Tag Archive: Broken Social Scene


Best Albums of 2010: 5-1

Filed under: Albums — 7 Comments
December 15, 2010

I’d say it’s been a vintage year for quality music. Before I get into this year’s top five, here’s another 25 that didn’t quick make the list but all come highly recommended by the Tidal Wave of Indifference:

Ariel Pink’s Haunted Graffiti – Before Today

Beach House – Teen Dream

Bear in Heaven - Beast Rest Forth Mouth

Broken Records - Let Me Come Home

Broken Social Scene - Forgiveness Rock Record

Burns Unit - Side Show

Die! Die! Die! – Form

Field Music - Field Music (Measure)

Gorillaz - Plastic Beach

Here We Go Magic - Pigeons

The Hold Steady - Heaven is Whenever

I Build Collapsible Mountains - A Month of Lost Memories

James Yuill - Movement in a Storm

Les Savy Fav - Root for Ruin

Liars – Sisterworld

Maps and Atlases - Perch Patchwork

Mimas - Lifejackets

Mitchell Museum - The Peters Port Memorial Service

No Age - Everything in Between

PVT - Church With No Magic

The Scottish Enlightenment - St Thomas

Serena-Maneesh - No 2: Abyss in B Minor

UNKLE - Where Did The Night Fall

The Unwinding Hours - The Unwinding Hours

Yeasayer - Odd Blood 

I could name plenty more but if I did I’d be sailing dangerously close to ‘just naming every album I picked up this year’ territory. Anyways…

5.         Caribou – Swim

Swim by name, Swim by nature. Aquatic references were all over electronic wizard Dan Snaith’s latest record, reviewed in full here. For me this took electronic music somewhere entirely new and cemented Caribou’s reputation as one of its leading lights.

4.         The Last Battle – Heart of the Land, Soul of the Sea

Ah, of course. There had to be a record by a relatively unknown downbeat Scottish folk troupe near the top of the list didn’t there? The debut album by Leith’s Last Battle, reviewed in full here was the pick of the bunch and a band I’d love to see reach beyond the Scottish scene. This is a particularly lo-fi video from their in-store performance in Edinburgh’s Avalanche a few months back - I was there but mercifully, I’m just out of shot.

3.         Foals – Total Life Forever

Foals could easily have slipped my attention altogether. I passed on their debut Antidotes, dismissing them as NME fodder, but thankfully airplay for Spanish Sahara and Miami prompted me to investigate further and thank god I did. Total Life Forever has depth – both musical and emotional – intricate arrangements and, in Blue Blood, probably the song of the year.

2.         Arcade Fire – The Suburbs

I liked 2007’s Neon Bible but there’s no doubting this is a vast improvement on an album that disappointed many. Described as bloated by some, lacklustre by others, I went into considerable depth about how much I liked it on its release. My opinion hasn’t changed – I still think it’s absolutely brilliant.

1.         Deerhunter – Halcyon Digest

It was always going to be one hell of an album to pip Arcade Fire to the top. And well, here it is. By blending the best elements of indie pop, shoegaze and minimalist electronica into a single record, Bradford Cox has created his masterpiece. An absolute must buy for all music fans. You can read my full review here.

So that’s it for another year. I’ll be doing a bit of a round up of what other sites are saying in the next days, plus a look ahead to 2011. Now it’s over to you – aside from Dundonian mouthpiece Stevie, you’ve all been suspiciously quiet so far – I normally expect a significant amount of piss-taking every year I do this and the list wouldn’t be complete without them, so bring the comments on!!!

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Side Show

Filed under: Albums — 1 Comment
August 18, 2010

Album of the Week: Burns Unit – Side Show

Burns Unit

Kenny Anderson must be the hardest working man in Scottish music. Not content with a prolific album release schedule, numerous collaborations and all the shenanigans involved in Anstruther’s Homegame (where he effectively recorded a new album for instant release earlier this year), here he is playing a full part in yet another project – Burns Unit.

They’ve been around in one form or another for a few years, but this is their first album together. When I first heard about the project I took the ‘Burns’ bit too literally and assumed that a handful of contemporary Scottish artists were taking on the verse of Rabbie Burns, which reeked of the tiresome annual Eddi Reeder/Phil & Aly love-in on BBC Scotland*.

