06 Dec 2004

Eyeballkid’s Single of the Week

(The Real) Tuesday Weld ‘Bathtime in Clerkenwell’ (Pias)
With his last single ‘The Ugly & the Beautiful’ it seemed like Stephen Coates wanted to better the lightweight rock of Oasis’ ‘Digsy’s Dinner’. This time he seems to be aping another of Manchester’s musical heroes, the fish-meister himself, Mr Scruff. And once again he succeeds, taking the squelchy Scruff template and giving it a sparkly rag-time sheen. ‘Bathtime in Clerkenwell’ is a crackly, bouncing gem of a track that’s like doing the Charleston underwater. With a vocal from jazz singer Erol Okin cut and looped over an old school jazz horn riff, it sounds like a bubble bath looks. Warm, inviting and fun.

The Beastie Boys ‘An Open Letter to NYC’ (Parlophone)
The Beastie’s recent album ‘To the 5 Boroughs’ was a paean to New York in the aftermath of 9/11 and this, the third single to be taken from the record, is the centre piece of that album. The mood is downtempo as the trio flow over a taut bass line that sounds like it could have been lifted from one of Joy Division’s more urgent moments. The lyrics are a succession of place-names which have meaning even for people who haven’t been there, which in essence is why the downing of the Twin Towers had such a powerful effect on the world. Actually it’s mostly because it happened on television, but the mayhem and destruction of that day also happened in a place with which most of us feel a connection, whether it’s because of movies, TV shows or hip-hop. So it’s good to know that NYC has rallied in the face of adversity and it is still “home to the many/rejecting no one”. Though perhaps this kind of sentiment is easy for a few rich white men to expound.

Selfish Cunt ‘My Prerogative’ (Horseglue)
When someone first told me Selfish Cunt were covering Bobby Brown’s ‘My Prerogative’ I said, yes I have heard Britney’s version. Ho ho, just a little jokette there. Of course I have no idea whether that cunt is selfish or not. Anyhoo jesting aside the actual Selfish Cunt are a bunch of outrageous art rockers who have made it their business to get banned from as many venues around the UK as possible before they either end up playing prison cells or become so successful through their mayhem-infused antics, Carling will build a gig venue in their honour. The latter seems quite likely if you’ve heard this cover version which sashays confidently past both the original and Ms Spears’ lame attempt. Jagged guitar riffs cut a groove wide enough to swagger down, while the singer affects a sneering drawl reminiscent of John Lydon in his spit’n’pomp days. Naturally this will probably be the last we hear from them before they overdose on their own novelty.

The Silent League ‘Breathe’ (Something in Construction)
Justin Russo played the orchestral keyboards on Mercury Rev’s ‘Deserter’s Song’, which should give you some indication of what his band The Silent League are like. ‘Breathe’ is like a densely layered slice of sweet pop cake accompanied by a frothy cappuccino. You gorge yourself on the rich verses and get a gentle kick from the falsetto chorus. It’s a pleasant way to spend an afternoon but later on you’ll want something more substantial.

Fussible ‘No One Over 21’ (www.sonic360.com)
After their Beatwave Argentina compilation, the Sonic 360 label continue exploring the dance sounds of Latin America. This single is from Mexican producer Fussible. ‘No One Over 21’ looks to capture the hedonistic excitement and thrills of the American under-age kids who regularly cross the border into his hometown of Tijuana for a night of notorious drinking and debauchery. It tech house mayhem all the way as Fussible combines stomping beats with wavering Latin percussion and twisted electronica of Nortec – the unique fusion of traditional Mexican music and house rhythms pioneered by Fussible. As ever this a download only release and if you want to see what another is shaking their collective asses to, Sonic 360 is a good place to find out.

words: Colm Larkin

29 Nov 2004

Eyeballkid’s Single of the Week

Babyshambles ‘Killamangiro’ (Rough Trade)
Continuing to defy the odds that say that gushing support from the NME, mass amounts of column inches and being a junkie thief is usually enough to elicit a campaign of hate (if you will) from the ever-bitter Eyeballkid, Pete Doherty has gone and written another cracking song. Aside from a psychedelic breakdown in the middle, ‘Killamangiro’ doesn’t stray to far from The Libertines sound naturally, but then Doherty has unfinished business there. Thankfully he’s creative enough to want to finish it elsewhere and Babyshambles is perhaps as good an outlet for his songs as any. Now if he can just get the crack-pipe out of his hand and the music press from his arse.
Listen to 'Killamangiro'

69 Corp ‘Demonseed’ (Something in Construction)
Fast becoming one of our favourite little record labels, Something in Construction now present 69 Corp, comprising the improbably-named Jambongris and E-Rok. ‘Demonseed’, named after a 1977 sci-fi movie starring Julie Christie, is an atmospheric piece of dub pop featuring a melodramatic string sample that is like a premonition of evil or at the very least, a bad film. The remix takes things further to the dub side and sounds very like Massive Attack’s later days but actually good.

Maroons ‘Lester Hayes’ (Epitaph)
Blackalicious DJ, Chief Xcel and fellow Quannum Records MC Lateef the Truthspeaker have teamed up to form Maroons. Their debut mini-album ‘Ambush’ has just been released over this side of the pond and Lester Hayes is the first single we’re hearing. The track is propelled along by a looped guitar riff straight from Angus Young’s schoolbag and stomps like the legendary American football star of the title (ahh the internet, makes even Eyeballkid a grid-iron know-it-all). Lateef is stepping out of the shadow of his Quannum pals, Gift of the Gab and Lyrics Born, and showing his own skills. Deft flow, nice lyrical turns (“braced for impact/like you were tied to a railroad track”) and solid breaks from Xcel make the album worth a listen.

Temposhark ‘Neon ?’ (Paper & Glue)
No doubt the be-mulleted fashionistas archly discussing the latest reality TV fad whilst drinking ludicrously priced beer from Estonia will be throwing ironic shapes to Temposhark in their quaint pub/club/warehouse conversions. ‘Neon ?’ is a hip union of tight funk and electro but this is no ‘Drop the Pressure’. In fact given the track’s utter lack of soul it’s not even as good as the Har Mar Superstar. And as far as we know Temposhark don’t even have the novelty value of being an ugly man in y-fronts.

Band Aid 20 ‘Do They Know It’s Christmas?’ (Mercury)
There’s not much you can say about Band Aid 20 without sounding like a vicious misanthrope who is entirely without sentiment or kindness. So we won’t. Except to say that instead of buying the damn record with Chris Martin’s over-bearing piano and vocal opening, Dizzee Rascal’s baby-talk rap and another tedious guitar solo from Justin Hawkins, you could just give £5 to charity. That way you bypass all the costs of CD pressing, distribution, etc and your money goes straight into paying the administration costs of running a charity. However if you do feel you must conform and give your charitable donations to the same place as everyone else, at least have some fun by destroying the CD and posting a picture on the internet here.

words: Colm Larkin

22 Nov 2004

Eyeballkid’s Single of the Week
The Go! Team ‘Ladyflash’ (Memphis Industries)
Wherever The Avalanches have disappeared to, they may return to find their title as kings of the cut up pop song firmly in the grasp of one of the country’s best kept secrets, The Go! Team. On ‘Ladyflash’ the Brighton-based six piece use a bewildering array of samples to build a wonderful pop sound that takes in flower power, funk, soul, 80’s pop and hip-hop. Their enthusiasm for the cut’n’paste technique is akin to a children’s TV presenter with a glue addiction, but the end product is more than the musical equivalent of toilet roll inserts covered in felt. Like The Avalanches they create complex music that’s tweaked just enough to make its surface shine with an upbeat tune and hip-shaking beats. If you haven’t heard their album ‘Thunder Lightning Strike’ yet, ‘Ladyflash’ should be the introduction you need. (CL)

The White Stripes ‘Jolene’ (XL)
Having spent some time as a much sought after b-side and the biggest sing-a-long number in their live set, The White Stripes release a live version of their cover of Dolly Parton’s ‘Jolene’. Taken from their forthcoming DVD recorded live at the Empress Ballroom in Blackpool, ‘Jolene’ is one of the quieter numbers of the set but that’s still louder and more raucous than most. Where Parton’s song is the pained and hopeless plea of a woman who knows she has lost her man to the eponymous home-wrecker, White drops the song in the proverbial china shop and lets all hell break loose. His guitar stomps and snorts like a raging bull, while his despairing whine suggests an acceptance of loss that his instrument stubbornly refuses to acknowledge. The idea that The White Stripes would cover this song seems so odd, it’s hard to believe it has become this intense an experience. Wonderful. (CL)

