Warning! Death by Breezeblock!

Quickly asserting themselves as my new favourite band and the likeliest contender for my Summer listening, Leeds based foursome Alt-J have unveiled the video for their forthcoming single 'Breezeblocks'. 

The video, directed by Ellis Brahl is dark in its theme and completely shot in a rewind format. I can’t quite work out if it’s a marital tiff gone wrong, as you see a woman drowning under the weight of the aforementioned breezeblock in a bathtub, or could it be a crazed lover who's broken her way into his flat wielding a knife and then proceeded to tape his wife up in a cupboard? Or could that be his daughter? There’s also an inventive use of the breezeblocks as they make a very dashing table and then it’s involved in a tug of war between husband and wife/deranged lady (take your pick). It's all very, very confusing.

There are plenty of chances to see Alt-J live over the coming months as they've announced slots at Liverpool Sound City, Tramlines and Live At Leeds. But already being dubbed as the gig of the Summer is their show at a disused office block in Spinningfields, Manchester. They'll be performing alongside 5 other bands including Liverpudlian trio, Stealing Sheep and No Ceremony who’ll be showcasing their sounds for the first time and at only 8 pounds it’s sure to sell out. The general consensus is that these guys are going to be big so catch them while they’re playing those intimate venues!

The debut album from Alt – J ‘An Awesome Wave’ will be released May 28^th through Infectious Music.

Breton - Other People's Problems

 “Most important new band of 2010” noted one YouTube user gaining them a multitude of likes. The song was ‘December’ and the band was film makers turned musicians, Breton. Just fast forward two years and they could well fulfil this role. Forming in 2010 and having already released 3 EPs, their debut ‘Other People’s Problems’ claws its way at the realm of musical genius. It’s a record brimming with conflicting beats, vocals with a distinct southern edge, obscure sound effects and throbbing synthesizers.

Opening track ‘Pacemaker’ is stunning in its layering of choppy beats and solitary violin but it is the following track ‘Electrician’ that really sets the pace; becoming more infectious the further you delve in. There’s an esoteric blend of sound effects permeating the album, this is most noticeable in ‘Inteference’.  As it begins with a bleeping almost like that of a failing life support machine before the repetition of the catchy ‘oh oh oh’ rushes in and you feel obliged to hum along.

 At times there is a lot to focus on, but all the components are like atoms speeding towards each other on a collision course resulting in a beautiful chaos. The album is enhanced by a string section counteracting the electro beats and chopped up samples. It is as if it shouldn’t work but the lovely juxtaposition of these elements guarantee success.

‘Governing Correctly’ is reminiscent of early Friendly Fires, whereas, the penultimate track ‘Jostle’ starts as if it’s a horribly warped version of Pitbull’s ‘Hotel Room Service’ but then the vocals kick in and take away any dubiousness. Surprisingly, it’s one of the highlights. While the vocals hush there’s then a cacophony of crashing instruments and shouty vocals, once again making it instantly memorable.

Hype can be as beneficial as the death penalty. It can place so much expectation on a band that it signals their demise before they’ve even begun. With Breton there has been a gradual garnering of attention, from being featured as The Guardian’s Band of the Day in September and as NME’s Radar Band in January. The manifestation of their experimentation has resulted in an eclectic sounding debut dipping into a plethora of genres and will guarantee a snowball of hype to head their way from many more of these publications.
‘Other People’s Problems’ is a confident, promising effort weaving its way through the upbeat and lo- fi. Breton have finally arrived and I welcome you to the sound of the future.


*This review is online at Leeds Music Scene as well*
http://www.leedsmusicscene.net/article/16381/

Ones To Watch!

Here at The Beat (Uni Project) we’ve handpicked the artists who we think will be making a grand impression in 2012. Welcome to the sounds of Foe, Eugene McGuiness, Jamie N Commons and Alt-J.

Foe

‘Are you ready for the next big thing?’ sings Hannah Louise Clark during thrashy guitar led ‘Tyrant Song.’ Well, are you? Underrated so far, at The Beat we hope her lyrics of choice prove to be a sort of self fulfilling prophecy. Performing under the moniker of Foe and with a penchant for wigs, Clark cites her influences as ranging from PJ Harvey to Nirvana and The Pixies . Debut ‘Bad Dream Hotline’ was released in January, it’s grungy rock in most parts with a soft soothing vocal and a subtlety that can be found in her next single ‘A Handsome Stranger Called Death.’

