Tremors – TREMORS

Wisecrack – Pining for the Road

December 14, 2012 Paul Battison

Folk punk is a unique genre of music. It touches on two ends of the musical spectrum—on one hand it can be easy listening and perfect for just sitting back and admiring but on the other, the raw energy can make you just want to get up and go. Lincoln based folk punk band Wisecrack, get the balance inch perfect on their debut album, Pining for the Road.

Pining for the Road

The three-piece act mix folk, punk and country brilliantly to create merry ‘drinking songs.’ Their lyrics are ‘political and anti-fascist’ but send out positive messages which add to the vibrant, uplifting feel of the album. This theme runs throughout Pining for the Road from start to finish, and the album has an uncanny knack of leaving you in a very jolly mood after listening through it. The band cite acts such as Bruce Springsteen, Frank Turner and Chuck Ragan as their main inspirations and different aspects of these great musician’s style shine though in Wisecrack’s music. The band do a brilliant job of drawing from their influences to create their own infectious sound which reverberates through the whole of Pining for the Road.

The opening track, 7 Day Hangover, is a nice blend of electric and acoustic guitars and gets the album off to the perfect start. It’s a real feel good tune and the type of song you’d find yourself singing with your friends after one too many beers. You know you’re in for a treat when Wisecrack front man Matt Colwell sings:

“We’ve partied hard and then we crashed the cars, all that’s left is an empty room, these six strings and a hungover afternoon.”

The second track, Angel With Two Right Wings, is perfectly structured with a slow, quiet, acoustic build up that springs to life in the chorus in the shape of electric guitars and an attack on right-wing politics. The use of a banjo in the chorus also adds to the depth of the song, and illustrates Wisecrack’s ability to combine different instruments and musical genres effortlessly to create their own recognisable sound.

Don’t Pray for Me is a catchy but meaningful song with a good chord progression and a smart guitar harmony layered over the top. Matt Colwell voices his opinions on religion with the thought provoking line:

“This is God’s country and we’re supposed to be his children but there’s better fathers in prison.”

The title track of the album, Pining for the Road, is a highlight of the album and much like the opening track, is very upbeat and carries a lot of energy. The song contains the signature punk rock formula of quick palm-muting in the verses followed by the ringing out of chords in the choruses. It’s about the band’s love of travelling and touring whilst playing music.

Towards the end of the album, another standout track is the hugely infectious Sunflower Song. It contains elements of ska, folk and punk and to put it in the words of the band themselves, they once said:

“It’s impossible to listen to it without a smile on your face.”

Overall Pining for the Road is a fine album and Wisecrack are a band that Lincoln can be proud of. They have a big love for music and this radiates through the album. It sends out messages about important issues such as politics and religion, but it does it in a positive way and inspires the listener to just enjoy music and have a good time.

For me, this is what music should be about and the world needs more bands like Wisecrack.

The Clash – London Calling

December 5, 2012 Paul Battison

In many people’s eyes, The Clash are the definitive punk band. They are widely regarded as the best punk band of all time and have influenced countless acts and musicians. In many ways The Clash were to punk what the late Michael Jackson was to pop—revolutionary. With this analogy it would be fair to say that the Clash’s third studio album, London Calling, was their very own ‘Thriller.‘

London Calling was released in the UK in December 1979 and in the United States a month later. The album helped propel The Clash to great heights and it wasn’t long before they were being branded ‘The Only Band That Matters’. Since then the Clash have been inducted into the Rock and Roll Hall of Fame, and have been voted 28th on the list of the ‘greatest artists of all time’ by Rolling Stone. London Calling has sold over five million copies worldwide and has been certified platinum in the United States.

The Clash took a different approach with London Calling and expanded on their punk style and sound, which showed through so prominently on their previous two albums, The Clash and Give ‘Em Enough Rope. London Calling contained many more elements from the musical spectrum such as: ska, reggae, jazz, pop and rockabilly. It’s crammed with stand-out tracks and all 19 songs on the album live long in the memory for one reason or the other.

Album artwork for London Calling

The opening and title track of the album London Calling, was the first single released from the album. It contains a reggae influenced bass line which creates a dark, dingy, haunting feel to it. This reflects the late Joe Strummer’s lyrics in the song which voice concerns about world events at the time, such as police brutality and rising debt levels. The second track, Brand New Cadillac, is more upbeat and is a cover of a Vince Taylor song. It’s a rock and roll song with a blues riff and the band cite it as being ‘one of the first British rock ‘n’ roll records.’

Rudie Can’t Fail, the fifth track from London Calling, contains the Clash’s signature punk/reggae sound with an added element of ska. This is evident in the horn section of the song which helps to create a very uplifting sound. The song is about a young man who challenges his elders’ way of life and decides to live life his own way, such as ‘drinking booze for breakfast.’

