Review: Alex Cornish - Call Back

So, the holidays are over, the kids are back at school and the weather is closing in. This can only mean one thing for you lovely blog-botherers, and that is the return of Mainly Genius.

First, an(other) apology. Whilst I had intended to take a break over the summer months, I admit that I did it rather abruptly and without prior warning. This, coupled with the fact that my Lyrics of the Week section hasn’t been updated for over 13 weeks now, makes for a rather neglected blog. Anyway, let us not delay the return any longer and restart with something of an exclusive for this, the pokiest of music blogs.

Out at the end of this month (27^th September) is the second album from Scotland-based singer-songwriter Alex Cornish. Having been in possession of the album - entitled Call Back - for a while now I thought I had better make good on my promise to review the album and, having appropriated, digested and appraised it, I’m happy to report that it’s been well worth the wait.

This album’s predecessor - Until the Traffic Stops – was a generally positive affair that featured some obvious standout tracks but lacked a certain something so bring it up to the next level. Whilst the DIY feel of the album was well executed, it still sounded homemade. Call Back however, is a different matter. Regardless of where it’s origins lie (the answer being both at home and in the Watercolour Studios in the Highlands of Scotland), the DIY sound in this album improves it and has clearly allowed Alex Cornish the freedom and creativity that might not have been there in a big London studio.

The album begins with it’s title track and we are immediately opened up to the emotion and raw sound that Cornish produces. It’s a short, almost acoustic track that sounds like it’s at the wrong end of the album - such is it’s sadness - but is actually a very clever way of pre-empting the rest of the record and immediately sets the scene for which the rest builds back up to.

Lead single Once More I’m Put To The Test and lead-single-sounding Don’t Hold Me Back are both catchy and well-crafted songs and are much more interesting than they have any right be considering they’re essentially chords on an acoustic guitar.

Mid-point Like John Lennon Said has the brightest lyrics on the record and is a more regretful sister of the title track, whilst The Shame is another standout track that has single written all over it and really shows what the genre of ‘singer-songwriter’ should be about (and blowing plenty of other more popular artists out of the water at the same time).

Overall this album doesn’t re-invent the wheel, but that’s not what it sets out to do or needs to do. It picks up where Until The Traffic Stops left off and builds on the groundwork laid by that album over a year ago to great effect. Songs such as Like John Lennon Said, The Shame and the title track ensure that this isn’t just your normal singer-songwriter fare, and the emotion and soul in Cornish’s voice almost force you to believe in what he says.

Whilst this market might be over saturated at the moment, Call Back stands out from the crowd and should ensure that Alex Cornish and the music he creates continues to make waves in both the folk and mainstream genres. A diamond in the rough well worth the asking price.



Visit Alex's official website or listen on MySpace.

Buy the album on iTunes or pre-order from Amazon.



Because I'm so indecisive and because I like the album so much, there are three tracks for your listening pleasure if you head over to the Mother-Blog on Wordpress. Like John Lennon Said and The Shame are both available for download for your further appraisal and stream-only (but no less brilliant) are the title track Call Back and first-album highlight King of Hearts.

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Review: Tom Stephens - Division (EP)

Before we go anywhere I must offer my apologies for my lack of recent posting. As is often the case during the summer months, I’ve been away having much fun and neglecting this blog. But I’m here now and before I leave you all again, I’ve managed squeeze in a little gem for your listening pleasure. And the good news is that’s totally free.

Today’s offering comes from the guitar of singer/songwriter Tom Stephens and his first outing as a solo artist. Spending most of his music career to this point as frontman for various different bands (one of which springs to mind…), this short EP marks a departure from rock music and is very much in the realm of all that is acoustic.

Opener My Rosie is unquestionably the highlight and isn’t just your usual singer/songwriter fare. Whilst all the pieces are there for a Damien Rice regurgitation (acoustic guitars, double bass, strings), what we actually get is a dark and slightly angular track that makes full use of the acoustic guitar’s resonant capabilities. Tom’s impassioned and rough-round-the-edges voice adds real character and emotion to create a clever feeling of sympathy rather than tear-jerking sadness.

Whilst the EP doesn't quite rise to these heights again, the Nick Drake inspired strings on third track Family Tree, are another interesting play on the normal format. It begins nicely enough, but it’s not until the strings rise and sway that the song really begins to lift and show how a simple chord pattern can be given a new life with the simplest of additions.

However, despite the excellent string arrangement and high quality of songwriting, I can’t help but feel that the EP is a touch overambitious and muddy in places.

The double bass employed on It Could Happen To You should work in principle but on the record it just doesn’t sit well with the acoustic guitars. It sounds clunky, overcomplicated and actually works against the stripped back simplicity of tracks such as the aforementioned It Could Happen To You and My Rosie.

