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Friday, 12 March, 2010

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You are browsing the album reviews. We rate them with pretty little stars so you dont waste your money on crap.

Dan Le Sac vs Scroobius Pip - The Logic of Chance

The Logic of Chance

Dan Le Sac vs Scroobius Pip

Dan Le Sac vs Scroobius Pip - The Logic of Chance

A historian 200 years from now, when searching for the poetry to bring to life the feelings and sentiments of this our time at the start of the century, couldn’t go far wrong with the lyrical offerings of Scroobius Pip. Ok, granted, he doesn’t speak for the whole nation, but who does? But what I find myself saying, as a working-class 20-something man listening to Dan Le Sac vs Scroobius Pip’s albums is, “I was thinking that myself just last night!” Pip just has that ability to express exactly what his peers all over the country are thinking. The duo’s latest album, The Logic of Chance, is due to hit the market next month, following on from their critically acclaimed debut, Angles. The album covers topics including falling in love, politics, the mixed emotions felt towards our country of Great Britain, and musical snobs, all tidily placed over the top of Dan Le Sac’s electronic magic. In the track, ‘Get Better’, Pip, in one of his more astute observations on life around us comes up with, “Little kids being raised by slightly bigger kids…” which brought an anguished smile to my lips as I sat on the bus, hearing the lyric for the first time, surrounded by little kids being pushed around in pushchairs by, yep you guessed it, slightly bigger kids. The song looks at the reasons behind the phenomenon in this country of teenage pregnancy. “There’s not a lot to do, so kids decide to get drunk every night… do drugs every night to hide from their lives…. Kids rolling around the street rowing and fighting,” before dismissing the notion that it’s a class or wealth thing, “it really ain’t a case of rich or poor, it’s a case of self motivation and nothing more… The system might fail you, but don’t fail yourself.” ‘Get Better’ will be the duo’s first single release from the album. In the song ‘Great Britain’ Pip tackles the tricky subject of knife crime, in a world where the pages of our daily rags are filled with stories of kids knifing kids all over the place all of the time. “Sometimes Great Britain ain’t that great, kids getting stabbed at alarming rate.” And in ‘Last Train Home’ Pip takes a look at, surprisingly, the last train home. They’re either stinking of weed or stinking of beer, they being loud and obscene or they’re sitting in tears. ‘Angles’ was an amazing album and one that I thought would never be bettered. I was probably right, but it may have been equaled by this classy follow up. --Kris Mole The Logic of Chance by Dan Le Sac vs Scroobius Pip is released 15/03/10

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Deep Rooted - D.E.E.P.R.O.O.T.E.D

D.E.E.P.R.O.O.T.E.D

Clear Label Records

Deep Rooted - D.E.E.P.R.O.O.T.E.D

Most people go through a hip-hop phase, I certainly did, but soon the thought of 35 year olds behaving like they’re 12, bragging about guns, girls and gangs makes you realize how ridiculous it is. San Diego’s Deep Rooted want to change this and return to the halcyon days of early nineties hip-hop but unfortunately fall at the first hurdle with Soul Vibe, a track that mentions chicks on dicks, cracking vertebrae and references guns in just the first verse. And from here on in D.E.E.P.R.O.O.T.E.D. becomes just another example of a stereotypical hip-hop record. There’s the pop sample track Billie Jean, sampling Michael Jackson’s pre-paedo allegations classic, that was no doubt picked as a potential single despite the hatchet job the producers have done to make it sound like a record skipping. Sunshine provides the summertime ‘jam’, but it’s irritating guitar riff and chorus are quite frankly dire. Next comes Closer, the track where rappers demonstrate their political awareness, this time discussing how terrible George Bush is. So original and contemporary – full marks. Squeeze is the ‘I’m so bad’ rap before the album thankfully ends with the cleverly titled The End, which sees Deep Rooted getting deep with the reflective record. It’s not all terrible, That That is reminiscent of 36 Chambers era Wu Tang and is OK, but otherwise the only objective Deep Rooted have achieved with their tired flow and hip-hop by numbers is to highlight how cliché-laden, unchallenging and stagnant the genre has become. Which leaves the listener waiting for the track where someone wakes this turgid scene from its soporific state before it dies completely. --Pete Jorgensen

