Live: Sharks @ Club Ifor Bach,Cardiff

Leamington Spa indie punks Sharks continue to showcase their unrelenting potential during their first headline tour in support of ‘No Gods’. The four piece, now complete with new bassist Carl Murrihy, have clearly made the most of years supporting acts such as Social Distortion and The Gaslight Anthem on both sides of the Atlantic, reaping the rewards of such hard work and practice.

Opening act Crossbreaker provide the night’s local interest, with the Welsh acts energetic brand of hardcore introducing some heavy and accomplished riffs to a somewhat disappointing turnout. If the screamo style of the lead singer did appear somewhat out of place given the acts following them, this could be an association of genre Sharks themselves promote throughout their career, given that they are signed to the mostly hardcore label Rise Records.

The main support act, Cornish folk punks Crowns are very much a perfect opening for any rock band. Lively, charismatic and bursting with massive choruses they offer a very welcome English alternative to a genre traditionally dominated by Irish bands such as Flogging Molly. This is something that has definitely been missing in recent English punk but, along with former tour mates The King Blues, may be starting to change. Highlights from their mandolin driven set include Little Eyes, Kissing Gates and Full Swing.

Sharks themselves begin at the very top of their game. A superb one-two of Till The Wonders Rise and breakthrough single Arcane Effigies would seem to be unleashing too much too soon for many young bands, however the quality of all the songs on No Gods, and indeed much of Sharks’ back catalogue, ensure that this is far from the case. Having seen Sharks twice previously, one notable improvement is the quality of singer James Mattock’s vocal work. Whilst he has always had a classic punk rock snarl he occasionally seemed to struggle with the impassioned high end notes that are so powerful on record.  Tonight however, he is near flawless, something that may well have come both through practise and the guidance of album producer Brian McTernan, as he also achieved similar success with Polar Bear Club frontman Jimmy Stadt.

Sharks also have in Andrew Bayliss, a very intricate and technically brilliant guitarist. Tonight much of his best work comes out in Able Moving Hearts and Luck, littering the verses with sophisticated hooks. The highlight of the night for me comes in the form of Sweet Harness. Brimming with emotion, melody and power, such is the quality of lyrical imagery it’s hard to believe that this song was written when the band were still teenagers.   

 Despite spending much of their time in America, Sharks remain all about the British attitude. The piercing bark that opens Trains is intense and clearly intended for bigger crowds than this, bursting with ambition and frustration, it serves as a perfect penultimate track, highlighting Sharks punk rock background and outlining a thirst for greater things.

Finishing the night with album closer No Gods will no doubt become commonplace in upcoming years, as its anthemic, almost hymn like feel and instrumental finish bring proceedings very much to a completed close. Playing less than an hour, Sharks demonstrate exactly what this tour is about. By leaving plenty of room for more, they are clearly destined for bigger venues and crowds, something the band themselves seem keen on, given the direction their sound is taking.     

Sharks set list:

Till The Wonders Rise

Arcane Effigies

Able Moving Hearts

It All Relates

Glove in Hand

On a Clear Day

Fallen On Deaf Ears

Capital Youth

Sweet Harness

Luck

Matthew’s Baby

Patient Spider

Trains

No Gods

Lucero - Women & Work

Tennessee country rockers Lucero return with their most experimental record yet, Women & Work, mixing their own brand of Southern soul with rock and roll hooks and a wide range of musical backing.  

  

Introducing Women & Work, Lucero kick start their first record on ATO with Downtown, a minute long opener outlining the albums intentions; ‘come on out tonight, I’ll be good tonight’, they certainly don’t disappoint. The first song proper is the extension of this brief, On My Way Downtown. Here we are immediately exposed to Lucero’s fuller sound. Complete with a delicious blues riff and an uplifting brass section, this big band style is combined with Ben Nichols’ familiar barstool lyrics and a massive chorus of ‘come on baby don’t you wanna go, come on baby please say so’.

