Tag Archives: Review

Album Review : Sweet Sweet Lies / The Hare, The Hound & The Tortoise

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If you were to trace the genealogy of the music I love, you can follow pretty much everything I listen to now back to a cassette I had in my youth back in the early nineties. It had two albums, one on each side, as was the way back when home taping rather than illegal downloading was killing the music industry. If you left the house you didn’t go with an iPod with forty or fifty albums, you went with the tape that was in your walkman. And if you didn’t get around to changing the tape that often, you ended up listening to the same albums over and over, which meant that the music left a very strong impression. On one side of the tape was Happiness by The Beloved, but this review has got nothing to do with that. On the other side was an album of alternative country-folk tinged indie, with clever lyrics, predominantly about breaking hearts and drinking. My first listen to the Sweet Sweet Lies album took me right back.

The passage of time hasn’t been especially kind to The Wonderstuff, whose album Never Loved Elvis (and consequently their other albums too) meant so much then and continues to mean a lot. Thankfully Sweet Sweet Lies have carefully skirted around some of the Wonderstuff’s biggest issues. Lead singer Dominic Von Trapp isn’t an a annoying gobshite like Miles Hunt, and since the nineties are long gone no one in their right mind would dream of dressing like a Grebo (I’ll let you google it) – the band have opted for the complete other end of the spectrum and dress in suits for their stage wear, making them a strong contender for the smartest band in town.

My second visit to The Hare, The Hound & The Tortoise gave me a completely different perspective. I’d had the album on repeat on my iPod and it started up two thirds of the way through. While openers Capital of Iceland and Overrated Girlfriend might have given a first impression of a band of upbeat fiddles and guitars, and Winter of Discontent hints at more flamenco / mariachi direction with it’s trumpet and Spanish guitar, there’s a lot to be gained by sticking around to listen to the rest of the album too, where genres – square pegs trying to fit into round holes at the best of times – drip away to reveal songwriting in the classic style. Tracks like No-one Will Love You (Like I Do) and Too Drunk To Love are more likely to recall The Divine Comedy or Gene, both in their vocal style and intelligent lyrics (in fact, Sweet Sweet Lies supported Martin Rossiter on a recent solo tour). Singing duties are split between the two songwriters Dominic Von Trapp and Michael Hayes, with Dominic’s distinctive style, more crooner than modern pop star, making you truly believe that he would readily drink you under the table then steal your girlfriend.

The high quality of the songwriting as well as the consistency, strength and dark humour in the imagery in the lyrics throughout put Sweet Sweet Lies not just head and shoulders above most other bands in Brighton, but everything else that’s on offer too. This is an incredibly accomplished debut that the band should be truly proud of.

The Hare, The Hound & The Tortoise by Sweet Sweet Lies is out now on Something Nothing Records, and the Brighton launch for the album is at the Jive Monkey on Steine Street on 24th February.

Album review : The Galleons

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When I wrote about The Galleons a few weeks ago after they played at the Brighton Folk night at The Brunswick, they were just waiting for their album to come back from being pressed. Now it’s arrived and ready to be heard by the world.

The Galleons eponymous debut long player is a warm, gentle folk-pop excursion. Over the course of a dozen tracks Ben Brockett and Beth Chesser harmonise and swap melodies over electric and acoustic guitars and pianos, reminiscent of Tunng but without the quirky electronica. Opener “The Eagles on your Eyelids” is one of the best showcases for Viktoria Mutore’s piano, which runs throughout the album, setting their sound apart from so many folk bands who stick to guitars.

The whole band play on all of the tracks, and I can’t help thinking that perhaps every now and then a more minimal stripped approach might have helped, giving a less-is-more quality to some songs, and giving the whole album a bit more colour.

This is a minor gripe though, and there is variety across the tracks, from jaunty up beat numbers like The Lion’s Den and Happy as a Lamb, to quieter tracks like The Moon & The Gate and closer Seven Hours. If you want to hear more, their next gig is at The Hydrant on Wednesday 14th March. There’s a taster of a few of the tracks on their website, where you can also buy the album.

