It's that time again - time for a review of my favourite tracks this month! Today's blog post will, as always, showcase a real mixture of different tracks from different genres, so no matter what you're into, you should discover something that you like! Keep reading for short, snappy reviews of an acoustic remix, a French song from a French musical, a little-known (at least in the UK) cover of a famous hit, a piece of electronic-rock awesomeness and a YouTuber's musical video response to a vlog by another famous YouTuber (Basically, YouTube-ception!) ...Erm, yeah. I told you that there was going to be a real mixture of music!
#1 - 'Everlong (Acoustic)' by Foo Fighters
If you're looking for a song to relax to, then look no further! This acoustic rearrangement of the high-octane, loud and heavy hit 'Everlong' couldn't be further in tone from the original. With calm vocals, softly strummed chords and a quiet, consistent bassline, this track is more relaxing than a holiday in The Bahamas. Probably. In fact, I prefer this version to the original - the tender, serene sound of it fits the romantic lyrics a lot better than the all-guns-blazing single, and it sounds a lot different to anything else that Foo Fighters have produced, showcasing a rarely seen aspect of the band's sound.
#2 - 'Pour la Peine' - 1789 Les Amants de la Bastille
As someone who's more than a bit obsessed with the French Revolution, I could barely contain my excitement when I discovered that a new musical has been taking France by storm, based on that very subject! I've spent the last couple of weeks listening to the soundtrack from this musical nonstop, and I can definitely understand the hype that surrounds it across the Channel in France! 'Pour la Peine' is a fantastic example of what makes this musical so great - with a beautiful instrumental arrangement combining old and new sounds, perfect vocal harmonies and uplifting lyrics like "In the name of our free thinkers...We must be able / To change history", the track portrays the emotions and beliefs of 1789's revolutionaries perfectly, and it's a fantastic (and catchy) song that you can listen to again and again! (And feel free to use this blog to do so, as the song is embedded below!)
#3 - 'Video Games' - Louis Delort
A good cover is one that takes a song, and combines the feel of the original version with the individual sound of the cover artist. A great cover is one that makes you like a song that you never liked before. Louis Delort's cover of 'Video Games' does both of these things. I've never been a fan of Lana Del Ray's music, but when I heard Delort's cover of her hit single 'Video Games' I instantly fell in love with it! Delort's singing style is absolutely unique (and it's unsurprising that he managed to become a finalist on France's TV singing show 'The Voice: la plus belle voix') - there is a beautiful tone to his voice, and he sings every word, especially on this cover, as if he completely means it. His laid-back but emotional style captivates audiences and sounds completely unique. His cover of 'Video Games' shows his potential, and I have no doubt that the UK will be hearing from Louis Delort soon!
#4 - 'Professional Griefers' - Deadmau5 ft. Gerard Way
Everybody knows that moment when you hear a song on the radio, and you just HAVE to find out its name and listen to it again. And again. Well, that is exactly what happened when I first heard this phenomenal track from Deadmau5 on Radio 1 on Christmas Day. The song presents a blend of the high-octane party vibes found on the latest studio album of Gerard Way's famous rock band My Chemical Romance, with the cutting-edge electronic sounds pioneered by Deadmau5. The result? 4 minutes of electro-rock heaven.
#5 - 'Do It Anyway' - Liam Dryden
And on the topic of YouTube, I'm sure that many of you will remember the video posted by YouTube superstar charlieissocoollike a month ago, in which he told his audience of over 1,700,000 subscribers how much pressure he feels to create good content. This video, with the simple and honest title 'I'm Scared', has received literally hundreds of supportive video responses from other YouTubers. One of these responses was from littleradge (a.k.a. Liam Dryden), and was his cover of 'Do It Anyway' by Ben Folds Five. I love this song for two reasons. Firstly, it is musically amazing. Completely a cappella, Dryden's arrangement consists of up to nine videos of himself singing different parts of the song, layered on top of each other. The immense amount of meticulous planning, recording and editing that must have taken place to create this song is just mind-boggling. And the message of the song is even more inspiring. The lyrics appear to be based on the poem, also called 'Do It Anyway', by nun legend Mother Theresa, and they tell the listener to express themselves freely despite what others may think of them. My favourite lyric, and one which I think sums up the message of the song, is "You might put your love and trust on the line / It's risky, people love to tear that down but let 'em try / Do it anyway / Risk it anyway". And if you have any doubts at all about the awesomeness of this song, you can listen to it anyway, right here... (See what I did there?)