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Wax:On Compilation 1

Wax:On Compilation 1

Mixed by Fake Blood and People Get Real

Music Response Records, Mixed by Fake Blood and People Get Real

Wax:On Compilation 1

Wax:On Compilation 1 Mixed by Fake Blood and People Get Real Music Response Records Internationally loved night Wax:On are venturing in to the branded album seas for a maiden voyage with the mysterious Fake Blood at the helm. Fake Blood is one of those buzz-names that is commonly thrown around with ‘have you heard that sick remix by…’. Of course, this is entirely fair and accurate as he is responsible for muchos dance floor favourites, but how does Captain FB get on when left to steer the good ship Wax:On compilation? Opener is his own “I Think I Like It” which could pass for a Eurovision entry circa 1976 – it’s upbeat, fun and a fantastic way to kick start the album. Sadly, it leads in to “Rasp” a tune which is an oboe solo over some irritating jazzy beats, and will either leave you feeling like you’re trapped in the opening sequence of an Emir Kusturica DVD (not in a good way) or have you wanting to download some more as you’re a sceney know-all twat (also not in a good way). As it goes, up until the half way mark around 80% of the tracks are annoying, Sonic C’s “Saiph” getting a particular special mention for it’s teeth grating type whirring, but after this point, the mix begins to get a lot better, with better bass, less bleeps and more drive. The best thing about this album is disc 2, which is mixed by Wax:On residents People Get Real. Like the slaves beneath the flashy ship Fake Blood is commanding, they toil thanklessly, getting less recognition as they’re not the ones with the telescope up the top. Contrasting with the acrid fun of Fake Blood’s opener is their choice of DJ Hell’s “The Angst & The Angst Part 2”, an atmospheric and almost mournful introduction to their role call of refined techno and understated electro. Steve Bug, Miss Kittin and Thomas Schumacher are all below deck, powering the album forward like mechanised trells. In my opinion, this mix is the finer of the two purely for the inclusion of UnknownmiX’s “The Siren”, a dark, threatening and ominous piece of European electro that takes the mix from dark to dungeon. So, the Wax:On comp, does it sink or swim? Obviously its swims, but that’s thank to People Get Real, not the flashy captain playing a hit and miss mix of annoying and amazing from the crow’s nest. -- Kara Simsek

tags: | wax:on | wax:on 1 | more...

Gliss - Devotion Implosion

Devotion Implosion

Gliss - Devotion Implosion

Released: 2 nd November L.A attracts superficial-ness in a similar way to which light bulbs attract scary looking troublesome moths; so it would be easy to instantly discard anything that rears its head from there as flimsy, scene conscious and ultimately lacking any real depth. Yet supersonic shoegazers Gliss have crafted an album that stands up and knocks these pre-built notions well and firmly on the head. ‘Devotion Implosion’ is more concerned with that has happened rather then push forth with any type of new ideas; it is a journey through America’s back beaten past, one that backcombs its way over classic American counter culture. Opener ‘Morning Light’ embraces Phil Spector style production and slams it onto a formalised three minute rock template, a move which results in a thick wall of fuzzed up guitars drowning out minimal drums and smooth ethereal vocals. Delve deep in and the template shifts towards new directions as traces of the Velvet Underground’s drugged up indifference as well as The Kills stylised, stripped down take on garage rock can be found creeping through the sonic melee. While ‘Sad Eyes’ with its classically simple “Oooh, Ooh” chorus and confident rock ‘n’ roll swagger sounds like it has been torn straight off of BRMC’s debut. Yet ultimately Gliss have fashioned an album that takes no shame in its undeniable retro-ness, they have plundered artists back catalogues, ripping out the heart, the soul and everything that made these records great and reformed it into a nice looking highly digestible package that is safe for all of us to unwrap. --Nathan Westley

tags: | review | gliss | more...