Sweet Sweet Lies five star album review / Brighton Launch

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Fresh from receiving a four star review in Uncut for their new album The Hare, The Hound & The Tortoise, and the London album launch last week, Sweet Sweet Lies have score a five star review in The Independent, courtesy of fellow Brightonian Simon Price. Well done!

We’ll be reviewing it ourselves once we’ve got our hands on a copy. It’s out in the shops next Monday (February 20th), and they’re holding hometown launch on Friday 24th February at The Jive Monkey on Steine Street (formerly Om Bar).

If you need a fix of Sweet Sweet Lies before then, here’s their latest video for The Day I Change:

Juice New Music Night with The Bobby McGees, Native Roses and Moya

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It takes a lot to persuade people to come out on a freezing January evening, so Juice pulled out a few stops for the first New Music Night of the year. Opening act Moya released her acoustic debut EP last year – I posted the video of her covering Primal Scream’s I’m Losing More Than I’ll Ever Have the other week. Apparently she’s in the studio at the moment, in a room next to Wiley, who’s interested in a collaboration of some sort! Vocally, Moya’s a less annoying Duffy – earnest singer songwriter stuff. She had another musician onstage, sitting behind a drum kit, but next to a keyboard, and who obviously fired off a lot of the backing tracks. Meanwhile Moya stood out front without even a guitar to hide behind, so she made do by wearing a big brimmed hat, making it near-impossible to see her eyes.

Moya

The second band of the night were Native Roses, whose website claims that they’re “a troupe of young bohemians”. In reality they’re an indie rock band, most notable for the band member who left when she got her own record deal – the drummer’s sister is Birdy, who made waves early last year with Skinny Love. Without her, they’re still a band worth looking out for though.

Native Roses

Headlining were the Bobby McGee’s, who are a band who could only really exist somewhere like Brighton. As much cabaret as music, with a dark, dark streak that runs through them, but at the same time a veneer of wide eyed innocence. Twee-core, they call it. You may have seen the Bobby McGee’s around town before but not as you would have seen them last night. The story is that Jimmy McGee was talking to someone at Jazz FM, and somehow ended up telling them that he had a Swing Band (he didn’t), and consequently got this non-existent band booked for a Jazz FM Christmas Party. The band had to move quickly, and have bolstered their members, and last night brought along a troupe of swing dancers. (note to Native Roses – that was what a troupe really looks like!). In their set which barely lasted three quarters of an hour, they rattled through dozens of songs, each of which showed a different side to their wit and charm.

The Bobby McGee’s

Rob’s Sea Monsters Diary part 5, 27th January 2012

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Sea monsters just keeps getting better and better. Tonight’s gig was amazing. Quite possibly – and I know it’s very early to start using these words – gig of the year. Strong words, I know.

First up were DA-10.DA-10 stood out because they were the first band I’ve seen so far (except Robert Stillman) not to rely on guitars at all, and the only band on the whole bill of Sea Monsters to make dance music. Picture a slightly more chilled out Daft Punk, with the bottom end of their sound enlightened by the kind of filthy noises made since the advent of dubstep and fidget house.

DA-10

Next up was Speak Galactic. Our paths had crossed briefly several weeks ago, when they supported Laetitia Sadier at the Green Door Store. They were incredibly loud though, and I was meeting a friend, so I stayed in the bar. I should have gone and investigated though, because it turns out that Speak Galactic were one of the most interesting bands on the Sea Monsters bill so far. Owen Thomas, who effectively is Speak Galactic (there’s a drummer too, but you can see all the amazing ideas are coming from Owen), played on tuesday night as part of Cinemascopes, and I noted that it was him who elevated them above a normal band. On his own, the ideas are flying out everywhere – songs skip around genres and technology is pushed to the limit. I was incredibly impressed. If this guy isn’t a superstar in the next twelve months, then there’s something wrong with the world.

Speak Galactic

Then came Nullifier, whose lead singer was Speak Galactic’s drummer. One of their keyboard players was playing last night in Negative Pegasus. In fact, all of the band members seemed have been playing in other gigs in Sea Monsters. There were seven members in Nullifier, which proved (for them at least) to be too many to fit onto the stage. So the singer, a bassist, and the guitarist performed out in the audience (leaving two keyboard players, a drummer and another bassist onstage). Which made the photography challenging to say the least.

