Highly infectious stompathons like this may be more frequent occurrences in today's climate of neo-New Wave, but this one is still a thing of beauty as proper feel-good jangly pop, with kareaoke-tastic lyrics you can't stop shouting as you dance around your living room - oops, sorry, I mean cool indie disco with all of your friends - shaking your stuff and smiling like an idiot. All together now, "Absolute affirmation, reasess the situation…”
Review by Anne-Marie Pattenden
I have to begin by stating how unimpressed I am, but then this is a product of my own narrow-mindedness; personally, this particular musical genre has never, and will never appeal to my better nature. Indeed, I would say ‘Countermine’s,’ latest EP ‘Smallest Fears,’ falls into that banal Dawson’s Creek easy listening category, but with a heavier edge, i.e. that powerful mediocre Rock Ballard style. Personally, this is not my bag baby, but then again, I should swallow my own biased pride and contemplate ‘Countermine,’ from a more open-minded perspective.
I think what spurned my initial dislike was the opening song, ‘Panicked.’ Though composed of deep crashing guitar crescendo’s and a haunting medley of perturbed lyrics of despair, this track somehow lacks a certain passion and depth. It’s a well-manufactured tune and the band are obviously talented musicians, but they need more edge to gain a genuine sense of originality.
However, this edge manifests itself more prominently in the following song, ‘So Quiet.’ Lacking a wee bit of imagination, the chorus line “SHUT UP; SHUT UP; SHUT UP; SHUT UP,” as bellowed out by a more angst-ridden version of Chris Martin, makes me think that possibly the band are a fan of the Black Eyed Peas? Dismissing that ridiculous thought, this song, nevertheless has a memorable twang. In fact, the music and words both complement each other well in their sense of anger and bitterness, a vast improvement from the first attempt.
The third, and final, ‘You Shine,’ demonstrates the bands ability to change their generic rock style capably and well. This one’s my personal favourite from the whole EP and, even though it’s a jangling acoustic offering, ‘Countermine’ are still very much lyrically embittered with “A stupid little girl,” and “A stupid little world.” The drums and guitar create a lulling, melodic, rocking sound, very much like the sensation of a journey on a steam train and, instrumentally, it is harmoniously reminiscent of Elliot Smith and Badly Drawn Boy.
However, I’m still not convinced; there is nothing unique to say about this EP to make it stand out from any of the other middle of the road guitar bands. Perhaps its banality will prove a sure success.
Reviewed by Helen Thornton
‘Something’s going on,’ is the re-worked single taken from Lambchop’s twin album, ‘AWCMON/NOYOUCMON.’ This sleepy upbeat lounge tempo track is reminiscent of long summer days spent basking in the sun; indeed, just listening to it has a relaxing and carefree effect, almost lazy…I seem to be struggling to complete my sentence……
Saying that, this song is not boring. Karl Wagner, the brains behind Lambchop, and Nashville’s answer to valium, has composed a soothing bittersweet melody amongst his quirky, deep stuttering lyrics. Soaring notes from the string section add to the sweet charm of this light, soulful tune.
If only more people knew about Lampchop, I’m convinced they’d be huge, …. sigh, I feel mellow, I’d better go to sleep…zzzzzz.
Reviewed by Helen Thornton
Oh isn't it a let down when the opening ten seconds are the best bit of the song? This slice of slinky Swedish swankery staggers over the speakers with a razor sharp riff of about three guitar notes. Making it fine for a Vodafone advert but meaninglessly contrived elsewhere. To their credit they end the song quickly enough, to allow the even weaker B-sides to enter the fray...
Review by Chris Field
Oh waitaminute this is like a couple of Tellytubbies just walked into Serge Gainsbourg's "Je t'aime... moi non plus" and the look on Serge's furrowed brow is matched by ours. Nursery-rhyme-electro-schtick goes wrong 99% of the time, the least terrible attempt springing to mind being Lemon Jelly's early albums. This gross dirge centres around a very ugly cartoon character- Louis, I presume. If this song were a child it would make a paedophile eat his own sweets.
