The NME "Cool List"

Accurate portrayal or are they just trying too hard? 

So it's that time of year again, NME have compiled a top ten cool list for 2011. I've included a small insight into each artist, you may need it... 

1. Azealia Banks - Unsigned female lyricist from Harlem, NYC. Created waves within the music industry with her very first recording 'Seventeen'. Currently working on a debut album. A fairly expected number one spot from NME-namely as no one seems to have heard of her.

2. Jarvis Cocker - Self explanatory figure head of the Britpop movement of the 1990s with band 'Pulp'. Going on to secure legendary status with a well decorated solo career and eccentric reputation.

3. Honor Titus - Lead singer of punk band 'Cerebral Ballzy' originating from Brooklyn, New York. He has an energetic stage presence and anarchic attitude.

4. Serge Pizzorno - Guitarist/Lead song writer for Leicester rock band 'Kasabian'. One of the most emphatic lyricists and dressers of our time.

5. Tom Meighan - Lead singer for band 'Kasabian'. Comes with swagger and a cocksure attitude worthy of topping any frontman poll position. 

6. Lana Del Ray - A stage name inspired by late Hollywood actress 'Lana Turner' and the Ford Del Ray. Or Elizabeth Grant to friends and family. Is an American singer/songwriter and darling of daytime radio.

7. Rhys Webb - Formally known as 'Spider Webb' it's hard not to include this organ/bassist from band 'The Horrors' in the top ten...right?

8. Theo Hutchcraft - The slightly serious looking, impeccably dressed singer of Manchester electro/synth/pop band 'Hurts'.

9. Matt Helders - Rap enthusiast and beat keeper for Sheffield indie muses 'Arctic Monkeys'. Upholding the bands famously dry/witty sense of humour with various youtube hits.

10. Ellery Roberts - Lead singer for Manchester based band 'Wu Lyf' - World Unite Lucifer Youth Foundation. Creating suspense and mystery by not giving interviews or releasing information to the press until recently. They describe their music as "Heavy Pop". Probably the most talked about new British act from last year.

So there you have it, NME's idea of cool. You may feel disillusioned by some of the results feeling that some candidates are more worthy than others or that several artists were overlooked. Is this list a comprehensive guide or just a forced conception of what NME deems 'cool' for the benefit of its target readership?

You decide.

Bon Iver live @ The Hammersmith Apollo 24/10/2011

Bon Iver- electronically enhanced bliss

As soon as Justin Vernon performed 'Skinny Love' on 'Later...with Jools Holland' in December 2008 I knew I had to see him live. Three years later my dream became a reality.

After a busy day in and around London, seeing a lot of what our capital has to offer, the scene was set and I descended on The Hammersmith Apollo with bated breath and raw enthusiasm. The venue living up to its prestigious reputation, entering the crowd in the efficiently sloped standing section it's hard not to realise how beautiful a setting it really is. The balcony cascading out in an almost eager fashion craning its neck pushing the crowd closer to what is about to unfold.

After somewhat enthusiastically familiarising myself with the bands newly released self titled album 'Bon Iver' released on 21st June this year I knew I was in for a treat. Their second album truly advancing from where 'For Emma, Forever Ago' so blissfully left off.

After what seemed like hours, as it so often does whilst waiting for a much anticipated act to arrive on stage he strolled out from side of stage. His 6ft plus frame welcomed with an eruption of applause from the sold out crowd. Flanked on each side by his band consisting of two drummers, a bass player, guitarist, percussionist and brass section the anticipation reached its pinnacle. A shy and withdrawn figure crowds the microphone and welcomes us to the show."Hi, we're Bon Iver". Make no mistake, Vernon is the engine room, the inspiration, the main man behind this project but it is a collective of musical talents making up this performance and we are humbly welcomed so.