What tracks are 'Hot Right Now' in your world? Leave a comment below with your current top 5 and I may review some of them on this blog in the future!
PsyD
P.S. Huge thanks to everybody who has read this blog in 2012, and especially to the bands that have posted links to my reviews on Twitter, Facebook and other websites. It's great to see that people are enjoying reading my posts as much as I am writing them! I'll be back in 2013 with more reviews and articles on everything musical. Until then, have an awesome New Year, and thanks again for all of your support!
All the latest and greatest in the exciting, ever-changing world of music!
Friday, 28 December 2012
Friday, 21 December 2012
Canterbury: Heavy in the Day
As promised (a long, long time ago) here is my review of Canterbury's awesome album 'Heavy in the Day'!
Upon listening to Canterbury's debut album 'Heavy in the Day' for the first time back in September, my main thought was 'Why isn't this band massive yet?'. Months have passed since then, and I've been lucky enough to see the band live this month at The Sugarmill in Stoke-on-Trent. The question still remains. So many bands create debut albums that sound too much like their influences and fail to create something new - But not Canterbury. Their music is like nothing that I've ever heard before - they have an individual, signature sound, and they put across this unique sound and energy on a live stage as well as they do on their fantastic album 'Heavy in the Day'. If you buy any album before this year ends, this is the one to get. You will not regret it, I promise!
Highlight of the album:
Pretty much every track on this album is outstanding, in my opinion, and most of the songs on 'Heavy in the Day' could easily be released as successful singles. My personal highlight is 'Calm Down', as this is the first Canterbury song that I heard - the song that made me think 'Wow, this band have got something special going on, I need to listen to some more of their songs'. It has killer riffs, a chorus that you can't help but sing along too, awesome vocal harmonies and it basically makes you want to get up and dance! 'Ready Yet?' is another similarly ace track - a three-minute-long rock song with swagger, anthemic choruses and a real display of that fresh sound that sets Canterbury apart from many other bands. But 'Heavy in the Day' is not just an upbeat, fast paced and anthemic rock album - Canterbury show completely different sides to their sound in tracks like the mysterious-sounding 'Garden Grows' and the slow-paced, romantic piece 'Gloria'. The album's title track 'Heavy In The Day' is also a musical masterpiece, and is perhaps one of the best-composed pieces on the entire album.
Lowlight of the album:
I love this album so much that I can't think of a particularly weak track! There aren't really any filler tracks on 'Heavy in the Day' - every song has great moments and each one adds something different to the album. My least favourite track is probably 'She's a Flame', just because I don't think that it showcases Canterbury's musical style and songwriting skills as well as the other songs on the album, as it's a little bit slow and repetitive compared to other tracks. Nonetheless, it's by no means a bad song!
For fans of:
Canterbury's sound is unique, and there's not one single band that I can really compare them to. 'Heavy in the Day' has moments reminiscent of Coldplay, ELO, and even The Beatles, but I cannot pin down a single band that Canterbury seem to be emulating in any way - they just sound like Canterbury!
Overall rating:
Rated A for AWESOME!
...And do you know what makes this album even better than the amazing calibre of music on it? The fact that Canterbury aren't even signed to a major label. Their music is their own. There are no music executives from 'the industry' in suits and ties telling them how to act or how to sound. Yet the album sounds completely professional - the production is second-to-none, the sound quality is crystal clear and basically, every track sounds bloody awesome. I know I've already said this but I'll say it again - Listen to this band. Remember the name of this band. You'll be hearing a lot more from them in the future.
(Also, on a side note, the band is actually made up of some pretty awesome blokes too, who seem to actually care about their fans! After their performance at The Sugarmill this month, Luke Prebble went out into the crowd as soon as the show had ended to meet fans, sign tickets and have photos taken. In fact, here's a pic of me and my friend @LaurenAshton94 meeting him after the gig...)
Thanks for reading my review! As I have some time off college now for Christmas, hopefully I'll get chance to post a few more articles over the coming weeks. Stay tuned to Superunknown!
