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singles/eps -
july 2008
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While being a little under whelmed by
MGMT's previous offerings, 'Electric Feel' hold a kind of languid laid back
synth disco charm that makes it difficult to dislike. Plus they sound like
they are singing about electric eels - what more could you want?
www.whoismgmt.com
Watch video to 'Electric
Feel'
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Featuring
more horns than a Viking longboat and no doubt benefiting from the
popularity of producer du jour Mark Ronson, Clap Your Hands is a big beat
funk soul brother that sounds like it belongs on an advert for minis (skirts
or cars). Relentlessly old skool, if you like your northern soul then you
won't go far wrong with this.
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From the seemingly endless
pool of talent on the South Yorks indiepop scene comes Smokers Die Younger
and their skewed genius in the form of 'Sketchpads'. Harpsichord sounding
keys stab away while a Dinosaur Jnr growling guitar piece whiles away in the
background of the breakdown. An equally demented vocal completes this
cock-eyed beauty of an ode to the humble 4-track.
www.theespc.com
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Not afraid to experiment would
be a colossal understatement about Midasuno. This is a heady mix of sludgy
riffs, electronica, emo with a sprinkling of thrash for good measure. You
could be forgiven for thinking this would all equal a bit of a mess but
while it certainly jerks around like an epileptic gerbil there is just
enough structure to hold the whole track together. The B-sides are also
pretty good so if you can get over Scott Andrews rather girly vocals then
this single should be a must have.
www.myspace.com/midasuno
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From one camp sounding electro band to another. A curiously
undertstated mix makes 'My Heart is Set on You' sound a little like a washed
out Pet Shop Boys track. It phases in and out with whispish synths and airy
vocals but just skims the surface of my interest.
Double A side 'Love in the Digital Age' finally gets a proper release
even though it feels like we've written about it 3 times already. Suffice to
say it is very good, well worth buying this release for alone.
www.headswedance.com
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Uh-oh.
Pretentious super group alert. Band name ending in 'club' - check. Comedy
names - check. Cover versions aplenty - check. But hold on a minute, these
stripped down to bass and rums version are actually really good. The
contrast between the sparkly female vocals and the sludgy bass works a treat
and as the press release correctly observes, it's so much better doing
covers like this rather than just another boring slowed down acoustic
version. Bravo.
www.thespc.com
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Well it's been
out a while and it has been getting plenty of good coverage. Probably
because it is pretty good in a Chaz n Dave meets PJ Harvey sort of way.
'Kiss with a Fist' is a darkly rollocking ride of love and violence. Won't
win any prizes with anti domestic violence campaigners but it is a good
tune.
www.myspace.com/florenceandthemachine
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I know it is incredibly immature of
me, shallow perhaps and definitely behaviour of an impartial reviewer
but...the picture on the front of this CD gets right on my tits. White
Williams looking all smug with his horrible shades on - I just feel the urge
to punch him in the face. My anger management issues aside, I don't like the
track much either - it just meanders along with a few whirs, bleeps and
keyboard sounds thrown into an unforgettable melody. bah. I'm off to drown
some kittens.
watch the video to 'Violator'
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Gosh - this was an unexpected
pleasure. I've seen Wild Beasts quite a few times and always ended up
cringing at the more melodramatic leanings of Hayden Thorpe's falsetto
vibrato voice. But 'Devil's Crayon' sees vocal duties handed to bassist Tom
Fleming and it makes for a massively refreshing improvement. the guitars
twinkle along and the whole song sounds like a soundtrack to a trek on
horseback through the wild west. Marvellous stuff.
www.myspace.com/wildbeasts
Watch video to 'Devil's
Crayon'
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Capitol K aka Kristian Craig Robinson mess around with playful
electronica warblings. 'Libertania' has more than a whiff of Pagan Wanderer
Lu about it plus a huge stench of annoying synthy sound in the chorus that
really annoyed me after 2 listens. 'Go Go Go' by comparison is a bit darker
and more minimal with a percussion that sounds like water dripping in a
cave. This appeals much to my troglodytic tendencies.
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I admit to being completely unfamiliar with the Notwist. but then they
haven't released anything for 6 year so it's hardly surprising. That said I
am quite taken by 'Where in the World' with its understated claustrophobic
clicks and blips. There's even a bit of doleful brass midway through,
carefully folded within the immaculately constructed songwriting. Sounds
like the direction you thought Radiohead were heading after Kid A but never
did.
www.myspace.com/thenotwistnow
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I'm not normally one to go in for hip hop but Tusken Coalition throw in
quite a heavy and dark vibe into their tracks and coupled with their use of
live decks only (no studio samples or loops here) Amphetamine Romance is
quite a refreshing change. Though it also has elements of that 'Check Your
Head' era Beastie Boys (which is obviously not new)...I knew I'd strayed too
far out of my depth here.
www.tuskencoalition.co.uk
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More dark electronic music. This time in the form of Germanic sounding
Black Affair. Think Fischerspooner or Blackstrobe meets Ritzy handbag house.
It remains so understated that it becomes a little frustrating to listen to,
especially that bassy keyboard sound which plinks away continuously
throughout the song.
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Err, I had to read the press release just to confirm that Campbell was
actually singing in the English language. Don't get me wrong, I'm not locked
in some home counties village and get confused everytime someone pronounces
a word with a short vowel sound. Hell, I even lived in Newcastle for a year
and untangled many a Geordie accent. But Campbell is seriously laying it on
thick with opening track 'Burgers and Murders'. And it is quite brilliant.
Rapidly picked but simple guitar melodies form the backdrop to Campbell's
ethereal vocal which phases in and out.
'Twilight Bird' and 'Comets' are at once more intelligible though still
heavily accented in a way that makes them resonate with meaning seeing as
they written about events and places from Campbell's home. But by final
track 'Mr Robinson' I'm about ready for something a bit more varied than the
steadfast voice-guitar combination.
www.myspace.com/brendangeniecampbell
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What is this rubbish? Sounds like bad euro dance tripe to me. The CD says
'Strictly for promotional use only' - quite right - no-one would listen to
this for pleasure. Get out of my ears.
www.myspace.com/sarahmcleod
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The Kooks remain resolute in their lifelong mission to make absolutely no
music that i find appealing. 'Shine On' is no doubt intended as their
summery festival number. It's a bit Boo Radleys but mainly it's got that
special Kooks quality of being, well, not that special. This is all getting
a bit boring - how about you try and write a techno single or a thrash album
Luke?
www.thekooks.co.uk
Watch video for 'Shine
on'
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There's definitely some great song writing going on here. the vocal
harmonies in the chorus of 'Badbrain' seem to slip in and out of time
effortlessly. But much of this good stuff is veneered over in a sanitised
rock format that means it's a struggle to really get excited by it.
For a promo EP there is the obligatory acoustic number tacked on the end.
But I'd rather listen to 'Tomorrow's Story' any day rather than the bloody
Kooks.
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Ready? Sure? Ok, press play. Doh! You missed it - that quick pick slide
at the start. Otherwise, they sound like very clean cut, thoroughly
proficient song writers and musicians. Would I play 'Picture This' again
after writing this review? Not a chance.
www.myspace.com/thetalks
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For a bunch of 13 and 14 year olds (yes dear readers, you read correctly)
Lo Fi Culture Scene are bloody good. But in the same way as if you see a 14
year old footballing prodigy he is bloody good, but not as good as a proper
grown up professional footballer. 'Abstract's biggest failing is the
distinctly teenage sounding vocals - ahh, no amount of talent can disguise
the facts of nature boys. But that said, these guys are very impressive and
would give Bloc Party a run for their money. Bet they split before they
reach 16 though!
www.myspace.com/loficulturescene
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This sounds like the Beatles' 'Penny Lane' except without the catchy
chorus. Piano pop which seems to crash into a squeaky brass finale -
perfectly acceptable dreamy fare.
www.myspace.com/simplylukeleighfield
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On account of the vaguely War of the Worlds style sleeve art I suspected
this would be slightly more interesting fare than its predecessors in
tonight's review pile and I was correct. But as we would say in Yorkshire,
Plantlife are proper weird. 'Take it Off' is like Prince meets 70s funk
meets Chemical Brothers. There's this hard techno edge underpining all those
phat grooves that is guaranteed to get you dancing around roboticising. It's
electro with soul, funk with a mechanical heart.
http://www.plant-life.net
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I think that listening to this incredibly loud, especially live at a gig
would be an awesome experience. but it is late, I am an upstanding member of
the community and I have neighbours, so it is on at a moderate level. But
Kobai blurt out enough effects and thumping beats in just over four minutes
to wake even the deepest sleeping Mr Johnson from No. 7 just across the
street. Good on you lads.
www.kobai.co.uk
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Not one of my favourite tracks
from Underworld's 'Oblivion with Bells', 'Ring Road' has a vaguely tribal
vibe but seems to drift lazily along instead of really making you sit up and
take notice. Mind you, that kind of resonates with some of the lyrics
talking about putting the world to rights, sitting back and watching it 'all
slide by'. There are 4 remixes too though, and the Laid Back Luke remix is
great, more reminscent of the acid house days of DubNoBassWithMyHeadMan
Underworld.
www.underworldlive.com
Watch video to 'Ring
Road'
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It's a fine line between
lazily stylish and a little bit slap-dash. I feel Jupiter One are having
little dalliances with both. The guitars and harmonies are nice and wispish
without being too anthemic but the bassline and vocals lean toward a little
bit plodding. I'm unconvinced.
www.jupiterone.com
SB
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Dull dull dullsville.
Like The Vines but without any kind of vibrancy, urgency or for that matter,
fun. I do however love the packshot which seems to feature a fox on fire
(not that I don't like foxes you understand). Kind of a fox-comet or
fox-meteorite.
www.myspace.com/theblakes
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If the
greatest trick the devil ever pulled was convincing people that he did not
exist then the LotSP trick of convincing us that they are being all clever
and innovative must run a close second. It's more strings, Morricone
arrangements and 60s vibe straight out of a pattern book. they do it well
but does it really create any kind of reaction in me? Not really.
watch video to 'Standing
Next to Me'
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Unfortunately U&E have yet
to discover the art of brevity and seem to want all their tracks to push
your limits of patience to the extreme, especially as if, as in my case, you
find the repetitive loop of 'Aggravator' mildly annoying. Sure there are
some interesting samples but in the main it's pretty rudimentary. Again
there is an air of Death in Vegas about 'Black Bomber' but as with DiV, who
can also err on the simplistic side, it's hardly an attention grabber. But
there are some good things going on here (like the gentle glockenspiel which
plays off the hard house electro drum machine) - I just think the whole
thing would be better off condensed into a more listener friendly format,
rather than have you recoiling away from you speakers with a mild headache.
And as if to illustrate the point, the EP closer 'Venturi Reprise' does
exactly that - a big beat, some warped synths and B-movie effects all
seemingly performed on quite a cheap and ancient keyboard. It gets fuzzier
and and more obscure before it eventually fizzles out after 3 minutes -
perfect for a busy man like myself.
www.unusualandelectric.com
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Having just criticised Unusual and
Electric for being a little bit simplistic, I'm now going to contradict
myself by suggesting that Moby knows exactly how to handle a minimal song
and keep it interesting. 'I like to Move Here' seemingly has nothing much to
it if you dissect the parts - a very simple piano line, a female vocal
sample and the laid back rap style of Grandmaster Caz. But they are all
perfectly handles, balanced and even the old school rave 'woo's can't spoil
the summerish hot sticky nightclub vibe.
www.moby.com
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The use of a 'z' in 'Gregoryz' should
have been a clue (a desperate attempt to lure a youthful txtspk audience
perhaps). The earnest band shot gazing into mid-distance should have been a
clue (trying to acquire an unwarranted sense of gravitas. 'Moving Mountains'
is nothing short of abysmal. A warbly larynxed chanteuse and £79.99 from
Argos guitar sound mean I would not even be happy if I'd seen this lot in a
pub, let alone commit their work to CD. I have no appetite to plough through
the other three tracks which comprise this CD.
www.gregoryzgirl.com
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Is it my ears deceiving me or is there a
feint glimmer of Portishead's 'Road' really low in the screwed up up mix of
'Council Estate'? I'm not sure Tricky's vocal talents really lend themself
to this type of frontman drawl - his voice just sounds better being quietly
malevolent. Otherwise 'Council Estate' is a hyperactive rabid dog of noise
and beats, a bit scary actually.
watch video to 'Council
Estate'
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A little jewel of a debut release, that manages, over
the space of four songs and sixteen minutes, to explore the grand themes of
life, love, loss, death, grace and redemption, fire and brimstone.
Already receiving well deserved airplay, having been
picked up last month by Mark Radcliffe and Stuart Maconie as a Radio 2
single of the week, the band have just played Glastonbury and now continue
on a short tour to promote the release.
For a taste of how they play live, their MySpace site
features some marvellous television footage of the band, with a pared down
line up, of guitar, banjo and upright bass, performing a couple of the songs
from the single. On record this basic folk/bluegrass line up is augmented by
percussion, piano, fiddle, mandolin, accordion, Hammond organ and some sweet
vocal harmonies.
From the beautiful opening refrain of ‘Roll Away Your
Stone’, that belongs somewhere between Ireland and the Appalachians, to the
closing chorus of ‘Awake My Soul’ ; between them, Marcus Mumford, Ted
Dwayne, Country Winston, Ben Lovett (Bloody Loves It) and Holly Piercy, all
fine musicians, have crafted four infectious, confessional, anthems that
reward repeated listening. This is bluegrass music for the soul.
www.myspace.com/mumfordandsons
www.myspace.com/chessclubpromotions
Bill Howe |
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The Pigeon Detectives have come a long way in the past
year or so, and are a firm favourite amongst indie fans and DJs alike.
Everybody Wants Me is the second single from their second album, and sums up
their current status perfectly. A more low-key affair than usual, this is a
simple love song that even those with a very basic grasp of the English
language can’t fail to understand. Everybody Wants Me is Pigeon Detectives
all over - it features the Pigeons trademark big chorus, wistful lyrics,
sunny disposition and general 3 minute pop song wonder.
www.thepigeondetectives.com
Watch video to 'Everybody
Wants Me'
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Bad Love & Licker are a band who have a huge local
following but are also trying to branch out and reach a wider audience. It
is clear to see why they have gathered so may fans, having very fast and
heavy guitar riffs, with a hardcore edge to them. From this four track EP
the song ‘Camera! Action! Lipstick! Lights!’ stands out as the most
dominating track. With gang vocals carrying the chorus at the end of the
song, accompanied by solid drumming and tight guitar work. The highlight of
Bad Love & Licker is the amazing talent of their guitarist and his stunning
technical ability, perfectly illustrated when a guitar solo is just pulled
out of nowhere mid-song. The music produced by Bad Love & Licker is of a
very good standard but the voice of front man Lee doesn’t quite seem to fit
with the music. There is little variation in his voice and it just isn’t
what I was expecting to accompany the type of music being played. The four
track EP is a good listen and has more pluses than negatives so it would not
be a surprise if you were to hear a lot more from Bad Love & Licker in the
near future. Hopefully they will achieve what they want by branching out of
their local scene and will start gathering fans from further afield at a
fast pace.
Tim Birkbeck |
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Am I alone in thinking this just sounds like a modern day Crystal Gayle
being trotted out? And does it include someone playing a comb through a
piece of paper like a makeshift kazoo? It sounds like it. Not that
remarkable and quite forgettable.
www.myspace.com/sheandhim
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Title track 'Falseness and Fairytales' is so laid back that I've nearly
fallen off my chair listening to it - truly lacking in any creative spark.
Fortunately EP opener 'You Don't Know What You Want To Be' is a bit more
upbeat with slashy guitar riffs reminiscent of MC5's 'Kick Out the Jams'. So
the balance lies in third and final track 'Exactly the Same as it Always
Was'. A title couldn't describe the band better - singularly lacking
individuality and sounding like they are not even sure they really want to
be in a band. The Smithsy lilting guitar cannot disguise the fact that there
is no acerbic Morrissey narration leaving the whole thing like a bit of a
wet lettuce...then the outro kicks in. Finally! Some balls and the day is
saved.
www.myspace.com/moderncliches
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Great press release - utter gibberish but in a deliberately humourous
creative way, not the normal self hype. And 'Bad Ideas' is pretty good too.
Not an easy listen by any means - imagine Prince, the Presidents of the
United States and Primus locked in a minibus sinking into the Humber sludge
just offshore Immingham - this would be the sound of their death screams.
I'd listen to it.
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We love a bit of The Whip and Blackout does not disappoint. Described as
electro rockers but definitely at the baggy end of electro, as only a
Manchester band could be, The Whip manage to animate their mechanical
musical tendencies with the perfect amount of organic vocal. This rocks and
funks out in equal measure.
www.myspace.com/thewhipmanchester
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Do you want post hardcore pop in the vein of bands such
as Hundred Reasons and Kids in Glass Houses? If you do, ‘Seeing Ghosts’ may
be the E.P perfectly suited to you. Kick Box Riot, the newest Welsh rock
sensation, release this debut E.P at the peak of public hype for the record.
And with intelligent guitar riffs and pounding drums, I suppose the hype is
justified. However, in my opinion this E.P is completely let down by the
vocals. They are utterly pretentious, generic and frankly dire... horrendous
shouty vocals seem to be the leitmotif of music at the moment don’t they...
Where Kick Box Riot build up fantastic drum patterns and superb angular and
intricate guitar riffs, they are knocked down and succumbed to the cringe
worthy tones of Mike Mansfield (vocals). If I’m honest, Kick Box Riot have
all the necessary elements in order to be a successful band already in
place: Great tunes, great energy and a great fan base, but I truly believe
until Mike Mansfield leaves the wailing and screaming alone, Kick Box Riot
will get no further. In fact, I think that Kick Box Riot may have even
worked this out for themselves. ‘We Are Nowhere’ seems to be the summary of
their own mistakes. “We got it all wrong , we got it all wrong” bellows
Mansfield throughout, which provokes the immediate response...yes, you did.
‘Fear of Change’ is a piece of pop punk brilliance, but again, is ruined by
the dreadful vocals in the middle. Therefore, in conclusion, Kick Box Riot
(instrumental version) is one of the best debut E.P’s I’ve heard in a long
time. Kick Box Riot (actual version) is spoilt by dreadful, pretentious
vocals. It’s all the more irritating when you discover that Mansfield
actually does have a very good voice. He just projects it in an utterly
irritable fashion. On the other hand, if you enjoy vocals like these, then
this may just be the best thing you’ve heard in ages.
Sean Phillips |
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If Michael Jackson is the King of Pop and James Brown's
the Godfather of Soul then Stephen Malkmus must surely have some
high-ranking position in the world of indie-rock. It's not that Pavement
were necessarily the best or most ground-breaking band or anything, but if
aliens landed and you wanted to explain this 'alternative rock' thing to
them - you'd point them in in the direction of the guys over there in the
plaid shirts as the best example. Its just a shame his solo career (after a
really good start) has been giving off increasingly diminishing returns. So
how does this single sound? Its 'I'm a Cuckoo' by Belle and Sebastian
basically. With Stephen Malkmus singing. And that lass from Sleater Kinney
singing backing vocals. That's pretty much it really. Nothing more, nothing
less.
Andy Glynn |
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I’ve come to a conclusion. I just don’t like music as much as I used to.
No, no, no. That’s not it. I love music. I could talk to you for hours about
it, boring you to death with my opinions on Xiu Xiu’s covers, or Brandon
Cox’s blog. The evolution of my taste is the only possible conclusion. There
was a time when I would have loved this embarrassingly-teenage angst and
repetitive chords. I was 13, and I couldn’t think of anything better than
listening to The Libertines. As Barry Chuckle would say, “Oh dear, oh dear!”
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Just a few years on, and I am older, a little taller, and a lot more
elitist, unfortunately. Looking back on myself few years ago, with my
home-made Manic Street Preachers badges and Free Pete aesthetic, I can’t
help but blush. How could I have been so... clueless? As previously stated,
the young idealistic Olivia would have loved this. Its lazy vocals and
uninspired drum beats offering little to think about, and little interest
embedded into the overly-simplified lyrics. For the circa 2008 teenager who
doesn’t want to listen to 50 Cent, it’s brilliant.
I’m still young though, extremely so. And it’s my age group this is
undoubtedly aimed at, the faux-indies (to those in the know – windies) who
swear by NME and pray to Conor McNicolas for a two page spread of Lightspeed
Champion in next week’s issue. So why don’t I like this? It’s repetitive,
yes, but that’s not necessarily a bad thing. It’s simple; Again, not really
a negative, not really a positive. It’s not tediously irritating at all, and
compared to the Ting Tings, it’s the musical equivalent of a post-rock
Radiohead LP (aka: a good thing). Overall, it’s not particularly bad. It’s
just not my cup of tea.
Or maybe, just maybe, I’m starting to go off music.
Olivia Jaremi |
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This is as infectious as Crystal Castles get – after watching them get
kicked off their Glastonbury set 30 minutes early by security CC really
embody everything a modern punk band should be; loud, brash, arrogant and
they don’t play guitars. In a world where ‘the next big things’ look like a
Topman catalogue ‘vanished’ is the perfect antidote. Albeit one which will
worsen your headache.
http://www.myspace.com/crystalcastles
Nick Burman |
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A ten year olds’ having a party where the main drink consumption will be
coke, guess what it will sound like. The chorus is bearable, just sing
normally man! You can’t sound like that and on the basis of B-side #2 ‘Our
Raid’ Metronomy can have a knack of making dance music with funky bass lines
and fun sparkles of machine gun clatter. ‘Let’s Have A Party’ (B-side #1)
also shows that he can sing like a human being, at least the lyrics seem
decent(ish) for a dance track of this genre. It does stretch too far into
70s disco for my ears though. I find it hard to imagine dancing to ‘Holiday’
– even in its discordant dub mix, in any situation. For ‘dance’ music then,
pretty much a limp dog.
www.metronomy.co.uk
Watch video to 'Holiday'
Nick Burman |
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Attic Lights are five jolly
Glaswegians who make epic tuneage in the vein of the Flaming Lips, Guided by
Voices and the Beach Boys. In under three years they’ve gone from humble
origins to playing the V Festival, appearing on XFM and Radio 2 and starring
in BBC2’s Culture Show.
The first thing that hits you is the
melodies. Then it’s the harmonies. If Brian Wilson spent a few months in
Glasgow, this is what the inside of his head would sound like.
Despite their
everything-but-the-kitchen-sink soundscapes, what’s so likeable about the
band is the vein of humour that seems to run through everything they do.
Take a look at their myspace site or their website blogs (www.atticlights.co.uk)
to see for yourself. Of particular note is a story about how a chance
meeting with plastic faced uber-celebrity David Gest lead to him providing a
monologue for a special recording of this very track.
Check them out at the festivals this
summer and let the sunshine in.
Chris Moffatt |
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If Jesse Malin was a tennis player,
he’d be one of those guys you see on the doubles circuit who never makes it
past the first round in the singles. The reason being that Malin is always
better working with other musicians, rather than going solo.
Past glories have seen successful
partnerships with rock statesman Springsteen and alt-country poster boy Ryan
Adams. His new album takes these partnerships to their logical conclusion,
consisting wholly of covers. There’s a wide range of source material and
he’s clearly musically knowledgeable. Malin claims that the songs “hit me at
certain points in my life and never stopped”.
The first single to be taken from
the album is an interpretation of Lords Of The New Church’s Russian
Roulette. It’s a strange choice for a first single, given the more
mainstream options available on the album (The Stones’ Sway, Lou Reed’s Walk
on the Wild Side or even Sam Cooke’s Wonderful World might have been more
obvious candidates) however it’s a nice enough track. Touched by the gentle
hand of Radio 2, it feels slightly restrained; like playing an electric
guitar through headphones, or watching a football match with the sound
turned down.
The B-side is a more interesting
cover of the Flaming Lips’ Yoshimi Battles the Pink Robots. The track’s been
distilled to its most basic form and starts with just piano and lead vocal,
before backing vocals drift in, followed by acoustic guitar and drums.
Malin’s voice is spookily similar to Wayne Coyne’s original, but this is a
worthy cover that highlights the strength of the original song by stripping
it back to the raw melody.
Malin is working on material for a
new album between current tour obligations. Let’s hope his solo work can
live up to the quality of his covers.
Chris Moffatt |
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This single by Royworld reminds me of so much I've heard before, yet
still I can't put my finger on it and it remains a cracking, well produced
riotous song. An enjoyable listen and a great promotional single for the
band. A single, perfect for a wide audience through the mainstream and
beyond, and with the backing of virgin records I'm sure they'll go far.
Gareth Ludkin |
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Had enough of the Ting Tings? I know I have, and that's why 'Fear Fear
Fear' by John and Jehn provides a welcome escape from the apparently
relentless parade of unappetising boy girl duos, all trying to be the next
meg and Jack. John and Jehn in this sense are refreshing, not trying to
reproduce something that has gone before the pair instead forge their own
new direction and distinctive style. With a melancholic whiff and intriguing
mystery 'Fear Fear Fear' and the B-side 'Sister' had my toes tapping to
their original beat and imaginative style.
www.myspace.com/johnjehn
Gareth Ludkin |
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A pointless and uninteresting session of button bashing and simplistic
computer generated electronica is not what I want from music, and frankly
this is all that Black Affair provide. A dull, uninteresting and metronomic
song. A worthless piece of attempted indie electronic music.
Gareth Ludkin |
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