Raz Ohara and the Odd Orchestra - II

Raz Ohara and the Odd Orchestra

Raz Ohara and the Odd Orchestra - II

Appropriately named; ‘odd’, this group certainly is. The second record from Raz and friends is a weird mixture of slightly experimental loops infused with mediocre Americanised vocals. As Raz’s voice enters the second track ‘The Burning (Desire)’, you can’t help wondering if this whole project sprouted from a bloke messing around with his MacBook music programs whilst trying to be the next Justin Timberlake, and failing; these wannabe-husky vocals just sound a bit naff, really. Can’t say that the accompanying electronic music is great either; although, props to them both for trying to push the boat out and do something a bit different, quirky, in an effort to be individual and stand out. The robotic sounds may appeal to some people but it just seems as if these oddballs were browsing through some default automated synthesizer loops and picked out some space-age sounds that they thought sounded ‘cool’, but in reality those same ones are probably used as sound effects in Stargate SG-1. What is equally as annoying is that the first sign of real musicality, in the first forty-five or so seconds of the forth track, Varsha, are swiftly eliminated when those weird synthesized sounds enter once again. Up until that point, this song is seemingly raw (apart from the drum machine), beginning with lovely flickerings of broken guitar chords, and joined by a less strenuous side of Raz’s voice, which is admittedly pleasant to listen to. But just after he starts to sing, your ears are greeted by some very unfitting, annoying loop (the sonic equivalent to someone trying to say ‘wick-a-wow’ whilst gesturing a ‘90s hip hop hand movement), which unfortunately remains throughout the track. It may be the case that Raz and co. intended II to sound like they’re messing around in the production room, and if that is the case then fair play, they’ve created what they have intended. But honestly this album does not work at all. The more decisively electronic tracks such as ‘Frangment I’ and ‘Wildbirds’ stand alongside almost-trying-to-be-folk songs like ‘ The Day You Suffered Helpless Out Of Reach And All Lines Were Dead ’, and R & B vocals in ‘ Praise The Day (No One Owes You Nothing) ’. A very indecisive record, although there are glimmers of hope at times when the Orchestra’s organic ideas shine through, so here’s hoping Raz and the rest will find their niche by album number three. -- Bronya Francis

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REVIEW: The Orb - Baghdad Batteries

Baghdad Batteries

Malicious Damage

REVIEW: The Orb - Baghdad Batteries

For me the words ambient house strike up images of idiots in zany hats either rolling around on the floor off their face or collaring some poor bystander and bragging that they always get the finest Northern Lights skunk and could beat anyone in a roll the best spliff contest. In other words, I’m not too keen. So when I was given an album by ambient house pioneers The Orb to review I approached it with trepidation, believing I’d have to spend the next hour listening to tubas being played underwater, obscure discordant samples from the BBC Radiophonic, and recordings of Turkmen women tidying up their yurts in the steppes of Central Asia. Luckily I was wrong… in part. There’s still a lot of shit to wade through before you actually get to something listenable, but persevere and you’ll find a couple of decent enough tracks. If you like your dance music to have a beat, it’s fair to say you should avoid the first four tracks. These enforced all the stereotypes that I had about ambient music; backwards instruments, organs going mental for no apparent reason, noises that have little relation to each other apart from the fact they sound weird. Skip instead to Suburban Smog, one of the few tracks worth coming back to that chugs along quite nicely with tribal percussion and sounds a bit like an Evil 9 record. Orban Tumbleweed is also worthy of note and its laid back hip hop has echoes of early DJ Shadow and DJ Krush productions, which is never a bad thing. The rock steady skank of Super Soakers is enjoyable too, but for moments like these you also have to contend with dross like Oopa, which is quite frankly awful. This beatless treat consists of crackling noises and no melody. Around 3 minutes in a woman cackles hysterically at the word ‘Swedish’, before the song slowly grinds to a halt with what sounds like a kettle boiling. I’m sure it’s very experimental, but it is also very bad. Woodlarking is another waste of time. Here an organ grinder sound plinks and plonks along pointlessly, bleeping without structure in a way that is no doubt meant to ‘really trip you out man!’ If I ever took so many drugs that this could start to sound good I’d definitely have to start questioning my sanity. No doubt I am probably missing something in these ambient works that an aging crusty with hemp trousers and dreads can explain to me in detail while snorting 10cm lines of ketamine, but for the time being I’m quite happy to live in ignorance and just enjoy the more coherent tracks this album offers. The Orb have rightfully earned their place in dance music history and their 20-odd years making music, including a number 1 album, is testament to the fact that people still enjoy their music. Unfortunately it mostly goes straight over my head. --Pete Jorgensen