Delays ‘Lost in a Melody’ (Rough Trade)
Brand new single from Delays sees them sounding tougher than anything they’ve released before. They’ve dived headlong into the Eighties revival with a big synth sound that’s part The Cars, part A-ha. Okay so this doesn’t sound particularly edgy but this is Delays we’re talking about. The chattering beats, the buzzing guitar and Greg Gilbert’s falsetto vocals growling like Kurt Cobain and Tom Waits fighting over a bone –it’s all very un-Delays but a pretty stomping glam pop number all the same. (CL)
Watch the video for ‘Lost in a Melody’

Linkin Park / Jay-Z ‘Numb / Encore’ (Warner)
At this rate Jay-Z (if he wasn’t “retiring”) should not bother with writing any music and just release a capella albums and let others provide the tunes. While Danger Mouse’s ‘Grey Album’, which cut up The Beatles and Jay-Z, fell foul of record company opposition from the Fab Fours side, Jay-Z encourages this kind of thing. Call it a pension plan. This single blends his ‘Encore’ track and nu-metallers Linkin Park’s ‘Numb’ with mildly diverting results. It all started with a joint concert done for MTV in July and there’s a whole album ‘Collision Course’ out at the end of the month. While their PR claims it as “a meeting of two massive artists inspired by mutual admiration and a passion for music”, it feels more the musical equivalent of ‘Alien vs Predator’. (CL)

Brian McFadden ‘Irish Son’ (Sony)
The former Westlife-r has done the smart thing and teamed up with song writer Guy Chambers, the man behind Robbie Williams’ big hits (remember them?), to help launch his solo career. After one no. 1 he’s unleashing the title track of his album, an angry rant about Dublin, religion and his past. The church, the Irish educational system all refuse to change, while Brian himself has moved with the times, presumably by growing some very mature-looking stubble. It’s a brave move on his part and while Westlife are currently floundering in faux-Sinatra territory, he’s getting to say what’s on his mind. Pity then that’s it’s wrapped up in a song so saccharine and sickly sweet it makes his former band sound like Megadeath. Rubbish. (CL)

08 Nov 2004

Eyeballkid’s Single of the Week
Martha Wainwright ‘Bloody Mother Fucking Asshole’ (Drowned In Sound)
Call us childish and/or stupid but any song with such a school-boy's dream of a title immediately gets Eyeballkid’s thumbs up. When it applies to such a gorgeous piece of acoustic rock as Martha Wainwright’s (brother of Rufus) debut single it gets the thumbs and a ‘not so dumb now’ middle finger as well. With a voice so raw it’s like she’s spent the last 12 hours involved in an intense shouting match with Al Pacino, Wainwright injects every guttural utterance with passion and pain. Her vocals, often so close to breaking, are reminiscent of the wonderful Mary Margaret O’Hara, the way you think she may not finish a word, so wrought with emotion is every syllable. The music is a simple acoustic melody of delicate beauty that counter-points the swear-fest finish that will hopefully will become a popular track in karaoke bars.

Ty ‘Look 4 Me / Sophisticated & Coarse’ (Big Dada)
To celebrate a year of living famously, Ty releases a limited edition double-A side featuring two top class cuts from his Mercury nominated ‘Upwards’ album. Both feature the vocals talents of Eska, whose voice is cut up and looped to form a wavering background to Ty’s flow on ‘Look 4 Me’. ‘Sophisticated & Coarse’ is a sharp look at the hypocrisies of modern society and how they must be overcome, with Eska appearing on the chorus. Ty himself is like Roots Manuva without the veering eccentricity. A solid consistent performer he has handled his growing fame with typical ease, but that’s not to say he’s a water-carrier among miracle-workers. The tunes here are well produced and a final reason from his year to check out one of UK hip-hop’s brightest stars. (CL)

The Bees ‘One Glass of Water’ (Virgin)
Living up to their name, The Bees continue to flit from genre to genre in search of that ineffable musical nectar. This time the pollen count in high in rock’n’roll and ‘One Glass of Water’, another single taken from their acclaimed ‘Free the Bees’ album, takes as its source the early classics from the likes of Buddy Holly or Little Richard but gives it a quirky British twist. All a bit Small Faces and all very nice. (CL)

Steriogram ‘Walkie Talkie Man’ (EMI)
Like Busted but with rapping and a decent riff, Steriogram appear to be the latest incarnation of boy bands with guitars. I suppose you should accept this kind of music as inherently better for kids than say, the static pop of Westlife, especially where the teenage girls are concerned. Ween them off slushy ballads and onto Limp Bizkit-type rap metal and maybe there’s some kind of hope for the future. Granted it’s a future of white men whining very fast and calling it rap but surely it’s some kind of improvement? (CL)

Mick Jagger / Dave Stewart ‘Old Habits Die Hard’ (Virgin)
‘E’s a Cockerney innit! Yes it’s Alfie, where handsome posh boy Jude Law reprises the role of craggy Michael Caine and the result is a witty and urbane updating of the 1960’s bird’s and booze British film classic. Or maybe not cos frankly Eyeballkid cares little. And nor do we care about the brand new track co-written by Jagger and the former Eurythmics twat that will no doubt provide some kind of superficial emotional level to a bland movie. But in the interests of professionalism we did actually listen to it, and yes, it sucks in every way we thought it would. (CL)


01 Nov 2004
Eyeballkid's Single of the Week

Diplo ‘Diplo Rhythm’ (Big Dada)
Diplo has been causing much head-scratching amongst those who attempt to define his sound. The American producer is supposedly part of the crunk scene but his music is restrained when compared to the drunken funk of the likes of Lil Jon. He’s not quite dancehall either and he flirts with electro. On the latest single taken from his ‘Florida’ album he takes on all genres with four versions of his signature rhythm. Essentially it’s a rapid bass line that feels like a heart murmur, around which he constructs three tracks with different vocal contributors. Vybz Cartel’s ragga inclinations form the dark heart of ‘Baby’, Pantera Os Danadinhos adds the sound of Brazilian funk on ‘Percao’ and Sandra Melody’s brilliant vocal makes ‘Newsflash’ a dancefloor anthem. Finally he wraps up proceedings with a mix featuring elements from all three tracks. Ambitious, stylish, inventive and ace.

Tim Wright ‘Oxygen –remixes’ (Novamute)
The second single taken from his ‘Thirst’ album gets the remix treatment, including a work out from Mr Wright himself. His mix is a subtle deep house monster. It doesn’t go stomping all over the dancefloor roaring and wreaking havoc like Godzilla getting drunk and lairy in a nightclub but still manages to get the place shaking. Abe Duque gives it a deeper groove, setting aside such niceties as melody in favour of a straight-up late-night dance-a-thon, while Vector Lovers bring a vocoder along to add some serious electro funk to proceedings. Good efforts all round.

Tom Vek ‘If You Want’ (Tummy Touch)
Eighties ahoy! This song seems to touch every corner stone of 80’s pop from Eurythmics to Gary Numan, The Cars to New Order and many more that I cannot name because I am too young to remember exactly who they are. But that’s not to say that ‘If You Want’ is a derivative pile of shit. It’s actually pretty cool, with a twanging bass line that might have been sampled from an episode of Seinfeld, a downbeat mood and Vek’s voice, like Annie Lennox tonguing Ian Curtis, is foreful.

Two Lone Swordsmen ‘Showbiz Shotguns’ (Warp)
Andrew Weatherall and Keith Tenniswood return once more in their Two Lone Swordsmen guise. ‘Showbiz Shotguns’ is a dark, minimal electro number that hums with evil, though with Eichmann-esque banality. The gritty vocals and buzzing synths effectively create the dark tone, but it’s so low key the mood is less of an allusion to the dark side and more of an illusion of a decent track. Dull.

