its unquestionable that after one listen you’ll be humming along. 

As a whole, musically, Suck It And See is bland and predictable. Reckless Serenade and Piledriver Waltz, however, are worthy of a pinch of patience. As the Monkeys approach a decade of writing music together, it is creditable that they are able to write tracks we can only classify as ‘growers’. Reckless Serenade perfectly reflects the new pop sound the Monkeys have achieved; the rough edges (which, yes, we adored) have been smoothed out and Turner’s vocals have adapted a crooning quality - we’ve found a well crafted track but then again, it hardly raises the hairs on the back of your neck in the way that 505 did.

After opening in a fury of rough guitar riffs, the mood and pace drops after Library Pictures, almost as if the album is split into two halves. We are moved away from the brash swagger into a more introspective mood. The latter half demonstrates that the Monkeys aren’t buying into what ‘The People Want’: they won’t be forced into a particular sound and creditably, they have adapted to what that obviously they are happy with. Although in places the lyrics are obscure and ridiculous, it becomes obvious that each track has been composed purely on what is natural to them as a band. 

As a fourth record, I am disappointed by the overall sound of Suck It And See, but the Monkeys need to be credited for their blatant musical talent. The band are swinging on a strand of maturity and have found a sound they are comfortable with, and thankfully, talented at producing. The album is a brave move; quite frankly, this isn’t their best effort and far better could have been produced but as the title suggests, you won’t know if you’re a lover or a hater until you suck it, and see.

Kids In Glass Houses have Struck Gold!

After two storming albums and building a hoard of dedicated followers, Kids In Glass Houses have spilled the beans on their third studio album, In Gold Blood.

Due for release on August 15th, the band have already given fans a teaser of what is to come from their latest release. Frontman Aled Phillips tweeted to let fans know the title track could be streamed live on 23rd May - a surge of excitement struck fans who rushed to the website, later causing the entire server to freeze and stop anyone from hearing the newest release from the Welsh quintet. 

After an over night wait, we’ve finally got our hands on the track, and its safe to say the boys weren’t lying when they said the best is yet to come. Opening with distorted guitar leads, Aled bursts in accompanied by a pounding drum beat. Everything suddenly becomes clearer and typical, yet loveable, sing along backing vocals compliment the gruff tone Aled has adopted. The album is likely to be different to the material we’ve heard before - although, thankfully, the chants and fist pumping riffs seem to be here to stay! 

To stream the track, simply visit http://www.ingoldblood.com/ and register. 
Kids In Glass Houses have also announced a string of October tour dates across the UK, tickets are available from seetickets.com from Friday 27th May.   

In 2007 Pigeon Detectives Asked Us To ‘Wait For Them’, When Do We Stop Waiting?

After releasing a promising debut and then failing with the sophomore, The Pigeon Detectives have taken their time to create their third album, Up Guards And At ‘Em. So far, critics have slated their latest efforts and rightly so with the lack of progression since their 2007 debut. With forthcoming performances at some of the United Kingdom’s biggest festivals, including Reading and Leeds, fans can only remain hopeful that what appears to be a mediocre album is phenomenal live.

Opening track  She Wants Me was streamed to fans via the band’s website creating hope in a teasing thirty seconds that the album would be worth the wait. The laid back opening is a step away from the worth-spilling-your-beer-over, bounce along rabble we heard on Wait For Me, although hints at potential development for the Leeds born five piece. But as the haphazard synth begin to sound like a Kaiser Chief’s track that never made the grade,  it becomes apparent that the band are three years to late with the sound they are aiming for.  

Thankfully, as the ten track goes on, hope that the Detectives will be worth catching at festivals this summer is restored. Frontman, Matt Bowman, bursts into the start of what I hope to be many catchy choruses as he chants ‘but, you, won’t, lay, meee downnnn’ throughout Lost. Then after a slow build up, What Can I Say? bursts into a surprising sing-along final two minutes; on a foundation of whispering drum beats the track transforms from something wistfully boring to a worthy belter. 

Despite what seems to be their best efforts of experimenting with unfamiliar sounds, each chorus sounds an awful lot like every other Pigeon Detective’s track. As soon as a suggestion they may be onto a new sound is made, they faithfully hop, skip and jump straight back into what they know, and clearly enjoy. What You Gonna Do? is on par with early material, complete with complimentary high-pitched guitar riffs and Bowman’s sing-along chants: it is likely that a crowd will revel in this sun kissed track but it is incredibly doubtful that it will become a ‘festival anthem’, let alone even be remembered once the set is over. 

2007 was a fantastic year for indie music; the Arctic Monkeys were at at their peak, The Wombats had us ‘Dancing to Joy Division’ on every night out and The Pigeon Detectives Wait For Me slotted in well to compliment the mix. Now, four years on the bands that graced us have matured drastically, along with their fan base. Without reason, The Pigeon Detectives seem to be scared of change; Up Guards and At ‘Em is undoubtedly music to jump, chant and neck warm cider to this summer but when the festival season is over, I suspect The Pigeon Detectives, along with used tents and empty crates, will be left behind. 

Panic! At The Disco Should Have Never Closed The God Damn Door On What They Do Best!

