Album Reviews

Album Review: Frank Turner – Positive Songs For Negative People

Frank Turner Positive Songs for Negative People cover
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I wasn’t sure what to expect from folk-punk Frank Turner for his sixth album, Positive Songs For Negative People. His previous studio album, Tapedeck Heart, had some upbeat songs, but had an overall theme of heartbreak. A later B-sides collection followed suit, making me question is Turner had decided to forgo his punk heritage for a softer, folkier sound. But after he previewed a few new songs at his Wellington show on the last night of the tour earlier this year, I was satisfied that the new album would still have enough grit.

Opening track ‘The Angel Islington’ isn’t Frank Turner positive songs for negative peopleabout buying a blue property in a game of Monopoly. Instead, in his typically English style, Turner sings about cleansing himself in the river and promising to start over. He’d decided to brush himself off and push on after the melancholic previous album, with this song signalling the change in attitude. It’s an idyllic little acoustic track reminiscent of other folk songs he’s done in the past, but it’s also the least interesting song on the album. This makes the following song sound even better and louder by comparison.

‘Get Better’ is by far the best song on the album. Obviously it’s the most familiar song, having been available for many months, but that doesn’t undermine how good it is. It’s a real stomper that gets me so fired up every time I hear it. I rate it among the best he’s written.

Bad weather is used as an extended metaphor throughout the album. ‘The Next Storm’ is about getting outside and living life, rather than hunkering down and waiting the storm out. ‘The Opening Act of Spring’ covers similar themes, with less of a fighting spirit. Backed by jangly mandolin, Turner details his hope for forgiveness and a better life once the storm has passed. ‘Mittens’ is a ballad that uses the imagery of mittens and gloves to tell the story of how a relationship never quite fit right.

Fighting for quality of life is another central theme. ‘Out Of Breath’ is about outrunning Death, and it’s played at such a pace that it seems that the musicians are almost tripping over themselves. ‘Demons’ sends the message that it’s great to be alive, so fight the demons that try to drag you down.

The fighting metaphor is taken literally in the music video for ‘The Next Storm’, which shows Turner in the ring with American wrestler CM Punk.

For both “Josephine’ and ‘Silent Key’, Turner has used historic figures as a basis for the song, adding even greater depth to the lyrics. ‘Josephine’ is pretty infectious with the “woahs” and ‘Silent Key’ is catchy with the repeated lyrics, but sadly I can’t stand the guest vocals sung by Esmé Patterson.

It’s the positive messages of the album that have resonated with me more than the music. The music is great though. Obviously the singles are among the strongest tracks. Other highlights include ‘Glorious You’, ‘Demon’ and ‘Love Forty Down’, which are all rousing because of the way Turner belts out his passionate vocals. Positive Songs for Negative People contains the same style that you’ve come to expect from the previous five albums, distilled into 40 minutes of folk-punk. I prefer the heavier and more upbeat sound on this album over the somewhat depressing Tapedeck Heart.

Frank Turner (1) positive songs for negative peopleThe Sleeping Souls prove themselves once again as the perfect backing band for Turner.They rock out when they need to, and they colour the music tastefully when it pulls back. Two of the finer musical moments on the album include the cut out during the bridge of ‘Glorious You’ and the gorgeous harmonies in the outro of ‘Demons’.

There are two songs that sum up the album. ‘Glorious You’ is all about support and accepting who you are. And the most powerful is saved for last. ‘Song For Josh’ is a
tear-jerker about a friend who had committed suicide, recorded live at the venue that Josh used to run. Somber as it is, this touching tribute really emphasises the overall message of the album – that life is worth fighting for.

Positive Songs for Negative People is suitably named. The negative people are there, the weirdos and outsiders; those who are pinned down by the storms and the demons. But overall the album is affirming and rousing, shouting a message loud and clear: “I’m alive and I’m going to fight to keep it that way”.

It’s not the best Frank Turner album (England Keep My Bones still stands as my favourite), but it’s still pretty great. It has tender moments, brilliant lyrics, uplifting messages and some ripping rock music.

Joseph James

Album Review: Toe – Hear You

Toe Hear You cover
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It has been a great year for post-rock. Wellington has recently been visited by some greats like This Will Destroy You, sleepmakeswaves and Mogwai. And some brilliant albums have been released by bands from all ends of the spectrum worldwide.

The latest such release is Hear You, the third studio full length from Japanese rockers Toe.