Review by Chris Field
Why?! Why?! Why won't these bands try a little harder? 'Like Him + Her + Me' is positively dripping with the worst kind of lo-fi indie 'cred' you might be unfortunate enough to find in the Rough Trade bargain bin. A lumping bass riff carries a vocal so uninterested that it begs the question "How are we supposed to feel any different?"
No doubt Champion Kickboxer think that their glockenspiel-backed monotonous moanings automatically gain them a place amongst the new British 'scene'. Sorry lads, but you've got to write at least one decent tune before you can pull that one on the general public.
Review by James Kirsch
Chuck are a fine example of how not every band wants to change the world; some are just happy having a laugh. 'Oh No, Not Ah!' (almost !?) makes sense from the word go. Rants of "I am Sancho" and a haunting "Aaaah, Aaaah, Aaaah" will jump from you speakers like a deranged Cheech and Chong chasing Doritos and dip down the beach. B-side 'Wet Suit'; a 60s surf and garage rock tale of one surfer's very personal and private experience with his surf wax lets us know for sure; this is not meant to be taken seriously. Not ground breaking by any means, but their garage style surf-rock would sit "perpetually stoked" over a Russ Meyer bikini flick, and that's nothing to be ashamed of.
Review by James Kirsch
Anybody who caught Devendra Banhart sitting cross-legged on 'Tonight With Jools Holland' will remember the monk cloak and candle smoke. It wasn't unreasonable to expect him to begin levitating across the studio any second. 'A Sight To Behold' is three minuites of whimsical finger picked guitar and quivering off-kilter vocals. Warmly recorded, breathy and backed by subtle strings, his nakedly honest warble is undeniably unique. A hippy native of San Franciso, Banhart is possibly still waiting to come down from his parents' trip, but he's brought us all a few home truths back with him. If you're the proprietor of a 'hip' coffee shop, you should run out and buy this immediately; let Starbucks keep their popular nu jazz.
Review by James Kirsch
Vice is another song that Razorlight can add to their collection of awesome singles that will be used in TV ads and backing themes for TV vignettes, that will be played on the radio solidly for rest of the year and are just generally fantastic. As is characteristic of a lot of Razorlight’s music, the slow and balld-esque start to the song soon changes into a crashing blitz of shredding guitar and vocal harmonies that The Futureheads have either had an influence on or have tried to steal. The climax to the song, the bit where everyone chants “L.O.V.E”, is sure to be a hit with live crowds and the energy that rushes from it will definitely cause a few mosh pits to erupt. Razorlight have unleashed yet another gem…when, if at all, will it all end?
Review by Jason Edwards
I think I’ve fallen in love. In all seriousness…these guys are one of the freshest, smile inducing, energetic bands that I have heard in a very long time. They are the sort of band that come along every so often and you just can’t stop listening to their stuff. This single, out next Monday, is like a mixture of The Hives and Oasis jumping around in a padded room together on an acid high. It’s got it all…a slow bit, a false ending, Swedish people screaming lyrics that you can’t understand and an absolutely astounding tune. “Sweet Ride”, the b-side, is equally fantastic. I am stunned. Their live set was fantastic and even on CD they encourage a huge amount of happiness. Listen to or at least try and see these guys before the year’s end so you can say you knew them before they got huge…because that looks dead cert.
Review by Jason Edwards
The vocals cut straight into the start of the song and it’s like an immediate smack in the face of pop perfection. It’s got “ba-baaaaa…ba-baaaaa” type Beach Boys lyrics, it’s got Idlewild style lyrics and a very addictive tune…sounds like the perfect recipe for a single to me. It’s also only just over two minutes long which is perfect if, like me, you can’t be arsed with guitar wanking twats spewing their stuff in your face for 5 minutes. It’s short, it’s sharp and it’s very much to the point. Well done guys, you have exceeded the quality of your rather crappy name by quite along way.
Review by Jason Edwards
A decent sounding groovy guitar funk intro is followed by Linkin Park style pomp, which suddenly morphs into a verse almost reminiscent of the Foo Fighters. Then, when you've been listening to Simon Neil’s (quite nice, actually) crooning for a little while, you are thrown into a chirpy pop chorus, which is in turn followed by a nice, indie-esque climax roughly two thirds of the way through. This lulls us, poor souls, into a false sense of security, nodding along on our headphones, whereupon we are promptly shattered by VICIOUS HOWLING SCREAMS!!!!! which appear to be what passes for a suitable song ending in The Book of The Clyro.