tags: | review | the orb | more...

Review: Radioslave - Fabric 48

Review: Radioslave - Fabric 48

Chances are if you’ve been in a club over the last few years you will have inadvertently heard a Matt Edwards record. He rose to fame under the Radio Slave name he shared with Serge Santiago, making a living remixing top 20 heavyweights including Kylie Minogue and Paul McCartney. Following the pair’s split, Edwards retained the Radio Slave moniker and moved away from the commercial work, concentrating instead on developing his own sound and setting up his fledgling label Rekids. Fast forward 5 years and Edwards is one of the biggest names in techno after a string of successful releases that include the stripped down minimal of Bell Clap, Dance and last year’s triumph Grindhouse. It was only a matter of time before Fabric came calling and this CD, the latest instalment of their long-running mix series, aims to give the listener an idea of what to expect from a Radio Slave set in 2009. Edwards’ own productions and releases on Rekids feature strongly throughout the album, with more housey percussive styles replacing the darker elements that used to be prominent in his sets. Steve Lawler’s well executed remix of Radio Slave’s own Koma Koma is a good example of this new direction – a rich bassline is taken away, leaving just the treble and some Latino chanting to brilliantly build a sense of anticipation. When the bass finally returns two minutes later the effect is incredible, and you know this would sound epic on a decent soundsystem like at Fabric. There’s only 13 tracks over the 70 odd minutes as Edwards likes to play records in full, but it makes a nice change from the ‘pack in as many as you can’ approach that has become commonplace. He also loves to tease out a mix and none are better than when the white noise fizzes of Daniel Sanchez’s mix of My Heart from Rekids stalwart Spencer Parker blend faultlessly into La Mezcla. This track is a percussionist’s dream, with layers of rolling bongos and maracas gradually fading, letting shuffling snares and soaring pan pipes come to the fore. Throw in some Spanish vocals then bring back the drums and you’ve made anyone with an ounce of rhythm start dancing. Overall Radio Salve has put together an enjoyable mix with a very summery feel, the kind that would go down a treat on a hot day at Secret Sundaze or with fans of Villalobos or Luciano’s Hispanic influences. At times I did find myself wishing that some of the darker elements from his earlier releases would creep into the mix; the 5am heads down kind of stuff he does so well that scares and delights in equal measures. But then it wouldn’t be Radio Slave if he was still playing these records. Looking back isn’t his style, and he should definitely be commended for his ability to evolve and stay ahead of the curve. --Pete Jorgensen

