Notes

In the beginning

Growing up with great parents, I took a lot of my early tastes in music from them – my Dad specifically. But through growing up and exploring new styles, my taste in music has grown significantly.

I started by hearing bands like Fleetwood Mac; Supertramp; Meat Loaf; Whitesnake; to name a few, and I still have a place for them. In fact just this week I have been listening to Meat Loaf’s Bat Out Of Hell 2 again.

One of my favourite songwriters of all time is Jim Steinman – the composer behind Meat Loaf’s early music as well as many other theatre shows, films and varying other bands.

On leaving school and going to work in London I was about 18 years old and was getting into heavy metal and gothic rock. Bands like Marilyn Manson; Korn; Slipknot; Linkin Park often did the rounds on my little CD player – much to the annoyance of my co-workers.

Later on at college I would find myself being introduced to more rock bands – this time older bands like Iron Maiden; Judas Priest; Ozzy Osbourne.

Leaving Home

When I moved out of my parents’ house I moved in with a friend and her then-boyfriend, who was a DJ and producer. I would often hear him playing dance music and, although it never grew on me that much, still found it interesting to hear this new style. Alhtough saying that I did once go with him and some other friends to hear James Zabiela live, which was fucking insane. Also I did get introduced to Aphex Twin through him. He did also play older, more indie types of music too – like The Stone Roses and The Smiths which then turned me on to that style.

When I first moved out of my parents was also when I started teaching myself to play guitar. Because of this I inevitably started listening to more guitar orientated music. My taste in music grew to include Joe Satriani; Steve Vai; Paul Gilbert; and Buckethead big time. In fact I was pretty obsessed with these guys. I would also learn finger-picking folk music too. Artists like Joan Baez; Janis Ian; and Lindsey Buckingham were very inspiring to my learning.

Recent Years

When I was first learning the guitar and was looking for inspiring artists I became a bit of a music snob. If someone had suggested Taylor Swift back then I’d have laughed in their face. But things do change. I have since gotten into lots of female-led artists/bands. One of my all-time favourite artists now is Lana Del Rey. I also love people like Ladyhawke; Grimes; and yes, even Taylor Swift.

Also in recent years, in fact in the past 12 months or so, I have gotten really into Grime music – rap music mainly out of London, although it can be performed anywhere. Artists like JME; Big Narstie; Kano; Giggs. All these guys I love listening to. And often enjoy watching the BBC Radio One Fire In The Booth and the 60 Minute Takeovers.

The Future

As I go forwards I’ll continue to try and widen my taste in music. I probably wont like it all, but you don’t know until you explore. What I can say is that this past week I have been getting heavily into this whole Retro New Wave genre I’m hearing. I re-emergence of 80’s-inspired music. But the good, synth-led music; none of that bloody Culture Club stuff.

This E.p. just exploded into my ears in a way that reminded me of later-era White Stripes. The opening song is hugely-energetic that doesn’t let up for a second. It’s labelled as “pop” on my music subscription but I don’t think that does this E.P. justice. It’s got a chugging, powerful groove that would strangle the life from most modern “pop”.

“Keep your love”, the E.P’s second song starts calmer than it’s predecessor, but soon builds into a big chorus and fuzz-like-effect riffs. I am loving this E.P. already and am already thinking four songs isn’t enough for my newly-acquired thirst for this music.

The third song, “Blue with you”, really slows thing down into a comfortable groove that gives more room for Hannah’s voice to come through the song, and a cracking voice it is too. She weaves this blues-style song with an ease of command. This is another one too that builds up to a belter of a climax and she really does give it some whelly with her voice before bringing it back down to the ground before the final song, “Hey You”.

“Hey You” is a lovely, stripped back acoustic number that shows Hannah Grace is great-sounding with or without her huge arrangements backing her up. As much as she opened the E.P. with force, she closes it with a calm, soothing nature.

Hannah Grace is an artist I’m going to be keeping an eye on over the coming years.

On June the 25th, 2008 I went with some friends of mine to watch Radiohead play in Victoria Park in London. The were touring in support of their album “In Rainbows”, and in support of them was a then little-known artist called Bat for Lashes.

It is a huge regret of mine now that I didn’t pay more attention to her during her set. At the time I think she was still yet to release her first full-length album so in retrospect this seems to have been a really special show.

Since that day I have re-discovered her through her first two albums, “Fur and Gold” and “Two Suns”, and then her following album “The Haunted Man”. But it is her latest offering, the recently released “The Bride”, that I am now writing about.

Dark Hymns

The songs on this gorgeous album feel like dark hymns – dark and beautiful. They mesmerized me from the get go and I don’t think they’ll be letting go any time soon.