PsyD
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| 'Heavy in the Day' album artwork, © Canterbury |
Highlight of the album:
Pretty much every track on this album is outstanding, in my opinion, and most of the songs on 'Heavy in the Day' could easily be released as successful singles. My personal highlight is 'Calm Down', as this is the first Canterbury song that I heard - the song that made me think 'Wow, this band have got something special going on, I need to listen to some more of their songs'. It has killer riffs, a chorus that you can't help but sing along too, awesome vocal harmonies and it basically makes you want to get up and dance! 'Ready Yet?' is another similarly ace track - a three-minute-long rock song with swagger, anthemic choruses and a real display of that fresh sound that sets Canterbury apart from many other bands. But 'Heavy in the Day' is not just an upbeat, fast paced and anthemic rock album - Canterbury show completely different sides to their sound in tracks like the mysterious-sounding 'Garden Grows' and the slow-paced, romantic piece 'Gloria'. The album's title track 'Heavy In The Day' is also a musical masterpiece, and is perhaps one of the best-composed pieces on the entire album.
Lowlight of the album:
I love this album so much that I can't think of a particularly weak track! There aren't really any filler tracks on 'Heavy in the Day' - every song has great moments and each one adds something different to the album. My least favourite track is probably 'She's a Flame', just because I don't think that it showcases Canterbury's musical style and songwriting skills as well as the other songs on the album, as it's a little bit slow and repetitive compared to other tracks. Nonetheless, it's by no means a bad song!
For fans of:
Canterbury's sound is unique, and there's not one single band that I can really compare them to. 'Heavy in the Day' has moments reminiscent of Coldplay, ELO, and even The Beatles, but I cannot pin down a single band that Canterbury seem to be emulating in any way - they just sound like Canterbury!
Overall rating:
Rated A for AWESOME!
...And do you know what makes this album even better than the amazing calibre of music on it? The fact that Canterbury aren't even signed to a major label. Their music is their own. There are no music executives from 'the industry' in suits and ties telling them how to act or how to sound. Yet the album sounds completely professional - the production is second-to-none, the sound quality is crystal clear and basically, every track sounds bloody awesome. I know I've already said this but I'll say it again - Listen to this band. Remember the name of this band. You'll be hearing a lot more from them in the future.
(Also, on a side note, the band is actually made up of some pretty awesome blokes too, who seem to actually care about their fans! After their performance at The Sugarmill this month, Luke Prebble went out into the crowd as soon as the show had ended to meet fans, sign tickets and have photos taken. In fact, here's a pic of me and my friend @LaurenAshton94 meeting him after the gig...)
PsyD
Friday, 2 November 2012
The ELO Experience - Friday 2nd November 2012, Victoria Hall
Well, I sadly never saw ELO in their heyday (...as a '90s kid, I wasn't even born when any of their studio albums, excluding 2001's 'Zoom', were released!), but I'm sure that if I had, the experience of seeing them live would have been similar to seeing their dedicated tribute band tonight. The ELO Experience were simply fantastic. Their sound was so close to the real thing, that whenever I closed my eyes and just listened to their music it was as if I'd put on an ELO record! They were that good.
In terms of energy and connectivity with the audience, the show started out a bit flat. The band may have had cool lights and a snazzy projector, but the musicians themselves didn't really move around much onstage and seemed, at times, slightly disconnected from the audience. Aside from a few enthusiastic members of the audience dancing, the crowd as a whole was generally quite still, content with just listening to the music. This was completely reversed after the interval, however, as the whole room clapped, waved glow sticks in the air and sang along to hits like 'Twilight', 'Roll Over Beethoven' and 'Turn to Stone'. The atmosphere of this second half of the concert was electric (excuse the pun!). The pitch-perfect performance that the band displayed before the interval took on a new dimension as they ultimately captured the atmosphere, as well as the sound, of an ELO concert.
The highlight of the night was the band's finale, 'Mr Blue Sky'. When the band left the stage after 'Don't Bring Me Down', I felt... well, very down! 'Mr Blue Sky' is my all-time favourite ELO song, and I simply couldn't believe that the band hadn't played it! When they came back onstage however, and the first notes of 'Mr Blue Sky' filled the room, the audience let out a collective sigh of relief! ELO's biggest hit went down a storm.
