Most of the songs on this album sound the same. Most of these songs sound like Coheed, Taking Back Sunday, Lost Prophets, bands that generally sound the same. So we got a lot of same here.
Here is a compilation which should put a hint of cheer and a smile into the festive season, with any luck soundtracking some sort of drunken affair — it could easily rouse you into a night out, provide an eclectic party background or make that club night last that little bit longer. The Kitsune people make their living from music, clothes, events and generally being a bit trendy and fun, which comes across nicely here. The compilation’s mix of exclusive tracks is filled with quirky electro, disco and indie and it provides som real gems and a few duffers but overall ringing out pleasantly.
Just itching and waiting to explode out of your stereo since the band’s inception and demos in 2004, Cancer Bats’ rock and roll frenzy finally hits the shelves in the form of Birthing The Giant. The music sounds as forceful and energetic as the nether-muscles of the woman giving birth to a huge ship (The Giant?) as depicted in the inside sleeve centrefold — but although it’s a noisy assault of punk riffage, metal mutage and aggro baggage, it’s not too painful a delivery but still sounds like the band are having fun in producing it.
On first inspection, No Heroes is 75% hardcore burns, with the remaining 25% made up of deep, sludgy bruising thought to have been created by a large metallic object. On No Heroes Converge continue their mix of hardcore and metal but mainly hardcore.
We here at zap! bang! sincerely wish you all a very happy festive season. Get out there and savour the local Christmas ales, then do some Christmas shopping (it’s easier that way round) and then when you are done, get back home and help yourself to a present or two from us at zap! bang! and some of our many friends. Check them out, Santa’s bag is indeed a mixed one this year!
Released on the charmingly titled “I USED TO FUCK PEOPLE LIKE YOU IN PRISON” Records, Deadline’s fourth album Take a Good Look involves raising both eyebrows and placing the cd dubiously into the cd-tray at arm’s length to begin reviewing it.
Everyone knows Mogwai are football fans, and the Scottish co-director Douglas Gordon was keen to have Mogwai’s infamous post-rock nuggets as the perfect gravitational contrast to the sweaty man action of Zidane in his game.
A collective wrinkling of noses occurs when a whiff of genius is detected in the air. Exactly the kind of reception you can expect to twenty-year old Zach Condon’s debut album Gulag Orkestar.
Car windows DOWN, fists UP! The first full-length debut album from Partyline, the newest band from original riot-grrl Allison Wolfe (formerly of Bratmobile) is here to lift up your errr trousers and make you blush.
Both last year’s 12 Stone Toddler EP and the recent Rabbit single have been met with great reviews and the band’s fan-base continues to strengthen and find new inductees. Live performances over the years have been preciously rare and therefore always anticipated and consistently packed out, as with the night in question.
Aluminium is the brainchild of XL Recordings owner Richard Russell who thought it might be interesting to hear label mate Jack White’s music re-interpreted by a classical orchestra.
I was sent on behalf of zap! bang! Magazine to the BE THE RIOTTT! (Sic) festival, which took place in San Francisco’s Bill Graham Civic Auditorium on November 11th, 2006. In brooding over how to begin composing this text I found myself debating if some questions should even be asked. That is to say that upon entering the auditorium – or even further back, in my ascent from the city’s underbelly parking garage to street level — I was by degree overcome by an awed understanding and scaling disgust for the situation laid before me.
Following a very limited joint 7” with fellow Scots dataPanik (now split and reformed as Peel-favoured, post-Britpop oddballs Bis), First Blood is the first ‘proper’ release by :( (or colonopenbracket), and consists of five short blasts of emo-flavoured, pop-punk with a difference – in that the guitars have been replaced with ironic synth lines that recall early arcade games and Nintendo/Sega classics.
Clark’s reputation has been steadily building from an Aphex Twin wannabe following his debut Clarence Park (Warp, 2001) to being hailed as an electronica innovator after the release of Body Riddle (Warp) this year. Tonight he brought his new live show to London, with live drummer Alvin Ryan to beef up his trademark hard-hitting big beats. It was a powerful and confident performance that showcased his talents for haunting melodies and driving bass.
Born Ruffians are an oddball three piece from the backwater town of Midland, Ontario who follow in the noteprints of stumbling, North American indieflolk like Pavement and Clap Your Hands and Say Yeah! with this eponymous debut EP. They formed in 2002 so its taken a few years to reach this point and release an opening salvo, and though it’s not quite a devastating statement of intent, it is a very promising 6 tracks of treble-y jerk-pop embellished/ruined (depending on your opinion of the man) by the strangled vocals of Luke LaLonde, variously sounding like David Byrne, Weezer’s Rivers Cuomo and a cat with ADHD (I’m definitely in the ‘embellished’ camp, fortunately).
Top artists will take centre stage of new digital download music programme From the Basement. With no host and no studio audience, it aims to bring you pure, intimate and unadulterated performances launching with Radiohead frontman Thom Yorke.
Idlewild are back after almost two years away with an exclusive new track to coincide with their sold out UK tour. The band will be previewing material from their latest album Make Another World (Sequel) released in February 2007 on six dates, but if you did not get a ticket you can still get an early listen to one of the tracks.
This is the 13th album by the ‘legendary’ (or so the press release says) Brian Setzer, and features 13 tracks (oooh! High concept!) which he claims are what “modern rockabilly should sound like”. A quote that portents doom. Just like the title of track 10 – When Hepcats Get The Blues.
If you like Moby, you’ll invariably already own his seminal album Play (Mute, 1999) which has sold more than 10 million copies worldwide. If you don’t like him, you will probably still be able to recognise the majority of his Play tracks due the tendency for them to feature on television adverts, in movies and as part of other licensing deals. This collection of greatest hits attempts to thread the links between his work as a techno DJ, film soundtrack composer and producer of more commercially friendly dance tracks and tender moments.
William Elliot Whitmore opened for Lucero on a rainy Sunday at the Bowery Ballroom. In a very un-New York fashion, people came out early, packed the room, and shut up while Whitmore sat on a stool on a stage full of other people’s equipment while playing either his guitar or banjo.
At its best, Still Searching is a pretty exhilarating, if familiar experience. Short opening track “The Rapture” bristles with intent, “All The Best Cowboys Have Daddy Issues” is storming manifestation of anger and angst, and all the guitars are thrashed and drums pounded satisfyingly throughout. Like Alexisonfire they mix up the abrasive screams of hardcore with the more palatable-for-the-masses, soaring ‘big’ choruses of emo (which makes screamo, naturally), although they make use more of the later than the former.
Prayer of Death is the fourth album by Entrance, and their first of fully original material. It’s ostensibly a solo project by self taught LA Denizen, Guy Blakeslee, but on this LP he has been supported by several co-producers and musicians, including Paz Lechantin (from Zwan and a Perfect Circle) and Devendra Banhart and Vetiver producer Thom Monahon. So, what would you expect from a man who is inspired by Jimi Hendrix, Timothy Leary and the Tibetan Book of the Dead? A concept album about death awareness in a war-torn world, of course.