with aplomb v2.0

a blog from the mind of a glaswegian engineering student.

[kylejohnmccormick-blog]

Album Review: The Hotelier - Goodness

Following on from a forgettable (or at least forgotten in the eyes of the public at the time) debut in 2011’s It Never Goes Out; and a phenomenal and ultimately seminal second record in 2014’s Home, Like Noplace Is There, how will The Hotelier fare when it comes to album number three, 2016’s Goodness?

Well let’s start where we shouldn’t, and judge this record by its striking cover: Whilst it may not be the most visually appropriate piece of photography, it certainly isn’t not aesthetically pleasing in its serenity, and any cries of outrage or requests for censorship are surely a step too far. Coupled with the album's teaser trailer, this naked assembly of elderly strangers found through Craigslist appears to embrace happiness in nature and the notion of natural beauty, and hence this image could be taken as an extension of the record's message of “Goodness”.

Moving onto the music, as is the goal here: the spoken word nature of opening track ‘N 43° 59' 38.927" W 71° 23' 45.27''’ and its counterparts are reminiscent of the similar tracks on La Dispute’s Wildlife – and the overall atmosphere of Rooms of the House by the same band – although they possess less ferocity, where La Dispute are a band with whom The Hotelier share a penchant for gripping and emotive musical storytelling more generally. Vocalist and bassist Christian Holden’s opening recital provides a charming introduction to the album and a precursor to the rhythmic ‘Goodness Pt. 2’ (with ‘Goodness Pt. 1’ being featured on the aforementioned album trailer), which wanders to a euphoric musical peak before returning home with a smile.

[Also, if you are interested, the coordinates used for those song titles refer to the following places in order of album appearance: somewhere in a forest in New Hampshire, somewhere near a house (not that one) in a forest in Vermont, and somewhere near a group of lakes in Massachusetts. Whilst the importance of these locations is not immediately apparent, they likely hold some emotional significance to the band, and are all in New England from where the band originates.]

The likes of ‘Piano Player’ and ‘Settle The Scar’ provide the frantic streak of the record, as Holden and co. provide the raw emotion for which they are well known at notable speed, powerful instrumentation and vocal deliveries are certain to form an emotional connection with the listener. By contrast, ‘Opening Mail For My Grandmother’ and ‘Fear Of Good’ are slow and endearing, showcasing a different yet equally emotional side of The Hotelier. ‘Goodness Pt. 2’ and closer ‘End Of Reel’ combine these two approaches in the classic loud-soft dynamic track, which provides both an epic beginning and end to an incredible piece of musical art.

Having firmly planted their flag at the forefront of the emo revival with Home, There Is Noplace Like There, Goodness is confirmation of the band’s musical creativity and command over emotional composition. The trio are undoubtedly a force to be reckoned with as crowds continue to dance, sing and cry in their droves, and the band continue to create such beautiful compositions.

[kylejohnmccormick-blog]

Album Review: We Are Scientists - Helter Seltzer

Banter, so much banter. Known almost as much for their ridiculous sense of humour as their energetic indie music, New York’s We Are Scientists have released their fifth album Helter Seltzer. The opening track ‘Buckle’, and its accompanying music video, are almost self-referential in this respect as (main) vocalist and guitarist Keith Murray states: “I want you to buckle when you think of me.”

Taking a step back in time to recap on the story so far: the band’s 2005 début With Love and Squalor was a piece of guitar-led perfection, 2008’s follow-up Brain Thrust Mastery was refined and suave in all the right ways, 2010’s Barbara slapped the “indie” thing right on the nose, and 2014’s TV en Français was just a little disappointing. The negativity towards the latter stems from a general feeling that it missed the mark, and that’s pretty much that.

However, do not fear! The jovial duo have produced the goods on record number five, by combining in some combination of percentages all that came before Helter Seltzer is an empowered album with a bewildering artwork.

Presenting itself as a sequence of hits, the album is essentially a collection of guitar-led classics. Starting with preceding single ‘Buckle’, the tone is set much in the vein of the band’s début album as Murray’s vocal and an electric guitar dominate. Rather appropriately, the following track ‘In My Head’ is somewhat reminiscent of the band’s second album with its more lush production and layers. Another single follows in ‘Too Late’ which is nothing short of infectious, and on par with the band’s best singles to date. 

’Hold On’ and ‘We Need A Word’ and solemn and emotive somewhere in the realm of ‘Spoken For’ of ‘Pittsburgh’, whilst the latter employs a guitar style not a million miles from ‘Textbook’, with this charming contrast signalling it as one of the record’s stand out tracks. 

The album’s second half is very much a romantic album by content, with Murray detailing various aspects of his emotions throughout, from his patience in ‘Waiting For You’ to his desires in ‘Headlights’. ‘Headlights’ is an energetic proclamation made all the more emotive via some enjoyable vocal harmonies. In contrast, ‘Want For Nothing’ is a charming acoustic number, preceded by the exciting twist and turns of ‘Classic Love’ which is itself somewhat reminiscent of the classic ‘This Scene Is Dead’. Guitar effects warp the closing track ‘Forgiveness’ which, in short, is infinitely better than the Editors single of the same name. 

Whilst the artwork is puzzling, the music that constitutes Helter Seltzer is simply excellent. Adding to a long history of high quality albums - minus one - We Are Scientists have done it again. Proving that their considerable musical talent is much only by a crippling sense of humour, the duo of Keith Murray and Chris Cain have struck out with a dazzling collection of indie-pop compositions. 

