Few great indie rock bands are built without an enthralling story to boot. The Encierro (acronym N*C*R*O), a five piece from Stirling, Scotland are no exception. Since their impressive start in 2003 where they excelled and won the esteemed Stella Artois Battle of the Bands (astonishingly within four weeks of forming, a feat not at the grasp of many) they have crafted themselves an extraordinary tale of talented music, rapid success and sold out shows. Now, The Encierro are ready to unveil their superb first official mini EP Be Yourself, a single likely to further catapult the group. The band’s ambitious story continued when the Stella Artois achievement was rewarded with £1500 and studio time, allowing them to record their first EP ‘Idiot Rock N Roll’ at the Glasgow based Cava Studios, where prominent acts such as Mogwai and David Byrne had recorded before. The Encierro appear to have already had a stellar ride since their somewhat quirky inception in 2003 at a swimming pool in Los Christianos, but the new single only adds to this further. Souey, Janek Kanikula, Junior Bone, John Liddell and James 'shoogz' McDonald comprise the quintet and with the Be Yourself EP, really give us a taste of that journey with three tracks strong in melody, percussion and riffs that tell a story in themselves.
The Encierro’s new EP really is as accomplished a debut single as a band is likely to put out, with a level of musical maturity that really shines through. The band’s progress from past tracks such as ‘The Girls Only Go Where The Coke Is’ and ‘Broken Record’ may be attributable to settling on a line up that truly works for them, and the result is an EP that really excels. The quality of the two B-sides accompanying Be Yourself are a joy to behold in an age where the radio edit remix has taken over from the days where bands showcased unreleased material on their singles. Here The Encierro pull out all the stops. The production on the title track Be yourself is homely, merging the electric and acoustic sides of the song seamlessly. The song drifts dreamily through the chorus, with the acoustic structure complimenting Souey’s vocals perfectly leading to a strong riff driven chorus. As it develops, the track builds to a potent, percussion filled, slick guitar licked ending. An almost R.E.M. style track in its beauty and composition, with slightly more of a Britpop undertone.
There is also an unnerving quality about both the B-sides on this single, quality not usually seen on a debut EP. The first being a Manic Street Preacher-esque style rock track titled Esconde Mi Mente. An instantly catchy tune that coupled with the subtle maracas and the exquisite jangly flamenco guitar riff, gives this powerful song an intriguing Spanish twist. The second track is an equally well written if altogether more direct style indie track. Things Get Better! has a glorious electric guitar riff reminiscent of groups like The Kooks or The View. The strained vocals of Souey give the track a rough quality rarely heard since The Strokes and the tight percussion of John Liddell gives the song an upbeat air that has you moving uncontrollably.
The band’s name (literally meaning the ‘lock-up’ in Spanish) refers to the notoriously dangerous Bull Run in Pamplona, Northern Spain, a furious pace that the group can relate to. Everything about The Encierro has you listening and wanting to know more, and given the rate they are hurtling towards stardom, this is a story that doesn’t seem to be slowing down any time soon.
(Mark McDermott)
Be Yourself is released as a 3 track cd single/download on December 7th 2009 - Platform Records.
www.myspace.com/theencierro
With a name as exotic as The Encierro they should really hail from Spain, but Stirling? Regardless, the band specialise in the sort of inspiring songs that gave Britpop such gravitas. Take lead single ‘Be Yourself’ for example, with its subtle acoustic refrains and ever more delicate riffs, the track hints at the refined touch of REM combined with the melodic thoughtfulness of The Kooks. The key is in the production as the verses flow seamlessly into the chorus, gifting front man James Lafferty an imposing platform on which to deliver his impressively passionate vocals.Thankfully, ‘Esconde Mi Mente’ does offer an expectant flamboyance with its slight flamenco guitar and Lafferty’s notably catchy vocals playing second fiddle to cunning, building acoustic riffs. Final track ‘Things Get Better!’ hints at the band’s more traditional take on indie with a gloriously simple yet effective exchange between jangly electric guitar and Lafferty’s laboured vocals granting the track a homeliness evident on the single throughout. (10 out of 13, by Omar Soliman)
http://www.roomthirteen.com/cgi-bin/cd_view.cgi?CDID=10598
The Encierro Be Yourself EP
ANOTHER debut - this time from a Stirling five-piece. Be Yourself is bouncy positive pop rock. Think Dodgy maybe or early Supergrass.
The chiming guitar through the song lifts this from just another Britpop workout to something rather more special.
Esconde Mi Mente kicks off with a film sample and sounds like Manic Street Preachers with the title being sung by James "Souey" Lafferty just like James Dean Bradfield.
However, the band again add a twist with the rhythm more like Animals-style R&B.
Third and final tune Things Get Better blends the two elements together - Lafferty adding some epic Manics vocals to a perky tune that will have the indie disco kids skipping as they go up for another cider and black.
The band launch their single at HMV Stirling on December 7.
They play The Apple Store, Glasgow, on December 10, Old Victoria, Falkirk, on December 11 and are back at HMV Stirling on December 12.
Be Yourself is out on December 7. www.myspace.com/theencierro
Rick Fulton (Daily Record - Soundcheck December 4th 09)
Scottish quintet Encierro's name means 'lock up' in Spanish and relates to a famous bull run in the northern town of Pamplona, the furious pace of which is matched by their indie rhythms.Début single 'Be Yourself' is a driving indie-pop number holding an electricity which, when coupled with front-man Souey's strained vocals, quickly proves irresistible. Two B-sides accompany, and are equally good; the Kookish 'Things Get Better' and the Spanish-flavoured 'Esconda Mi Mente' which shows some diversity. 4/5AW
http://www.spoonfed.co.uk/spooners/music-team-2636/new-releases-7th-dec-1802
by Kaiya Marjoribanks, Stirling Observer Wednesday
FORMING in 2003 Stirling indie stalwarts The Encierro have seen it all in the local scene.
The band’s name means "lock up" in Spanish and is taken in reference to the notoriously dangerous bull run at Pamplona, Northern Spain.
After a number of line-up changes the current members Souey, Janek, Junior, Shoogs and Liddell have come together to release the band’s debut single "Be Yourself".
The result is a driving indie-pop track which brings to mind Britpop class act The Bluetones (who the band have supported in the past) and more contemporary bands such as The Enemy and One Night Only.
"Be Yourself" is supported by two B-sides including Spanish influenced "Esconde Mi Mente".
The release sees the band get out on the road once more including a date last weekend with ex-Oasis member Bonehead’s new band The Vortex.
The Vortex and The Encierro took to the stage last Saturday (November 14) at McQs in Bannockburn. The rest of the tour takes in dates in Glasgow, Stirling and Falkirk, ending with a promotional gig in Stirling’s HMV on December 12.
You can find out more about The Encierro at http://www.myspace.com/theencierro
The Encierro’s debut single hits the shops on the December 7.
Details for the band’s upcoming gigs are on the band’s Myspace.
And by be yourself, I presume they mean be early REM. Because it's the early jingly-jangly sounds of said Georgian chancers that The Encierro seem to be trying to emulate on this, their debut single. So, if you like that sort of thing, then you'll like this.The B-side 'Esconde Me Mende' goes a bit more psych pop, and is all the better for it.
http://www.the-rocker.co.uk
Tuesday 13 October 2009
Thursday 8 October 2009
Vegas Nights - debut single 'Touch and Feel' - press release and reviews.
Not many up and coming indie acts can claim to have the Japanese music market watching their moves. This however is an accolade which Vegas Nights can lay claim to after a sampler CD distributed by a series of online record stores earlier this year, caused a stir in the Far East. Touch And Feel / It Came As No Surprise is the band’s brand spanking new debut double A side which not only introduces us to the band, but gives us a real insight into their past influences and it’s future direction. The current penchant for throwback 80’s music has seen an increase in the synth heavy pop song, so it is rare and refreshing to see a band that manages to not only cross eras but portray them with it’s musical sounds. Hailing from Stirling originally but basing themselves musically out of Glasgow, the talented five-some thrash through evocative songs that are strongly reminiscent of the ‘Madchester’ sound that groups such as The Happy Mondays and The Stone Roses so masterfully crafted.
Touch and Feel springs to life immediately and crushes through the verse/chorus/verse approach. A precise and plucky guitar riff drives the track forward and beautifully compliments the echoey almost Smiths-esque vocals and harmonies as they plead ‘Maybe if we could touch and feel tonight/Then you would be just as satisfied’. This punchy pop track certainly leaves you satisfied, landing you somewhere between Gigolo Aunts and The Lightening Seeds.
Vegas Nights list The Cure as one of their major influences and this is particularly evident in the second A side It Came As No Surprise whilst never taking away from its originality. A melodic and layered verse slowly opens the song up and has a slight tinge of The Beach Boys about it. The potent chorus is made more grandiose by the drudgeoning drums and crashing cymbals accompanying the ever present reverb-style vocals made so prominent throughout the Manchester scene. Guitarist John leaves his mark on the overall sound with a striking riff leaving you with a track that conjures up memories of The Housemartins ‘Happy Hour’.
With the band becoming ever more renowned on the gig scene in Scotland and Northern England, Touch and Feel / It Came As No Surprise is set to open them up to a much wider fan base. This E.P. is a really solid debut for the five-some and the beauty of Vegas Nights is that repetitive listens to these tracks will have you spotting a degree of influences from all genres. The band state that they were formed under the challenge of experimenting with old and new sounds in order to create inspiring and exciting music, this double A side single proves this to be the case and means we can look forward to an exciting future for the group.
Watch this space!
(Mark McDermott)
Touch and Feel / It Came As No Surprise is released October 26th 2009 on Platform Records.
www.myspace.com/vegasnights06
------------------------------------------------------------------------
Traditionally popular music as a whole tends to move in cycles, an ever trundling wheel of reinvention and recycling of ideas. At this particular moment in time there seems to be a glut of bands intent on reviving the sounds of the 1980’s. As is often the case though, many of the acts involved in this resurgence tend to miss the point completely, bypassing the spirit of the music which initially made it so exciting. Instead mistaking it for being all about faux romantic posturing, silly haircuts and refusing to smile for press photos. As such it's a relief to come across bands like Vegas Nights who imbue their influences with a sense of substance rather than style, coalescing them in to something with a bit of personality. There's a familiar mixture of inspirations certainly; The Cure, OMD, The Stone Roses. Unlike many of the other bands around at the moment though, they retain the slight experimental tendencies which initially made these bands so vital. It Came As No Surprise boasts what sounds ostensibly like a chorus without any lyrics, yet somehow manages to be insanely catchy. Touch and Feel bounds straight into life with anthemic harmonies reminiscent of The Beach Boys with a hint of The Housemartins. As you would imagine given such references, this very much seems like a pop song. There’s a happy go lucky façade to these songs, but there’s still an underlying cynicism which at times recalls the skewed romanticism of Ian Curtis or Edwyn Collins. The latter part of the track being characterised much more of a melancholic disposition with fragile vocals and less frenetic almost languid instrumentation, which points toward an interesting ‘other side’ to their sound. It Came As No Surprise confirms these traits with it’s instantly memorable Cure style riff and despairing lyrics. It’s a veritable snapshot of the very best periods of British pop music; a time when popular music had more of a soul, and certainly more artistic merit than is exhibited in today’s charts. Yes it was catchy, but more than anything it was born out of a feeling of discontent, of wanting something better. That cynicism was masked by the songs upbeat tones and a sense of bravado though, bands like The Smiths and Orange Juice being prime examples. It’s this apparent shared spirit which makes Vegas Nights more exciting than most of the other derivative 80’s style dross being spouted out at the moment. This is a very promising debut from a band with the potential to make records as exciting as they are accessible, something which has been mostly lacking in the British music scene for quite some time.
(4.5 out of 5) by Chris Tapley
http://godisinthetvzine.co.uk/content/content_detail.php?id=3792&type=Singles
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Reviewed By: Lisa Torem Label: Platform Records Format: CDS
What a global paradox that five Glaswegians woo the Japanese music scene and name themselves after that American adult wonderland known as Vegas. Compared to the Happy Mondays and the Stone Roses for their emotionally-packed repertoire, Vegas Nights release their debut AA single in late October.The band's influence by the Cure is evidenced by the first cut ‘Touch and Feel.’ Immediately effusive, it embraces perculating guitar riffs and punchy vocals. The second cut ‘It Came As No Surprise embues a solid melody and masterful vocals. Punch-drunk drums, acerbic cymbals and heavy reverb come together on the chorus - a rousting guitar riff rounds off this revelation. The band members promised a sound that would encompass a variety of genres. They have done so and some of the guitar work by Johnny often recalls that of the Ventures. While it may take some time for them to acquire the magical chemistry of an established band like the Cure, they’ve captured the musical immediacy of the moment and look like they’re well on their way to cashing in their hard-earned casino chips.
http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=6834
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Vegas Nights is not a compilation of songs from Celine Dion's recent stint playing to packed, no doubt tasteless, crowds on the strip. (Thank heavens to Betsy I hear you cry!). Nor are they a collection of dubious clips from some over exuberant frat party. They are in fact a very promising five piece from Scotland due to release their debut, for your audible delight, on October 26th.