When singing, her voice reminds me of the late Sandy Denny; while in the spoken poem “Widow’s Peak”, she sparks memories of one of Nico’s first albums. These attributes of her’s plant her firmly in a position that is highly unique in today’s popular music scene.

More than a concept album

Indeed this is a concept album. Taken from wikipedia:

According to The Bride’s press release, the work is a concept album that follows the story of a woman, whose fiancé dies in a car crash on the way to their wedding. The album follows her as she decides to go on the honeymoon alone and her emotions as she deals with the tragedy.[5] Khan commented “the trauma and the grief from the death of Joe, the groom, … [is] … more of a metaphor and it allows me to explore the concept of love in general, which requires a death of sorts.”

Wikipedia

But not only is it a concept album, but the concept as a whole has been taken beyond the recorded medium. During initial tour dates in promotion of the album she performed within churches and asked her audience to come dressed in formal wear. This idea of taking a musical idea beyond simply the album has always interested me, since first hearing and seeing “The Wall” by “Pink Floyd”.

Song by Song

The album opens with the optimistic “I do”, which is where we meet our heroine, “The bride”. “I do” conjures up imagery of a bride singing to herself with an accompanying harp – the main instrument in the song. However we do get a subtle low string in there which gives that sense of foreboding of the tragedy that is pending.

The next chapter in the tale is “Joe’s Dream”, which starts us down the dark sound of the album with a sinister 3-note guitar riff and a distant thundering marching-like drum sound. These songs are soundscapes that you can close your eyes and escape into.

“In god’s house” just keeps upping the stunning arrangements that this album seems to keep presenting. Bat for Lashes always seems to create such unique soundscapes with her music and hearing this third song on the album reassured me that she still has the touch.

In God’s house I do wait
For my love on our wedding day
Dewy eyes and lashes long for my love
But I’m feeling something’s wrong

What’s this I see?
My baby’s hand on the wheel
What’s this I see?
Fire
Fire

“In God’s House” from the album “The Bride”

The albums fifth song, “Sunday Love”, takes a slight left turn stylistically. I mentioned earlier about the Radiohead concert I first saw her supporting – well this song’s opening reminded me of something you might hear from Radiohead in their “Amnesiac” / “Kid A” days. Although by this point I am in love with this album’s tone and mythology, this change in pace and sound was a refreshing minor detour.

The faster pacing of “Sunday Love” brings us perfectly into “Never Forgive The Angels” and “Close Encounters” and their slower paces. The latter of the two has a great display of Natasha Khan’s ability to bring an uplifting feeling out of the Bride’s mourning.

Two thirds into the album and we come to the spoken word “Widow’s Peak” as mentioned earlier. This choice of having a spoken word section was something I also loved on Lana Del Rey’s album Honeymoon too. This song has one of my favourite pieces of imagery in the album too, the last line of the following:

There’s a demon loose, a demon loose
I can’t get home, I can’t get home
For the road is a snake of mist
And the shadow of a rebel’s fist
His jacket on my back, his bones on the shore
But the secret of dreams is to dream up a door
A portrait of him, a picture of her
A keyhole in a Douglas fir

“Widow’s Peak” from the album “The Bride”

By the time we get to the closing three songs of the album, our heroine is becoming optimistic about the future with the song “I Will Love Again” and the uplifting feel of the penultimate song “In Your Bed”.

The Perfect Marriage

Through writing about this album it has forced me to look deeper into it; into its songs and their words. I am so glad I did choose this album to write about next. “The Bride” is a grand accomplishment and does so much in its 13 songs. At a little under an hour long, this album is the perfect story to listen to when you want to experience more from music than simply the music you hear. If you want to be taken on a story across one woman’s emotional journey from dark beginnings to her destination of acceptance and optimism for the future, then this album is for you.

“The Bride” is the perfect marriage of storytelling, emotion and great song writing.

As I’m writing this current review, of Bat For Lashes’ latest album, I’m realising that I’m gaining a deeper understanding of the songs than I would have done simply from just listening to them.

I’m finding myself focusing and even studying the music and the lyrics and feel like I’m getting so much more out of the album.

I have noticed it before with other albums I’ve reviewed recently, but it’s with this one – and specifically the song “In God’s House”, that I’ve have really noticed it.

I made my finger bleed playing along to one of my favourite songs on this album – the titular song, “Wild Things”. The song isn’t fast, and I’m not particularly great on guitar – I had simply been bitten on the index finger of my fingering hand by our hamster, Moomin. But I didn’t care, it’s a great song to play along to. I didn’t know what key it was in, so I just found a couple of notes that sounded good and pretended I was on stage with Phillipa Brown herself.

