Happy Birthday GoldFlakePaint

As many of you probably know, I write for a music ‘site called GoldFlakePaint. Today is their 3rd birthday.

There’s an unlimited amount of music blogs/websites out there and finding a consistently decent, reliable, and enjoyable one can be a challenge. Luckily, GoldFlakePaint are there to tell us all what’s new, exciting and worth spending our precious pennies on. You might consider me bias, as obviously I write for them, but I couldn’t be prouder to be involved in what they do, because it’s genuinely brilliant.

On top of that, they’re now also hosting events, like a recent film night with a set from Scott Hutchinson of Frightened Rabbit (Kissing In Cubicles).



In an age where music writing is done by so many, quality is no longer a guarantee, but the fact a webzine like GoldFlakePaint can last this long shows that there’s hope yet.
Long may it continue.

Some of my contributions to GoldFlakePaint

First Listen // Sailplanes ~ We Are An Industry

 Read on Goldflakepaint

An important component of any good band is a clear sense of certainty in their sound. It’s no good listening to something that’s confused, or as a result of an uncertainty, seems like it’s chosen to be boring instead (although I should be clear – that doesn’t mean I don’t enjoy the sound of band experimenting or trying something new). This requirement is exactly why the new EP by Sailplanes is something of a gem. Only three tracks long, it’s hardly going to tax your ear or your time. But with a solid, comfortably delivered sassy sound it’ll be an enjoyable ten minutes of post-punk, with female vocals that are distinctly reminiscent of the excellent Life Without Buildings.

There’s a definitively relaxed feel to their cheery, noisy, jangly tunes and, on The Fox, some lovely girl/boy vocals from vocalists Stacey and Tim. “Blue, grey-green eyes” they sing, in a lovely medley of sound. The effective use of boy/girl vocals is rare outside of twee music and is something to be valued.
 
Sailplanes sound great and fun, and if you’re looking for a pleasant, charismatic, engaging listen, then look no further.

bandcamp

Album Review // Sfumato ~ These Things Between…

Read on Goldflakepaint

Describing himself as a “drummer who decided to sing an album of songs which I sing with myself”, Sfumato (actually named Daithí Ó hÉignigh – Sfumato is a painting technique used by Da Vinci), has created a blissful, elegant album. Dodging between vibrant, joyous choruses and soft ballad like moments, tinged with a delicate melancholy. It gently winds its way into your brain,where it’ll quietly stay put.


The use of violins hints at folk influences, but avoids the trap that many bands often fall into of using this as an excuse for a very simple, basic (and boring) song structure. Instead, the strings add a harsher edge to otherwise sweetly melodic moments. ‘Pound’ features some spectacular illustrative drumming, “pound goes my heart” Ó hÉignigh sings, followed by a thumping beat that brings to mind Slow Club’s latest record, with its distinctive drumming. Exquisite, soft female vocals hide underneath O hEignigh’s own rich voice, occasionally coming to the foreground to great effect, such as on ‘Fly To Me’ and‘Song To Myself’ – which also features some truly sublime saxophone; a hint of smoky jazz clubs and melancholy improvisation leaks in, fitting perfectly with the carefully strummed guitar.

‘These Things Between stands out because it’s a clever album. There’s almost always strong melodic interest and it’s constantly surprising. Even the sampled crow noises at the beginning of ‘Pound’ avoid sounding clichéd or ridiculous, instead somehow being exactly what is needed to ease out from the faster pace of ‘Fly To Me’. It’s an unusual album at points but certainly never even close to un-listenable, instead it becomes vibrant and exciting. Sfumato are certainly a band to keep an eye on.

Review // Nosferatu D2 ~ Live At The Spitz

 Read on Goldflakepaint

Everyone is familiar with the particular kind of sadness that comes when a band you love breaks up, the gigs you’ll never get to experience again, the thrill of a new release that will never happen. So it follows that there’s probably nothing worse (musically speaking anyway) than discovering an incredible band, after they’ve split up. In the case of Nosferatu D2 we were all somewhat on the backfoot to start with, as their incredible album ‘We’re Going To Walk Around This City With Our Headphones On To Block Out The Noise’ was released two years post-humously. It’s thanks to the efforts of the excellent record label Audio Antihero that you can hear them at all. You’d be forgiven for thinking that with basically all ND2’s recorded music having been released and no intention of reunion that there’s nothing more left for ND2 to five, but in typical AAH fashion, almost magically they’ve produced a new release.

It’s a live recording of ND2’s last ever gig, supporting Los Campesinos! and Sky Larkin. Described as a “DIY” recording, you might be expecting something fuzzy and unlistenable, but that’s not the case at all. Remastered by Benjamin Shaw (of ‘There’s Always Hope There’s Always Cabernet’ fame) this album captures the messy power that gives ND2 such a charisma and pull. Crashing cymbals, emotive vocals and some truly unbelievably good drumming, framed with the occasional mumbled “cheers” and the audience’s reactions. There’s also a track not on ‘We’re Going To Walk Around…’ called ‘A Man At War With Himself’ which is fast paced, furious lo-fi indie at its best and shows just how good ND2 really are/were.