My heart sank at that notion but thankfully I was well off the mark. What we have here is something akin to a Scottish Broken Social Scene, in terms of the group’s make-up and songwriting policy, if not necessarily the music.

Joining Anderson in the eight piece act (among others) are ex-Delgado Emma Pollock, former Soop Dragon Sushil K. Dade (also known as Future Pilot a.k.a.) and folky songstress Karine Polwart. There are ten tracks here, all hugely varied in style with a number of distinct voices setting them apart.

The album is bookended by a couple of heartbreaking Anderson/Polwart duets, Since We’ve Fallen Out and Helpless to Turn. Each could probably fit on a King Creosote album fairly comfortably, but Polwart’s icy, traditional vocals take it to a new level and she’s the perfect foil for Anderson’s scruffy melodies.

Emma Pollock lends her vocals to the lovely Trouble but it’s Send Them Kids To War that will really make you sit up and listen. MC Soom T spits out rapid-fire political raps over some sinister sounding Indian chanting and rattling percussion. It sounds like it was made in Mumbai by a completely different band and shouldn’t really work, but it absolutely does.

I’m not normally one for exaggeration but it might just be the finest Indo-Caledonian folk-hop disco tune ever made.

It works as an album too. Too many times, collectives like these fail to gel and resulting works sound a bit messy but every song here has its place. Future Pilot A.K.C. is Scottish pop at its best, What Is Life? does the Indian thing at a slightly less frantic pace and Blood, Ice and Ashes interrupts Polwart’s piercing words with some rather loud powerchords.

With so many members having their own careers, it’s unclear what the future holds. There are no gigs on the schedule for a start, so if this turns out to be a one-off then make sure you savour every note.

*No idea what I’m talking about? Count yourself lucky. I don’t underestimate the importance of Burns to Scottish culture but the Burns Night broadcast is uninspiring,  repetitive and features the same old faces again and again.

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Ten Reasons to Love The Suburbs

Filed under: Albums — 2 Comments
August 12, 2010

A slightly different approach to the Tidal Wave of Indifference’s album of the week this time out. Here are ten reasons why you need this year’s biggest release – The Suburbs by Arcade Fire – in your life. 

Arcade Fire 

1. Funeral might just about be the greatest album ever made. A sweeping statement? Maybe, but I had no issue with naming it as my favourite album of the last decade, therefore I’m going to be all over anything they go on to do – including this incredible record. 

2. They care. Arcade Fire remind me of a wry Gary Larsen cartoon where a Stradavarious-wielding dog looks out of his window, saddened to see his peers chasing cars and biting postmen. Arcade Fire write about stuff that matters and it’s hard not to see them as that dog while the rest of us spray crude oil over the Gulf, let the ice caps melt or stab our neighbour over small change. Neon Bible’s lyrics warned of an impending coda to the human race and while The Suburbs is touted as a return to their home environment, it only takes a minute of the opening title track for Win Butler to mention bombs dropping. The perils of modern life haunt the entire album. 

3. They’re not rock and roll assholes. They’ve held on to their artistic integrity by not licensing out their songs to all and sundry (are you listening Moby and Fatboy Slim?) and a recent, rare license granted was an opportunity to divert their seven-figure fee straight to Regine Chassagne’s native earthquake-hit Haiti. Good job. 

4. As a live spectacle they must be seen to be believed. Their days of playing venues small enough for Richard Reed Parry to scale the balcony with a pair of drumsticks are well behind them, but even in playing Glasgow’s SECC, they retained a sense of intimate occasion with a subtle stage show that avoided many of the clichéd traps fallen into by other acts. The onstage camaraderie is a terrific sight, with Sarah Neufeld thrashing furiously at her violin on the faster numbers a regular highlight. For that reason, I await a live airing of Empty Room with bated breath. 

5. Funeral had six songs that I feel achieved sonic perfection. Neon Bible, while flawed, still had Keep the Car Running, Intervention and No Cars Go to direct your jaw towards the floor. The fourth of this album’s 16 tracks is Rococo, which may yet be the Daddy of them all. The three songs that precede it are stunning, but this startling number raises the bar still further and is the first time the strings get a chance to truly breathe. 

6. I’m not a big fan of rockumentaries but Miroir Noir illustrates a shy, yet phenomenally talented group of people at work. There are no band interviews, no music videos, but its fly on the wall style feels more honest than any other I’ve seen and there are some pretty creative concert filming techniques going on too. 

