Music Reviews: Thee Koukouvaya, Charlie Nieland, Squirrel Records

Independent music provides the life blood necessary to expand creative boundaries commercial enterprises place on this art form.   Drawing inspiration from sources meaningful to them, the purity in the work produced makes it all more interesting.   An artist unshackled by restrictions to conform is then free to create whatever they can imagine.   Although creators ultimately benefit from favorable audiences (which in turn provide an economic platform to continue), art is always better served when approached from a transparent, non-commercial approach.

This feature focuses on music created by independent artists operating in varying degrees outside of the mainstream.

On August 22nd, 2016‪, Fiercely Independent Records released "Ancient Race of Techno-Voyagers," the new album from electronic musicians Thee Koukouvaya, in vinyl and digital formats. It is the second full-length album from collaborators John O’Hara and Brian Wenckebach, following their debut LP “This is the Mythology of Modern Death” (Saint Marie Records) and their ambient EP Witches’ Jelly (soundinsilence).

The slightly muffled tom tom pattern first heard setting the pace in featured track “Limbic Crisis For Sparkle And Foam” is soon joined by deep buzzing bass tones and higher end modulation. This establishes a frenetic feeling, as if running through a forest at night. Crisp higher pitched sounds surface and buzz intermittently, like fireflies over summer fields.  Blips and bleeps abound as passages undulate and morph into other shapes.  There’s enough unanticipated dropouts and re-starts to keep clear of predictability, holding on to your interest.  Although one might point to 2006’s breakthrough artists The Knife and their “Silent Shout” as muse for this style of composition, all electronic approximations of hypnotic jungle drumming owe a certain amount of debt to Brian Eno’s “In Dark Trees.” It’s pretty much common knowledge that the 1975 album “Another Green World” still serves as the basic blueprint for all ambient electronic music that followed.  That’s not to say that O’Hara and Wenckebach don’t add anything new to this genre, for they surely do.  Many of their textures are new to my ears and as such, a delight to come in contact with.

Listen here:



Other tracks lean closer to pure film soundtrack material. The opening cut “We Walked Out of Mexico Loaded” is a tension-laced backdrop you’d hear in the buildup towards a pivotal scene in a Science Fiction thriller.

 The brilliantly titled “Suspicion Breeds Confidence” comes on at a more methodical pace. There is a central drone buildup that ratchets tension levels up, until a plateau is reached. Distant, muted voices can be heard periodically throughout, as if astronaut space technicians can be heard working on a new colony.

“The Modern Beige” approximates movements one might imagine a large pumping device would make. The track is actually in two parts, as the second half picks up the tempo, seemingly swapping out the pump for a whooshing surface sweeper.  Also, points for the title's clever play on an oft-used expression.

“Planetary Archive” undulates with a joyously dancey feel as processed voices provide a comforting humanoid backdrop. There’s a delightful sweetness to this track that sets it apart from all the others.

“Nauplia” provides the sonic equivalent of the sheer awe and wonder of staring into a magical sea of stars. Beat-less and without any real shape at all, it still envelops you in a warm bath of sine waves.

Mechanical clapping percussion creates an underlying polyrhythm on “Pluto Heart.” Softer sound waves move at a more deliberate pace, ultimately giving way to an abrupt liftoff.

“Margaritas By The Pool” may have the requisite prestige of a vocoder performance by electronic music innovator Ulrich Schnauss to draw attention to it. However, even without that respected contribution, the track stands out as an uplifting composition. The final (and another cleverly titled) track

“Aged Into Conformity” benefits from marimba and bell like tones. As those patterns loop, other textures rise up from underneath, creating the sensory equivalent of deep mysterious caverns.

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Recording artists looking for a studio run by the capable hands that produced this record, follow this link here.

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[This section removed due to extreme myopic arrogance and ultimately inferior quality of the vanity project.  Some people need to learn how to treat others better and never take anything for granted.  To quote TRUE actual pop artists - The Beatles - about  being "treated right" - "love has a nasty habit of disappearing overnight." ]

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Musician/producer and multi-instrumentalist Charlie Nieland has created an array of picturesque music over the years. Writing and recording impressive dream pop with his band Her Vanished Grace, Charlie recently released his first set of solo material titled ICE AGE - now available on Bandcamp.  Reviewed here are the six songs included on that expansive set of acoustic guitar based songs.

The title track “Ice Age” opens with heavily reverberated sonics giving the impression a Pink Floyd style journey may be underway. That sense quickly shifts as bright acoustic guitar takes the forefront and softly sung vocals begin. Though the noisy undercurrent continues, sparse piano notes enter the mix along with the half-spoken/half-sung storytelling. “She will cry, I’m falling” catches the ear as an early bridge/hook. Percussion emerges in the form of light touch snare drum and cymbals on the second pass through. “She alone can melt all the ice away” creates a poetic resolution to any questions regarding thematic imagery. The early albums of Nick Drake, Syd Barrett and David Bowie all come to mind as the spiritual antecedents to this sound.

“All I’ve Ever Wanted” continues with the brightly strummed acoustic guitar textures and lush synth background atmospherics. Touching on the positive universal theme of self-recognition and seeking “the perfect moment.”

There is a bigger overall feel to the track “Lighthouse.”  Vocals are sung out more passionately against celestial chiming guitars, giving it all a Cocteau Twins feel – but with Robin and not Liz singing. Poetic phrases like “the color of your dreams” hint at the beacon’s purpose.

“Automatic” impresses with its lush, romantic chorus and an overall floating upward sensation. Reminiscent of 90’s era Projekt recording artists Love Spirals Downwards, Soul Whirling Somewhere and Black Tape For A Blue Girl.

