Album Review: Gilmore Trail – The Floating World

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I love post-rock music, be it the cinematic like Lights & Motion, heavy like Cloudkicker, slow-building like Mogwai, primal like Jakob, or sample infused like Maybeshewill. The reason I love post-rock is because with the exclusion of vocals, bands are freed up from the conventional verse/chorus/verse structure of modern song writing. The focus is on the music, and what can be achieved without boundaries set in place. Rather than using lyrics to send a message, musicians can create lush textural soundscapes that play on the listener’s emotions and evoke memories, feelings and places.

Sheffield based quartet Gilmore Trail are no exclusion. Named after a popular Alaskan track traveled to view the Northern Lights, Gilmore Trail capture a sense of grandeur and wonderment. The Floating World is their second album, due out on the 16th of May.

Gilmore Trail The Floating World press photo

From the sparse piano chords that open ‘Memories of Redfern’, through to the last lingering note of ‘Dusk’, Gilmore Trial ushers the listener into an exciting new world.

Title track ‘The Floating World’ is serene. I imagine it would be the perfect soundtrack if I was on the actual Gilmore Trail, isolated in Alaska and staring up at the mysterious lights in the cosmos. The song starts off by capturing the feeling of being remote in an icy wonderland, interrupted by roaring later on, like a storm blowing through.

Highlight track ‘Ballard Down’ is a 10 minute beauty that begins with gorgeous bass tone, eerie guitars and tribal drumming. After a few minutes clouds start to gather and rain falls softly, signalling a searing new segment in the piece. The one song contains many different moods but they flow seamlessly.

Gilmore Trail have spent time exploring the different timbres of the instruments used in this album. For example, during ‘Waveless Shore’, drummer Sam Ainger creates contrast by using a flappy, de-tuned drumhead in one section, and switches to a tightly strung skin the next. The samples are also used well, subtle yet effective. Many are recordings of the weather, like wind channeling through a valley, or the rainfall mentioned before. These add to the nature-inspired themes throughout the music.

The Floating World is epic, to say the least. It’s long and expansive without sounding repetitive, conjuring the vastness of nature and the power of the elements. Like nature, the music is powerful: at times peaceful and lightly glimmering with hope, at other times crushing and potentially devastating.

I’ve only given The Floating World a handful of listens so far, but once I get a copy of the album I’ll no doubt revisit it often.

Joseph James

EP Review: Macatier – This Boat Is Definitely Sinking

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I’m still on a high after seeing Frank Turner play in Wellington recently, so it’s fitting that I write about another English singer with a folk-punk sound.

Dan Brown comes from Surrey, England. He performs under the moniker Macatier, and he has recently released a new EP named This Boat Is Definitely Sinking. 

Brown defines his style as “upbeat acoustic”. I’m going to lump him in with folk-punk because acoustic and folk go together, and because he has opened for bands like Brand New, Saves The Day and The Xcerts, making him a member of punk circles… or close enough anyway.

The twangy ‘Thousand Yard Stare’ is a real stomper, deliberately picked and strummed with a real purpose.

The intro to ‘Panic Attack’ sounds like a warped acoustic “Kashmir”, before transitioning into an upbeat ditty. ‘Panic Attack’ was my personal fave, with plenty of dynamic changes, and an interesting rounds-style outro.

‘Swimming To Canada’ has been picked as the lead single. I’d actually say that it isn’t even the best song on the EP, but after a few listens the song got caught in my head, so maybe it wasn’t such a bad choice. It is certainly the catchiest song on the EP, with the stop/start strums syncopated against the chorus.

The aptly named ‘Sleep Song’ is slower and stripped back, as one would expect from the title. Almost being a lullaby, it’s the least memorable song. That said, the effects are nice (it could be a slide guitar) and the “ba da da’s” at the end seem like a nice way to send us off.

I couldn’t comment on how the EP was recorded, but it sounds pretty raw and unpolished, as you may come to expect from an indie artist. However, if you listen carefully you may pick that the songs haven’t been recorded in one take. There is the inclusion of drums, layered vocal tracks, and added guitar feedback. It begs the question: if you are going to try some tricks to make the recording better, why not try others? I know that I argued for the opposite in my recent Gary Clark Jr review, saying that he lost some of his bluesy feel because his album was mastered too cleanly, but having a quality recording and accurately capturing an authentic vibe aren’t necessarily prerequisite of each other.

