Day #50 - Band of Skulls - Sweet Sour (Album Review)

You know what band I recently heard of?

Band of Skulls.

You know what album I quite enjoyed?

Sweet Sour by Band of Skulls

You know what I willingly wrote a review about?

Terrible things but also Band of Skulls' new album.

--

Timing could not be more perfect for a shift in pop music. With Gotye having topped the charts with the unusually honest and well written “Somebody That I Used To Know”, slowly but surely the signs are showing that pop music is getting ready to move on, growing ever more tired of the beats and the predictable lyrics that come with them.

So it gives great satisfaction that in the same week as such a pleasant addition to the UK Charts, English alt-rock group Band of Skulls releases their second album Sweet Sour. Great because it gives the sense that, if there were to be a change soon, there are talented underground bands waiting to help make the push for more inventive music when the time comes.

From start to finish, the quality rarely lets up. Lyrically coherent, musically strong with fine timing and fantastic interweaving harmonies, every song feels fresh and memorable. The opening has an anthemic feel that could easily be a great festival song for 2012 if pushed hard enough. “Bruises” hits the right balance between Kings of Leon and Kim Deal (an odd mix) to carry both a pop air and an immensely satisfying rock underbelly. “The Devil Takes Care Of His Own” hits a chord with those missing some of the heavier chords from classic rock and “Lay My Head Down” brings the pace down for a beautifully written lullaby (interrupted shortly for a suitably scratchy musical interlude). If negatives must be drawn, production at times can be a little too heavy, drowning out some of the raw energy the musicians give, and the final track of the album is easily the weakest. But all are just minor qualms that shouldn’t deter you from giving this one a shot, as it could easily be one of the first great rock albums of the year.

Day #49 - Noel Gallagher (Live In The Odyssey Arena, Belfast) Review

A review of Noel Gallagher live in Belfast, which Andy Harris and I got to see thanks to Priya being a lovely person and having a guestlist spot she couldn't make allowing us to take it from her ;D

Enjoy!

--

At Oxegen 2011, Liam Gallagher (brother of Noel Gallagher and the other half of the massively influential Oasis) and his band ‘Beady Eye’ played a fifty-minute spot on the main stage. During which, the played their only two singles in the first fifteen minutes and dragged out the rest of the show with album fillers and minimal grace. On the bus home from the festival, several disappointed voices could be heard from previous fans, some of outrage over Liam’s post-Oasis egocentricity, some more resigned in saying they had somewhat expected it, but were still overall let down. Most shockingly of all, Liam would not recognise Oasis in his set. Forming the greater part of his life, career and image, let alone being one of the most influential bands of the late 20^th Century, fans and onlookers alike would not be amiss to expect some sort of tribute to the band from which the musician gained enough reputation to even play a high-spot on a multi-staged festival. Not a word, just resentment towards the band’s end through silent protest.

It comes as no surprise then why Noel Gallagher and his ‘High Flying Birds’ were an overall superior show. As popular as Noel’s solo songs may be, fans of the Gallagher brothers were formed with Oasis, and to deny them the satisfaction of hearing even one Oasis song would be a crushing blow to the otherwise innocent intentions of such dedicated people. The difference in satisfaction could be seen from crowd reaction alone as Noel played almost as many Oasis songs as he did solo songs.

Crowds roared to ‘Supersonic’, and an entire four-song encore was dedicated to Noel’s former band. A combination of ‘Whatever’, ‘Little By Little’, ‘The Importance of Being Idle’ (a risky addition given its easy comparison to Noel’s solo “The Death of You and Me”, but a satisfying one non-the-less) and finishing the show on the classic “Don’t Look Back in Anger” left not only fans breathless and appeased, but more general supporters too. One can’t help but be swept up in the moment when an entire stadium erupts into song, and that’s something Liam’s band have surely missed..

The overall show was an enjoyable affair. Most solo songs were strong enough to stand out on their own, such as “AKA… What a Life!” and “The Death of You and Me”, but the surrounding cover songs definitely helped elate the atmosphere. Noel’s backing band shifted constantly to fit each song, sporting a choir and a brass band at various points, and while such back-ups would spell murder for most musician’s career (see: Guns N’ Roses), Noel was capable enough to get away with it by keeping them as mostly low-key background sounds and by even addressing praise towards them later in the show. As the show continues, becomes apparent that Noel knows he can’t top Oasis, so he tries not to. Instead, he puts on a strong show that is half-tribute to the band, half showcase of his own songs, and it all seems to be in the fans favour. While the final thought of the night may have been longing for a genuine Oasis concert instead, Noel Gallagher’s High Flying Birds put on a show that felt close enough to the real thing to tide those remaining fans over. 

