Jamie Lenman: The Garage 10/12/2013

There are two types of people in this world, those that have heard Jamie Lenman and those that haven’t. And either way you’re a winner. For those of you that know Jamie’s catalogue you can sit contently in the bliss that you’ve been privileged enough to hear his songs, and on the other side you’re able to hear his music for the first time and experience a musician that is inspiring, original and most importantly sincere. Here’s why, if you sit in that latter camp, you should take to YouTube, Xtra Mile Recordings’ website or Jamie’s house to hear his sweet, sweet music.

Earlier this year Jamie returned with his first record since Reuben’s post-breakup compilation ‘We Should Have Gone to University’ and in celebration of this momentous moment decided a December tour across 7 days would suffice. In those 7 days Jamie hit up 6 locations, including London twice on the last 2 nights. If this was to be considered Jamie dipping his toes in the water he pretty much threw himself in full force, with the heart of a lion and the energy of a gorilla. Waves were made.

The last night

From off stage comes the sweet sound of someone strumming a ukulele. As we wait in anticipation the shadows begin to move and someone separates from the darkness. It is our man, our saviour, and our reason for being at The Garage on a cold Tuesday eve. As he breaks in to his singing stride the crowd grab hold and sing along, something that happened the majority of songs. A refreshing experience, both new and old Lenman songs were met with the crowd joining him in a melting pot of lyrics and soul. For an hour 300+ people were in sync.

After the ukulele fuelled ‘Shotgun House’ the band tear into some of their heavier songs from the first CD. ‘The Six Fingered Hand’ and ‘Fizzy Blood’ have the crowd breaking their necks to head bang at high velocity speeds. Once neck braces are securely fastened they’re being thrown off again as Jamie has a surprise in store, a Reuben song. For those of you not in the know, Reuben equals Jamies’s old band: awesome, humble, fun and loud. The opening track ‘No-one Wins the War’ from their debut ‘Racecar is Racecar Backwards’ lurches into gear with Jamie’s distinct guitar screech weaving between the drums. In only 15 minutes it is serenely clear that this gig will be filled with heavy moments, tender songs, interlude laughs and the occasional throwback to the Reuben years.

Next up was one of those tender songs, ‘I Ain’t Your Boy’, a charming and nostalgic acoustic about Jamie’s progression through the last 10 years. This song is one of the prime examples of Jamie’s writing talent, with an ability to capture a basic human experience, strip it bare and build it up again. If you know Jamie’s life, even just a little, it’ll hit you hard.

During the tour Nottingham’s Kill Chaos, a brutal hit of alternative rock, joined the band and clearly they’d become close over the 7 days. For ‘A Day in the Life’ Kill Chaos donned the staple shirt/waistcoat combo and joined in the pub sing-along between Jamie and the crowd.

It was soon back to the acoustic guitar and this time Jamie was performing another Reuben oldie, ‘Good Luck’. Then followed 3 songs from the second CD ‘Pretty Please’, ‘It’s Hard to be a Gent’ and ‘If You Have to Ask’.

The set was finished with a mix of Jamie’s heavier stuff from the first CD and some more Reuben classics. Final song ‘Shambles (long vers.)’ effectively brought the house down and it was clear from the noise that Jamie and co had done a memorable job of finishing the tour in style.

The Support

As already mentioned Jamie was joined on tour with Kill Chaos and although the crowd didn’t pile in as much as they deserved they still rocked their slot and left an impressive mark. Notable mention goes to the powerhouse drummer with a slender frame, who holds some ridiculously tight skill. The second support act was Leeds based Castrovalva. This was a tangle of bass and drums with lead singer Leemun Smith having fun with voice loops and ‘autobot’ accents. Although their first song seemed disjointed they soon snapped in to place and bassist Anthony Wright’s heavy grooves were a considerable highlight.

The conclusion

Unfortunately it is hard not to mention Jamie Lenman without thinking of Reuben. However, what has become clear from this performance is that he doesn’t shy away from his past; he embraces it when necessary and shows us that with time comes positive progression. Jamie, along with his support acts, is an incredibly humble guy just happy to be playing again and if you’re open minded about heavy rock, acoustic guitar, banjos and jazz then Jamie’s the guy for you.

'A Day in the Life' from the night: http://www.youtube.com/watch?v=DYPaOa_Pwro

New Music: Bigger, Longer & Uncut

Not more than 3 days ago now did Kings of Leon issue a decree with British bands to ‘get rock and roll going again’ because, in their opinion, they themselves have done all they can for the genre. What?!