Which is...er, nice? Well no, dears, it is not. We feel as confused and ashamed as that poor bloke on the front of your CD cover who was told he was going to a fancy dress party, only to end up sitting there in a sparkly gimp/gas mask looking traumatised.
Review by Anne-Marie Pattended
If we handed out plaudits for persistence, Zen would be one of the most celebrated bands in Britain - this review was preceded by a veritable deluge of cheerily worded emails requesting reviews, gig listings, interviews, Joyfest slots and more, until eventually I asked for a copy of their CD, which arrived a month or so ago. Having given it a quick spin and vaguely enjoyed it's perky retroisms, I dispatched it to another Joyzine writer for review and waited.
Two weeks later, and I was still waiting - the band were quite justifiably wondering what was happening, so I got on to the writer in question, who responded with a bemused email, saying he'd never received the cd; another one lost in the mystical wilderness of the Royal Mail it would appear.
By now, the emails I was receiving from the band were rather less cheery in their wording, and another cd was sent on its way to chez Joyzine. Wary of trusting the British postal service a second time, I slipped the cd into the player, and sat down to type.
I'm now on my 13th listen, and I'm still trying to come up with something to reward Zen's patience, but I'm finding it increasingly difficult. Not that this is a bad record, it's just that it's... nice; too nice in fact. This is the kind of record that helps old ladies across the road before stopping to rescue a kitten stuck in the tree, all the while whistling a cheerful, floaty tune that you're sure you've heard somewhere before but can't quite figure out where. Guitars twang and shimmer, vocals harmonise, tambourines jingle, and, if caught in the right mood, you might find me tapping my toe along with a faint smile on my face, but I can't ever imagine getting excited about it, which surely is what it should all be about.
Things improve a little on final track 'She's So Demanding' - a straightforward garage rocker reminiscent of The D4, but it's the kind of thing most bands could knock up in 20 minutes if the mood took them.
I really hope that Zen's dedication and enthusiasm for their music pays off for them in the long run, but it's not going to happen with this CD.
Review by Paul Madden
This CD arrived through my letterbox just as I was leaving for the sunnier climates of Toronto on a two week holiday, I was slightly disappointed as I didn’t think I would really get a chance to listen to it, however as soon as I arrived in Canada it came on the radio and didn’t really leave it for the duration of my trip.
It seems to be on course to be a hit in North America and I think it may mirror this success in the UK. It is included on the soundtrack to the Summer Blockbuster ‘Spiderman 2’ but by no means is this the only way this song will get noticed. It’s catchy from the open and really sticks in your mind, one of those that comes on the radio, you instantly recognise it as a song you like but struggle to put a name to the music or who’s creating it.
Chris Carrabba with his good looks and ability to write ‘lighter waving ballads’ such as this, will ensure hoards of 15 year old girls will be queuing up to buy this record and get to the front row of the bands two sold out shows at The Islington Academy this month.
This plays like a track that will attract both pop kids and the die-hard emo generation who may be familiar with the bands heavier stuff and welcome a bit of a softer side. Overall a good effort and with the right marketing could be the song to break Dashboard Confessional into the mainstream, much to the disgust of their ‘original’ fans no doubt.
Review by Rob Bassett
For all who have successfully fought the urge to buy Franz Ferdinand’s debut prepare to pay up for a cheap and nasty thrill. The boys from Glasgow release the final single from the Mercury nominated album and it’s a slinky little number full of delicious indecency. Four singles from one album may seem rather lazy but the Franz have been busy this summer. Many festivals through Europe and a recently announced tour across the UK and Ireland, their biggest to date, I think we can let this one go. ‘Michael’ deserves his own podium to perform! This makes for wicked listening with its percussive underbelly and persistant rifts you can’t help but give in. Don’t fight it! Cab to Old Compton Street anyone?