Comin' atchya,' mercifully not like Cleopatra, but rather more like a Jack-In-A-Box on speed, 'Touch & Feel,' the first track on this double 'A' side from Stirling's finest, is a runaway train of a track, a fine piece of Indie power pop bursting with energy. Vocally despatched with just enough youthful petulance and a 'couldn't give a ---- attitude,' it's reminiscent of the Buzzcocks, and particularly Pete Shelley. From the metaphoric slap in the face you get from the opening bars the pace doesn't relent, it's carried along with harmonies and a sing along, get ready to pogo in the mosh pit, tempo.
The second of the AA's is a gentler affair, a little slower, but only just, and for me the ever so slightly better track. Again there are plenty of harmonies, a backing guitar break and accompanying vocal that come oh so close to 'Happy Hour' by The Housemartins and a nostalgic day dream towards Scotland's very finest export (No not Tizer), Jesus & Mary Chain. A little more reverb, and a bit more polish who knows.
Vegas Nights have delivered a stirring debut bristling with frantic, almost naively positive, excitement. They deserve to be heard. Keep your ears peeled. Whether it be on Round Table, or as someone's 'single of the week,' etc. Vegas Nights should get given their chance. If it's not this time around I'm sure they've got a lot more to offer, and based on this AA release, let's hope so. Andrew Lockwood (3 stars)
http://www.allgigs.co.uk/view/review/4209/Vegas_Nights_UK_Touch_Feel_It_Came_As_No_Surprise_Single_Review.html
''Like the beatles going through an early 80’s indie blender…''
http://www.subba-cultcha.com/singles.php
Vegas Nights are from Stirling ( which is the same town as Jack Butler in fact) and in some respects they’re singing from the same 20th Century song book. "Touch And Feel" is driven completely by jangled guitars, but with a little more of an influence from Brian Wilson had he perhaps been a member of the Buzzcocks. Throughout this sprinkling of scuzzy psychedelia, the vocals seem to hang on to each note with a slight charming wobble, as the band take cues from the Beatles to the Smiths with an equal amount of pop fuelled glee.
MMM By Simon Brown
http://www.music-dash.co.uk/releases/release.asp?item=6509
Originally from Stirling, but now based in Glasgow, Vegas Nights show that they have some promise here on this, their debut single. They’ve been listening to a lot of different music -clearly both the Beach Boys and The Cure (good), but what they need to do is work on finding their own voice. Some good ideas here - I look forward to seeing them grow (3 STARS)
http://www.isthismusic.com/vegas-nights
Touch and Feel springs to life immediately and crushes through the verse/chorus/verse approach. A precise and plucky guitar riff drives the track forward and beautifully compliments the echoey almost Smiths-esque vocals and harmonies as they plead ‘Maybe if we could touch and feel tonight/Then you would be just as satisfied’. This punchy pop track certainly leaves you satisfied, landing you somewhere between Gigolo Aunts and The Lightening Seeds.
Vegas Nights list The Cure as one of their major influences and this is particularly evident in the second A side It Came As No Surprise whilst never taking away from its originality. A melodic and layered verse slowly opens the song up and has a slight tinge of The Beach Boys about it. The potent chorus is made more grandiose by the drudgeoning drums and crashing cymbals accompanying the ever present reverb-style vocals made so prominent throughout the Manchester scene. Guitarist John leaves his mark on the overall sound with a striking riff leaving you with a track that conjures up memories of The Housemartins ‘Happy Hour’.
With the band becoming ever more renowned on the gig scene in Scotland and Northern England, Touch and Feel / It Came As No Surprise is set to open them up to a much wider fan base. This E.P. is a really solid debut for the five-some and the beauty of Vegas Nights is that repetitive listens to these tracks will have you spotting a degree of influences from all genres. The band state that they were formed under the challenge of experimenting with old and new sounds in order to create inspiring and exciting music, this double A side single proves this to be the case and means we can look forward to an exciting future for the group.
Watch this space!
(Mark McDermott)
Touch and Feel / It Came As No Surprise is released October 26th 2009 on Platform Records.
www.myspace.com/vegasnights06
------------------------------------------------------------------------
Traditionally popular music as a whole tends to move in cycles, an ever trundling wheel of reinvention and recycling of ideas. At this particular moment in time there seems to be a glut of bands intent on reviving the sounds of the 1980’s. As is often the case though, many of the acts involved in this resurgence tend to miss the point completely, bypassing the spirit of the music which initially made it so exciting. Instead mistaking it for being all about faux romantic posturing, silly haircuts and refusing to smile for press photos. As such it's a relief to come across bands like Vegas Nights who imbue their influences with a sense of substance rather than style, coalescing them in to something with a bit of personality. There's a familiar mixture of inspirations certainly; The Cure, OMD, The Stone Roses. Unlike many of the other bands around at the moment though, they retain the slight experimental tendencies which initially made these bands so vital. It Came As No Surprise boasts what sounds ostensibly like a chorus without any lyrics, yet somehow manages to be insanely catchy. Touch and Feel bounds straight into life with anthemic harmonies reminiscent of The Beach Boys with a hint of The Housemartins. As you would imagine given such references, this very much seems like a pop song. There’s a happy go lucky façade to these songs, but there’s still an underlying cynicism which at times recalls the skewed romanticism of Ian Curtis or Edwyn Collins. The latter part of the track being characterised much more of a melancholic disposition with fragile vocals and less frenetic almost languid instrumentation, which points toward an interesting ‘other side’ to their sound. It Came As No Surprise confirms these traits with it’s instantly memorable Cure style riff and despairing lyrics. It’s a veritable snapshot of the very best periods of British pop music; a time when popular music had more of a soul, and certainly more artistic merit than is exhibited in today’s charts. Yes it was catchy, but more than anything it was born out of a feeling of discontent, of wanting something better. That cynicism was masked by the songs upbeat tones and a sense of bravado though, bands like The Smiths and Orange Juice being prime examples. It’s this apparent shared spirit which makes Vegas Nights more exciting than most of the other derivative 80’s style dross being spouted out at the moment. This is a very promising debut from a band with the potential to make records as exciting as they are accessible, something which has been mostly lacking in the British music scene for quite some time.
(4.5 out of 5) by Chris Tapley
http://godisinthetvzine.co.uk/content/content_detail.php?id=3792&type=Singles
-------------------------------------------------------------------------
Reviewed By: Lisa Torem Label: Platform Records Format: CDS
What a global paradox that five Glaswegians woo the Japanese music scene and name themselves after that American adult wonderland known as Vegas. Compared to the Happy Mondays and the Stone Roses for their emotionally-packed repertoire, Vegas Nights release their debut AA single in late October.The band's influence by the Cure is evidenced by the first cut ‘Touch and Feel.’ Immediately effusive, it embraces perculating guitar riffs and punchy vocals. The second cut ‘It Came As No Surprise embues a solid melody and masterful vocals. Punch-drunk drums, acerbic cymbals and heavy reverb come together on the chorus - a rousting guitar riff rounds off this revelation. The band members promised a sound that would encompass a variety of genres. They have done so and some of the guitar work by Johnny often recalls that of the Ventures. While it may take some time for them to acquire the magical chemistry of an established band like the Cure, they’ve captured the musical immediacy of the moment and look like they’re well on their way to cashing in their hard-earned casino chips.
http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=6834
-------------------------------------------------------------------------
Vegas Nights is not a compilation of songs from Celine Dion's recent stint playing to packed, no doubt tasteless, crowds on the strip. (Thank heavens to Betsy I hear you cry!). Nor are they a collection of dubious clips from some over exuberant frat party. They are in fact a very promising five piece from Scotland due to release their debut, for your audible delight, on October 26th.
Comin' atchya,' mercifully not like Cleopatra, but rather more like a Jack-In-A-Box on speed, 'Touch & Feel,' the first track on this double 'A' side from Stirling's finest, is a runaway train of a track, a fine piece of Indie power pop bursting with energy. Vocally despatched with just enough youthful petulance and a 'couldn't give a ---- attitude,' it's reminiscent of the Buzzcocks, and particularly Pete Shelley. From the metaphoric slap in the face you get from the opening bars the pace doesn't relent, it's carried along with harmonies and a sing along, get ready to pogo in the mosh pit, tempo.
The second of the AA's is a gentler affair, a little slower, but only just, and for me the ever so slightly better track. Again there are plenty of harmonies, a backing guitar break and accompanying vocal that come oh so close to 'Happy Hour' by The Housemartins and a nostalgic day dream towards Scotland's very finest export (No not Tizer), Jesus & Mary Chain. A little more reverb, and a bit more polish who knows.
Vegas Nights have delivered a stirring debut bristling with frantic, almost naively positive, excitement. They deserve to be heard. Keep your ears peeled. Whether it be on Round Table, or as someone's 'single of the week,' etc. Vegas Nights should get given their chance. If it's not this time around I'm sure they've got a lot more to offer, and based on this AA release, let's hope so. Andrew Lockwood (3 stars)
http://www.allgigs.co.uk/view/review/4209/Vegas_Nights_UK_Touch_Feel_It_Came_As_No_Surprise_Single_Review.html
''Like the beatles going through an early 80’s indie blender…''
http://www.subba-cultcha.com/singles.php
Vegas Nights are from Stirling ( which is the same town as Jack Butler in fact) and in some respects they’re singing from the same 20th Century song book. "Touch And Feel" is driven completely by jangled guitars, but with a little more of an influence from Brian Wilson had he perhaps been a member of the Buzzcocks. Throughout this sprinkling of scuzzy psychedelia, the vocals seem to hang on to each note with a slight charming wobble, as the band take cues from the Beatles to the Smiths with an equal amount of pop fuelled glee.
MMM By Simon Brown
http://www.music-dash.co.uk/releases/release.asp?item=6509
Originally from Stirling, but now based in Glasgow, Vegas Nights show that they have some promise here on this, their debut single. They’ve been listening to a lot of different music -clearly both the Beach Boys and The Cure (good), but what they need to do is work on finding their own voice. Some good ideas here - I look forward to seeing them grow (3 STARS)
http://www.isthismusic.com/vegas-nights
Friday 25 September 2009
Jack Butler - new single 'Surgery 1984' - press release and reviews.
JACK BUTLER - new single Surgery 1984 - taken from their critically acclaimed debut album Fit The Paradigm.“The missing link between Minus the Bear and Arctic Monkeys”. Praise from Rock Sound can barely come higher or more daunting. Jack Butler are worthy of it. Following the Top 40 indie chart track, Hit it out the Park, Son which received industry wide acclaim and obtained airtime on various nationwide radio stations including Radio 1 and London’s XFM, Jack Butler continue their success with the roaring new Single Surgery 1984. Taken from their eclectic debut LP Fit The Paradigm released earlier this year on the Whimsical Records label, with Mark Freegard (Manic Street Preachers, The Breeders) twiddling the knobs in the studio, Surgery 1984 showcases some of the Stirling four piece’s most infectious sounds with an imaginatively layered song, highly contagious hooks and choruses you catch yourself singing and air drumming to long after you’ve listened to it. Hailed by the pioneering ‘‘BBC Introducing‟ programme and winning the Radio 1 Demo Derby, the band have been receiving rave reviews across music websites, blogs and fanzines, with the debut album being described as “Quite simply a belter” by Music News Scotland.
Jack Butler continue what seems like a never-ending line of effervescent Scottish indie acts such as Franz Ferdinand, The View and The Fratellis. But look (or preferably listen) closer and you’ll see the subtle nuances of bravery where others have failed to tread. Jack Butler have boldly moved forward adding their own particular brand of synth pop funk to an already tight, dynamic indie sound with contagious drumming patterns and some both jangly and heavy guitar riffs reminiscent of Foals. Surgery 1984 draws you in with its beautifully reverb-laden melodic guitar licks over a wonderfully spongy bass line that gives the track its beat and funk. Liam Kelly’s vocals sway between pop and punk, giving it an engrossing, honest and almost grungy feel, that leads you nearly unknowingly into the powerful last half of the track. Overall the result is an invigorating energetic mix somewhere between Jack Peñate, Editors and Modest Mouse with some electro synths thrown in to glorious effect.
Cutting it live with such acts as Florence and The Machine, Glasvegas & The Wombats, playing various festivals including T in the Park and currently touring Scotland, Jack Butler’s increasing fan-base are being treated to an art rock album of great proportions. This single adds another string to an increasingly impressive bow, Surgery 1984 will have you toe tapping, head bopping and reaching for that repeat button. You can guarantee this will bore its way into your head in a way that you’ll want it to stay there.