If a British singer playing rough-around-the-edges punk-styled songs on an acoustic guitar sounds like your thing, then give Macatier a go.


You can stream/download This Boat Is Definitely Sinking on Soundcloud.

Macatier:     Facebook      Twitter      Blog

 

 

Joseph James

EP Review: Name UL – Summit

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I’ve mentioned Wellington based rapper Name UL (real name Emanuel Psathas) on this blog a few times now [Freddie GibbsJurassic 5]. But both times I’ve glanced over his performance and instead focused on the main act. Dismissing talent this good isn’t really fair, so I’ve decided to review his 2013 EP, Summit, to make up for it.

Summit is a banger. It only features three tracks, but those tracks were enough to make me sit up and pay attention.

…”but I ask questions and what perturbs me is that you don’t get answers, nobody wants to talk about it, this event which changed the entire history of our Country, why aren’t  allowed to discuss it? Why aren’t we allowed to ask questions? The moment you do you get a reaction like he gave me, ‘how dare you….how dare you question your government?”  – Jesse Ventura

‘Generation Why’ begins with a sample from a Jesse Ventura interview on Fox news, discussing the topic of questioning the government. This phases into a high-pitched scat hook accompanied by some monstrous drumming courtesy of Nick Gaffaney. I’ve gushed about Gaffaney’s abilities a few times when I’ve seen Cairo Knife Fight open for Shihad in the past [2010, 2014] and his work here is no less impressive. His drumming, along with some almost-industrial accompaniment,  really help to drive the song forward. Name UL urges his peers to critically question things happening around them and to speak up about important issues.

The next song also begins with a sample, this time discussing the feelings of depression, providing the name ‘Shipwreck’ for the song title. Leroy Clampitt provides ghostly backing vocals while one of my favourite musos, Adam Page lets loose on the saxophone, threading throughout and adding his smooth solos to uplift a song that would otherwise seem quite dark. If the first song was big picture – asking questions and trying to make sense of the world – then this second song addresses the same kind of topics on a personal level.

‘Eclipse’ features shimmering, ephemeral synths juxtaposed against abrasive lyrics. The track features music from Wellington  drone duo The Shocking and Stunning and vocals from British electro artist Xela. This song is where Name UL really shines. His rapping is urgent and venomous, poised to spark a revolution..

I like the Summit EP for a number of reasons. I love the aggression and the political undertones reminiscent of punk music – that justified anger for a cause. I like how Name UL has chosen to collaborate with a variety of skilled musicians who noticeably impact the overall sound. I like how he is playing with ideas and unafraid to find new sounds, and how his lyrical content reveals some reflective thoughtfulness.

The EP only has three songs, which seems unusual in a world of hip hop that is jam-packed with long and convoluted mixtapes. It’s quality over quantity, concise and effective. Every song gets introduced with a sample that sets the mood. Together they help create a cohesive theme throughout the EP of inviting the listeners to become more socially conscious. I’m a sucker for that punk approach of speaking up for change, and Name UL has won me over by inciting his listeners to wake up and think.

Summit is available for free download at Bandcamp here.

Joseph James

Album Review: Aviation and the War – Haste

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Aviation and the War is an alternative indie duo from the Northwest Suburbs of Chicago. The two members are singer-songwriter Matt Buenger and drummer/percussionist Joe Christopoulos, two old school friends who share a love of hockey and music.

Although AATW only has two members, the album sounds like it has been recorded by a full band. The expected instruments of a rock band are present, such as drums, guitar, and vocals. Harmonica and piano also feature at times. The two friends are clearly very capable musos. They tell me that in live settings they will alter their set up to suit the venue. A smaller club will call for an acoustic guitar and piano, and at some larger places they bring in friends to fill in on bass and lead guitar.

The music is melancholic, but not depressing. Buenger tells me that songwriting is one of his processes when he’s in those kinds of moods.

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One reason that I love this album so much is because it reminds me of Thrice’s Major/Minor. The same feelings are there – the melancholic grunginess juxtaposed with subtle moments of delicacy. And it is uncanny how much Buenger’s voice reminds me of Thrice singer Dustin Kensrue.

Other influences the band has mentioned are Manchester Orchestra and City & Colour, both of whom seem obvious when pointed out. There is a measured balance of a singer/songwriter pouring his heart out,  while at the same time letting loose.

