Flynndie Reviews #51: The Twilight Sad - Nobody Wants To Be Here and Nobody Wants To Leave

Written 28th October 2014:

The Twilight Sad – Nobody Wants to be here and Nobody Wants to Leave

The Band: James Graham (vocals), Andy MacFarlane (guitars) Mark Devine (Drums), Johnny Doherty (bass)

This week sees the return of Scottish alternative-rockers The Twilight Sad with this their fourth album ‘Nobody Wants to be here and Nobody Wants to Leave’.  Originally hailing from Kilsyth, Scotland the band have built a loyal and dedicated following with three well-received albums under their belts from their full-debut record ‘Fourteen Autumns and Fifteen Winters’ receiving critical-acclaim back in 2007, followed by 2009’s excellent, brooding and guitar-distortion heavy second-album ‘Forget the Night Ahead’.  2012 saw the band’s third album ‘No One Can Ever Know’ still capturing the band’s intense and cavernous live sound while the record was more laced with synths and electronics throughout, now leading us up to this week’s latest album release.

Nobody Wants to be here and Nobody Wants to Leave

1.     There’s A Girl In The Corner

2.     Last January

3.     I Could Give You All That You Don’t Want

4.     It Never Was The Same

5.     Drown So I Can Watch

6.     In Nowheres

7.     Nobody Wants to Be Here and Nobody Wants to Leave

8.     Pills I Swallow

9.     Leave The House

10.  Sometime I Wish I Could Fall Asleep

With a nicely picked electric-guitar riff and an arena-filling drum-rhythm ‘There’s a Girl in the Corner’ opens the record with distinct backing-synths helping to set the dark, haunting tone for this album alongside James’ distinctly Scottish vocals “You’re not coming back/She’s not coming back for more…There’s a girl in the corner/and she’s crying for you”.  It’s a slow-burner and deliberately crafted track that sets the early dark tone for ‘Nobody Wants to be Here’.  Second-track ‘Last January’, previously previewed by the band online and in recent live performances, has a more up-tempo rhythm and percussion to it with spooky synths and a nice bridge “And they say you can’t be won/And it’s your eyes…touching my eyes”.  ‘I Could Give You All That You Don’t Want’ continues with another upbeat tempo and particularly a driving bass-line at its heart from Johnny intertwined with electric-guitar strums from Andy before we have a stand-out track on the record ‘It Never Was The Same’.  Initially another slowed-down, synth-driven song it has real endearing and touching vocals midway through the track from James “So we danced to save them all/We asked to save them all/We tried to save them all/You didn’t have to kill them all”.  This track is a strong highlight early on in the record.

• The Twilight Sad previously stormed through a headline set at The Boston Rooms, Camden

‘Drown So I Can Watch’ despite being a brutally bleak track-title sees guitars and bass pulse this track along, while James’ vocals portray a rocky relationship between a couple “I put you through hell/But you carried it all so well/You carried it all so well”.  This is a heartfelt, honest track yet with a captivating, alluring charm about it.  Midway through the record ‘In Nowheres’ is the loudest track on the album so far, featuring heavy guitar-riffs from Andy and James’ vocals coming across with a distant effect here creating a broad and large sounding rock-track, before title-track ‘Nobody Wants to Be Here and Nobody Wants to Leave’ sees guitars, bass, synths and percussion all chug-away together in union as one with the real-focus on James’ cryptic story-telling here “Can you stay tomorrow?/You won’t leave tomorrow/I don’t know where we went wrong?”  This an atmospheric, brooding track, a featured trademark sound of The Twilight Sad.