And despite the beauty of the string arrangement on Family Tree, it’s sounds separated from the rest of the song. The acoustic guitar struggles to cope with the depth and vastness a string section brings and, if drums or percussion aren’t an option (which is understandable), perhaps there’s a case to be made for the stripped back sound we hear on the rest of the EP, to come into play a little more rigorously here.

But please don’t misunderstand me. Overall this is a very accomplished record. The high production values are a welcome change and should be a template for others in the same genre. Similarly, the quality of songwriting stands above many of those with far greater reputations and hints something very exciting to come.

Whilst it may not be the finished article yet, it’s an extremely solid base on which to build and is up there with Dark Mean’s Music Box (EP) as my favourite free download of 2010.  Get it while you can.


Download Division (EP) for free or visit Tom Stephens

Over on the Mother-Blog are My Rosie and Family Tree from the excellent and soulful Division (EP) by Tom Stephens. My Rosie is available to download but you can get the whole shebang for free right here.

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Lyrics of the Week #5: Elbow - Station Approach

As the 5^th in an ever-expanding set, I felt this week’s edition of Lyrics of the Week (or LOTW #5, if you prefer) needed to be a bit more upbeat. Not necessarily happy or overtly positive, but something that’s not about love. To that end I have settled upon Manchester band Elbow as the band of choice and in particular, their song Station Approach.

It’s taken from the 2005 album Leaders of the Free World and is an unquestionable Elbow classic. Starting with a simple acoustic guitar line and accompanying piano, it’s grows and grows as the emotion in singer Guy Garvey’s voice builds until booming drums and expansive guitars see the song through to a anthemic conclusion. As with much of Elbow’s work, the song itself is magnificently simple and is testament to the power of a good melody and clever arrangement.

However, the most important part (in this instance at least) is the lyrics and is of course, the reason why we’re here. As is becoming habit, I’m looking at the first verse:

“I haven't been myself of late. 

I haven't slept for several days. 

But coming home I feel like I 

designed these buildings I walk by”

As this may or may not reveal, this song is about coming home. Nothing metaphorical, just the simple pleasure and excitement of returning home. As a feeling, many of us know it and as a song, Station Approach is the perfect soundtrack to that event.

The first two lines not only describe the feeling of displacement and homesickness at being away, but also cleverly double up to highlight the butterflies and the excitement as the time of going home approaches and lines three and four echo that sentiment. They expand on the feeling of familiarity in a brilliant and (that word again) simple final line that distils a collection of emotions into one clear and concise sentence. The picture it paints never fails raise a tiny, contented smile.

I’ll admit that these are not the most poetic of lyrics or the most romantic, but that’s why I love it. It’s hard to write about happiness, but these lyrics capture a small moment of delight we all feel from time to time and the excitement we get from being with family, at home.

I would thoroughly recommend not just the album from which Station Approach is taken, but also any of the records in the Elbow canon. Don’t let the Mercury Prize sway you, each album is as good as the other and you can do much worse than start with Leaders of the Free World. Clever, melodic and hugely enjoyable, I urge you to hear the unique sound of one of Britain’s best bands. You won’t regret it.

Visit Elbow or their MySpace.
Get Leaders of the Free World

If you visit the Mother-Blog over at Wordpress you'll find the excellent Station Approach for your listening pleasure. Simple and brilliantly driven, it’s an Elbow classic that should be cherished.

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Those of you with a finger in the general music pie will have noticed the slice that consists of folk music (or influences thereof) has had huge surge in popularity over the last 2-3 years. Some have cleverly named it “nu-folk” (after a certain metal scene some may recall from the start of the last decade) and, with the recent, inexplicable rise of acts such as Ellie Goulding, it seems that it is still having pretty sizeable influence. Britain is more sensitive that many had realised.

The most notable bands to come from this new trend include the excellent Mumford & Sons (featured here), Laura Marling, Noah and the Whale and today’s focus Bon Iver (pronounced “Bon-ee-veir”, it’s amalgamated from the French “bon hiver” meaning “good winter”).

After spending 3 months locked away in a log cabin in Wisconsin and armed with only a few instruments, Justin Vernon - the man behind Bon Iver – emerged with the beautiful and fragile album from where we take today’s lyrics of the week. For Emma, Forever Ago (written for a real ‘Emma’ although probably not that long ago) is an album for the new age, sensitive music buyer and is a heart-wrenching and brilliant drop to the depths of sadness. Tracks such as Flume, Skinny Love and The Wolves (Act I and II) are not only melodic, hypnotizing songs, but also have a real fragility about them thanks in no small part to Vernon’s wonderful, falsetto voice.

Vernon sings in this haunting falsetto voice (with a small nod to Neil Young) throughout the album but it’s on today’s track Re: Stacks that it really comes into it’s own (you can hear it below). It’s a beautiful, six-minute folk epic that is, for me, the undoubted best in the Iver canon and just so happens to contain the best and most poetic of all Vernon’s lyrics.