(Mark McDermott)
Surgery 1984 b/w This Soul Accelerates is released as a digital download on October 26th 2009 on Whimsical Records.
www.myspace.com/jackbutlerpresents
---------------------------------
***A SUBBA-CULTCHA.COM SINGLE OF THE MONTH***
JACK BUTLER – SURGERY 1984 – WHIMSICAL
Spiraling guitars divide and reconnect into crystalline shapes whilst what seems like an indie male choir begins to weave it’s harmonies over the thundering bass and staccato drumming – with a voice that finds itself somewhere between the Guillemots & Manic Street Preachers, given a near-hymn like quality creating something genuinely different and interesting within the indie gendarme…
http://www.subba-cultcha.com/singles.php
Sounding like The Killers have snuck into a Dredg recording session to funk it up a bit, Jack Butler’s latest single Surgery 1984 continues the infectious, foot-stomping drive of their previous effort; Hit it out the Park, Son with more subdued vocals.Minus the shouty chorus of Hit it out... and bass dialled down a little, Surgery 1984 is a subtler, more melancholic track showing the Scottish four-piece have more strings to their guitar than many of their contemporaries.Are they catchy enough for pop-rock, or quirky enough for alternative success? Biffy Clyro have managed to tread the line between the two and I hope Jack Butler can manage the same as they’re one of the more interesting new bands I’ve heard this year.For: People who find Minus the Bear too low-key or Arctic Monkeys emotionally bereft.Not for: People who are easily genre-confused. (Ed Prior) (8 out of 10)
http://www.dieshellsuit.co.uk/article_detail.asp?rID=4070
Stirling returns in the form of Jack Butler's Surgery 1984 (***), which steps the competition up a level via the simple method of slowly building towards a climactic explosion. It's the first great moment of the D12 so far, and herky-jerky b-side This Soul Accelerates is pretty good too.
http://www.theskinny.co.uk/article/97294-the-dirty-dozen---october-2009
And now it's time for some jingly jangly Scotch indie rock, courtesy of Jack Butler.The band, who still don't have anyone called Jack in their ranks, would have you think that this is art-rock, but they're far too mainstream for that, and the bass rhythm and forceful vocal on 'Surgery 1984' would make any passing Franz Ferdinand fan very happy indeed. They may also want to check out their debut album "Fit The Paradigm", whence this cometh.
http://s14.zetaboards.com/Zeitgeist/topic/6587363/1/
Stirling quartet Jack Butler, deliver a searching example of their high reaching modern rock. In the case of "Surgery 1984" this is perhaps a less upbeat example of their work, but it’s no less noisy or impulsive, building up in layers of shimmering guitar loops before escalating into a series of soaring guitar versus bass lines, that sound a little bit too much like Interpol. The B-Side "This Soul Accelerates" delves straight into some 1980’s guitar indie, with heavy disco intentions and a drive not a million miles away from the recent experimentation of Wild Beasts, but with more of a lo-fi charge that eventually ends up sounding like very early U2.
MMM By Milton Trebuchet
http://www.music-dash.co.uk/releases/release.asp?item=6508
Singer/songwriters are two-a-penny these days. Oh, but wait, on closer inspection Jack Butler are in fact a Scottish indie four-piece. Far removed from the conventional moniker though, there is little formulaic about their output. Title track ‘Surgery 1984’ begins innocently enough with sparkly light guitar picking and lead singer Liam Kelly’s earnest vocals before the track gains muscle with forceful basslines and frenetic, choppy guitar. Alas, if anything the track ends far too prematurely giving short shrift to some intriguingly invigorating melodies. ‘This Soul Accelerates’ continues in the same vein; straddling the gaps between the jaunty, jangly esoteric rhythms of Foals and the tight, intelligent pop sensibilities of Vampire Weekend with a heartfelt feel for sincere song writing. Infectious drumming breathes life into the track, gifting the lightweight guitar licks a welcome danceable edge comparable to Bloc Party. Both tracks hint at great things and with a little work and a few tweaks, Jack Butler could be one to watch.
Rated 10 out of 13 by Omar Soliman
http://www.roomthirteen.com/cgi-bin/cd_view.cgi?CDID=10431
Wrap your head around this one- Jack Butler isn’t some solo, chest thumping troubadour, he’s a band! Better than your average indie upstarts they combine elements of artrock, poppy hooks, and even the occasional disco drum beat (thanks Franz Ferdinand). The ‘Surgery 1984′ single calls to mind the sadly departed Rakes, the wiry guitars, the insistent rhythm section practically begging the kohl eyed lovelies down the front to dance. The melodies are pretty catchy too, sadly it’s all a bit too heavily influenced by their undoubtedly ‘diverse’ record collections. I’d go out on a limb and suggest Jack Butler likes a bit of Bloc Party, Cribs, Foals, Editors, et al. The songs are naive but their youthful exuberance is infectious, with a bit of time they could be an interesting prospect. Jack Butler assure us that, "you’ll be air drumming long after you’ve finished listening". Despite my best efforts to stop you can still see me on the back seat of the number 44 arms furiously pumping to ‘Surgery 1984′ stuck on repeat in my head. (4 stars - Jack Baxter)
http://www.isthismusic.com/jack-butler-2
Jack Butler continue what seems like a never-ending line of effervescent Scottish indie acts such as Franz Ferdinand, The View and The Fratellis. But look (or preferably listen) closer and you’ll see the subtle nuances of bravery where others have failed to tread. Jack Butler have boldly moved forward adding their own particular brand of synth pop funk to an already tight, dynamic indie sound with contagious drumming patterns and some both jangly and heavy guitar riffs reminiscent of Foals. Surgery 1984 draws you in with its beautifully reverb-laden melodic guitar licks over a wonderfully spongy bass line that gives the track its beat and funk. Liam Kelly’s vocals sway between pop and punk, giving it an engrossing, honest and almost grungy feel, that leads you nearly unknowingly into the powerful last half of the track. Overall the result is an invigorating energetic mix somewhere between Jack Peñate, Editors and Modest Mouse with some electro synths thrown in to glorious effect.
Cutting it live with such acts as Florence and The Machine, Glasvegas & The Wombats, playing various festivals including T in the Park and currently touring Scotland, Jack Butler’s increasing fan-base are being treated to an art rock album of great proportions. This single adds another string to an increasingly impressive bow, Surgery 1984 will have you toe tapping, head bopping and reaching for that repeat button. You can guarantee this will bore its way into your head in a way that you’ll want it to stay there.
(Mark McDermott)
Surgery 1984 b/w This Soul Accelerates is released as a digital download on October 26th 2009 on Whimsical Records.
www.myspace.com/jackbutlerpresents
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***A SUBBA-CULTCHA.COM SINGLE OF THE MONTH***
JACK BUTLER – SURGERY 1984 – WHIMSICAL
Spiraling guitars divide and reconnect into crystalline shapes whilst what seems like an indie male choir begins to weave it’s harmonies over the thundering bass and staccato drumming – with a voice that finds itself somewhere between the Guillemots & Manic Street Preachers, given a near-hymn like quality creating something genuinely different and interesting within the indie gendarme…
http://www.subba-cultcha.com/singles.php
Sounding like The Killers have snuck into a Dredg recording session to funk it up a bit, Jack Butler’s latest single Surgery 1984 continues the infectious, foot-stomping drive of their previous effort; Hit it out the Park, Son with more subdued vocals.Minus the shouty chorus of Hit it out... and bass dialled down a little, Surgery 1984 is a subtler, more melancholic track showing the Scottish four-piece have more strings to their guitar than many of their contemporaries.Are they catchy enough for pop-rock, or quirky enough for alternative success? Biffy Clyro have managed to tread the line between the two and I hope Jack Butler can manage the same as they’re one of the more interesting new bands I’ve heard this year.For: People who find Minus the Bear too low-key or Arctic Monkeys emotionally bereft.Not for: People who are easily genre-confused. (Ed Prior) (8 out of 10)
http://www.dieshellsuit.co.uk/article_detail.asp?rID=4070
Stirling returns in the form of Jack Butler's Surgery 1984 (***), which steps the competition up a level via the simple method of slowly building towards a climactic explosion. It's the first great moment of the D12 so far, and herky-jerky b-side This Soul Accelerates is pretty good too.
http://www.theskinny.co.uk/article/97294-the-dirty-dozen---october-2009
And now it's time for some jingly jangly Scotch indie rock, courtesy of Jack Butler.The band, who still don't have anyone called Jack in their ranks, would have you think that this is art-rock, but they're far too mainstream for that, and the bass rhythm and forceful vocal on 'Surgery 1984' would make any passing Franz Ferdinand fan very happy indeed. They may also want to check out their debut album "Fit The Paradigm", whence this cometh.
http://s14.zetaboards.com/Zeitgeist/topic/6587363/1/
Stirling quartet Jack Butler, deliver a searching example of their high reaching modern rock. In the case of "Surgery 1984" this is perhaps a less upbeat example of their work, but it’s no less noisy or impulsive, building up in layers of shimmering guitar loops before escalating into a series of soaring guitar versus bass lines, that sound a little bit too much like Interpol. The B-Side "This Soul Accelerates" delves straight into some 1980’s guitar indie, with heavy disco intentions and a drive not a million miles away from the recent experimentation of Wild Beasts, but with more of a lo-fi charge that eventually ends up sounding like very early U2.
MMM By Milton Trebuchet
http://www.music-dash.co.uk/releases/release.asp?item=6508
Singer/songwriters are two-a-penny these days. Oh, but wait, on closer inspection Jack Butler are in fact a Scottish indie four-piece. Far removed from the conventional moniker though, there is little formulaic about their output. Title track ‘Surgery 1984’ begins innocently enough with sparkly light guitar picking and lead singer Liam Kelly’s earnest vocals before the track gains muscle with forceful basslines and frenetic, choppy guitar. Alas, if anything the track ends far too prematurely giving short shrift to some intriguingly invigorating melodies. ‘This Soul Accelerates’ continues in the same vein; straddling the gaps between the jaunty, jangly esoteric rhythms of Foals and the tight, intelligent pop sensibilities of Vampire Weekend with a heartfelt feel for sincere song writing. Infectious drumming breathes life into the track, gifting the lightweight guitar licks a welcome danceable edge comparable to Bloc Party. Both tracks hint at great things and with a little work and a few tweaks, Jack Butler could be one to watch.
Rated 10 out of 13 by Omar Soliman
http://www.roomthirteen.com/cgi-bin/cd_view.cgi?CDID=10431
Wrap your head around this one- Jack Butler isn’t some solo, chest thumping troubadour, he’s a band! Better than your average indie upstarts they combine elements of artrock, poppy hooks, and even the occasional disco drum beat (thanks Franz Ferdinand). The ‘Surgery 1984′ single calls to mind the sadly departed Rakes, the wiry guitars, the insistent rhythm section practically begging the kohl eyed lovelies down the front to dance. The melodies are pretty catchy too, sadly it’s all a bit too heavily influenced by their undoubtedly ‘diverse’ record collections. I’d go out on a limb and suggest Jack Butler likes a bit of Bloc Party, Cribs, Foals, Editors, et al. The songs are naive but their youthful exuberance is infectious, with a bit of time they could be an interesting prospect. Jack Butler assure us that, "you’ll be air drumming long after you’ve finished listening". Despite my best efforts to stop you can still see me on the back seat of the number 44 arms furiously pumping to ‘Surgery 1984′ stuck on repeat in my head. (4 stars - Jack Baxter)
http://www.isthismusic.com/jack-butler-2
Sunday 26 April 2009
Tuesday 21 April 2009
The Shermans reach number 7 in Scotland, and UK indie singles top 10.
The Shermans have shot straight in at number 10 in the UK independent singles chart for w/c 19th April, with their new single Venom ! As published in Music Week, here's the full top 20:
TW
LW
Artist/Title
LABEL
Distributor
1
1
Liverpool Collective/ Kop Choir Fields Of Anfield Road
Robot
Robot
2
2
Franz Ferdinand No You Girls
Domino
PIAS
3
N
Camera Obscura French Navy
4AD
PIAS
4
4
Oasis Falling Down
Big Brother
PIAS
5
3
Fightstar Mercury Summer
Search & Destroy
tbc
6
6
Bon Iver Blood Bank
Jagjaguwar
PIAS
7
5
Jack Penate Tonight's Today
XL
PIAS
8
N
T2 Feat. Michelle Come Over
Powerhouse
tbc
9
N
Sonic Youth & Beck Pay No Mind/Green Light
Matador
PIAS
10
N
The Shermans Venom
Platform
Shellshock/ Pinnacle
11
N
Jay Reatard & Sonic Youth No Garage/Hang Them All
Matador
PIAS
12
7
Seasick Steve It's All Good
Bronzerat
PIAS
13
N
High Contrast Basement Track
Hospital
Southern
14
N
The Jesus Lizard Inch
Touch And Go
PIAS
15
N
Health Die Slow
Lovepump United
tbc
16
8
Antony & The Johnsons Epilepsy Is Dancing
Rough Trade
PIAS
17
12
Third Degree Mercy
Acid Jazz
Shellshock
18
9
Chase & Status feat. Kano Against All Odds
Ram
Southern
19
N
Franz Ferdinand Ulysses
Domino
PIAS
20
13
Oasis I'm Outta Time
Big Brother
PIAS
Wednesday 18 March 2009
Jack Butler - reviews of debut album 'Fit the paradigm' and their new single 'Hit it out the park,son'.
