MarcusErridge originally from Southampton, lives in South London and works for a University supporting human rights students and academics. His all-time favourite band is Pavement. He’s a Libra, enjoys Pina Colada’s and getting caught in the rain! 
Angus & Julia Stone’s second album contains some interesting and atmospheric alt-country ballads, with a number of stripped back, harmonious folksy numbers. A lovely piano hook with light strings and an airy, purposeful rhythm forms opening number ‘Hold On’, an outstanding, memorable opening song. Soft, stirring and melancholy with an uncertain emotional landscape. The bass-driven ‘Black Crow’ follows and though a fairly pedestrian tune, a vivid and gothic lyrical quality adds a sense of sullen drama. ‘For You’ is straight enough love song, if a little twee, with a bit of a corny chorus. Forthcoming single ‘Big Jet Plane’ is another strong offering, featuring trademark stripped-back arrangements and unobtrusive strings, which bring a calm and measured melody. The rather ethereal tone rolls on with the Simon & Garfunkel sounding Santa Monica Dream, then branches out with the 7.36 minute atmospheric ballad ‘Yellow Brick Road’. Which includes one of those well-executed ‘tongue-out-the-side-of-the-mouth’ guitar solos. But despite some real high points, the Stone’s second album ‘Down the Way’ never quite hits the highs of the opening track, and drifts off a bit half-way through.
The latest single release from last year’s debut album, ‘Old Man Chicago’, is a classic slice of open road Americana from New York’s Alberta Cross. Slower than much of their material, this fine single encapsulates a fresh and alive summer night’s vibe. ‘Old Man Chicago’ starts with a burst of guitar, drums break down to a rich riff, with Hammond organ, a strong chorus which explodes into life, with the vocals styling’s of Peter Ericson Stakee adding a life-affirming sense of positivity to the lyrics. Alberta Cross are a band who can mix it up with the best of them, and can pull off the Kings of Leon trick of turning out traditional rock ballads with mainstream appeal. There is a carefree 1970’s feel to this single; you can hear American greats like The Band and Credence Clearwater Revival. ‘Old Man Chicago’ has an easy good times charm that can only end with a cross-state car chase, with a portly state trooper plunging his patrol car into a bayou whilst our heroes race off into the sunset. Alberta Cross’ latest single captures alot of what is great about American rock music, whilst retaining an individual sound.
This debut release from Swedish brother and sister Jacob and Sarah Snavely fronted Dag For Dag is a highly accomplished, layered and atmospheric album. A strong American indie vibe adds a spine through the album, with a healthy dose of European indie-pop melancholy and the occasional psychedelic wig-out. With Sarah Snavely’s haunting vocals, on slower tracks such as ‘Wouldn’t You’, ‘Boxed up in Pine’ and ‘Came in Like a Knife’, Dag For Dag sound a bit Nico in places, with some distorted guitar feedback floating about in the background, reminiscent of Sonic Youth. It’s quite a dark album, typified by the heady ‘The Leather of Your Boots’ and the taught violin led number ’Boxed Up In Pine’. A mellow and engrossing album, with lyrics full of twisted imagery, which lead you through a winter land of dark, modern fairytales. The blend of Dag For Dag’s cerebral indie rock and influences is perhaps best encapsulated by the second track – ‘I Am The Assassin’. An experimental and expressive album with catchy rock and roll chords in all the right places – thrusting the whole thing along, with enough Velvet Underground cool for the purists.
‘The Last Blast’ has a confrontational Fall-like quality, with pounding drums and distorted vocals competing to pummel a decent melody into the ground. Oddly skewed a couple of times by expletive laden lines, this seems an unusual track for a lead single. Curiously, the song itself is about the German war novelist Sven Hassel, who specialised in psuedo-autobiographical boys own war adventures, which are full of swastikas and splurging intestines. Horns raise the tune up a notch, but it’s all a bit of a mish mash by that stage. The B-sides on this release are the real find however. Thomas White’s version of Mission of Burma’s Einstein’s Day is a gorgeous, up-tempo, drifting song. A wonderful, melodious creation and a far superior track to the single. White’s cover of ‘Brazil’ is a dizzying and demented Acapulco lounge-lizard of a tune which oozes with cheese. Though be careful when listening to this tune, there is a strong chance that Englebert Humperdink may appear at your door in a velvet bath robe, offering to give you a neck massage. So with a lot to like, and a couple of unfathomable choices to ponder, it’s a good showcase of what promises to be an intriguing second album from the former Brakes and Electric Soft Parade man. A little lower…ooh that’s the spot Englebert!