Day #48 - Album Artwork: A Dying Medium?

Another article for the Gown, this time one for Features about album artwork. Hopefully you'll enjoy this one too!

---

Album covers have always been something that perhaps the music industry has taken for granted. Of the Official Top Ten UK Albums (ending 18^th February), nine simply have a picture of the artist as the cover. Rarely does an album make use of clever photography or memorable artwork to help sell the music anymore. And perhaps it’s down to how albums are sold now.

In the past, an album would rely on its artwork more heavily to catch attention. The only way an album sold was by either having heard of an artist and actively deciding to find the album yourself, or by browsing in a music store and judging by the covers which musicians you would like to hear. So, album covers were made to reflect the tone of the music inside. Black Sabbath’s earthly-ghost cover debut suggested the dark attitude that came with metal at the time, Nirvana’s ‘Nevermind’ had an uncensored picture of a submerged baby reaching for a dollar to reflect their tone of rejecting societal clichés, etc.

Sure, there were plenty of albums that have sold with just the face of a celebrity in the past, there’s no denying that. But rarely has there been so little imagination in the music industry that the only thoughtful way to summarise a musician’s work in nine of the ten chart places available, is by placing their face on it. The reason for this is the rise of artist identification. In order for a pop musician to stand apart today, they need a public identity to be explored and exposed. So, record companies simply apply the artist’s face to the album to simplify the process. If a child is at the supermarket (or, more likely, iTunes) and they see the artist’s face, they’re already well aware of the artist’s profile and so can readily decide to purchase the album on that image alone. This cuts the difficulties in trying to advertise the album through other means and spending otherwise unnecessary amounts of money introducing an otherwise ‘difficult’ art piece to the public.

Doesn’t this show a frightening lack of thought in pop music? That people work tirelessly creating an album, just to slap a picture of their face on it and call it a day? Not to think it through and try to make something as memorable as Pink Floyd’s ‘The Dark Side of the Moon’ or The Beatle’s ‘White Album’, concepts which give the album an existence beyond the next two months of sales reports? A pop album will benefit from artist identification in the near future, but after several years pass by, people are far less likely to be interested in a cover face that doesn’t identify anything about the sound of the album. Even marketing suffers here, in choosing a quick ‘cash injection’ rather than staying power and lifetime sales, and the artists suffer from lack of interest. To make a lasting impact in music requires effort, something both musicians and companies are forgetting with the album cover.

Day #47 - The Boys in the Photograph (Fusion Theatre Review)

Here's a review of a musical Maria and I went to see on the previous Saturday to this date. Wrote it up for the Gown, we'll see if it gets published, but as with all my Gown articles this is more of a unedited prototype!

Hopefully you'll enjoy reading it :D

---

When you think Andrew Lloyd Webber, you tend to think Phantom, or Cats, or even Jesus Christ Superstar. When you think Ben Elton, you tend to think Blackadder, Mr Bean or maybe even the unintentionally hilarious We Will Rock You (or “That Queen Musical” colloquially). So putting the two together, you might think of some sort of big-scale musical with a decent sense of comedy (if Blackadder is anything to go by), probably not a politically-fuelled musical about the Belfast/Northern Ireland Troubles.

The Boys in the Photograph, originally written as The Beautiful Game in 1998, is a 2009 re-write about the growing pressures of political violence and unrest in Belfast on a local football team, most of whom are Catholic bar one Protestant who continually identifies himself as an Atheist, and the women who get caught up with the team.
The show, held in the Island Hall Theatre, Lisburn from 8^th-11^th February, was significant because it was the first time the show had ever been performed in Northern Ireland. Held capably in the hands of Fusion Theatre, a youth group from the area, the show was displayed fantastically. With a reasonably-sized cast of actors and actresses under the age of 19, praises for the group can’t be higher. Acting, singing, choreography, music, set design and direction were all undertaken by the group and handled incredibly well. Characters were made as believable as the script would allow, choreography managed to make a game of football without an actual ball into a dangerous dance scene with relative ease and surprising tension, costumes and set pieces were handled well and overall the show felt like every effort was made to bring this piece to life. All of which would be make for the perfect show if the writing by Webber and Elton had more life in them.