Starting with 20th Century Fox-esque snare drums, you’d be forgiven for thinking you’re about to be hit by something dramatic and cinematic, grandiose even. Instead, you’re nodding your head before you realise it, thinking how unlikely it is that the bastard child of Red Hot Chili Peppers and Foals should sound this good. Shades of Franz Ferdinand disco and latter-day Marmaduke Duke find their way in there throughout the album, making it irresistibly funky and danceable, the only criticism being that it never really leaves this comfort zone with any success. Hopefully, though, this is ground that will be explored in a second album sometime soon.
Written by: Niki Boyle (***)
http://www.list.co.uk/article/22580-fit-the-paradigm-jack-butler
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''The Stirling-based four-piece have been attracting plenty of attention
for their inventive brand of guitar-led post-punk. And quite rightly so too.
Tracks like 'From Plea To Paper', 'Velvet Prose' and current single 'Surgery
1984' are an edgy but hooked filled re-imagining of a sound that began way
back with Echo & The Bunnymen, Teardrop Explodes and Orange Juice.
Simply fabulous.''
(* * * * Tim Barr - News of the World)
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If Jack Butler want to distance themselves from fellow Scots Franz Ferdinand, choosing a man's name for their angular indie-rock wasn't the best idea.
Shame, really, as this Stirling quartet are a far different proposition to their colleagues once you get beyond the jangling riffs and danceable bass shuffles. For a start, it's pacier and more aggressive, with Liam Kelly spitting his vocals as opposed to singing them, and there are math-rock, Foals-esque elements to 'Hit it out the park, son' and 'Velvet Prose' that enable Jack Butler to sparkle. There are no huge hits here, but plenty to get the pulse racing.
Rock Sound magazine (Mike Haydock) (7 out of 10)
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From the tin-drum-roll opening of 'Hit It Out the Park, Son', there is a distinct energy to Jack Butler’s debut album 'Fit the Paradigm'. While some have likened this energy to early 80’s punk, I found this Stirling based four-piece band to sound more akin to Kaiser Chiefs, but with 50’s rockabilly flare.
Their music is powerful, yet superbly composed to never overwhelm Liam Kelly’s vocals, and maintains a vibrant energy throughout the album. While 'Hit It Out the Park, Son' was their debut single from this album, I found myself more taken by its follow-up,'Are You A Hustler?'.
Chris Lowdon (Guitar), Allan Conry (Bass), Greg Moodie (Drums/Percussion) all show a fine level of skill and versatility. This ensures that their music never becomes stale throughout this twelve track album, and maintains the listener's constant interest.
Although I am generally disinterested in indie-rock bands such as the Kaiser Chiefs, I found Jack Butler's energy, extraordinary talent, and impressive lyrics to make an impression. This is a great album that fans of this genre of music will love: even those that are not may appreciate this album. Give Jack Butler a chance, for you may even surprise yourself.
Reviewed By: Peter Allison
http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=6757
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The long awaited debut album from the Stirling four-piece has most definately been worth the wait.
Opener - new single 'Hit it out the park,son' - combines pulsing beats with funky guitar licks and infectious bass, paving the way for an album of electro post punk 80's retro sounds frog-marched into the present.
Each track has its own head-nodding, foot tapping, catchy infectiousness that defies you not to dance. Frantic drumming, furious strumming, guitar layering and a heap of reverb meet in a mash-up of pop/indie/disco/funk for tracks 'Are you a hustler?' and 'Boy V Beast', meanwhile the grandiose 'Surgery 1984' and the Mexican-tequila-filled fun of 'Ostinatos' shows the lads have a cocktail of talents to be explored.
Quite simply a belter. For fans of Talking Heads, Editors, Bloc Party, The Rapture, Franz Ferdinand.
Katy Whitelaw - Music News Scotland.
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Jack Butler - Fit The Paradigm (Whimsical) 11/05/2009
T: Wow, this sounds like Robert Smith on a crateful of speed.N: Umm, well that's left our readers with absolutely nothing from which to draw.T: Ummm, what about leaving them with the image of Robert Smith on a crateful of speed?N: I guess that's one image I briefly toyed with, but to no avail, as Robert is now really getting too old to be toying with speed, let alone a crateful. Let me start, Jack Butler, a four piece from Sterling and described as "one of the freshest bands in Scotland" not forgetting to add "at the moment", as they have a hell of a lot of competition here, take Aztec Camera (the most immediate reference), Trash Can Sinatras, or maybe Orange Juice. But one thing's for sure, these guys are not excusing their harking back to post-punk 80's vibe and who could blame them?T: They sound like a train has crashed through your ceiling and is driving around your walls flashing disco lights while all the nightporters and commuters dive out of the carriages and do little dances around your bed. Which is great when they're nice looking totty but not so good when they're heifers. Most of the time though, they're pretty damn attractive.N: And this is the over-riding thought this band conjure up?T: Yep. 9/10
http://www.atomicduster.com/albumreviews/albums05_09/index.php
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By Amy MacBeath • May 9th, 2009 • Category: jralbums
Clearly a band with a lot of fun about them, Stirling four piece Jack Butler’s debut album Fit the Paradigm is a whirl of jaggy riffs, manic drum beats, harmonious vocals and well, shouting. Equip with clever hooks, catchy choruses and a quirky electro gloss their music has a refreshing quality to it that hasn’t been heard from indie bands of late.
So drum roll please - the first single from the album Hit it out the park, son which, yes, starts with a drum roll is very similar to Franz Ferdinand with more of a kick with frantic guitars, rolling bass and Liam Kelly’s spat-out vocals giving it a clunkiness which kind of works.
‘Velvet Prose’ is a catchier track with the band layering on twitching guitars and joining in with vocals, although it does go on longer than perhaps it should. Scratchy guitar’s and more chanting on ‘Are You a Hustler?’ ensure it’s firmly stuck in your head after even one listen with a bit more attitude than some of the other tracks. ‘Apocalypse Clocks’, beginning with aptly placed clocks, starts off more atmospheric for what is a more brooding offering as Kelly tries to lower his voice. The melody is a gentler one that the twanging of the previous tracks giving the lyrics a bit more of a chance to breath and the listener can enjoy the mix of harmonies and hooks normally produced by an indie-rock band.
Not knowing what to expect on a first listen the album definitely makes for a good listen although perhaps some of it is a bit over complicated as Jack Butler try to go all out with their jumble of beats, synths and angular guitars. They have a great attitude in approach in their music though, it’s not overly pretentious and their experimentation even manages to bring a bit of funk, reminiscent of Bloc Party or Foals.
Basically Jack Butler have taken the usual recipe for indie, shaken it up, flipped it upside down and turned up the volume - if that makes sense to you then so will their music.
http://www.isthismusic.com/jack-butler
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Stirling four-piece Jack Butler made their first release in 2005, catching the attention of the music journalists, who drew comparisons with the Arctic Monkeys and Franz Ferdinand, amongst others. Winning the BBC Radio 1 Demo Derby in April 2006 lead to more publicity and their performing at T in the Park in the July of that year. Airplay on XFM and support slots with such notables as Glasvegas and Florence and the Machine mean they have been a busy bunch of guys recently. And so it is to their debut album release we now turn, the latest of their many achievements.
This album kicks off with 'Hit it Out the Park, Son': a mega drum roll, pulsing guitars and a funky bass. Immediately noticable is the influence fellow Scots Franz Ferdinand have had on Jack Butler, but the band have their own upbeat style and this is a great opener - catchy, cheery and thoroughly feelgood. Second track 'From Plea to Paper' has a feel of The Smiths to it but slightly less studenty. The funky bass carries the track along with a quirky guitar being picked like a good 'un in the background. There is a proliferation of lyrics, similar to 'It's The End Of The World As We Know It (And I Feel Fine)' by REM.
Track 3 is the first single to be released from this album: 'Are You a Hustler?'. It has received great reviews already from our very own allgigs.co.uk and has echoes of the 80s on it, featuring some groovy falsetto vocals which remind me of The Communards' 'Don't Leave Me This Way'. Next follows one of those intro-type tracks 'Ode'. A piano track, the perfect 15-second straight guy to the incredibly funky following track 'Boy vs Beast'. The funky bass and groovy drumming is back on this, a track which lyrically recalls the Arctic Monkeys and is infectiously danceable.
Title track 'Just Fit the Paradigm' is a tale of teenagers and peer pressure - "these kids will buy anything/drink anything/raise our glasses in toast to our peers" featuring amongst the lyrics. Following this, 'Let's Testify!' sees Jack Butler exploring a more soulful and expressive vein. Guitar sounding like that of U2 on 'Where The Streets Have No Name', and the vocals on the emotive refrain of "The time is nigh/Let's testify!" do not sound unlike the Sainted Bono himself.
A couple of tracks later are a lovely pairing of 'Bushido Codes' and 'He Got No Name!'. Both having a slightly Japanese feel to them, the guitar backing is filled with individually picked strings, giving a staccato and jagged feel to the tracks. The bass smooths this down and the hi-hat in the drumbeat is irresistible. I couldn't keep still while listening to these tracks. Opening the next track are some synths which give a more sweeping effect to the sound of the band; a less art school sound and more stadium rock feel to it. I could almost hear the screams and whoops during the twinkly quiet section towards the close of the track. Art school groove is back for the penultimate song with another Smiths-esque offering. Album closer 'Apocalypse Clocks' starts with some clanging chimes and unaccompanied guitars and moves on with pulsing beats and a plea to "replicate and populate". It comes to a rythmic climax and then calms for a string finish. Sirens can be heard over the end of the song which confused me greatly: I was listening to this in the park and thought it was on the street outside initially...
All in all, this is a promising debut and is irresistible in its cheeriness and upbeat danceability. I would strongly urge anyone who has a sense of summer on its way to go out and purchase this album!
Caroline McCarthy Rating: 4 STARS http://www.allgigs.co.uk/
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I’ve reviewed a couple of singles in the past by Jack Butler (a group not a solo artist), so I definitely had a level of expectation around them as far as this debut album goes, even with that expectation though they have managed to take me by surprise by how good this is.
While a band producing funky off kilter art-pop isn’t in itself a new concept, they have managed to bring something fresh, raw and inventive to the table on Fit The Paradigm, which sets them well apart from 99% of their competitors.
The album opens with the irresistable recent single Hit It Out The Park Son and you think that may be a high point too soon in the album. They don’t peak with that track though, instead they continue to climb throughout, scaling new heights with the dance floor bothering Are You A Hustler?, the brilliant Boy Vs Beast and Let’s Testify which has a more reflective edge to it.
A band that so far have been massively overlooked for some reason, don’t fall into the trap of the masses, instead get on this and take this four piece and their album to your heart…and your dancing feet!
The album is out now through Whimsical Records. Beat Surrender Rating: 4 stars
http://www.thebeatsurrender.co.uk/daily/recordbox/fit-the-paradigm-jack-butler (4 stars)
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Jack Butler - CD - Fit The Paradigm
It's indie Jim, but not as we know it!! 'Fit The Paradigm', the debut album by Sterling popsters Jack Butler, is infused with so many modern influences that it's hard to describe just where it falls in the genre stakes - it's defo indie biased, it's frantic funk, it's blatant pop, it's Caribbean nuanced, it's Afro-esque, it's all that and more - could it be that Jack Butler's music is itself that musical paradigm that they ask you to fit?!!
Whatever, Jack Butler certainly offer value for money; this mighty fine album is a thirteen tracker and includes their last two singles, 'Boy vs Beast' and 'Are You A Hustler?' as well as their latest offering, 'Hit It Out The Park, Son'. Jack Butler not only hit the spot musically, there also appears to be a gently comedic side to this bunch too; I sense a real feeling of fun and frivolity nestling in with the more serious music-making side - it's a recipe that certainly seems to work for these guys cuz they sound totally in unison and absolutely single-minded regarding the business in hand which, of course, is making damn good music for the discerning public - whilst having a bloody good time doing it!
'Fit The Paradigm' beautifully captures Jack Butler's slightly retro, ever-so-slightly electro-tinged, guitar rich indie way; theirs is a clever blend of energetic instrumental ebullience and poignantly worded serious-mindedness - Jack Butler have things to say but I don't really think it matters if you get the bigger picture or not - more important is the general feel of Jack Butler's up-lifting and often quirky music - pure and simple!