Arcade Fire live shot

Win & Will Butler on stage.

7. They’re not the Killers. I’ve read a couple of reviews that have embarrassingly compared The Suburbs to Sam’s Town. Sure, there’s a vague feeling of rootsiness to the two records and both frontmen clearly rate Springsteen as an influence but that’s where it ends. Brandon Flowers et al would kill have half the talent and emotional depth that Win Butler has in his left pinky. 

8. They blazed a trail for North American indie. They weren’t the first Canadian indie collective to make their mark in this decade (that would be Broken Social Scene) but since Funeral’s release in 2004 (early ‘o5 over here), something known as ‘chamber pop’ has infiltrated the music scene in a big way. BSS broadly fit the mould of what seems a fairly loose term, but if you’re to view it as a multi-layered mix of complex arrangements, vocal harmonies, rapid time changes and unorthodox instrumentation (and I do), then please see Grizzly Bear and Animal Collective for key examples of its finest recent exponents. There are plenty of cheap imitations doing the rounds, but what Arcade Fire have produced here goes far beyond the concept of chamber pop, however loosely you want to see it. Yes, the four elements described above are present and correct, but bar-room blues, punk rock and a light sprinkling of synth pop are added in to ensure not a single track across the album sounds the same. 

9. If the businessmen drink my blood / Like the kids at art school said they would / Then I guess I’ll just begin again. That’s from Ready to Start (track 2). Bleak. Ominous. Poetic. People, this album is at number one on both sides of the Atlantic. You really wouldn’t get lyrics like that from Scouting for Girls, would you? 

10. Overall this record is a masterpiece. 16 songs is a bit of a sprawl, and perhaps they could have trimmed some of the slightly lesser numbers but it’s difficult to find any other faults. I’ve picked out a handful of tracks in the above spiel, but’s best appreciated as a complete piece. The only bad bit is when the title track’s reprise kicks in, and you realise it’s nearly over.

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Infinite Arms

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May 26, 2010

Album of the Week: Band of Horses – Infinite Arms

Infinite Arms

This album has gotten a wee bit of stick, mixed in with some very high ratings from the big magazines, so I was a little apprehensive when I picked it up and put it on for the first time.

I love both their first albums and was hoping that following the National, Hold Steady and Broken Social Scene, another of my favourite bands would deliver a quality record in May – a month which has played serious mischief with my bank balance.

If the whole thing was as good as the first three tracks, I doubt the comments would have been quite so narky.

Factory is lovely, built on swooning strings, single Compliments, jolly good-time rawk, is an obvious choice for a single and Laredo is classic Band of Horses. But sadly that’s about as good as it gets.

It seems like the critics’ coven have decided that this is their time, and that it doesn’t matter if the acclaim comes for what’s easily their weakest album (for further reading please see Elbow’s 2008 Mercury prize).

It’s not that it’s bad. It’s generally quite listenable but too often lives up to their unfortunate ‘Bland of Horses’ nickname.

Something is clearly missing, and having previously ran his band with an iron fist, I wonder if Ben Bridwell has lost his touch? Tellingly, Dilly and Evening Kitchen, the songs that bandmates Ryan Monroe and Tyler Ramsey have had the greatest input into, are the weakest.

Although the desperate-sounding Grandaddy pastische NW Apt. runs them close. If I were Jason Lytle I’d put in a call to my lawyers.

Perhaps inking a contract with a major label has allowed complacency to set in or maybe Bridwell has just run out of ideas?

Neighbor (and by the way Americans, please learn to bloody spell) is thankfully a strong finish, but overall I feel let down. It’s weak, it’s made for the mass market and doesn’t come remotely close to the mighty Cease to Begin.

Still, a band which can write songs like Is There A Ghost? and No One’s Gonna Love You can’t turn rubbish overnight and there are enough moments on Infinite Arms to ensure I’ll still be interested next time round – but I’ll probably walk to Fopp to get album number four rather than run.

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Wolf Parade/Joensuu 1685, Glasgow Oran Mor, May 19, 2010

Filed under: Gigs — 1 Comment
May 20, 2010

2010 seems to be a renaissance year for Canadian indie collectives.