Other ska inspired songs on the album include Lost in the Supermarket and Spanish Bombs—the latter being inspired by events that took place in the Spanish Civil War. The Clash illustrate their musical diversity further on the tracks The Card Cheat and Train in Vain. The Card Cheat is different to most other songs on the album as it encompasses a grand piano but despite the experimentation in the song, it fits right at home on London Calling with all the others. Train in Vain rounds the album off nicely with a very catchy, pop inspired sound.

In truth every single song on the album stands out for all the right reason including the jazz inspired, aptly named Jimmy Jazz and the quite brilliant Guns of Brixton. Sometimes when bands experiment with certain songs, they don’t fit in—they don’t feel at home on the album. What’s important and unique about London Calling is that The Clash weren’t experimenting with their sound as such—they were expanding it. They were pushing and stretching the limits of the punk genre as far as it would go and because of this, they created arguably the finest punk rock record ever made. Every song on the album feels exactly right at home.

The Clash are one of the most important British bands of all time. They have helped keep punk alive by influencing many of the punk rock bands around the world today, such as Green Day and Rancid. Without The Clash and in particular, without London Calling, punk wouldn’t have just ‘died’ a long, long time ago—it would hardly have been born.

Lunchband @ The Jolly Brewer

November 25, 2012 Paul Battison

There’s been a lot of indie bands which have sprouted around the UK after bands such as the Arctic Monkeys exploded on to the scene seven years ago. With the amount of indie bands around, it takes something extra special or different to stand out from the crowd—something unique.

On live evidence, London quartet Lunchband have the potential to be that something.

I was cold, wet and miserable when I got to the Jolly Brewer in Lincoln after trudging through the wind and rain to get there. It didn’t take long to warm up and dry off though because as soon as the first band hit the stage, the place throbbed with excitement. The Unknown Stuntmen were the support act for the night—a five-piece band who seemed to mix a number of genres, creating an exciting blend of music which kept the audience captivated. To put it in their own words:

“The Unknown Stuntmen are a collection of pirates that picked up an instrument each, tuned their vocal strings and set sail for anywhere that would have em”.

Their mixture of pop, folk and rock ‘n’ roll, with a hint of Spanish guitar playing, was a recipe for success with the audience either watching attentively or dancing the night away.

With three vocalists in the band, two males and one female, there’s a good variety in their sound with their voices and harmony’s complimenting each other nicely. I caught up with the rhythm guitarist, Dave, after their show to find out a little more about the band. He described them as being influenced by “anything with a good melody” and cited artists such as “The Beatles” and “Beethoven” as major influences. By being influenced by such popular and respected musicians as these, it’s easy to see why the audience took so kindly to the The Unknown Stuntmen.

Cover art for Lunchband’s EP: Rabbits, Princes, Phantom’s & Beaches

In the interval, after everyone had topped their beers up, the crowd started to gather in anticipation for the headline act of the night, Lunchband. Lunchband are a four-piece act from London but many of the band members originate from Lincoln. This made the show that little bit more special for the band and it shone through in their performance. Mixing indie, electronica and folk rock together, the band create a signature sound which is very appealing to both old and young. Listening to them, you can see they’ve been influenced by popular mainstream indie acts of today, such as Arcade Fire, but there’s also some 60’s rock in there in the shape of the Kinks.

The band played songs off their EP which was released earlier this year in July called Rabbits, Princes, Phantom’s & Beaches. The song Rabbit Run is a very easy listening song with a catchy guitar melody layered over the top of a nice chord sequence. My Prince has a strong, bouncy bass line similar to that from the Killer’s song, Jenny Was A Friend Of Mine. Throughout the set, lots of the bands influences shine through ranging from indie band Foals to 80’s electronic band, Depeche Mode. The band do a great job of knitting their influences sounds together to create their own brand of music, which stands out from most of the other indie bands around at the moment.

Lunchband are an interesting band with bags of potential. The gig was billed as Lunchband’s ‘homecoming gig’. I expect that there were a lot of people in the Jolly Brewer last night who will be eagerly counting down the days until Lunchband next come ‘home’.

Green Day – iDos!

November 13, 2012 Paul Battison

After a career spanning nearly 25 years, most bands are usually sat with their feet up, raking in the cash from the release of a greatest hits collection by now.

Not Green Day.

The evergreen (no pun intended), American, punk rock giants are in the middle of releasing a studio album trilogy with the second installment of the series, iDos!, being released in the UK yesterday. The first part, iUno!, was released only last month where as the final chapter of the trilogy, iTre!, comes next month on December 7th to complete the series.

Cover art for iDos!