First song 'Perth' raises the crowd decibel rating to a climax, a song from the new album it's a chance to see their new material in all it's glory. Subtle, soft and dreamy the guitar and melodic harmonies floating in wave like form over the audience. Backed with tight simultaneous workmanship from both drummers, forming a thunderous tribal intensity seamlessly rolling into next song 'Minnesota'.

'Minnesota' again from second album 'Bon Iver' introduces the bands newly formed electronic inspiration, and it's tastefully done. Subtly emphasising the vocal and guitar lines whilst adding its own venture of melody it is a welcomed new tool to Bon Iver's currently impenetrable armoury. As they glide through songs new and old the crowd becomes increasingly rooted by the intensity of the performance. Justin's vocals bouncing effortlessly across octave scales, whilst the brass section lifts the whole performance beyond levels of distinction.

'Skinny Love' predictably however not disappointingly commenced the encore and the crowd roared with elation, a true sing-a-long of which everyone knew the words. However they weren't finished yet, choosing to end with 'The Wolves (Act I and II)' encouraging crowd participation on a culminating chorus of "what might have been lost" it was a fitting end to an unforgettable experience.

We had travelled through quite a journey watching this show unfold, every song painting a picture in your mind. So needless to say I will be making sure it is not another three years before I see them again.

New York five-some bring music back to the charts

'Angles', The Strokes fourth studio album, is the first in just over five years due to well documented 'band issues'. It is a collective of Julian Casablancas' clear 80's pop influence carried over from his solo project 'Phrazes for the Young'. Nick Valensi's ever catchy and melodic guitar hooks all glued together by the tried and tested back line of Albert Hammond (rhythm guitar), Nikolai Fraiture (bass) and Fabrizio Moretti (drums) pushing the message home.

Front man Julian Casablancas and guitarist Nick Valensi started writing material for 'Angles' in January 2009.

The album was originally due to be released late in 2009 but disagreements about the songs readiness forced them to push back this date highlighting the bands disparity to get this long awaited album spot on.

Arguably not as fluent or instant as the pinnacle of 'Is This It' or as undeniably driving and powerful as songs such as 'Juicebox' and 'Heart in a Cage' from third album 'First Impression of Earth', 'Angles' may at times lack attention seeking songs throughout its duration but it certainly has a mood and energy worthy of the bands high reputation.

The first single 'Under Cover of Darkness' draws you in, catchy enough for prime time radio and edgy enough for life long fans not to discard them for reaching a possibly unexpected, unsuspecting new target audience. 

'Taken For A Fool' may well inspire the tag of a teenage anthem, assisted by its sing along arrangement of vocal hooks, cutting guitar lines and tunnelling bass and drum work. The albums opener 'Manu Picchu' shows the bands ability to combine unexpected influences, the opening guitar lending hand to roots of ska, alongside Casablancas' crisp, streetwise vocal inevitably provoking a head bop from its first listen, climaxing in true Strokes style with mood altering guitar work and a thundering rhythm section turning it into more of a persistent tic on the top of your shoulders.

 

In conclusion I would say 'Angles' is a worthy addition to the The Strokes' back catalogue and certainly will not do them any harm, gaining new additions to their already flowing fan base. 

However, I would still strongly recommend any new followers revert back to their platinum selling debut album 'Is This It' to see where it all began and to hopefully get a true impression of the bands beginning and convert the new followers among you into life long fans.

‘Tallest Man On Earth’ Artist Review

It must be hard not to feel intimated when the biggest selling folk musician of all time, Bob Dylan, is still making music in the same genre as you. You could be forgiven for being passively cast in to a career performing in his shadow, after all, how do you compete with a man with a back catalogue of over forty albums, and a host of prestigious awards and critical acclaim?

However, ‘Tallest Man On Earth’ has an edge and appeal beyond just becoming another folk singer/song writer, proving he is capable of casting shadows himself.

Born in Dalarna, Sweden, real name Kristian Matsson, he exudes a collective of acoustic/folk/blues pursued with a husky murmur curiously pleasing to the ear, guitar riffs and chord sequences written to float on the lightest of summer breeze, and thought provoking lyrical content.

