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Quick Review - SULK

Playing with elements of Shoegaze, Madchester, Britpop and psychedelia, London quintet SULK take you on a trip back in time by channelling the baggy feel of the Stone Roses while adopting the hazy whirrs of shoegazing bands like Ride while also reviving classic British song writing like that of The Verve, another band that have shown obvious influence on Sulk. Instead of letting the bands influences dictate their song writing completely, Sulk have avoided making weak imitations of their predecessors, concocting a smorgasbord of nearly all things 90s. Anthemic ‘Wishes’ serves as an example with its explosive chorus and celestial droning.

It’s clear this young band is aiming for a colossal stadium sound, and demonstrated by their releases so far, they’ve already reached their goal. 

SULK - Wishes.

SULK - Back In Bloom.

http://www.sulktheband.com/w/

Review: Touching From a Distance

Deborah Curtis’s ‘Touching From a Distance’ firmly flings open the doors to the Ian Curtis and Joy Division story, revealing the harsh reality that had once laid silently beneath the heavy weight of contrived myths of a dead hero and idol.  Curtis is able to give an in in-depth account of the life she led with Ian Curtis; a man worshipped by fans, profoundly honoured by friends, an enigmatic stage presence, but to her simply a husband and father to her child.

Although Curtis is careful not to romanticize the short life of her husband, it would be hard for the reader to not become at least mildly infatuated. Whether this is down to one’s personal perception it is unclear, for Ian Curtis’s fascination with death is fascinating in itself.

‘Touching From a Distance’ documents Ian Curtis’s difficult marital life yet still includes information from other sources such as Stephen Morris, Peter Hook, Bernard Sumner and Tony Wilson who all tell of their own relationship with the late Ian Curtis. At some points the biography can seem slightly bitter and biased yet still recounts events while bravely expressing the highs and lows of the life she lived before Curtis unfortunately took his own life on 18^th May 1980.

This is a well written, truthful insight into the life of an idol. Looking further beyond status, this is a biography written by, in the words of Ian Rankin “the only person qualified for the job”. Instead of leaving the reader in awe and inspired by the emotionally complex life of a dead rock star, Deborah Curtis makes it clear that it's not an ideal for living.  

The Best Tracks Of 2011.

*Disclaimer - This has been written in my opinion so may not reflect your views. Purely written for entertainment purposes. Enjoy. The Order is not fixed.

10. Smith Westerns - Still New.

Cutting back on distortion and reverb so that their lyrics are actually easy to decipher, the Smith Westerns came back this year with Dye It Blonde.  Even though you may tire of lo-fi garage indie rock, Smith Westerns tastefully display their love of fuzz by applying it to the wailing guitar in Still New which contrasts well with Cullen Omori’s delicate singing voice. The angst fuelled bursts of guitar definitely make Still New a memorable song from 2011.

9. Kurt Vile - Baby's Arms.

Baby’s Arms is the sort of song, that listened to after a disaster will have you crying on your cat. The soft plucking of acoustic guitar strings is accompanied by Kurt's gruff croon. With an almost “dreamy” sound and simple honest, innocent lyrics Baby’s Arms perfectly displays Kurt’s song writing ability, distinct voice and love of folk.

8. Kasabian - La Fee Verte.

Kasabian take a calmer, darker approach to  La Fee Verte, a song with a pounding repetitive beat that even though is very simple, fits in with the melancholic feel of the song. At first, La Fee Verte starts with moody lyrics perfectly accompanied by faint, high pitch harmony. Even though the dark feel of the song is still kept intact, La Fee Verte progresses into what sounds like a chorus for the damned with lyrics like “so just send me down the river”. Despite the depressing feel, La Fee Verte still manages to sound strangely uplifting. A contrast that works perfectly.

7. Miles Kane - Come Closer.

Even though the alluring, seductive sound of Come Closer isn’t quite as subtle and understated as it should be ,so that it’s used to best effect.  Miles Kane’s Come Closer is definitely a hit with many, due to it’s call and response sound. With sharp guitar and a solo that hooks in the listener. If it was Miles’ ambition to create something that sounds suave and smooth, he has achieved his goal. The verses lead into an eruption of ferocious “arhhs” and “woahs” then back into the alluring calls of Miles accompanied by a simple yet catchy drum beat.