Green Day front man Billie Joe Armstrong has described iDos! as being “more garage rock—a little dirtier like you’re in the middle of a party” and after a few listens, it’s easy to see where he’s coming from. The title of the second track, F*** Time, definitely echoes Billie Joe’s thoughts. The song, in a nutshell, is about sex, which is illustrated in Armstrong’s spicy lyrics “You know I really wanna make you mine, Oh baby baby, it’s f*** time”. The song delves into 60’s rock and roll with its catchy blues riffs and solos and is reminiscent of the style of Green Day’s side project, Foxboro Hot Tubs. In fact, a recurring theme throughout the album is the similarities in its sound to Foxboro Hot Tubs, and this differs from the previous release in the three-part trilogy, iUno!, which has a more punk rock vibe to it.

The fourth song on the album, Lazy Bones, is one of the only songs on iDos! which carries Green Day’s full signature sound and could quite easily sit on many of their previous album releases. It contains a chord sequence which has been plucked straight from American Idiot’s, Give Me Novacaine, and has the chord changes and catchy choruses which Green Day have been writing all their careers.

With bass player Mike Dirnt appearing on the artwork for iDos!, I was expecting a big input from him on the album and he obliges on the tracks Makeout Party and Stray Heart. Both songs stand out in particular because of Dirnt—especially the lead single from the album, Stray Heart, which is driven by his signature bouncy, bass lines.

Towards the end of the album there are a few fillers—especially the track Nightlife which comes complete with guest vocals from Lady Cobra—the singer from the band Mystic Knights of the Cobra. The song is very experimental by Green Day’s standards in that it features Lady Cobra rapping and it could be questioned whether it fits in with the garage/60’s rock theme of the album. The final track, Amy, is a fitting way to end the album however. It’s a mellow ending so could be compared to Nimrod’s Good Riddance in that sense. If you pay close attention to the lyrics too, you get the sense that the song might just be dedicated to the late soul singer Amy Winehouse.

Overall iDos! is a good album from Green Day. It might not be as solid as some of their previous albums, and it certainly has a different feel to it, but having released ten studio albums now, the band can’t keep churning out the same material. The overwhelming feel from the album trilogy so far is that Green Day are having fun again and they have taken a new direction after the politically themed albums, American Idiot and 21st Century Breakdown. With a career spanning nearly 25 years, some would forgive them for having a little fun.

It doesn’t look like they’ll be sitting with their feet up, raking in the cash from a greatest hits collection (post International Superhits), any time soon.

Nirvana – Nevermind

November 1, 2012 Paul Battison

Back in 1991, a band crept out of the Seattle Grunge underground to release an album which would transform the music industry forever. Nirvana’s second studio album, Nevermind, brought alternative rock to to the large mainstream audience and paved the way for many of the alternative rock bands we hear today.

Nobody in the world, including the band, could have predicted the level of success Nevermind would enjoy. In January 1992, it knocked pop icon Michael Jackson’s album off the top of the Billboard charts and of today, has sold over 30 million copies worldwide. The album spawned four hit singles—the first being the hugely popular track, Smells Like Teen Spirit, which can still be heard shaking the foundations of nightclubs today. The other three singles released were Come as You Are, Lithium and In Bloom.

Nevermind cover art

The late Kurt Cobain was the front man and main songwriter in Nirvana. He cited bands such as the Pixies and the Meat Puppets as his biggest influences when writing the songs for Nevermind. The album starts with arguably the most famous alternative rock track of all time, Smells Like Teen Spirit. As soon as Cobain’s simple four-chord, clean guitar intro subsides, the song and album come to life, exploding with the sound of crashing symbols and distortion. This is a regular theme throughout the album, with the band sounding quite mellow in the verses before surprising the listener by erupting in the choruses.

Make no mistake though, Nirvana and the album Nevermind have a lot more in their locker than the surprise element. Tracks such as Come as You Are show the band’s talent as it contains perhaps, one of the most recognizable guitar riffs and bass lines ever created. The fourth track on the album, Breed, is full of aggression, driven by drummer Dave Grohl’s relentless drumming and bassist Krist Novoselic’s pounding bass line.

Kurt Cobain’s lyrics add the gloss to these songs. Whether he’s singing lyrics from somewhere deep inside or screaming at the top of his lungs, he has the voice which compliments every song on the album in its own unique way. The seventh track, Territorial Pissings, is just over two minutes of punk rock onslaught where as the song Polly, is a beautiful acoustic track, showing there’s far more to Nevermind than loud amps and distortion pedals.

In truth, there’s not a weak song on the album and every track has something memorable about it. Nirvana opened the doors of success for many of the bands around today, including Flyleaf and Staind who both cite Nirvana as major influences. It’s 21 years on since the release of Nevermind and the album still sounds like it could have been released in this day and age.

For me, albums which stand the test of time are the best ones and that’s why Nirvana’s Nevermind, will go down as one of the greatest albums of all time.