The title track that follows features a similar blues, rock and roll energy, powered along again by horns and an underlying jazz piano section that feels synonymous with the honky tonk bar themes described. It May Be Too Late acts as a call and response to the opening song. A slow, closing time piano beginning is soon laced with the last dregs of whiskey sorrow of a night drinking alone. The tender, downhearted lyrics lead to an unbearably desperate crescendo, perfectly mirroring that frantic search for a partner as the bartender starts to wipe down.

Track 5, Juniper, is driven by yet another bluesy guitar lick, a bravado fuelled dance number complete with horns, organ strains and a crooning Nichols at his very best. Though this track feels a somewhat unnatural successor to It May Be Too Late, this may simply be the result of searching for one story in the LP, rather than considering it a more sporadic compilation.        

Furthering this idea, Who You Waiting On tells the story of late night loneliness from the perspective of an unaccompanied woman, soon to be the interest of Nichols across the bar. The tracks steel guitars are soon overridden by a closing organ solo. Whilst previous tracks of despair have always featured a kind of hope in the night, track seven I Can’t Stand To You is pure despair. Described by Nichols as ‘the loneliest song on the record’ it is instantly darker, an eerie mix of wails and tense drumming creating a perfect storm of atmosphere.  In contrast, When I Was Young offers a reminiscent tone smothered around a steady beat, built up and centred on the lyric ‘I was fierce and wild in love, when I was young’. This particular track is perhaps the most similar to Lucero’s previous work, something which may well have been reflected thematically in sound, and is likely to fit seamlessly into their live show.

Sat rather confusingly far back into the album is the brilliantly crafted Sometimes. Featuring the LP’s most memorable riff, this slow, steam train classic is perfectly paced, building up and slacking to the anthemic post chorus ‘You and your brothers watch out for each other, always’, serving as a powerful love song to friends and family. The unfaltering grandeur continues with follow up Like Lightning, with rock and roll chords complimented by a heavily distorted bass line, crashing over a piano introduction. This is 1950’s rock at its best, with each lyrical gap feeling like it should be accompanied by an Elvis hip shimmy. Producer Ted Hutt continuing his near unmatchable ability to let vocalists go balls out crazy towards the end of the track, whilst making it all appear so controlled.

Perhaps like every Southern gent, the debauchery of such Saturday night fire is often accompanied by Sunday morning repentance in church. Therefore, as a perfect closer to such a rocking country record, final song Go Easy is given a gospel feel, its hymn like melody supplemented with a choir backed chorus.

That this doesn’t feel out of place on Women & Work is testament not only to the Deep South setting that Lucero have always nailed, but also to their new ability to expand and experiment. Nichols brings the album to a halt with an upsurge of voice cracking passion that is an ideal curtain closer to a country rock record that in acknowledging its roots and influences never cheapens or overplays them. A record that transcends its boundaries to feel at home whatever part of the world you’re listening to it in, whatever you’re drinking.

But, since you asked, mines a whiskey.                 

Sharks - No Gods

For a young band to boldly title their debut LP No Gods it takes some bottle, not to mention the need for the tunes to back it up. Sharks clearly have both, with their Rise Records unveiling living up to all expectations.

Having formed in 2007, the quartet’s previous release The Joys of Living 2008-2010 catalogued the early work that has seen them gain fans and support slots with the likes of Social Distortion, Chuck Ragan and The Gaslight Anthem, before signing with Rise last year in a move with signalled the labels intention to add punkier acts to their roster.  

Opening track ‘Till The Wonders Rise’ is a magnificent curtain raiser, with a fuzzy introduction bringing in a pounding rhythm section and the first of many notable riffs. Full of energy, a massive chorus and an intricate guitar solo, it serves as a clear statement for the band, with singer James Mattock emphasising ‘We’re the overestimated underdogs’, a lyric that may well prove a classic motto for an increasing number of fans from both sides of the Atlantic.