Distinctive melody notes sit atop the acoustic chord structure of “Water” while a dreamy electric guitar haze carries on underneath. Feeling more Slowdive than Cocteau here, those distinctions may be subtle, but important to those in the know nevertheless.

“Falling” stands out with its piano chords as primary structural instrumental base. Strings create a dramatic backdrop for an emotional lyrical recitation. Voice takes the central focus, leaning on the sentimental while incorporating unexpected minor chord changes.

Find out more about Charlie Nieland and his music here on his Bandcamp page.

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Longtime friends of this site Squirrel Records has recently released Nuts and Vaults! - a two CD, 50 track compilation of carefully curated tunes from their vast catalog. Mixed in with those tracks are never before released cuts from a number of bands who have been on the label over the years - as well as a handful of bands who just wanted to contribute to this compilation.

Presented as the labels final major release, there is no shortage of great songs to be heard. Here are a selection of tracks that garnered review attention.

End It (Part One) - AILSA CRAIG

 Hyperactive, percolating percussion and a sturdy descending bassline serve as the driving entry for “End It (Part 1)” ‘Leaving so fast, you don’t know what you’re getting,” sings Caroline.  Matt Robson is credited with something referred to as “lead sample guitar” and evidence of it can be heard throughout the song. Of note is a particularly hooky chorus sung by Caroline that goes “I can’t go on like this – you must end it” A surprising and delightful rapid sequenced keyboard line emerges, which leads into Paul Elam’s powerful fuzzy guitarwork.

Down From Here - INSECT GUIDE

“Down From Here” is driving, catchy pop at its best, while the lyrics point towards something a bit more sinister. “There’s no further down from here,” can only imply you’ve reached rock bottom. So – the only way out is back up? With a single guitar line hook that references both The Cure (in tone) and The Jesus and Mary Chain (in construction) fans of those bands will surely love this.

Hit It ! - POP THREAT

“Hit it!” is a noise-fueled shorty that encompasses the rawness of The Ramones, with a “do, do, do do” vocal passage that’s pure JAMC. Guitar and bass trample the avenues of chaos and sludge, offering up total disregard for any rules of decorum.

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THE SUNDAY REEDS 

Distorted feedback intros a Mo Tucker-meets-Bobby Gillespie backbeat on The Sunday Reeds “Handgun To My Heart.” The deep and sultry vocals of Romana Ashton explain that when your “love was doomed from the start,” this is the best way to consummate it.

“Drop Dead Cool” is both harder and trashier. The snare drum has that deep echo on it that appeals on a number of levels. Powerful guitar riffs snake throughout as Romana deadpans lines like “hey kid you’ve got no blues – hey kid you got nuthin’ to lose” – but – it’s “drop dead cool.” Well alright!

Made Out Of Perspex - GIRL ONE AND THE GREASE GUNS

“Made Out Of Perspex.” A quicker, bass guitar and synth hook driven pop groove, the catchy lyrics “I won’t care about you, I’m an instant automaton,” get stuck in your head.

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Kubanskaya - THE MEDUSA SNARE

A previously never before released rave-up, “Kubanskaya” finds Manhattan Love Suicides alumni Adam fronting his own project here. With a vocal performance reminiscent of David J’s work with both Love and Rockets and solo, the track is quite impressive. A female voice joins Adam on significant passages, as the bass guitar driven rhythm powers it all along.

One Track Mind - HOROWITZ

Capturing the spirit of Johnny Thunders and The Heartbreakers classic anthem to nihilism, a near note and beat perfect rendition is executed here.  Jerry Nolan beats,  Johnny's and Walter Lure's guitar riffs - it's all there.  Those boys would be proud of this one.

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Nothing In Return - THE MANHATTAN LOVE SUICIDES

A quickly recorded Roky Erickson cover that has never been released anywhere else, “Nothing In Return” is a faithful rendition that gets to the heart of what the MLS were all about. The spirit of original Texas rock and roll and the psych-rock that it spawned (like viruses spreading in a biological horror movie) flows through this track. Special props go to Caroline for her impassioned vocals.

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Getting Faster - THE BLANCHE HUDSON WEEKEND A surprising 60’s keyboard/organ part steps out as the primary melodic accompaniment on “Getting Faster.” Underscoring how Darren and Caroline’s post Manhattan Love Suicides project expanded from the stripped down fuzzy guitar, bass, drums and voice only formula. Those other elements are still there in full force however.

Wasted - INSECT GUIDE

With an intro guitar tone reminiscent of The Jesus and Mary Chain’s “Some Candy Talking,” vocalist Su Sutton alternates between a sweet and sandpaper quality on this track. Spinning a tale of “wasting another night with you,” bright tambourine (meticulously placed) accentuate key moments as Stan Howells guitar layers add power and clarity to it all. “I go through charcoal grey – I go through black,” Sutton laments. “I go through charcoal grey – I’m not coming back,” she concludes.

Well - SUZY BLU

Suzy Blu takes on the Texas legend that is Buddy Holly in a truly inspired way.  Building their entire song around a single word sound sample of Holly's trademark "Well" - provides the necessary sonic gravitas for Suzy's own creative flow. After Buddy's initial "appearance," the track takes on a forceful minimalism of driving tom tom percussion accompanying storyteller vocals. Guitars emerge into the mix and serve to create an appealing level of tension throughout. The bigger move, however is a jacked up chorus featuring buzzaw guitar chords, matched throbbing bass, electronic handclap percussion and floating outerspace sounds. It's all pulled back together with the return of Buddy's "Well." The cycle repeats with enough incidental sonic variations to hold the listeners interest. The story being told focuses on the eternal search for love - or at the very least a compatible partner. While one may "find it easy to lie in the dark" the other challenges them to "play your part." "Do you want to sink or swim? Show me how thick's your skin!" If only Buddy were around to hear this.