‘Pills I Swallow’ is another bleak track-title but also another charmer of a track, again with a haunting sound about it featuring a sweet, twinkling gentle synth-melody hand-holding the track along nicely “It’s you/It’s always you/Telling me what to do”.  It’s like the soundtrack to an eerie, unrequited fairy-tale.  Lovely stuff.  Penultimate track ‘Leave the House’ is another, stripped-down, slower affair with organ-like synths and gentle percussion featuring alongside James’ dulcet tones gently repeating lines “And I see you/I see you/It’s lonely in the dark/Lonely in the dark” and more intensely further into the song “I’ve been put to bed/I’ve been put bed/I’ve been put to bed/I don’t know what you know” with a more rocky guitar-riff midway through the track, before we have album closer ‘Sometimes I Wish I Could Fall Asleep’.  Again another stripped-down haunting track with gentle piano notes being featured here it’s very much a closing ballad for the record with soft percussion coursing throughout it and crisp, tender vocals here again from James “You don’t love me anymore/You don’t need me anymore/And we’ve been left behind” and is possibly the most moving track on the album.

‘Nobody Wants to be here and Nobody Wants to Leave’ doesn’t pull any punches with its content; it’s a dark, bleak and brutally honest record yet at the same time an amazingly haunting and beautiful piece of work all the same which flourishes with repeated listens.  If you’re familiar with the band’s previous albums you will have expected nothing less here but let’s be clear here that The Twilight Sad are a band that masterfully hone and carefully craft the songs that they write and this album arguably sees the band at the height of their song-writing.  As I say I found this to be a tender and sublime record, that has a tendency to reveal further charms with repeated listens and I’m going to give this one 9/10 as it’s refreshing to see a band, pushing and challenging themselves to create a sound that’s really true to them.  I highly recommend to watch the acoustic session below to see the amazingly beautiful sound the band create on this latest record.    

It Never Was the Same

‘Flynny’

Track 1 ‘There’s a Girl in the Corner’

http://www.youtube.com/watch?v=l8H38U4nZag

Track 2 ‘Last January’

http://www.youtube.com/watch?v=j4YrixHiLpw

The Twilight Sad - Acoustic Session for Tenement TV

http://www.youtube.com/watch?v=enl6TJiTeLY   

Band Website:
www.thetwilightsad.com

Flynndie Reviews #50: Catfish and the Bottlemen - The Balcony

Written 14th September 2014

  

Catfish and the Bottlemen – The Balcony

The Band: Van McCann (vocals/guitar), Billy Blakeway (guitar/vocals), Benji Bibby (bass/vocals) Rob Hall aka Dr. Bob (Drums)

This week see the release of Catfish and the Bottlemen’s much anticipated debut album ‘The Balcony’.  Originally hailing from Llandudno, Wales these four young upstarts are hell-bent on making a big impact on the Indie-Rock scene and have been garnering some serious attention and airplay from the likes of X-FM, Zane Lowe and Steve Lamacq, thus gaining the band a lively and intense fan-base.  I’ve been closely keep an eye on these lads for about three-years now upon hearing early single ‘Broken Army’ (previously reviewed in Flynndie Reviews #25) and listening to their debut EP ‘The Beautiful Decay EP’ a ridiculously obscene amount of times upon its release.  Having been lucky enough to catch the band live on a number of occasions I can confirm that Catfish and the Bottlemen seriously deliver a full-on rock ‘n’ roll assault live and on a number of times I have walked out of their gigs overhearing people saying “Wow that band were just fucking amazing!”  So with a lot of anticipation and building hype how does ‘The Balcony’ shape up then?

The Balcony:

1. Homesick
2. Kathleen
3. Cocoon
4. Fallout
5. Pacifier
6. Hourglass
7. Business
8. 26
9. Rango
10. Sidewider
11. Tyrants

Opening track and previous single ‘Homesick’ starts with a stripped-down guitar riff from front-man Van and lines “I got mislead, mistook, discard/Anything that I said/See I’m not the type to call you up drunk/But I got some lies to tell” and an almost calypso drum-rhythm from Dr. Bob before it gets into full-swing after with a great chorus “I said “I’m only looking out for you”/She said “it’s obvious that’s a lie”/I only ever put out for you/You know it’s obvious you don’t try” which gets the record off to a great start.  However, if ‘Homesick’ is a great opener then it’s second track and previous single ‘Kathleen’ that starts showing the full potential of Catfish and the Bottlemen “You’re Simpatico/And of all the lifts home/And all the mixed feelings/You’re cuts above/And you don’t own worries/Or a chest full of heartache” as the band continue their tight sound with some nice guitar licks from Billy and perfectly timed bass from Benji giving this track a delightful rhythm and groove to it while featuring an infectious chorus as Van belts out “I gotta give it to you/You give me problems!/When you’re not in the mood”.  As Indie-Rock tracks go this is nigh-on fucking perfection.  ‘Cocoon’ continues the smooth groove on the album so far building with rocky drumming and bass, before effortlessly coasting along with crisp, clear vocals again from Van “I remember when we swapped names/And I thought maybe/You’d stay and try and outdrink me/Your friends all hated it” followed by “Fuck it if they talk/Fuck it if they try and get to us”.  This is a smooth track, with particularly great guitars, drums and bass over the bridge before the chorus.