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Italoboyz: Blablabla

Italoboyz: Blablabla

The Italoboyz rose to prominence last year with the John Coltrane sampling Bahia, a brilliant song that was made to be enjoyed on sunny days. An album deal with Claude Von Stroke’s Mothership label soon followed, which has unfortunately given birth to one of the most annoying records I have ever heard. Marco and Federico have unwisely chosen to apply Bahia’s formula – unusual instruments not normally associated with dance music plonked on top of a 4/4 beat – to every track on the album. Someone at Mothership must have been massaging their egos a bit too much, causing them to start considering themselves avant-garde geniuses redefining techno with jazz and classical samples, rather than purveyors of sub-standard rubbish. They have given Bla Bla Bla a unique sound, but that’s probably only because someone else tried doing what they do, quickly realised it sounded shit and made something else. The album starts with Where is London, made in collaboration with producers Masomenos. Here the chimes of Big Ben are coupled with some classical piano and a techno rhythm. Original, but it doesn’t work, and this failure sets the tone for the following 60 minutes. Next up is Chinese, where an intensely irritating voice repeating ‘I don’t speak Chinese’ is thrown together with oriental melodies and a terrible 2-note horn refrain. It’s like 10 people making one part of a song completely separate from each other then putting the results together unedited. Taka Taka Tashhh might have fared a bit better, had they not chosen to repeat the eponymous title ad nauseam for the song’s duration. It does have a touch of the Chemical Brothers about it, but where and Tom and Ed obviously know when enough is enough, this pair keep adding elements until perfectly sane people are contemplating ripping their ears off and stamping on their eardrums to avoid ever having to be subjected to such crap again. Edo Breiss is the same – underneath the unnecessary saxophone noodling is a decent house tune waiting to come out, but it’s overshadowed by a need to show off and suffers as a result. I thought Techno Tower might offer some brief respite; sadly it wasn’t meant to be. There are too many things going on, including some chump chanting ‘bumbumbumbumbumbum’ incessantly, the occasional acid stabs and tinkling piano, all of which clash. I won’t even talk about the Salvador Dali sampling L’Anagramme. Apart from Bahia, the only other track of note is The Pink Uniform. For once they ditch the beat and the resulting ambient piece works well. It makes you think that if they stopped classing themselves as a techno act and played around with different drums and BPMs in the same way they experiment with various instrumental melodies and vocal samples, they could produce something considerably better. By sticking so rigidly to the techno template they create a series of tracks that have the foundations of a promising record but are ruined by self-indulgent pointless experimentation. Avoid unless you are a redneck soldier attempting to extract a quick confession from a prisoner during an Abu Ghraib torture session. Released September 28, 2009 --Pete Jorgensen

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How To Cut and Paste: The Thirties Edition

How To Cut & Paste: The Thirties Edition

How To Cut and Paste: The Thirties Edition

The '30's edition' is the latest in DJ Yoda's 'How to cut and paste' series; a now well established blueprint from which we've received an 80s mash-up, a country and western themed disc and a foray into movie soundtracks. On this mix, Yoda samples a range of 1930s music and 'updates' with an array of beats and scratches. The cult of the mash-up has enjoyed popularity of late due to the rise in availability of easy to use software. But the basic concept of 'the remix' has its roots in something far older than Ableton. Historically, folk music relied upon certain pieces which were passed down and reinterpreted. A DJ's role is no different. Scouring an archive, reinterpreting. It's a similarly communal experience, rewarding those who pay attention. Faces on the dancefloor light up as they recognise a sample. From a DJ's perspective, such reappropriation can be a safe bet. And here's where it gets problematic. The '30s edition' is, no doubt, enjoyable. Who wouldn't care to listen to Cab Calloway croon over 'Minnie the Moocher' or reminisce for the 'Big Rock Candy Mountain'? And if Louis Armstrong's ode to 'Cheesecake' doesn't elicit a smile on first listen, you're incapable of human joy. The problem with this mix is not the source material; it's the lack of imagination applied to it. DJ Shadow and Cut Chemist applied a limited scope and achieved maximum results with their 'Product Placement' tour- through juxtaposition of samples. Yoda, however, seems content merely to apply morose beats and spoken word samples. It's a surprisingly lazy effort that would make Kool Herc shudder. Like all you have to do is spin an LP and drop a drum-loop on it. I kept hoping for something engaging: a Robert Johnson riff against a Raekwon a-capell. Thelonius Monk vs Biggie. Instead, we have almost-verbatim re-performances. Maybe this mix wasn't intended for these discerning ears - perhaps it's meant for people who can only listen to vintage music once it's been co-opted into a known style. Something goes against the very premise of being a DJ. If Yoda can craft a career from putting beats on records, fair play: But if kids can't listen to the originals on their own merit, then I despair. RELEASED: 24 August 2009 --Amir Adhamy