This wonderful compilation can be ordered here.

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Additionally, Squirrel Records has a recent 7" vinyl release that is a pretty cool collectors item as well.

The seventh, and final single release from the mysterious collective Girl One And The Grease Guns

Here they bring you "The Shatterproof Man" b/w "A Steel Cat In A Glass Jar."  The disc comes pressed on clear vinyl in a transparent sleeve. 

The a-side is a vigorous slice of electronic pop, while the flipside takes you on "a 6 minute experimental journey into a creepy, Eraserhead inspired world filled with the sounds of factory machinery, and a feeling of dread."

That single can be ordered here.

Previous Squirrel Records features on this site can be found via these links:

True Independent Music Labels

Pop Threat / Dirt N' Dust 1999-2003 Album Review

The Insect Guide - Dark Days and Nights

The Blanche Hudson Weekend

ailsa craig - a silent no : 19-10-09

The Manhattan Love Suicides - Singles

The Manhattan Love Suicides - Burnt out Landscapes

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Pop Threat / Dirt N' Dust 1999-2003 Album Review

It's often an enlightening journey to trace the roots of musicians you discovered at the point in time you did.

Such is the case with the band Pop Threat. Having become aware of the principal musicians involved during their second phase with The Manhattan Love Suicides - through their present incarnation with The Blanche Hudson Weekend - I was intrigued to hear they would finally be releasing a retrospective CD of their earlier bands works.



Now in possession of the recently released "Dirt N' Dust 1999-2003," nothing short of a full review of all 23 songs on it will do.

What saves previously unreleased album opener “One Track Mind” from the potentially monotonous experience that a “one chord” composition might suffer from is what’s moving around it. Specifically, the descending bass line and vocal “do – do, do do’s.” Then there is the power charged doubletime stomp section the song keeps going back to. Everything about this song suggests forward motion. You most-likely wouldn’t even be aware that it’s “only one chord” – if it hadn’t been spelled-out in the liner notes.

“So It Seemed” blends fuzzy Darren guitar with Caroline’s upfront, effects-free soft vocals and tickety-high-hat percussion.

The wonderfully titled “Sugar Fuck” comes at you with explosive guitar chords, whose bombast make listening to Caroline’s vocals not as easy as your typical pop song.


Four complete tracks from the album can be heard here:
http://www.myspace.com/popthreat

“Ripen” has Caroline more prominently featured and sounds more like the wonderful pop music of Tracey Tracey’s Primitives and the lovely English pop of that era. Caroline’s voice is up close in your ear, creating a pleasantly intimate listening experience. The repeated vocal refrain of “I wanted to be somewhere else” is catchy and charming. Darren’s clean guitar sound hearkens back to prime era Cure. There is also a long single keyboard note (played by the band's drummer Mick) that provides additional texture. A spoken word section of the song is accentuated by Darren's guitar noise run through a fuzz pedal and placed further back in the mix.

“Monochrome” (8 track demo) is full on razorbuzz guitar, 4/4 thunder drums with Caroline’s unmistakable vocals, passionately delivering a lyric heavy story. It’s overall mood (and power) is not dissimilar to what A Place To Bury Strangers frequently do.

The amusingly titled “Sludgy” is actually not really as much of a sludge-fest as one might expect from this name. The vocals, guitar, bass and drums can all be heard rather clearly. “It’s easier just to shut my eyes, than to watch you slide” is Caroline’s repeated vocal hook.



“D 4th S” (demo version) finds the band dipping into the experimental waters first explored by The Velvet Underground in the late 1960’s – and then again by Brian Eno during his pop solo career in the 1970’s. The warbly guitar work is prime “Taking Tiger Mountain by Strategy” era – specifically “The Great Pretender.”

“Filth” is a sheer wall of buzzing, hissed-out guitars filling all the open spaces of the sonic spectrum, while clean bass and drums throttle the progression forward. On top of that is Caroline’s un-effected lyrical recitation. The occasional pause, then guitar driven restart points towards the bands self-admitted Sonic Youth influences.

“No Way Out” swings a bit more, with poppy vocal “wha, ah, whoah, oh, oh’s” and “whoah, whoah, whoah, yeah’s.” It also benefits from a multi-tracked, centrally located Caroline vocal segment.

“Vivia” takes the pop song progression and twists it in unsettling ways by way of the guitar sound choices. Alley cats howling late at night might be one way to describe it. Meanwhile the vocals trudge forward, oblivious to the sonic subversion going on all around this otherwise straightforward pop song.



“Towards An End” has an opening narration taken from the 1950's film "Yield To The Night" – something that has become a recurring occurrence on Darren’s music – that, if anything, is used even more today with his current project – The Blanche Hudson Weekend. The sampled vocal clip is from Diana Dors (who, I've been told was England's answer to Marilyn Monroe). The song itself is a beautiful piece of gentle pop, with Caroline’s soft vocals as the dominant focus. Keyboard synth strings are initially the strongest musical presence – ultimately giving way to guitar textures that slowly rise up in the mix.

“Hit it!” is a smile inducing shorty that encompasses the rawness of The Ramones, with a “do, do, do do” vocal passage that’s pure JAMC.

The added white noise textures of tv static finds its way onto “The Last Resort” (because the band felt everything else was a bit too sweet). This certainly roughs up what is an otherwise clean and straightforward pop song. The structure shows thought and care, however, as there are some interesting chord changes and tempo shifts involved.




“Cheap and Vulgar” is fast and furious, capturing the energy that only live-in-the-studio can produce. The raw, aggressive punk feel of Iggy & The Stooges (Raw Power era) is fully represented here (especially in the slashing guitar chords and shouted vocals).

“Cheri” shows Caroline presenting the kind of lyrical story about some lost waif that would also become a recurring theme through the songs of Manhattan Love Suicides and currently with Blanche Hudson Weekend.

