February Singles

Following on from last month's post, I've picked another 5 singles released in February (+/- a week or so for some of them). Conspicuously absent are the new Vampire Weekend singles: Sunflower and Big Blue. I am not a fan.

Stray Cats - Cat Fight (Over A Dog Like Me)

Hearing Brian Setzer decided to get the band back together was very exciting news. I've always looked up to his guitar playing and not many musicians can claim to have saved a genre. If you are of the opinion that rockabilly wasn't worth saving in the first place, you will be disappointed, you can skip to the next song. Cat Fight is everything you expect (and want) from Brian Setzer. Frenetic guitar, a yelled chorus, and of course, far too much whammy bar use. These aren't his finest lyrics, but honestly, who cares?

J S Ondara - Torch Song

Hyped by both NPR and Rolling Stone, J S Ondara has some expectations to meet. Ondara was born and raised in Nairobi before moving to Minneapolis - home of Bob Dylan - and apparently unexpectedly cold. Though his singing in Torch Song reminds me more of Tallest Man on Earth, Ondara is clearly steeped in classic American songwriting. His lyrics are cryptic like Dylan's and the interplay between his voice and his guitar makes for a touching listen.

Phosphorescent - Wish I Had Not Said That

I first listened to Phosphorescent on the same Mojo album that inspired my first ever post. Since then, Matthew Houck kept a low profile until releasing C'est La Vie late last year, and then a Spotify Single a few days ago. Wish I Had Not Said That is a cover of a J.J. Cale track from 1981's album Shade. The song appears to be having something of a renaissance - Houck's cover is the third in three years I can count on Spotifiy, including one by released this month! The recording is faithful to the original, but Houck's distinctive voice deepens the sense of contrition making it well worth a listen.

Loyle Carner - Loose Ends

Loose Ends is beautifully, if subtly produced, Carner raps over himself but otherwise everything feels live. Jorja Smith's vocals capture your ears straight from the start, before Carner jumps in with his usual introspective imagery. While his lyrics touch on themes similar to his Yesterday's Gone (2017), there is an added sense of maturity and responsibility. Very different from his last two singles, Ottolenghi, and You Don't Know, I'm excited to hear what Carner releases next.

Catfish And The Bottlemen - Fluctuate  
 

Catfish and the Bottlemen have always been in the periphery of my listening habits. I think I listened to The Ride (2016) when it came out, but I can't say I remember much of it. Fluctuate reminds me that I really should listen to them more. 'Remind' is an important word. This is classic XFM stuff, but not a game changer - the backing vocals at the end sound like they were lifted straight from the Arctic Monkey's AM (2013). The lyrics are entertaining ('you've switched my faith and phone off') and all round Fluctuate is an enjoyable indie banger.

Bill Frisell at the Jazz Cafe - 23rd of February 2019

I was worried this gig was going to start like my last Jazz Cafe visit ended as after 45 minutes of standing around all we had seen was some strips of masking tape applied to a double bass...

At least the people watching at the Jazz Cafe gig is always of a high quality. The mix of cool cats, jazz heads, guitar nerds, and slightly bemused other halves provided some entertainment as we waited.

Eventually, opening act Stuart McCallum wandered on stage, full glass of red in hand. He received a slightly frosty reception from the crowd, but soon won everyone over with his enchanting acoustic instrumentals.

Technically proficient without ever being obvious about it, McCallum played a 30 minute set of refreshingly melodic songs. One was so new it didn't have a title and the guitarist confessed he had resorted to requesting suggestions at a recent show in Macclesfield. London couldn't product a winner either. 

Another pause, and you felt the crowd get frustrated after more tape shenanigans failed to produce Bill himself. When he did arrive, the crowd received a brief hand clasp greeting and the Trio launched into 30 minutes of uninterrupted music. Whether this was an act of atonement or a sign of how little Frisell notices the crowd, I'm still unsure.

I am sure that Bill Frisell is a musical genius capable. He constructs soundscapes that feel both familiar and avant garde at the same. That Tony Scherr (bass) and Kenny Wollensen (drums) are able to follow him on this journey, and actually interact with his playing is a testament to their respective abilities. The performance felt like Frisell took his mind off the hook and just let all his years of playing and listening flow out, demanding the rest of us try and keep up. 

Of course it was far more considered than that, Wollensen's accurate and intricate playing kept everyone on course as Frisell went from quiet chord melodies to noise reminiscent of Hendrix launching into the Star Spangled Banner. The drummer was superb throughout and was clearly playing freely enough that he never felt the need to take a bona fide solo.