6. Yuck - Holing Out.

With a solid debut, it’s impossible to see how Yuck are not receiving the same commercial success as bands such as The Vaccines.  Holing Out’s a shoegazing, distortion drowned gem of a song. With wailing guitar and droning lyrics, nothing screams 90’s indie rock louder than Yuck. With melodys so powerful they could pin you up against the wall and a simple guitar solo that bleeds out pure angst but still manages to keep it’s indie pop feel. Holing Out is definitely worthy of the congratulation it deserves.

5. WU LYF - We Bros.

  WU LYF are a band shrouded in anonymity. Refusing to be signed, and releasing breakthrough debut album Go Tell Fire To The Mountain on their own label LYF Recordings. These mysterious Mancunians have brought something fresh, new and exciting to the music world, demonstrated in the anthemic We Bros with the chant “We bros you lost man, we bros so long, put away your guns man, and sing this song”. We Bros is growled into the mic by frontman Ellery Roberts delivering the sound that defines the band that label themselves as “Heavy Pop”. WU LYF are the perfect demonstration of fresh, exhilarating, cinematic indie rock that music lovers have been so desperate to hear.

4. Arctic Monkeys - The Hellcat Spangled Shalalala.

As if the Arctic Monkeys were unable to create anything that would not be worthy of praise, they succeed again with 4th album “Suck It And See”. Alex Turner plays with words, moulding them into something beautifully poetic such as “Her steady hands may well have done, the devils pedicure” or “She flicks a red-hot revelation off the tip of her tongue”. With what has been described by the NME as a “ringing marr-ish riff” and a grabbing bassline that sets in right from the beginning after the somewhat comedic "meow” of guitar it’s impossible not to love the ever so seductive The Hellcat Spangled Shalalala.

3. Noel Gallagher's High Flying Birds - If I Had A Gun.

With lyrics such as “If I had a gun I’d shoot a hole into the sun and love would burn this city down for you” you can’t help but see that lyrically Noel’s succeeded with the hauntingly moody track  that bursts with emotion showing similarities to Little by Little. If I Had A Gun starts with calm repetitive strumming that then explodes into a supernova of guitar and powerful vocals. Love him or hate him, there’s no denying that this perfectly demonstrates a new found maturity in Noel Gallagher's song writing.

2. Alex Turner - Piledriver Waltz.

The Submarine EP gave us just a taster of what Alex Turner can accomplish going solo. Not only did Turner record Piledriver Waltz for the Submarine soundtrack, it was also re-recorded with the rest of the band giving it a slightly edgier sound. Though the different versions are not too dissimilar,  the calmer Submarine recording has a certain charm about it. Beautifully written,  both lyrically and musically.  Stripped down to only strings, guitars and vocals,  Piledriver Waltz is far from simplistic. With lyrics like “You look like you’ve been for breakfast at the Heartbreak Hotel, and sat in the back booth by the pamphlets and the literature on how to lose” Turner shows he still possesses the skills to turn something simple into  poetic beauty showing a new found maturity in both his voice and lyrics.

 1. The Horrors - Still Life.

Still Life would be a somewhat obvious choice to be in a “Best Tracks of 2011” list, and rightly so.  Still life channels a krautrock sound while frontman Faris echoes with a rich voice “When you wake up, you will find me”. Still Life is the perfect example of transcendental, psychedelic, shoegaze tinged indie rock. Laced with constant whirring and the tasteful use of a synthesiser Still Life is far from tacky but in fact a marvellous creation from The Horrors.

The Stone Roses Reunion Confirmed.

We never thought it would happen, The Stone Roses never thought it would happen, but it definitely is happening.

The Stone Roses, who were responsible for being one of the pioneering bands in the Madchester movement, have finally decided to resurrect the band responsible for a debut that can only be described as a masterpiece.