Broken Social Scene and the New Pornographers have both punted out albums in the last few weeks, a newie from Stars is coming and Arcade Fire are due to make a comeback in late summer.

Also on the radar is the third album from Montreal odd-popsters Wolf Parade, due next month.

They’ve never quite received the critical or commercial acclaim of their peers, and with twin frontmen Spencer Krug and Dan Boeckner both having fingers in various other pies - most notably Sunset Rubdown and the Handsome Furs - it’s never been clear how much of a serious concern they really are.

No matter, they’re back on the gigging circuit and it’s a sizeable and enthusiastic crowd that has turned out to see them on a wet Wednesday in Glasgow.

We’ll gloss over Finnish support act Joensuu 1685 pretty quickly. Seemingly hand-picked by the headliners, they were overblown, patience-testing dullards.

I’m not sure what the 1685 bit is about, but their seemingly endless third song may well have started in that year and is probably still going. Poor.

With the aural torture dispensed with it was time for Wolf Parade to take the stage and they cracked straight into You Are A Runner And I Am My Father’s Son, sounding much rockier than on record and packed with the ‘woah-oh-oh’ harmonies that have become a signature trait of the band.

Krug bounced around his set of keyboards looking like a (barely) slimmed down Jack Black and Boeckner thrashed away at his guitar with relentless energy.

Wolf Parade 1

(l-r) Dante de Caro, Spencer Krug and Dan Boeckner of Wolf Parade

Apologies to the Queen Mary is an upbeat, jaunty record anyway but in a live setting, the band turn its songs into hard rocking beasts.

There’s a crowd-pleasing handful of tunes from that album, but the emphasis tonight is squarely on new stuff.

Where 2007′s At Mount Zoomer plodded alone in places, the Expo ’86 material sounds fresher and could be a return to the sound that gained them attention in the first place.

Two songs – Ghost Pressure and What Did My Lover Say? – are already available to download (see below!) and both get a frantic airing tonight.

Keyboards and percussion have definitely been turned to ‘up’ suggesting that Krug’s influence may be starting to bear out.

With the backing of ex-Hot Hot Heat man Dante de Caro and drummer Thor – The God of Thunder*, they still very well work as a duo though, and Boeckner has by far the more outgoing stage persona.

The main set is rounded off nicely with I’ll Believe in Anything (best song of the last ten years? I think soooooooo…) before the baying crowd bring them back for a generous three-song encore of Shine I Light (I think!), another new track and the epic Kissing the Beehive.

Great gig, great band. Pity about the pish support but the headline performance more than made up any misgivings.

*May not be his real name.

Wolf Parade 2

Download Ghost Pressure here:

Ghost Pressure

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Festival Wars: The Last Word (probably…)

Filed under: Random Nonsense — 2 Comments
May 3, 2010

A wee quickie for May Day Monday… and the last time I’ll mention T in the Park, not least because of the gracious comments made by Mr Geoff Ellis on the pages of this very website a wee while back, despite the ranting tone of my piece.

In that same blog, I had wondered out loud whether selling my T tickets and heading to Latitude instead would backfire with many bands still to be added to the T bill.

I needn’t have worried.

Both festivals announced some line-up additions last week and both were in keeping with my current feelings about my musical summer.

For Latitude we had the mighty Frightened Rabbit (yes, them again!), These New Puritans – producers of one of this year’s best and most menacing albums so far - and the blissed out School of Seven Bells.

There were a handful of others that I hadn’t heard of but this built nicely on an announcement earlier on in the month that included the Kissaway Trail, Tokyo Police Club, First Aid Kit and Black Mountain.

I’m doing my best not to get too annoyed about the involvement of those peddlers of saccharine shite that are the Feeling, but at the end of the day that’s one duff band out of 70+. Even if they don’t clash with someone decent there could still be fun to be had by turning up for their set with some empty bottles and a full bladder.

And T in the Park?

- Joshua Radin who’s having his album plugged via the medium of TV advertising. Sounds like American MOR dross.

- Unicorn Kid who I saw for about two minutes last year and couldn’t stand.

- Unfunny musical pranksters 3OH!3.

- Kids in Glass Houses for the emos.

- Eminem cronies D12. 

That’s the most recent announcement.