He spins yarns on relationships, lifestyles and passers by with attentive curiosity and throat lumping heart.

His fusion of originality whilst lending hand to music of old makes for an exciting yet familiar discern.

With an ever-growing arsenal of songs spread across two EP’s and two studio albums he has plenty of material to sink your teeth into.

Starting with a self-titled EP in 2006 and flowing effortlessly into debut album ‘Shallow Grave’ 2008 he starts with intent and gathers an army of fans and admirers along the way.

Early 2010 gave us his second album ‘The Wild Hunt’ and his newest EP ‘Sometimes the Blues Is Just A Passing Bird’ was released at the end of 2010.

 ‘Tallest Man On Earth’ is an artist gathering momentum, recently playing new single ‘King Of Spain’ on ‘Later…with Jools Holland’.

My conclusion is simple, don’t be left behind wandering what you’ve missed when Kristian Matsson is on his 40^th + album, and gaining critical acclaim only hall of fame members are worthy of captivating.

For more videos of 'Tallest Man On Earth' see the tool bar below.

Black Rebel Motorcycle Club LIVE Bristol O2 Arena Friday 10th Dec 2010

Better late than never, better there than not!

For anyone who owns a bands back catalogue, covers their tracks live or generally adores their every creation.

An opportunity to see said band is a more than welcomed one, especially in the South West.

Even from the outset, approaching the venue, the tingling anticipation caused by the arrival of the San Francisco born, L.A. based band was apparent in every one's stomach.

The flock of fans followed the standard gig protocol, tickets punched, coats checked and jager-bombs hatched..it was time for chaos. 

I wont fabricate, I've seen busier venues, but as the lights suitably dimmed fans pored front and forth in frantic fashion.

Appearing from a collage of smoke and blinding white spot lights, drenched in leather and black hooded attire hailed Robert Hayes,Peter Been and new addition on drums Leah Shapiro.

Starting with 'Red Eyes and Tears' an instant crowd pleasing head bop, followed by 'Weapon Of Choice' 'Whatever Happened To My Rock and Roll'

'Spread Your Love' and new anthem 'Beat The Devils Tattoo' it was a constant barrage of dirty riffs and emphatic choruses.

The mood of awe and anticipation spread like wild fire across the three thousand strong audience and they didn't disappoint.

After the onslaught was over the inevitable encore was just as breath taking.

Instead this time opting for the thought provoking sounds familiar on 'Howl' and choosing an organ and acoustic guitar instead of distorted bass and electric guitar to serenade the crowd.

They played their way through an assortment of old and new songs, binding the crowd in admiration of the multi dimensional talents on show...

albeit if at one point Robert Hayes did forget an opening key sequence to a song from the organ, simply stating. 

"There were no robots used in the making of this song" It gave a reachable, human edge to an otherwise super natural experience.

Check out the video bar for live footage!

Debutants Hit The Spot

Funeral Party 'The Golden Age of Knowhere'

At first listen, you may well be tempted to focus your attention to singles 'New York moves to the sound of L.A.' 'Finale' and 'Just Because'..
and we're all guilty of it, but with further listening the realisation of consistency becomes apparent.
The energising grooves, thumping drums and repetitive vocals hooks, all delivered with an unmistakable American resonance are reminiscent of
emo/punk pleasure likened with 'The Used' 'Taking Back Sunday' and 'Brand New'.
The gravely vocal of lead singer Chad Elliot's L.A. inflection works with and against the pop-electro edge in an assortment only found
if you placed Kurt Cobain and 80's synth pop in your washing machine.
The combination of subtle synths and keyboard work throughout their debut album effort 'The Golden Age of Knowhere'  kicks Funeral Party firmly into the market and undoubtedly
many peoples record collections.
The result is an ideal soundtrack for any fusion of events life may throw your way, this album will prepare you for the best and worst times...the rest is up to you.