Review by Emily Jordan
The sleeve notes proclaim that 'everyone knows that 'pop' stands for 'people obtaining pleasure' and this is why young kids in pop bands are generally much happier than normal civilians who work in offices with no natural light'. Having listened to The Horrors' new single I think I'd prefer to be stuck in a small office, hunched over a flickering monitor, bored and wishing I could escape. At least I could dream, of something better, and be under no false pretensions that I am changing the world with my supposedly brilliant music and really 'cool' band.
The Horrors seem to believe that they have one of the best band names, and are crusading with the flag of creative, accessible music, which they label 'synth rok pop'. Regular pop music is much better. At least those other groups don't pretend they are something they're not. They are manufactured, plastic coated, clean and simple. Knowing this you can have a bit of fun listening to the odd tune, in the same way you'd enjoy watching a mindless movie once in a while. But The Horrors come around mixing Busted with Avril Lavigne, albeit they do have the energy and the variation, but ultimately it is just too cliché and cringe worthy. As for the name, well, they clearly just pinched it from the already established 'HorrorPops'. Aren't they just sooooooooo cool!
Review by Nathania Hartley
This record is not something that any of its creators should be proud of. Legendry hip-hoppers Public Enemy used to know a thing or two about making very good controversial and highly politicised music. ‘Fear of a Black Planet’ and ‘it will take a nation of millions to hold us back’ being the prime examples. Quite why they chose to team up with Moby, who hasn’t put out a good record since ‘Go’ and produce this substandard piece music is therefore questionable.
Don’t get me wrong I think that anti-war records are generally a good thing. However it is better to release them (a) with a tune that does not sound like it is single-handedly attempting to start world war three and (b) to ensure that your song references the subject matter the title mentions. Cleverly this song does neither, it does have Chuck D ensuring that we know that this is a collaboration with Moby, and at one point it is insinuated that George W Bush is a wanker; which is such ground breaking news that I shall have to call Reuters.
Musically this is better than Play and 18 but then so are Girls Aloud and it is far too aggressive for what it is purporting to achieve. It would be nice if I could say that the B sides redeemed this single, being an instrumental and acappella version of the song they don’t. If the aim of this single was to be an aural interpretation of war it does this quite well, however most people don’t want to hear that. Give it a wide berth.
Review by Foxy
This is a great release from Colour of Fire, the opening track ‘The Exile’ instantly draws you in and has your heading nodding approvingly and your hand reaching for the nearest object that could represent a microphone for a sing along. This is followed by ‘The Company Won’t Colour Me’ which is equally impressive, showing the range of singer Owen Richards and the bands excellent song writing abilities.
Third track ‘Ethereal’ slows it down and despite being easy listening falls a little short of the quality showed in the first two, however if you were disappointed by this then ‘Jennifer’ confirms that this band are more than capable of producing quality rock songs with a pop edge. The EP finishes with the delightfully titled ‘Fuck Work, Let’s Party’ which is more punky and I imagine would be a bit of a crowd pleaser in their live performance, lasting just over 2 minutes.
Overall a nice mix of styles from Emo to pop to punk. The debut album, interestingly titled ‘Pearl Necklace’ is released on 9th of August and will certainly be on my shopping list. Colour of Fire have all the ingredients to become a very successful force on the underground scene and their catchy hooks and winning melodies could give them success in the commercial charts too.
Review by Rob Bassett
Cherry Falls are aware of this and try to avoid this pitfall. Their new offering is slightly reminiscent of the aforementioned band but gladly they have enough of their own talented ideas to make it their own. This is a fine effort from a band who recently headlined at the Camden Barfly and supported Bell X 1on their last tour.
Fronted by a charismatic front man, this band have some great tunes including this one, but maybe not good enough to get the attention that they deserve in this current over saturated market of “indie rock” bands. If they had been around a couple of years ago they would have stood out but unfortunately there is not room for everyone on this wave that we are currently riding.
Review by Sonia Pagliari
The album was received by mixed reviews, on one hand you have critical acclaim, ‘welcome back you weirdo freaks’, on the other, blasé boasting, ‘its just not like ‘The 3 EP’s…’ The band themselves aware of their fickle following named the album ‘Heroes to Zeros.’ A simple yet clever attempt to laugh off their sudden fall from grace. I truly enjoyed the album but then again I nearly got runover. Poor Beta Band, will they ever get a chance to move out of that student bedsit where their posters adorn the ornate wallpaper?