Fourth track ‘Fallout’ features sharp guitar strums and accompanying bass notes and percussion, the band still continue a nice smooth sound here with an edgy chorus “And we just always seem to just fallout/When I’m most in need of it/You just seem to call out/When I’m up for leaving it” you can tell the band really believe what they’re into here and enjoying themselves on this track.  Much like second track ‘Kathleen’, ‘Pacifier’ captures the core-sound of Catfish and the Bottlemen here with another excellent Indie-Pop Rock track “Oh but babe/You know I tried and failed/But you just don’t know how it feels/To lose something/You never have and never will” before the track rocks out in its final third with Van repeating the track-title “I’m her pacifier/I’m her pacifier”.  It’s another very instant and incredibly catchy tune yet sounds pulled off with effortless ease here by the band.  ‘Hourglass’ showcases a lesser seen side of the band as Van picks up acoustic guitar here, with a driving, backing bass rhythm here from Benji, it’s a sweet and tender track midway through the record and builds up steady layers with gentle backing vocals, light-drums and even charming piano notes, a surprising ballad to be found here on the album.

• Catfish and the Bottlemen previously stormed through a set at London's the 100 Club back in 2013 

Getting back much more up-tempo, ‘Business’ goes back to Catfish’s full-on, ballsy rock.  Another strong track pulsing along with driving bass and percussion “I wanna make you my business/I wanna tolerate drunk you honey/I wanna make you my problem” another very instant track featuring some nice guitar work here and a nice guitar solo midway through, meanwhile ‘26’ was previously an opening live favourite and one which I always thought was a great track that the band opened with and the final recording here further confirms that with a fast accelerating guitar rhythm driving away at it “I’ll come/Based on/Facts like/She’ll be there/Making self-control”.  This is a fast-paced and no-nonsense track.  Previously another early single ‘Rango’ remains upbeat and tight guitar-rock with smooth vocals here from Van a particular highlight “You see Abby she’s got to wait/Until she gets you on your own/She’ll make you make mistakes/And you can offer to take her home” and this track features a really nice guitar solo from Billy in its latter stages and is generally another very likeable track. 

So far ‘The Balcony’ has been some ride and then track 10 ‘Sidewinder’ hits you!  This is full-on, ballsy rock with an amazing opening guitar-riff.  This track previously featured on the band’s ‘Beautiful Decay EP’ but is such a strong track in its own right that it just had to feature on this debut record with some of my favourite lines on the album “Give me some/Assumptions I/Can make of you/Cause you’re getting lazy/You used to frustrate me” and “Whoever/You’re mixing/Your drinks with/Is dying to/Go to town on you”.  This is another seriously solid track before the album closes with another live favourite and another track from their previous debut EP which has been re-recorded here, ‘Tyrants’, which has a raw industrialist hard-rocking vibe about it and a particularly nice closing guitar and rhythm featuring some great closing lines “Tyrants helped build us/Then they won’t/Mind throwing it away”.  It’s another great track to close this debut album with the fiercely rocky instrumental ‘Trippin’’ tagged on to the end of the album nicely much like the band’s live shows.