[kylejohnmccormick-blog]

Album Review: Frightened Rabbit - Painting Of A Panic Attack

Despite making it to five albums, with the latest 40% released through Atlantic Records, Frightened Rabbit still feel understated and underappreciated, even within their home country which adores them so. Latest album Painting Of A Panic Attack follows Pedestrian Verse to form the band’s major label duo, with the preceding trio of albums being released via FatCat Records. Upon a first listen to the record, it was overwhelmingly grey, a monotonous record of unimaginative indie teetering on the edge of being downright boring. Thankfully, that opinion was complete nonsense, and with repeated listens (and evidently a lot more focus) the record was revealed to be the quintet’s most accomplished to date.

The album is still grey however, just not in a bland way, but in a sombre and emotive way which is captured by the atmosphere (and colour) of the artwork. Frontman Scott Hutchison’s vocals have always been endearing, and have evolved from the playfulness of Sing the Greys through the ingenuity of The Midnight Organ Fight to the maturity they possess now. The lyrical content here is largely self-reflective, as in previous records, with a prominent strand of alcohol-related material which is most evident in the poignant one-two of ‘I Wish I Was Sober’ and ‘Woke Up Hurting’.

Starting with ‘Death Dream’, both as the album’s opener and initial preceding single, this overarching negative tone is set as Hutchison reflects to the slow march of his bandmates’ instruments accompanied by some wonderfully poised brass. ‘Get Out’ is a jagged track which injects some energy amidst the tale of a love lost but not yet forgotten, and one of the record’s strongest numbers. The flowing narrative and contrast of ‘I Wish I Was Sober’ and ‘Woke Up Hurting’ is enthralling, with the latter track’s infectious chorus providing one of the album’s best moments, and comparable moment is the melody of ‘Break’ which will similarly linger in your head for days. These moments are reminiscent of the invigoration imparted by previous single and anthem ‘The Loneliness and the Scream’ or absolute classic ‘Square 9’. The general feel of the record however is the realms of ‘Floating In The Forth’ or ‘State Hospital’, solemn in a relatable way which makes the tracks instantly loveable and confirms the band’s songwriting credentials. 

Whilst the majority of the songs on Painting Of A Panic Attack fall somewhere on the route to “beige indie” with their slow pace and lack of flourishes, the approach has been adopted throughout Frightened Rabbit’s career as they use measured soundscapes and lyrics to convey the appropriate amount of emotion. The closing pair of tracks buck this trend, as penultimate number ‘Lump Street’ progresses as a synth-heavy allegory before evolving into something with a little more vigor, and the endearing ‘Die Like A Rich Boy’ falls somewhere between ‘Poke’ and ‘Snake’ as acoustic guitar and vocal take centre stage for the closing act.

Having released a major label debut which ticked all the boxes which these things require, Frightened Rabbit have taken its successor as opportunity to switch that expensive new suit for something equally fashionable but considerably more comfortable. Undoubtedly this combination of talent and exposure (posters on Glasgow Subway!) will help propel this outfit from Selkirk to the world, and that result would be nothing less than the phenomenal quintet deserve. 

[kylejohnmccormick-blog]

Live Review: CHVRCHES @ The Hydro, Glasgow - 02/04/2016

“Where is the show?”

“The Hydro.”

“Really? I thought it was the ABC.”

This short conversation on the afternoon of CHVRCHES’ phenomenal(ly large, at least) hometown show is enough to characterise their equally phenomenal ascent to super stardom. Performing at Glasgow’s largest venue for their first show in the city in almost 17 months, the 13,000 capacity arena eagerly awaited the return of the world-conquering synth-pop trio. Following two records, The Bones Of What You Believe and Every Open Eye, and extensive touring, the show served as an entirely appropriate beacon of the band’s achievements thus far, as an adoring plethora of fans revelled in a song for every month of absence. Enthralling analysis of the popularity trajectory aside, how was the show for a long-time supporter of the excellent outfit?

Slightly disappointing is the short answer. Despite the new material, and scaled up production, the CHVRCHES live show has not evolved a great deal since their shows (actually) in the ABC in October 2013. It still consists of the same songs played in the same way, with some pretty lights, strung together with some endearing stage conversation from (main) vocalist Lauren Mayberry. Whilst this formula is by no means a losing combination, it does prove a little boring on the fourth and fifth time of asking; paired with a lack of exploitation of the technical possibilities posed by such a large venue, it feels like an opportunity to present something truly memorable has been missed. Additionally, whilst Mayberry’s vocal provides a creative focal point for the band’s sound, when amplified to arena venue level, both its appeal and fragility are increased, resulting in an overall lack of impact upon delivery.

Despite these criticisms however, the band executed what could be considered a textbook jubilant homecoming show (minus confetti cannons), and the apparent simplicity of the arrangements could easily be attributed to the band’s minimalist aesthetic or ethos. Performing a set balanced between new material and old, the cardinal sin of CHVRCHES crowds was unfortunately once again committed by a significant portion of the crowd: a pitiful lack of dancing. From the exciting melodies of ‘We Sink’ and ‘Make Them Gold’, no hips shaking. The explosive finale of classic track ‘Tether’, minimal movement. It transpired that the entire crowd was conserving their energy for the “end” of the set in ‘Clearest Blue’, the enthralling new single, which inspired a considerable amount of body movement. A brief time off stage was followed by an emotive rendition of second album closer ‘Afterglow’ to rest the crowd following the preluding excitement. An acapella tease of the inevitable final track ‘The Mother We Share’ by Mayberry helped stir the crowd into a celebratory raucous as the trio closed off their biggest show to date in a flurry of vocal samples and synth melodies.

In short, CHVRCHES' brand of relevant synth-pop has secured them considerable recognition and popularity, particular in their loving hometown (and country more generally). Despite a partially formulaic live show, the band’s genuine and honest approach ramps up the appeal and relatability, fuelling the hype train further on its journey into the stratosphere. Even shorter, CHVRCHES are fantastically fantastic.

[kylejohnmccormick-blog]

Melisa Hallan is the best.