Envy of the State - Rags to Riches, Riches to Rehab (Single Review)

Midland quartet Envy Of The State return this week to release their latest single ‘Rags to Riches, Riches to Rehab’. The song is the second track from their debut album, ‘Soundtrack Of Your Life’, which was released earlier this summer. Envy Of The State have previously supported the likes of InMe and Fei Comodo, and like true disciples of the alt-rock order, they wont disappoint their role models with this latest release.

The song is a pop-punk powerhouse, full of melodic guitar riffs, tight syncopation and roaring vocals from the word go. It is no doubt a song intended for a live audience: from the first bar there is an abundance of energy, blasted out trough a pounding bassline and ska-inspired hi-hat strokes.

‘Rags to Riches, Riches to Rehab’ was clearly crafted as a homage to the rock goliaths of Lostprophets and Bullet For My Valentine, and in that sense it achieves its purpose: from their sound to their appearance, Envy of the State seem to have fully ingratiated themselves into the world of alternative rock music.

That is not to say that the track is without its flaws. Despite being a sharp song, abundant with technical skill, some may criticise the lack of any restraint. From the first seconds the song is forceful and anthemic, but having just one plateau throughout may come across as tiring and repetitive. In the same sense, the band use distorted chords throughout, squealing their way through the song. They are painting with blocks: sure, the colours are bright and powerful, but there is no real delicacy to the end product.

Some may also criticise the content, which adopts the tired aspirations of a 70’s icon. Yep, I’ve seen ‘Skins’, I’ve been told that drugs and drink are ‘cool’ now, but shouting out a self-destructive mantra of hedonism and regret may strike some listeners as slightly hollow.

Despite the slight oversights, ‘Rags to Riches, Riches to Rehab’ is an anthemic and powerful track. It is sure to get crowds moving and old men feeling nostalgic by the bar at the back. With a pounding chorus and more hooks than a fishing shop, Envy Of The State are definitely ones to watch out for.

‘Rags to Riches, Riches to Rehab’ was released on November 22nd. The band are currently plotting a UK headline tour.

4th Street Traffic - Long way round (Single Review)

Welsh rockers 4th Street Traffic have returned to release their latest single, ‘Long Way Round’, and let me be the first to warn you: it's a loud one. From the first lingering chord, the band make it clear that they are not making concessions: they have produced a rock anthem which oozes nostalgia in every note, longing for the days when Lady Gaga was more interested in colouring in than acting like a pretentious berk.

‘Long Way Round’ was forged in the valleys of South Wales, and by the sounds of it, many a hiker must have had their peace disturbed. The song is an anthemic serenade to the likes of Bon Jovi, intended to be played live and loud. Fusing palm muted build-ups with a pounding back line, the song opens up to reveal an infectious chorus with more passion than a drunken snog in Paris.

ImageThe more misanthropic listeners might accuse the band of standing in the way of progression, sticking with a style of music which was discontinued around the same time as pink spandex and glam rock perms. However, the nostalgia is one of the key charms of 4th Street Traffic: The band blast out an in-your-face breed of old school rock riffs, packed with distortion and turned up to eleven, as it were. ‘Long Way Round’ is a prime example of a song which was written for the love of performance, and it comes across in the recording.

However, there are some chinks in 4th Street Traffic’s rose-tinted musical vision. Lyrically, with the constant “he said...she said...he said...she said..”, the song sounds (at points) more like an Eastenders monologue than an emotional outpouring. Some listeners may also find the odd metaphor tiring (“she said I tried to pull the knife from his back”), but that is, in a way, the point of it: there is undoubtedly a charm to the song which gives the finger (musically) to the self-proclaimed righteousness of modern lyricists. ‘Long Way Round’ is a track written for the smoky, booze-riddled pubs of the past, demanding fans to raise another glass rather than going home to write poetry on their blogs.

‘Long Way Round’ is released on 29th November.

Shout Out Louds - Work

Shout Out Louds are senior citizens of the indie world, having released their first album Howl Howl Gaff Gaff all the way back in the distant, hazy past of 2003. The five-piece band from Stockholm return with their third release, Work, hoping to join the likes of The Hives, The Knife, Robyn, Journey and (not to take their name in vain) Abba, breaking across the North Sea and becoming an adopted act in the British music circuit.

The band have changed producers for the album opting to use Phil Ek, who is known for his work with The Shins and (more recently) Fleet Foxes. However comparisons with The Shins extend far beyond the producer: Shout Out Loud’s perfectionist guitar strokes, restrained drum patterns and (occasional) nonsensical vocals could have been lifted straight from any track of Wincing the Night Away.

Fall Hard is a catchy pop song with lively guitar hooks and a refrain which is hard to forget. From the first bars it identifies itself as a stand-out single, fusing erratic drums with muted brass tones. Paper Moon is another song which finds its own legs and is likely to be a fan favourite: Lo-fi bass tones accompany a string section, forming a powerful and organic-sounding piece of music. Here vocalist Adam Olenius seems at his most sincere, blasting out lyrics with a passion which is lacking at other parts in the album: “Is it true what they say about us? / Are the walls closing in?...Have you ever tasted young blood?”

