The song opens and things are all a bit too 1990's trance for me. That is not to say the actual song is woeful, it's really not. The music is the best thing about this track, the riff is not catchy but it is atmospheric and you will be nodding along by the end. These guys know their stuff and know how to write a song to unify their (New York) fan base. With regards to B-sides, the ‘CD version’ and the ‘Andy Wallace Mix’ are hard to differentiate in my opinion, while track 4 is simply an instrumental of the single. Presumably this is so that like-minded 40 something’s can prance about in their track suits and rap along with their wife’s hairbrushes in hand and for one moment, imagine that they are just as cool as the Beastie Boys.
Review by Mary Young
Floating along like a summer breeze, this song is absolutely gorgeous. Containing some lovely lyrics and lush vocal harmonies, it makes you smile, and makes me want to be in love. I hope HAL get more recognition in 2005, as they certainly deserve it. Imagine The Thrills, but less shit, more likeable.
Review by Jackie Barker
Sometimes it’s too easy to overlook a singer so brilliant the moment you hear him you regret that haven’t been to every gig he’s ever done, bought every record he’s ever made and read every article written about him. This applies to Devendra Banhart. ‘At The Hop’ is a beautiful uplifting song that leaves you hanging on his every word until all to abruptly the realisation hits that you’re not actually as happy as you thought you were. The B sides to a single seem unimportant when you can’t get past the first track and if it weren’t for that fact Devendra Banhart is accompanied by Joanna Newsome I wouldn’t have been able to do. The quality of the live recordings leave a little to be desired but never the less are of a similar standard as the predecessor. Devendra Banhart seems to have quickly established himself as being someone who is worth taking notice of, it's just unfortunate that there are still others who, like me, are naive and unaware of his genius.
Review by Barry Bennett
ALINA SIMONE - PRETTIER IN THE DARK
Two cds featuring the delectable vocal talents of Ukranian born, New York based chanteuse (and star of the Joyzine xmas calendar), Alina Simone.
Emma La Reina draw influence from a host of US artrock bands: Blonde Redhead, Dinosaur Jr, and most openly on closer 'Canada', Sonic Youth. Alina's vocals soar majestically over the shards of effects ridden guitar, melding together to produce something more than just a bag full of reference points, particularly on the jagged angular guitar spikes of 'Vicente Street'.
Alina's solo material is far more introspective and stripped down than the Emma La Reina tracks, often featuring nothing more than her vocal, this time free from electronic manipulation, and a scratchy acoustic guitar. In this, and the mixture of dark atmospherics and childlike innocence, it shares common ground with the likes of Cat Power and Mary Timony, especially on haunting opener 'Love and Rockets', but Alina's destinctive voice cuts its own swathe through such illustrious company, finding her own niche to envelop you in for the duration of these five tracks.
Review by Paul Madden
Download 'Prettier in the Dark'
from the Joyzine xmas calendar
www.emmalareina.com
www.girlwithguitar.net
It would seem as though their new residence of London has had somewhat of an effect on the music that the band is now producing. With the garage rock sound of the “London’s Burning” scene fused with the pop punk of their continental counterparts Mando Diao they have created a very accessible indie pop sound that has great commercial potential.
“Fragile’'s pounding drums and spiky guitars give way to vocals that sound like a Stars in their Eye entrant pretending to be Morrissey and doing a rather good job. 'Kati Kata' is a swooping, melodic acoustic ballad with Delays type electronic background noise and Thirteen Senses pianos which all help create a genuinely lovely song. 'Evolution' is possible the most interesting song on here however as it shows The Puzzle’s artistic side. Going from its raspy intro into a Flaming Lips type drugged haze and then back to the dirt of the start it provides a truly exciting aural adventure. Be sure to check out 'The Butcher’s' for its sheer bizarreness, it’s hilarious. It’s like something that would have been sung in Shakespearian times if they had invented the electric guitar.
So to wrap them up in a nice little bundle we shall leave you with this; If you like your music a bit confused, quirky and mashed together then you’ll like it. You need to listen to The Puzzle without any prejudices to other forms of music as everything is exploited, from classical to metal. It’s intriguing to say the least.
Review by Jason Edwards
London
five-piece The Distance are relatively new on the scene but their first
recordings are promising. Lead track ‘Summertime’ is catchy
as anything, although given the speed of singer Dan’ near-rapped
delivery, it’s kinda hard to know exactly what’s going on.
Still, the band certainly demonstrate a way with a two-and-a-half minute
pop tune. In six months’ time (I know, I’m cold too, but let’s
look forward!) this will sound great outdoors.
Second song ‘Surgeon’ isn’t as assured, though backing
singer Katy’s harmonies are even more to the fore on ‘Hold
On’, which shows a slower, more reflective side to the group. Pretty.
Review by Peter Dodds
The Skeletones line up includes Zombina, a singing zombie, on vocals, backed by a posse of vampires and ghouls going by names such as Doc Horror and Kit Shivers; indie snobs, please leave the room now.