Jack Butler successfully mix African-esque guitar refrains with modernistic funked-up western rhythms and Caribbean influences with jazzy vibes as pop collides head-on with indie and the result is a rather splendid sounding art-music that errs on the pop side of the fence but pays homage to some of the less popular but equally influential forms. 'Fit The Paradigm' by Jack Butler is musical energy personified, a positively knee-jerking, arse-twitching melee of youthfully driven sounds that contain an inner maturity and an intelligent outlook - damn fine work if you ask me!!
Peter J Brown aka toxic pete (http://www.toxicpete.co.uk/)
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HIT IT OUT THE PARK, SON * single of the week *
:: Jack Butler ::
13 April 2009 / Whimsical / 1 Trk CD + Download
By Milton Trebuchet
Scottish extreme four for the floor indie hitters Jack Butler ( a band not a boy), knock off your block with this riotous attack of coarse 1980 pop band guitar shuffling. Butler distil the early days of live indie band disco with an infectious energy that verges on the violent, as they strum with a furious friction underneath vocals that cut deeply into this vigorous display of dangerous attacking lo-fi funk. “Hit It Out The Park, Son” is maybe the first record of 2009 to really embrace the post new romantic world of Postcard Records and for once, put a proper, solid guitar wielding foot on the dancefloor. Excellent.
MMMM ½ http://www.music-dash.co.uk/releases/release.asp?item=6101
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Still irritatingly applying a single name to a quartet, Glasgow`s Jack Butler will shortly release their debut long player `Fit the Paradigm` and this track takes the sage advice of time-conscious football coaches the land over and applies it to every day life. That is, simply hoofing your problems out of the stadium of life is often the best tactic we have. Musically the band are on top form too with a heady mix of wah wah funk, disco-tinged rhythms and bellowed, call to arm vocals. It`s yet another largely undiscovered Jack Butler treat and builds on the impressive early work of previous singles `Velvet Prose` and `Are You a Hustler?`
Richard Brown http://www.culturedeluxe.com/artistprofiles.asp?id=3536&type=singlediscography
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FIT THE PARADIGM * album of the week * Jack Butler :: 27 April 2009 / Whimsical / 13 Trk CD By JA Jack Butler have only been knocking around for a couple of years and they’ve had little opportunity to get their records out. After a series of exciting singles, their debut album it seems, is worth all of the wait. From the infectious tempo of "Hit It Out The Park Son" ,the album really never fails to deliver as the snapped beats and surging sparkle of clean guitar arpeggios stand at the fore of a staggering series of bass movements. "Fit The Paradigm" is the album that really has connected us with the bookish indie of the very early 80’s, from Postcard’s Josef K to the energetic bluster of Haircut 100 and The Higsons. This the part of musical history that only British Sea Power and newer bands like Everything Everything have somehow partially captured in their repertoire. Jack Butler take things a step further with their accomplished web of guitar flourishes and amazing melodies. Their slower moments aren’t nearly as exciting, yet the album’s title track is something of an a epic, with a gothic dusting and some keen instrumental peaks. "Ostinatos" finds Jack Butler again able to spin their intricate note picking and off tempo breaks, between some positively exciting sessions of frantic beats and more outstanding guitar work. "Fit The Paradigm" may sound to some listeners at a first glance, like a lot of other retro-indie hopefuls out there, but I guarantee you that this is something altogether different and far more radical than you’d imagine. It may even be on the border of a classic. MMMM ½ http://www.music-dash.co.uk/releases/release.asp?item=6133
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JACK BUTLER **** Fit The Paradigm (WHIMSICAL RECORDS)
While their name might be more fitting for a struggling singer-songwriter than a four-piece indie band from Stirling, Jack Butler hardly set a foot wrong on this, their debut album. Pulsing with a lively rhythm that many of their peers would do well to emulate, Fit The Paradigm sounds like Vampire Weekend remixing Scottish art-rockers Franz Ferdinand – with some 80s post-punk production values thrown in for good measure.
Previous singles ‘Boy Vs Beast’ and ‘Velvet Prose’ are both present and correct, but what’s most noticeable is how far Jack Butler have come in such a short time. The reworked versions of older songs now sparkle with a fizzing energy that has always been part of their live show, while new tracks such as first single ‘Are You A Hustler?’ and the Franz-like album opener ‘Hit It Out The Park, Son’ are both instantly memorable and rewarding of further listening.
In fact what’s most remarkable about Jack Butler’s debut album is the self-confidence that infuses every soaring chorus and jagged guitar riff. When your first effort’s this good, though, that confidence looks entirely justified.
Dan Coxon (http://www.rock-n-reel.co.uk/)
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The art rockers from Stirling release debut album 'Fit the paradigm' on April 27th. This fast-paced guitar and bouncy beat could get Gordon Brown smiling. * * * Rick Fulton - Daily Record
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We were there for the Scottish four piece’s early demos so it’s satisfying to see the band lead by singer/guitarist Liam Kelly release their debut album. The obvious bracket to put the band in are followers of Franz Ferdinand’s art pop. They like jangly guitars, tight rhythms and almost shouted vocals. But Franz followed Edinburgh-band Josef K and Jack Butler are a more distilled version of the originators. Album opener Hit It Out the Park, Son has a driving chimming guitar that must make the fingers bleed and some solid bass from Allan Conry. It’s one of the best songs from a new Scots act this year. What’s almost unique about Jack Butler is they have a sound but don’t just play the same song with each new tune. There is a depth to each of their tunes which echoes early Orange Juice in Boy Vs Beast but with the pop sensibility of Haircut 100 on He Got No Game! Or Altered Images on Let’s Testify!There are plenty of young Scots acts hoping for their break. 2010 deserves to be Jack Bulter’s.
Rick Fulton - Daily Record
Written by: Niki Boyle (***)
http://www.list.co.uk/article/22580-fit-the-paradigm-jack-butler
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''The Stirling-based four-piece have been attracting plenty of attention
for their inventive brand of guitar-led post-punk. And quite rightly so too.
Tracks like 'From Plea To Paper', 'Velvet Prose' and current single 'Surgery
1984' are an edgy but hooked filled re-imagining of a sound that began way
back with Echo & The Bunnymen, Teardrop Explodes and Orange Juice.
Simply fabulous.''
(* * * * Tim Barr - News of the World)
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If Jack Butler want to distance themselves from fellow Scots Franz Ferdinand, choosing a man's name for their angular indie-rock wasn't the best idea.
Shame, really, as this Stirling quartet are a far different proposition to their colleagues once you get beyond the jangling riffs and danceable bass shuffles. For a start, it's pacier and more aggressive, with Liam Kelly spitting his vocals as opposed to singing them, and there are math-rock, Foals-esque elements to 'Hit it out the park, son' and 'Velvet Prose' that enable Jack Butler to sparkle. There are no huge hits here, but plenty to get the pulse racing.
Rock Sound magazine (Mike Haydock) (7 out of 10)
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From the tin-drum-roll opening of 'Hit It Out the Park, Son', there is a distinct energy to Jack Butler’s debut album 'Fit the Paradigm'. While some have likened this energy to early 80’s punk, I found this Stirling based four-piece band to sound more akin to Kaiser Chiefs, but with 50’s rockabilly flare.
Their music is powerful, yet superbly composed to never overwhelm Liam Kelly’s vocals, and maintains a vibrant energy throughout the album. While 'Hit It Out the Park, Son' was their debut single from this album, I found myself more taken by its follow-up,'Are You A Hustler?'.
Chris Lowdon (Guitar), Allan Conry (Bass), Greg Moodie (Drums/Percussion) all show a fine level of skill and versatility. This ensures that their music never becomes stale throughout this twelve track album, and maintains the listener's constant interest.
Although I am generally disinterested in indie-rock bands such as the Kaiser Chiefs, I found Jack Butler's energy, extraordinary talent, and impressive lyrics to make an impression. This is a great album that fans of this genre of music will love: even those that are not may appreciate this album. Give Jack Butler a chance, for you may even surprise yourself.
Reviewed By: Peter Allison
http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=6757
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The long awaited debut album from the Stirling four-piece has most definately been worth the wait.
Opener - new single 'Hit it out the park,son' - combines pulsing beats with funky guitar licks and infectious bass, paving the way for an album of electro post punk 80's retro sounds frog-marched into the present.
Each track has its own head-nodding, foot tapping, catchy infectiousness that defies you not to dance. Frantic drumming, furious strumming, guitar layering and a heap of reverb meet in a mash-up of pop/indie/disco/funk for tracks 'Are you a hustler?' and 'Boy V Beast', meanwhile the grandiose 'Surgery 1984' and the Mexican-tequila-filled fun of 'Ostinatos' shows the lads have a cocktail of talents to be explored.
Quite simply a belter. For fans of Talking Heads, Editors, Bloc Party, The Rapture, Franz Ferdinand.
Katy Whitelaw - Music News Scotland.
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Jack Butler - Fit The Paradigm (Whimsical) 11/05/2009
T: Wow, this sounds like Robert Smith on a crateful of speed.N: Umm, well that's left our readers with absolutely nothing from which to draw.T: Ummm, what about leaving them with the image of Robert Smith on a crateful of speed?N: I guess that's one image I briefly toyed with, but to no avail, as Robert is now really getting too old to be toying with speed, let alone a crateful. Let me start, Jack Butler, a four piece from Sterling and described as "one of the freshest bands in Scotland" not forgetting to add "at the moment", as they have a hell of a lot of competition here, take Aztec Camera (the most immediate reference), Trash Can Sinatras, or maybe Orange Juice. But one thing's for sure, these guys are not excusing their harking back to post-punk 80's vibe and who could blame them?T: They sound like a train has crashed through your ceiling and is driving around your walls flashing disco lights while all the nightporters and commuters dive out of the carriages and do little dances around your bed. Which is great when they're nice looking totty but not so good when they're heifers. Most of the time though, they're pretty damn attractive.N: And this is the over-riding thought this band conjure up?T: Yep. 9/10
http://www.atomicduster.com/albumreviews/albums05_09/index.php
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By Amy MacBeath • May 9th, 2009 • Category: jralbums
Clearly a band with a lot of fun about them, Stirling four piece Jack Butler’s debut album Fit the Paradigm is a whirl of jaggy riffs, manic drum beats, harmonious vocals and well, shouting. Equip with clever hooks, catchy choruses and a quirky electro gloss their music has a refreshing quality to it that hasn’t been heard from indie bands of late.
So drum roll please - the first single from the album Hit it out the park, son which, yes, starts with a drum roll is very similar to Franz Ferdinand with more of a kick with frantic guitars, rolling bass and Liam Kelly’s spat-out vocals giving it a clunkiness which kind of works.
‘Velvet Prose’ is a catchier track with the band layering on twitching guitars and joining in with vocals, although it does go on longer than perhaps it should. Scratchy guitar’s and more chanting on ‘Are You a Hustler?’ ensure it’s firmly stuck in your head after even one listen with a bit more attitude than some of the other tracks. ‘Apocalypse Clocks’, beginning with aptly placed clocks, starts off more atmospheric for what is a more brooding offering as Kelly tries to lower his voice. The melody is a gentler one that the twanging of the previous tracks giving the lyrics a bit more of a chance to breath and the listener can enjoy the mix of harmonies and hooks normally produced by an indie-rock band.
Not knowing what to expect on a first listen the album definitely makes for a good listen although perhaps some of it is a bit over complicated as Jack Butler try to go all out with their jumble of beats, synths and angular guitars. They have a great attitude in approach in their music though, it’s not overly pretentious and their experimentation even manages to bring a bit of funk, reminiscent of Bloc Party or Foals.
Basically Jack Butler have taken the usual recipe for indie, shaken it up, flipped it upside down and turned up the volume - if that makes sense to you then so will their music.
http://www.isthismusic.com/jack-butler
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Stirling four-piece Jack Butler made their first release in 2005, catching the attention of the music journalists, who drew comparisons with the Arctic Monkeys and Franz Ferdinand, amongst others. Winning the BBC Radio 1 Demo Derby in April 2006 lead to more publicity and their performing at T in the Park in the July of that year. Airplay on XFM and support slots with such notables as Glasvegas and Florence and the Machine mean they have been a busy bunch of guys recently. And so it is to their debut album release we now turn, the latest of their many achievements.
This album kicks off with 'Hit it Out the Park, Son': a mega drum roll, pulsing guitars and a funky bass. Immediately noticable is the influence fellow Scots Franz Ferdinand have had on Jack Butler, but the band have their own upbeat style and this is a great opener - catchy, cheery and thoroughly feelgood. Second track 'From Plea to Paper' has a feel of The Smiths to it but slightly less studenty. The funky bass carries the track along with a quirky guitar being picked like a good 'un in the background. There is a proliferation of lyrics, similar to 'It's The End Of The World As We Know It (And I Feel Fine)' by REM.
