june 2007: cd reviews

ARCTIC MONKEYS : FAVOURITE WORST NIGHTMARE (DOMINO)

Hype breeds cynicism. There will be some people profoundly sick of hearing the words “Arctic Monkeys”, such has been the furore surrounding them even before they had released a proper single. These people are presumably few in number, considering that early sales indicate that this may be the most successful product since Mr Bread and Mr Sliced decided to go into business together, but it’s a shame to have any negative comment attached to such a great band. Not great in the new, top of a channel 4 list, meaning of the word, but in the old, so much to offer, “these guys are really great” meaning of the word. “Favourite Worst Nightmare” demonstrates that they have innate musical traits but can add to them thanks to a healthy dollop of ambition and atmosphere. “Brianstorm” kicks us off in ultra tight and powerful fashion, a rocker akin to the first album but more gutsy and menacing (and slightly better production, a feature of the whole album). The track most indicative of the Arctics’ innate musicality is “Fluorescent Adolescent”, a gloriously tuneful and fabulously arranged tale of middle aged female angst (blimey!). Simple, but it doesn’t really sound like anyone else. It’s on the second half of the album, though, that things move on a bit. “Do Me A Favour” crackles with a tension between wistfulness and bitterness (“to tear apart the ties that bind / p’raps f*ck off might be too kind”), while “This House Is A Circus” has a frenetic cartoon menace, an urban nightmare with guitar interplay. A minor draw back is that the track listing has gone slightly awry on this album - tracks 2, 3 and 4 are acceptable but could really do with being tucked away somewhere in the middle. Their presence, though, does not distract from the fact that the Arctic Monkeys have again displayed some supreme musical talent in the form of an album which is less accessible and tongue in cheek than its predecessor but with a cheeky brooding atmosphere and an intriguing ambition all of its own. Don’t believe the hype. Great album. martin cordiner

MILES CAIN : a WAY OF BEING FREE (LAST DANCE)

Miles Cain has been working on the Yorkshire circuit for some time now and his last release was a collection of tracks which had been produced over a period of several years. Broad as this was, it did lack cohesion and a production overlook. However these issues have wll and truly been addressed with his new album, ‘A Way Of Being Free’. The is a combination of a sprinkling of stripped down solo acoustic tracks, small ensemble arrangements - featuring very nice touches of accordeon, trumpet, synths and mandolin - up to a full kick ass band sound. Simon Watterson’s production is crisp throughout and the band arrangements remain true to their acoustic origins yet benefit tenfold from such extras as well arranged brass parts, keyboards and backing vocals. For me the two standout tracks are ‘A Man Outside Your Door’ which offers uncharacteristically sinister atmospherics and the poetic lamenting interlude entitled ‘Oceans’. Miles presents a huge spectrum from the wistful Americana title track through to the skiffle influenced ‘Stranger In This World’ to the upbeat pop of ‘Mystery Girl’. Recorded at Moor Lane Studios in York and being more than ably supported by some of the City’s finest musicians, Miles now has an album of which he can be rightly proud. dean saint john

CHRIS LISTER : THE BLUEST BLUES

Is it me or does this guy’s guitar make your heart bleed? Chris Lister is a man whose guitar skills make you wonder if he does a better job than Moore on ‘Parissenne Walkways’. Naturally, I think he does. ‘Green Onions’ is the most electrifying track in this album, with Kelly Lister on keyboards leaving the ever loyal to blues listener uncertain if one should get up and get down the boogie, or stay put and let those guitar chords pierce you right through the heart. Listen to ‘The Messiah Will Come Again’ and tell me those chords don’t have that same effect. Lister is one of those masked and anonymous figures that turn to cult entities, and only a group of connoisseurs know him. In ‘The Downtown Junkie’ he’s clearly just a guy from Hull with nothing in his hands but time, nicotine stains and fingers itching to grab hold of a sun-burst Les Paul. Simplicity, a smoky voice and a guitar – that’s all this song is. Robert Johnson woulda been proud.
Lister possesses a smoky voice with a gravel sound that comes out in the right place at the right time. With ‘Butterfly’, in loving memory of Malveen Lister, Lister shows an ability to compose, and also control melody and emotion without getting too schmaltzy, which is kinda reassuring, for those with nothing but rock on the brain. But in ‘Cold Turkey’, he brings out that husky, gravel-rock voice and pulls a number on his guitar that makes you glad the combination of rock and blues was ever invented. We eagerly await his tour this summer, but in the meantime, get hold of his album on www.myspace.com/chris lister - worth every second of your time and the man is definitely deserving of respect and attention. A lot of attention!
s. garção

DEMO : MASS MOVEMENT

Performing Musician and Creative Musician Pathway students at Access To Music College, based at The Jam Factory, were set the task of composing and producing a quality musical demo in any style. The bottom line was that they could draw on the skills of the tutors when it came to the recording process but other than that the work had to be original. THE TALK Magazine was pleased to be asked to assess the quality of these recordings and choose one which had achieved the most polished product and showed the most potential. Over a dozen tracks were submitted and in comparison the judging Battle Of The Bands competitions, this task was an absolute hassle free joy.
A diverse range of tunes was submitted but I was searching tor THAT one track, the song which rose above the rest. I decided that it was the significantly hard- hitting ‘Get A Life’ by Mass Movement.
Launched by a shuffle electro drum pattern the track is immediately pinned down and given direction by the Depeche Mode-esque synth and fuzzed up guitar riffs. We then get well and truly into gear by way of an unconventional tongue in cheek recitative vocal which examines the big issues by way of many questions: misused, pushed around, disillusioned, unsatisfied, underpaid and underfoot? I should coco. Satisfyingly the questions are also answered by the end of the track which gives the concept resolution. ‘Get A Life’ maintains high energy throughout - the verse coasting on percussive synth loop leading into choruses which ride on a more multilayered melodic motif which is full, crunchy and meshes well with the solid back beat. We also have texture explored with the more spacious mid section where the main message is re-enforced to good effect. Well done.
Access To Music currently has 70 students enrolled on its music courses ranging from sound creation, composition and studio technology all the way through to the business end. If you are interested in what they have to offer then contact the centre at ATM Studios, 106 Eldon Street, York.

Freephone 0800 281842 / 01904 655290, www.accesstomusic.co.uk or www.myspace.com/jamfactorystudios dean saint john