There are times when the album feels more like a therapy session than a musical endeavour: Olenius takes the nature of catharsis to a whole new level, weaving apologies and regrets into the foundation of many songs on the record. This is never more apparent than in the opening verse of Play the Game: “My Friends, they don’t talk to me anymore / they don’t call me anymore / since I left the shore. / So I drink again...”


Commenting on the writing process, the band state that “Adam wrote many songs whilst in Melbourne, in a tiny room, with a little synthesizer, an acoustic guitar and Garageband”. This process penetrates through every track of the record: while the band’s previous efforts (especially 2007 release Our Ill Wills) turned out to be energetic affairs which combined eager contributions from all corners of the rehearsal room, it is hard to listen to Work in the same way. There are times when the other band members seem to have been consulted only as added extra to Olenius’ songwriting: they are the onion rings to his Big Mac meal, and there is very little pretence about it. Despite this lack of coherence, Work is an album with an undeniable sense of sincerity and there are times when Shout Out Louds capture the spark of Olenius’ intent to full effect. However, there are many times on the record where it is apparent that their creative span is not wide enough to bridge the difficult gap between singer-songwriter and energetic indie outfit.

Work is released on September 20th throughout the UK. Shout Out Louds will play the following tour dates:

22nd September – Relentless Garage, London
23rd September – Ruby Lounge, Manchester
24th September – King Tuts, Glasgow
25th September – Brudenell Social Club, Leeds.

Mogwai - Special Moves / Burning (CD/DVD)

They’re equally unlikely to be releasing a ‘Greatest Hits’ album anytime soon. So, for those of you looking to see the band given the Westlife treatment, I’m afraid that new live release Special Moves / Burning is probably as close as you’ll ever get. Recorded in Brooklyn last year, the 2-disc set CD/DVD presents fifteen classic tracks in all their live glory, validating the reputation that Mogwai have earned as one of the most intense performers on the circuit.

The Scottish rockers are known for their epic instrumentals and dark brooding sonic landscapes. Straight from the first bars of opening Track I’m Jim Morrison, I’m Dead, the band prove that their live performances are still keeping true to form: A progressive build-up of gentle piano strokes and lingering guitar reverb shows that even though the band tend to shy away from the microphone, their music has definitely got a lot to say.

The release launches through the Mogwai back catalogue, relentlessly swooping between recent hits and cult classics. One of the highlights comes in the form of Friend of the Night, a song which fuses dirty guitar tones with a melancholic, floating piano piece in arrestingly beautiful fashion. The inclusion of Hunted by a freak will come as no surprise to the legions of Mogwai fans as it has been a firm favourite since its release on their 2003 album, Happy Songs for Happy People. With sinister undertones to boot, the live version features a ghostly choir of reverb and enough eerie atmospherics to give Derek Acorah the willies.

Mogwai fear Satan is one of the longest songs in the Mogwai canon, yet the epic eleven minute live version gives the song a whole new dimension: layer upon layer of progressively frantic guitar tones form a convoluted and moving track, one which will undoubtedly get the heart pumping faster the more it unfolds. This is followed directly by Cody, a song which will certainly provoke no allegations of autotuning. Although there is no loss of atmosphere and moving distortion, it is the only track on the album to feature extensive vocals and is itself probably the best demonstration of why the band tend to stick to instrumentals.

Both Special Moves and Burning embrace all fourteen years of Mogwai’s history as a band, and no release seems to be given favouritism over the rest (especially 2008’s The Hawk is Howling, from which only four tracks are featured throughout). The whole performance recognises their versatility and evolution as a band, as each song is a distinct marker of their variety and originality. Mogwai shift constantly between phases, creating vivid atmospheres to prove just why they have been held in high esteem by so many for so long.

Isobel Campbell & Mark Lanegan - Hawk

Hawk is the third release from the unlikely duo of Mark Lanegan and Isobel Campbell, who have mixed gruff Americana with tender folk roots to form a diverse and compelling album. The pair embrace their contrasting natures as Lanegan's husky, Spaghetti Western murmurs seem an unlikely partner for Campbell's sheepish, melody-driven vocals, but there is an undeniable charm which penetrates through into every track.

The record is primarily the brainchild of Campbell (of Belle & Sebastian fame), who wrote and produced all of the songs, however one would be forgiven for thinking otherwise: the album embraces the worlds of country, soul and blues with songwriting which seems to be tailored specifically for Lanegan's weathered vocals. No more vindication for this point is needed than the effortlessly stylish Come Undone, where staccato piano and soaring violins tear through the heart of a song which would sit comfortably in any Johnny Cash back-catalogue.

In complete contrast, this is followed by No Place to Fall, a steadfast acoustic track which oozes melancholy from every fingerpicked note. The song features folk-driven violins reminiscent of Bright Eyes' Four Winds, subtle harmonies and more tenderness than a high school prom night: "If I had no place to fall and I needed to, / could I count on you to lay me down?"