Track 3 is the first single to be released from this album: 'Are You a Hustler?'. It has received great reviews already from our very own allgigs.co.uk and has echoes of the 80s on it, featuring some groovy falsetto vocals which remind me of The Communards' 'Don't Leave Me This Way'. Next follows one of those intro-type tracks 'Ode'. A piano track, the perfect 15-second straight guy to the incredibly funky following track 'Boy vs Beast'. The funky bass and groovy drumming is back on this, a track which lyrically recalls the Arctic Monkeys and is infectiously danceable.
Title track 'Just Fit the Paradigm' is a tale of teenagers and peer pressure - "these kids will buy anything/drink anything/raise our glasses in toast to our peers" featuring amongst the lyrics. Following this, 'Let's Testify!' sees Jack Butler exploring a more soulful and expressive vein. Guitar sounding like that of U2 on 'Where The Streets Have No Name', and the vocals on the emotive refrain of "The time is nigh/Let's testify!" do not sound unlike the Sainted Bono himself.
A couple of tracks later are a lovely pairing of 'Bushido Codes' and 'He Got No Name!'. Both having a slightly Japanese feel to them, the guitar backing is filled with individually picked strings, giving a staccato and jagged feel to the tracks. The bass smooths this down and the hi-hat in the drumbeat is irresistible. I couldn't keep still while listening to these tracks. Opening the next track are some synths which give a more sweeping effect to the sound of the band; a less art school sound and more stadium rock feel to it. I could almost hear the screams and whoops during the twinkly quiet section towards the close of the track. Art school groove is back for the penultimate song with another Smiths-esque offering. Album closer 'Apocalypse Clocks' starts with some clanging chimes and unaccompanied guitars and moves on with pulsing beats and a plea to "replicate and populate". It comes to a rythmic climax and then calms for a string finish. Sirens can be heard over the end of the song which confused me greatly: I was listening to this in the park and thought it was on the street outside initially...
All in all, this is a promising debut and is irresistible in its cheeriness and upbeat danceability. I would strongly urge anyone who has a sense of summer on its way to go out and purchase this album!
Caroline McCarthy Rating: 4 STARS http://www.allgigs.co.uk/
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I’ve reviewed a couple of singles in the past by Jack Butler (a group not a solo artist), so I definitely had a level of expectation around them as far as this debut album goes, even with that expectation though they have managed to take me by surprise by how good this is.
While a band producing funky off kilter art-pop isn’t in itself a new concept, they have managed to bring something fresh, raw and inventive to the table on Fit The Paradigm, which sets them well apart from 99% of their competitors.
The album opens with the irresistable recent single Hit It Out The Park Son and you think that may be a high point too soon in the album. They don’t peak with that track though, instead they continue to climb throughout, scaling new heights with the dance floor bothering Are You A Hustler?, the brilliant Boy Vs Beast and Let’s Testify which has a more reflective edge to it.
A band that so far have been massively overlooked for some reason, don’t fall into the trap of the masses, instead get on this and take this four piece and their album to your heart…and your dancing feet!
The album is out now through Whimsical Records. Beat Surrender Rating: 4 stars
http://www.thebeatsurrender.co.uk/daily/recordbox/fit-the-paradigm-jack-butler (4 stars)
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Jack Butler - CD - Fit The Paradigm
It's indie Jim, but not as we know it!! 'Fit The Paradigm', the debut album by Sterling popsters Jack Butler, is infused with so many modern influences that it's hard to describe just where it falls in the genre stakes - it's defo indie biased, it's frantic funk, it's blatant pop, it's Caribbean nuanced, it's Afro-esque, it's all that and more - could it be that Jack Butler's music is itself that musical paradigm that they ask you to fit?!!
Whatever, Jack Butler certainly offer value for money; this mighty fine album is a thirteen tracker and includes their last two singles, 'Boy vs Beast' and 'Are You A Hustler?' as well as their latest offering, 'Hit It Out The Park, Son'. Jack Butler not only hit the spot musically, there also appears to be a gently comedic side to this bunch too; I sense a real feeling of fun and frivolity nestling in with the more serious music-making side - it's a recipe that certainly seems to work for these guys cuz they sound totally in unison and absolutely single-minded regarding the business in hand which, of course, is making damn good music for the discerning public - whilst having a bloody good time doing it!
'Fit The Paradigm' beautifully captures Jack Butler's slightly retro, ever-so-slightly electro-tinged, guitar rich indie way; theirs is a clever blend of energetic instrumental ebullience and poignantly worded serious-mindedness - Jack Butler have things to say but I don't really think it matters if you get the bigger picture or not - more important is the general feel of Jack Butler's up-lifting and often quirky music - pure and simple!
Jack Butler successfully mix African-esque guitar refrains with modernistic funked-up western rhythms and Caribbean influences with jazzy vibes as pop collides head-on with indie and the result is a rather splendid sounding art-music that errs on the pop side of the fence but pays homage to some of the less popular but equally influential forms. 'Fit The Paradigm' by Jack Butler is musical energy personified, a positively knee-jerking, arse-twitching melee of youthfully driven sounds that contain an inner maturity and an intelligent outlook - damn fine work if you ask me!!
Peter J Brown aka toxic pete (http://www.toxicpete.co.uk/)
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HIT IT OUT THE PARK, SON * single of the week *
:: Jack Butler ::
13 April 2009 / Whimsical / 1 Trk CD + Download
By Milton Trebuchet
Scottish extreme four for the floor indie hitters Jack Butler ( a band not a boy), knock off your block with this riotous attack of coarse 1980 pop band guitar shuffling. Butler distil the early days of live indie band disco with an infectious energy that verges on the violent, as they strum with a furious friction underneath vocals that cut deeply into this vigorous display of dangerous attacking lo-fi funk. “Hit It Out The Park, Son” is maybe the first record of 2009 to really embrace the post new romantic world of Postcard Records and for once, put a proper, solid guitar wielding foot on the dancefloor. Excellent.
MMMM ½ http://www.music-dash.co.uk/releases/release.asp?item=6101
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Still irritatingly applying a single name to a quartet, Glasgow`s Jack Butler will shortly release their debut long player `Fit the Paradigm` and this track takes the sage advice of time-conscious football coaches the land over and applies it to every day life. That is, simply hoofing your problems out of the stadium of life is often the best tactic we have. Musically the band are on top form too with a heady mix of wah wah funk, disco-tinged rhythms and bellowed, call to arm vocals. It`s yet another largely undiscovered Jack Butler treat and builds on the impressive early work of previous singles `Velvet Prose` and `Are You a Hustler?`
Richard Brown http://www.culturedeluxe.com/artistprofiles.asp?id=3536&type=singlediscography
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FIT THE PARADIGM * album of the week * Jack Butler :: 27 April 2009 / Whimsical / 13 Trk CD By JA Jack Butler have only been knocking around for a couple of years and they’ve had little opportunity to get their records out. After a series of exciting singles, their debut album it seems, is worth all of the wait. From the infectious tempo of "Hit It Out The Park Son" ,the album really never fails to deliver as the snapped beats and surging sparkle of clean guitar arpeggios stand at the fore of a staggering series of bass movements. "Fit The Paradigm" is the album that really has connected us with the bookish indie of the very early 80’s, from Postcard’s Josef K to the energetic bluster of Haircut 100 and The Higsons. This the part of musical history that only British Sea Power and newer bands like Everything Everything have somehow partially captured in their repertoire. Jack Butler take things a step further with their accomplished web of guitar flourishes and amazing melodies. Their slower moments aren’t nearly as exciting, yet the album’s title track is something of an a epic, with a gothic dusting and some keen instrumental peaks. "Ostinatos" finds Jack Butler again able to spin their intricate note picking and off tempo breaks, between some positively exciting sessions of frantic beats and more outstanding guitar work. "Fit The Paradigm" may sound to some listeners at a first glance, like a lot of other retro-indie hopefuls out there, but I guarantee you that this is something altogether different and far more radical than you’d imagine. It may even be on the border of a classic. MMMM ½ http://www.music-dash.co.uk/releases/release.asp?item=6133
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JACK BUTLER **** Fit The Paradigm (WHIMSICAL RECORDS)
While their name might be more fitting for a struggling singer-songwriter than a four-piece indie band from Stirling, Jack Butler hardly set a foot wrong on this, their debut album. Pulsing with a lively rhythm that many of their peers would do well to emulate, Fit The Paradigm sounds like Vampire Weekend remixing Scottish art-rockers Franz Ferdinand – with some 80s post-punk production values thrown in for good measure.
Previous singles ‘Boy Vs Beast’ and ‘Velvet Prose’ are both present and correct, but what’s most noticeable is how far Jack Butler have come in such a short time. The reworked versions of older songs now sparkle with a fizzing energy that has always been part of their live show, while new tracks such as first single ‘Are You A Hustler?’ and the Franz-like album opener ‘Hit It Out The Park, Son’ are both instantly memorable and rewarding of further listening.
In fact what’s most remarkable about Jack Butler’s debut album is the self-confidence that infuses every soaring chorus and jagged guitar riff. When your first effort’s this good, though, that confidence looks entirely justified.
Dan Coxon (http://www.rock-n-reel.co.uk/)
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The art rockers from Stirling release debut album 'Fit the paradigm' on April 27th. This fast-paced guitar and bouncy beat could get Gordon Brown smiling. * * * Rick Fulton - Daily Record
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We were there for the Scottish four piece’s early demos so it’s satisfying to see the band lead by singer/guitarist Liam Kelly release their debut album. The obvious bracket to put the band in are followers of Franz Ferdinand’s art pop. They like jangly guitars, tight rhythms and almost shouted vocals. But Franz followed Edinburgh-band Josef K and Jack Butler are a more distilled version of the originators. Album opener Hit It Out the Park, Son has a driving chimming guitar that must make the fingers bleed and some solid bass from Allan Conry. It’s one of the best songs from a new Scots act this year. What’s almost unique about Jack Butler is they have a sound but don’t just play the same song with each new tune. There is a depth to each of their tunes which echoes early Orange Juice in Boy Vs Beast but with the pop sensibility of Haircut 100 on He Got No Game! Or Altered Images on Let’s Testify!There are plenty of young Scots acts hoping for their break. 2010 deserves to be Jack Bulter’s.
Rick Fulton - Daily Record
The Shermans - Reviews of 'Venom'
The Shermans - Single - Venom
Well, one thing's for sure - The Shermans kick up a pretty punchy sound that's pretty distinctive and nicely instant. And, 'Venom' cuts straight to the chase here with a memorable guitar and drum intro before the impassioned vocals interrupt proceedings and 'Venom' starts to unfold.
The Shermans sound relies quite a lot on short, concise guitar riffs and fills that nestle in amongst the vocals, unerringly side-by-side making a strong and punchy statement. Add to that the military-esque percussive work and stabbin' bass and you've got a sound with heart, soul and attitude. And so it's no surprise that The Shermans' new single 'Venom' is built on those very same foundations - a robust, at times almost quirky, backbeat that at times vies with the vocals for prominence but always manages to work out just fine.
Although they hail from Stirling in Scotland, The Shermans sound is as British as Blackpool Tower; retaining a jagged rawness of feel that suggests punk roots and having a real earthy heart The Shermans' pop-rock is as solid as it is viable. 'Venom', with it's catchy 'lah lahs' and infectious air-guitar-friendly riffs is a real solid worker and gets stronger with repeat plays - radio friendly and hard-driven, 'Venom', with good DJ exposure, could very well catch on!
The Shermans 'Venom' comes in two mixes here and is supported by 'You're Just Not Getting Enough'; more staccato guitars, more metronomic drums, more lethal bass and the same enthusiastic and typically British vocals. A great 'B' side and very much an equal to its bigger brother, 'Venom'. All-in-all a really good piece of commercial rockin' work from The Shermans - and 'lang may yer lum reek' I say!
Peter J Brown aka toxic pete (http://www.toxicpete.co.uk/)
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THE SHERMANS – VENOM – PLATFORM
Solid, driving Indie Rock with plenty of vigor and melody – a rousing call to arms for those missing Ocean Colour Scene…
http://www.subba-cultcha.com/singles.php?id=29
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The Shermans' previous single, 'Calling It Wrong' reached number twenty three in the UK indie charts, and follow up single 'Venom' is surely a strong contender for an even higher chart position, as this is maddeningly catchy indie-rock at its best.Everything about 'Venom' is guaranteed to get stuck in your head. Bouncing along on irresistible, oomp-pa drumbeats, 'Venom' is jam-packed with wickedly sharp vocal hooks, as mainman Shaun Aitcheson always takes care to emphasise 'Venom's infectious indie-rock beats. Whether he's bouncing his vocals off angular drumbeats, or contributing smoother, poppier vocals to the more melodic sections, Shaun always hits the mark. At times, his voice is given an extra boost from barely-there backing vocals, which sees 'Venom' take on an anthemic edge, and threaten to become more than just a catchy indie hit.As a B-side, 'You're Just Not Getting Enough' is expected to lag behind the A-side, and lag it certainly does. 'You're Just Not Getting Enough' has all the clunkiness of a live performance, with little of the energy. Built on an interestingly military, marching drumbeat, this song has a rock-solid, intriguing base that completely dominates the handful of twangy chords and Shaun's vocals. The Shermans seem to be enamoured with this unusual beat, and believe it's enough to carry the song. But, after the novelty has worn off, 'You're Just Not Getting Enough' doesn't really have much else to offer, apart from a great base beat.The fact that the B-side isn't half as good as the A-side, isn't really that much of a surprise. 'Venom' is the main attraction here, and it's a song that should set the indie-rock charts alight. (4 stars - Jessica Thornsby) http://www.leedsmusicscene.net/article/10572
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Well, one thing's for sure - The Shermans kick up a pretty punchy sound that's pretty distinctive and nicely instant. And, 'Venom' cuts straight to the chase here with a memorable guitar and drum intro before the impassioned vocals interrupt proceedings and 'Venom' starts to unfold.