Although I would classify Hear You as post-rock, it isn’t a strictly instrumental album. In fact, many of the songs include singing, like the tracks ‘Commit Ballad’ and ‘Song Silly’. Some songs are softly cooed, some are rapped. There are both male and female singers, making the sound all the more diverse. The singing is also predominantly Japanese, but I think I can identify English in “Song Silly”.

This first half of the album sounds like one big song that slowly evolves. The second half is where things begin to mix up. ‘Time Goes’ actually sound more like rapping than singing, backed by some funky guitar, bass, and organ. The next song, ‘オトトタイミングキミト’ follows up with the hip-hop feel, this time with jazzy piano parts.

The crisp drumming throughout the album is standout. In fact, the busy drumming during breakdown in “A Desert of Human” is probably the best moment on the entire album. At times drummer Kashikura Takashiit hangs back, waiting. But when the time comes his playing is urgent and hurried, adding pace and filling the emptiness in a tasteful way. He plays around the timing with drags and shuffles, and makes the most of space with varied rolls, fills and flourishes. There is a very math-rock approach, adding colour and vibrancy to some otherwise straightforward sounding songs.

Hear You has a clean, cohesive sound that is soothing but engaging. It is predominantly percussion driven, with jangly picking and light strumming from the guitars. That said, even though there is a ongoing sound saturating the album, it is also incredibly experimental and subtly diverse. Take the track ‘G.O.O.D L.U.C.K’, for example. It contains tabla drumming, whining Kanye autotune sounds and cheerleader chanting. And somehow it all works in together. There are so many intricacies and subtle layers that only reveal themselves on repeat listens. It’s a short album – the 11 songs only add up to 40 minutes of material – but it’s a case of quality over quantity.

Hear You may be short, but it’s so good that you’ll likely find yourself listening to it on repeat anyway.

Joseph James

EP Review: Koji – Fury

Koji Fury EP Cover
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Koji first came to my attention after releasing split EPs with label mates Into It. Over It and La Dispute. Unlike those two bands, I wouldn’t consider Koji emo or pop-punk like Into It. Over It. Nor is he hardcore and intensely dramatic like La Dispute. But both splits just seemed to work as great marriages between the artists involved. Koji is hard to classify because he has a sound that is both versatile and recognisable. He’s a laid back singer/songwriter with a voice that sounds earnest and warm and songs that seems both simple and thoughtfully crafted, with subtly intimate details.

Fury departs from Koji’s acoustic past but still remains infectious. Musically, it’s more like straightforward indie rock, but manages to stay interesting without the using choirs and violins and other such instruments that Koji has used previously.

Title track ‘Fury’ doesn’t appear to contain a super catchy hook, but it refuses to leave my head. I’ve listened to it so many times over the past few days. Each time the song seems to get better, and each time it gets further entrenched in my mind. I swear my dreams have even had ‘Fury’ playing as the soundtrack for my subconscious adventures.

The following three songs continue with the earworm treatment as well. “Breaking And Broken” is ridiculously catchy with its rhyming choruses, as is ‘Everyday’, with its repeated lines and memorable guitar lines. Closing track ‘Question’ rounds off the EP perfectly by slowing down the pace but keeping up the mood.

There’s a fuzzy shoegaze vibe that permeates throughout the songs, whilst still remaining carefree and upbeat; a formula of Silversun Pickups and early Smashing Pumpkins with a bonus dose of happiness to offset depression.

Fury is thoroughly addictive, with each listen fueling the need for another. I just cannot get enough of it. Go have a listen and get hooked yourself.

Joseph James

Album Review: Declaration AD – Sometimes It’s Us

Declaration AD Sometimes It's Us
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I need to admit something before I start. I consider the boys in Declaration AD some of my closest friends. I even lived with a few of them for a few years. And frontman Sam Coates designed the WNF logo for this site. This review cannot be impartial.

I’m pretty sure that I’ve attended more of their shows than anyone else. I was their first show back in 2010, at the now defunct Happy Bar. I tagged along on their first tour. I helped them print their first lot of t-shirts, and I loaned them my lungs when they recorded the gang vocals for their first two releases. I’ve watched them grow and evolve into who they are now. Obviously this is going to be a biased review, but it’s a two-way thing. My familiarity with the band also means I can give an insider’s perspective.

Declaration AD formed in Wellington late in 2009. The Wellington hardcore scene was in a re-building stage at that point, after some of the previous bands who had carried the torch had either broken up, or were in the process of doing so. We would have to road-trip up to Palmy if we wanted to attend hardcore shows.