Eugene McGuiness

Where has Eugene McGuiness suddenly appeared from? Former session guitarist, tour member and bredrin of Miles Kane, McGuiness has already released 3 albums. His back catalogue proves that there’s no need to be standing side stage to Kane as he has the ability to go it alone. With a new image overhaul, he’s now channelling the look of a gentleman, properly suited and booted possibly inspired by Kane himself. McGuiness specialises in predominantly fast paced songs which rush you through the vocals quicker than an F1 race. His newer material is undoubtedly that bit more infectious, departing from the acoustic sound of earlier tracks such as ‘Monsters Under My Bed.’ ‘Lion’ and ‘Shotgun’ are slices of perfection transporting you back to the dancehalls of the swinging sixties.  

Jamie N Commons

On first listen to Jamie N Commons an image formulates in your mind of what he may look like; a middle aged man supping on a whisky in the corner of a bar working his way through a packet of cigarettes and crooning about the trials and tribulations of his life springs to mind. If you thought this too, you’d be wrong. The 22 year old certainly sounds mature beyond his years; his latest offering comes in the form of ‘Devil In Me’ with copious amounts of soul and a raspy vocal. Not surprisingly but most impressively of all was that he was shortlisted for the BBC Sound of 2012 poll, all this and he still remains an unsigned act. Someone give this boy a record deal!

Alt-J

There are many artists who are synonymous for riding on the thrill of obscuring their identity: take Wu Lyf, Yaaks and Is Tropical, from either barely giving interviews to the former performing in balaclavas to conceal their looks. Alt-J are another one of those bands with very few images of them floating around but that has an intriguing factor to it. There’s an element of chaos about their sound yet that makes it so captivating. These Leeds based lads have created a storm by releasing their latest single ‘Fitzpleasure.’ Even though the lyrics are barely decipherable, it’s the amalgamation of all sorts of genres in their songs that make you hit the replay button. You can hear a bit of Folk, Electro, Indie, Dubstep in their songs and probably a bit of Country if you listen hard enough (unlikely, but I did say probably). It isn’t because they don’t know who they are or are just trying to find their feet. It just works.

Young Guns, 08/02/12, Manchester Deaf Institute

Imagine for a moment if Pop Punk didn’t exist. I know it’s difficult but don’t get lost in the moment of bliss. There’d be none of that instantly recognisable Tom DeLonge drone and there’d be no over usage of ‘oh, oh, oh’. (Of course I’m not referring to All Time Low here). But best of all, I wouldn’t have had to endure the sounds of Tonight Alive; the main support act. With a guitarist who had an uncanny resemblance to Freddie Mercury with slicked back black hair and moustache, he fist pumped his way through their set encouraging the crowd to do the same. I’m probably not alone in thinking that it’s best to leave fist pumping to the Jersey Shore crew.

The Deaf Institute, an ambient venue decked out with a disco ball and quirky wallpaper was then attacked by a barrage of rock.  When Young Guns take to the stage and launch into new song ‘Bones’ from their eponymous, second album it’s an instant crowd pleaser. They have surging, anthemic rock songs with powerful choruses and that’s what they excel at.  Towers (on my way) was a clear highlight; short and snappy with added gang vocals giving it that extra edge. Although, it was favourites from their debut ‘All Our Kings Are Dead’ that caused the undulating mass to bob even further looking similar to a collection of Jack-in-the- Boxes.  You go to see Young Guns because you want a rock show and undeniably that’s what you get, but the tamer songs in their performance are more affecting as they offer a breather from the fast paced rock.

Front man Gustav Wood divulges through their set that this tour was like a rebirth, an attempt to get back to the ‘sweaty, intimate venues’ that they enjoyed early in their career.  So with a new outlook and a new album brings a new air of confidence and a rapport with each other and the crowd that is something quite special.  ‘Who’s a dickhead?’ chanted the crowd as a torrent of expletives rang around the room; triggered by Gustav’s command to jokingly hurl abuse at drummer Ben.

But despite it being a considerably small venue there was just something wrong. I couldn’t feel any less connected. The swathes of girls gushing over front man Gustav would probably disagree as he grabbed onto their hands and kissed one lucky girl sending hearts a flutter.  I felt as if I was at a Zoo and I don’t like Zoos. It would just be the same if the girls were cooing over a chimp, the fact that there’s a big glass screen in your way breaking that connection makes it out of reach. Young Guns felt out of reach. Their sound and presence has progressed to larger venues and that should be where it stays.

Published in the April 2012 issue of the Huddersfield Student.