“Falling Spike” brings back the anthemic and glorious, with those ever satisfying “do, do, do do’s.” Of note is Darren’s guitar tone, strumming and chord selection – which brings to mind the playing of John McKay on Siouxsie & The Banshees first studio album “The Scream.”

“Sludgy” returns, this time as an 8 track demo version. It’s even less “sludged out” than the earlier studio version and pretty clear to listen to. Caroline’s vocal hook refrain is catchy and tailor made to sing along with.



“Amarantal Meltdown" finds Caroline ’s vocals filtered through heavy effects. The first instrumental break kicks in with force and aggression. The guitar chords are strummed fast and furious, while other guitars are manipulated in unconventional ways, creating a myriad of whistling-like sounds. There’s also some Beatles/Hendrix-like backward tape looping against Sonic Youth-style chiming chords.

“Dark Black” comes at you with the lyric “there’s a fine line between hate and hate she said.” Surely this is a much finer line than the one between clever and stupid. Violins, violas and other plucked instruments appear on this delicate number, showing a depth and range within this band’s compositions that one might not expect, based on their other recorded works.

“Reverse Expectant" (8 track demo) is a straightforward rocker that employs the sound of glockenspiel plinks (currently in vogue again now, due to the popular band Cults use of them on their latest album). It’s true that this instrument adds an uplifting sonic texture. Other sounds emerge later on in the song – theremin-like squiggles for instance.



“It’s the Police” brings back the chaos via shredding guitars and shouted, obscured-thru-megaphone vocals (delivered this time by the bands bassist Juliet). It’s a trashy raveup with equal parts Sonic Youth and early Iggy & the Stooges spirit.

“Ingrained” comes at you with clean guitars and easily understandable vocals. “The best is over now,” Caroline sings. The more experimental guitar work returns for the chorus, however.

The albums final track – “Rediffusion” opens in anthemic fashion - with solo buzzing guitar, allowing Caroline ’s doubled vocals to tell the impassioned tale. “La, la, la, la” is the simple (yet oh so effective) central hook. Layered buzzsaw guitars create a textured sonic bed that builds successively, until everything rises to an emotionally charged triumphant conclusion.

With that, this wonderful collection of songs is over.



For anyone who has ever loved the bands I mention in this review (and quite frequently in general) – the Jesus & Mary Chain, Sonic Youth, Iggy & The Stooges – or the other incarnations of the principal members of this band I have written extensively about over the years – The Manhattan Love Suicides, Blanche Hudson Weekend and Ailsa Craig – you will absolutely love this album. You owe it to yourself to go out and pick up a copy of this.

Do it.

Do it now.

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For further reference (including how to obtain this album) follow these links:

http://www.squirrelrecords.co.uk/pop-threat/dirt-n-dust

http://davecromwellwrites.blogspot.com/2010/04/blanche-hudson-weekend_26.html

http://mog.com/blog_post/content/4016/2608678

http://davecromwellwrites.blogspot.com/2010/02/ailsa-craig-silent-no-19-10-09.html

http://davecromwellwrites.blogspot.com/2009/01/manhattan-love-suicides-singles.html

http://davecromwellwrites.blogspot.com/2008/08/b.html

http://davecromwellwrites.blogspot.com/2010/10/insect-guide-dark-days-nights.html

The Manhattan Love Suicides - Singles

The Manhattan Love Suicides are a band who's movements I follow very closely these days.

Having become aware of them over a year ago, I've quickly become a fan of everything they've done, past, present (and most likely) future.




Earlier in the year, they released a brilliant compiliation of their best work to date, the much hearalded "Burnt Out Landscapes".

You can read a detailed review of that album here:

http://davecromwellwrites.blogspot.com/2008/08/b.html

In the latter half of 2008, they also released 4 new songs, on two separate 7" Double A Side singles.


Here then, my review of those songs:

VERONICA b/w THE 10th VICTIM is a Double A Side 7" Single
released on Squirrel Records in early Autumn of 2008.




The first time I heard "Veronica" was after watching a recorded performance of the band playing at a Rough Trade live instore performance from this past August. Sharp DJ Rocker Rosehips (who does a radio show for Dandelion Radio at http://www.dandelionradio.com/) had the good sense to not only capture the show, but to post it up on the internet for those of us who couln't be there, to see. I instantly was hooked on the driving, poppy rhythm. I wasn't sure what Caroline was singing in the chorus, however. At first I thought it was "Oh, oh, America". Then I heard Rockers video capture of the same song from their Indie Tracks show recorded a month earlier and thought maybe she was singing "Uh, oh Erotica". I liked it either way - because like most great music (for me) - its more about how it sounds, than the actual words.

Last month my special edition vinyl copy of the song showed up in the mail. Having already been informed of the songs correct title (and the word Caroline was singing) I eagerly flipped it on my newly acquired turntable.



Naturally, the studio recorded version is brighter, crisper and with all the detailed instrument separation you'd expect to hear. Overall it's a much cheerier song than many of this bands more darker and dissonant pieces.

From the opening note, guitars fill the sonic space with buzzing chords, while a poppy melody line is driven over top. Add to that a counterpoint bassline that is positioned prominently in the mix, and I'm reminded of the sonic textures that The Cure have been sometimes known for. There is a real, solid drumming bottom to this track as well, with emphasis on the driving floor tom, and tambourine-on-snare shot.

Darren adds guitar-hook melody lines over top - in a sonic texture not unlike the aforementioned Cure, or perhaps that sound Depeche Mode got on their song "Personal Jesus".



Caroline's voice is bright and clear on the verses. Presenting the story in classic pop song sensibility.