• The Bottlemen tear through another dynamic and energetic set at The Borderline

As I said at the start of this review I’ve been closely keeping an eye out for Catfish and the Bottlemen as one to watch and have always been patiently looking forward to this debut album ‘The Balcony’ over the past three years.  As time went on I was a little apprehensive as to the final sound of this album what with high hopes for this band but I have to say these four young lads have delivered a debut album they should be very proud of.  There are many strong tracks on this record with for me personally ‘Cocoon’, ‘Pacifier’ and particularly ‘Sidewinder’ and ‘Kathleen’ being amazing highlights from this bright, young band and I’m going to give ‘The Balcony’ an unprecedented 10 Pacifiers out of 10 as this is a quality debut record.  Every 5 years or so a band comes along which just changes the game and for me Catfish and the Bottlemen are the real fucking deal.  Their music is no-nonsense ballsy rock about being young and in complicated relationships something everyone can relate to but they back them with amazing guitar riffs and rhythms and ‘The Balcony’ doesn’t disappoint.  The band look and sound great and are amazing live probably due to their sheer dedicated commitment to live touring over the past 7 years, so try and catch them in small venues while you can as I can only see this band going all the way on to much bigger things.

 

Simpatico

‘Flynny’

Track 1 ‘Homesick’

http://www.youtube.com/watch?v=uhfXl1OefI8

Track 2 ‘Kathleen’

http://www.youtube.com/watch?v=dgW67efQduY 

Track 5 ‘Pacifier’

http://www.youtube.com/watch?v=iX1sJClsQxE

Track 10 ‘Sidewinder’

http://www.youtube.com/watch?v=cWvN42M8JWQ  

Band website:
www.catfishandthebottlemen.com

Flynndie Reviews #49: Interpol - 'El Pintor'

Written 28th August 2014:

Interpol – El Pintor

The Band: Paul Banks (lead vocals/guitar), Dan Kessler (lead guitar/vocals), Sam Fogarino (drums)

Well early September sees the long-awaited return of New York City descendants and sharp suit-wearing Interpol with their fifth studio album ‘El Pintor’ a suspicious-looking album title which translates from Spanish as ‘The Painter’.  The album is released on the 8th September but the band are currently streaming the album early via the NPR Music website below, so go check it out:

http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=341629732&m=341705409

The band have built a core, dedicated following with their edgy, atmospheric and distinctive post-punk sound over the past ten years building up from their incredible debut album ‘Turn on the Bright Lights’ (see Flynndie Reviews #15 for more on that, the only record that has previously been given a perfect 10 on this blog) to their latest release, 2010’s eponymously titled ‘Interpol’.  Sandwiched in-between was their very solid second album ‘Antics’ released in 2004 with well-known hits ‘Evil’ and ‘Slow Hands’, followed by 2007’s ‘Our Love To Admire’.  So with four fine records under the belts from the band from The Big Apple, the big question is then how does ‘El Pintor’ shape up?

El Pintor

1. All the Rage Back Home

2. My Desire
3. Anywhere
4. Same Town, New Story
5. My Blue Supreme
6. Everything Is Wrong
7. Breaker 1
8. Ancient Ways
9. Tidal Wave
10. Twice as Hard

Recently previewed on live tours earlier this year ‘All the Rage Back Home’ gets ‘El Pintor’ up and running with tingling slide-guitar notes from Dan Kessler teasing away while backed with Paul’s softly-sung vocals, before the track kicks into full-flow after about 45-seconds “She said you don’t need time/Be tame you won’t need your mate inside/My faith won’t lie” and the track continues to build before reaching it’s full-stride before the track-title’s chorus “I keep falling maybe half the time/And it’s all the rage back home/All the rage back home”.  It’s a track that coasts and flows effortlessly and gets the record off to a fine start.  Launching with trademark, angular guitars ‘My Desire’ is more of a steady burner of a track, featuring duelling, shimmering guitars between Paul and Dan accompanied by a steady drum-rhythm from Sam with angst lyrics to be found here “In my desire, I’m a frustrated man/Some of us ask for peace, do what we can”.  This is a more familiar haunting, atmospheric type of track that the band are also well known for.