The Stone Roses "I am the resurrection"

On the 18^th October 2011, at around 9am all four original members of The Stone Roses attended a press conference concerning the rumours surrounding a long awaited reunion.  Ian Brown, John Squire, Gary 'Mani' Mounfield and Alan 'Reni' Wren have announced two very special Manchester shows to kick off their “extensive” world tour.

The concerts will take place at Heaton Park on Friday 29^th and Saturday 30^th of June next year. Even though former childhood friends, Squire and Brown have been in a long lived feud since Squire quit The Roses in 1995, the reunion has been confirmed today at a press conference.

Squire always seemed completely against the resurrection of the stone roses, posting a piece of metallic artwork with the words “I have no desire whatsoever to desecrate the grave of seminal Manchester pop group The Stone Roses”. John Squire had also stated before “I'd rather live my life than attempt to rehash it”. He then continued to say “Even if Ian and I were still double dating as we did in our teens then the prospect of a reunion wouldn't interest me at all.”

 Ian Brown, with a fairly successful solo career, shunned the idea of a reunion, appearing to be less than keen about the idea. Stone Roses bassist, Mani, has since been a member of Primal Scream, seeming preoccupied, but has decided to leave Primal Scream to follow his dream of being part of The Stone Roses again.

Drummer Reni, who has stayed out of the public spotlight, responded to rumours published by The Sun with a cryptic message reading “Not before 9T will I wear the hat 4 the Roses again”. The 9T was first interpreted as the age of 90, but was infact a red herring. The message was translated to “Not before 9 on Tuesday. I will wear the hat. The roses are 4 again”. “9 on Tuesday” referred to the time and date of the press conference and the “roses are 4 again” meaning all four original members were to be reunited.

When Squire was questioned about the artwork he had created, rejecting the prospect of a reunion, he went on to say. “Well everything changed when me and Ian started seeing each other again” he continued “we went from crying and laughing about the old days to writing songs in a heartbeat.” All four members appeared enthusiastic with Ian Brown proclaiming “our plan’s to shake up the world”

Many fans have been questioning whether a reunion is a good decision, as it may “destroy the bands legacy” by putting out new material. Brown responded with “We’re not here to destroy anything y’know it’s as precious to us as what it is to somebody who’s been following us for years.”
So after 15 long years the long awaited reunion is finally here, The Stone Roses Heaton Park tickets will go on sale at 9:30 Friday the 21^st October online.

Listen to an extract here of the reunion press conference:

Yuck.

Out of the midst of the ever declining talent from the 21^st century, springs up a fresh new act going by the (somewhat distasteful) name of Yuck. Fronted by Cajun Dance Party’s Daniel Blumberg and Max Bloom, from what sounded like a conventional, unremarkable, whiny kook-y type indie pop band has emerged a 90’s shoegazing revival in the form of Yuck.

Possible shoegaze revival? This is a sign!

Given the fact that Yuck have taken undeniable influence from pre-grunge acts such as Dinosaur Jr makes it impossible not to see that this young band are shamelessly recycling the sound from the shoegazing era of around two decades ago. With howls of feedback and reverb mimicking those of predecessors The Jesus and Mary Chain and with melodies and guitar that resemble the work of Sonic Youth, Yuck are breathing air back into the ever fluctuating lungs of transcendental pop.

Despite the obvious influence Yuck are under, it would be somewhat idiotic to dismiss and bypass this young new band. Even though they might be as derivative as can possibly be, there is no denying that Yuck’s powerful, remarkable melodies are in no way inhibited by the dissonant feedback and rich howls of guitar which actually contrast well with Yuck’s razor sharp melodies.

There is no denying that they have a lot ahead of them after an appearance on Jools Holland and releasing self titled debut album Yuck. With a debut so sophisticated it’s hard to believe that Yuck have only been together for around 2 years; you could only assume that this band have had years of experience. After playing on the John Peel stage at Glastonbury and Radio1/NME at Reading and Leeds this year, Yuck can expect a whole new fanbase and following, there’s nothing this band can do but grow.

Yuck Radio 1 Session from June 23, 2010: