(AU magazine December 2007)
LIVE: Mandela Hall, Belfast
WITH her cute round cheeks and quite astounding head of shaggy auburn hair, Kate Nash totters onstage at the Mandela more TopShop model than real live singing star.
Coming out to the strains of ‘Somewhere Over The Rainbow’, the crowd are instantly receptive to her natural girlish cheeriness.
The stage is set up like Auntie Maud’s front room, decorated with faux flowers and tacky ornaments, but it all adds to Nash’s oddball stage show, as she takes her seat at a piano swathed in red velvet and decorated with a massive bow.
Starting with Mariella - the tale of the girl who glued her lips together - each song is heralded by raucous cheering from the capacity crowd, but Nash’s purely aesthetic appeal is apparent with one glance at the predominantly male audience.
Picking up her guitar for ‘Birds’, she flirts shamelessly, batting her eyelashes before launching into another teen tale of crushes and texts.
Back at the keyboard, Nash is wide-eyed, playing the nursery rhyme-like ‘Mouthwash’, soundtracking an impromptu audience dance contest.
Then the one everyone’s here to hear, ‘Foundations’ – on record a surprisingly emotional song which loses all subtlety in the live forum, but makes for good bopping material.
Nash’s ‘Skins’-era appeal is clearly massive - at just 20, she writes songs called things like ‘Dickhead’ and ‘The Shit Song’ and speaks the same language as The Kids, hence her success.
This, the chart-topper’s second appearance in Belfast this year, is marked by both a definite weight loss and a substantial leap forward in confidence, but the naïve Londoner is still rocking the cutesy angle a little too much for an adult performer.
It’s clear Kate Nash is not just a mini Allen, but will she ever be more than the sum of her Pollyanna parts?
Saturday, 1 December 2007
ANTHONY REYNOLDS - BRITISH BALLADS
(AU magazine December 2007)
(SPINNEY)
Following the break-up after just three albums of his band Jack, Reynolds is using the entire canvas of British Ballads to get his own picture across, and it's quite the masterpiece.
Tales of heartache and love lost are here painted in broad strokes, while literary ideals are intricately detailed. Reynolds has worked on the album with philosopher Colin Wilson, as well as chanteuses Dot Allison and Vashti Bunyan.
In truth, the sensitive balladry of Reynolds is a definite acqured taste. Expecting everyone to enjoy it would be like proposing Elliott Smith as acceptable support for System of a Down, where there is simply no common ground. But Reynolds has sneakily accomplished so much as a songwriter that his name should be spoken in the same hushed tones as Smith, or Richard Hawley - or any singer/songwriter with ability and sensitivity to override that of his peers.
(SPINNEY)
Following the break-up after just three albums of his band Jack, Reynolds is using the entire canvas of British Ballads to get his own picture across, and it's quite the masterpiece.
Tales of heartache and love lost are here painted in broad strokes, while literary ideals are intricately detailed. Reynolds has worked on the album with philosopher Colin Wilson, as well as chanteuses Dot Allison and Vashti Bunyan.
In truth, the sensitive balladry of Reynolds is a definite acqured taste. Expecting everyone to enjoy it would be like proposing Elliott Smith as acceptable support for System of a Down, where there is simply no common ground. But Reynolds has sneakily accomplished so much as a songwriter that his name should be spoken in the same hushed tones as Smith, or Richard Hawley - or any singer/songwriter with ability and sensitivity to override that of his peers.
Whole lotta Rosie
(London Green News Winter 2007)
INTERVIEW: Rosie and the Goldbug
A BAND who come onstage looking more gothic Victorian parlour act than modern day pop group is enough to raise a few eyebrows - but this Cornish trio are here to tantalise and terrorise the banal and the bland. Welcome to the weird and wonderful world of Rosie and the Goldbug.
Rosie Vanier is a force of nature. As lead singer, she seems a modern day Kate Bush - with a little Karen O thrown in. In truth, neither comparison does justice to a performer who gives so much at live shows (which Bush famously shuns).
As with most eccentrics, Rosie’s unusual childhood is responsible for much of her idiosyncracies.
“I grew up in the heart of Bodmin Moor, and we lived in a very isolated farm house,” she says.
Rosie attended what she refers to as an “unusual” school, next door to the legendary Jamaica Inn where Daphne du Maurier wrote her classic book about murder, mystery, storms and smugglers.
Backed by bassist Plums and drummer Pixie, the band have been workng together for around 11 months.
Regulars at Brixton’s Jamm will remember the band from their performance at the Green fundraiser in October, which was something of a dream realised for the band.
“When we were growing up we were all in bands and always yearned to gig up in London. The fundraiser was really really great.”
Rosie’s own performances have become the stuff of legend, as she sings and dances with abandon, giving her all to the show. The work of a great dramatist?
“Onstage, I am just being myself,” she insists. “I’m a bit of an extreme performer, I don’t hold back.”
It says a lot about Rosie’s musical intentions that she has recently been co-writing with Marcella Detroit, formerly of Shakespear’s Sister - herself no stranger to eccentricity and bombast.
In spite of being a band whose future seems so ensconced in the past, Rosie and the Goldbug really are going somewhere fast. Despite being pursued by labels desperate to sign them before their fame explodes, Rosie, a self-confessed ‘control freak’, is eager to make the most of the new media revolution.
“We are using new media to our advantage, but I really am a big fan of the punk DIY ethos.”
For a band who live in a make-believe world, Rosie and the Goldbug certainly seem to have their feet firmly planted on the ground.
Check www.rosieandthegoldbug.com for live dates.
Friday, 30 November 2007
Cut down on the cute, Kate
(Morning Star, Friday 30 November 2007)
LIVE: Kate Nash
Manchester Academy
THERE'S something about Kate Nash. The London chanteuse with a nice line in youth culture has been the big hit of the year and she really seems to be riding the wave all the way to proper music success.
Coming onstage to Somewhere Over The Rainbow, Nash is all wide eyes and auburn hair, with a vulnerability which is abundantly appreciated by the male fanbase in attendance.
Blokes of all ages are rapt with attention tonight as this most girlish of singers peddles her off-kilter tales of love in a time of Big Brother and text messages.
With a cinched-in waist, it's clear that fame has brought with it the identikit publicity machine. Now aged 20, there's no evidence of the puppy fat that she wore so well earlier in the year and, with it, has gone a little of her idiosyncrasy.
The stage is set up like Auntie Ethel's front room, resplendent with faux flowers and cheesy seaside ornaments, but it all adds to Nash's quirky stage show as she takes her seat at a piano swathed in red velvet and decorated with a massive bow.
Kicking off with the infectious Mariella, a song about a girl who glued her lips together to live in her own world, each song is heralded by raucous cheering from the capacity crowd.
The girl who has been cast in Lily Allen's mould flirts shamelessly, batting her eyelashes at her fans but, in truth, her sweet naivety and quaint storytelling often put her a margin above Allen's cynicism.
A case in point is the nursery rhyme-like Mouthwash, soundtracking an impromptu audience dance contest, then the one everyone's here to hear, Foundations, which, on record, is a surprisingly emotional song but which loses all subtlety in the live forum.
For all her sweetness, Nash's youth appeal is clearly massive. She does, after all, speak the same language as her audience.
Tonight's appearance is marked by a substantial leap forward in confidence, but the cutesy girl act is growing a little tired for someone who is now clearly an adult performer.
Nash is not, as her album title suggests, Made of Bricks, but she should take care not to look like she's made of fluff.
LIVE: Kate Nash
Manchester Academy
THERE'S something about Kate Nash. The London chanteuse with a nice line in youth culture has been the big hit of the year and she really seems to be riding the wave all the way to proper music success.
Coming onstage to Somewhere Over The Rainbow, Nash is all wide eyes and auburn hair, with a vulnerability which is abundantly appreciated by the male fanbase in attendance.
Blokes of all ages are rapt with attention tonight as this most girlish of singers peddles her off-kilter tales of love in a time of Big Brother and text messages.
With a cinched-in waist, it's clear that fame has brought with it the identikit publicity machine. Now aged 20, there's no evidence of the puppy fat that she wore so well earlier in the year and, with it, has gone a little of her idiosyncrasy.
The stage is set up like Auntie Ethel's front room, resplendent with faux flowers and cheesy seaside ornaments, but it all adds to Nash's quirky stage show as she takes her seat at a piano swathed in red velvet and decorated with a massive bow.
Kicking off with the infectious Mariella, a song about a girl who glued her lips together to live in her own world, each song is heralded by raucous cheering from the capacity crowd.
The girl who has been cast in Lily Allen's mould flirts shamelessly, batting her eyelashes at her fans but, in truth, her sweet naivety and quaint storytelling often put her a margin above Allen's cynicism.
A case in point is the nursery rhyme-like Mouthwash, soundtracking an impromptu audience dance contest, then the one everyone's here to hear, Foundations, which, on record, is a surprisingly emotional song but which loses all subtlety in the live forum.
For all her sweetness, Nash's youth appeal is clearly massive. She does, after all, speak the same language as her audience.
Tonight's appearance is marked by a substantial leap forward in confidence, but the cutesy girl act is growing a little tired for someone who is now clearly an adult performer.
Nash is not, as her album title suggests, Made of Bricks, but she should take care not to look like she's made of fluff.
Friday, 9 November 2007
Calm follow-up
(Morning Star, Friday 09 November 2007)
ALBUM: Nine Black Alps - Love/Hate
(Island)
THE unrefined rocking Nine Black Alps of the first album had a thorn in their side.
They were the younger, sharper Brit siblings of Nirvana, thumping out great big rock tracks with grit in their eyes.
How refreshing, then, that the follow-up is so much calmer. Really - it's a magnificent thing that the Manchester three-piece have worked their way out of rock also-ran consignment.
Their new-found maturity has led them to produce an album of thought-provoking, accomplished songs with heart, balls and - most unnervingly - melodies.
ALBUM: Nine Black Alps - Love/Hate
(Island)
THE unrefined rocking Nine Black Alps of the first album had a thorn in their side.
They were the younger, sharper Brit siblings of Nirvana, thumping out great big rock tracks with grit in their eyes.
How refreshing, then, that the follow-up is so much calmer. Really - it's a magnificent thing that the Manchester three-piece have worked their way out of rock also-ran consignment.
Their new-found maturity has led them to produce an album of thought-provoking, accomplished songs with heart, balls and - most unnervingly - melodies.
Friday, 2 November 2007
Charity treat
(Morning Star, Friday 02 November 2007)
ALBUM: Various - The Cake Sale
(Oxfam Records - Vital)
THE concept of the charity album is to guilt people into buying it for the absolute right purpose - to help charities.
The Cake Sale is something of a blessing in that it's actually listenable - nay, enjoyable.
Bell X1's Brian Crosby thought of it and it's fair to say that his tuneful sensibilities are prevalent.
Couple that with the appearance of musical behemoths Nina Persson, Neil Hannon, Gary Lightbody and The Thrills, the record is a treat of the sweetest kind.
Why its British release is a full 12 months after its Republic of Ireland one is anyone's guess, though.
ALBUM: Various - The Cake Sale
(Oxfam Records - Vital)
THE concept of the charity album is to guilt people into buying it for the absolute right purpose - to help charities.
The Cake Sale is something of a blessing in that it's actually listenable - nay, enjoyable.
Bell X1's Brian Crosby thought of it and it's fair to say that his tuneful sensibilities are prevalent.
Couple that with the appearance of musical behemoths Nina Persson, Neil Hannon, Gary Lightbody and The Thrills, the record is a treat of the sweetest kind.
Why its British release is a full 12 months after its Republic of Ireland one is anyone's guess, though.
Thursday, 1 November 2007
FILM SCHOOL - HIDEOUT
(AU magazine November 2007)
(Beggars Banquet)
Around 20 years ago, music fans couldn't move for bands making noises like Film School. Overwrought, distorted guitars propping up a maudlin vocal given that extra kudos because no one could quite make out the words were once all the rage.
For influences, My Bloody Valentine, early Verve, JAMC - all the miserable greats are invoked on the California quintet's third boasting an all-new line-up save singer/songwriter Greg Bertens. Hideout is a record so steeped in the aesthetics of 'indie' music that one expects Steve Lamacq will literally foam at the mouth on first listen. And he'd be right to - drenched in the past it may be, but Hideout's chock-full of delicious guitar goodness. Buy it at once, and talk long and loud about the obvious impact of William Reid's feedback-laden guitar work - it's big and clever.
(Beggars Banquet)
Around 20 years ago, music fans couldn't move for bands making noises like Film School. Overwrought, distorted guitars propping up a maudlin vocal given that extra kudos because no one could quite make out the words were once all the rage.
For influences, My Bloody Valentine, early Verve, JAMC - all the miserable greats are invoked on the California quintet's third boasting an all-new line-up save singer/songwriter Greg Bertens. Hideout is a record so steeped in the aesthetics of 'indie' music that one expects Steve Lamacq will literally foam at the mouth on first listen. And he'd be right to - drenched in the past it may be, but Hideout's chock-full of delicious guitar goodness. Buy it at once, and talk long and loud about the obvious impact of William Reid's feedback-laden guitar work - it's big and clever.
MY DEVICE - JUMBO FIASCO
(AU magazine November 2007)
(Shifty Disco)
From the second My Device's distorted vocal free-for-all bursts out of the stereo, it's clear that the British trio has listened to more than their fair share of tuneless complaint thrash-rock from the other side of the pond.
The guitar-fuelled cacophany speaks of divisive 'subversive' acts like Sublime, of which influences make Jumbo Fiasco the Marmite of this month's new releases. Some would expect opener 'Uh!' or the equally abrasive 'Life is a Blast' to be popping up on the soon-to-be-released soundtrack to Hell, but truthfully, My Device fill a valuable slot in the esteemed pantheon of Brit bands who sound like Yanks - they are starter music for emo younglings, little goths who have yet to muster the ingenuity to seek out proper music which has merit and heart to recommend it.
(Shifty Disco)
From the second My Device's distorted vocal free-for-all bursts out of the stereo, it's clear that the British trio has listened to more than their fair share of tuneless complaint thrash-rock from the other side of the pond.
The guitar-fuelled cacophany speaks of divisive 'subversive' acts like Sublime, of which influences make Jumbo Fiasco the Marmite of this month's new releases. Some would expect opener 'Uh!' or the equally abrasive 'Life is a Blast' to be popping up on the soon-to-be-released soundtrack to Hell, but truthfully, My Device fill a valuable slot in the esteemed pantheon of Brit bands who sound like Yanks - they are starter music for emo younglings, little goths who have yet to muster the ingenuity to seek out proper music which has merit and heart to recommend it.
Friday, 12 October 2007
Indie decade
(Morning Star, Friday 12 October 2007)
ALBUM: Idlewild - Scottish Fiction: Best of 1997-2007
(Parlophone)
INDIE folkster Roddy Woomble's Celtic indie songsters Idlewild have been chart-bothering for 10 years.
Idlewild's original incarnation as youthful noiseniks is fully represented here, with the unsurpassable When I Argue I See Shapes and These Wooden Ideas making an appearance, but, as with all best-of collections, it is astonishing to see the path that they have followed, through the REM-style tuneful mediocrity of American English, the more traditional stylings of Live in a Hiding Place and the 1980s rock sound of No Promises.
Enthralling and inspiring when at their best, this band will last at least another decade and, going by their current record, they'll yield some corkers.
ALBUM: Idlewild - Scottish Fiction: Best of 1997-2007
(Parlophone)
INDIE folkster Roddy Woomble's Celtic indie songsters Idlewild have been chart-bothering for 10 years.
Idlewild's original incarnation as youthful noiseniks is fully represented here, with the unsurpassable When I Argue I See Shapes and These Wooden Ideas making an appearance, but, as with all best-of collections, it is astonishing to see the path that they have followed, through the REM-style tuneful mediocrity of American English, the more traditional stylings of Live in a Hiding Place and the 1980s rock sound of No Promises.
Enthralling and inspiring when at their best, this band will last at least another decade and, going by their current record, they'll yield some corkers.
Friday, 5 October 2007
Scottish treasure shines again
(Morning Star, Friday 05 October 2007)
ALBUM: Edwyn Collins - Home Again
(Heavenly Records)
EDWYN Collins should be up there with castles, shortbread and devolution - he's something that the Scottish have got absolutely right.
There are column inches about his stroke a couple of years ago, filled with patronising platitudes.
The truth is that Collins is a national treasure who, even with his unfortunate change in circumstances, has brought out one of the freshest, most enduring, most exciting records of the year.
Let no-one consider patronising here, of a man with a grasp on a rhyming couplet roundly denied most artists to reach the top 10 these days.
Home Again is an album for lovers and family, about youth and heartache, getting older and being loved.
One is a Lonely Number is a cracking opener, with an Orange Juice-style rhythm and plenty in the way of strangely prophetic lyrics which could almost foretell his stroke were one to be looking.
Elsewhere, the title track wouldn't sound out of place on a Richard Hawley record, which is an astounding compliment and You'll Never Know My Lovetakes the best soul of the Style Council and melds it with Collins's own uniquely moving voice.
The high point Leviathan pays homage to the great wilderness of Collins's own country, all brooding and Scottish.
It would have been to music fans' cost had Collins given up on recording. Home Again is his gift to the listener and it's a rich and wonderful record, shot through with hope and aspiration alongside realistic darknesses. Collins on this album, after all this time, truly is home again.
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