In today's current climate the Top 40 Chart is swamped with Rn'B, Dance, Pop and the occasional twee folk/rock band that grabs the Joe Public's attention for the summer (aka Mumford & Sons, Muse and Biffy Clyro). There is absolutely nothing wrong with this. Everybody out there is entitled to their musical opinion and although some of us may find it hard to choke down what is currently deemed 'popular', we have no real reason to moan. If you don't like what you hear, you change radio stations (e.g. Nick Grimshaw blabbering at 7am). If you don't like what you see, you change music channels (e.g. Nick Grimshaw blabbering on Sweat the Small Stuff - I know that last one isn't actually on a music channel or even music but dammit I really can't stand him, the man's a fool).

The point is the Top 40 Chart isn't to blame and neither are it's loyal fans. What is really to blame is the lack of genuine passion from music corporations. So much of the music business is dependent on record sales that it isn't about the music. It's about what will help shift as many units as possible. And it is so sad to see corporations concerning themselves with playing the puppet master role and trying to sell a record by slathering it in 'sex' or aiming it at young impressionable teens, because that's what brings in the pennies. Talking of bands that have been tailored, trimmed and had their personality sucked out of them by a hoover, Ghostbusters style...

Kings of Leon. A perfect example of a young, hard-hitting rock band that were then ruined by fame and mediocre songs. And now they have the audacity to lecture young British bands about pulling their finger out, “I’d tell any budding British rock bands to get off their asses and become popular so we can get rock and roll going again,” bass player Jared told the Daily Star. “It’s hard for a band like us to bring rock and roll back because everybody already knows us. It’ll take a younger band to come out and change things.”

The frustration isn't the band itself but instead the ignorance behind the comments. As if by making this decree all British bands will rise from the sewers like radioactive rat-rockers and become POPULAR. We already have rock bands, and we already have fans who appreciate those bands. Jared, bass player from Kings of Leon, hear this: You cannot force the public to like rock music, if the charts are dominated by Katy Perry and Lady Gaga then so be it. There is nothing wrong with this. When KoL say they want a band to "change things" there is nothing to change. Rock is already doing enough to make it's voice heard. There is POPular music and there is rock and just because one isn't predominately in the charts is no big deal. However, what does need changing is the way music is brought to the people.

Gone should be the politics music magazines clutch to, like NME's undying love for certain indie bands (Arctic Monkey's, KoL, Biffy Clyro, Vampire Weekend) or Kerrang's recent pop-punk lust. It shouldn't be a marketing strategy to lure in more readers (e.g. NME's attempt to praise 'cool' bands or Kerrang's to report more on bands like Youmeatsix for teen girls). Instead these magazines and other platforms should be doing more to nurture talent and celebrating the genres they support. A shining example of this would be XFM's John Kennedy and his X-Posure slot. Showcasing untainted new music. The way it should be.

Music corporations and other music related platforms need a major readjustment in the way they pursue music. Understandably the likelihood of that happening with corporations is non-existent but there's nothing stopping magazines, radio shows and television from giving new music, and I do mean all music, a larger stage for musicians to showcase their talents. Otherwise we're going to be subjected to more intelligent, reliable opinions from KoL. And yes, Jared, that was sarcasm.

Sleigh Bells – Bitter Rivals album review

Sleigh Bells’ latest album, Bitter Rivals, opens with the lyrics, “It was the best of times, it was the worst of times.” After listening to this 30 minute slice of unique noise pop I’ve come to the conclusion Alexis Krauss is wrong. It is the most uninspired of times. For Sleigh Bells at least.

Bursting on to the scene with their self-titled EP they gained notable praise from Pitchfork, The Guardian and The New York Times. Using this momentum from the end of 2009, Sleigh Bells catapulted in to 2010 with their aptly named debut LP Treats. It would be 2 years till we saw the next LP. 2012’s Reign of Terror was worth the wait though, a gloriously heavy dedication to all things good about the 80s. It’s mix of heavy shredding guitars, RnB vocals and hip-hop/electro nods blended to offer us an album of balance. For every guitar heavy song like Crush there was a delicate pop princess like You Lost Me to sink in to bliss with.

It’s over a year later and Sleigh Bells are back with their third album in as many years. What is abundantly clear is that while Sleigh Bells found their sound on Reign of Terror with Bitter Rivals they haven’t chosen to build on it. Not one iota. Where RoT ironically strengthened Sleigh Bells, this latest album is ultimately let down by a lack of adventure. Don’t worry though, we know all about adventure. Now let us set sail and review the tracks!