Watching Scherr dance around his bass while looking Frisell square in the eyes was almost as entertaining as the music itself; but in a one and half hour set with just 3 moments of silence the music is has to be the best part. A late cover of In My Life received the biggest reaction from the crowd, in part because it was the most recognisable tune.

Frisell finally spoke to thank us for listening right at the end, and clearly does love the Jazz Cafe as John Fordham noted two years ago. The crowd was treated to a blistering set that was well worth the wait.

January Singles Round Up

January is a wonderful time of year for music as every starts dropping singles to a support a new year of albums and touring, I thought I'd highlight five that caught my ear, for good or bad.

Vampire Weekend - Harmony Hall

I got off the Vampire Weekend train straight after the first album. I thought Contra was incredibly boring. However, a friend has tried relentlessly to get me back on the wagon and I finally gave in when I saw they had a new single.

My first reaction of 'harmless,' slowly changed to 'mostly harmless,' but I'm listening to Harmony Hall again as I type this review, and I think it's fully infectious. The lyrics are, thankfully, not just about being rich on the east coast, and the guitar riff is brilliant. This opinion is clearly shared by the band as they released a 2 hour loop of the guitar part on YouTube.

It's all still a bit Paul Simon, but it's got me excited for the next album.

The Killers - Land Of The Free

I'm not quite sure what's going on here. For all Brandon Flowers theatrics, I wasn't expecting a protest song. 

It's got a nice melody, but it feels like The Killers took Springsteen's Wrecking Ball album and tried to mash it all into a single song. Land of the Free opens with a quick homage to hard working immigrants before a whistle stop tour of hot topics: mass incarceration, gun control, and of course, the wall.

If The Killers are going for social consciousness, I think they have a way to go. 

Ian Brown - Ripples

Hayes Carll offers a brilliant mix of country songwriting and indie wit. Be There walks that line with honesty and intimacy. 

There is a something hynotic about the melody for the chorus aided by the slide guitar. The verses are filled with the kind of observation you expect in a country song: 'you look like a tragedy waiting to happen'. It's got less teeth than some of his other songs, but speaking to Rolling Stone, Hayes makes it clear that is very much the point.

What It Is came out this morning, so go listen!

Interpol - Fine Mess

An absolute monster as soon as you hit play, Fine Mess is Interpol at their best. It's got a driving rhythm, the lyrics are as enigmatic as ever, and there's a great guitar riff.

The Strokes style vocal production, gives the verses real rawness. The comparatively clean choruses provides a nice contrast, and change in style helps the simple lyrics (conveniently included in the cover art) stick in your head.

If the album is 8 tracks like this, it's going to be fantastic.

Album Review: White Lies 'Five'

I thought I first White Lies on a FIFA soundtrack, but apparently 11 / 12, I couldn't remember which so I had a look online and it turns out I'm going mad. It's the Sinbad movie all over again... 

More importantly, White Lies dropped a new album in January and I listened through it this week. I should mention now that this was the first album I've listened to since their debut (Farewell to the Fairground, 2009) so my initial reaction of 'this is less depressing' might be a bit out of date. Still, it's nice not to hear about kidnappings and urban decay.

Despite more upbeat lyrics, I was impressed to see they've held onto the theatrical sound 10 years later. However, if you weren't a fan of the first album I'm not sure you'll be a fan of this. It is also quite telling that three songs from the album were released as singles last year and the only one I recognised was Believe It. To be honest, I'd completely forgotten about it until it came on right at the end of the album.

Tokyo - the latest single - feels like it got a lot of attention from producer Ed Buller (Buller produced two of White Lies' previous albums as well as albums by Suede and The Courteeners). With a massive synthy chorus, Tokyo is by far the most radio (and late night pub) friendly song on the album.

That said, it is also lyrically weak 'Cos you know / Every city has a Chinatown' and 'Call Tokyo / Call New York / It's the same but different' are not what I'd called inspired. But it's catchy and everyone in the bar can sing along to the chorus so who cares... Right...?

After Tokyo, the band pivots back to more familiar territory with Jo?, the song that reminded me the most of their original sound - it even has lyrics about being lonely!

Overall, I think it's a solid album, there aren't many stand out songs, but I think they will grow on you if you listen to it a few times.

Rating: 7 / 10