To sum up, I'd definitely recommend that any ELO fan jumps at the chance to see The ELO Experience if they're performing in your area. Their tribute performance may not be the real thing, but nonetheless, they create a buzzing, incredibly fun atmosphere, and ultimately a great night full of great music!
...Oh, and bring glow sticks!
PsyD
Saturday, 27 October 2012
You Know You're Only In It 'Cause It's Hot Right Now: October 2012
Okay, so the "few weeks" of college-work-overload that I mentioned in my most recent post turned into about a month... But now it's the half-term holiday, I finally have time to blog! As promised in my last blog post, here's a review of my top five TV/film soundtracks of all time...
Picking the right music is instrumental (excuse the pun!) in making or breaking a piece of film. A mediocre film or TV programme can be made an amazing one with the help of a spectacular soundtrack. However, all of the fantastic acting, scriptwriting and visual work in the world can be completely destroyed by a piece of terrible atmospheric music. My top five soundtracks of all time are all from highly acclaimed TV shows and films, and I think it's fair to say that these programmes and movies would be nothing without their truly fantastic accompanying music.
#1 - 'The Artist'
'The Artist', as a silent, feature-length film, relies heavily on its music to create a captivating atmosphere and maintain a 21st century audience's attention. Its soundtrack is, as a result, a true masterpiece. Ludovic Bource's orchestral score drifts back and forth from tense and dark, to brash and heroic, to playful and comical, as the mood of the film shifts with each scene. The music makes the viewer want to weep with tearful emotion in one scene, then makes the audience grin and laugh in the next - Bource truly has the audience's emotions in the palm of his hand. The soundtrack to 'The Artist' is exciting, emotive and above all entertaining to listen to - everything that you could possibly want from a film score!
Recommended listening: 'Waltz for Peppy'
#2 - 'The Adventures of Sherlock Holmes'
Granada Television's adaptations of Sir Arthur Conan Doyle's 'Sherlock Holmes' stories have been celebrated around the world for decades, and the soundtrack alone gives an indication of the quality of the series. Patrick Gowers evidently took his job as a composer very seriously when working on the show - all 42 episodes of the series have a slightly different opening theme (the music itself is the same, but it has been recorded in 42 variations, each reflecting the mood of its particular episode), and on top of this Gowers has composed countless pieces of incidental music. From the tear-jerking piece 'The Death of Sherlock Holmes', to the patriotic and triumphant 'Holmes in Europe', Gowers' music proves that he is an expert in, like Ludovic Bource, manipulating the mood of an audience. His score helps immensely in making sure that every single episode of the series a fantastic adventure.
Recommended listening: 'Baker Street Reunion'
#3 - 'Sherlock'
And now for yet more Sherlockian music - this time from the relatively new BBC series. Like the Granada adaptation, this series has been very successfully received both in the UK and around the world. The series is a fast-paced, modern take on Sir Arthur Conan Doyle's stories, and it has the music to match! Michael Price and David Arnold succeed in consistently keeping up a fast, dramatic and often tense pace and atmosphere throughout both series one and two of the show. They've also composed what is, in my opinion, one of the greatest pieces of opening title music ever created; a piece that sounds both old and new, blending the vintage, Victorian aspects of the original Holmes stories with the modern twist of the BBC drama.
Recommended listening: 'The Game Is On'
#4 - 'Tron: Legacy'
Generally, I get bored watching films. Feature-length films are often, in my opinion, simply too long in duration. However, one of the few films that really manages to hold my attention for hours on end is 'Tron: Legacy'. Why? Because on the one hand, the events onscreen are incredibly exciting, and the film is a true visual spectacular. On the other hand, the award-winning soundtrack is simply stunning. The soundtrack to the film is surprisingly the first, and so far only, time that Daft Punk have ventured into the realms of movie score composition, but it's obvious why Disney chose to ask the duo to work on the 'Tron: Legacy'. Daft Punk's superbly crafted electronic (and, in this case, orchestral) music, with their signature catchy hooks and riffs and a newfound sense of emotion and scale, fits the film perfectly and transforms it from a great movie into an absolutely enchanting experience.