On the upside the Drums, Ash, Bunnymen and few other decent acts were announced. Hypnotic Brass Ensemble would also make for an intriguing spectacle, but it’s not enough to make me think again.

Lovely folkie Laura Marling and NYC experimentalists Yeasayer popped up too, but they’re already on the Latitude bill joining Dirty Projectors, Mumford and Sons and the aforementioned Black Mountain among the handful of bands playing both.

So that leaves a very short list of really good acts that I’ll be missing out on – The Cribs, Biffy Clyro (look I like ‘em, ok?!?), Broken Social Scene and Four Tet (and don’t bet against the latter two playing ‘you know where’). I think I can live with that.

But if you’re going to T, please enjoy it. I doubt a moaning muso like me will change your opinion on the whole shebang. But in my absence, make sure you patrol the wee stages for the up and coming, more obscure acts.

And please god stay away from Pete Doherty and Babyshambles, I wouldn’t want you to catch anything…

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Teed Off

Filed under: Random Nonsense — 8 Comments
March 15, 2010

An open letter to Geoff Ellis, boss-man of DF Concerts, promoters of T in the Park.

Dear Geoff,

Thanks for the terribly predictable T in the Park line-up announced last month with only the merest smattering of quality and originality among the commercial dross you’ve picked out.

It’s never bothered me before, as you’ve always managed to book plenty of bands that I, one of your more discerning regulars, appreciate.

Putting Broken Social Scene, Dirty Projectors and Four Tet in there left me optimistic that there would be more where that came from and I would have enough ‘fringe’ music to amuse me, along some of the better populist choices like Muse and Biffy.

So I was tingling with a little excitement when I heard there would be more bands announced last week.

And what do we get? Madness. Jamie T. Paloma Faith.

Oh dear.

Also in there were Delphic (a decent album, but hardly compulsive viewing) and Frank Turner (don’t mind him, but a few friends appreciate his music a lot more than I do). But overall it was still a massive let down.

So that’s 55 acts announced and I’ve counted 14 that I give a toss about with a meagre seven in the ‘must see’ category.

So what does Moany Music Snob of Musselburgh do now?

Simple. I’m voting with my feet.

Or more to the point, my wheels. It’s a nine or ten hour drive to Sussex, but after I finish this post I’ll be booking tickets to Latitude.

Latitude already has a great looking line-up. Aside from the homely, relaxed atmosphere that the festival is said to have, having the National, the xx and Grizzly Bear headline its second stage is an instant stamp of quality.

The Horrors are in there too and Charlotte Gainsbourg will lend the occasion a bit of Gallic class.

It’s the weekend after T so going to both is clearly not an option, both financially and for childcare – so our T tickets are now up for grabs.

This post was meant to be a general moan about the quality of the Balado line-up, under the premise that I would still be going. I’d scribbled down a few thoughts on who I’d like to see you book. The xx and Grizzly Bear were both on that list.

So were LCD Soundsystem and the Hold Steady, but I can’t see that they’ll be added now. With so many big acts now on the bill, it’ll be up and coming acts that’ll pad it out.

Not necessarily a bad thing, but a hell of a chance to take. A lot of folk go to festivals for the craic and the booze, and that’s undoubtedly a massive part of it, but for me it’s mostly about the music.

In the same way that I can barely tolerate being in a pub or club (Clubs! Ha! I remember them…) that’s playing terrible music, I don’t wish to find myself watching Kasabian in a field, hands stuffed in pockets sulking, because there’s nothing better on. And paying £180 for the ‘pleasure’.

James Murphy, Craig Finn and their respective bands almost certainly won’t be playing Latitude either, but the five acts named above give me the sense that it’ll be well worth the cash. There’ll be lots else happening too.

Latitude takes comedy seriously – Marcus Brigstocke and Kevin Bridges have already been announced. There’ll be talks on films and books, a bit of poetry and some theatre.

Now I’m not going to badge myself as a middle class twat at this point and say “I’m going to a festival for the poetry” as that would be a total lie and not what I’m about.

But, as an alternative to watching the latest sadsack Oasis wannabes playing to a bunch of pissed up neds spoiling for a fight, then Bret Easton Ellis doing a reading from one of his books will do nicely thanks.

And even if I did stick to the music, of only 10 bands announced, four fall into the aforementioned ‘must see’ category with Florence the only one that I’d go out of my way to avoid.