Follow up track Arcane Effigies proved a deserved first single for the album, earning frequent Radio 1 airplay from the likes of Zane Lowe, Mike Davies and Daniel P. Carter. It’s brilliant slice of guitar pop-punk, highlighting why lyrically and sonically Sharks have been compared to The Clash. The line ‘hapless sick lay on door-steps of beauty, and the privileged are unhappy’ outlining the quality of lyrics present throughout, which is even more brilliant given the bands young age.

Able Moving Hearts provides an anthemic early candidate for No Gods’ second single, with its ambitious feel perfectly supplemented by Andrew Bayliss’ unique guitar work. The combination of tones and rhythm from Bayliss and Mattock perhaps most resembles that of The Gaslight Anthem and this great attribute of Sharks’ sound is a major highlight throughout the entire album.

On A Clear Day You Can See Yourself and Patient Spider brim with a slow confidence, that gives No Gods an upbeat, summertime feel that is sure to be a hit during this year’s festival season. Turn To You  offers an almost waltz like feel, showcasing the wide number of genres and styles present on the record, from the punk honesty and vigour  of Matthew’s Baby, to the rock n roll swagger of What Entails and the indie-tinged Luck.

Closer No Gods is one of the albums best tracks, serving as a seamless closer to a record without a single note of filler. Soaring and dipping from verse to chorus and back again, it closes perfectly with a raw, commanding and uplifting instrumental section outlining exactly what Sharks appear to be about.

The ability to experiment with differing sounds, whilst wearing their influences on their sleeve to create something entirely original is exactly what Sharks do best, something that has been sorely missing on the UK rock scene in recent years. With No Gods these four, clearly talented and motivated musicians, have combined exactly what has made British punk so great over the years, with real lyrical depth and flair. In doing so, they have set themselves up perfectly for a bright future.  ///              

9/10

Bruce Springsteen - Wrecking Ball

The Boss returns with his 17^th studio album against a backdrop of unemployment, a global economic crisis and a disdain for the wealthy that created it – what could be better?

The opening eight bar beat of first track We Take Care of Our Own suggests that Springsteen has learnt a tick or two from the young, punk upstarts he has recently been championing. 15 seconds in however, that unmistakable New Jersey sound chimes in. The initial verse may well have sounded at home on Springsteen’s last two LP’s, however it’s when the chorus kicks in that we realise the Boss of old has returned. Raging ‘We take care of our own’ Springsteen offers a derisive quote that Republicans and other no brain patriots may well misconstrue. That Springsteen has felt cause to take such a risk for the first time since 1984’s Born in the USA was so horrifically misinterpreted highlights just how important Springsteen believes his message to be.

Second track Easy Money offers a Southern country flavour that immediately implies that Wrecking Ball will be a true Americana record. Shackled and Drawn offers a similar vibe but with a railroad blues undercurrent with Springsteen asking ‘What’s a poor boy to so in a world gone wrong?’ maintaining that unrivalled essence of storytelling that proves despite his millions, The Boss is still very much the working class man.

The albums train track pace is slowed down by the piano driven Jack of All Trades, which reaches a soft crescendo of trumpets, classical guitars and an electric solo from Tom Morello. Even this soft timbre cannot mask Springsteen’s anger however, proclaiming ‘If I had me a gun, I’d find the bastards and shoot them on sight’.  Death to My Hometown has a Celtic, rockabilly mix, perfectly complimenting a stomping electric clap running throughout.

Title track Wrecking Ball may have been written and first performed ahead of the destruction of the New York Giants stadium in New Jersey back in 2009, but it fits perfectly both as an anthemic title and thumping kick-starter to the second half of the LP. The most autobiographical and hopeful song on the album, it opens with the triumphant stanza ‘I was raised out of steel here in the swamps of Jersey, some misty years ago, through the mud and the beer, the blood and the cheers I’ve seen champions come and go’. This only serves to cement Bruce’s place as New Jersey’s spokesman and hero. The crash of cymbals accompanying every chant of ‘bring on your wrecking ball’ is an adrenaline fuelled fist pumper, bringing in an equally energetic brass section, the eloquent contrast between verse and chorus perfectly orchestrated by Soozie Tyrell’s violin. Springsteen remains, however, the focal point. Repeating ‘hard times come and hard times go’ providing the sense of fight that is perhaps the most important message of all.