While dramatic scenes such as a riot at an Orange Parade, an IRA home invasion and the internment of the main protagonist are scripted well and are genuinely tense and unnerving, at times the script tries to force its message too much. Even during a party scene, where you’d think in real life the people could wind down and enjoy the night, one character serves no other purpose than to remind the audience that the Troubles are still happening, rather than letting the audience put that to the back of their mind and then surprising them as the violence reintroduces itself. Certain characters, including one who remains a vocal point from start to finish, have little to no character and are simply used as dramatic points in which the audience are expected to feel sorry for the characters, despite having no personal relation to them. At these points Fusion really shines, converting what could have been several disappointingly dislocated scenes into highly dramatic, well acted moments. The difficult subject of The Troubles may not have made the perfect musical idea, but the group handles it fine, giving it enough humour and balance to make for a strong show that, if it gets a second run anytime soon, can only be a recommendation.

Day #46 - This Song Is Literally About Nothing (And Would Make Millions)

In a tired mood on this day, I wrote the following pop song! With I've tentatively titled "This Song Is Literally About Nothing (And Would Make Million) feat. Pitbull". I hope you'll agree ;D

--

I can hold you
I want to be up all night
Like the dance beat
Moving to the moonlight

Yeah yeah
Yeah yeah

It's you and me tonight

Yeah yeah
Yeah yeah

It's you and me tonight

Now hold me
And we can dance until it's dark
With the music and the DJ
Dancing in the park

Yeah yeah
Yeah yeah

It's you and me tonight

Yeah yeah
Yeah yeah

It's you and me tonight

---
Pitbull Rap
---

Yeah yeah, been far and wide
But you beautiful ladies keep me up at night
Yeah, I got more money than Mario, ha-ha
But puerto musca, via rodeo (WHOO!)

Uh, can't hold me down, nuh uh
Gotta keep coming round
And running out, I'm running out
'cause these words ain't nothing bout (yeah)

--
End Pitbull Rap
--

Yeah yeah
Yeah yeah

It's you and me tonight

Yeah yeah
Yeah yeah

It's you and me tonight

Yeah yeah
Yeah yeah

It's you and me tonight

Yeah yeah
Yeah Yeah

It's you and me tonight
Tonight
Tonight
(Wooo!)

----


Hopefully you notice how real Pitbull's part is in this song. Woo HaHa Puerto Musca Haha Woo Ends With Song Title.

Day #45 - 13 Licks

Time for the weekly artistic update! On Day #45, I wrote lyrics and guitar to a song I've titled "13 Licks".

Relatively personal, but I like how it sounds. Hopefully I'll get to recording it at some point! Until then, here are the lyrics.

--

Carving out my own shape
The colour not quite clear
So many months under your notes
Speaking back your words

Thirteen licks by sundown
Still can hear your doll
First disc in the car ride
Last tune in the dark

And still I'll stand by my choice
Though phases always try
The greatest songs of our youth
The greatest songs of our lives

And here I stand by my own right
Some broken strings by my hand
A new perspective on my life
While the same old words are ringing

It don't matter what they try to say
I'll never believe the truth
With all I know I've got my place
I can only hope for the new youth

And still I'll stand by my choice
Though competition's not run dry
A thousand songs by my ear
And their strength can't match your eye

And what I hope is that I can say
That a child may someday smile
When they're holding up my own box
Even though the formats died

But maybe I'm just a bloated fool
And maybe I'll never do right
But at least I've got those old tunes
And I know, for now, that's fine.

Day #44 - The House of the Rising Sun

Today, I recorded a cover of 'The House of the Rising Sun' (or finished an earlier attempt).

Which you can listen to here:

The House Of The Rising Sun (Cover)

Enjoy!

Day #43 - A Ukulele Piece Was Written

But unfortunately, not recorded and at this point, barely remembered.

...HURRAY!

Day #42 - I Ain't Done Nothing Today

Speaks for itself really.

Day #41 - Recorded 'The House of the Rising Sun' Ukulele Part

Yes I did!
No you can't hear it.

But maybe you will soon ;D

Day #40 - Maverick Sabre - Lonely Are The Brave (Review)

Another review for The Gown :)

This is a review of the debut of London-Irish Singer Songwriter 'Maverick Sabre'.

You don't have to know who that is.

--

Maverick Sabre – Lonely Are The Brave (Review)

It was never going to last. The ‘soul’ revival scene was much too powerful to die with Amy Winehouse. Only months gone, and the world has found another shaky-but-soulful voice in English/Irish singer-songwriter Maverick Sabre, who shot to prominence as a feature in Professor Green’s fourth single, ‘Jungle’.