The stick-in-your-head-to-sing-over-and-over hook is, or course, the Chorus which simply goes "Oh, Oh, Veronica" Combine this catchy word combination with the twangy lick Darren is playing and you'll be sure to be humming this one long after the song is over. The bass is quite prominent in the mix, and that's a good thing as it provides that driving Simon Gallup counter-rhythm that is such an integral part of *that* band's sound. Of note as well is the emergence of true cymbals on the chorus too. A noteworthy sound addition as frequently, the overall MLS sound can be quite minimal, percussion-wise.

Since I was fortunate to get the songs lyrics directly from it's writer (Darren) I include them here for maximum effect:

She don't need no friends and that's ok
Says she's gonna take a plane and live out in the USA
And nothing's keeping her inside this place
'Cos she exists outside of time and space
Try to shut her in and that won't happen
Try to hold her back she's on the run

Oh oh Veronica

Living in a world of feedback and white heat
She gets what she wants out on the street
The world keeps turning round but that's alright
Looking for kicks in the heart of a Saturday night
Hit the brakes before you've even started
Everything you do is a waste of time

Oh oh Veronica





"The 10th Victim" is the antithesis of "Veronica". A dark, driving, ominous, dirge-like song. The bass guitar marks out the progression in bold, simple strokes. Darren matches this rhythm with single-notes on the guitar, in addition to his familiar chord work.

Caroline's vocals are right out of the Nico-with-Velvet Underground school. Her voice is eerily doubled for a slightly off-kilter, impending-doom style. Yet, at the same time, there is a seductive smoothness to her delivery.

The Drums are Mo Tucker simplicity, with that big tambourine strike on every fourth beat.
Darren's guitar soloing hearkens back to that same mid-1960's VU sound. I'm also reminded of another band with a similar soling style at the time -The Byrds and their song "8 Miles High". That band (which featured guitarists Roger McGuinn and David Crosby), no doubt, heard what the Velvet's were doing and incorporated this soloing style into their own. It's a tension filled, near-psychedelic style. Other guitar bands of that same era that employed this guitar style was The Buffalo Springfield. That band just happened to have a very youthful Neil Young and Stephen Stills on guitar.

The Title comes from a typically Manhattan Love Suicides style movie - a 1965 Sci-Fi Action Thriller about a 21st century society where people have a licence to kill. Marcello Mastorianni plays the most successful killer and then his number comes up as a victim. Marcello must always be on guard. The hunter after him is the beautiful Ursula Andress, always dressed in knock-out fashions. Marcello's as cool as ever, always dressed in black, wearing sunglasses.


Shortly thereafter, the band released another Double A Side 7" Single
KESSLER SYNDROME b/w DON'T LEAVE ME DYING,
also on Squirrel Records (Released NOV 2008).




"Kessler Syndrome" comes right out of the box in full-on pop-hook-riff mode. Quick and anthemic, the riff is bouyant (dare I say, sounding "happy"?) - yet the guitars tone and timbre are (once again) harsh and metallic, and the bass is dominant in its rubbery lines (with those long sliding notes that Douglas Hart and Kim Gordon like to play), contributing to the overall rhythm.
Caroline's vocals start, and its that familiar cominbation of part-punky/part-sugary style delivery (I love the way she says words like "away" and "stay") for the opening 8 bar verse. This then leads into an equally hooky bridge - one that conjures up spirits (and the bridges) contained in songs like The Bobby Fuller Four's classic "I Fought The Law (and the law won), and others similiar of that era.

But what is the song actually about? Well, in the world of science and space exploration, "The Kessler Syndrome" is a scenario, proposed by NASA consultant Donald J. Kessler, in which the volume of space debris in Low Earth Orbit is so high that objects in orbit are frequently struck by debris, creating even more debris and a greater risk of further impacts. The implication of this scenario is that the escalating amount of debris in orbit could eventually render space exploration, and even the use of satellites, too prone to loss to be feasible for many generations.
What might this actully have to do with *this song*? Only the author knows that. I've been informed that these lyrics came from the mind of bassist Adam. That he tends to write stuff that's a little deeper than the trashy lyrics about guys driving too fast and girls having affairs with their teachers that Darren and Caroline come up with.

"You say we should try and stay and fight for what we're worth , but that would only add to all the debris that is orbiting the earth" are some actual lyrics.

I'm inclined to believe that perhaps these lyrics are in fact a metaphor for, perhaps a personal relationship that is too cluttered with "debris" (of the human, emotional kind) as to render any further growth to remain "feasible".

Actually the real question should be, why the heck am I intellectualizing a [ ] minute pop song?
Back to the opening riff for another 4 bars. Then verse two. Carolines sings about being "pushed away" and that there is "nothing more to say". "I know I can't stay here anymore"
Then another - different change here - leading up to a half-step up in the key for the final verse.
In the end it doesn't really matter what its about. I can (and want) to dance to it.






"Don't Leave Me Dying" rises from distant feedback, suddenly to a driving, Spector-sonic wall-of-guitars and bass (throttled down in an aggressive manner) as a hooky riff twangs out over top, adding a distinct melody to it all. Vocalist Caroline begins the lyrics in that familar soft-as-snow voice - almost like Bowie does in his classic track "Heroes". However, the pulse and aggression in the music behind it is "Heroes" ampted up on amphetamines - whipping around on a rollercoaster that's just this-close to teetering out of control. Caroline alternates "Crying" with "Dying" at times ("don't leave me crying"). This song is bits of 60's girl-group vocals, bright, chiming 60's-style guitar, driving throttling bass, very poppy and hooky - but way too bathed in overdriven guitars to be ever confused with anything "sweet". In fact, its unapologetically abrasive in its straight-ahead driving nature.

At this point, it should be pretty obvious how highly I regard this band.