After opening with some punchy acoustic guitar and barking, current single Bitter Rivals explodes in to the usual choppy guitar and Krauss’ rap vocals. We are then subjected to a subdued yet catchy chorus (“You are my bitter rival, but I need you for survival”). Very Sleigh Bells. However, it’s also not very inspiring. Tracks Sugarcane and Minnie pick up the pace and while they are not different, they are enjoyable. These two tracks definitely wouldn’t have been missed on RoT as bonus tracks. Sing Like a Wire and Young Legends are the albums doughy, bloating centre. The former capturing a cartoony hip-hop presence, while the latter seemingly suitable for Katy Perry or Jessie J to gain chart success with. Along with the opening track Bitter Rivals these are the albums let down.

From here on out however the album begins (half way through the album?) to pay off. Tiger Kit is another slice of Sleigh Bells noise pie with a delicious Derek Miller guitar solo to chew on. You Don’t Get Me Twice, which arguably should have been their first single, illustrates the bands ability to combine catchy grooves of heavy guitar with Krauss’ gentle vocals. I approve. To Hell With You is a surprisingly guitar gentle song, replacing the electric noise with heavy drums and whistling that sounds like Mariah Carey hitting those high notes. Next up is 24. No, not that Jack Bauer guy! Instead what we have here is something that sounds ridiculously similar to all manner of the slower songs on RoT. Again, I approve. Final track, Love Sick, is a generous mix of their heavy influences with Krauss’ gentle musings (“There’s a hole in my chest, where my heart used to be”).

The production of this record is in no way lazy. With all the layering of guitars, school-yard clicking/clapping and RnB influenced vocals, Miller has produced another well-polished collection of Sleigh Bell jingles. What is lazy though is their lack of exploration in their music. It’s almost as if they’re just happy to sit on what they already have and hey, if you’re a fan of that (like I sometimes am) then you’ll enjoy this. I just personally think they owe you, and themselves, more.

Score 6/10

Reuben: Gone But Not Forgotten

Have you ever had a favourite band you discovered, coveted and then lost to that (main)stream, which eventually flows in to that mediocre lake powering our conventional culture? It hurts doesn't it? Unfortunately for many of us our favourite bands either sell out or just carry on until they've dried up the creative well that is their musical ability. And you're more than right to be hurt, after all, it stings the eyes to watch Kings of Leon in tidy haircuts and matching outfits tailored by Rockers "R" Us. Or Smashing Pumpkins' completely altered line up, Coldplay's recent Rihanna collaboration, Linkin Park's contribution to Tranformers: Revenge of the Fallen. Okay I'm stopping there. I draw the line at mentioning that Michael Bay franchise any more than I have to. However, we digress. The reason I mention this first is the important fact that with today's suffocatingly stupid excuse for culture we have to accept our favourite bands are generally going to disappoint us by joining the dark side. 

One band never did though: Reuben. And although they disbanded in 2008 their music still exists and flows like free wine from the kitchen tap. Let's grab a glass!

First up is Jim Lenman, songwriter, lead vocalist and guitarist. His mix of screams and melody allowed Reuben to throw heavy guitar, throbbing bass chugs and plenty of drums in to a beautiful blend of alternative rock metal. Jon Pearce dug those bass holes and Guy Davis thrashed those drums. And the band is complete. In 10 years they recorded 3 albums, 2 EPs and several singles. Although they never gained the reputation or credit they deserved they still made a big enough impact to have found a cult following hoping for a reunion. Here's hoping.

So why should you listen? You should listen because Reuben are genuinely one of the best bands you've never heard. They're a band for those kids hitting the latter stages of puberty, falling in and out of love, hanging out with mates and wearing fake moustaches (Freddy Kreuger). They're also catchier than blink-182 and Sum 41's bastard love child (A Kick in the Mouth). Plus they can write beautifully delicate songs (Boy - just wait for the build up). Oh and they do scream-talking really well (Blamethrower).

They're also a genuinely honest and funny bunch of guys. Check out the brilliant documentary What Happens in Aldershot, Stays in Aldershot for Jim's hilarious rant about cereal. As well as the honest comment from Jon about how they "weren't abandoned as children" so there was never any need to write those kinds of "passionate" lyrics. You can't make up an experience and they didn't (Guy was kicked out of the Kerrang awards though). That's real RocknRoll. 

So here's to your new favourite band. Rejoice in the beauty and appreciate no one can ever take this away from you. It's time to learn the lyrics and wait for the reunion. Enjoy.

Oh sweet peas! Almost forgot, I should take the time to mention the guys' new ventures. Jim has currently got a solo project (Jamie Lenman) on the go, with a tour in December. While Guy and Jon are performing in new band Freeze the Atlantic, with the recording of their debut underway as of today! Reuben may no longer be but it's great to see these guys talents not going to waste. For further information on their new work head to Youtube and get researching! It's worth it to see Jim's new and 100% authentic moustache (seriously watch Freddy K, it'll make sense).

