january 2008 cd reviews

[Caffeine Kill] : Still Bleeding

Caffeine Kill describe themselves as an industrial metal band. With this record they damn near create a blueprint and all guns are set to blaze for this trio. 'The Beast Within' is the powder that sets everything in motion, 'Twisted Dementia' is the cold metal shell that pierces the brain, inviting you into a new world of pure darkness. The Numan comparisons are never more evident here, present alongside Rob Zombie-esque backing that haunts and distorts the sound turning it into something disturbing as the tone changes in the final mivnutes. 'Clown Man' is distinctive and, despite exploring themes of deceit, brings a little comedy to this heavy onslaught of beeps and noise. 'What Are You Waiting For?' is one of the most original efforts in terms the band's sound. The group successfully inter-web Korn style Nu-metal qualities with synths and lead vocalist Jay's proudly pained wails to create a hybrid. 'Release' is a song far removed from CK's usual sound as for the most part, they swap guitars for harmony and the keyboards take precedence over the drum machine. This is the record's standout and is nothing more than a darkly beautiful ballad that shows the bands diversity. It's back to normality-ish on 'Daylight Dies.' An epic rock song with a backing that borrows from Rammstein's lean toward theatrics and 'Ultraviolet' is another one for the dancefloor. One would have to wonder with songs like 'Out Of My Control' whether this band would add an extra dimension (and to a sometimes 'hollow' aspect of their sound with the addition of a live drummer?) Perhaps, but with closer 'Dying Flame' and nifty bonus track 'Let's Watch TV' you have to realise that with or without, CK are a force to be reckoned with and with this release set a standard for other heavier industrial acts coming in.

dom smith

The Murderhouse : the Murderhouse (Tarnished Worldview)

Most of the tunes on this neat six-tracker (which confusingly is called 'What Lovers Do' on the cover) will be familiar to anyone who's seen The Murderhouse live of late or heard their previous demos.   However, this well-produced and excellently packaged EP definitely marks the next stage in their development.   The production gives the minimal vocals / drums / bass approach much more depth and muscle on tunes like 'What Lovers Do' and the firey 'So Cold,' with Suzy Bradley's expansive vocals given much more room to breathe, and what strikes you more is how much they apply the unconventional minimal line-up to relatively straightforward song structures, quite a brave thing to do when most bands of this sort of set-up would aim for angular noise or crazy time-changes.   However, when Bradley adds acoustic guitar to the mix as well, the excellent 'Stay' for example, it doesn't detract or radically alter them - in fact it emphasises just how much David Martin plays his bass as a lead, and how well Wayne Miller's brisk drumming carries them along, and a tune like 'Dark Days' hints at big dark-yet-almost-pop atmospheres.   Hopefully they'll explore these avenues further (recent live appearances suggest they might) and not worry that it'll carry them too close to the mainstream.   They're not ever going to be a conventional band, but this EP suggests they'll always be worthy of a listen. www.myspace.com/themurderhouseuk.

tim procter

VWF : I Won't Do You Any Harm

VWF seem keen to pack a whole lot into their sound, and they have the numbers to back it up.   The seven piece band feature a mini brass section, synths and the standard rock set up that we are thankfully still not tired of.   Most importantly, though, they make it work.   "I Won't Do You Any Harm" starts off all funky guitar and bass, before giving way to a brass emblazoned chorus of rock riffery.   Synths bleep and squiggle around the sound, adding atmosphere and suitable support for VWF's up and down decibel levels.   It feels sleazy and bubblegum at the same time, which on this occasion has ended up the right side of sing a long.   It feels a little bit like this schizophrenic nature may be troublesome over the course of an album, and without a B side we are forced to stay curious, but VWF sound like fun for now.

martin cordiner

Amberstone : The incoherent ramblings of an incoherent narcoleptic

I rarely find album titles to be more accurate than this offering by Amberstone. Whilst largely placed within the rock category; with similarities to the likes of early Feeder and Three Colours Red, the album as a whole whirls from Indie styled vocals to more beat-driven poetry (featuring none other than THE TALK's own Jim Flannigan). Where many albums manage to switch styles without effort, this feels more like a 'best of' collection and creaks awkwardly from one track to the next. In truth, I feel that anyone who listens to this will find some reward to the experience. The albums great strength lies in the vocal power of its contributors and the passion filled songwrting - particularly where the competent musicianship has been replaced by programmed beats and samples. In these moments, it begins to resemble the works of Tricky and Massive Attack. I feel with concentration (and perhaps some Ritalin to help), the coming live act could well be something to be reckoned with. So get to it Mr. Teasdale - your coherency awaits!    ?   cyrus crashtest