If you like fuzzy guitars, sweet/sultry female vocals, dominant basslines and songs that encompass a 1960's sensibility coupled with a cinematic menace, then you owe it to yourself to check out The Manhattan Love Suicides.

Find them at these links:


http://www.myspace.com/themls


To order the records directly:


http://www.squirrelrecords.co.uk/

The Manhattan Love Suicides - Burnt out Landscapes - Review

The Manhattan Love Suicides have released an epic 27 song compilation that contains every significant song they've released so far - and then some. In addition to their amazing singles, there are a number of radio station performances that were recorded live and on the fly - as well as additional bonus previously unreleased tracks. What follows here is a complete track-by-track analysis of each song.

The collection opens with a new, previously unreleased “exclusive track” titled “Jonny Boy”, and it is a stomping good time. With guitars that sound like the spirit of Johnny Ramone is flowing through them, the initial progression and rhythm makes me think of that 50’s song “Bristol Stomp”. You know, the one that goes “all the kids in Bristol are sharp as a pistol - when they do the Bristol stomp” Great, simple drumbeat with sweet tambourine on the snare shot. “Now I know he’s my fallen angel” lead vocalist Caroline sings. She goes on to tell the story of how “people stop and stare” but that she “doesn’t care” - and I have to state right here and right now that I love Caroline’s accent. Its Northern England, Leeds area - and its absolutely delightful to me. The time/tempo doubles on the chorus where Caroline sings that she “loves him so” and that he’s here “pride and joy” and is, in fact, her “Jonny Boy” - do, do. it’s a very cool homage to the classic Shang-ri-La’s style 50’s teen-love song. But - modernized and run through the Ramones filter. In other words - awesome.

“Clusterfuck” has to go down, by the way, as my all time fave song title. Because its an expression I use all the time. It just describes, far too often, the best laid plans of men. This song, however, is not. It is correct in every way. From Darren’s opening guitar strums (in classic Pete Townsend /Who “I can see for miles and miles” style) - through the thundering drums - and additional wall of harsh fuzzy guitars - as Caroline is boosted to perfection in her vocal mix - singing a song with lyrics as unabashedly cool as “I wanna know what you’re doing. I don’t care if its legal”. Add building to a throbbing bass guitar and drum heavy cresdendo. Its music for driving fast in your car - convertible of course - and top down, naturally. Blasting from the speakers - hells bells and balls out. Walls of guitars and sweet vocals that morph into multi-track goodness. The chorus is so hooky - and the guitars are so harsh. Three minutes and 12 seconds of pure bliss. Check out the video for this song here:
http://www.youtube.com/watch?v=pDH9UfE9SMo

“Cracked Open” features the same full on feedback laden and distorted guitars, and percussion-wise a tambourine is featured high in the mix - but the vocals are much less processed and “clean” (as least on the verses). On the hooky bridge, Caroline’s voice is doubled and works well. This one nods to the great Jesus & Mary Chain for inspiration. I like the way Darren’s single guitar line echoes the vocal line in unison behind it.





“Sycamore Peripheral” has stripped down “early band” feel to it. The percussion is very minimal, pretty much tambourine only. Full wall of guitars, though. And Caroline’s clean, unaffected vocals. What remains a constant is the streamlined songwriting, and always a catchy, instantly recognizable vocal hook.

“Detroit Diesel” is full on aggression. Shards of distorted guitars clash against clattering drums and cymbals. The buried-deep and layered voices-on-intro reprises as the audio hook. There is a strong “wooo wooo” sound that envelops this “audio hook”. Reverberated joy at a quicker, more agitated pace.

“Keep It Coming” hold a special place for me, as it was the very first MLS song I had ever heard. And when I did hear it my mouth dropped open and I couldn’t believe my ears. It was such a beautiful, familiar sound. From the opening feedback and tambourine-on-reverb-snare-drum that compliments the downward slashing guitar chords, it was love at first listen. “Looking at the tv, it’s never gonna free me” Caroline sings with just the right amount of ambience surrounding her voice. The chorus is just so simple and powerful. Sure it nods to the Mary Chain’s “Some Candy Talking” - and they capture *that* emotion so well. The second verse finds Caroline’s voice multi-tracked just enough when she sings “he’s looking just as fine as he could be - you should have heard the things he said to me”. Its gorgeous chorus again and then a brilliant change which cleverly bypasses one influence and instead references Mr. Dylan’s “Tambourine Man” making it all their own as Caroline states, “I dunno, if I’ll leave it all behind, I’ll be back some other time, out of space and out of mind” - all the while Darren slashes brilliant chiming chords behind it all. A masterpiece. Check out the video for this song here:
http://www.youtube.com/watch?v=N6VikL-GTtw




This albums version of “You’ll Never Get That Guy” comes from the bands WOXY Radio Live Session tracks recorded in Austin, Texas in March of 2007, as part of showcase arranged by their label. All of the WOXY tracks were blasted out live at breakneck speed. A true testament to the bands live playing abilities. This particular track is solidly anchored by a thumping drum pattern. The guitars start in time with the vocals and they are a wall of buzzing bees. Enough to make both Sonic Youth and My Bloody Valentine proud. After Caroline sings “we’ve got nuthin’, but that’s okay” you can only make out every other line or so. Its buried into the mix at Belinda Butcher levels. “When you’ve got sunshine, we’ve got rain - you’ve got pleasure, and we’ve got pain - Its alllllriiiiiight”

“Extra Medication” was originally included as a bonus track on the vinyl version of their debut album, and is a Ramones-meets-The Primitives style pop ditty that features a simpler and cleaner recording approach. The vocals are up front with little FX on them. The guitars are still rude but with less fuel-injection. What is unmistakable is the catchy hook of the chorus, which states how “the temperatures getting higher” and “can no one release the pressure?”