tags: | dj yoda | more...

The Lab 2

The Lab 2 Mixed by Steve Bug

Various Artists

Well, well, well, a dance music compilation album. You don’t see many of those around these days. With podcasts and thousands of mixes readily available online, all for the princely sum of zero pounds, the cult of the mix CD seems to have died a death. But NRK are no strangers to releasing compilations and, after Loco Dice’s first instalment of The Lab went down well with critics, they’ve picked Poker Flat label boss Steve Bug to be in charge of number two. For the uninitiated Steve Bug has pretty much done it all. Owner of three record labels, kick-starter of the minimal explosion, Fabric regular, international DJ and producer – on a ‘things DJs should do before they’re forty checklist’ you’d see a lot of ticks by Steve’s name. Here he is given two discs and two and a bit hours to showcase the various facets of his sound. Deep house is the order of the day for disc one, the sound that seems to be flavour of the month with the sunglasses at night, artfully sculpted hair and low V-neck t-shirt crowd. Steve however has been releasing house records before it became ‘cool’ again, so he’s allowed to get away with it. Starting off with the shuffling rhythm of Nick Höeppner’s Makeover, proceedings move along pleasantly enough, but when there’s deep house there’s usually some deep soulful vocals lurking around the corner. Whining vocals are up there with the words ‘filthy, dirty, sexy electro’ on a flyer as two of my most hated things in dance music, but luckily impassioned warblings are restricted to just a few tracks. The overall feel of the mix for me is one of relaxed enjoyment, particularly when the hypnotic melodies of Huub Sand, released on every respectable deep houser’s label of choice, Running Back, merge into the breathy percussion of Claire Ripley’s Kismet. The second disc focuses on more peak time tech house and techno sounds – the kind of stuff I’d want to hear if I was going to see Bug play. Beginning in a similar manner to disc one, parred-down house soon makes way for assertive basslines and the crashing cymbals of DJ Koze’s reworking of Strange Behaviour by Blagger. For a moment Steve returns to more percussive territory, but this is just a segue into the bumpity Chicago groove of Joris Voorn’s version of Steve’s own Swallowed Too Much Bass. And by the time he drops some proper techno in the shape of Traffic Jam by Cobblestone Jazz I’m a happy man. So I reckon Steve’s done a pretty good job, but this compilation definitely isn’t for everyone. For those with both feet firmly placed in the ‘techno really is mind-numbing repeatitive rubbish’ camp, this mix, and the first disc in particular, will certainly do nothing to change opinions. But anyone who has ever found themselves on the middle of the dance floor at 4am swaying their head to monotonous rhythms and thought ‘this is actually really good fun’ should definitely give this compilation a try. Release: 27th September 2009 --Pete Jorgensen

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Southern Fried & Tested 2: mixed by Nathan Detroit