‘Anywhere’ is a good example of Interpol on fine-form.  With an incredibly catching guitar-riff from Dan pumping at its heart, further driven by thumping bass and percussion through its veins before reaching a large crescendo of a chorus “The ocean…I could go anywhere/I could go anywhere/So free/It’s my nature to want/I could go anywhere.”  ‘Same Town, New Story’ eases the pace of the album again, with another trademark Kessler melancholic guitar-riff laying the foundations for this eerie, haunting track, a style of sound not too dissimilar to that found on some of the tracks on their eponymous fourth album ‘Interpol’.  With opening and subtle backing synths ‘My Blue Supreme’ is another soft, gentle and thoughtful Interpol track which continues its progression with synths being entwined by nice gentle guitar riffs, while midway through the record ‘Everything Is Wrong’ is an initially bass-driven track, perhaps harking back more to Interpol’s earlier sound from their first two albums, slowly building with soft vocals from Paul and his American accent coming through particularly stronger here on a catchy chorus featuring the track-title repeated.

• Interpol headlined the NME Tour back in March

‘Breaker 1’ features a very jaggered-sounding guitar at it’s opening, with an echo effect used on Paul’s voice initially “Come back/Come back without warning/Come back/Come back Breaker 1” with this effect interspersed between the main verses of the track which see the band in a comfortable groove here and still on good form.  Previously given early previews online (see the link at the bottom of this review) ‘Ancient Ways’ is a no-nonsense rocky track, high-tempo with snarling guitars and fierce percussion and a strong chorus “The city feeds us all like babes/And we’ve taken a bow” before Paul emphasizes “At the station!”  It’s a very instant track, with a strong dance-vibe behind it, for the album.  ‘Tidal Wave’ is initially driven by synths and percussion before backing guitars and sees Paul using a high-pitched voice on vocals here, it’s another deeply flowing and floating track before we have album closer ‘Twice As Hard’ with Dan creating a real shimmering sound as the main melody of the track here and near spoken vocals from Paul, and this track has a somewhat familiar feel as an album closer to the track ‘Leif Erikson’ also the closing track from the band’s debut album ‘Turn on the Bright Lights’ while Paul sings repeatedly over the chorus “Your twice as hard/Twice as hard”.
    

So overall ‘El Pintor’ in my opinion sees Interpol maintain their fine, edgy, raw and moody post-punk sound with another album packed with songs that each have charm, character and a story behind them.  There are certainly some Interpol tracks here that really show what the band are all about with their core-sound, in particular early tracks ‘All the Rage Back Home’ and ‘Anywhere’ are two examples of instantly catchy Interpol tracks.  Throw in some more subtle, slow-burning yet real thought-provoking tracks such as ‘My Desire’, ‘Breaker 1’ and ‘Tidal Wave’ and a couple of highlights midway through the album with 'Same Town, New Story' and the epic 'My Blue Supreme' and this record really covers the full experience of what you would hope to expect from an Interpol record and one that perhaps finds the band rediscovering their sound and roots from earlier Interpol albums yet not neglecting the charm of their two more recent albums.  I was lucky enough to catch the band on the NME Tour earlier this year and felt at the time that the new material showed real potential and I feel that ‘El Pintor’ doesn’t disappoint and delivers another solid album from the New York three-piece so I’m going to give this record a strong 8 out of 10 and would also suggest if you’re not too familiar with Interpol’s sound, this album would actually be a good starting point to get into them with.

Oh and hopefully by now you will have noticed that the suspicious-looking album title ‘El Pintor’ also doubles as an anagram of a certain New York band…

All the Rage Back Home

Flynny

Track 1 – ‘All the Rage Back Home’

https://www.youtube.com/watch?v=-u6DvRyyKGU

Track 9 - ‘Ancient Ways’

https://www.youtube.com/watch?v=ni9bLpflDCY

Band website:

http://www.interpolnyc.com

Flynndie Reviews: #48 Kasabian - 48:13

Written 5th June 2014:

Kasabian – 48:13

The Band: Tom Meighan (lead vocals), Serge Pizzorno (lead guitar/vocals), Chris Edwards (bass), Ian Matthews (drums)