Death From Above 1979 ‘Romantic Rights’ (679)
The much-heralded debut single from Canadian rockers DFA 1979 opens with a chugging guitar sounding like a car struggling to start on a cold winter’s morning. It’s the kind of thing that makes you wonder whether you should have ever bothered getting out of bed, and ‘Romantic Rights’ has a similar effect. The vocals attempt to swagger while the riff trudges behind through thick snow, and the electro twinkles are lost to the howls of the wild guitars. As bleak as hearing a Norwegian has just beaten you to the pole just as you’re tucking into a plate of defrosted husky. (CL)

25 Oct 2004

Eyeballkid’s Single of the Week

The Earlies ‘Morning Wonder’ (679)
The stand-out track from their excellent ‘These Were the Earlies’ album, ‘Morning Wonder’ was intended as an instrumental before trans-Atlantic singer Brandon Carr recorded a vocal for it by mistake. The resulting song still delivers two and a half minutes of great music before Carr’s voice appears. A sweet Jew’s harp riff and hypnotic guitars draw you in as the measured beat gradually builds towards the song’s new crescendo. And when it comes it’s like salvation in a pop song. A glorious monotonic gospel chant and heavenly falsetto yearning for home are both Sirens and survivors, alluring and resolute. Like Spiritualized finding God and forsaking smack for sunrises. (CL)

Graham Coxon ‘Freakin’ Out / All Over Me’ (Parlophone)
Haven’t we been here before? Yes indeed, Graham Coxon’s masterpiece of guitar pop ‘Freakin’ Out’, a former winner of our Single of the Week accolade, is finally given a full release, having previously been out only on limited edition 7” vinyl. If this means more people have the pleasure of hearing this bubblegum gem then the world will be a better place. He may rhyme like Noel Gallagher in nursery school but simplicity seems to be the key to Coxon’s attitude and the outrageous assault of ‘Freakin’ Out’ is so simple, it can only have been conceived by a genius. The double A side ‘All Over Me’ is a sweet string-filled acoustic number that comes on a separate CD in this gorgeously packaged release that as usual features Coxon’s own artwork. (CL)

The Hidden Cameras ‘I Believe in the Good of Life’ (Rough Trade)
Continuing their search for pop perfection, The Hidden Cameras give us driving rhythms, persistent guitar jangles and sweetly plucked strings in the form of the latest single to be taken from their ‘Mississauga Goddam’ album. But as usual it’s the lyrics that are more intriguing here. While a seemingly straight-forward homage to life, the song does include the line, “I did not do those drugs / or steal those underpants”. Fascinating to think what songwriter Joel Gibb does in his spare time. (CL)

The Libertines ‘What Became of the Likely Lads’ (Rough Trade)
The song that provides the uplifting epilogue to their spiralling second album becomes the second single taken from The Libertines self-titled LP. On the album the song is necessarily hopeful, but on its own it seems a bit twee and jocular. Barrett and Doherty’s vocal criss-crossing is as effective as ever, the riffs are cutting and the rhythm changes are fluid, but for some reason the song doesn’t stand up outside its context on the album and becomes a bit annoying. Nevertheless it’s still a song Razorlight would chew their own rubbish arms off to have. (CL)

Schwab ‘No Balls’ (Foundation)
The third single from the much touted Schwab starts out as the White Stripes before drifting into heavy metal and eventually more or less settling at good old-fashioned rock’n’roll. With electronics. Schwab throw the right musical shapes, with well-timed riffs, suitable shrieks and showy breakdowns but it’s all swagger and no sweat, all rock and no roll. It’s probably not helped by the moronic lyrics. Schwab take the AC/DC trick of bollocks double entendres to a newer, less subtle level that’s less Carry On more “Castration”. (CL)

18 Oct 2004

Eyeballkid’s Single of the Week
Blockhead ‘Sunday Séance’ (Ninja Tune)
The stately piano that open the latest track to be lifted from Blockhead’s lovely ‘Music by Cavelight’ album, sounds like it ought to be played by a syphilitic-ridden composer alone in his crumbling stately home. Then comes the gorgeous harmonica, like Spiritualized at their most agonised, the martial break beat, the intense and wearing vocal sample, and you get a soaring sense of unblemished melancholy and desperate loneliness, though allied with a crucial awareness of hope. Very very lovely. (CL)

Yeah Yeah Yeahs ‘Y Control’ (Polydor)
Karen O is sounding more like Patti Smith with each record. Next she’ll be leaving her armpit hair grow and reciting political poetry at inopportune occasions. Nevertheless, coupled with Nick Zinner’s remarkably inventive guitar playing, it makes the Yeah Yeah Yeahs one of the most interesting bands around. ‘Y Control’ is akin to ‘Maps’ in that it doesn’t feature the bawling, punk-meltdown of their earlier sound, favouring instead a slicker sound that retains the required edge. It’s catchy, powerful and pretty excellent, though they ought to remember not to slip any further away from their hardcore beginnings lest they start sounding like The Pretenders. (CL)

Placebo ‘Twenty Years’ (Virgin)
Ahead of their forthcoming Best of compilation, Placebo release the now inevitable new track that assume will join the hallowed ranks of their previous hits. They haven’t taken the easy option with ‘Twenty Years’. It’s unusually low-key, without any big riffs and featuring a morbid industrial tone. It’s like Placebo are heading down Trent Raznor-like roads of depression and madness. All of a sudden they could be getting interesting. (CL)

Iain Archer ‘Summer Jets’ (Bright Star)
If the lyrics of this song are couched in nostalgia then so too is the music. Archer is harking back to the mid-nineties when this kind of euphoric indie pop was everywhere. All you needed was a gently rousing guitar and an chorus bordering on anthemic and you were in. Smashing Pumpkins were probably its finest proponents and ‘Summer Jets’ probably most resembles their rose-tinted trip down memory lane ‘1979’. Nice, eventful but largely forgettable. (CL)

Marjorie Fair ‘Waves’ (Capitol)
If a Los Angeles-based group release a bland, white-washed pop tune, should you really be surprised? Like their hometown Marjorie Fair are all sunshine, smiles and very little character, while ‘Waves’ is as full of tedious emotion as a daytime soap. It is probably not even fit to act as a theme tune to one. (CL)

11 Oct 2004

Eyeballkid’s Single of the Week
Grand National ‘Drink to Moving On’ (Sunday Best)
One of Grand National’s singers sounds awfully like Sting. However they have overcome that handicap to become an extremely good band who blend electro, indie and pop, without it looking too obvious. ‘Drink to Move On’ opens with a gorgeous guitar riff that continues to ebb and flow throughout the song. They have a world-weary melancholia that haunts every pore of the song, even those Sting-esque backing vocals sound like a heart pouring through your speakers instead of the whine of a patronising self-righteous do-gooder. That kind of thing takes talent and fortunately Grand National have plenty. (CL)

Ella Guru ‘Park Lane Speakers’ (Banana)
Big bands seem to be all the rage these days. If you haven’t got a wind and string section knocking around backstage with a couple of extra percussionist you’re just not with it I’m afraid. Liverpool’s Ella Guru are very much with it, though cunningly don’t allow the extra musicians to raise the volume or tempo. ‘Park Lane Speakers’ is the country-tinged sound of lo-fi Americana given a gentle British tinge through gentle clarinets, hushed harmonies and references to The Fall and George Harrison. There are also echoes of Spiritualized though without the noise, but despite the tranquillity, this is still an engrossing song. (CL)

Eighties Matchbox B-Line Disaster ‘Rise of the Eagles’ (No Death)
The latest single from their long-awaited ‘The Royal Society’ album (out next month) is by no means their finest moment, but anytime spent in the company of Eighties Matchbox is generally good fun. Like a proper metal band peopled by variety performers, this is The Darkness done with subtle wit rather than a hammer blow to the head. (CL)

The Others ‘Stan Bowles’ (Vertigo)
So far The Others will be known to the majority of the population as that band who perform live gigs on the tube and in the reception area of the BBC. Guerrilla gigs are a neat way to get your band some high-brow broadsheet attention but sooner or later you’re going to have to capture the imagination of more than a couple of hundred obscenely loyal fans and attendant gushing journalists. On ‘Stan Bowles’ The Others continue to keep it real, with their references to the eponymous 1970’s footballer who ended up more famous for his drinking and shooting himself in the foot on Superstars, than his talent for the beautiful game. Despite his problems Stan never lost touch with the common man and the parallel goes neither have The Others or their good mate Pete Doherty. The song’s jagged guitars, raw production and an earnest passion are commendable but ultimately it’s just not Premiership class. (CL)

Sum 41 ‘We’re All to Blame’ (Island)
It may be that I’m confusing them with Blink 182, but the new single from Sum 41 is decidedly heavier than anything they’ve done before. Gone is the bubblegum punk-rock to be replaced by thundering metal guitars and soft rock breakdowns. This is probably a reflection on their new serious lyrical direction where they have abandoned the teenage suffering for a new political awareness based on half-baked cultural platitudes like “super-size our tragedy/born in the land of the free”. Nevertheless the rise of such conscience among hitherto dumb-and-proud-of-it rockers must be welcomed even if the music is not. (CL)

04 Oct 2004
Eyeballkid’s Single of the Week
Sons & Daughters ‘Johnny Cash’ (Domino)
Having blown audiences away with their stunning mini-album, ‘Love the Cup’, and on their support slots with Franz Ferdinand and The Fiery Furnaces, Sons & Daughters finally release their debut single. ‘Johnny Cash’ is a primeval example of their brilliant merging of Scottish folk airs and a gritty devotion to the blues. Slithering straight from the primordial mud, it quickly evolves to chase you across the Highlands like a lunatic wielding a meat cleaver. It’s a relentless pursuit and long may it continue. (CL)