The pair impress again with Get Behind Me, a guitar track which could have been written exclusively for the T-Birds: fusing jangly electric hooks, walking basslines and soaring organs, the song is one of the strongest on the album and sure to set fingers clicking unconsciously all over.

Other highlights include Cool Water, a sombre acoustic track which features a duet with none other than Willy Nelson and Hawk (the title track of the album), a daring and chaotic instrumental which forces raspy, screaming horns against a conventional bass riff.

Overall, Hawk is an ambitious album and an excellent presentation of Campbell's skill as a songwriter. Lanegan's world-weary contributions only add to an excellent record where each track is innovative, well-crafted and unique in its own right.

Mark Lanegan and Isobel Campbell have two dates in Glasgow and London in early September to promote the album (released on August 16th), followed by an extensive European and North American tour

Francis Neve - The Second Time we First Met

The Second Time We First Met is the debut release from Francis Neve, an Essex-born singer/songwriter and multi-instrumentalist extraordinaire. The seven track mini-album covers the lifespan of a relationship, calling together various influences into a melodic and sincere record, full of dark undertones and pent- up intensity.

From the first moments of opening track Brains Drying Up, Neve's intentions are made clear: sparse guitar strokes pave the way for his syncopated drums, creating a sound full of atmosphere and intensity slumbering just beneath the surface. Once his ethereal vocals break into the frame the track takes on something truly original: the emotiveness of Bon Iver side by side with fervent harmonics, echoing back to the days of early Foals. Neve forges traditional songwriting into a sound clearly influenced by the modern rock scene, without abandoning the acoustic tradition altogether.

I Won't Make You Better (the first release from the album), is a triumph from the off: tribal chants provide the ideal backing for a bluesy guitar track. What evolves is a song which mixes catharsis-fuelled bitterness with distinct folk undertones: the perfect setting for Neve's lyrical prowess.

However, there are moments when Neve does miss the mark. Winterbury is probably the weakest track on the album: Neve's vocals take on a brash accent a la Mr. Hudson, leaving the melody which he crafts superbly on the rest of the record by the wayside. That being said, the delicate strokes cast by Lucy Randell's backing vocals add a level of charm to a track which is otherwise forgettable.

Another highlight of the record comes in the form of You Must Be Somewhere. The track places Lo-fi murmurs hand-in hand with haunting whispers of vendetta: "Make no mistake, I'll get you back/ Make no mistake, I'll freak you out". Here Neve really cuts one loose for the first time, as squealing guitars pinch over rampant thumps on the drums. He calls together all of the subtle tones of the record into a forceful and convincing final climax.

The Second Time We First Met is due for release on September 20. Francis Neve is currently mapping out a series of shows across London for August and September.

Adam Green - Minor Love

Adam Green has been releasing music for over a decade with The Moldy Peaches as well as writing independently since 2002. Known for his Curtis-esque vocals and wandering, cheeky lyrics, Green has developed a cult following and a reasonable critical respect in this time. Cue one pregnant girl with enough sarcasm to put Jack Dee to shame and Green has suddenly been launched into the mouths of painfully cool teenage girls everywhere as “...that one, yea with the girl...on the Juno soundtrack. God, I LOVE them”

Despite his newly-found status as a commercial commodity, there is nothing flashy about Adam Green’s latest effort in the slightest. The opening track, ‘Breaking Locks’ sets the tone for the whole album: muted guitar strokes and barely audible organs act as an ideal pairing to Green’s low-pitched, understated stammering. Even within the opening verse Green shows a lyrical obscurity which was intentionally absent from his earlier efforts; “When I took off my winter clothes, / my body looked like forty or fifty crows”


Minor Love is in no way a ‘big band’ effort. The tracking is limited at best to a few sparse guitars, reluctant bass lines and the ghostly echoes from where a drummer once sat. Green has never been known as one to call in the orchestra, and the fact that Minor Love teeters only between the boundaries of acoustic stumbles and low-fi murmurs gives the record part of its charm. Unfortunately, there are of course moments where he doesn’t quite pull it off. ‘Oh Shucks’ is a prime example of this: a song which could easily be conceived as a remix of overly distorted whale moaning and a broken Ataris.

'Boss Inside’, on the other hand, is undoubtedly one of the highlights of the record. Green paces through the song on his own, retelling a dark story with the accompaniment of subdued acoustic picking. Here he is at his best, mumbling out moving lyrics through an atmosphere of surprising atrophic sincerity; “Somewhere there’s a Prince / and he likes to strike me down / I know I’m not the reason / I’m just the one he found”.

There are moments throughout Minor Love when the listener may be forgiven for thinking that Green has shaken off his fascination with the juvenile mindset completely. However, just when Green ascends to the (much-sought after) accolade of having crafted ‘deep’ lyrics, he hits back by inserting a chorus such as “castles and tassels and flatulent assholes”. This rebellious regression is entirely intentional: there is a sense that Green is actively fighting off the demons of conventional folk and all the ‘tears into the microphone’ associations which may accompany it. In fact, if you listen to the last track of the album carefully enough, really carefully that is, you can even hear Green giving the finger to Damien Rice from across the studio hall

(article published at www.supersweet.org 05/01/10)