The Shermans sound relies quite a lot on short, concise guitar riffs and fills that nestle in amongst the vocals, unerringly side-by-side making a strong and punchy statement. Add to that the military-esque percussive work and stabbin' bass and you've got a sound with heart, soul and attitude. And so it's no surprise that The Shermans' new single 'Venom' is built on those very same foundations - a robust, at times almost quirky, backbeat that at times vies with the vocals for prominence but always manages to work out just fine.
Although they hail from Stirling in Scotland, The Shermans sound is as British as Blackpool Tower; retaining a jagged rawness of feel that suggests punk roots and having a real earthy heart The Shermans' pop-rock is as solid as it is viable. 'Venom', with it's catchy 'lah lahs' and infectious air-guitar-friendly riffs is a real solid worker and gets stronger with repeat plays - radio friendly and hard-driven, 'Venom', with good DJ exposure, could very well catch on!
The Shermans 'Venom' comes in two mixes here and is supported by 'You're Just Not Getting Enough'; more staccato guitars, more metronomic drums, more lethal bass and the same enthusiastic and typically British vocals. A great 'B' side and very much an equal to its bigger brother, 'Venom'. All-in-all a really good piece of commercial rockin' work from The Shermans - and 'lang may yer lum reek' I say!
Peter J Brown aka toxic pete (http://www.toxicpete.co.uk/)
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THE SHERMANS – VENOM – PLATFORM
Solid, driving Indie Rock with plenty of vigor and melody – a rousing call to arms for those missing Ocean Colour Scene…
http://www.subba-cultcha.com/singles.php?id=29
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The Shermans' previous single, 'Calling It Wrong' reached number twenty three in the UK indie charts, and follow up single 'Venom' is surely a strong contender for an even higher chart position, as this is maddeningly catchy indie-rock at its best.Everything about 'Venom' is guaranteed to get stuck in your head. Bouncing along on irresistible, oomp-pa drumbeats, 'Venom' is jam-packed with wickedly sharp vocal hooks, as mainman Shaun Aitcheson always takes care to emphasise 'Venom's infectious indie-rock beats. Whether he's bouncing his vocals off angular drumbeats, or contributing smoother, poppier vocals to the more melodic sections, Shaun always hits the mark. At times, his voice is given an extra boost from barely-there backing vocals, which sees 'Venom' take on an anthemic edge, and threaten to become more than just a catchy indie hit.As a B-side, 'You're Just Not Getting Enough' is expected to lag behind the A-side, and lag it certainly does. 'You're Just Not Getting Enough' has all the clunkiness of a live performance, with little of the energy. Built on an interestingly military, marching drumbeat, this song has a rock-solid, intriguing base that completely dominates the handful of twangy chords and Shaun's vocals. The Shermans seem to be enamoured with this unusual beat, and believe it's enough to carry the song. But, after the novelty has worn off, 'You're Just Not Getting Enough' doesn't really have much else to offer, apart from a great base beat.The fact that the B-side isn't half as good as the A-side, isn't really that much of a surprise. 'Venom' is the main attraction here, and it's a song that should set the indie-rock charts alight. (4 stars - Jessica Thornsby) http://www.leedsmusicscene.net/article/10572
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Wednesday 18 February 2009
Jack Butler's debut album and new single set for release.
JACK BUTLER - FIT THE PARADIGM - Released on April 27th 2009
From the startling drum roll of the opening few seconds on first track, Hit It Out The Park,Son (their new single - released April 13th) – it’s evident that Jack Butler are a discernible force to be reckoned with. The Stirling-based four-piece are set to cement their status as one of the freshest bands in Scotland with the release of their long awaited debut album Fit the Paradigm on 27th April. First single, Are You A Hustler? has been paving the way for a grand reception by garnering encouraging reviews - allgigs.co.uk calling it, "a riotous fanfare of electrics and pulsing drum beats that punctuate the air like heavy rain on a tin roof",as well as enjoying airplay on Sky TV's Soccer AM and on Radio One.
Harking back to the early post-punk of the 1980s, previous single, Boy Vs Beast is a highly original slice of art-funk with infectious guitars, dynamic bass and powerful hooks. In contrast, Just Fit The Paradigm is a quirky, despairing pastiche of the generic nature of teenage life, music and consumerism layered over deeply textured guitar-work and a brass refrain. The angularity of the guitars often attracts comparisons to fellow Scots rockers Franz Ferdinand and Orange Juice but there is something far more colourful to the arrangements – He Got No Game is a shrewd, jagged-edged confrontation. Other tracks such as Velvet Prose and Let’s Testify exemplify a soulful and expressive aspect with their raw yet stirring melodies and poignant lyrics. Continuing this tone, the twinkling opening synths of Surgery 1984 (Operations I & II) ,together with grand and graceful guitars lend this track a poised, elegiac quality akin to the stadium-esque feel of Bloc Party, Interpol and Arcade Fire but still with its own unique twist.
Throughout this esteemed record, an electro sheen saturates many of the tracks lending them a 1980s vintage sound, but they remain firmly rooted in modernity. The album is a colourful array, bursting with full-on aural delights with something for every ear whether you’re looking for the eccentric or the anthemic. With this debut, Jack Butler make an unquestionably powerful musical statement. Impossible to ignore, it is a clear indication that the band should have a flourishing future.
(Claire Gilligan)
http://www.myspace.com/jackbutlerpresents
The Shermans return with 'Venom'.
Stirling-based quintet The Shermans return with the follow up to their hugely successful debut single, Calling It Wrong, which reached number 20 in Scotland and number 23 in the UK indie charts. Released on Platform Records on April 13th, Venom is a rollicking, fast-moving, foot-stomping, soon-to-be indie anthem. Confrontational from the get-go, Shaun Aitcheson literally spits his acerbic lyrics over equally serrated guitars and pounding drums. The track blazes along while a dooming quality lurks – over the shoulder glances, whispers in the dim light of club over a relationship gone wrong. Venom is the sonic equivalent of the shifty guy you don’t want to turn around a corner and bump into.
The release is backed with You're just not getting enough - jangly,with military beats, Beach Boys harmonies and an angular guitar hook. Aitcheson’s vocals warble the ridiculously infectious refrain “and you just can’t stand still, not getting enough” - that no doubt, when performed live, will spark a lot of drinks-in-the-air-hoisting antics. Despite being a song about getting stuck in life – it’s a hopeful tune – with a warm and communal feeling.
Still paying homage to bands like Ocean Colour Scene and The Bluetones, it’s obvious with the new single that The Shermans are carving out an identity of their own and are clearly not a band to mess with. On the plus side, if you do mess with them – the result is “Venom”. (Claire Gilligan)
Venom is released on April 13th - cd single and download.
http://www.myspace.com/theshermansrock
Check out the video:
The release is backed with You're just not getting enough - jangly,with military beats, Beach Boys harmonies and an angular guitar hook. Aitcheson’s vocals warble the ridiculously infectious refrain “and you just can’t stand still, not getting enough” - that no doubt, when performed live, will spark a lot of drinks-in-the-air-hoisting antics. Despite being a song about getting stuck in life – it’s a hopeful tune – with a warm and communal feeling.
Still paying homage to bands like Ocean Colour Scene and The Bluetones, it’s obvious with the new single that The Shermans are carving out an identity of their own and are clearly not a band to mess with. On the plus side, if you do mess with them – the result is “Venom”. (Claire Gilligan)
Venom is released on April 13th - cd single and download.
http://www.myspace.com/theshermansrock
Check out the video:
Monday 19 January 2009
The Firm - 'Dismal Results' - latest reviews
With echoes of Echo and Siouxsie and even hints of the Durans, The Firm blast out the nu-wave pop-rock with powerful, punk tinged aggression and singalongable new-romantic finesse.
Retro no, nu-something yes! The Firm's brazen attack is led by fuzzy, distorted, scathing guitars and supported by an eternal-time-clock that is the combined rhythm section of oh-so-solid bass and metronomic drums. Atop of all this, the yearning, impassioned vocals soar and ride across the melee as they jostle for prominence with the massive sonic 'noise' of the instruments. It's a hard rather than harsh kinda vibe that The Firm give off; energetic and passionately angry whilst somehow retaining focus on the 'politics' of the job-in-hand.
The Firm's sound is not so much dense as thick-set; the guitar fills practically every available space behind the voice and provides a sort of corrosive layer that is always trying to eat its way to the fore but never quite gets through the cut and grind of the humanic outpourings. If not truly dirty, The Firm's 'noise' is certainly deeply tainted and stained with electrically derived ozone that etches its way into the midst of the electric storm to colour rather than destroy the layered natural 'tones', leaving a certain grubbiness behind.
'Dismal Results' is accompanied by 'Round The Rim' - it's here that the Duran's pop music ethic seems to cut through the more punkish roots of the 'A' side. Similarly robust and just as compelling, 'Round The Rim' demonstrates the more harmonious and pop-sided facet of this hectic sounding outfit - a great pairing resulting in a tidy and workmanlike release that'll suit several 'genre-hats' and raise The Firm's profile by several increments.
Peter J Brown aka toxic pete (http://www.toxicpete.co.uk/)
--------------------------------------------------------------------------
The Firm recently came to my attention via Myspace. I am one of the more probably foolish people who do actually check every band who ask to be added. Sometimes, just sometimes, I find bands I consider worth sharing. I confess to being a lot more cynical than when I first started contributing to Rock Sellout. So, what attracted me to The Firm? To start, their well presented page immediately captured my attention. Then, the opening guitar riff off their forthcoming single "Life’s Dismal Results " kept me long enough for the vocal to grab me. Shades of Theatre of Hate sprung to mind, though there is more than a touch of Sonic Youth about them. Anyway, the band sent me a full biography and a half decent mp3 to share, so check them out. With lots of live shows coming up, I reckon you could do worse than catch them live. http://www.rocksellout.com/
-------------------------------------------------------------------------
Debut single from London-based quartet The Firm offers up two tracks of straightforward rock that eschews current musical trends in favour of a more timeless sound.
A-side 'Dismal Results' is packed full of classy, assured riffs that act as a slick backdrop to Ross Liddle's likeably casual vocals. The chorus is similarly laidback, forgoing big, brash hooks, and instead relying on a very neat turn of phrase to win over the listener. Part of The Firm's appeal lies in the fact that they never seem to be trying too hard.
While this type of no frills rock has the potential to become repetitive, The Firm avoid this pitfall by picking up the pace after the midway point. They layer on the riffs, push the drumbeats to the forefront of the song and emphasise the underlying, jangly beat to ensure that 'Life's Dismal Results' doesn't just keep on delivering more of the same.
B-side 'Around The Rim (And Back To Him)' follows the formula laid down in 'Dismal Results' but has a more urgent sound, largely thanks to some insistent riffs and snappy drumbeats. 'Around The Rim...' increasingly veers more towards the heavy rock end of the spectrum, with a bridge section that delivers plenty of squealing chords, darker, brooding riffs and pounding drumbeats. This harder sound is carried over into the final quarter of the song, again ensuring that The Firm never get into the rut it'd be so easy for them to fall into.
On the downside, this song's simple but effective chorus is repeated far too many times towards the end. Although you'll initially find much to like in the choruses' slick phrasing, you'll be completely sick of it by the time 'Around The Rim...' draws to a close.
The Firm don't prescribe to any obsessively-specific musical genre, and are as such difficult to categorise. These two tracks may not drill themselves into your head like some of the more genre-specific music does but, by that virtue, The Firm's debut feels like a breath of fresh air. (4 stars) http://www.leedsmusicscene.net/article/10281/?hi=dismal+results
---------------------------------------------------
Single Review
Dismal Results' is the debut single from London based psychedelic shoe gazers The Firm. The product of a culmination of a plethora of confusing juxtapositions, the band of over two years attack their music and accompanying lyrics on a number of fronts making their sound somewhat unique.