I still remember the first one they took me to: The Chase on their final tour (I was honestly terrified. It was my first experience seeing people throwing down like they do, and I kept getting hit by backswings.One girl standing next to Kirk got knocked out).

Declaration AD would play shows with pretty odd lineups, simply because that was the only option – there were no other hardcore bands in Wellington to play with. It worked alright when they played alongside punk and metalcore bands, but often they’d play with indie bands, powermetal acts… anyone who was willing to have them on the bill. Last year they even opened for internet sensation rapper Bangs.

Over time the boys have helped to revive the Wellington hardcore scene through constant touring and inspiring friends to start their own bands. They would befriend bands in Auckland, Hamilton, Tauranga and Palmy, and then invite them to play shows in Wellington. Our flat was known as The 44 (short for “44 hardcore”) – named after the street number. As Wellington hosts, we’d let visiting bands stay over, crammed into our limited floor space and draped over couches. It was pretty common to have the entire place filled with sweaty sleeping bodies after a show.

The hard work led to success. Declaration AD have shared the stage with heavyweight local acts like Saving Grace and Antagonist AD, as well as international artists such as Terror, Trapped Under Ice and Sleeping Giant. They released two EP’s and a full length album over this period.

Sometimes It’s Us is Declaration AD’s most recent offering, the first that they’ve recorded in a professional capacity. Previously they’ve had help from friends with recording gear, but this time the band saved up to pay for time at a proper studio.

The album begins with static and tuning, like the faux-radio intro to Queens of the Stoneage’s Songs For The Deaf. It kicks off with the furious ‘Spent’, the grooviest track Declaration AD have written in ages. And it’s from this first song that the new dynamics start to pop up. Kirk Hodgson’s guitar playing is eerie and high pitched at times, unlike the usual chugged open chords. And during the bridge vocalist Sam Coates’ delivery is almost spoken word.

There are two key aspects that make Sometime’s It’s Us standout: the energy and the use of dynamics. These songs are heavy. They’re fast and angry. Listen to the blistering ‘Enfleshed’ and you’ll see what I mean. But they’re also well written. There’s the cut outs in ‘Mental Hell’ and ‘Belonging’ that add impact. The different styles of vocal delivery. The changes of pace, the guest spots from other vocalists, and the use of powerful gang vocals. All these elements are used to make the songs more interesting.

One of my favorites, ‘Mental Hell’, is frantic and speed driven, with a doomy break down juxtaposed against the breakneck beat. Towards the end it sounds like Sam is shouting through a megaphone. I also really like ‘Picket Sings & Protest Lines’ because of the enormous sounding gang vocals.

In fact the entire album is pretty relentless. ’04-14′ steps it down a notch for some slow burning self-examination, but on the whole there is a lot of aggression coming through.

Perennial crowd favourite ‘Better Man’ features in its third incarnation. ‘Better Man’ first featured on the NZ Hardcore Compilation CD in 2010. I remember the Declaration boys being so excited during the lead up to the compilation release; recording their first song and featuring alongside some of their heroes. The recording session didn’t go as ideally as hoped though, leaving them slightly disappointed with the end result. Their next attempt was with début EP MMX later that year. Again, they realised that this recording lark was harder than they’d initially thought, leaving them despondent about another recording that didn’t really capture the sound that they had wanted. So they’ve decided to test the idiom “third time lucky” with their first professional recording, and give ‘Better Man’ another go.

I’m reminded of how Anberlin re-recorded their song ‘Feelgood Drag’ as a single, three years after they’d first released it. The song became their breakthrough hit. The re-recorded version sounds darker and edgier. But I prefer the original version that I grew up listening to, simply because it’s more familiar. In the same sense, this newer recording of ‘Better Man’ may be better, but it will take me some time to get used to. Naturally, the song has evolved over time, as the lads have learned to play their instruments better and gel as a band. One of the more noticeable aspects is that vocalist Sam Coates is no longer at the forefront, but sounds somewhat distant in the mix. And the gang vocals are more prominent, as is the case in their usual live setting. Long story short: ‘Better Man’ has finally been given the treatment it deserves. Few people actually have a copy of either of the first two versions, so it’s only right that the band’s most enduring song get’s proper recognition.