There are many parts of this song that could just as easily filled this page but the final few lines of the last verse stand out above the rest:

“This is not the sound of a new man or a crispy realisation.

It’s the sound of the unlocking and the lift away.

Your love will be safe with me”

Not only does it sum up the preceding song, but it also has the same effect for the rest of the album. It suggests that the narrator (Vernon, in all likelihood) has not changed or become “a new man” but is now accepting his loss. The second line is an excellent metaphor for how the song (and his creating of the album) is the result of him accepting this acceptance. He has unlocked his grief and it’s become a weight off his mind.

The final line is perhaps my favourite of not only this song but the handful of LOTWs I’ve done up until this point. The best lyrics are mostly the simplest ones and this is a perfect example. As well a being a brilliant line on it’s own, in this context it suggests that the love the narrator and the former partner shared will still always be there, but there’s no sadness anymore, just a great memory. In a funny sort of way, it’s a happy ending to the album.

If you haven’t already got For Emma, Forever Ago, then I strongly urge you to get it. It’s a fragile, beautiful and frankly timeless masterpiece that really should be up there when the “greatest albums of the 21^st century” lists do the rounds. There has been a lot of hype (much of which you can read above) but, as occasionally happens, it really is justified.


Visit Bon Iver or their MySpace

Get the album.

Re: Stacks is the standout track from an already outstanding album, which you’d be insane to miss. I’m fresh out of superlatives so I’ll let the track do the talking. Listen or download at the Mother-Blog on Wordpress.

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Review: The Rebs - In a Heartbeat

A few weeks back I attended my first gig outside of the capital for a long while and, whilst I didn’t expect to be disappointed, it’s fair to say my expectations were lower than usual. Someone once said that when it comes to music, London is the place to be and although it may be where most record labels are situated, an energetic and marvellous performance from Southampton based band  (and last year’s ‘Road To V’ winners) The Rebs, proved categorically that there’s plenty of success to be found outside the big smoke.

They took to the stage in a unusually professional manner and it was immediately obvious from the moment the synth line of album and set opener Would I Remember swung into view, that we were dealing with a group a league above the rest. The energy lasted throughout and lead singer Russell Edmonds continued to roll out melody after melody that had the room buzzing.

I’ve since come in the possession of their debut album In a Heartbeat and, as is customary on this blog, will proceed to give my opinion.

First off I should say that The Rebs aren’t that original. The best summary would probably be a cross between the Killers and The Kooks although the latter does do them a fairly large injustice. They’ve taken the best bits of the both those bands and formed them into a dynamic album that hints at being something more than simply indie.

As I mentioned above, opener Would I Remember immediately sets up what the band are about. It’s one of the stronger tracks on an album full of singles and contains a fist-pumping chorus that reminds of The Automatic in their prime (and on that single), and semi-title track Always In a Heartbeat has brilliantly crafted electronics that sit expertly within the crashing drums and overdriven guitars. It’s clear just two tracks in that these guys have won awards for their song-writing.*

The melodies don’t end there.  Keep Smiling is a impressive, Zutons inspired pop track that is ready made for the festival circuit this summer and first single Don’t Fool Yourself is a clever track and is perhaps the one that really stands out from the album. Not only is it excellent as a straightforward indie-cum-pop track, its use of strings and pads really lends the song an authority that lifts it out of teenagers bedrooms and into the mainstream.



If there was a criticism to be made, then it’s perhaps that the album does feel like it’s repeating itself. On the the band's myspace, influences are listed as “Artists with great songwriters - we like singles” and whilst that is refreshing to see, it wears towards the business end of In a Heartbeat. Songs such as Leave it all Behind seem a little like they’re forced to fit with this mantra and make the album seem like a singles collection than a cohesive album.

Whilst it would be nice to see some development and a small injection of variety, In a Heartbeat is an excellent debut from a band that really is on the rise. Songs such as Would I Remember and Don’t Fool Yourself (both below) ensure that this rises from the ashes of the fading indie scene and arguably rises above its predecessors. It’s an unrelentingly catchy and well-produced collection of songs that’ll form a great soundtrack to the summer and is a commendable effort from a band that is as good live as any other I’ve seen this year.

They might not be breaking too much ground yet, but they’re certainly having a great time trying. Remember the name.

*Don’t Fool Yourself won both Best Pop Song and Best Overall Song at the Exposure Music Awards that, I’m reliably informed, are judged by a panel of assorted experts.



Visit The Rebs or their MySpace
Get the album on iTunes

Don't forget to visit the Mother-Blog on Wordpress to get album opener Would I Remember and award-winning single Don’t Fool Yourself. Both are brilliantly catchy and are the perfect soundtrack to the summer.