Those hoping to fit Maverick into the stiletto boots of Winehouse may want to abandon such thoughts here. While there is definitely a soul element to Maverick, most noticeable in hits-to-be “I Need” and “Let Me Go”, this soon gives way to a more hip-hop and reggae feel, to varying degrees of success. At points, the reggae appears to come naturally to the young singer, but the majority feels forced, including at one point a painful reference to Babylon, as if ‘The Reggae Mandate’ required it. The overproduction on the album works with the more soulful songs, but otherwise intrudes and detracts. Little guitar flairs and string and brass accompaniments blend into each other with an effect that will likely leave the listener unaware of when one song ends and another begins. Maverick’s hurt-soaked vocal sound like they could benefit from some stripped-back production, perhaps in some shed with a couple of microphones ala Iver.

As a whole, ‘Lonely Are The Brave’ has a few moments. ‘I Used To Have It All’, while somewhat preachy, has a great chorus. ‘Shooting The Stars’ almost focuses more on voice than production (the only point in the album that attempts to do so), and has a lot to gain for doing so. Such memorable moments seldom appear though, and by album end you’ll find that most of the songs just aren’t strong enough to stand out alone, making the album another triumph for the growing catalogue of background musicians.

Day #39 - A Tune That Didn't Work

On this day, I wrote a little guitar piece that I liked, and tried to record and put it to something else.

It would not go.

So I have yet again nothing to show for this day. :D

Day #38 - 'Lights' Ukulele Recorded

On this day, I recorded a piece to a song I have not finished recording.

My voice was cold-ridden this entire week, so basically nothing was completed recording wise.

And because I intend on finishing the recording, I have nothing yet to show you :)

Day #37 - What Happens? (Demo)

So today, I actually recorded something musically. That, while improvised, actually sounds relatively good given the timeframe I produced it in and the lack of studio equipment (and guitar skill).

Simple, but fun. Called "What Happens?"

Hope you enjoy! :)

What Happens? (Demo)

Day #36 - A Summer Playlist For Driving (Spotify Playlist)

So, I realised something. Year after year, I always mean to make a Summer Song playlist, and never do. Something that would be great to listen to on the road or camping or something with plenty of sun, grass, warmth and open air. That's the kind of shit I'm into it, and I love the songs that can best fit it.

So, I tried my best to pick a good long list of songs you could listen to (of my taste, anyway) while in that kind of scenario. Also tried to make it flow as best as possible, but you'll only ever appreciate that if you actually listen to it sometime! Some choices might surprise you in there, the odd weird song that no one really knows, but all-in-all, hopefully something you'll enjoy. 

Here's the link to listen to it:

A Summer Playlist For Driving

Day #35 - Idea Work

On this day, I decided to put some ideas down in my little idea book.

I have an Idea Book now by the way.

Unfortunately I have no means of showing you the ideas, but that's probably for the best. Just take my word for it. I was working on a few new concepts to work on in the future. I think there was a sitcom idea, a comic idea and a video game idea in the mix. Some remixes of old ideas, some new ones entirely. You'll hear more about them here if they actually ever turn into something :)

But that's what I spent this day doing. So there you go!

Day #34 - Who Needs Sleep?

Apparently, I've moved to ripping off Barenaked Ladies now.

Here's another set of lyrics, to which I have a tune down for. Hopefully I'll get some recordings up soon, I found some good hardware lying about I might be able to use for recordings. Let's hope!

----

Who needs sleep
When you've got an image
More vivid than dreams

Who needs pills
When you've got an experience
Lighter than air

Who needs love
Love is for insomniacs
Love never sleeps

Close my tired eyes
But never rest my battered mind
If there's release upon the end
I welcome it in due time
In due time
In due time
Wait for caution's line

Who needs sleep
When you've got goals
Ones you keep although you never set

Who needs pills
When you've got substance
A solid you can never hold

Who needs love
Love is for maniacs
Love never keeps... still

Close my tired eyes
But never rest my battered mind
If there's release, there I'll find
A welcoming when it's right
When it's right
When it's right
Wait for caution's line

Caution's line-

What we need at this time
No more processes of Ill-aligned
What I have I know is right
And you'll never take my time
Take my time
Take my time
I wait for caution's line

Day #33 - Trust

Ok, ok, less lyrics. You want the real shit, right? Well you got it.

Poetry. Poorly thought out poetry. But would poetry be any fun if you really had to think about it?

No. It wouldn't. At least not for me.

Here's a poem called 'Trust'.

---

Trust is the funniest thing
A two way system with no law
Just expectation.

Putting your hands in another
And hoping that another's hands
Fit your hands when another
Comes to fit your hands to gloves

There is no half-way.
If there is no total
There is no at all
And that is all.

The rewards are plentiful
But the process is demanding
Repeated pressure required
From the iron feet.