Review by Emily Jordan
You can’t but help feel some sorrow behind this otherwise happy summer lament. Like some children trying to be enthusiastic about a family vacation to soon after having their beloved pet put down. This song is…nice! That’s about it. It is sickly repetitive and Sheppards irritating vocals make this a ‘Driving Compilation from Hell’ contender. The record label pipe this as the ‘album highlight,’ and that it has been re-worked for its re-release zzzzzzzzzz! Very disappointing.
Review by Emily Jordan
CD opener 'What Ya Cryin For' is possibly the bands best song to date mixing an assured arrangement with clean cut production, on the surface the verses have hints of UK indie pop punksters the Blueskins but when the harmony vocals come in things become a lot more unique. The song has the sort of tempo that will induce much pogoing I am sure as well as some of the bands best lyrics and is one of those songs that had the hairs standing up on the back of my neck, something that does not happen that often with the glut of manufactured pop forced down out throats. Personally I feel 'What Ya Cryin For' could be the track that gets The Landau's noticed in the way that it seems to the best distallation of the bands musical influences into something uniquely them.
Second track 'Reality' brought to mind laid back early NWOBHM/Paul Di'Anno era Iron Maiden but with a more cultured vocal attitude and is a bit of a grower of a song, once again the lyrics show a maturity beyond the bands years and the more I hear the track the more I hear in it not to mention the almost classic rock guitar break towards the end of the song which is gone well before it has outstayed its welcome, no over blown heavy metal style solos from these lads, you are more likely to get something direct and to the point.
Third and final track 'Game Of Life's first fifteen seconds lulls you into a feeling that it is going to be a jazzy Red Hot Chili Peppers style laid back track with a gently guitar intro but before you know it the 'real' guitar riff kicks in at a head nodding tempo that could induce some air guitar playing in less inhibited listeners than me. When I first listened to the CD 'Game Of Life' fell well behind 'What Ya Cryin For' as a favourite track but the more I hear it the better it sounds and the bands ability to mix rock 'n' roll guitar riffs with some more of those excellent vocal harmonies means it also bears repeated listenings.
This new single really showcases The Landau's ability to mix old and new musical influences and come up with something uniquely their own, if the progression shown between this CD and their previous single continues at this rate things should become very interesting in a very short while for The Landau's. 5/5
Review by Darren Bunting
It's as though Agent Blue have observed the trendy cool of the Von Bondies, the fun yet substantial sounds of Pink Grease and Dogs Die In Hot Cars and the money that can be made with the cocky swagger of the Darkness. They've decided to leech off all of this, and hopefully gain some acclaim along the way.
Unfortunately, Agent Blue have failed to realise that the reason most of these bands work, is because the music flows effortlessly, it sounds spontaneous and fuelled with energy. Agent Blue, on the other hand are indeed something else. They appear too concentrated on some image they're trying to attain; the single is far too ordered and structured, and although they tirelessly repeat the same line over and over, after endless listens it is still unclear as to precisely what that line is (most likely I should be showing someone though could be shouting someone or shoving someone). They've discovered the formula but lost the spontaneity. I think my mum's remark reviews the single best - 'No you shouldn't be shouting someone. Shut up'.
Review by Nathania Hartley
'Popularity Gel' begins suddenly, yet not abruptly, with a dark vocal which instantly draws you in and compels you to listen. What follows is a perfectly acceptable slice of indie pop, with a hint of country, and, just when things start to seem a tad monotonous, a smattering of trumpets is thrown in to liven things up. The other tracks included with the single are just as good, one in a similar style to 'Popularity Gel' and the other a slower and melancholy beauty, making it good value all round.
The songs hint at something else, an added spark that is found only rarely in the odd band (and often the bands in question are ever so slightly odd). And so, after around hour of constant playback, it becomes apparent that the music is addictive. Even though it may only be whirring faintly in the background, its components are pounding full blast inside the mind. Beware.
Review by Nathania Hartley