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Review: Exit Calm - Exit Calm

Rewind back to 2006 and Exit Calm hardly existed. Struggling local heroes that had yet to approach anything resembling the big time and, after a sudden break-up, lacking a front man and a leader.
But come screaming back into the present and Exit Calm are on their way up fast. They’ve found an excellent frontman in Nicky Smith and after releasing their self-titled debut last Monday (17th May), have set the bar high for this summer’s new music.

Happily for you dear readers, I am fortunate enough to posses a copy of this album and after a few weeks of digestion and appreciation, I’m going to share my thoughts with the (English-speaking) world.

The album starts as it means to go on (and actually how it is the whole way through) with six-minute opener You've Got It All Wrong which, from the moment the atmospheric guitars home into view, is a pounding and ethereal journey through musical space. The album is produced to the bands strengths (by UNKLE collaborator Paddy Byrne don't you know) and forms an integral part of the overall sound of the album, which is evidenced on this first track. Not only does the song stand out, but the way guitars drift across the mix and wash into the drums is something that really enhances it. Many parts pay only fleeting visits but it’s these extra attentions to detail that expand the song and pull you in.

When You Realise is a ballad of sorts (it’s a bit slower) that recalls Ocean Rain era Echo & the Bunnymen and one of my personal favourites, Reference, is a powerful and intense song that has all the good flavours of The Verve and Mainly Genius stalwarts The Boxer Rebellion, but with a kind of downward pressure that makes the listener really sit up and take notice.

However, Exit Calm are a smart band and it’s no coincidence that current single Hearts and Minds is the outstanding track from the album. It’s got the strongest melody and is the track where everything seems to click into place. The bass and drums anchor the song and form a concrete base on which atmospheric guitars dart and cascade under Nicky Smith’s floating melody. He declares “It’s a fight between your heart and mind” as the song gradually comes to a raucous conclusion that serves up massive drums and huge guitars in spades.

One criticism that has been levelled at the band is repetition. There is a very set and rigid sound that they’ve adopted and a departure from the constant drums might've helped to break up the album and bring it back down to Earth. To be frank though, I’m not sure I really agree with that especially considering the beautiful (and yes, atmospheric) closing track Serenity. Exit Calm is what it is and that’s an atmospheric, powerful and ethereal journey of great songs. If you’re expecting variety then that can be found elsewhere.

Like many before them, Exit Calm will probably be declared Britain’s latest great band, but this time there could be a small grain of truth hidden away somewhere in that statement. The album they’ve produced is a fantastically epic and atmospheric journey through space and shows a real knack for melody and a confident and slightly unique sound that really deserves success. If you’re a fan of Interpol, Editors or any number of similar bands I urge you to give this album a go, you won’t regret it.

Exit Calm are on tour throughout the summer and you can find tour dates and purchase the album on their website or myspace. If you head to the Mother-Blog on Wordpress, you can hear current single and album highlight Hearts and Minds and also the beautiful closer Serenity.

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Lyrics of the Week #3: Alberta Cross - Ghost of City Life

This week’s marvellous instalment comes from New York based rock band Alberta Cross and, more specifically their excellent 2009 debut album Broken Side of Time.  It combines elements of country, pop and straight-ahead rock to form a refreshing and upbeat album that is one of those records you find that you keep playing.

The only song on the album that isn’t upbeat however, is where we get the lyrics of the week for today. Lyrically speaking, album closer Ghost of City Life does pretty much what it says on the tin, that being a sorrowful lament for an unnamed and faceless city. It’s a beautiful track in it’s own right and that is only enhanced by it’s rueful and almost angry lyrics. They’re great the whole way through but for reasons of capacity, I’m only going to share on the first verse:

“How about believing? How about some faith?

I’m tired of remorse. How about some truth now, honey?”

An immediate attack on an unnamed target not only presents some subdued anger, but also has hints of regret and sorrow that gives it a real fragility. The questions asked show that the narrator has reached  breaking point and suggest in the following line that they’ve perhaps become tired of being blamed or being forced to accept defeat.

Whilst these lyrics suggest the breakdown of love, the song’s title references disillusionment with city and it’s unforgiving nature. We could surmise then that the ‘honey’ referenced in the lyrics could be a personification of the city and that the anger that the narrator feels, or the truth that they wants is directed at an unnamed city that has broken them.

Overall this is beautiful song and one that is of great value on an album of rock. Don’t forget you can get it in it’s entirety over at the Mother-Blog on Wordpress and, if you like what you hear, I really urge you to give Broken Side of Time, the album from which it’s taken, a listen.

Alberta Cross are a band that are getting the success their music deserves and I for one, am a huge fan.

Visit Alberta Cross and get the album.

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Review: Roky Erickson & Okkervil River - True Love Cast Out All Evil

Okkervil River are a great band. As a fan for a couple of years now, it’s always exciting when they release new material.
Their 2005 album Black Sheep Boy is a prime example of their quirky, twisted pop-rock sound and is rightly considered their masterpiece. Songs such as The Latest Toughs and For Real conjure real interest with their slightly left-of-centre lyrics and almost lo-fi production. Even slower numbers such as So Come Back, I Am Waiting and A Stone has a primal element amongst the grace and sadness that only adds to the power of the song.