Collaborations between two artists that include the term ‘versus’ instead of ‘with’ can sometimes be a bit of a worry. Step up dan le sac Vs Scroobius Pip, a long term pairing producing UK hip-hop, electronica and spoken word with latest release ‘Get Better’. The minimalistic Casio sounding backing, has a sort of retro eighties platform game feel. Lyrically, Scroobius Pip can no doubt string lines together with imagination, balance and a broad vocabulary. ‘Get Better’ has enough of a hook in the chorus to stick in the memory, but the message is frankly, all a bit patronising. Prophetic social commentary this is not. . Some of the imagery of British youth is well versed, but other lines, about how an individual can improve their lot: “it’s about self motivation and nothing more” are too simplistic. There are enough professionals and community development volunteers who understand the issues clumsily raised in “Get Better’, who would tell you that messages like these, for those who need to hear them, have little impact at the best of times. Especially when they don’t really speak the language of teenage Britain. Stay in school kids.
Dressed all in black, and barely cracking a smile, the Filthy Tongues launched straight into the rhythmic spoken word number ‘Dreamcatcher’. Isa remained off stage, her sultry vocals permeating the room, with only a twitching mic lead to hint at her presence. It was a smart piece of showmanship, creating a sense of anticipation in the audience. Isa (aka Stacey Travis) eventually ambled on stage for the second number, to groove and flounce provocatively through a tight and potent set of non-nonsense, lo-fi indie rock.
A tense, enticing instrumental intro builds a sense of anticipation , you can sort of imagine it rolling out to the opening of Blade Runner. Thematically, ‘Crude Futures’ has a sort of industrialised, dystopian cyberpunk feel to it. Like an android holding the world’s last flower and crying a single tear of oil. The rather manic and screeching second track ‘The Worst Is Yet To Come’ is bold and startling. What So So Modern are great at is rather funky, updated Kraut-rock rhythms. The instrumental ‘Berlin’ is fantastic – as good as stuff like Death In Vegas and Battles in full flow. It’s a sound that will divide opinion, and though it takes a bit of getting your head around, some real design has gone in to the balance and flow of ‘Crude Futures’, which subdues then pokes you in the eye in equal measure. bnvq1`
Swanton Bombs ‘Mumbo, Jumbo And Murder’ is an exciting and impressive modern rock and roll album. Guitarist Dominic McGuinness flicks and switches through devastating power chords, intricate solos and wonderful rhythmic twinkles of invention. As the self-titled opener explodes into life with a descending kaleidoscope of circular guitar licks, your ears prick up instantly. Second track ‘Who’s Asking’, is a great amalgam of a lot of rock, punk, blues and indie styles, as is the excellent single ‘Viktoria’. White Stripes, Black Keys, Capt. Beefheart, MC5, The Damned, The Clash, The Cramps, The Fall… you could go on forever, as all of these influencial bands of pedigree seem to be swishing around in the Swanton Bombs somewhere. The singing is a little out-of-tune in places, and the production on the vocals is perhaps a little on the quiet side, meaning the lyrics are a little hard to pick out. But it’s their visceral energy in ‘If You Will’ and the bluesy final track ‘Tanks’ is another example of how this album keeps you on your toes throughout. If you like garage & punk rock of the slightly spiky variety, then choose Swanton Bombs – they are better than real bombs.
‘Romance Is Boring’ – released to coincide with Valentine’s Day – is a fresh and fabulous single from Cardiff seven-piece Los Campesinos! (the peasants). Taken from their third album of the same name, released earlier this month. Rich rock and roll chords, some great, funny lyrics, quality lead guitar with some inventive feedback, a handful of electronic wibbles and wobbles and a rousing chorus – all reigning in at around two and half minutes – this is how to knock out a single! Opening with the line: “Darling, I’m with St. Bernard’s and we are scouring the Alps and the Andes, and if they died then it is on my head, they follow paw prints in the snow to my throne, to my bed” the lyrics are especially good throughout. Ok they might not make alot of sense, but imaginative nonetheless. As the vocals switch among band members, they at times sound most like Art Brut. A bit like Art Brut’s ‘Good Weekend’ of a few years back, ‘Romance is Boring’ has that same, punchy, fun sound; with humour and character. Under the surface however, there is some solid indie rock going on, it has alot of crossover appeal and is deserving of airplay.
Dag For Dag are an exiting prospect to keep an eye on this year. With debut album ‘Boo’ due for release on Feb 22nd, this trio of Swedish indie rockers, including brother and sister Sarah and David Snavely, are slowly gathering a lot of new fans.