After a 3-year break this week sees the return of perhaps Leicester’s second most famous son’s (after Gary Lineker of course!) with the return of Indie electro-rockers Kasabian and this their 5th studio album, cunningly named after its running time, ’48:13’.  The latest record is the band’s follow-up to their successful 4th album ‘Velociraptor!’ which I previously reviewed in Flynndie Reviews #18 and very much enjoyed at the time describing it as a much more ‘experimental’ album by the band and displaying a great range of different styles for them including some nice stripped-down acoustic tracks (‘Goodbye Kiss’), some, raw and dirty electro-tracks (‘I Hear Voices’, ‘Switchblade Smiles’) to the more familiar ‘lad-rock’ (‘Days are Forgotten’ ‘Let’s Roll Just Like We Used To’) that Kasabian are well known for.  We’ve had an early preview of new Kasabian material with recent upbeat single ‘Eez-Eh’ which has proved a bit of a ‘marmite-track’ with some fans loving it, while others were not too keen on it but let’s give the new album 48:13 a full chance and see how it shapes up.

48:13

1. (shiva) (1:07)

2. bumblebeee (4:01)
3. stevie (4:45)
4. (mortis) (0:47)
5. doomsdate (3:40)
6. treat (6:53)
7. glass (4:48)
8. explodes (4:18)
9. (levitation) (1:19)
10. clouds (4:45)
11. eez-eh (3:00)
12. bow (4:27)
13. s.p.s (4:22)

So the album opens with ‘(shiva)’ (yes all the track-titles are listed in lower-case and played havoc with the spell-checker here) a short and subtle, lo-fi synth based instrumental track teasing the opening of this record, while the album fully picks up with second track ‘bumblebeee’ and sees Tom’s vocals opening with the urgently repeated ‘Yeah, Yeah, Yeah’ backed to rocking guitars.  The verses here are again subtle and serene, backed with gentle keys before the main direct and to-the-point bridge “Life is so simple when you’re with me/Because when you’re with me/I’m in ecstasy/I’m in ecstasy”.  This is a direct and more familiar type of Kasabian guitar-track early on the record.  Initially slowly building-up with synth-sounds and percussion third track ‘stevie’ is a confident and assured, swaggering Kasabian track with an uplifting chorus “All the kids they say/Live to fight another day/Live to fight again”. 

‘mortis’ is another unusual track-title and the second really subtle instrumental on the record, with very light-acoustic strumming and somewhat disturbing background noises, a trick commonly used on third album ‘West Ryder Pauper Lunatic Asylum’, before we pick up again with ‘doomsdate’ a fast, urgent guitar track featuring a quirky, squealing guitar riff over the main chorus “What you see is what you get with me/What you see is what you get with me”; it’s another fun track again with a dance-vibe at its heart.  ‘treat’ is very much more electro-driven, Indie-pop, almost like a lite-version of ‘Switchblade Smiles’ from previous album ‘Velociraptor!’ but doesn’t quite reach the heights of that excellent and deliciously dark track from their 4th album yet there is no doubt that this track is a very much a direct and recognisable trademark Kasabian sound and becomes very much an instrumental in its second-half.  ‘glass’ is much more stripped down, featuring Serge on vocal duties here for what is quite a trippy, psychedelic number midway through the record with spoken-word vocals towards the end of the track “A wise man told me that we are born with wings/But never taught to fly/Doesn’t that make you wonder why/Is it to prevent us from falling out of the sky”, while ‘explodes’ is a slow-burning electronic track again with Serge on vocals, as it chugs away at the listener “On and on it goes/Until my head explodes/On and on it goes/Until my head explodes” before ‘(levitation)’ is the final instrumental on the album (and you may have figured out by now that the three tracks in brackets on the track-listing are indeed this record’s instrumentals), and again here very much stripped down and psychedelic.   