As you can see from my little mini-review, I’m a fan of Okkervil River. However, I was more than a little surprised to see that their latest venture was in collaboration with aging psychedelic rocker Roky Erickson. I mentioned in my post about this year’s SXSW festival in Austin, Texas (from where both artists hail), that they could be an interesting combination and one that I boldly predicted will really hold their own. Erickson’s heartfelt lyrics should sit well with Okkervil River’s quirky, lo-fi but ultimately pop-based instrumental qualities, I said.

But now I’ve finally come into possession of True Love Cast Out All Evil, the album that came from this newly formed group, I’m not so sure.

It starts with the Okkervil River boys firmly in control. Along with closing track God is Everywhere, album opener Devotional Number One is one of those kind-of-arty, deliberately lo-fi tracks and has all the hallmarks of the band. However, odd chord changes and deliberately poor sound quality might work on an Okkervil River record, but doesn’t really highlight the strength’s that lie in Erickson’s fragile voice, only serving to be unnecessarily harsh and slightly irritating.

And it’s a theme that doesn’t just lie at either end of the album either. Whilst there may not be much more lo-fi sounds, songs such as Birds’d Crashed and Be and Bring Me Home still seem forced and at times overcomplicated. Be and Bring Me Home stands out as a track that has been to far removed from Erickson’s country style and this results in a song that sounds to much like Okkervil River for it’s own good. Again, as a stand-alone Okkervil River track, it works. But Erickson strains to hard to fit in and overall just doesn’t blend.

However, all is not lost. Not by a long way.

The title track is a prime example of when the collaboration does work. Along with Goodbye Sweet Dreams, it becomes less obvious that it’s Okkervil River leading the way and sounds much more like a group working together. Erickson’s interesting and dark lyrics are cast in a new light, whilst his voice is given a different life thanks to the clever use of guitar sounds. Please Judge is a heartfelt plea to justice and Bring Back The Past is upbeat and pop-inflected tune that really would’ve sounded great at SXSW 2010.

However, it's Forever that's the highlight. There is some over-complication that occasionally creeps in to , but the quality of the song and the ethereal sense that it has trump any doubts. Starting with a slow acoustic guitar, it slowly builds into a track thats not unlike The Flaming Lips circa The Soft Bulletin. Guitars dart all across the musical spectrum, an organ underpins the pounding and relentless drum pattern and Erickson’s finest hour comes as the song builds into a marvelous finish.

So all in all, True Love Cast Out All Evil was a touch underwhelming. Maybe I should’ve expected a little less with something that’s only part Okkervil River, but their musical history is littered with brilliance that’s hard to ignore. The album feels as though it was a bit rushed and contains an unsettling air of insecurity. Overall it’s good, but not great. Exciting, but not for to long.

However, I must stress that if you get the chance, True Love Cast Out All Evil is worth checking out despite my negativity. Tracks such as Forever, Goodbye Sweet Dreams and Bring Back The Past are gems and make the album a worthwhile buy. With time, Roky Erickson & Okkervil River will improve and the songs will go with that. All the right elements are present but perhaps not in the right order just yet.
Understandably, fans of Okkervil River might be a little unsure as would those of Roky Erikson, but I’ve no doubt that this collaboration will win many more fans for both artists and for them as a group, than it alienates. I look forward to the next installment in as much hope as excitement.

Visit Roky Erickson & Okkervil River and get the album.
Visit Okkervil River (and get the brilliant Black Sheep Boy)
Visit Roky Erickson

Don't forget to visit the Mother-Blog over on Wordpress to get hold of Goodbye Sweet Dreams and album highlight Forever in their entirety. Both are excellent examples of when the combination of Okkervil River and Roky Erickson really does work. Dark and melodic, they're well worth a listen.

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Lyrics of the Week #2: The Boxer Rebellion - Flashing Red Light Means Go

Yep, week two has arrived already and I’ve not got bored of this series just yet. This week’s entry comes from Mainly Genius favourites The Boxer Rebellion. They're the band that words such as “spacious” and “really fucking massive area-sized rock” were made for (as my review of 2nd album Union will attest).

So why this song? Well for a start, the song itself is corker. Starting with tumbling drums and Nathan Nicholson’s instantly graceful vocals, an acoustic guitar slowly builds into a frantic and busy chorus before the song ends with another soaring crescendo and is bookended by Piers Hewitt’s excellent, jumpy drums.

However, the lyrics are the reason why we’re here though and it’s the opening two verses that I wanted focus my attention on. They're about love (and the loss thereof) there’s no doubting that, but what sets them apart is the view of love that the lyrics suggest:

“What’s the use in my advice that you just turn down?
Swaying to a serenade, you never hear a sound.
But I know you know now.