Mr Parker : Room With A View EP

Hmmmmm, nice.   There is music of a certain persuasion that cannot help but inspire a Fast Show style desire to kick back and avoid over analysis.   York based four piece Mr Parker are not purveyors of the kind of academic jazz that inspired such silliness but their funky soulful lounge songs are the true inheritors of this mood.   "Just My Way" makes us crack a smile and root out our sunglasses with its up tempo acoustic guitar and sing along chorus.   The band's adept musical ability comes to the fore, they are clearly an able bunch but they aren't trying so hard as to spoil the relaxed mood.   The piano heavy "Come Back To My Life" sends us in search of a cocktail or two to go with this smooth number, backing vocals increasing the sass quotient to an agreeable level.   "Passengers" sees some funky bass entering the bar with a keyboard solo on his arm.   They, of course, look great together.   "Killing Me" rounds things off with a fun hook fuelled dance tune, and confirms Mr Parker as an excellent host.   It's all a perfectly pleasant way to spend a sunday afternoon in the summer time, with Mr Parker's breezy and stylish music ensuring that your troubles disappear and that you come to appreciate that good vibes, a spot of pleasant weather and a decent piece of music make life worth living.   At other times?   But now I'm thinking too hard.   Hmmmmmm, nice indeed. martin cordiner

Tremulous Monk : Sweet Little Things (Echo Chamber Recordings)

Second full-length outing for Tremulous Monk, who followers of the York scene will also know as Chris Wilkinson, singer/guitarist for the Falling Spikes. As Monk, Wilkinson offers a fairly complete contrast to the Spikes - where they are saturnine, sinister and expansive, Monk's work is pastoral, heartworn and curtailed. This pretty much carries on where his last album 'Sparkle Like Your Shoes' left off, but the songwriting is definitely stronger this time out, perhaps because the Spikes have roadtested some of these tunes at length. Monk plays everything himself (except drums on one track), and 'Tea Hippy?' and 'All Of The Girls Are Crumbling' roll along with a pleasantly ramshackle feel, complete with splattery drums and splashing cymbals. Where he really hits his stride though is around the middle of the album, where the songs get pervaded by a mellow melancholic vibe, particularly the brief gem 'Landing Safely' and the late-night confessional 'Showing My Scars For You.'   The title track too is a delight, a woozily sashaying paean to the age-old theme of love on a shoestring that's rendered utterly charming by Monk's gentle delivery. Indeed, most of his lyrics concern matters of the heart, and voiced less sensitively, they might come over as self-indulgent or whiny, but he pitches it just about right every time. This is an excellent album from a completely unpretentious, talented musician who's probably best appreciated late on a rainy night with a big glass of whatever you fancy for company - but that big ole internet might just one day make him a bit of a star. www.myspace.com/tremulousmonk

  tim procter

Celebration : The Pennine Poets,   1967-2007

Poor old poets.   They slave away at their craft, often ignored, and are rarely given credit for the time, effort and skill that their art form requires. So any writer that creates their own work, and produces it for public consumption, instantly demands respect.   Poets who seek different ways of communicating their work get additional points, and to this end The Pennine Poets (who draw members from a massive geographical area)   have created a CD featuring the work of   some of their writers.   Celebrating 40 years of the group (1967-2007), the CD features some excellent writing from writers such as Pauline Kirk, Josie Walsh, Julia Deakin and Nicholas Bielby, with music from Richard and Lesley Quayle.  

This is a commendable collection. It is always a good thing to hear the voices of writers. I particularly enjoyed Anna Taylor's poem that evokes the brutality of war in Stalingrad. Also impressive is Nicholas Bielby's poem about the birth of his daughter, (spookily, I listened to this the same evening I wrote a poem on an identical subject) a passionate but distinctly unsentimental elegy to childbirth.

It's a real shame that the tracklisting and sleeve notes weren't given more comprehensive attention: the back cover and the sleevenotes do not give   a full listing of the contents, which is unfortunate,   as this would have been a suitably professional credit of the very good work that is contained here.   

Anyone wanting to find out more about the group, can go to www.penninepoets.co.uk.   The Pennine Poets will perform as part of the York Literature Festival on Saturday 1st March 2008 at The Marriott Room, York Central Library.

miles salter