“Head Over Heels” slows things back down a bit, with the classic Ronnettes-style drum pattern kicking it all off. Darren’s vibrant guitar strums down between two chords as Caroline begins a classic “leader of the pack” story about “a guy called Bobby” who is “kinda wild”. But he’s also got a “leather jacket, dirty boots and a million dollar smile”. Wait a minute - did Darren write this about himself!?! It hardly matters for when the full band kicks in, it is the perfect blend of reverbed-tambourine percussion, with Caroline’s vocals doubled to perfection. In classic homage to those wonderful girl-group songs from the early 1960’s, bad-boy Bobby would not listen to warnings of driving his car in the rain, which can only lead to “twisted metal and broken glass”. What follows sonically, however is something magical. These brilliant orchestral strings that give this band a lushness unheard of before.



“Kick It Back” opens immediately with the most infectious hook. Fully instrumental with noise textures laden throughout. When Caroline does start singing, its perfectly placed. The noise elements don’t really subside but the vocals never feel overpowered by them. Great “do, do, do, do’s” ride over top of the hooky reprise. The chord progression rises as the noise does too. Now we are on to some creative songwriting and studio usage. The song has an almost Scottish folk music feel - if it were then run through Sonic Youth’s washing machine. High points are risen to with one more guitar chord, as it ends on equal parts power chord and noisy squall.

“Autumn Fades In” strips it all back down and removes the feedback, as Darren’s guitar is clean and unaffected. Chiming between two chords in classic Velvet Underground “Heroin” style, the third chord is eventually arrived at. Caroline sings with a cathedral reverence over the stark background. On to the change and a Darren’s single guitar line drives behind it all. “And do you know where you’re going?” Caroline asks. Next pass through and you can feel the tension building. The sound textures chime in and the voices are now panned from left channel to right. The overall sound builds and builds as voices cascade to a near-religious experience.

“Orphans” points back to the bands early beginnings, as they covered Lydia Lunch & her Teenage Jesus and the Jerks classic punk opus. Here the band strips it all down to the most basic jungle-dweller pounding on a log beat (in this instance, a snare drum) while rude feedback drones above it. To add further “punk rock” insult-to-injury, Sonic Youth-style scratching of an additional guitars strings joins the jarring, discordant, dissonant, hellish cacophony. Caroline delivers the Lydia Lunch vocal cadence (which Sonic Youth's Kim Gordon has delved into at times) which simply takes it all over the top. The guitars are equally rude and oddly satisfying. I have discovered that this guitar sound was created by ramming a drumstick Thurston Moore style under the strings and playing the guitar with a 2nd drumstick.





Though “Never Far From You” also starts with feedback, the vocal stylings are far more melodic. Again looking to the “Psychocandy-era” for spiritual guidance, this track has all the power and style of “The Living End” (especially rhythmically) all the while taking it in a new direction by way of Caroline’s vocals and unique melody-line. Of note is Adam’s sturdy, pulsing bass-line. This is even more noticeable when hearing this song live. The band has put out a solid video to go along with this song. You can view it here:
http://www.youtube.com/watch?v=tKDTAtYBkfQ


Back to the WOXY sessions for “Suzy Jones” and the thundering tom-tom drums opening is only matched by Darren’s slashing power guitar chords. Caroline sings in seductive baby-doll voice on the verses, and more forceful on the chorus. Its amazing how good these live-in-a-studio tracks sound. It really shows you how tight and how good of a live band this is. Ear-pleasing “do, do, do, do do, do’s” ride over the top of ferocious guitars and full-throttle drumming.

“Way Out of Reach” blends a touch of organ behind Darren’s signature feedback opening as Caroline begins to sing in that intoxicating Tracy Tracy of The Primitives “Crash” voice. Which underscores the unmistakable appeal of The Manhattan Love Suicides. Sonic reference points all lead to the best things that have come out of the 80’s and 90’s music - all the while forging their own way in these, the latter stages of the 2000’s.





I have had the good fortune of experiencing “Heat and Panic” in its rightful place during one of their live shows - as the closer. To say the place goes crazy during it is an understatement. This one also relies heavily on a very strong bass guitar propulsion. Caroline tells the tale of “the same old story” of how a “girl meets a boy that she pledges to adore” where they “spend time laughing and holding hands, swapping records of their favorite bands.” Besides this great girl-boy-fall-in-love-and-have-fun story, what’s truly brilliant are the sonic bursts of guitar squalls that punctuate each pass through the progression. The song just goes out in a guitar noise orgy and the band dutifully throbs on and never loses the beat. As good as this studio version is (and it is good) - live the the best way to experience this one.

“Last Stand” is based around a descending chord progression that employs chiming guitars and straightforward drums. Carolines vocals are sufficiently murky, pointing more towards the rarely-intelligible Liz Frazer of the Cocteau Twins, than Belinda of My Bloody Valentine. There is a wonderful strain of feedback guitar underneath before the true wall of guitars buzz saw begins. Float over top all of that a William Reid-esque melodic guitar hook and the chills begin. The bass throbs as reverebed vocals submerge any semblance of “lyrics”. Its all emotions and vibes. Short, sweet and wonderful. Not a note wasted or out of place.

“(The Guy On The) 14th Floor” brings us back to the WOXY sessions and is a feedback introed, thumping drums, twangy guitar encrusted rave-up that would not be out of place on one of The Cramps albums. “Take a trip with the guy on the 14th floor” sings Caroline. That dude must be cool. Speaking of cool, the central instrumental breakdown has Darren scratching rudely over top of booming, echoy drums. Sweet.