Acoustic driven You’ve Got It is the ideal track to follow such an anthem, providing the soulful, foot tapping, shoulder swagger that has always come so east to Springsteen. Rocky Ground is a gospel tinged singalong, broken up by a rap section from the superbly talented Michelle Moore. That this feels an almost natural progression, if a surprising one, emphasises just how much of a genre spanning album Wrecking Ball is.

Land of Hope and Dreams was first performed back in 1999 but features on Wrecking Ball for good reason. The last track recorded with E-Street saxophone icon Clarence Clemons, who passed last year and is lovingly remembered as ‘Too big to fucking die’ by Springsteen in the album notes, this is a perfect farewell, with the Big Man’s powerful solo offering both fond memories and an optimistic future. 

Such an outpouring of emotion, so passionately maintained for a soul draining and refilling seven minutes is always difficult to follow and this is perhaps the unavoidable downfall of next two tracks We Are Alive and Swallowed Up (In the Belly of the Whale). We Are Alive is a rock n roll, banjo supplemented country and western song that also can’t quite match the fire of the first half of the album, despite its warmth and positivity. Penultimate track Swallowed Up (In the Belly of the Whale) serves as a slow burning melancholy lullaby ‘I dreamed I awoke, as if buried in my grave’.

The slight lull of intensity provided by Swallowed Up may well have been deliberately placed by Springsteen, as it sets up the perfect anti-dote in the shape of album closer American Land. Outlining all the promised glory and riches of the American Dream ™, Wrecking Ball’s final bow is a glorious Irish folk classic. Detailing the hope of migrants to America, Springsteen adopts an Irish snarl amidst a river dance of strings, drums, lutes, pots, pans and anything else lying around chez Springsteen.       

With Wrecking Ball Springsteen has created a genuine blue collar, genre spanning masterpiece. It serves as a darker, angrier (re)definition of all that makes Bruce Springsteen great, a story told with unequalled style and musicianship underlining The Boss’ relevance and importance. 

Hot Water Music detail new release

Influential hardcore legends Hot Water Music have announced the details of their next record, to be entitled Exister. Chuck Ragan and co. will release the full length LP and their first with Rise Records on May 15th.

Exister will be the bands first record since 2004's The New What Next, following on from last years 7" The Fire, The Steel, The Tread/Adds Up to Nothing. 

The Florida four-piece have also revealed the tracklisting for Exister, whilst a US tour is expected to be announced in the coming weeks.

1. Mainline
2. Boy, You're Gonna Hurt Someone
3. State of Grace
4. Drown In It
5. Drag My Body
6. Safety
7. Exister
8. Wrong Way
9. Take No Prisoners
10. Pledge Wore Thin
11. No End Left In Sight
12. The Traps
13. Paid In Full

 

Review: Leonard Cohen - 'Old Ideas'

‘Old Ideas’ sees 77 year old Canadian singer and poet Leonard Cohen return for his twelfth studio album and his first since 2004’s ‘Dear Heather’.

The albums opener ‘Going Home’ begins with an almost childlike rhythm, however, the instant Cohen’s distinctive voice whispers in, the feeling is more like a child’s funeral. Sorrowful, mourning and soothing, this spoken word track appears autobiographical, with Cohen stating ‘I love to speak with Leonard, he’s a sportsman and a shepherd, He’s a lazy bastard, living in a suit’. Next track ‘Amen’ descends through as an eight minute psychedelic, pitch black prayer, in which Cohen manages to exude remorse, passion and finality without ever breaking into a sweat. The female backing that has accompanied much of Cohen’s later work, in addition to the Godfather esque trumpet solo seem to raise Cohen’s voice into an almost statesmen like form, hinting at his womanizing past. Far from attempting to shy-away from his advancing years, Cohen embraces them, his voice croaks, breaks and fades with all the signs of a life well lived, each line uttered as if it could be his last.