Freddy Kreuger, from the debut album Racecar Backwards is Racecar:

http://www.youtube.com/watch?v=ALW-ZA2SkRA

The rock pool was getting overcrowded.

Pixies - Where is my Deal?

Before we start anything we should probably come to an agreement on what we're going to call Charles Thompson. Frank Black? Black Francis? The Thin White Duke? No wait, that's not right. Let's just stick to Thompson. 

With the lead singer accounted for, who else is in? Joey? Check. David? Check. Kim? Che...hold on, who is Kim Shattuck?! Yes, that's right, Pixies have had to replace Deal, who left in June, with another Kim. Kim Shattuck, originally part of The Pandoras and The Muffs, joins the lineup for their new material. And on that note I don't entirely know if I have anything else to say on the matter. Many fans are probably bummed Deal left, and arguably with good reason, however like with any other band the dust needs to settle first. 

So after over 20 long years since their last album (1991's Trompe le Monde) the Pixies are back with actual material. Playable material, bought via download or vinyl, that I could like play at my Nan's or something. No need to panic just yet though Nan because at the moment I'm still trying to work out where I stand with these new songs. Let's start and end with Bagboy (found on their website for a free download!). After several listens I've conceded I like the song, however this doesn't feel like the usual Pixies. Where the Pixies of the 80s/90s found a beautiful minimal sound in two layered guitars, a rolling bounce of bass, some heavy drums and the occasional spanish phrase, it seems now to have been replaced by Thompson's solo efforts. Thompson opens with buoyed Thompson vocals and a mass of Thompson's on backing vocals. If Thompson's solo effort The Seus sat next to Bagboy on the bus no one would bat an eyelid, they're probably just two friends on their way to the park to chill and recount the night before. That said this isn't a bad thing, Thompson's solo work is largely enjoyable and every bands eventually got to evolve. Even if it does mean the Pixies doing it via Thompson Town. 

If you're interested to hear more of their new material visit Youtube and search "Pixies EP1". You'll be able to find their latest EP in its entirety. Other than that there's not much else to say. Go forth and judge via your own ears! I myself am going to reserve complete judgement till further notice. Maybe if I can swing the £25 ticket I'll see them at Brixton at the end of September and be able to see what's happened as the dust settles and Kim 2.0 plays live. It's probably going to be the only way a fan of the Pixies can truly judge their new lady on bass. 

I hold hope, however, as I sing in the words of The Dandy Warhols: "I just want a girl as cool as Kim Deal"

Pixies - Bagboy video: http://www.youtube.com/watch?v=lGdSYPh5_BI

Fucked Up @ OFF! Festival - Damian Comes to Life

Once Japandroids finish their set we found ourselves hurtling towards the main stage. Our excitement was reaching dangerously high levels of 'holy-moses-we're-about-to-see-the-most-awesome-band-ever'. For the third time in a year. First there was Brighton, a swirling frenzy of men (and my girlfriend - she's hardcore) moshing while the lead singer climbed on top of the bar. Then there was London, a human heartbeat of jumping, pushing and screaming while the lead singer climbed into the crowd. Now there was OFF Festival. And yes, the lead singer did do something. 

So we're waiting at the main stage, going over in our heads what head-banging, foot-crushing hit we're going to witness and then it suddenly hits us. We're at the wrong stage. That earlier hurtling of bodies now becomes a super-sonic charged Bolt sprint to the other end of the festival. We make it just in time to safely secure ourselves on the right hand-side of the tent, 15 ft from the pit (it was a sunny festival vibe okay, we had flip-flops on!). We're now ready. Oh and by the way, this band is Fucked Up.

Yet another Toronto based punk band (remember I mentioned Metz!), this 6 piece have been working hard since 2001 releasing more singles, EPs, splits and 12"s than you would think was physically possible. If they were a husband they're the type who does everything. They built the house, they created their own business and they gave birth to their beautiful twins, Ester and Marie. That's just how hard they work. The band comprises of 10,000 Marbles on lead guitar, Mustard Gas on bass, Guinea Beat on drums, Gulag on rhythm guitar, Young Governor on guitar and finally Damian "Pink Eye' Abraham on vocals. Remember that last name because he is one of the main reasons I'm gushing so much about Fucked Up. 

