Tag Archive: Die Hard


grumpy catSo, here it is, the moment you’ve probably all not been waiting for. The start of our top 50 album countdown begins right here. Given that the Tidal Wave of Indifference was created essentially to give this list a home at the end of 2009, we think we’ve come a long way since then. Thousands of people looked at our round-up last year, although we reckon 99% looked away feeling disgusted at the lack of their favourite pishy little outfit.

We encountered hundreds of album this year, many dismissed out of hand, but there was some real quality out there in 2012, some of it found in the most surprising places as our first entry demonstrates. So here we go…

50. Bloc Party – Four

This band have absolutely no right to make a comeback, let alone with a half decent record. But they did, and Kettling had one of the guitar riffs of the year.

49. Rozi Plain – Joined Sometimes Unjoined

Sweet English songstress + Fence Records = RESULT!

48. Here We Go Magic – A Different Ship

Luke Temple’s band of odd-poppers are every bit as good as many of their more famous and more appreciated peers. A Different Ship was a significant leap forward.

47. Twin Shadow – Confess

Seeing as Prince himself has disappeared into a creative wormhole, George Lewis Jr seems keen to be anointed as a worthy successor.

46. Frankie Rose – Interstellar

Even when stripped of The Outs, Frankie Rose still had a knack for fuzzy pop tunes.

45. Mark Lanegan Band – Blues Funeral

Perhaps a smidge overlong, Lanegan’s long awaited follow-up to Bubblegum was clearly influenced by his work with Soulsavers and further cemented his position as rock’s Prophet of Doom.

44. So Many Wizards – Warm Nothing

These guys have the potential to be among America’s coolest bands. This compact little collection was full of bite-sized chunks of cutesy dream pop.

43. Adrian Crowley – I See Three Birds Flying

Ireland’s own Bonnie “Prince” Billy? Quite possibly. This was bleak, introspective and very, very good.

42. Holograms – Holograms

Sod the over-hyped Iceage – these guys really demonstrated that young Scandinavians can produce a raw, powerful, snarling guitar.

41. Breton – Other People’s Problems

With Foals away, this gave those in search of glitchy, groove-driven alt pop a fresh outlet to indulge their needs.

40. Admiral Fallow – Tree Bursts in Snow

A worthy successor to Boots Met My Face, it saw them step up their profile massively. That wider UK breakthrough still seems to be in the post though.

39. The Leg – An Eagle to Saturn

Comfortably one of the more bonkers albums of the year. Stylistically all over the place, like a friend who’s losing the plot after one drink too many, constant attention was needed to stop it taking you to some very dark places indeed.

38. Steve Adey – The Tower of Silence

Six years in the wilderness, and this low key Edinburgh singer-songwriter returned with an eclectic and engaging set.

37. The Unwinding Hours – Afterlives

You can’t help but feel that the progression of Craig B and Iain Cook’s music would have been headed in this direction even if they’d continued playing as Aereogramme but that doesn’t make it any less wonderful.

36. Ultrasound – Play For Today

In short, the unlikeliest and best comeback of the year. The tunes are still huge.

35. Beak >> – >>

It took us a while to approach Geoff ‘Portishead’ Barrow’s Krautrock/post rock/drone project but this was hugely satisfying and not without a tune or two either.

34. We Are Augustines – Rise Ye Sunken Ships

One of the most natural-sounding American rock records of the year. These guys really ought to be at the Gaslight Anthem level (they’re also better) but there’s time yet. An excellent debut album.

33. Francois and the Atlas Mountains – E Volo Love

A lovely effort from the Gallic maestros of tropicalia-infused odd-pop. This maybe isn’t the best video of them, but hey, we’re in the crowd so it’s special for us!

32. Xiu Xiu – Always

Not everything Jamie Stewart has done has filled us with joy but this may be his best album since Fabulous Muscles. Deeply screwed up but somehow strangely uplifting too.

31. Orbital – Wonky

Remarkably, the Hartnolls still have it in them to produce off kilter trance mentalism. Their best album in over ten years.