Album highlight ‘Show Me the Place’ certainly sounds like a swansong, with its melodic piano and violin combination giving a climatic and cinematic feel. ‘Darkness’ has a driving jazzy backdrop, sounding smoky and sexy, whilst ‘Anyhow’ emanates backstreet poetry during its cries for forgiveness. ‘Come Healing’ bursts with light and is a timeless love-song, typically tinged with Cohen’s now trademark gospel sound and lyrical style.

 The introduction of slide and blues guitars is a welcome introduction to ‘Banjo’, the most off the cuff track on the LP (‘There’s something that I’m watching, means a lot to me, It’s a broken banjo bopping, on the dark infested sea’), whilst album closer ‘Different Sides’ feels an appropriate ending and returning loop to the beginning of the record, Cohen ending with ‘You want to change the way to make love, I wanna leave it alone’. This is a relevant final ending to ‘Old Ideas’ highlighting Cohen’s own message both through the album’s title and many of its themes.  These are ‘Old Ideas’ and the theme and style of the LP is nothing new for Cohen, but this is something to be embraced and celebrated, whilst we still can.
          

8/10

Review: The Menzingers - On the Impossible Past

The Menzingers open their account with Epitaph Records with the anthemic, hard-hitting and God damn brilliant On the Impossible Past.

Opening track ‘Good Things’ is a short, sharp introduction, bursting to life and setting an almost impossibly high tempo with the lyrics ‘I’ve been having a horrible time, pulling myself together’ rising and crashing through this avalanche of a record.

There’s no let up on next song ‘Burn After Writing’ which announces the first instantly memorable riff of the LP, as well as the first narratively brilliant and complex lyrics that ring like a classic novel being torn apart and thrown into the wind.

The next two tracks are the songs released by the Pennsylvanian four-piece prior to the LP’s release, ‘The Obituaries’ and ‘Gates’. It’s with these two tracks that the albums storyline and landscape really come into life. The Obituaries introduces the American backdrop that plays setting to many of the themes, but possess a monster of a sing-along chorus ‘I will fuck this up, I fucking know it’, that is so simple and so true in explaining the everyday anxieties and reservations we feel. It hits the nail right on the fucking head, without sugar-coating the splinters that come flying off. Meanwhile the strength of ‘Gates’ lies in its good old fashioned American storytelling ‘It’s not hard to fall for a waitress, when you both smoke, smoke the same cigarettes’ coupled with staggered power chords that build into yet another massive chorus, making you recollect anytime you’ve humiliated yourself for love, and yet making you determined to do it all over again in order to remember that ‘happiness is just a moment’.

The beginning of ‘Ava House’ shows that The Menzingers have lost none of the innovative song patterns and structures that littered previous album ‘Chamberlain Waits’. ‘I’m pretty sure this corner of the world is the loneliest corner of the world’ evokes the lyrical styling’s of The Hold Steady but the gruff crescendo of screams that finish this particular verse show that The Menzingers combine this lyrical intricacy with a heavy punk-rock attitude. Lower key ‘Sculptors and Vandals’ feels perfectly placed on the track listing, whilst ‘Mexican Guitars’ brings sunny Route 66 road-trips flooding through this late winter record and will undoubtedly sound just as great come July. ‘On the Impossible Past’ serves as an excellent bridge between the first and second halves of the record before ‘Nice Things’ revamps the pulse, screaming ‘Do ya wanna feel safe’, acting as an almost rhetorical question to remind you all that’s great about punk-rock. ‘Casey’ sounds like another ready-made single which seems a continuation of the plot that began with ‘Gates’, and is a fantastic example of the story-telling that makes this record such an enthralling listen.

Such is the energy and pacing of ‘On the Impossible Past’ that even at 13 tracks, listening to it seems to make time fly-by, whilst there is not a single note or line of filler whatsoever.  Come final track ‘Freedom Bridge’ the plot is wonderfully concluded and summarized, giving you the feeling of finishing a classic American novel, before immediately wanting to flip over and start all over again. They didn’t fuck this up, I fucking know it. Awesome.           

9/10