We continue with ‘clouds’ which opens with a shoe-gazing, day-dreaming vibe about it and a distant-effect used on Tom’s vocals before the track picks up more in pace after about a minute or so and sees Serge sharing vocal duties here with a funky guitar-riff picking away throughout.  Previous come-back single ‘eez-eh’ continues the dance-vibe here picking-up the pace some more with a buzzing, trippy percussion-based rhythm to it, almost hip-hop influenced, with Tom spinning the track’s title throughout “Eez-eh/I’ll make you mad/Least I ain’t sleazy/I’m just trying to put the world to right”.  The track reminds me a bit in style of Reverend and the Makers and also ‘Hey Boy, Hey Girl’ by The Chemical Brothers but just overall felt a little bit more clumsy and awkward to me upon my first few listens but as I said earlier many others like this track and it’s not by any means terrible in my opinion. 

Next we have ‘bow’ another much softer track on the record, showing somewhat of a subtle nod to a Noel Gallagher solo type of track “Take a bow and say goodbye/And let the hours passing by/That you get to feel so high/And it’s over, it’s all over now”.  It’s a nice serene track and certainly the ballad of the album.  Finally we have closer ‘s.p.s’, an acoustic Beatles-eque stripped-down and dreamy number which I could picture going down well at the summer festivals with the sun slowing drawing to a close, it’s a calm, peaceful melody to close the record with.     

So for me then much like when I first heard ‘eez-eh’, ’48:13’ is somewhat of a mixed-bag as an album.  There are certainly some strong tracks here ‘bumblebeee’ and ‘doomsdate’ being two standout moments on the record and are certainly single material, which are complimented by some of the more lo-fi electronic-driven beats found here such as ‘stevie’ and ‘treat’.  The instrumentals throughout the album don’t offer too much for me but perhaps round the album off as a full psychedelic experience and overall I personally think that if you really enjoyed the two most recent Kasabian records you will still find plenty here to like and enjoy but for me while this album flows well it doesn’t quite reach the heights of earlier Kasabian albums the self-titled ‘Kasabian’ or ‘Empire’ and I’m going to give this one 7 out of 10; it’s a direct and familiar Kasabian sound for me, not really any more or any less but it’s good to have them back and I’m looking forward to their headline set at Glastonbury this summer.

eez-eh

flynny

Track 2 ‘bumblebee’ – Live on Later… with Jools Holland

https://www.youtube.com/watch?v=ZMAd4bYF0kU

Track 11 ‘eez-eh’

https://www.youtube.com/watch?v=ST6nEvIEY4s 

Band Website:

www.kasabian.co.uk - Note you can stream the new album early this week from the band’s website

Flynndie Reviews: #47 Oasis - Definitely Maybe (Re-mastered)

Written 20th May 2014

Oasis – Definitely Maybe (Re-mastered)

The Band: Liam Gallagher (lead vocals), Noel Gallagher (lead guitar/backing vocals), Paul 'Bonehead' Authurs (rhythm guitar), Paul McGuigan (bass), Tony McCarroll (drums)

“It’s about getting a bottle of cider with your mates, sticking on a Beatles album, talking shite, puking up, meeting strange girls and maybe having sex.  It’s about escaping.” – Noel Gallagher, 1994

This week saw the release of a re-mastered, deluxe edition of the seminal Oasis record ‘Definitely Maybe’ to mark the 20th anniversary of the Manchester band’s debut album.  The deluxe edition features a rather smart, hard-bound booklet with some great early images of the band in their prime younger days and features the 3-disc collection:

Disc 1 – Definitely Maybe (re-mastered)

Disc 2 – Definitely Maybe singles b-sides
Disc 3 – Live tracks and demos

Definitely Maybe

1. Rock ‘n’ Roll Star

2. Shakermaker
3. Live Forever
4. Up in the Sky
5. Columbia
6. Supersonic
7. Bring It On Down
8. Cigarettes & Alcohol
9. Digsy’s Dinner
10. Slide Away
11. Married with Children

As soon as the opening guitar solo of ‘Rock ‘n’ Roll Star’ hits, you instantly realise that this album still remains a timeless classic and sounds as great now as it did back in ’94.  Liam in the past has suggested that this opening track is “the most arrogant song ever; to be playing that in-front of two people in The Boardwalk, those were the days” and he makes no bones about it as he sneers “Toniiiiight, I’m a Rock ‘n’ Roll Star”.  ‘Shakermaker’ was a much more stripped-down, psychedelic number for early Oasis laced with trippy lines “Mr Sifter sells me songs when I was just sixteen/Now he stops at traffic lights but only when they're green”.

