Rising from the ashes of "The Family Cat", Jack Adaptor is Fatboy Slim meets Beck in an eclectic mish-mash if trip hop goodness; a band that truly deserve the title "un-pigeon-hole-able". Through layers of heavy metal-esque guitars, soulful, multi-tracked vocals and studio wizardry, this is a journey into the musical unknown. And while it is the guitars that are instantly striking it's always the driving bass and huge beats which form such a solid backbone to the record. Despite being supremely varied, and transcending genres in a sleek and funky way which Mike Skinner could only dream of, it never once loses its focus. Brilliantly written, recorded and produced there really isn't a negative word to be said. It's summed up beautifully in the chorus to "Pop music" with the question "Do you like music?" In terms of Jack adaptor? The answer has to be: "Yes, yes I do".
Review by Tom Lewis
www.jackadaptor.com
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Among the bizarre selection is nu-metal cockiness, with vocals resembling the infinitely superior Dog Fashion Disco, where the giveaway to the style is in the group’s name – New Mexican Erection. Oh dear. The Mighty Mighty Bosstones’ doppelgangers are found in Liquid Cheese, and a few tracks later New River Blues embark on the well trodden road of the ska pop punk cover, though this band have a go at 'Rollover', you know the one – there were three in the bed and the little one said…etc etc. If you persevere as far as the ninth track, Nosotros will provide you with a New Mexican fellow crooning away in Spanish. It is worth listening to the whole bunch, although somewhat trying, each gives something a little different to the mix.
On the whole there’s a variety of acts being showcased here, and kudos should always be given to those supporting local acts. The problem is, there’s nothing particularly outstanding here. Most of the ideas have been done before to a higher standard, and overall that all important, certain something is missing from the cd.
Review by Nathania
Hartley
www.nastycactusmusic.com
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‘Unbelievable Scenes’ is the debut album from Torquay’s very own guitar-pop throwbacks Pipeline. Formed in September 2001, they released a handful of EPs themselves before being snapped up by brand-new Scottish indie label Crushed Roc Records. Crushed Roc poached them after witnessing the band support fat rave-pop casualty Shaun Ryder whilst on tour in Scotland last year. Over the years they’ve also racked up support slots with bands like Jet Plane Landing and Crackout. However, their music has little in common with the punked-up rock of those two bands – they sound much closer to the retro indie stylings of bands like The Stands, The Bandits and Noel Gallagher-favourites Proud Mary.
The album kicks off with a rollicking ‘Belong to Everyone’ – a chunky slice of pumped-up Brit-rock that sounds akin to Paul Weller being backed by Led Zeppelin! Elsewhere the album resembles Weller backed by erm, Ocean Colour Scene. This is the sound of a band not ashamed to embrace the past, in an era when ‘retro’ has become a dirty word. There are plenty of cheeky nods to their record collections throughout the album, such as on ‘What You Got?’ which rattles along complete with ‘Sympathy For The Devil’-esque ‘woo-hoo’s in the background.
On the whole, the tone of the album is one of world-weary contemplation, and singer Tony Edwards possesses a fine, bluesy, lived-in quality in his vocals. Pipeline play energetic, anthemic, well-crafted indie-pop, and if there are any fans of bands like Ocean Colour Scene, Hurricane #1, Del Amitri, The Seahorses or Northern Uproar out there then you may just have found your new favourite band.
Review by Tom Leins
www.thepipe-line.co.uk
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The more recent recordings really grab the attention and alert you to
the fact that this band may be developing into something special. The
over-riding influences of Ash, Green Day and The Stereophonics are all
drawn together on the final track, 'Crash', which creates the distinctive
'Sixty6' sound. On top of this Mikey is able to sprinkle that rare bit
of extra special magic. Possessing a remarkable rock 'n' roll voice, his
vocal ability is the band's ace card. Sounding a little Kelly Jones of
The Stereophonics, his vocals are controlled and assured but they can
also cut loose when required. It's often the case when reviewing demos
that there is one talented member of the band carrying the weight within
the band. That is no the case with 'Sixty6' as the rhythm section genuinely
impresses. Walt and Tuj are not only tight as a unit, but they play as
if their lives depend
upon it, adding driving rhythms and impressive arrangements to colour
the songs.
'Sixty6' can also take the tempo down a little and produce more mellow results. From the later session, 'This Is Not Me' illustrates this point. The slower pace creates a denser atmosphere and displays a certain maturity, aided by the added instrumentation and harmonies. In comparison to 'Can't Let Go', the newer recording demonstrates the improvement that the band has undergone.
'Backwards In' is a fine example of the poppy nature of the band. Underpinned by a simple acoustic rhythm guitar and the clever use of backing vocal harmonies, 'Backwards In' would certainly be at home on an early Stereophonics album. With its infectious melody the song could conceivably become a radio favourite.
'Sometimes' is an infectious pop-punk number reminiscent of early Green Day. Possessing a killer riff and layered harmonies, it's a highlight of the CD and it also demonstrates how tight the band is as a three-piece. By way of comparison with 'Underneath The Rain', 'Sometimes' illustrates how capable the band can be. Where as 'Sometimes' boasts an interesting arrangement built around, but not dominated by its killer guitar riff, 'Underneath The Rain' tends to go round in ever decreasing musical circles leaving the band chasing their own tails with little success before the song ends.
I would argue that the band would have been better served by paring down the number of tracks on the CD to the four tracks mentioned above as some of the older material does pale in comparison to these tracks. However, the philosophy of releasing all the material, most of it available for free on their excellent website, is to be applauded as it can only serve to raise interest in the band and it also allows the listener to hear how the band is progressing.
'Sixty 6' are clearly hugely committed to their music. A glance at their gig listings tells you that here is a band prepared to play to people around the country, probably at huge expense to themselves, in an attempt to build a fanbase. With huge support in their home city of York and from their local music venue, 'Fibbers', the band look all set to up their game even further throughout 2005. 'Crash and Burn' contains some of the most exciting and promising music I've heard so far this year from an unsigned band. It all adds up to 'Sixty6' being a genuinely exciting prospect well worth keeping an eye on; 'Sixty6' may well prove to be the real deal.
Review by Nick Quantrill
http://www.sixty6.co.uk/
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Apart from the odd blast from a Slayer-loving friend ("they're better than fucking Mozart!"), I haven't listened to metal for at least ten years. My initial trepidation gave way to excitement as I started looking forward to hearing some good tunes thrashing out. Alas, New Mexican Erection - I really don't know what to say about that name - are something of a disappointment.
As the thunderous riffing gives way to some rather indulgent and self-pitying lyrics my heart sinks. 'Open The Box' features the whine, "Not enough time in the day / When do I get to play / Not to mention all the bills that we have to pay." It's not exactly what you expect from a New Mexican metal band. And it doesn't get much better. There are uninspired (and badly written) rants about having to get out of bed and go to work, several excursions into broken hearted misery and finally the bizarre 'Trailer Hitch' which appears to have been written on the back of someone's hand whilst stuck in traffic.
Of all the criticisms I thought I might have about an album like this, I never expected my main gripe to be the fact that it is just pretty pedestrian. The vocals are bellowed and growled yet manage to still have near perfect clarity and diction, the guitars while being nicely scuzzy and overdriven, don't do anything you couldn't have predicted. However, it is the lyrics that really disappoint, occasionally straying beyond even teenage angst and just sounding childish and petulant, they drag the whole album down. Overall, there is just too few original ideas and far too much moaning about the 'trials' of modern life.
Review by Andrew Knight
www.newmexicanerection.com
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