What was always my favourite song of the album ‘Flying Things And Pests’ is brought somewhat further to life than the album version. With the barely audible murmurs of the crowd adding some great atmosphere and the dark, honest lyrics giving extra punch – which combined with lead singer Ben Parker’s vocals, quivering with feeling, create something really special. Parker achieves a particular kind of honesty and wry humour with his clever way with words, the opening lines of ‘2 People, 0 Superpowers’ embodies this talent “a heart with no soul is just offal, and a soul with no heart is something I don’t wanna talk about today”. Lines like this, and the gloomy descriptions of everyday life are widely applicable in that very specific way that can lead a band to real success, but more importantly create music that really means something.

This live album is partly a way to discover just how good ND2 were, but nostalgia and hindsight aside, it’s a very good listen in its own right. Seeing a band live is often a good way to refresh music that you’ve over-listened to, and if you’ve been suffering (as I have) from having only ten ND2 songs to listen to, ‘Live At The Spitz’ is the perfect way to re-engage with the band. But that’s not to say that it’s only for ‘fans’ of ND2, it will lead new listeners to discover a truly vibrant and enjoyable band.

Album Review // My Tiger My Timing ~ Celeste

 Read on GoldFlakePaint

Named after a song by composer, singer, musician and disco producer Arthur Russell, My Tiger My Timing have been a few years in making their first album. The band formed in 2008, although this album is (self-) released on their label Snakes and Ladders Records, which has been going since 2005. Given this, you might be expecting something lo-fi or DIY. Not the case at all. MTMT make gleaming electro-pop, gloriously free of the standard dubstep breakdown that pollutes a lot of poppier indie dance music at the moment.

There’s a driving, rhythmic beat as the basis of almost every song, adding movement and an abundant feeling of joy. Third single, ‘The Gold Rush’, is a melodious blend of that beat and Anna Vincent’s sassy vocal delivery, bringing a darker element. There’s a catchy contrast between her swift and memorable delivery of “so near so far so happy you can join us” and the rising “ooh ohh ohh”s, underlaid with a swelling tropical guitar riff. The track becomes addictive and blissfully enjoyable; there’s something very unique and fresh about this album, clearly a band worth keeping an eye on.

Bands like Summer Camp and Class Actress are popularising an 80s nostalgia. MTMT also seem to draw inspiration from this, using it to make their sound distinctive and recognisable yet individual.

Demonstrating an understanding of the need not to make an album solely of cheerful sing-along tracks, ‘Celeste’ has its softer moments. ‘Memories Of Earth’ feels gentle, particularly after the thumping beat of ‘Honesty’, ending with echoing shouts that fade into laughter and that lovely guitar.
‘Celeste’ is appropriately named, it’s a heavenly mixture of ambient electronica, with hints of math-rock guitar and a sheer abundance and quality of vocal hooks you’d only expect from very good chart songs. Like the deceptively sweet looking girl clutching a shotgun on the front cover, ‘Celeste’ reels you in with sugary melodies and then ensures you won’t be going anywhere with an almost aggressively confident, darker layer.

Dear Reader - 'Idealistic Animals'

If you take a look at the title of Dear Reader’s second album Idealistic Animals and at the tracklisting you’d quite easily come to the conclusion that this album is heavily themed. Each song is named after an animal, with a sub-title in brackets. For example the first song is called FOX (Take Your Chances). This caught my attention immediately and had me anticipating my first listen a little more than I’d expected. I was a little concerned that it may become a metaphor heavy, difficult and unrewarding listen, however these clear themes aren’t at any point overpowering; it’d be fairer to say that it just gives you two ways to look at each song, which is a very interesting idea.


That opening track creates a powerful scene; Cheri MacNeil’s gentle voice describes being awoken by loneliness, which leads to her looking out a window at the night sky and the falling snow. She goes on to sing “this is the coming of the Lord,” but this is no praising hymn, she’s thinking about how “He’s not got to us yet”. It’s worth noting that ‘Idealistic Animals’ was written following MacNeil’s loss of faith after around twenty years of devotion to religion, saying she “chose to believe that I was an important part of a saga with a happy ending. Now I am aware that there are no tidy conclusions”. Once you’re aware of this, you begin to notice that the clear structure of the track listing and the balanced nature of the songs are still permeated by a sense of isolation and uncertainty – and, at times, fear. The soothing plucked guitar that opens ‘MOLE (Mole)’ soon drops back to the rise of the drums and the image of a lost mole making friends by colliding in dim tunnels, chosen by God, is a dark one....

Read the rest on GoldFlakePaint

Los Campesinos! - Hello Sadness

Wichita Recordings, Mon 14th Nov ‘11

It’s been said before that one of the reasons they command such a following is that many of their listeners have grown up listening to their music. I first heard Los Campesinos! in July 2007 in a field in Cornwall. Thanks to a friend and the best, free music podcast I’ve ever heard (indiefeed), I then spent the next few days of my holiday enjoying You! Me! Dancing! and We Throw Parties, You Throw Knives. The friend then took me to see LC! in 2008, since then I’ve seen them live many times and watched their music grow and change.
Lyrically, they’ve matured; Gareth’s metaphors have become even more vivid, visceral and dramatic. To Tundra elegantly creates a soft, romantic atmosphere with ease, different to the wordy lyrics of their first few releases. Although, in true morbid LC! fashion, it isn’t long before he’s slipping “down into pebbles and silt…and found the seabed the comfiest quilt”. The romantic summer’s day is left behind as he is almost howling, begging “take her body to tundra, just take me with you as well”. The eloquent extended, visual metaphors are one of the great things about Hello Sadness…..

Read the rest on GoldFlakePaint.co.uk