The Duke Spirit ‘Cuts Across the Land’ (Loog)
After the pulsating dark rock of ‘Dark is Light Enough’, The Duke Spirit take an altogether poppier direction with the follow up. Sadly it’s not a patch on the genius of their debut single, though Liela Moss’ distinctive vocals and their fondness for buzz-saw guitars are highly redeemable qualities. Think Louise from Sleeper fronting Sisters of Mercy and you get the impressive idea. (CL)

Mighty Math ‘Experimental Child EP’ (Different Drummer)
I couldn’t believe my ears. Putting on this record and hearing the kind of relentless glitchy techno that Ritchie Hawtin would be proud of is the last thing I expected from Birmingham’s most laid-back record label. But there it was, a wonderful, moody dancefloor destroyer pounding out beats hard and fast. Then I noticed it was playing at the wrong speed. Ahh, so this Swayzak remix of Mighty Math’s ‘Experimental Child’ is actually a chilled-out deep house number. That makes more sense. It’s nice though not as brilliantly insane as I thought it was. The original mix makes the B-side and is a sweet track that brings together dub and the sounds of the fairground. (CL)

Yourcodenameis: Milo ‘Schteeve’ (Fiction)
I’d be gutted if my code name was Milo. And I’d be also annoyed if I’d been sucked into buying this single by the band’s cool and mysterious moniker. ‘Schteeve’, with its plaintive, yearning vocals and choppy, insistent guitars is Emo for the purist. That is to say, it’s similar to the self-regarding, highly-strung genre of music so beloved of today’s rock kids, but without the ear for a tune of someone like Dashboard Confessional. Mission failed. (CL)

Dkay & Epsilon ‘Honey’ (Sanctuary)
Drum’n’bass producer Dkay follows up his awful ‘Barcelona’ single with something that sounds pretty much like it. ‘Honey’ is jungle-lite; the kind of drum’n’bass that advertisers and radio schedulers adore for its edginess and street cred. These people are morons, don’t buy their product or listen to their bland station. Similarly don’t waste your time with ‘Honey’ either. (CL)

27 Sep 2004

Eyeballkid’s Single of the Week
Miss Kittin ‘Requiem for a Hit’ (Novamute)
Feisty electroclash getting mixed up with some tough hip-hop from French queen of the scene Miss Kittin. This is the second single from her debut album ‘I Com’ and probably one of the best tracks on the record. A thumping beat, some juddering electro and a cracking vocal loop from rapper LA Williams drive the song along, interrupted only by a shimmering breakdown from Miss Kittin herself. A lament for the forgotten art of the pop hit this is unlikely to trouble today’s asinine charts but it’s no. 1 in our hit parade. (CL)

Brakes ‘I Can’t Stand to Stand Beside You’ (Tugboat)
Various members of British Sea Power, Electric Soft Parade and Tenderfoot take a break from their quirky/twee/bland day jobs to form a Brighton super group of sorts. Part of their remit is to produce Ramones-esque punk rock lasting between 10 and 30 seconds with a message for with world’s political leaders. Our personal favourite is “Cheney Cheney Cheney Cheney Cheney, Cheney, Cheney, stop being such a dick”. But the main track on this EP does stretch to three minutes and is a malevolent number featuring buzzing guitars, unstable vocals and a welcome air of murderous unease from such upstanding citizens of the UK rock scene. It’s great though not as good as the aforementioned ‘Cheney’. (CL)

Clinic ‘Circle of Fifths’ (Domino)
While most other bands would be looking to get their latest single on a car ad, or maybe the latest Hugh Grant film, Clinic have a better chance of providing the soundtrack to the Apocalypse. The ace ‘Circle of Fifths’, like most of their recent ‘Winchester Cathedral’ album, features a piano chord that sits somewhere between The Exorcist and Halloween, and is pleading for mercy, but the pounding drums suggest none will be forthcoming. Meanwhile Ade Blackburn’s spooky, sneering vocal sounds like Thom Yorke had he pledged allegiance to Beelzebub instead of a bunch of worthy liberal causes. Enjoyable in the way that public hangings were fun back in the days when no-one knew any better.

Engineers ‘Folly’ (Echo)
Engineers claim to not sound like any current music, and they are probably right. What the four-piece neglect to mention is that they are strip-mining rock’s past instead. Still given the intense level of revivalism stunting all music these days it’s still quite an achievement to sound slightly different to your contemporaries, even if you are just carbon copies of your precedents. They admit a love of Dennis Wilson and Talk Talk and as such come across as a spaced-out Turin Brakes. Most of the songs on their five-track ‘Folly’ EP are pretty but the washed out production and euphoric guitar sound has been done better many times in the past. (CL)

Roni Size ‘Out of Breath’ (V)
Mercury Prize winner Roni Size returns with a new single featuring the self-styled Godfather of Noise, Rahzel on the mic. It’s pretty run-of-the-mill drum’n’bass, no great builds or beat drops, just a solid breakbeat, some spooky fx and minimal input from Rahzel. If music as high octane as drum’n’bass can ever be considered dull, this is probably the time. (CL)

20 Sep 2004

Eyeballkid's Single of the Week
Mansun ‘Slipping Away’ (Parlophone)
The final single release from Paul Draper's now defunct band of indie outsiders. A shame really, Mansun alway seemed on the brink of something approaching greatness. Their final salute is as ever a sparse and beautiful collage of jagged Britpop guitars and thoughtful lyrics, way out of time and strangely moving. The B-side, ‘Getting Your Way’ is equally as impressive. (SM)

The Boxer Rebellion ‘Code Red’ (Poptones)
Grandiose and full of sad, hollow spaces that echo. The Boxer Rebellion seem distraught. This track exudes mourning and ache yet somehow it soars high on the promise of epiphany. Nathan Brown's vocals and the uplifting guitars which accompany are wont to make you weep, such is their uncanny and haunting quality. (SM)

Brand Nubian ‘Who Wanna Be a Star?’ (CNR International)
A six year absence sees the Brand Nubians reunite to explore familiar urban themes, namely how fucking dope they are compared to all the other whack MCs out there who have since dropped off the radar through either a pitiful lack of talent (a talent which the Nubians assure us they have in spades) or through succumbing to their own ridiculous machismo. Tres uncool. Of course it's all the fault of the bitches. As Sadat X thoughtfully muses "...All the broads, yeah, ultimate head / But over one chick I seen two niggas dead". And the music is just a cheap Gangstarr rip-off, which is inexcusable as well. (SM)

Jean Michel Jarre ‘Aerology’ (Warner)
Surprisingly Jean Michel Jarre has not decided to rewrite ‘Oxygen’ for the 29th time for his latest single. Even more surprising is that this is pretty good. ‘Aerology’ is laid-back electro funk with a slight jaunt of country, complete with liquid melodies and those familiar chiming bells. It’s a bit like Daft Punk gone rural and watching the sun set. So I suppose a bit like Mr Scruff then. Though surely the comparisons should be going the other way. (CL)

The Vacation ‘Destitute Prostitute’ (Echo)
Apparently The Vacation are Jet’s favourite band. Which must be gutting for The Rolling Stones. All those ripped-off songs and they’re still not the Aussie band’s no. 1. So if Jet were plagarising The Vacation instead, what would they sound like? Like a taster of Led Zepplin with a pinch of Guns’n’Roses, though altogether harder sounding. All quite silly yet catchy and fun at the same time. A lot like Jet were in fact, though that joke isn’t funny anymore. (CL)

13 Sep 2004

Eyeballkid’s Single of the Week
Blues Explosion ‘Burn it Off / Fed Up and Low Down’ (Mute)
Jon Spencer hasn’t upped and left his band or anything like that. Rather in a feat of unity and humility he has removed his own name from the billing so the band are now simply Blues Explosion. The first release of the new era is a cracking double A-side. ‘Burn it Off’ is a superb down-the-line rock stomper featuring handclaps, woahs, and fervent testifying from Spencer. The other side sees DJ Shadow at the production desk adding some trademarks scratches and distorted bass lines, as the band unleash a chorus worthy of their pared-down name. (CL)