Image: Grace Gemuhluoglu

L-R: Dan Drower (bass), Kirk Hodgson (guitar), Sam Coates (vocals and Dave Morrison (drums).    Image: Grace Gemuhluoglu

The stark images throughout the album depict anguish, loss, anger and pain, but the overall there is a theme of hope. There are personal issues laid bare, and although this makes Sam the lyricist vulnerable, it makes him all the more relatable as well. Many of the songs explore identity – who we are, how we act, what makes us feel validated, what we stand for. During the contemplative ’04-14′ he shouts “my flaws are too real to deny”. I’m sure that none of us can deny that we have similar battles. Words have always been Sam’s gift. He’s a genuine, unassuming guy who can brighten anyone’s day with an affirmation. He writes with conviction and shouts with such power that he has always stood out as great frontman.

Sometimes It’s Us showcases improved musicianship from the band. I love how Kirk uses treble to bring balance to the sound – an oft neglected aspect of “heavy” music, with its frequent drop-tuning and distortion. His sound has changed, with a very metal tone, tight riffs and plenty of pinch harmonics and Dimebag-styled squeals. Drummer Dave Morrison has really stepped up this time round, going for the no-fills approach. His efficient style gives the music momentum without over-complicating things. And the times that he does include an aspect like a fill or something flashy, they stand out. And bassist Dan Drower always was known for his musical abilities, and finally gets to cement his role in the band by recording new material, after having joined the band early in 2013.

Sometimes It’s Us is a big improvement for Declaration AD, showing how far they’ve come during the three years since their last release. It’s furious and focused while at the same economic and efficient. They’ve put planning into the song writing and recording that has led to tighter and more dynamic sounding songs. This is easily the longest release, lasting almost half an hour, but it’s also one of their best.

… And it’s also their last. After roughly six years, they’ve decided to call it a day.

I was there at the start, and now I can say I was there until the end. When the Declaration boys look back over their time as a band there will be no shortage of achievements to reflect on. They’ve survived a few line-up changes and left a legacy to be proud of. It’s bittersweet that this album features some of their best work, but they won’t be around much longer to celebrate it.

 

Declaration AD:      Facebook        Twitter       Instagram        Bandcamp

 

Joseph James

EP Review: Barouche – Volume I: The Expedition

Barouche Volume I The Expedition cover
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Ross Jenkinson is London multi-instrumentalist who has just released a brilliant solo EP under the name Barouche.

The EP starts off with ‘Plot a Course’, a groovy latin-esque number that makes me think of Santana. I’m not usually a fan of much electronic music, but second track, ‘Across the Breeze’ is charming, in a similar style to Panda Panda. ‘If We Could but Rest…’ is another fun upbeat number, delightfully danceable with its offbeat drumming.

Two tracks remind me of darker post-metal like Cloudkicker. ‘The Demons are Shouting’ is tight, angular and djenty, whilst ‘The Better Angels’ is looser, with a deliciously dirty guitar tone coupled with sloshy cymbals.

In fact, those cymbals led me to a personal “Sherlock Holmes moment”. When listening through headphones, I noticed that the hi-hat cymbals were coming through the right hand earpiece. After messaging Jenkinson my suspicions were confirmed – he plays left-handed! Maybe I should pursue a career in detective work…

One key advantage that Barouche has over many other post-rock acts is that the music is tight and concise and not sprawling and slow building. As much as I like music with long build ups, I tend to play that stuff in the background. But I remain attentive to Barouche’s music because it’s short and exciting. People have short attention spans. This is why best-selling pop songs are short and repetitive. And why Barouche will be more palatable than other instrumental projects for many people.

It’s always impressive when someone can create a full musical project on their own. The likes of Lights & Motion and Cloudkicker have shown that it’s possible to still do a Mike Oldfield. And now Barouche has joined their ranks. The range of music is refreshingly experimental, covering different styles and exploring different musical flavours and colours. Jenkinson has displayed an impressive assortment of abilities in his arsenal, recording everything himself using both standard instruments and computer programming.

This collection is Volume I, showcasing a range of sounds and styles. Barouche will continue to flesh out these ideas with future releases, taking each sound in different directions and letting them evolve. If The Expedition is just a taster, then I’m excited to hear the music still to come.

You can download Barouche Volume I: The Expedition from Bandcamp here.

Keep on eye on that page. An ambient/noise record is due in a few weeks, with a  “Big, Happy, Rock” EP to follow shortly after. By sounds of things, Barouche won’t be slowing down any time soon.

Barouche      Facebook

Joseph James