Of course, I’m taking a massive risk. It would just be typical that the second I get my confirmation email from Latitude, you’ll send out another press release announcing that Frightened Rabbit (who are surely a no-brainer), Fever Ray and Sigur Rós are to play T.

But fuck it. As much as I’ve enjoyed T since 1999, having been to Connect in ’08, I’ve found the idea of a smaller, more focused festival hugely appealing.

Am I getting old? Probably? Is T’s loss of appeal coinciding with my own music taste spiralling up my backside? Almost certainly. Am I categorically finished with T? Well, Geoff, I’ll never say never on that front. Who knows?

But at least Latitude will have more beards than Buckie and I’ll be more likely to trip over a buggy than a bam.

And as this is effectively ‘our holiday’ for the year, the road trip and scenic setting will make it more fun than tailgating a coach crawling up the M90 with some wee bellend in a football top baring his arse shouting “T in the fuckin’ Park big man!!!!” at us for the whole journey.

Yours sincerely,

“Evil” Stu

Musselburgh

Now…. does anyone want to buy a T in the Park ticket?

This…

…or this?

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To T or Not to T?

Filed under: Random Nonsense — 4 Comments
February 25, 2010

To T or Not to T?

Indeed, that is the question. Since my *ahem* lost weekend of 1999 I have missed T in the Park only twice. Once in 2000 when I was still scarred from non-memories of the previous year and in 2006 when I was meant to be going to a wedding in Valencia, but then was meant to be going to my my Nanny’s funeral. But then she didn’t die when she was expected to, so I ended up scowling at TV coverage all weekend.

But enough morbid digressions. This first wave of this year’s line-up has been announced and I’ve met it with my usual mix of annoyance and optimism. It’s full of mainstream shite that I won’t touch with a ten foot pole but peppered with a handful of bands that leaves me optimistic that it’ll once again be a great weekend.

I should point out that the above title is a rhetorical question. Subject to nailing the tickets on Friday, of course I’ll be going. But every year I wonder if it will be my last, even though the responsibilities of fatherhood have seriously limited my gig going opportunities and cramming a year’s worth into one weekend has to be the way to go.

So here are my thoughts on most of the acts announced so far.

Muse – Last album was dross but still an incredible live spectacle and it’ll take some real quality to pull me away from the Main Stage for this.

Eminem – Is anyone actually listening to this nasty, misogynist wanker? I’m not.

Kasabian – actually don’t mind the music. Just don’t want to be covered in beer and piss from the crowd they’ll draw.

Black Eyed Peas – Jesus wept.

Jay Z – Much more respect for him than the above rap ‘superstar’. But it’s still a no.

Stereophonics – Snoooooooooooooore.

Paolo Nutini – Fuck off you stupid hat wearing dipshit. It’s like this country is programmed to like you just because you’re Scottish.

Biffy Clyro – Still love ‘em. Count me in.

Florence – Bat for Lashes and Ladyhawke do it better. My beloved will undoubtedly go but I’ll be looking for something else.

Dizee Rascal – Not for me, thanks.

Vampire Weekend – Their undoubted Main Stage slot will be off-putting but I like them.

30 Seconds to Mars – Jared Leto should stick to acting. They’re TERRIBLE!

Mumford & Sons – Yes please!

The View – Cut your hair, stop turning up pished and write some tunes. And then come back to me. Until then, get the fuck out of my sight.

Hot Chip – Still making decent music, but not great live. It’s a maybe.

Cribs – Like them a lot. I’m in.

Plastikman – Something to do with the Slam tent?

Newton Faulkner – Ginger twat.

The Coral – Scouse twats.

Temper Trap – Saw them last year and wasn’t hugely impressed.

Stranglers – Christ, my pizza’s still in the oven.

Broken Social Scene – YEEEESSSSSS!!!!! A truly brilliant band.

Dirty Projectors – Hurrah! They should be great to watch.

Four Tet – Could be really, really interesting live.

Two Door Cinema Club – Know nothing about them other than the Norn Irn connection.

Black Mountain – Riffs! Power! Rock! Get in!!!!

And that’s that. I’ll be at my laptop at 9am sharp on Friday buying tickets, seething about the amount of mainstream bollocks on the bill but secretly excited about another weekend of beer, booze and Biffy.

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