Nullifier

And last of all was Restlesslist, who were an absolute triumph. Where other bands came and played sets, Restlesslist transformed the Prince Albert into another world. And while they might have been headlining a night a Sea Monsters, they would have been equally at ease headlining a stage at Glastonbury. The band – all six of them – were accompanied on stage by an eye patch wearing Mark Campbell, who between songs narrated a psychedelic story involving dogs in hats, shapeshifting beauties, and volcanic eruptions. Between his words Restlesslist effortlessly skipped around pretty much every genre in the textbook – Rock, pop, musical, krautrock, calypso, you name it. If any other band over the next two days managed to beat this performance, then I’ll be amazed.

Restlesslist

Rob’s Sea Monsters Diary, part 3 25th January 2012

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A quick round up of Day 2 of Sea Monsters 2 then. Where yesterday was folk with a twist, today was very much an indie day.

Proceedings were kicked off by Tyrannosaurus Dead. The blurb in the program said Dinosaur Jr and Sonic Youth, but my ears heard The Pains of Being Pure at Heart, who in the past few years have done a tremendous job of distilling so many of the great guitar indie bands of the past twenty five years. This is by no means a criticism, and I thoroughly enjoyed their set, even if I was a little distracted by the singers visual similarity to a young Buddy Holly. Or maybe he’s just wearing hipster glasses and I’m now old.

Tyrannosaurus Dead

The second band of the night were Soft Arrows – sonically, they’re a rockier version of shoegaze, but the setup of the band was akin to the White Stripes – just drums and guitar. Either they were trying to be arty, or they hate photographers, because the only light on stage came from a single light bulb at the guitarists feet. They’re going to have to try harder than that for me to not get the shot I want!

Soft Arrows

Then we had kraut rockers Cinemascopes, who were fantastic. There’s not nearly enough krautrock around in my opinion, so it’s good to see another Brighton krautrock band, who aren’t treading the same steps as Fujiya & Miyagi. What elevated them about most groups who pick up guitars and make motorik music was the guy to the left of the stage, who spent most of the set kneeling down doing interesting things with loops and samples who defied the male dress code of the evening (skinny jeans, smart shoes, and either a check shirt or a t-shirt bought from M&S) with his hoody and baggy jeans.

Cinemascopes

Last band of the night were Fear of Men who while they weren’t doing anything especially different to any of the other bands of the night, did so effortlessly and sounding amazing. There was something about the way it all came together – how good the guitar sounded, how much of a better front person Jess was than those leading the other bands, how much more accomplished the songs were, which proved why Fear of Men were the worth headliners of the night.

Fear of Men

Sweet Sweet Lies Christmas gig at the Haunt

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When is a headliner not a headliner?

For the gig I went to this evening, the answer could be that the listed band were on early, at  8.30pm. Or it could be that all three bands on the bill could easily be headliners in their own right. I’m quite sure I’ve probably seen all three of these bands headlining their own gigs over the past couple of years. The gig itself was only a fiver – which would be a bargain to see any of these bands, let alone all three, but it wasn’t until I arrived that I realised that also included a shot of Tuaca in the bargain too. Bonus!

First up were Kovak, on criminally early at 7.30. But what a great way to start – they’ve honed their electro pop over many gigs in Brighton over the past few years, and now know exactly how to get things warmed up. They even threw in their cover of Atomic which they’ve been playing the last few times I’ve seen them.

 

Next up were the band billed as headliners – Sweet Sweet Lies. After a few technical hitches with the keyboards, they kicked off their classic brand of guitar led pop. They’ve been secretly working hard since the last time I saw them a couple of years ago, and now everything seems even more polished and professional than ever. Like Kovak, if things go their way, they could be headed for big things.

 

Finally, we had Mean Poppa Lean. It’s impossible not to like Mean Poppa Lean. Even if you don’t like funk, you can’t help but be seduced by their silliness, their outfits, and the fact that they’re just a great band. So it’s best just to join them in their fun. It only took them a couple of songs before pretty much the whole band were just stripped down to their crazy home made pantaloons / boxer shorts. And that’s probably why they were put on last!