Mainly Genius is the title for the written output of Tom Cornish. It consists mostly of music but occasionally offers comedic interludes and funny turns.
Showing posts with label Mainly Genius. Show all posts
Showing posts with label Mainly Genius. Show all posts

Monday, 1 August 2011

This Blog Has Moved!



But never fear because we're not too far away. We've only moved to the Internet next door (sometimes named Wordpress)


Although Blogspot holds many a happy memory, for a long while this site has been nothing more than a mirror of the full-on Mother-blog which be found on Wordpress.

We've had fun here, mainly coloured orange, and it's sad that I have to leave - but I must.

So don't adjust your TV sets, just flip those bookmarks to http://mainlygenius.wordpress.com and let the fun continue.

Until next time,
.
.

Monday, 13 September 2010

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 (27th 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.

Friday, 21 May 2010

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.

Thursday, 13 May 2010

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.

Thursday, 6 May 2010

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!).