For as awful as the concept of a horror themed indie-punk band sounds, Zombina & the Skeletones ramshackle cartoon rock 'n' roll is as infectious as the plague. The pick of the bunch here is the stunning titled b-side 'Punk Rock Vampires: Destroy!', on which Zombina wails like a banshee over a jittery guitar squall aimed at your feet rather than your brain (they'll need that for a snack after the show).
Review by Paul Madden
There was a time when chillout music was all the rage. Royksöpp were one of the biggest selling acts in the world. The Ministry of Sound were throwing out chillout compilation CDs at a more frequent pace than Pete Doherty gets thrown out of The Libertines. And Lemon Jelly were actually good; genuinely good. They were genre-defying, Flaming Lips inspiring, wonderful men and now they seem to have turned into greasy mobile disco types producing truly guff music.
It’s bland, it’s repetitive and it’s so unoriginal and challenges nothing whatsoever. It sounds as though it wants to burst into a mind-numbing trance number but instead it sticks its very annoying sample on loop and plays it solidly for 3 minutes. What the hell has happened chaps? You made dance music cool, and now you’ve made “The Funky Chicken” look cooler than you. You’ve got great cover art and a great name, but this is just taking the piss!
Review by Jason Edwards
Mr Smith has now joined Nick Drake and a handful of other mythical musical bards, as the odd bunch who sat in a basement creating incredibly dark music, died and thus became absolute legend.
Pretty (Ugly Before) I presume will be his last single, it certainly doesn’t deserve such an accolade, is still a very beautiful song. A Coldplay reminiscent guitar quickly turns into a Lynyrd Skynyrd ‘Sweet Home Alabama’ guitar before rambling off into obscurity leaving the piano to mop up with dashes of perfection. Smith you handsome devil, you’ve done it again.
Review by Kolley Kibber
‘Renegade Cavalcade’ is the latest release from Ash’s 2004 album, ‘Meltdown’. Surprisingly though it’s closer to the sound created on their 2001 release, ‘Free All Angels’, and is a radio-friendly song that’s catchy and fun. I like both albums - particularly the early releases from ‘Meltdown’ - and this single follows the Ash formula to a T. It’s distinctive but somehow it’s just not quite got the makings of a great Ash single. Like I said, radio friendly and it does get a fair share of airplay…but there’s something missing. It starts off well with a rhythmic verse and build up, and the chorus does kick off nicely with a burst of guitar and extra noise. Somehow, by the time it reaches the repeated the “Hey…” it just loses its momentum and there’s a bit of an anticlimax. Later on in the track this section is built up with additional guitar and vocal harmonies but I just felt like it was a bit late. I do like this song, it’s catchy and I sing along every time I hear it, but compared to other Ash classics like ‘Girl From Mars’ and even more recent work like ‘Orpheus’, it just doesn’t cut it. Still, a good single and a fantastically singable song, if a little on the weak side.
Review by Marie-Clare Kelly
The Alarm have never been a particularly important band and this song has absolutely nothing to say musically or lyrically. It’s a pity because I’ve always been an admirer of their hair.
Review by Kolley Kibber
The Charlatans have surpassed themselves on this single. ‘Loving You Is Easy’, with its lilting chilled out guitar and floating lyrics, is a cute, relaxing love song that manages to avoid turning into a ballad. It immediately reminds me of Paul McCartney, the Beach Boys, George Harrison, and also recent songs like ‘Winning Days’ by The Vines and Delays’ offering ‘Nearer than Heaven’. The track is sung not by Burgess but by keyboardist Tony Rogers, backed by Burgess, showcasing the other aspects of the Charlatans music not often seen. It also means there are fantastic harmonies throughout the song that add to the upbeat, summery sound. As it progresses the bass and guitars build in gentle layers but never go over the top, maintaining the overall focus on vocals, while adding an edgier, uplifting tone. It’s a simply built up single, which is bound to be a favourite to fans and listeners alike. In a sense it’s a shame that it might not get the airplay it deserves next to current singles like Band Aid 20, but let’s hope it gets picked out as a rare highlight amongst the usual race-for-Christmas-number-one junkyard.
Review by Marie-Clare Kelly
Raising
Sand like to perm their hair in that Marc Bolan, a fashion, which I am
sure even Bolan, had his doubts about. Like The Darkness but less ridiculous
and more 1970’s, Raising Sand play the long lost riffs of bands
that weren’t actually any good in the first place.
'Redline Heavy Dealer' would be a run of the mill hit for a Thin Lizzy
support band had it been released in March 1975. Being released in December
2004 just makes it a very bland nostalgia piece. I know it all sounds
very ugly, or I sound very ugly, but I must admit I do admire this band.
They have an earnest love for the music and I feel simply awful for them,
having to compete in this Franz, Strokes dominated pop world.
Review by Kolley Kibber
I do wonder why bands like this bother. They obviously have no interest what so ever in music, perhaps they are just looking for sex and fame (yawn)
Newcastle so much to answer for…
Review by Kolley Kibber