Consisting of Ross Liddle (Voice & Guitar), Chris Willsher (Lead Guitar & Piano), Julia Sieradzki (Bass Guitar) and Yameen Khan (Drums), the group combine here in the bands third year with a cruising, sometimes morbidly melancholic shard of fuzzy psychedelic rock. Produced by Matt Terry of The Enemy's 'We'll Live And Die In These Towns' fame, the bands 80's influences pulse through, instantaneously recognisable in the vocals of Ross Liddle who embodies the spirit of The Cult, Suede and The Cure. Like Morrissey's twin brother, the quivering naivety of Liddle's vocals rains through. It's a sinister, monotonic version of Ricky Wilson in play, which accompanied by the most energetic and explosive set of guitars ever witnessed by man make for good times for all. Twinned with 'Round The Rim' the singles b-side, 'Dismal Results' is surely due the reverse treatment.
Matthew Clutton http://www.allgigs.co.uk/view/review/3467/Dismal_Results_The_Firm_London_Single_Review.html
----------------------------------------------------------------
The Firm :: 09 March 2009 / The Firm / 4 Trk CD By Parker Knoll Broadcasting from London, The Firm have a gloomy sound where monotone, straight line vocals perch atop the stepped descent of a few chords and some effective hooklines. In fact The Firm are good at mixing this gothic yet heartening indie with some excellent little themes. There are snippets of the Bunnymen, Chameleons and early 80’s post new wave modernism. Remarkably, "Dismal Results" isn’t that far removed from the sound of Manchester’s legendary Monomania circa 2000. There’s a live recording of the B-side "Round The Rim (and Back To Him)" in addition to the studio cut and it’s the former that provides a better sensation of the energy and impact of The Firm – and it’s all rather very good. www.manchestermusic.co.uk MMM ½ http://www.manchestermusic.co.uk/
-----------------------------------------------------------------
Firm - Life's Dismal Results
Colourful, Catchy and Edgy
by Jo Vallance
London band The Firm’s debut single will surely stand them in good stead for future success. It’s a catchy, furious lyrical delight with a vibrant guitar line that swells in and out with glorious ease. There are moments of glossy guitarwork at the right moment just as the charismatic vocal charge from singer Ross Liddle dies down. ‘Life’s Dismal Results’ has a sharp cynical edge but an ebullient melody that sweeps you away and will stick in your head long afterwards. B-side ‘Round The Rim (And Back To Him)’ adds in some chaotic vocal harmonies, crafting layer on layer to create a lithe and lively tune that blisters with scintillating percussion and edgy guitars. The vocals and rapturous pace and irrepressible and although there’s more than a hint of bands like The Cure and Suede about this tune in particular, there’s also a fervent punk sensibility that makes what the band are doing refreshing still. The Firm certainly major in musical style, which is sure to see them gain plenty of future success. http://www.roomthirteen.com/
--------------------------------------------------------------
The Firm – Dismal Results (Whimsical)
It’s always a slight shock when you see yourself quoted on the press release of a band you are just about to start reviewing. Inevitable feelings of ‘was it really any good’ start to surface and you begin to wonder if your colleagues and peers who also receive this press release are laughing at your apparent lack of taste. Fortunately in this case, my taste is proven to be impeccable as The Firm following up their EP from 2007 with single ‘Dismal Results’- all swirling effects and nihilism befitting such an emotive title. There’s some Smiths influence in evidence and Ross Liddle’s terse vocals preach the word according to The Firm to the listener. ‘Release what you like, not what you should like’ say Whimsical. I couldn’t agree more.
http://www.tastyfanzine.org.uk/singles84mar09.htm#TheFirm
-------------------------------------------------------------
The Firm sound from the name as if they are going to be a bad punk band from London who watched Green Street too many times and decided that they were West Ham boot boys who needed to follow in the footsteps of their heroes Sham 69 and form a band.
The truth isn’t quite as interesting as that but musically it’s a damn sight better!
As it goes they are London based, but rather than punk they find themselves landing somewhere between the doom laden humour of The Smiths and the guitar and mood of Echo And The Bunnymen on Dismal Results, the bands impressive debut single. On the b-side Round The Rim (And Back) they scuzz things up to take them into Jesus and Mary Chain territory, showing that live they could well be a bit more rock ‘n’ roll than the a-side suggested.
A promising start and I hope they build on it, the single is out now on the ever consistent Whimsical Records. (3 stars)
http://www.thebeatsurrender.co.uk/daily/recordbox/dismal-results-the-firm
-------------------------------------------------------------------------
Retro no, nu-something yes! The Firm's brazen attack is led by fuzzy, distorted, scathing guitars and supported by an eternal-time-clock that is the combined rhythm section of oh-so-solid bass and metronomic drums. Atop of all this, the yearning, impassioned vocals soar and ride across the melee as they jostle for prominence with the massive sonic 'noise' of the instruments. It's a hard rather than harsh kinda vibe that The Firm give off; energetic and passionately angry whilst somehow retaining focus on the 'politics' of the job-in-hand.
The Firm's sound is not so much dense as thick-set; the guitar fills practically every available space behind the voice and provides a sort of corrosive layer that is always trying to eat its way to the fore but never quite gets through the cut and grind of the humanic outpourings. If not truly dirty, The Firm's 'noise' is certainly deeply tainted and stained with electrically derived ozone that etches its way into the midst of the electric storm to colour rather than destroy the layered natural 'tones', leaving a certain grubbiness behind.
'Dismal Results' is accompanied by 'Round The Rim' - it's here that the Duran's pop music ethic seems to cut through the more punkish roots of the 'A' side. Similarly robust and just as compelling, 'Round The Rim' demonstrates the more harmonious and pop-sided facet of this hectic sounding outfit - a great pairing resulting in a tidy and workmanlike release that'll suit several 'genre-hats' and raise The Firm's profile by several increments.
Peter J Brown aka toxic pete (http://www.toxicpete.co.uk/)
--------------------------------------------------------------------------
The Firm recently came to my attention via Myspace. I am one of the more probably foolish people who do actually check every band who ask to be added. Sometimes, just sometimes, I find bands I consider worth sharing. I confess to being a lot more cynical than when I first started contributing to Rock Sellout. So, what attracted me to The Firm? To start, their well presented page immediately captured my attention. Then, the opening guitar riff off their forthcoming single "Life’s Dismal Results " kept me long enough for the vocal to grab me. Shades of Theatre of Hate sprung to mind, though there is more than a touch of Sonic Youth about them. Anyway, the band sent me a full biography and a half decent mp3 to share, so check them out. With lots of live shows coming up, I reckon you could do worse than catch them live. http://www.rocksellout.com/
-------------------------------------------------------------------------
Debut single from London-based quartet The Firm offers up two tracks of straightforward rock that eschews current musical trends in favour of a more timeless sound.
A-side 'Dismal Results' is packed full of classy, assured riffs that act as a slick backdrop to Ross Liddle's likeably casual vocals. The chorus is similarly laidback, forgoing big, brash hooks, and instead relying on a very neat turn of phrase to win over the listener. Part of The Firm's appeal lies in the fact that they never seem to be trying too hard.
While this type of no frills rock has the potential to become repetitive, The Firm avoid this pitfall by picking up the pace after the midway point. They layer on the riffs, push the drumbeats to the forefront of the song and emphasise the underlying, jangly beat to ensure that 'Life's Dismal Results' doesn't just keep on delivering more of the same.
B-side 'Around The Rim (And Back To Him)' follows the formula laid down in 'Dismal Results' but has a more urgent sound, largely thanks to some insistent riffs and snappy drumbeats. 'Around The Rim...' increasingly veers more towards the heavy rock end of the spectrum, with a bridge section that delivers plenty of squealing chords, darker, brooding riffs and pounding drumbeats. This harder sound is carried over into the final quarter of the song, again ensuring that The Firm never get into the rut it'd be so easy for them to fall into.
On the downside, this song's simple but effective chorus is repeated far too many times towards the end. Although you'll initially find much to like in the choruses' slick phrasing, you'll be completely sick of it by the time 'Around The Rim...' draws to a close.
The Firm don't prescribe to any obsessively-specific musical genre, and are as such difficult to categorise. These two tracks may not drill themselves into your head like some of the more genre-specific music does but, by that virtue, The Firm's debut feels like a breath of fresh air. (4 stars) http://www.leedsmusicscene.net/article/10281/?hi=dismal+results
---------------------------------------------------
Single Review
Dismal Results' is the debut single from London based psychedelic shoe gazers The Firm. The product of a culmination of a plethora of confusing juxtapositions, the band of over two years attack their music and accompanying lyrics on a number of fronts making their sound somewhat unique.
Consisting of Ross Liddle (Voice & Guitar), Chris Willsher (Lead Guitar & Piano), Julia Sieradzki (Bass Guitar) and Yameen Khan (Drums), the group combine here in the bands third year with a cruising, sometimes morbidly melancholic shard of fuzzy psychedelic rock. Produced by Matt Terry of The Enemy's 'We'll Live And Die In These Towns' fame, the bands 80's influences pulse through, instantaneously recognisable in the vocals of Ross Liddle who embodies the spirit of The Cult, Suede and The Cure. Like Morrissey's twin brother, the quivering naivety of Liddle's vocals rains through. It's a sinister, monotonic version of Ricky Wilson in play, which accompanied by the most energetic and explosive set of guitars ever witnessed by man make for good times for all. Twinned with 'Round The Rim' the singles b-side, 'Dismal Results' is surely due the reverse treatment.
Matthew Clutton http://www.allgigs.co.uk/view/review/3467/Dismal_Results_The_Firm_London_Single_Review.html
----------------------------------------------------------------
The Firm :: 09 March 2009 / The Firm / 4 Trk CD By Parker Knoll Broadcasting from London, The Firm have a gloomy sound where monotone, straight line vocals perch atop the stepped descent of a few chords and some effective hooklines. In fact The Firm are good at mixing this gothic yet heartening indie with some excellent little themes. There are snippets of the Bunnymen, Chameleons and early 80’s post new wave modernism. Remarkably, "Dismal Results" isn’t that far removed from the sound of Manchester’s legendary Monomania circa 2000. There’s a live recording of the B-side "Round The Rim (and Back To Him)" in addition to the studio cut and it’s the former that provides a better sensation of the energy and impact of The Firm – and it’s all rather very good. www.manchestermusic.co.uk MMM ½ http://www.manchestermusic.co.uk/
-----------------------------------------------------------------
Firm - Life's Dismal Results
Colourful, Catchy and Edgy
by Jo Vallance
London band The Firm’s debut single will surely stand them in good stead for future success. It’s a catchy, furious lyrical delight with a vibrant guitar line that swells in and out with glorious ease. There are moments of glossy guitarwork at the right moment just as the charismatic vocal charge from singer Ross Liddle dies down. ‘Life’s Dismal Results’ has a sharp cynical edge but an ebullient melody that sweeps you away and will stick in your head long afterwards. B-side ‘Round The Rim (And Back To Him)’ adds in some chaotic vocal harmonies, crafting layer on layer to create a lithe and lively tune that blisters with scintillating percussion and edgy guitars. The vocals and rapturous pace and irrepressible and although there’s more than a hint of bands like The Cure and Suede about this tune in particular, there’s also a fervent punk sensibility that makes what the band are doing refreshing still. The Firm certainly major in musical style, which is sure to see them gain plenty of future success. http://www.roomthirteen.com/
--------------------------------------------------------------
The Firm – Dismal Results (Whimsical)
It’s always a slight shock when you see yourself quoted on the press release of a band you are just about to start reviewing. Inevitable feelings of ‘was it really any good’ start to surface and you begin to wonder if your colleagues and peers who also receive this press release are laughing at your apparent lack of taste. Fortunately in this case, my taste is proven to be impeccable as The Firm following up their EP from 2007 with single ‘Dismal Results’- all swirling effects and nihilism befitting such an emotive title. There’s some Smiths influence in evidence and Ross Liddle’s terse vocals preach the word according to The Firm to the listener. ‘Release what you like, not what you should like’ say Whimsical. I couldn’t agree more.
http://www.tastyfanzine.org.uk/singles84mar09.htm#TheFirm
-------------------------------------------------------------
The Firm sound from the name as if they are going to be a bad punk band from London who watched Green Street too many times and decided that they were West Ham boot boys who needed to follow in the footsteps of their heroes Sham 69 and form a band.
The truth isn’t quite as interesting as that but musically it’s a damn sight better!
As it goes they are London based, but rather than punk they find themselves landing somewhere between the doom laden humour of The Smiths and the guitar and mood of Echo And The Bunnymen on Dismal Results, the bands impressive debut single. On the b-side Round The Rim (And Back) they scuzz things up to take them into Jesus and Mary Chain territory, showing that live they could well be a bit more rock ‘n’ roll than the a-side suggested.
A promising start and I hope they build on it, the single is out now on the ever consistent Whimsical Records. (3 stars)
http://www.thebeatsurrender.co.uk/daily/recordbox/dismal-results-the-firm
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