Generate the false alarms; the verdict: counterfeit.
Flashing lights to bring you back from who you’re running with.
But I know you know now”

The narrator isn’t longing for a lost love or expressing his feelings about a broken relationship. It seems that he longs to protect more than anything else.
Beginning by bemoaning the fact that he is never listened to, he then proceeds to suggest that the former love is crying for help by generating “false alarms” and that only “flashing lights”, presumably those of a police car or similar, can bring her back and enable his protection.

The final line of each verse is interesting and as well as telling us of the relationship that once was, also contains a hint of the feelings that are still present. In saying that “I know you now”, it suggests that he sees through any charade that may be occurring and is only interested in protecting and helping.

So all in all, an interesting and clever set of words and in a style that really sums up the album well. The Boxer Rebellion aren’t happy with straightforward lyrics and the alternative angle and clever wording really help to enhance what is already a fantastic record.

You can hear Flashing Red Light Means Go in it’s entirety on the Mother-Blog over at Wordpress, and don’t forget to purchase Union, the fantastic album from which it is taken.

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Lyrics of the Week #1: Simon & Garfunkel - Sound of Silence

So as is traditional, let’s kick off with week one. Today’s entry comes from folk greats Simon & Garfunkel, with these words specifically written by Paul Simon. Lifted from their breakthrough 1966 album of the same name, Sound of Silence is one of those fantastically simple and awe-inspiring songs. The haunting electric guitar (interestingly not composed by Simon) sets a bleak outlook, which is ultimately reversed by Simon’s wonderfully building melody, and the dated drums  serve only to add to the power of lyrics, giving them centre stage.

“Hello darkness my old friend, I’ve come to talk with you again.”

Simon & Garfunkel – The Sound of Silence (1965)

Mrs Robinson aside, these are probably the duo’s most lasting lyrics and so they should be. The chilling familiarity and casual nature of the words are devastatingly simple and yet very effective as they paint an instant picture that is clear to us all. For my money this is Simon’s best work (musically and lyrically) and is a great introduction if you’re not already a fan. They come thoroughly recommended and you could do much worse than starting with this very album.



So that’s it. I chose a great one to start and they’ll be plenty more where that came from in the next few weeks. You can hear Sound of Silence in it’s entirety over at the Mother-Blog on Wordpress and don’t forget to get the album if you haven’t already (which, as I go to press, is at an insanely low price).

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My New 'Thing' and Some Upcoming Reviews

First of all readers, an apology. My university career has been a stress-filled and busy place of late, but I can happily report that I have come through unscathed and now near the finish line for three years of hard work. All this however, has caused some neglect to my writings and for that I am sorry. But never fear friends because I have returned and to mark this moderately notable occasion I’ve decided to start a series of sorts entitled “Lyrics of the week”. Catchy, eh?

Something I’ve always wanted to do is bring back lyrics to their rightful place and to have them considered in the same league and under the same ‘rules’ as music. All to often they’re ignored as a vehicle for a vocal melody and good lyrics are easily missed in bad songs (see Born In The USA) and poor ones missed in great songs (see Hey Jude).  They are after all, the poetry of music.

So I’m going to attempt to write a little bit of that wrong.

Each week, I’ll pick a verse, chorus or just phrase from a song that I like or you might’ve missed and herald it’s virtues. There’ll be no philosophising and no great essays, just me appreciating some brilliant and beautiful words.

You've probably noticed the first one directly above this post and it's a cracker to start (Simon & Garfunkel's The Sound of Silence to be precise).


Also, keep your eyes peeled for some new reviews on the way soon. I've a few promo CDs and plenty of MP3s waiting to be dissected, including the forthcoming album from Exit Calm (myspace.com/exitcalm) and also Mainly Genius idol Paul Weller might sneak his latest offering in these hallowed, virtual pages.

So watch out for that and until then enjoy Louis Armstrong (because I've just bought a CD of his and it's fantastic!).

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Review: Dark Mean - Music Box (EP)

They say nothing in life is free but fortunately for us they’re wrong. As long as you discount the cost of buying a computer and connecting it to the Internet, Canadian indie-pop band Dark Mean’s most recent offering Music Box is just that. I first came across Dark Mean via Eaten by Monsters last year, happily downloaded their first EP frankencottage, and ever since I’ve been waiting for an opportune moment to write about them. And here it is.

Released in mid-February of this year, Music Box is the second EP in a cycle of three and for my money is the better of the two so far. In contrast to its predecessor it seems happier both musically and technically, creating a sound that is contented in it’s own skin.

Kicking off with the jovial title track shows this very well and what might seem like a conflict of interests between sombre lyrics and uplifting music actually works rather well, giving the words an air of hope that otherwise might not have been there. More of the same follows on Piano & Beat before standout third track Acoustic.