Extremely catchy, infectious electro pop.

This is my first time hearing any music by Ladyhawke, and I’m already completely hooked. Listening to her sing, she sometimes reminds me of the vocal sound of Bananarama and even Chrissie Hynde from The Pretenders.

The music throughout this album feels like it’s constantly driving forward with ever-increasingly infectious grooves and power. “Wild Things” is a consistantly brilliant, idiosyncratic album and even though each song is unique, the album has a strong consistency throughout which is tied together by Phillipa Brown’s stunning vocals.

This is what a great album sounds like

The opening song, “A Love Song” pulls no punches. It immediately pulled me into its infectious electro-pop groove and built me up to its big chorus. These huge, unashamed choruses are a staple of this album’s core.

The third song is one of my favourites on the album. “Wild Things”, the titular track, builds up slowly with its ambient electro sounds. Then from out of its electro-atmosphere we can hear a voice rising, singing what will be the album’s chrous. As soon as her voice has risen into coherence we drop into a slower, more reflective sound than has been heard up until now.

Your heartache is not forever
It’s another road that we walk together
And our lives become much stronger
As the world goes on much longer
I wandered far to find the answers
What keeps me alive while taking chances

When you’re always almost lonely
You forget to take it slowly

There’s a fire
In the heartland
We dance around it like the wild things in the night

“Wild Things” from the album “Wild Things” by Ladyhawke

“Chills” burrows its way into that part of the brain that makes you bob you head and tap your feet without realising. As I am writing this along to the song, I realise that I am almost full-on dancing where I sit. God help me when I’m driving home listening to this.

“Golden Girl”, although having lyrics of what I think is about unrequited love, feels like one of the album’s most upbeat-sounding songs.

There’s no way up, there’s no way down
You stole my heart but you throw it around
You give it up then you give it away
Your golden girl waits another day
Ooh ooh ooh ooh ooh ooh ooh ooh ooh
Your golden waits another day

This is the daughter of love running wild
We are the children that play on the other side
But here I am holding cards that will show you
My aching heart’s all too easy to cut through

“Golden Girl” from the album “Wild Things” by Ladyhawke

The album’s closing song, “Dangerous”, is also up there as one of my favourites. Phillipa sings so seductively on the song’s bridge before throwing you into one of the album’s biggest, and definitely my favourite of the album’s, choruses.

This is an album that goes out with a huge bang, and I can’t help but want even more of it once it’s finished.

Underneath it’s spell

The front cover of the album reads “Recorded in spectacular 100% stereophonic sound”. Now I have no idea what that actually means, but I do know that this album does sound 100% spectacular.

Although my thinking of this as an electro-pop album, “Wild Things” has a much more “real band sound” than other electronic albums tend to have – especially the drums. Perhaps that’s part of the whole “stereophonic sound”.

This feels like an album that only comes along every once in a while and is definitely going to remain in my repeated playlist for a long time to come.

This is what a great album sounds like.

Over the past few years I’ve been noticing how things have more of an affect on me than they did when I was younger. Films that touch on the human condition move me more than they did; songs about a loved one have a greater affect as I imagine myself and my girlfriend in place of song characters.

Lights’ music on “Midnight Machines” has this affect on me too. An album that I probably would have dismissed a few years ago, is now one of my favourites of this year so far.

Midnight Machines opens with a slow, finger-picked guitar piece called “Up We Go” and gives a good taste as to the pace and mood of what’s to come on the album. The soft guitar and quiet kick drum that enters later serve well the almost-husky voice of Valerie Poxleitner, the real name of the artist “Lights”.

All of the songs on the album are routed in soft acoustic guitar, minimal percussive arrangement and a voice that remains consistently heart-warming throughout. Occasionally, new instrument sounds will weave into the compositions in a way that helps keep you hooked on her words. The album is built on a foundation of strong lyrics.

“Same Sea”, the second song on “Midnight Machines”, opens with the familiar soft finger-picking but now backed with low piano chords and later a low-played string instrument – cello perhaps. No matter what instrumental arrangement is backing her up, the harmonies produced along with Valerie’s voice are always very moving and very personal.

For me the fourth song “Meteorites” is the best example to showcase her abilities as a vocalist and how beautiful her voice sounds with these awesome harmonies. That’s not to say that other songs on the album are weaker – far from it – this is just the one that particularly struck out to me.