It moulds, solidifies,
liquifies, scalds, seals,
solidifies, heats, boils and
evaporates if not kept under cool.

Best look at the positives,
Trust is the decision to choose
Just one person out of all
To be happy dying by.

--

Day #32 - The Disney "Everything's OK" Song

Wow, you sure love your lyrics! Yes. I will definitely supply you with more.

Realistically, lyrics are just easy for me to fire out, so it saves time and I feel like I'm being creative.

This time? My attempt at writing like Jonathan Coulton. Basically, that's exactly what this is. It's a semi-funny song about Disney, where the music swells at the end and everything's 'OK!' despite... lingering plot threads and such. Best not to explain I'm sure! Just enjoy!

----

You can hear it creeping in at the end
Reminding you that you have a friend
Reminding you that you can make it through...
All the hardships!
It starts off with a longing look
Then everyone's laughing 'cause that's all it took
And there it is with that infectious hook, you love... 'cause---

It's the Disney "Everything's Ok" song
And we know that now we will all get along
It's the Disney "Everything's OK" song
And though the villain's around, he's turned a new leaf
And though the world is in ruin we can find some relief
Because some major chords and a freeze frame is all that we need--
(slower) Thanks to the Disney "Everything's Ok" song

Aliens attacked our home town last week
Now we're bowing at their feet
Yet a minor victory by some kids under seventeen...
Means...
We can pat our backs and say that we're done
And that in the end the fighting was won
Because that beautiful chord has already begun, it's time... 'cause---

It's the Disney "Everything's Ok" song
And we know that now we will all get along
It's the Disney "Everything's OK" song
And though the villain's around, he's turned a new leaf
And though the world is in ruin we can find some relief
Because some major chords and a freeze frame is all that we need--
(slower) Thanks to the Disney "Everything's Ok" song

What about continuity errors?
What about the time when all your family died?
Did no one bother to find out these things after?
I guess it doesn't matter
I guess it doesn't matter
'Cause somebody's starting to sing---

(Just guitar and vocals)
It's the Disney "Everything's Ok" song
And we know that now we can all stand strong
It's the Disney "Everything's OK" song
And everything is better!
So I guess it doesn't matter!
'Cause It's the Disney "Everything's Ok" song
And we know that now we will all get along
It's the Disney "Everything's OK" song
And though the villain's around, he's turned a new leaf
And though the world is in ruin we can find some relief
Because some major chords and a freeze frame is all that we need--
(slower) Thanks to the Disney "Everything's Ok" song



Freeze Frame!
--

Day #31 - Walnut Surprise

Even more lyrics you demand? Well, by all means, take them all!

This is a song to Richard Katz, a fictional character from the album Freedom by Jonathan Franzen. (A FANTASTIC NOVEL EVERYONE MUST READ)

I actually tried to write it in a way I thought he would approach songwriting, with a tinge of irony and so on. But not that anyone would pick up on all that, I suppose. So here you go!

-----

Care goes round and round and round and round
and stops at you [x4]

When do you get off? [x2]
Pleasure's the price
Thanks for the lift.

Make it another day
You're always right
Always right
The best of what you say
Always right
Always right
Always right---

When do you get off? [x2]
Pleasure's the price
Enjoy the trip.

Make it another day
You're always right
Always right
The best of what you say
Always right
Always right
Always right---

Care goes round and round and round
and round and round and stops.
Care goes round and round and round
and round and round and stops.
Does it take the ordinary to explain
the extraordinary?
Will it take a change in mood?

Make it another day
You're always right
Always right
The best of what you say
Always right
Always right
Always right---
Always right
Always right
Always right---
Pleasure's the price
When do you get off?

Day #30 - Thinking of You

What's that? You wanted more lyrics? Well, shucks! Here you go!

------

I hide your eyes behind my hands because I want to prove
That if the world had robbed you blind I'd still be there for you
To make of use
To carry you
Or anything regardless of what others do

So if I'm not all at once by your side or near
Please remember that I never truly leave you dear
Although physically
I may be far
But we've never needed flesh or bones to steal our hearts

So whether I turn the light off and lie somewhere alone
Or whether I'm surrounded by a million passing stones
That the people throw
For what I've done in everything I do
I'm always thinking of you.
And whether I'm distracted by the seven seas
And whether lyrics roll and take their toll on me
You should always know
That despite what I've done
Even if they don't ring true
I held my positives when
Thinking of you.

---

Soppy.

Thoughtless.

What did you expect? :)

Day #29 - More Third Person Work

Yes, on this day I did more work for 'The Third Person'.

But I didn't finish anything.

So you're not getting anything here.

Move along to the next blog post.