Southern Fried & Tested 2: mixed by Nathan Detroit

Various Artists

Southern Fried & Tested 2: mixed by Nathan Detroit

Ten years is a lifetime in dance music, so you have give credit to Southern Fried Records’ longevity as they celebrate 15 years in the game. Norman Cook’s label started off as a vehicle to release his own productions as Mighty Dub Katz, the Pleased Wimmin and that Freak Power tune from the Levi’s ad with the bald guy singing. Fast forward a decade and a half and Fatboy is releasing the second of his Southern Fried and Tested mix series, compiling some of the imprint’s successes over the years. This time label producer, sometime Chemical Brothers tour DJ and fan of musicals Nathan Detroit steps up to showcase a batch of back-catalogue classics. The premise is simple – fit as many tracks in to 70 minutes as humanly possible, while retaining a cohesive mix rather than the disjointed cut-up style usually adopted for this type of cram-it-all-in project. Think of it as an extended Annie Mac 5-minute mash-up. With tracks by staples of the Brighton music scene Caged Baby, Radio Slave and Norman himself in his Brighton Port Authority guise, star names including Armand Van Helden and Touche, plus remixes from newer artists likes of Laidback Luke, Herve and Tim Green, there’s plenty to be getting on with. Despite the press release claiming they’ve trawled through the label’s back catalogue, most of the records have been made in the last 3 years, and the list of people involved, like Riva Starr, Boy 8 Bit, Jesse Rose and Switch, suggests they’ve tried to remain relevant by pitching the mix at the fidgit sound made popular in recent times by the likes of Made to Play and Dubsided. It’s probably for the best that there’s no real concession made to Southern Fried’s more commercial releases, they’ve left out the frankly dreadful remix of Elton John’s Are you Ready for Love, but after the tenth wobbly bassline in 15 minutes you’re left longing for a change of pace. The problem lies with a lack of variety and the inability for the mix to develop. By trying to pack as many tracks into one CD as physically possible the individual songs get lost in the process. When a track is filled with as much sonic lunacy as the Crookers mix of Dusty Kid’s The Cat, if it’s only given just over a minute to play and no time to appreciate the huge drop you lose the full effect. Don’t get me wrong, it’s a fairly innocuous, fun mix. In fact, it’s the perfect soundtrack for a load of hyperactive 16 year olds at a GCSE results party pissed on Cinzano stolen from their parent’s cocktail cabinet jumping around pretending to be in an episode of Skins. But for the rest of us there’s just not that much to get excited about. RELEASED: 07/09/09 -- Pete Jorgensen

tags: | southern fried | more...

Folk / Folk Rock

Tara Jane O�Neil

Folk / Folk Rock

This is the fifth album from Tara Jane O’Neil, or TJO as she’s often known, and her first attempt at pop. She describes her earlier records as ‘cloud music’, which is a pretty good summary of the experimental, meandering offerings that have established O’Neil as an unusually talented solo artist. A Ways Away , though, is tighter than her previous efforts, with each track sufficiently succinct to satisfy the attention span of the popular audience. The mood created by this album is at once understated and magical. A Ways Away enchants from the very first track, Dig In, in which O’Neil’s quiet, ethereal vocals combine with the soft, steady jangle of a tambourine to conjure fairytale images of remote woodlands inhabited by tiny warbling sprites. If O’Neil’s voice was a dessert, it would be lemon cheesecake; bittersweet, with the impression of being nourishing, and ever so delicious. And then there is the smooth, rich, ringing guitar sound. It has the pleasant warmth of a bath in winter that soothes but doesn’t scald; it thrums in the background, rising and falling, lingering in one place and then another. Some of the songs sound like dreamscapes, as in the more abstract lyrics and ambient tempo of Beast, Go Along, but other tracks lift the listener as if from sleep to the clarity of misery. Howl has the yearning melodies and tragic folksy narrative of Sarah MacLachlan’s Full of Grace, and ever so gently pierces the eardrum with the kind of comforting melancholy that makes you want to hug yourself. Drifting between lonely-vulnerable and quietly confident, and wistful throughout the record, O’Neil has penned a compelling set of tunes to contemplate your most recent personal tragedy by. Close your windows and shut your bedroom door, light some candles and turn this up loud. Prepare to tingle with strangely happy sorrow. Eleanor Rose A Ways Away is out on K Records, 20th July.

tags: | tara jane o�neil | more...