My favourite songs on “Midnight Machines” are the ones where her lyrics are the most personal. In “Don’t Go Home Without Me” she sings a beautiful, reflective song where she perfectly puts herself into the shoes of her future self, reflecting back on a life well-spent with her partner and how she’ll be with them till the very end, and how she is grateful for them having stayed with her.

This is the song I will sing to you when you’re old and tired
I will sing it to remind you that I’m old beside you
And if you’re tired of hearing my voice
I’m gonna sing it to you anyway
‘Cause I know that if we made it this far
Those differences I would put away

Don’t Go Home Without Me from Midnight Machines

When the next song begins it really shows off the great pacing on both the songs and the album as a whole. “Running With The Boys” is possibly my favourite song on the album, and is the one that stands out the most to me for being the more upbeat and faster-paced of the album’s songs.

Throughout the album, she tends to keep her voice at a calm, soothing level. Occasionally when she does raise her vocals up at particularly emotional points, it’s done to great effect.

When I think of this album, I think of it as a warm blanket that I like to wrap myself up in at least once a week. Next time you want an album you can relax to – and enter a calm, reflective mood to – check out “Midnight Machines” by Lights.

The roses in the window box have tilted to one side.

Chas and Dave gig was thoroughly enjoyable – allbeit short. I didnt know many of the songs but it didn’t matter. Lots of jumping about and dancing. Brilliant.

One of the first thoughts that came to me when I listened to Låpsley’s first album, “Long Way Home”, was just how ahead of her years she sounds. She has the air of an artist who has been around for over twenty years or more, when in fact she herself is less than that at the time of writing. At the age of just nineteen, she has already laid the first stones of what will hopefully be a very long, and no-doubt will be a very successful, career.

My first taste of her music was from her 2015 E.P. Understudy and it was the opening song “Falling Short”, which was the only song from that E.P. to feature on “Long Way Home”, that immediately got me hooked on her minimalist arrangements and stunning voice.

I can honestly say that she is an artist who I could pick out of a thousand, identifying her with confidence based on her voice alone. She is one of those singers whose voice you simply can not forgot once you’ve heard it.

Room by room

The opening song “Heartless” serves as a welcoming, calm introduction to this interesting, boundary-pushing album, “Long Way Home”. “Heartless”, like many of this album’s songs, is centred around a calm piano harmony with Låpsley’s voice up front. This isn’t, however, a run-of-the-mill piano ballad as it contains, as does a lot of the album, some really effective uses of odd samples and interesting production techniques.

“Hurt Me”, the album’s next song, opens with a synthesized staccato melody, which really drove me into the album and introduced me to the kinds of sounds that I just wasn’t expecting until now. Even at the end of the song there are odd little samples that work perfectly in a really weird kind of way. By now I knew that Låpsley was an artist not only ahead of her own years, but that of many of her contemporaries too.

I’m not going to mention every song, as I’d like you to find out for yourself, but I do just want to say something about the third song “Falling Short”, the video for which I have included at the end. The lyrics in this song are some of the most cryptic for me. The lyrics seem extremely personal and the way that she delivers them serves to enhance that feeling. In all honesty it was only as I write this now that I have actually gone and looked at the actually songs lyrics as a whole. This song’s lyrics – along with the rest of the album’s – can be enjoyed through simply listening to them being sang, without any real thought into what they mean. Looking deeper into those meanings is like peeling back the onion layers of this complex, compelling artist.

One month till February
Keep on holdin’ on
And I know it’s short
And I know it’s short

And it’s times like these
And it’s days like these
And it’s times like these
And it’s days like

It’s been a long time comin’
But I’m falling short
It’s been a long time comin’
But I’m falling short

Falling Short from Long Way Home

As the album approaches its half -way point with the fifth song, “Operator (He doesn’t call me)”, the album’s sound took an up-tempo turn. This song’s story centres around a woman whose boyfriend doesn’t call her. Instead she finds herself in contact more with the phone operator, and so considers falling in love with the operator instead. It’s a fun song with it’s routes in one of the most boring aspects of life – being kept on hold. Låpsley seems to have the ability to find little nuggets of inspiration in unlikely places.

He doesn’t call me so put me through operator
Maybe I’ll leave him and fall in love with you operator
My baby doesn’t call me so put me through operator
So tell me should I leave him and fall in love with you operator

Operator (He doesn’t call me) from Long Way Home

One of my favourite songs on “Long Way Home” is called “Station”. It is one of the most minimal as I remember that has everything that I love in her music – her voice sang with shifted pitches, layered to hamonize with each other; great sound effect samples used in refreshing ways – notable one which sounds like a pitch-shifted dog woof; minimal instruments that make her voice almost acapella. “Station” is beautifully haunting and would serve as a perfect introduction if one hadn’t ever heard Låpsley’s music before.