Beastie Boys ‘Triple Trouble’ (Capitol)
I guess the appeal of the Beastie Boys lies somewhere in the fact that they are essentially a very aware and smart band who make intentionally dumb records for ordinarily discerning music lovers. Something to do with irony and longevity I suppose. That being the case, here we have the latest example of the Beastie’s winning formula: juvenile wordplay, silly voices, cockney accents and the odd reference to Star Wars. For the more saturnine amongst you, a distinctly elderly-sounding trio rapping in a comedy stylee to the much over-used Rapper’s Delight beat might strike you at times as excessively asinine. (SM)

Beyer & Lenk feat. Tiga ‘Heartbreak / Ananda’ (Novamute)
Imagine breaking open one of those glowing blue sticks that sweaty dancers are prone to waving in your face at raves and emptying the chemical contents into one of The Pet Shop Boys’ expensive cocktails. The result might sound something like this: flamboyant house music that’s a little bit gay and toxic enough to warrant only a mild headache. (SM)

Nick Cave & the Bad Seeds ‘Nature Boy’ (Mute)
Of all of life great certainties –gravity, death, taxes –the one that seemed the most resolute was Nick Cave’s musical devotion to the dark side. But lately, in a move that’s the equivalent of Osama Bin Laden forsaking his violent fundamental Islamic jihad for a peaceful, barn-raising retreat in Amish country, Cave appears to have found God. As we all know when it comes to music the Great Creator is less rock group and more folk troupe. Consequently ‘Nature Boy’ is an ode to His creation with choir in tow, and quite possibly the most upbeat pop song he’s ever written. What next? Songs of Praise. (CL)

Status Quo ‘You’ll Come Around’ (Universal)
Yes, the Quo are back for their regular regurgitation of three chord trickery on the all-new Top of the Pops. I wonder if they’ll recognize the fancy new studio, though more importantly would TotP recognize them. Like the Teletubbies having an existential crisis, ‘You’ll Come Around’ sees the Quo in strangely downbeat form. Perhaps someone’s septum has collapsed again. Thankfully the b-side sees their familiar brand of rock’n’roll return and you can rest easy knowing that a bunch of old rockers still remember their basic chord progressions. Worse than terrorism, disease, hunger and war all put together, but you don’t need me to tell you that. (CL)

06 Sep 2004

Eyeballkid’s Single of the Week
The Detroit Cobras ‘Cha Cha Twist’ (Rough Trade)
Gravelly throated, grrl-fronted garage punk with an unmistakably surf-core, frat-shack feel. Hard-edged and sleazy, but lushly melodic all at once. Familiar to all as the soundtrack to this summer’s Diet Coke ad campaign, this is wickedly good rock - calmer than your average Cobras tune, but an excellent introduction for those not yet acquainted with the rest of the band’s outstanding material. (SM)

Future Loop Foundation ‘Scratch & Sniff EP’ (Louisiana)
Roger Hammond of the Mr Kipling ads lends his voice to what is essentially a shameless rip-off of Lemon Jelly’s Lost Horizons album. Like handing in a copy of Catcher in the Rye to your English teacher and attempting to pass it off as your own work. Phoney, see? Real phoney. (SM)

Johnny Panic ‘Burn Your Youth’ (Concept)
South East London’s answer to teeneage indie favourites The Calling. Actually that’s a downright lie. The Calling are nobody’s favourites. Literary pretensions aside (their name is a Sylvia Plath reference), these guys might shake up next week’s issue of Smash Hits but they sure ain’t rockin’ my world. If you’re looking for something to burn (as in, ‘set light to’) this week, then look no further. (SM)

Mando Diao ‘Sheepdog’ (Majesty)
Swedish ensemble imitate the energetic sound of early Stones/Kinks recordings, raw vocals and fuzzy distorted riffs being the order of the day. Ferocious attitude-laden track that successfully fuses the frantic sixties rock scene with a gentler, more easy-listening melody - at times reminiscent of the darling lounge sensibilities of The Cardigans’ wonderful debut. (SM)

Yellowcard ‘Ocean Avenue’ (Parlophone)
I was under the impression that neutered adolescent Nu Metal had run it’s course and was in decline. Apparently not. Yellowcard sound like Busted trying to cover a New Found Glory song, which is so far from good that it’s almost as evil as setting fire to a retarded child at Disneyland. (SM)

30 Aug 2004
Eyeballkid’s Single of the Week
Hexstatic ‘Salvador’ (Ninja Tune)
Hexstatic return with the first single from their new album ‘Master View’. As usual there’s a strong visual element to the release; our copy came on DVD! The duo haven’t deviated from the cut’n’paste collages on their seminal video for Coldcut’s ‘Timber’ but it’s the music that’s the real winner here. Sunny samba rhythms and a great vocal loop build to a carnival breakdown finish and serve as an uplifting tonic to storm-racked days. Let the Indian summer begin. (CL)

Aldo Vanucci ‘When I See You Smile’ (Catskills)
Brighton label Catskills follow-up the excellent ‘The Shoe Cash’ EP from Kidda with new signing Aldo Vanucci’s take on a hit from eighties rock band Bad English. With the help of a slight vocal he turns the guitar monster into a beat heavy, low grade funk workout. Tim Love Lee gives it some oomph with a swinging remix complete with spacey Moog interludes, while Grand Central’s Jon Kennedy lays down a nice laid-back groove. The original is too tame and doesn’t come close to matching the quality of the Kidda record. (CL)

Armand Van Helden ‘My My My’ (Southern Fried)
New single from the superstar DJ, a track originally seen on his ‘New York: a Mix Odyssey’ collection. Van Helden takes an excellent gospel vocal and pairs it with that disco rhythm so beloved in his New York hometown. The tracks drifts in and out as he builds and fades time and again. Perhaps he should be applauded for maintaining my interest in a patchy release with his constant musical dissolves but that’s missing the point. Which is that ‘My My My’ is a waste of a good vocal. (CL)

Embrace ‘Gravity’ (Independiente)
Coldplay’s malign influence continues to exert control over the future course of rock music. Following the emergence of Snow Play and Keane, this Chris Martin penned single sees former Oasis wannabes Embrace become Coldplay puppets. And all it takes is the addition of a trademark Mr. Paltrow piano chord to their familiar anthemic rock. Its dull emotion will no doubt carry weight at weddings and funerals, but unlike its namesake it’s hardly necessary. (CL)

Sam Roberts ‘Brother Down’ (Vertigo)
Canadian song-writer Sam Roberts may have a bit of a troubadour about him but this nimble folk rock ditty is more Crowded House than Bob Dylan. It does grow on you due to its sense of urgency and excellent guitar solo at the end. Roberts may be overly earnest and amiable but this probably does enough to warrant your attention. (CL)

23 Aug 2004

Eyeballkid’s Single of the Week
Dizzee Rascal ‘Stand Up Tall’ (XL)
Dizzee Rascal returns and all eyes are on the former Mercury Music Prize winner to see how he follows up his critically acclaimed debut album, ‘Boy on the Corner’. ‘Stand Up Tall’ is the first single to be lifted from his forthcoming ‘Showtime’ album and sees him back on familiar territory. The beats are fast and bouncy, the electro lines are gritty and sleazy. It’s grime at it’s best with the addition of a well-timed carnival melody on the chorus. Meanwhile Dizzee is his usually engrossing, squeaky self urging all his crews to “get paper”. He shouldn’t be having too many problems himself. (CL)

Dashboard Confessional ‘Vindicated’ (Vagrant)
The kings of Emo return with more self-indulgent, agonized musings on their lot in life. Except ‘Vindicated’ comes with the addition of the smug righteousness that comes with knowing you’re right. Quite what frontman Chris Carrabba is feeling so vindicated about is beyond our interest. As is the riff running through the song that aims for Smashing Pumpkins but ends up at Maroon 5. (CL)

Death Cab for Cutie ‘The Sound of Settling’
(Fierce Panada)
Seattle four-piece get the award for best Teenage Fanclub sound-alikes with this tale of crushed dreams and mid-life crisis. It’s sunny pop disposition and resigned chirpiness gives regret a bad name. Frothier than a high street cappuccino and equally enjoyable in a bland, milky kind of way. (CL)

Jet ‘Cold Hard Bitch’ (Elektra)
Misogyny makes amazing comeback shocker! In which meat-headed antipodeans fantasise about locating some slutty hooker-type after the dancefloor empties for a little no-strings between-the-sheets action. In your dreams, turd-face. I believe calling independent young women “bitch” is something of a turnoff for the opposite sex in these modern times. But seriously, if these guys stole any more licks they’d be up there with Hamburglar for the candidate most likely to swipe little Jonny’s ice-cream at a McDonalds birthday celebration. Losers. (SM)