As it says on the accurately named tin, Acoustic is an acoustic lament of the simplest variety and is similar to title track Music Box in it’s style. Again featuring the feeling of hope, Acoustic differs when it strips away the horns and drums and moves towards something more primal (or as primal as indie bands can be) and is something that feels very much from the heart.

The EP ends with the only actual sad track Dark Banjo and despite feeling a little forced (and slightly out of place), it does the job of proving that Dark Mean aren’t simply about happy banjos. They can make a decent fist of sad ones too.

Ignore the pragmatic song titles and dodgy band-name (the lead singer is named Mark Dean…) and give Music Box a whirl. It’s a competent and enjoyable follow-up to what was a good debut and is easily worth fifteen minutes of listening time.

You can get both EPs for free via Dark Mean’s official website or have a listen to Music Box and the excellent Acoustic over at the Mother-Blog situated on Wordpress.

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South By Southwest 2010

Here’s a novelty: me talking about something up-to-date and cool. In fact, either would warrant stopping the presses (or at least suspending them for a short time) and, as reviews of Kate Bush and Simple Minds will attest, it’s not often that I find myself on the cusp of musical trendiness.

However, today is different. Starting this Wednesday is the South By Southwest (SXSW) music & film festival and, having recently looked at the Black Atlantic’s latest offering, I thought I’d go ahead and see who else is occupying this years line-up and in the process, bring myself kicking and screaming into the musical present.

Hosted in Austin Texas, SXSW is now 23 years old and firmly established in the elite league of festivals in the US. For any Brits who are unsure, it’s closest equivalent back in Blighty is the Great Escape Festival held every year in Brighton. Both feature a variety of bands big and small, rock and electronic, loud and quiet, across a number of different venues in the city all under one banner. SXSW also has an ever-growing film and technology arm but, as a music blog, I will be skimming over that particular aspect.

So, onto this years attractions. Below are a few names out of the 100s performing that jumped out at me. Some you might know and some you might not know but all of them start to give me itchy feet and a sudden want to visit Texas next weekend.




Find the bands, the verdict and a couple of MP3s over at the Mother-Blog hosted on Wordpress.

Don't forget to visit the official SXSW site where you can find all the details for bands, tickets and venues.

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Review: The Black Atlantic - Reverence For Fallen Trees

Some of you may have noticed that it’s been a while since I posted here and that is, in part, down to the fact that there simply hasn’t been anything that inspiring recently. However, it’s also because I’ve become a bit more focused on discovering, and thus reviewing, newer or relatively unknown material. There’s something to be said for seeing a CD hit number one in the charts, but nothing beats that feeling of discovering something you love that is privy to you and few others.

It’s from one of these forays that I landed upon Netherlands-based band The Black Atlantic and their debut album Reverence For Fallen Trees, which can be downloaded for no cost on their official website. I must admit that they are not an unknown act and are in fact fairly successful in both their native Holland and across the water in the US. Indeed this month will see them play at the South By Southwest Festival in Texas in addition to a North American and European tour. So that’s my new leaf turned back over then.

So, on to the album. There’s no mistaking the style these guys are going for and it’s pretty clear from the outset of album opener Baiulus, that what follows contains minimal drums and maximum emotion. This album is not groundbreaking and, as much as it pains me to say, could well be described as ‘nice’. Plucked guitars and soft harmonies are all very good (and they are well orchestrated), but it leaves little to stand up and be listened to. Often the music becomes background with many of the songs merging into one another.

You may think this sounds like a harsh judgment but please bear with me because it’s not. Lets look at the album as a whole as that’s what it is. The digital revolution has not yet distorted everyone’s view of the ‘album’ and The Black Atlantic firmly come under that umbrella. This is an album of songs that are to be digested and enjoyed in one go and should not be allowed to become background music. This is not something for a party nor even a small social gathering. This is not something to give to your family (although they would probably appreciate the gift) nor is it something to be to put on in the office.

What it is, is something to be enjoyed in it’s entirety with no distractions. Set aside thirty minutes of your time to enjoy a band working in harmony, producing an enjoyable album that doesn’t need to be groundbreaking to be great.

As individual songs I’m a little lukewarm in my enthusiasm for Reverence For Fallen Trees but there’s no doubting the clear talent and harmony within this group. As a result, you won’t be blown away, but you’ll find it’s time well spent. And, come to think of it, when those songs are together it really is a very good record.

Visit The Black Atlantic and download Reverence For Fallen Trees on their official website.

And get the Vinyl or CD from their official store.

If you don't fancy the full album you can get the MP3s of Madagascar and I Shall Cross This River from the mother-blog on Wordpress below.
Both are stand-out tracks from the album with Madagascar being a particular Fleet Foxes inspired favourite of mine. However, I would recommend you get the whole album and have listen through as these tracks on their own don't do it full justice.


