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PageThis band is kind of like Domino's. You know exactly what you're getting before you even open the box. Which, when you've got the winning formula the Fannies do, isn't a bad thing. It's poppy, sounds like Big Star and the Byrds, won't win over fans who despised them in the past and will delight those who've found the past 2 LPs a bit dodgey. (TW)
Scotland's Travis derive from the same school as Radiohead. By this, I mean the band incorporate a similar urgency and fervour found with Radiohead's earlier efforts-classic rock songs, no wank, no pretention. And it is no surprise why Oasis love this band either. Sans the bullshit and bad behavior, Travis work with a similar formula to that which made Oasis incredibly successful. "Good Feeling" the band's debut LP, is a goldmine waiting to be discovered. They've earned a fair amount of success in the UK, but America just hasn't figured it out yet. Perhaps by drilling "Tied to the 90s" into the country's head, the US will cop on and give Travis the same respect they've already given to the Manchester bad boys. (DW)
The CD to go along with belFEST '97, a week of gigs, seminars and A&R men at the bar held recently to showcase some of Northern Ireland's up-and-coming talent. Like most of these things, it's a bit of a mixed bag. By far the strongest tracks on the album go to Backwater ("Electricity"), who continue to turn out great pop songs (will somebody sign these boys already!), those crazy boys and girls in Tunic with the wonderfully wacky "Wizzard", and Belfast's favorite drainpipe players, the eccentric Watercress ("Imaginary Love"); all of whom, not surprisingly, are old hands at this sort of stuff. Also worth checking out are the racket known as Roo ("World Is Drinking Cactus Juice"), who although not quite there yet in the together stakes, have a lot of interesting ideas floating around and are certainly ones to watch. Barney, not surprisingly, opened for Stiff Little Fingers, while Cain also go for the uh, older crowd, although these ones probably listen to Counting Crows. co.uk sound like the Senseless Things although one song featured in their live set that week, the rather charmingly titled "I Like Sex Better Than a Rapist", would probably see the aforementioned band's fans deservedly whipping them to death with their dreadlocks. Dude from Parker wants to be Axl Rose. Raindog deliver their own brand of atmospheric, sit in the bar and drink whiskey, sort of stuff. She does have a lovely voice but this band just annoys me. Still, it's quite good for what it is, which just isn't my kind of thing. But it could be yours. As for the rest, like I said it's a bit of a mixed bag, some of it's ok, some truly sucks. Still, this is a CD that's well worth a listen. Besides some great tracks, it's a good indication of the musical diversity that's around at the moment. (TW)
A mishmash of bands indeed, KAOS Theory is a cross-section of some of the artists that have appeared on KAOS (Olympia, WA) over the years. Cutsie rock from Cub, Theremin hell/heaven with Malaise, cacphonous noise from Harry Pussy and Rrope... It's really got something from everyone. And it benefits a great radio station. Good music, good reason. What else do you need? (DW)
A brilliant soundtrack to an even better film that centers around two stoner cuties from Wales and their call of duty to seek revenge for their father's death. And where else could you find Petula Clark intertwined with Super Furry Animals and DJ Shadow? It really makes me want to go back and visit Portmerion...(DW)
A collection of one of the hippest label's bread and butter. Pavement cover my favorite Echo and the Bunnymen song, "Killing Moon", which is why I bought the damn thing in the first place. But getting tracks from Railroad Jerk, Jon Spencer Blues Explosion, and Helium was another lovely plus. Worth the investment indeed...(DW)
"Urban Hymns" has to have been the most highly anticipated album of the year. (Next to "Vanishing Point" in my book.) But it's to be expected really. When The Verve broke up in 1995, the music world was left with its mouth agape. How could a band so talented, so promising, and so close to global stardom disband? It was too much for anyone to take. "A Northern Soul" was the record that finally earned the band some well-deserved recognition - and a perfect album to end their brief career with. But no one could believe they decided to end it all. Internal conflicts and drug abuse are just two of many factors that accounted for their demise. But for a band that appeared so strong and so confident, they were truly a fragile lot. It just seems that everyone was so totally immersed in the strength of the music that they ignored the band's tender vulnerability.
That two year respite however proved to be most beneficial for The Verve. They worked out differences, matured, and experienced a whole new realm of life. And that coming-of-age of sorts resulted in a most dynamic effort. And when you listen you'll see why "Urban Hymns" is being as highly lauded as it is.
We've all heard "Bitter Sweet Symphony" to death. But the cuts such as "Come On," "Space And Time," and "Neon Wilderness" make this album for me. And perhaps it's the urgency found with all the tracks that make this album so mind-blowingly fantastic. And okay, I've been a fan of Verve's for ages (I've seen the band around England and the US too many times to keep track), but I know a slew of people who've never been fans previously that love this album on the merit of its pure ingenuity alone.
So next to "Tellin' Stories," "Young Team," and "Vanishing Point," I'm rating "Urban Hymns" as one of the best of the year. I always knew The Verve wouldn't say good-bye forever. The music meant far too much to them to stay silent for good. (DW)
Fact: The Wannadies are from Sweden.
Fact: They sound nothing like The Cardigans.
Well now that I've gotten that out of the way, I want to assure you that The Wannadies have a delectable knack for writing edgy pop ditties that put a number of those mundane British bands to shame. Their recent lp is nothing short of catchy and with any luck, they'll amass a large following on these shores, a country that desperately needs to hear a ingle from a Nordic band other than "Lovefool." So come on Sweden, show us what you're made of. (DW)
Perhaps it's just me, but "Death Car" sounds like a spacier Guided By Voices song. And that's not to be construed as criticism either (GBV are a most brilliant band...) The rest of the album doesn't sound like Dayton's pride and joy though; Wheat just have a nice little mellow pop thing going on, coupled with a lo-fi slant. It's a nice little effort from a band I'm quite curious to hear more from indeed. (DW)
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