Sunship feat. Warrior Queen ‘Almighty Father’ (Casual)
Menacing dancehall/ragga track sporting psychotic and mostly unintelligible patois vocals. At last I own a record worthy of playing at considerable volume in my pimped-up ride, bass turned so high as to vibrate the diamonte thong right offa my bitch’s nasty ass. The perfect urban soundtrack for threatening and intimidating any number of passengers on the top deck of a bus route to Hackney. (SM)

16 Aug 2004

Eyeballkid’s Single of the Week
Johnny Boy ‘You Are the Generation That Bought More Shoes and You Get What You Deserve’ (Vertigo)
Any record that lifts the intro to The Ronettes’ ‘Be My Baby’ has got to be on a winner from the start. This epic in name and nature from London duo Johnny Boy is just that, clambering the podium with olive wreaths perched on their heads and gold medals round their necks. With wonderful vocals that sound like Karen O and Mazzy Star’s Hope Sandoval forming a doo-wop group, a soaring “yeah yeah” chorus layered with lavish horns and fireworks, ‘You Are the Generation. . .’ doesn’t so much build a wall of sound, but adds three more and chucks a roof on as well. A stunning record complemented on the b-side by a cover of ‘Subterranean Homesick Blues’ that sounds like Chicks on Speed beating Dylan to a bloody pulp with their megaphones. Brilliant. (CL)

Aberfeldy ‘Heliopolis by Night’ (Rough Trade)
If comparisons with fellow Scots Belle & Sebastian are inevitable for Aberfeldy, then it should also be pointed out that the five-piece Glockenspiel wielders are even more twee than Stuart Murdoch’s bunch of geography teachers. Proof is in the form of second single ‘Heliopolis by Night’, which, musically, is ‘Video Killed the Radio Star’ rewritten for the DVD generation. The lyrics concern alien abduction among other things, and are amusingly delivered by people obviously holding their noses. All very bizarre and funny yet also quite catchy. Like an anal probe this one sticks with you and is difficult to dislodge. (CL)

Cornershop ‘Topknot / Natch’ (Rough Trade)
Cornershop return with a new double-A side single where they’ve abandoned the full-on rock stomp of previous album ‘Headcream for a Generation’ and jumped on the current Bollywood sounds bandwagon. Ho ho, of course Cornershop have been producing music flooded with the sounds of India since way back and have merely returned to creating pop music with a Punjabi folk influence. Both songs features the incredibly sweet vocals of previouly unknown singer Bubbley Kaur, whose lilt weaves wonderous patterns over the chilled-out guitars and beats of ‘Topknot’. The other side ‘Natch’ sounds like a funked-up version of Monty Python’s ‘Lumberjack Song’, and given that it’s sung in Punjab, it might well be. (CL)

The Departure ‘All Mapped Out’ (Parlophone)
If I was to tell you The Departure include one member brought up on a commune and another who studied jazz theory at university, you might quite reasonably curl up in a corner wailing in horrific anticipation of a bunch of hippies playing off-key versions of Charlie Mingus on their mandolins. But never fear The Departure are actually more New Wave than New Age. ‘All Mapped Out’ is a neat tune with a funky rumbling bass line and obtuse guitar lines that nicely blends the wild sounds of New York’s punk rock with the darker tones of Northern England’s indie scene of the eighties. (CL)

Lambchop ‘Something’s Going On’ (City Slang)
Lambchop seem to be the piss-taking alter-ego of Tindersticks. The first single taken from their ‘Awcmon / Noyoucmon’ double album released earlier this year, ‘Something’s Going On’ is a tale of jealousy that seems primarily based on a “picture of Michael and Bubbles”. Perhaps it’s more of a criminal investigation. Anyhoo the song has been beefed up with an addition of a choir and even lusher strings. But with Kurt Wagner’s vocals an incomprehensible baritone in which he seems to be omitting every second syllable, you can’t help feeling this could have had pride of place on a Muppet Show album. Which is no bad thing of course. (CL)

09 Aug 2004

Eyeballkid’s Single of the Week
!!! ‘Hello? Is This Thing On?’ (Warp)
Subdued electro funk, Roxy Music meets early Prince. Similar in tone to Radio 4 and The Faint - less traditional though, more avant garde and squelchy. A weird medley of distinctive jagged eighties guitar and deft funky bass, with a little Spanish guitar and sax thrown in for good measure. Lots of echo on the production side and a yearning, sneering need in the lead vocals. Distorted genius, decidedly eclectic and with tons of nu-wave attitude. (SM)
Watch the video to ‘Hello? Is This Thing On?’

The Finn Brothers ‘Won’t Give In’ (Parlophone)
Having used his time with Crowded House to immortalise common place sayings like “you take the weather with you” into song, Neil Finn, along with brother Tim, is now turning his attention to adversity-defying platitudes about never giving up. With the Olympics on the horizon you can just picture TV executives lining up this clomping acoustic song over shots of some gormless athlete overcoming all odds to finish a race as the only competitor not doped up to the eyeballs. There’s a moral victory there of course, but as we all know a moral victory is merely a self-righteous defeat. (CL)

The Libertines ‘Can’t Stand Me Now’ (Rough Trade)
How prophetic. In honour of this week’s well-publicised split the band have released ‘Can’t Stand Me Now’, wherein talented yet monumentally fucked-up front man Pete Doherty repeatedly mutters the lines “can’t stand me now” and “can’t take me anywhere”. I’m sure the rest of the boys were nodding in agreement at the sentiment. Still, there is a certain charm to the endless public drama. Without it I doubt very much that the Libertines would continue to appeal to the masses in the same way that they currently enjoy. In essence the material all sounds pretty much the same, by the numbers even. That said, there is a certain genius at work here that refuses to be so easily dismissed. A kind of effortless charm that makes you want to jig. (SM)
Watch the video to ‘Can’t Stand Me Now’
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The Vaults ‘Friday Night - Monday Morning Blackout E.P.’ (Lucky 7)
As you’d expect from a band that recently supported ZZ Top on the UK leg of their European tour, The Vaults sound is distinctly heavy rock. Cue the handlebar moustaches, bandanas and bad hair. Sadly they come across a little more like Sum 41’s spoof metalhead alter-egos Pain For Pleasure than anything AC/DC inspired. Still, I imagine if that’s the kind of thing you’re into this will be a breath of fresh air. Me? I’d rather Jack. (SM)

Zero 7 ‘In Time’ (Ultimate Dilemma)
When Zero 7 first appeared with their Sunday afternoon with bulky weekend newspapers chill-out album ‘When it Falls’ they hardly broke any moulds. But you wish someone would break theirs because they insist on using it over and over again. If you need to know what ‘In Time’ sounds like you probably aren’t interested in pop music and should be elsewhere discussing proto-Teutonic industrial Gabba: the early years, with some fanatical message board poster named Scheizchemuncher. As a matter of fact so should we. (CL)

02 Aug 2004

Eyeballkid’s Single of the Week
Metaphrog/Hey/Mum ‘Louis: Dreams Never Die’ (Fat Cat)
Take one cute comic book about the adventures of a boy named Louis and his bug-like sidekick FC and add a sweet soundtrack by German music makers Hey and you get something more charming than Sven Goran Erickson meeting the new PA. Hey mix elements of French pop, dub and reggae to create a beautiful song that sounds like Serge Gainsborough and Lee ‘Scratch’ Perry recording in a tin hut high up the Alps. Icelandic outfit Mum contribute their own version with additional vocals which is equally lovely. You can also watch an animation set to the music at www.louisandfc.com. (CL)

Amityville ‘Pacific Fire Radio EP’ (Comedown)
If nice packaging leaves you impressed (and being the vacant and superficial type it does us) then Amityville’s beautifully presented ‘Pacific Fire Radio EP’ could be hanging on your wall shortly. It comes in a lovely little box with a silver wax seal and featuring three different covers of gorgeous washed-out artwork by the band themselves. But since when did we become design critics, what of the music? Well having reluctantly broken the seal, inside you will find three well-crafted songs of jangly guitar pop and piano-based ballad-eering. At times the vocals are reminiscent of Thom Yorke, while ‘Shots in the Distance’ has elements of a moodier Manics, but Amityville look capable of crafting their own sound. This is an impressive start. (CL)

Cheju ‘As the Leaves Turn EP’ (Boltfish)
Another EP release from the Boltfish Recordings label which is freely available from their website. The label operates on a not-for-profit basis though you have to wonder how they even meet costs if they’re not actually selling anything. I suppose recording costs must be low given that their output is primarily digitally constructed ambient music, as is the case with this EP from one of the label founder artists Cheju. It’s blissfully chilled with occasional vocals, like a less weird Orb or less pompous Future Sound of London.
Available from www.boltfish.co.uk. (CL)