The Black Atlantic - Madagascar


The Black Atlantic - I Shall Cross This River

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Audio: Delphic - Clarion Call

Pounding, call-to arms opener taken from Delphic' debut album Acolyte.

By combining all the right elements of Electro, Rock and Pop, Delphic have produced an excellent debut album of which this is just the start. Singles Counterpoint and Doubt are as good, but neither sound as impassioned or swagger quite as much as this one.

Listen to Clarion Call by Delphic on the Mother-Blog at Wordpress.

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Review: Delphic - Acolyte

At last it’s well and truly over, at least for another year. Christmas and New Year is always a hectic and fairly misshapen time of year but as we’re well into February, it’s time for things to return to normal and, more importantly, time for some shiny new reviews.

First up is the debut album Acolyte by electronic-indie band Delphic , a band recently voted into a BBC poll for the ‘Sound of 2010’ (who, it seems, have now branched into predicting the future in addition to producing ‘Hole In The Wall’), and do look set for big things.

Having another electro-indie band with tight jeans and swept hair is always a risk in this saturated market but refreshingly is one that pays off and, what’s more, one that puts up an early contender for album of the year.

First song Clarion Call opens the album in style and immediately shows us what Delphic are all about. By combining pulsing synths with flowing strings and underpinning this with thumping drums, it allows not only for a fresh and clean sound but also one that affords real space for frontman James Cook’s call-to-arms melody, which adds a real sense of a song and power to proceedings.

And in similar fashion, 3rd single Doubt does contain all the elements that should make for unoriginal and frankly boring electro-indie music but in reality it simply doesn’t. There’s no doubt (pun not intended) that the synths are an important part of the band but they are never allowed to overtake the real focus of producing a good, catchy song. And rather than shouting a meaningless collection of words, it’s clear that Delphic posses a frontman capable of writing some brilliant pop melodies that when coupled with his engaging lyrics, sets them apart from the check-shirt indie crowd.

Album tracks Remain and Submission follow this pattern along with 1st and 2nd singles Counterpoint and This Momentary, all embracing the use of electronic synths and loops whilst keeping the Rock stylings of the guitar, vocals and melody at the forefront.

Counterpoint in particular is an obvious standout track, which despite its upbeat nature has real element of resignation about it. Cook sings “just tell me nothing’s wrong today” and even through the jumping drums and the shooting synths we can really believe him.

If I was to have one complaint, it would be that for all it’s clever use of electronics and samplers Acolyte clocks in at over 50 minutes and that, for an album of 10 songs, is probably to long. Red Lights and the instrumental title track both fall into this trap with the latter in particular seeming to drag and become unnecessary on more than one occasion.

But this is a small blot on what is an excellent album. Acolyte combines all the twists and turns from synths without ever letting it get in the way of the meat and drink of the song. An indie band for those who aren’t so interested in lens-less glasses and one for who big things are certainly going to be happening. Pulsing, flowing and above all brilliant so believe the hype and get the album.

Visit Delphic

Buy Acolyte on iTunes or Amazon

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Review of 2009: Part Two – Artists of 2009

Welcome to part two of our look back over 2009, continuing on from part one, the Albums of the 2009.

These are what I consider to be the eight artists who’ve had the best year regardless of what music they released in 2009. As before, the best are towards the top but there’s not really any strict order.


Anyway, all the action is over at the mother-blog on Wordpress. Simply head over there to check it out!

http://mainlygenius.wordpress.com

If you agreed with some, all or none of the list then don’t hesitate to let me know. Leave a comment here, message me on Facebook or '@' me on Twitter.


Next up is the Songs of 2009…

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A Mumford & Sons Free Download

Those of you who read my Albums of 2009 article will know that I really liked Mumford & Sons and their debut album Sigh No More. I'm happy to report that they've made excellent non-album track Sister available for free on musicglue.com

To get it, simply visit the Free Stuff section of the mother-blog on Wordpress where you can get hold of it and other various freebies.

And forget to keep checking back here where we're well underway with the Review of 2009. The albums are done and next up is the best Artists of 2009.

Until then

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Review of 2009: Part One – Albums of 2009

So it’s that time of the year again and it has been for a while. It’s time for us to take a musical look back at 2009’s best moments.
The ‘Review of Year’ format has been around forever and has been done to death, but I think I can squeeze a few more in.

For the first part of the review of 2009, I’ll be picking out what I believe are the albums of the year. They’re not strictly in order and there’s only eight if them but as always, I’m sure you’ll wholeheartedly agree with some and unquestionably disagree with others.

Anyway, all the action is over at the mother-blog on Wordpress. Simply head over there to check it out!

http://mainlygenius.wordpress.com


If you agreed with some, all or none of the list then don’t hesitate to let me know. Leave a comment or send me a carrier pigeon.

Next up is the artists of 2009…

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