“Burning Wire” flips the coin and now leads with an ascending bass line and “clean” tom tom and snare drum. However, as the vocals start, so too does the shards of guitar assault. It is then a quick kick up to double-time on the snare drum providing further forward motion. All who love My Bloody Valentine will certainly love this one as well. The second pass through the verses finds Caroline providing secondary response lines to her lead vocal lines. Quite a lot packed into an under (yes, under) 2 minute song.

“Dazzle The Blind” reverses the polarity yet again as a descending Simon Gallup-of-the-Cure-like bassline presides over two repeated snare-drum shots marking out an alternate pattern. It all chances as the verses start and in tandem with Caroline’s more reedily-processed vocals comes a bright and angular guitar lick over top, as an energetic tambourine fills out the higher end sonic frequencies. A very hooky, vocal passage follows all that, owing more to 60’s era girl-group than anything else.

“You’ll Never Get That Guy” is one of the truly great songs this band does. Coming at a somewhat slower, slinkier pace, the lyrics are easily understandable, as Caroline’s vocals are really featured here. “When I’ve got sunshine, you’ve got rain - I’ve got pleasure, and you’ve got pain” but “that’s allll riiiiiight” is how the early part of the story goes. But there is tragedy lurking as the hook is arrived at with the discovery that “no matter what you do, and no matter what you say, and no matter how hard you try, you’ll never get that guy.” “This is how it feels to have a heart attack” Caroline continues. “And you’ve got nothing, but that’s ok - nothing could be something if you give it away” is the brilliant twist on a familiar word combination.





“Thinking is Killing Me” is one of those songs I instantly connected with. Bathed in a glorious droning wall-of-sound that is at the same time separated by the spaciousness of tambourine-on-snare percussion - and more significantly driven by an incredibly hooky guitar line over top of it all. Caroline’s vocals are smooth and cathedral-like. The way Simon used to get Garfunkel’s. A choir of chill enducing goodness. What Brian Eno heard as a child when his parents put The Ray Conniff singers on. What he called the “lush, soft, silky quality”. She takes it to an even higher tone and texture on the subsequent verses. Yes, there are echos of the Mary Chain’s “Happy When It Rains” (and thank you for that) - couple that with Kevin Shields Bloody Valentine twisted wall of sound and Caroline’s blissfull “doo, doo, doo’s” and you have a near perfect song.

“Things You Never Done” dip into the WOXY sessions once more, and again I marvel at how well these “live” tracks sound. This song is a full on Ramones-eque thrasher -- yet so cleanly recorded. With Caroline’s voice clear, concise and distinct. Just a hint of reverb on , this one shows just how well Caroline can get all of those (densely packed) lyrics out. There’s barely any space for her to take a breath (or even worse, the standard sip on her beverage between bursts of singing, that is her live show trademark) “Whoah, whoah,” indeed.

“Wolves” intros with the time-honored traditional Ronnie Spector beat, coupled with Velvet Underdground-meets-JAMC-clock-on-the-wall guitar chords, as a breathy voiced Caroline sings up close in the mix about how “summer settled in, feel it warming up my bones - and I remembered my dreams for the first time since the wolves left us alone” sung in a cadence that is reminiscent of Neil Young’s “After The Goldrush”. The next few lines are similarly placed, in a stark and spacious soundscape. That is until the buzz saws begin and the tempo quickens. Multi-layers of guitars drive it all forward, as fuzzy distorted instruments are panned wide in the mix. Then its back to the ‘heroin-esque’ quiet plateu - until the buzzing bees return coupled with a dominant rhythm guitar driving it all along. A most unique song!






“Sitting Target” is a feedback and tambourine tour-de-force that brings to my mind the best of “Love & Rockets” (circa “Earth, Sun, Moon”). Caroline delivers the lyrics in a semi-sneer and taunting sing-songy way. “There’s nothing you can do that will satisfy me” she sings. The feedback is all sonic texture underneath and never actually stops throughout. I’m impressed by the way feedback can be used as an actual changing melody.

“Finding The End Of the Line” is actually a collaboration with another artist - Random Number. It is like nothing else they have done. Completely electronic, the music is devoid of any “traditional” instruments. No guitars, basses or drums - well, maybe there is a guitar in there, but its not played in any way the band has done prior to this. The basic structure or essence of this piece is what some would call “techno” or “house” music. Since I’ve also been into the true electronic pioneers like Kraftwerk, Tangerine Dream and Brian Eno for years - and then their pop evolutionary offspring like Depeche Mode or their harsher counterparts like Nine Inch Nails or even Ministry - its no great leap for me to “get” this music. Think David Bowie’s evolution from first “Ziggy/Alladin” - then “Station To Station” - then to “Low”.

“Life in Vain” closes out the collection with the band covering a Daniel Johnston song - but (as always) with that classic MLS sound - driving bass guitar - chiming downward driving guitar chords - tambourine-on-snaredrum - rude feedback shooting throughout - Caroline’s doubled, slightly reverebed vocals - hooky guitar line on top of it all - murky tom toms in the mix (whether real or implied - I hear them buried in the over and under tones) “where are we going to?” asks Caroline.

Quite simply put, this is an amazing collection of songs. For anyone who loves Sonic Youth, The Jesus & Mary Chain, The Ramones, My Bloody Valentine and The Primitives (like I do) -you owe to yourself to get this record. You will not be disappointed.

Find out all about the band here:

http://www.myspace.com/themls

You can order the record here:

http://www.squirrelrecords.co.uk/

Or from those handy Amazon sites:

http://www.amazon.com/Burnt-Landscapes-Manhattan-Love-Suicides/dp/B001BRZ53S/ref=sr_1_1?ie=UTF8&s=music&qid=1219844048&sr=1-1

http://www.amazon.co.uk/Burnt-Landscapes-Manhattan-Love-Suicides/dp/B0019BC34U/ref=sr_1_1?ie=UTF8&s=music&qid=1219882901&sr=1-1