However it’s third track and third single ‘Live Forever’ which made people sit up and take notice that there was something special about this cocky, swaggering 5-piece from Manchester as despite being so early in his musical career Noel penned a modern masterpiece with one of Liam’s best early vocals and without question this track remains a timeless classic.  With an upbeat, buzzing riff ‘Up in the Sky’ sees Oasis at their effortless-cool here, calling the shots as they see it while sticking two-fingers up to the authority figures of the establishment “You need assistance with the things that you have never ever seen/It’s just a case of never breathing out before you breath it in” before ‘Columbia’ takes us on Noel’s over-indulgent, acid-trip through guitar-heavy psychedelia and sees Liam remaining on snarling, nasal over-drive with this no-nonsense raw track. 

It’s perhaps midway through the album when Oasis unearthed their jewel in the crown, with a firm live and fan-favourite ‘Supersonic’ still riding high on the crest of a wave of alcohol and drugs and the opening one line that immediately summed up what the band were all about “I need to be myself/I can’t be no-one else!”  Simple but never more directly to the point.  ‘Bring It On Down’ saw the band at their most raw expansive sound on the record with thunderous drumming and driven, duelling guitars from Noel and Bonehead like there was no tomorrow, before we had the cool, free-for-all that was ‘Cigarettes and Alcohol’ which smartly “borrowed” the main guitar-riff from T-Rex’s ‘Get It On’ and became another famous anthem for the band with many imitating Liam’s infamous “You could wait for a lifetime/To spend your days in the sunshiiiiiine” vocals.

‘Digsy’s Dinner’ was another jolly, upbeat number featuring some of Noel’s more funny and light-hearted lyrics “What a life it would be/If you could come to mine for tea/I’ll pick you up at half-past three/We’ll have lasaaaange”, before we had the brilliant and tender rare early Oasis ballad in the form of ‘Slide Away’ another triumphant moment on the record: “Slide Away/And give it all you’ve got/You’re mine today/Fell in from the top/I dream of you and all the things you say/But I wonder where you are now?”  Beautiful.  ‘Married with Children’ closed the album and was initially considered to be a throw-away tongue-in-cheek track but there is still no question that this is actually a good song and showed the stripped-down more charming-side of Oasis buried under their fierce rock ‘n’ roll armoury.

Disc 2 of this package featuring the b-sides of the Definitely Maybe singles is where this collection unearths some real Oasis gems.  Early demo’s such as ‘I Will Believe’ and ‘Alive’ show the band at their early effortless raw live sound, while acoustic numbers ‘Sad Song’, ‘D’Yer Wanna Be a Spaceman?’ and ‘Half the World Away’ showed subtle hints of what were bigger things to come from Noel while armed with an acoustic guitar.  Throw in tracks such as the baggy ‘Cloudburst’ to the more instant rock ‘n’ roll ‘Fade Away’ and ‘(It’s Good) To Be Free’, then the simply brilliant ‘Listen Up’ and it’s staggering to think Noel was simply pissing-out these tracks with such ease yet only deeming them good enough as b-sides at the time!  Finally throw in a third disc featuring some early rare, no-nonsense live performances when Oasis were truly hungry for it to fully round of this collection and this all adds to a great little nostalgic package of the sound of ‘94 and which in my opinion is still an essential collection for any discerning, die-hard Oasis fan of today.  

Feeling Supersonic

Flynny

Track 1 ‘Rock ‘n’ Roll Star’ live from Southend Pavilion 17/04/1995

https://www.youtube.com/watch?v=G667xH7euIY       

Track 6 ‘Supersonic’ – Oasis TV debut live for The Word 18/03/1994

http://www.youtube.com/watch?v=81Z-WRuQe2w     

Bonus Track ‘Sad Song’ live from Southend Pavilion 17/04/1995

https://www.youtube.com/watch?v=tFTpc57DrCE

Band website:

http://www.oasisinet.com