Grand National ‘Cherry Tree’ (Sunday Best)
Grand National go disco, all uptempo seventies power-soul and Shalamar. The usual chilled New Order style vocals are present as is the band’s trademark handle on all things electronic and productiony. A thinking man’s School Disco. (SM)

(The Real) Tuesday Weld ‘The Ugly & The Beautiful’ (Pias)
Blessed with a superb command of rhythm and melody, The Clerkenwell Kid here attempts a genteel and breezy tune evocative of those vintage wax recordings oft heard playing on the gramaphone in the grandparent’s parlour. Similar I guess to the upper crust banter of ‘Keep Young & Beautiful’, only sporting a modern-day vocabulary and wry turn of phrase. Weirdly satisfying. (SM)

26 Jul 2004

Eyeballkid’s Single of the Week
Graham Coxon ‘Spectacular’ (Transcopic)
More blinding guitar work from uber-geek du jour Coxon, this time accompanying lyrics written in praise of a beautiful woman as seen on a computer screen. Or should that be compu’er? The boy Coxon’s dropping his T’s faster than a disgruntled colonial in Boston harbour circa 1773. But who cares when it’s rhymed so effectively with, “ne’er seen no one cu’er / posing wif a shoo’er / got me in a stupor”? Magnificent. As with all Coxon’s recent work the art lies in keeping it simple - two and a half minutes of choppy punk brilliance. Stuff that in your pipe Mr Albarn. (SM)

Colour Of Fire ‘The Exile’ (Riverman)
If you’re between the ages 14 and 19, wear ludicrously baggy jeans and have some form of facial piercing then chances are this record is for you. Grinding guitars, intense percussion, heartfelt angsty vocals. More Emo than a dyslexic Rod Hull. If on the other hand you’re like me - approaching 30 and keen on personal hygiene - then this will make about as much sense to you as drinking 2 bottles of brightly coloured tramp’s piss alcopop outside the Kentish Town Forum and throwing up in a bin. (SM)

Moby & Public Enemy ‘Make Love Fuck War’ (Mute)
When exactly did controversial negroes Chuck D and Flavor Flav stop frightening WASPs and start associating with vegan peaceniks like Moby? Aw who cares, this is good. Flavor’s contribution involves saying “Yeeeah!!” approximately 348 times while Mr D asserts his desire to see you put yo’ hands in the air y’all. And Moby, bless his little hemp socks, serves up the most delightful cachet of breakbeats and scratches since that song he did which was snapped up for a car ad. Or was it the multinational banking corporation? Either way, this song has made a pacifist out of me. Now if only all those other angry black rappers would just lay down their semi-automatics and stop beating up on us fags. (SM)

No Hope In New Jersey ‘Narcolepsy / Sober’ (Atlantic)
Describing this record as kind of like Nirvana meets Ash would be an insult to the former and a sprightly tongue in cheek compliment to the latter. Derivative, but then what isn’t this week? If you liked the noisy bits better than the quiet bits in Mr Cobain’s tunes, and the empty-headed yet strangely melodic lyrics of Mr Wheeler, then this is a must buy. (SM)

The Polyphonic Spree ‘Hold Me Now’ (Good)
A little bit Eleanor Rigby, a little bit St Winifred’s School Choir - Danny Elfman has much to answer for. Magnificent orchestral arrangements aside, when would one have cause to listen to such unusual pop? Running atop an idyllic mountain, all sunshine and edelweiss? Me, I’m too miserable for this kind of euphoria. I live in London. I’ve just seen a rat do his dirty business on my chopping board and head for the perishables. (SM)

19 Jul 2004

Eyeballkid’s Single of the Week
Clor ‘Welcome Music Lovers’ (Regal)
Up-and-coming four piece Clor welcome you to one of the finest EPs you’ll hear this year. Combining an unerring sense of rhythm, an avid non-compliance with the rules of pop music and an enthusiastic funky side, Clor are a brash and loud punk presence at the hip, chic electro clash party. ‘Good Stuff’ and ‘Make You All Mine’ are like Supergrass being played through a malfunctioning robot, while the stomping beats of ‘Magic Touch’ sound like military-industrial preparations for war. The closing track ‘Gifted’ shows their gentler side with an achingly beautiful acoustic number reminiscent of Mercury Rev. All four tracks would easily be our Single of the Week so there’s no reason the whole EP shouldn’t count. Wonderful. (CL)

The Charlatans ‘Try Again Today’ (Island)
The great survivors from the Baggy period release another single from their most recent album, ‘Up At The Lake’. ‘Try Again Today’ is enough to make you wish The Charlatans had followed the Happy Mondays into crack-fuelled disintegration on a Caribbean island. Where once was a rich Northern soul now stands a bland Californian sun-bleached pop due to soundtrack some period of adolescent trauma on the OC any time soon. (CL)

Estelle ‘1980’ (V2)
Having first come to attention with her raw appearance on Blak Twang's ‘Trixstar’ in 2002, UK rapper Estelle seems to have spent the intervening years at hip-hop finishing school. She went in as a rougher Ms Dynamite and emerged a polished Lauren Hill. Her debut single ‘1980’ is a dramatic string-laden track that introduces her through the story of her impoverished upbringing and plenty of generational nostalgia. She has a neat line in realism, “I got my first pair of Nikes/when we were still eating porridge”, but her grown-up sound and lyrics may not appeal to the kids despite the chart-friendly chorus. (CL)

Squarepusher ‘Venus no. 17’ (Warp)
I don’t know if there are 16 previous incarnations of ‘Venus’ but no doubt they would all feature the trademark Squarepusher glitches and broken beats. If ‘Venus no 17’ sounds like formulaic IDM, that because it is, but Squarepusher still manages to invest it with a rollicking funk and, in the random squaks and sirens, a thrilling sense that it might all come apart at any second. By the end its like having a car door slammed on your head while the alarm bleats incessantly by your ear. If you like musical masochism this is for you. (CL)

The Streets ‘Dry Your Eyes’
(Pure Groove)
By rights this should be a cloying sentimental pile of rubbish, like a Steven Spielberg movie or an ITV drama. A song about breaking up with lush strings, a gentle acoustic guitar and a sad, desperate chorus, it should reek. But the lyrics are so honest, so telling without ever descending into cliché, that the song simply breaks your heart. “She brings her hands up towards where my hands rested / She wraps her fingers round mine with the softness she's blessed with / She peels away my fingers, looks at me and then gestures / By pushin' my hand away to my chest, from hers”. His detractors may say Mike Skinner is nothing but a loutish chav, but ‘Dry Your Eyes’ should be part of his application for Poet Laurete. (CL)

12 Jul 2004
Eyeballkid’s Single of the Week
Clinic ‘The Magician’ (Domino)
Clinic return with the first single from their forthcoming album, ‘Winchester Cathedral’. Singer Ade Blackburn mumbles like a cross between Shane McGowan and Thom Yorke, while a guitar riff acts an incessant siren over the claustrophobic, yet jaunty rhythm section. Like all good magic this is compelling, intriguing and just a little spooky. (CL)

The Beta Band ‘Outside’ (Regal)
Further evidence of The Beta Band’s rehabilitation ‘Outside’ is a tumultuous barrage of barking dogs, digital squeals and rumbling rhythms. Brash, loud and full of confidence this is still probably not quite as good as it thinks it is. (CL)

Morrissey ‘First of the Gang to Die’ (Attack)
Second good single from his patchy ‘You Are The Quarry’ album sees Morrissey back in familiar lyrical territory. The ideal of a glamorous East End gangster who “stole from the rich and the poor / and the not very rich and the very poor” is again lauded, as so often in his solo career. Less familiar is the Suede like soundtrack crammed full of Butler-esque guitar licks. He may be a belligerent recluse but Moz can still produce a pop gem when he needs to. (CL)

Snow Patrol ‘Spitting Games’ (Polydor)
Snow Play are back and this time not sounding like their Chris Martin-led mentors at all. Here they find some jangling guitars and go all Nordic pop. Much better than any of their previous dreary singles, this is The Wannadies with Irish accents. (CL)

Sophia ‘Holidays Are Nice’ (City Slang)
While not quite an indie version of Cliff Richard’s ‘Summer Holiday’, their latest single does see Sophia in unusually upbeat mood. A re-worked version of the track that appeared on their ‘People Are Like Seasons’ album, ‘Holiday Are Nice’ is pleasant in a conventional acoustic pop kind of way. More Brighton rock than Mount Rushmore. (CL)