As mentioned above Damian likes to travel. A lot. As we stood and witnessed the band from a safe distance we suddenly noticed Damian was out of the tent visiting the audience at the back. Five minutes later he's leading the fiercest conga line around the crowd and leaving an empty path in its wake. He's a man who wants to please and if the music isn't enough for you then his showmanship is. Damian combines joining the crowd with offering the mic to audience members, allowing them to sing, mumble or scream (my personal choice) missing lyrics. To put it mildly, while the band is on stage playing fierce and true, Damian is making sure the audience have a show to remember. 

Much like Metz, you'll need to appreciate punk in order to appreciate Fucked Up. From their set list they play a mix of old classics such as Police and I Hate Summer, as well as songs from their last 2 albums. Highlights include songs Queen of Hearts, The Other Shoe and David Comes to Life. Personally I don't want to review the music because it's your own choice to form an opinion and it's better to make it on your own via some Youtube listening. However, I will say this, Fucked Up are a band that play rhythm driven noise at its best. Damian has an ability to create shouty yet totally catchy lyrics ("David was a boy, just a letch!" - once you've heard this it's hard not to scream it during a gig). While also capturing a real intelligence, Damian's lyrics to their third album, David Comes to Life, push the band creatively as the album recounts a tale of two lovers and how their paths intertwine. After such an impressive third album it becomes a real wonder how Fucked Up will outdo themselves this time. 

Fucked Up are a band that implore you to, just as they do, give your all. If you're after an intelligent, hardcore punk band then this is it. They also put the 'ow' in show. Next time we meet Fucked Up I'll actually be ready, a pair of Doc Martens should suffice. 

David Comes to Life, from the debut album Hidden World:
http://www.youtube.com/watch?v=sZ4uvEhg4wQ























Damian "Pink Eye" Abrahams - momentarily zoned out before the mayhem commences

Metz - Switching Saturday @ OFF! Festival On

Never heard of OFF! Festival? Neither had I. This Polish festival, however, is definitely worth hearing about. In an age where we're bombarded with stale information about bands that aren't worth hearing or places that aren't worth seeing, the stumbling upon of OFF! was very much a revelation. Here lies a festival that, at £46 for 3 days with camping, offers you bands such as The Smashing Pumpkins, My Bloody Valentine and Deerhunter. After experiencing Uncle Acid & the Deadbeats, Woods, Cloud Nothings and The Smashing Pumpkins on the Friday we'd already gotten our monies worth. There were still two days to go.

Friday got us off to the psychedelic dripping doom metal of Uncle Acid & the Deadbeats, who we totally saw collecting their guitars and gear alongside us at the airport ("They must be going to OFF!"). A band hailing from Cambridge, they sound like the soul-soup combination of what a cannibal might cook if they'd come across the wreckage of a plane housing Black Sabbath, Witch and The Stooges. A worthy band to be our first taste of OFF! 

However, if Fridays opener is to be compared to soul-soup from the cannibal's bowl, then our first taste of music on Saturday must be compared to the chase before the plane's victims came to their soupy end. That is to say, that the band in question were a high velocity, high intensity, high up (well, they were up on a stage) band that managed to heat up an already sweltering afternoon. If we the crowd were feeling the effect of the 35°C sun, these guys must have been close to popping with the show they were giving us. So who was this band and if they weren't one of the headliners why should we care?

To put it simply, they were Metz. A Toronto based punk noise trio with their finger on the button. A button that triggers the explosives strapped to the stage and ends the show in a cacophony of noise and a showering of blood and guts. Okay, maybe that last bit was a metaphor. In truth though their set was close to having that effect. Their set lasted 50 minutes and rarely had a moments pause. They opened with their self-titled debut album's first track Headache, which coincidentally the audience also ended the set with. Now that's not a jab at Metz because if you're into noisy punk rock and you've come for noisy punk rock then there's nothing about this band you won't love. They're engaging on stage, sharing small banter with the crowd (Bassist aka Bruce Campbell's love child: "This next one's a dancing song, so start moving around."). They also play their huge Canadian hearts out, making sure that if they're not soaked with sweat by the end then they haven't done the crowd justice. Highlights included Get Off and Wet Blanket which were perfect mosh-pit hits to rock out to. 

Now the only criticism I felt I had when leaving at the end of the set was that their songs all sounded very similar. However, after re-listening to the album and reflecting about the set I've come to the conclusion that if you enjoy one Metz song you'll enjoy them all and thats no bad thing. If you're after some Canadian punk, mosh-pit inducing goodness then I can't think of a better band (except Fucked Up - but I'll review them later). For now however, take flight to Youtube and search Metz, live or in the studio this is some information worth listening to. 

Get Off video: http://www.youtube.com/watch?v=kAjHuKWh0so

Alex Edkins in full flow