30. Die Hard – Die Hard

Bruce Willis jokes were inevitable, but you can bet that this Glasgow trio would meet them with the stoniest of faces. Meshing dark electronica with tuneful strumming was their thing and this came from nowhere to muscle into this year’s list.

29. The Twilight Sad – No One Can Ever Know

Also known as that difficult third album. Dominance by doom-y synths moved the music on considerably, but James Graham’s deadpan howl was unmistakable.

28. Stanley Odd – Reject

Despite some of the touchy subject matters, the witty rhymes and, umm, bangin’ beats guaranteed this to be one album that got us grinning from ear to ear every time.

27. RM Hubbert – Thirteen Lost and Found

We wouldn’t have guessed that an album centred around classical guitar compositions would have been one of the year’s best, but we’ve been wrong before. Guest slots by Aiden Moffat and Alasdair Roberts just added to its excellence.

26. Beth Jeans Houghton & The Hooves of Destiny – Yours Truly, Cellophane Nose

Not to be lumped into the every-growing slew of uninspiring lady singers, BJH is a real piece of work. Unhinged and with an ear for a great melody, this was breakneck stuff at times.

Next week marks crunch time. Who’ll be in the top 25?

Die Hard

Album of the Week: Die Hard – Die Hard

You will find no wisecracking New York cops here, oh action movie thrillseeker.

Instead of defending skyscrapers, airports or underground bullion stashes, this Glasgow three-piece are more intent on defending their own identities from the public eye, remaining largely anonymous.

Perhaps said approach is to allow the music to speak for itself. Well, we’re hearing it loud and clear, particularly In the Garden, all hissing unease and vocal effects, reigned in by a steady drumming. A smidge Knife-y, we might suggest.

Here Comes the Rage is altogether cheerier, janglier and Djangoier. Okay, so we’ve just invented another adjective to compare bands with other bands and for that we apologise and ask your forgiveness. But let’s set aside the song’s patently angry lyrics and look at Die Hard as a complete picture.

Present and correct is a sparky mix of guitars and programming with such a wide variation in song styles, that we’re very much into art pop territory. So suggesting they’re not unlike a Django Django without the hype or an Animal Collective without their heads up their arses is fair comment.

Hands’ layered vocal melodies and firm beat shouts ‘single!’ but we doubt that – at this stage at least – Die Hard would do anything as populist as, y’know, release a single or anything.

No Vendetta feels like Brian Wilson if he was a high concept pattern serial killer and Mmmm is a lyric-free FX clusterbomb to the senses.

Quirky, odd, a little pretentious. Absolutely the polar opposite of the John McClane film saga, but when they decide to start playing gigs, they should be playing to packed theatres around the land.

And so much for being elusive, we tracked down the band for a word…

You appear to have come from nowhere – what’s your background?

Craig: Music’s been a thread that’s ran through our friendship for years, as you do growing up, we used to play, or batter guitars, then recently we started to melt samplers together and just over a year ago, the three of us decided we should write an album and since we had moved into the same flat and we started building the band up from there; it allowed us to record together at crazy hours, mostly staying up all weekend or through the night.

Could... not... resist...

What were the key inspirations for the band, both musically and lyrically?

Adam: When we were creating the album we tried not to use guitar, it’s there, but usually always in the background. From years of rehearsal room bashing in different bands, we had grown tired of the guitar sound, so we were trying to keep away from it. Inspiration came from more a more unusual sound, weird classical, electronic and music with textures. There was no one band or album. Films were a major influence when we were growing up together though, something like Total Recall was one of those major influences; when we were younger we used to pass around pirate copies of all sorts of strange films, that definitely crossed over to our music-making sensibilities. As for the lyrical inspiration for this album, its dark with a pinch of salt, we like positives and negatives.

There’s an element of secrecy around the band. Has this been a deliberate move?

Ryan: As we haven’t played a gig, it felt natural to just let the music speak and let our personalities be secondary to that, to us it makes sense. These days everything is so personal, I think we’re just being laid back for now.

Can we expect to see some more live shows in the near future?

Adam: Yes, no doubt – it’s something we’re really looking forward to. There should be a show lined up for Stag and Dagger and a few other gig offers that we’re looking at just now.

Die Hard is out now through major download services. For more info head over here.

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