It may be embarrassing but even the biggest metal heads have found themselves drunkenly screaming ‘THE POOR GROOM’S BRIDE IS A WHORE’ on shamefully, more than one occasion. Six years ago, Panic! At The Disco turned the musical world upside down with their flamboyant pop-punk and proudly worn eye liner. A Fever You Can’t Sweat Out spoke before it thought with smug, ‘I shouldn’t say this’ lyrics. Love them or hate them, Panic! certainly impacted the musical era. Three years on, Pretty.Odd was released and lost in bargain buckets after a failed attempt at a more sophisticated sound. Since then, various members have departed leaving just Brendon Urie and Spencer Smith to record the brand new album Vices & Virtues. With the exclamation mark reinstated, Panic! At The Disco are back and somehow, even as duo, are just as ‘hate to love’ egotistical emo-pop as they were in the beginning. 

First single and album opener The Ballad Of Mona Lisa has obviously been strategically positioned to reignite early Panic! fan’s admiration. Over four minutes of baroque keyboard and guitar, Urie delivers an impressive vocal tailing stories of love and loss; its safe to say fans of the trashily inspired emo-pop will not be disappointed. From the twinkling keyboard introduction right through to the explosive sing along chorus, Panic! demonstrate a more sophisticated sound, without losing the frantic, sugar sweet, guitar influences. Incredibly as a duo, Urie and Smith have created a sound to compete with what their initial line up produced. 

After a frantic, energy fuelled opening Panic! briefly slip into a slyer, more gothic like sound with Let’s Kill Tonight before flamboyantly disappearing back off into foot stomping Hurricane. There is no way that Vices & Virtues can be considered generic or formulaic amongst its genre. The ten track flurry provides irresistible chorus hooks, clever layering and use of completely unorthodox, yet complimenting, instruments; with so much going on it is impossible to skim over this record without wanting to re-listen and attempt to absorb everything that is going on. 

Urie’s vocals are glossy and although in places, over produced, work perfectly to distract from the not so strong lyrical foundation. After the departure of main songwriter Ryan Ross, Panic! are left with the challenge of overcoming the lack of witty, oh-my-gosh lyrics that made the quartet so enjoyable in the first place. The content of each verse is slightly more textbook but quickly distracted by the charm of every explosive chorus. Despite Urie’s best efforts at personalising the album, (he writes to an old girlfriend in Sarah Smiles and retrospectively discuses the band’s split in Calendar) the admirable charm isn’t coupled with the tongue in cheek wit and sarcasm of their debut. 

Panic! At The Disco saw their fan base shrink considerably after attempting, and failing, with a new sound on their second album; with any luck, old fans will listen to Vices and Virtues and be screaming ‘WOO OOHH WOOO MONAAA LISAAA’ before they know it. The theatrical emo-pop storm has returned in the shape of a more-produced, less egotistical sound; Urie and Smith have got back in touch with their make up bags and the amiable goth-doused sound of their debut, yet somehow, with 50% less of a band they have expanded their musical horizons. It is not questionable, that we will soon be greeted by Panic! At The Disco fans worldwide and their overuse of the beloved exclamation mark, and after a few drinks i’m sure the rest of us will be joining them.

A huge thank you to ‘With Drums and Colour’ who have published this article for me! Check out their awesome website and leave your comments on the review: http://withdrumsandcolour.com/news/album-review-panic-at-the-disco-vices-virtues/

Say Yes to Yellowcard

After a two and a half year hiatus Yellowcard have returned to the pop-punk landscape; initially fans were flooded with distant memories of Ocean Avenue and Only One, but thankfully their latest release, When You’re Through Thinking, Say Yes, is arguably their strongest release to date. 

Similarly to any Yellowcard album, from the first track we are greeted by an energetic assault course of sounds; opening track The Sound Of You and Me is no exception to this unwritten rule. Violent, thumping drum beats are complimented by Ryan Key’s  slower tempo vocal, as the relentless drumming drops out mid-song, Sean Macklin’s violin welcomes a solemn string section back into our music collection before an explosion of hearty pop-punk riffs absorb us. Yellowcard are back and are not disappointing: thank goodness for that.

Midway through the album a triple-shot of pop-punk goodness (Life Of Leaving Home, Hide and Soundtrack) reminds us of all the reasons we ever loved the Jacksonville born rockers. As the three most impressive tracks on the album, the band demonstrate their growth in the last few years; reminiscent sugary sweetness is present but crisped by a fury of passion. Each track gets stronger and with every verse, stronger again.

In true Yellowcard style, When You’re Through Thinking, Say Yes, had to have a heart wrenching ballad. Presented in the form of Sing For Me, it is soothing after a fury of 90mph pop-punk. Macklin shows that when used correctly, the violin can be used in contrast or in unity with pretty much any style of music. With simplistic lyrics and string founded verses, Sing For Me has potential but fizzles out in the chorus instead of exploding into the technicolor performance expected. 

Yellowcard have unquestionably grown since their debut release in 2002. Mackin’s unique violin compliment Key’s emotionally drenched vocals whilst Parson provides a backbone with his denting drum fills. The empathy and talent of each Yellowcarder is reflected in the band’s live chemistry. Ultimately, the cohesion between them sets them apart from other pop-punk bands, taking them to a whole new level.

Throughout, it is evident that Yellowcard cherish the past and the memories they helped carve with their first album Ocean Avenue. Now, their fifth album presents a more grown up sound but waves happily at the anthems that will undoubtedly pop up at every gig they ever play. Even though the pop sweetness is evident throughout this nostalgic record, there is no sign of a regression for Yellowcard. When You’re Through Thinking, Say Yes is instead, a reflection of past riffs and lyrical genius moulded into an insight of the future for one of the most deserving bands of their pop-punk kind.