05 Jul 2004
Eyeballkid’s Single of the Week
Republic of Loose ‘Hold Up!’
(Big Cat)
Confirming their status as the funkiest Irishmen since, well, since ever, Republic of Loose release another sublime cut from their brilliant debut album, ‘This Is The Tomb of the Juice’. ‘Hold Up!’ features a funky guitar riff so tight it hurts and a stomping bass line that allows Michael Pyro to unleash his in-your-face lyrics in a voice part Jon Spencer howl, part Dr Dre drawl. It’s rock’n’roll, it’s hip-hop, it’s James Brown in tracksuit bottoms and he’s trying to steal your car. (CL)

Fiery Furnaces ‘Single Again/Evergreen’
(Rough Trade)
All the fun of the fair with this double-A side from brother/sister duo Fiery Furnaces. ‘Single Again’ is a deranged merry-go-round blues number about spousal abuse and death that manages to be both jaunty and terrifying at the same time. ‘Evergreen’ is less strange but still manages to sound like The Carpenters gone electro. Another interesting and rather excellent release from the Friedberger family. (CL)

Hives ‘Walk Idiot Walk’ (Polydor)
The Hives are a more likeable The Vines. Both are prone to loud, idiotic rock though The Hives couch theirs in multiple layers of irony and self-effacement. Once again supposedly from the pen of their mentor and manager, the probably apocryphal Randy Fitzsimmons, ‘Walk Idiot Walk’ is your typical Hives rock belter, though the joke is wearing a little thin. (CL)

Max Sedgley ‘Happy’ (Sunday Best)
Some cracking funky breaks with a sweet horn riff that builds like the initial promptings of a car chase (you know, a little bumper to bumper action, some threatening looks) before eventually deciding to simply cruise through the cooler parts of town with the hood down. Like Bullitt played for laughs. (CL)

Taz ‘Can’t Contain Me’ (Def Jam)
As co-producer of Dizzee Rascal’s hit single ‘Just A Rascal’, Taz already has an Ivor Novello nomination under his belt. This attention has brought him his own recording deal and ‘Can’t Contain Me’ is his debut single for renowned hip-hop label Def Jam. It takes the quirky electronica of Missy Elliott and smears it with Grime –the latest underground musical style doing the rounds. The dirty, insistent beats propel his clear vocal style along in a hypnotic fashion and if Taz is the man to bring Grime to the mainstream, this could be the track. (CL)

28 Jun 2004
Eyeballkid’s Single of the Week
Eighties Matchbox B-Line Disaster ‘I Could Be an Angle’ (Island)
Latest release from the Brighton-based band, ‘I Could Be an Angle’, when not sounding like Queens of the Stone Age is a demented Bad Seeds -esque piece of rockabilly gothica complete with dischordance and chainsaw noises. B-side ‘Ice-cream’ is much less charming unfortunately. (NM)

Deeyah ‘I Saw You’ (Brainwash)
Widely touted as the Asian J-Lo, Deeyah is actually a native of Norway and her Indian roots are strictly kept for the remixes. ‘I Saw You’ is part feisty 'Independent Woman', part Britney, whose production shows definite nods towards Neptunes. Not that original, not that good. (CL)

Kidda ‘The Shoe Cash EP’ (Catskills)
Kidda is usually a graphic video artist (check out www.kiddamusic.com for some of his cool animations) but now he’s making his own soundtracks for Brighton’s Catskills label. ‘The Shoe Cash EP’ takes hip-hop as it’s basic starting point but delves deeply into soul and funk. ‘All That I Can Be’ is the kind of sunny side up soul that fast food chicken restaurants have been digging from the archives of late, ‘Fire’n’Steam’ is pure Curtis Mayfield, while ‘Hey Y’all’ is an angelic, flute-based anthem. If it all sounds derivative it’s because it is but Kidda manages to invest the tracks with such passion it scarcely matters. (CL)

Modest Mouse ‘Float On’ (Epic)
For about one minute of this single from American indie outfit Modest Mouse it’s like Talking Heads have returned to rule the musical roost again, but then the chorus drifts in and carries all your interest off like a helium balloon on a gentle breeze. MM have been around in the States for a number of years now but this is unlikely to be the making of them over here. (CL)

Ryan Adams ‘Wonderwall’ (Lost Highway)
Ryan Adams takes Oasis’ hit and adds his own mournful and croaky twist. I suppose it’s a tribute to the song that it has been covered so many times already but like dragging ‘Yesterday’ out for another airing, it shows a real lack of imagination on Adam’s behalf. Not as good as the Mike Flowers version either. (CL)

21 Jun 2004
Eyeballkid’s Single of the Week
Mellow ‘Drifting Out of Sight’ (Atmospheriques)
Paris based duo Mellow live up to their name with a lush, string-filled track whose fuzzy guitars and gentle vocals make you feel like a night in front of the fire –no bad thing given the crappy weather outside. No doubt it will shortly be ruined when a bank or insurance company get their hands on it to sell their odious products but until then just enjoy the snug feeling. (CL)

Belle & Sebastian ‘Books’ (Rough Trade)
This is a double A-side release from Belle & Sebastian's 6th studio album. Now signed to Rough Trade, the production values have increased noticeably with Trevor Horn producing ‘Wrapped Up in Books’. The better track ‘Your Cover's Blown’ is an interesting listening experience if only for the "Name that tune" factor - the melody ranges from sounding like Neil Diamond to Steely Dan to any two-a-penny 60's UK pop band –which may be your particular cup of tea but distracts from the song itself. Lauded as indie heroes in the UK and beyond, Belle & Sebastian always seem to fall just short of the mark and lack the je ne sais quoi to graduate to superhero status. Less quirky than Badly Drawn Boy, and less melodic than Teenage Fanclub in their heyday, nonetheless the devotion of their fanbase has ensured their survival to date. (NM)

Lucky Jim ‘You’re Lovely to Me’ (Skint)
From Bob Dylan to David Gray, Lucky Jim wear their influences on their sleeves. A lovesong for crooning around the campfire, this track from their debut album ‘Our Troubles End Tonight’ is a pretty whimsical number. "You glitter like sand as it runs through my hand to the sea" just one example of a line that is crying out to be sung by Robert Zimmerman III. Singer Gordon Graham even manages a touch of a croak here and there. Coming to an emotional TV drama make-up scene near you soon. (NM)

Magnus ‘Summer’s Here’ (Anti)
Ex-Deus front man Tom Barman provides an intriguing and commendable soundtrack to a film he has apparently both written and directed all by himself. Part Stereo MCs, part Air, the track is an atmospheric odyssey into evocative electro lounge. (SM)

14 Jun 2004

Eyeballkid’s Single of the Week
The Concretes ‘You Can’t Hurry Love’ (Licking Fingers)
Wonderful blast of psychedelic pop from Swedish eight-piece The Concretes. Swirling organs, sharp horn blasts and some wonderful echo-y production make ‘You Can’t Hurry Love’ sound like it was recorded on acid, while the vocals are reminiscent of Nico, but in tune. But beneath all the retro cool lies a beautiful melody and a wistful melancholy that can bring both a smile and a tear to your face. Need we say more. (CL)
Listen to ‘You Can’t Hurry Love’

Damageplan ‘Save Me’ (Elektra)
Download only single from a new metal band formed from the ashes of Pantera. ‘Save Me’ has a riff as big as English expectations before an international football tournament, and it’s as predictable as the rapid shattering of said dreams. The only cup Damageplan will see this summer is likely to be full of piss. (CL)

I Am Kloot ‘Proof’ (Echo)
Sparse acoustic affair, more like simple beat-poetry than rock and roll. Mellow and melodious, Johnny Bramwell’s plaintive Manc drawl adds some depth to the proceedings, but at the end of the day…poetry kinda blows. (SM)

Pink Grease ‘The Pink G.R.Ease’ (Mute)
Evidently, Britain’s fascination with novelty pastiche bands continues apace. Sheffield’s Pink Grease are only the latest contenders in a long line of otherwise useless burkes trying to boldly go where only Weird Al Yankovic had gone before (See also: Electric 6, The Darkness). But it’s not all bad; Pink Grease actually have some good tunes. And this is one of them. Like a Rocky Horror version of The Human League, only with more saxophones. Indomitably catchy. (SM)

Razorlight ‘Golden Touch’ (Vertigo)
Likeable guitar-driven pop tune in the Brit Rock vein; inoffensive and only vaguely memorable. This is not going to set the world alight, but it might make a pleasant enough diversion as you wait for a pot of tea to brew. Something about a really hot girl who everybody moans about behind her back, ‘cause she’s, like…really hot and great. And those bitches are just jealous anyway. Libertines Lite. (SM)

07 Jun 2004

Eyeballkid’s Single of the Week