Take the song “Child’s Play”. It commences with basic acoustic strumming, before some lead picking adds another layer. Christopoulous’ drumming is very deliberate. He only plays in the sections he needs to, to add to the song. He taps on the drum hoops methodically at times, and wildly washes up the cymbals at others. The song builds and pauses and drops out dynamically. It’s all calculated, but not sterile.

Buenger and Christopoulos have spent two years making Haste. It is entirely self-written, self-managed, self-recorded and self-produced. They’ve taken their time honing their craft, perfecting their songs. Only the mastering is professionally done, courtesy of Alan Douches (a master master-er, from the looks of his résumé). And despite being homemade, there is nothing to give away that Aviation and the War is an indie project. The recording and musicianship are great, not something that I would usually associate with home studios and two-pieces. It certainly doesn’t sound cheap.

Haste has nine tracks that sound earnest and warm, with a touch of aching. The songs are written, recorded and played well. The singer/songwriter style makes for relaxed listening, but with enough rockiness and variety to keep it interesting.

You can find Aviation and the War on FacebookBandcamp and their Website.

Joseph James

Album Review: Frank Turner – The Third Three Years (B-sides collection)

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Folk-punk troubadour Frank Turner stays true to his DIY hardcore roots by releasing a third b-sides collection with a nod to Black Flag.

Turner had hardcore/punk origins as front man of the band Million Dead. After Million Dead, er … died, Turner began a solo career with a folk sound along the lines of Billy Bragg and the late Joe Strummer. He’s worked hard touring and recording consistently over the years, and now has begun to achieve relative commercial success, having headlined at Wembley Arena and played at the London Olympics opening ceremony in recent years.

This is Turner’s third collection of b-sides, following his last album Tape Deck Heart. The title and album art  are inspired by The First Four Years from seminal hardcore outfit Black Flag.

I’m a bit late to the party reviewing this album, but sometimes it takes a while for things to arrive in New Zealand when I have to order them from overseas. It was worth the wait though.

I’ve kept up with some of Turner’s non-album output, such as Daytrotter sessions, but I was pleased to discover that Third Three Years contained music that was almost entirely new to me, including some unreleased gems. The collection comprises of covers,  b-sides from EP’s and singles and obscure recording sessions.

In fact, nearly half the collection are up of covers. Turner covers his bases with his choices. There are classic bands (Queen, Tom Petty), folk singers (Townes Van Zandt) and punk artists (Tony Sly, The Weakerthans). These covers do well to encompass Turner’s very British style of folk-punk. Many of the covers are stripped back, giving the overall album a more somber feel. But hey, anybody who can take on a song by Freddie Mercury and do it justice deserves a thumbs up in my books.

There are a few alternative outtakes from his latest album, Tape Deck Heart. My favourite from that album, “The Way I Tend To Be” is given different treatment with extra mandolin and piano.

There are two collaborations with other artists. “Happy New Year” is a humourous and unpretentious ditty with Jon Snodgrass and “Fields Of June” is a country number by Emily Barker that Turner features on. These duets work nicely to add a bit of variety to the mix.

The rest of the songs are just what you’d expect, punk ethos singer-songwriter music with breathless singing and swear-word filled shouting. Although this is what I expected, I didn’t expect so much solo work. Turner’s touring band, The Sleeping Souls seem absent from these recordings. A few songs are collaborations with other musicians – Revival Tour style DIY camaraderie – but other than a mandolin, organ or added guitar accompaniment here or there, there is a marked lack of a full band of most tracks. The Sleeping Souls are credited on nine songs, but it’s pretty subtle because they’re hard to detect.

B-sides collections like these are never as strong as a cohesive studio album, but can offer rare gems for the diehard fans. There are a lot of songs (21!), and although most are not considered ‘good enough’ to make the cut, fans won’t be disappointed. And they should know what to expect, because any serious Frank Turner will likely have The First Three Years and The Second Three Years anyway.

Overall this album is a bit too sedate to get regular play through my speakers. There is more of a folk focus than punk. I’m more likely to select the handful of songs that I enjoy more and include them in playlists than listen to the entire collection. But just to show that he’s not getting soft, Turner closes off the CD with a rip-roaring live version of “Dan’s Song”. It’s furiously fast and explosive, just like punk music should be.

Frank Turner put on an excellent show in Wellington in April 2013 with his backing band, The Sleeping Souls. He’s returning this April to play sideshows from the Byron Bay Bluesfest. Details can be found through the Chicks That Scream Facebook page.

Joseph James