The last but one song, “Leap”, reminds me of something from Radiohead’s Amnesiac album, with beautiful echoing synth sounds with a basey, driving beat – not fast – just driving.

Lock the door behind you

Versatility and and a desire for experimentation – this is what Låpsley brings to her craft. I love as well how she doesn’t settle on a set of default samples across the album. Throughout it you will keep hearing new and unusual sounds that never feel disjointed or mish-mashed. I get the impression that she has toiled for hours and hours over the years, building up a unique sensibility for how to put these sounds together in really interesting ways.

Something I’ve also noticed, listening closely whilst writing this review, is how much more I’m hearing around the main songs that I don’t remember hearing before – the odd sample or harmonisations. This album really is a gift that keeps on giving.

The bohemian style of artistic life has always seemed like a very romantic one to me. The idea of an artist just upping and heading to a remote place for some unknown amount of time with nothing but a journal and a guitar and just writing for themselves. In today’s world of rushing about and the constant flow of nauseating crap of social networks, it would be easy for you to assume that that way of life was all but gone from the world.

Well you’d be wrong. Zella Day is flying that flag for me.

She embodies many things that I love about great artists and song writing – interesting, sometimes cryptic, lyrics; a fashion sense from days of old but made very much her own; music that is greater than the sum of its parts – she is the kind of artist that the world needs.

All killer, no filler.

On first listening to “Kicker”, I was immediately hooked with the sound of the guitar in the opening of the song “Jerome”. Before I’d even heard her stunning voice, my first thoughts were that if the Roadhouse in Twin Peaks had a rock night, Zella Day and band would go down really well. This first song also demonstrates her vocal abilities – varying her style throughout the song from verse to chorus to coda. From whispery, almost Stevie Nicks-esque sounding, to the controlled screaming of the songs title in the chorus.

The next song, “High” brings more focus to the massive drums and chugging rhythm guitar and does, by all accounts, have the parts needed to qualify as a rock song. But to label it as just a rock song, or a rock album for that matter, I feel would cheapen the album. Zella is bringing so much more to the mix that I don’t think a simple label is possible. It would be like calling Kate Bush simply a pop singer.

“1965” changes the sound up by focussing more on piano from the start and then using more minimal drums and climbing strings throughout.

“Hypnotic” is one of my favourite songs on “Kicker”, with one of my favourite riffs, and at just 4 seconds shy of 3 minutes, this song is as catchy and full of a hit song as they come.

“Mustang Kids” changes things up again with half of the vocals provided by Baby E, telling the story of a small no-name town with nothing good to do in it.

Small town gang got nothing to do
We got guns, got drugs, got the sun and the moon
We got big city plans but it always rains
And the sheriff is a crook and knows me by name

I said momma was insane and daddy was a criminal
I grew up in a trailer with a dream of fucking centerfolds
Now I’m making money experimenting with chemicals
The fact I’m still alive is why I still believe in miracles

Mustang Kids, Kicker

With “Jameson” we can hear a beautiful finger-picked guitar ballad that oozes country music sensibilities – with that slide guitar sound that is so engrained into country music. When you hear a song like “Mustang Kids” and then “Jameson”, you really get a sense of Zella’s versatility as an artist.

Easily my favourite song on “Kicker” is the album’s penultimate track, “Sweet Ophelia”, which is one of those songs that build up to a huge chorus with a slightly breakbeat drum beat that reminds me of Muse’s “Supermassive Black Hole” beat. The musical arrangement serves to complement Zella’s voice to the final big chorus of the album and leads perfectly into the final song, “Compass”.

“Compass” is the perfect final song for an album with this much energy. A piano ballad that brings Zella’s voice to the forefront as she leads us back to our daily lives that more enriched.

Songs with quality roots

All of Zella’s songs, whether they be huge anthemic belters or mellow acoustic ballads, are all rooted in quality song writing and a unique vision. I also learned through watching her video series, Day X Day, that she writes all of her songs on guitar first – with the idea that they could all be played acoustic with no accompaniment if she wanted.

When you hear a song like “Hypnotic”, it may be hard to imagine it stripped back to vocal and guitar, but when you listen to her play it like this, you realise that her songs could either fill a stadium or a coffee shop. She is the very definition of a versatile artist.

I hate to use the term “X-Factor”, as that phrase is now synonymous with crap TV, but Zella Day definitely has that unknown ingredient that makes her musical vision and style special.

She is an artist whose career I will be following closely, and I strongly suggest you do too.