Recommended listening: 'Derezzed'
#5 - 'Doctor Who'
And finally, for one of my favourite TV shows of all time and, in turn, one of my favourite soundtracks. What would 'Doctor Who' be without its iconic opening theme tune, or the dramatic, frightening incidental music accompanying Daleks and Cybermen as they invade the Earth (again), or The Doctor's heroic 'I Am The Doctor' theme music playing as he saves the day (again)? 'Doctor Who' soundtracks have got better and better with each series, and as the show prepares to celebrate its 50th anniversary, the importance of its music must never be forgotten. I think that it's safe to say that, without the consistently high standard of soundtrack composition, recording and performance in the series since its debut, it would not be the iconic national treasure that it is today.
Recommended listening: 'This is Gallifrey: Our Childhood, Our Home'
...And there you have it, my top five TV and film soundtracks of all time.What's your favourite soundtrack? Do you agree with my choices, or do you think that I was completely wrong? Leave a comment in the comments' section (...I bet you weren't expecting that! Comments, in the comments' section?!) letting me know what your top five soundtracks are!
Also, stay tuned to the blog, as coming up on 'Superunknown' sometime soon(ish) I'll be posting reviews of Foo Fighters' track 'Everlong (Acoustic)' and Canterbury's album 'Heavy In The Day'.
PsyD*
*And no, I'm not the guy off 'Gangnam Style', before anyone asks...
Picking the right music is instrumental (excuse the pun!) in making or breaking a piece of film. A mediocre film or TV programme can be made an amazing one with the help of a spectacular soundtrack. However, all of the fantastic acting, scriptwriting and visual work in the world can be completely destroyed by a piece of terrible atmospheric music. My top five soundtracks of all time are all from highly acclaimed TV shows and films, and I think it's fair to say that these programmes and movies would be nothing without their truly fantastic accompanying music.
 |
| Poster © Warner Bros. France |
'The Artist', as a silent, feature-length film, relies heavily on its music to create a captivating atmosphere and maintain a 21st century audience's attention. Its soundtrack is, as a result, a true masterpiece. Ludovic Bource's orchestral score drifts back and forth from tense and dark, to brash and heroic, to playful and comical, as the mood of the film shifts with each scene. The music makes the viewer want to weep with tearful emotion in one scene, then makes the audience grin and laugh in the next - Bource truly has the audience's emotions in the palm of his hand. The soundtrack to 'The Artist' is exciting, emotive and above all entertaining to listen to - everything that you could possibly want from a film score!
Recommended listening: 'Waltz for Peppy'
#2 - 'The Adventures of Sherlock Holmes'
.jpg) |
| Title card © Granada Television |
Recommended listening: 'Baker Street Reunion'
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| Title card © Hartswood Films Ltd. |
And now for yet more Sherlockian music - this time from the relatively new BBC series. Like the Granada adaptation, this series has been very successfully received both in the UK and around the world. The series is a fast-paced, modern take on Sir Arthur Conan Doyle's stories, and it has the music to match! Michael Price and David Arnold succeed in consistently keeping up a fast, dramatic and often tense pace and atmosphere throughout both series one and two of the show. They've also composed what is, in my opinion, one of the greatest pieces of opening title music ever created; a piece that sounds both old and new, blending the vintage, Victorian aspects of the original Holmes stories with the modern twist of the BBC drama.
Recommended listening: 'The Game Is On'
#4 - 'Tron: Legacy'
 |
| Cover art © Walt Disney |
Generally, I get bored watching films. Feature-length films are often, in my opinion, simply too long in duration. However, one of the few films that really manages to hold my attention for hours on end is 'Tron: Legacy'. Why? Because on the one hand, the events onscreen are incredibly exciting, and the film is a true visual spectacular. On the other hand, the award-winning soundtrack is simply stunning. The soundtrack to the film is surprisingly the first, and so far only, time that Daft Punk have ventured into the realms of movie score composition, but it's obvious why Disney chose to ask the duo to work on the 'Tron: Legacy'. Daft Punk's superbly crafted electronic (and, in this case, orchestral) music, with their signature catchy hooks and riffs and a newfound sense of emotion and scale, fits the film perfectly and transforms it from a great movie into an absolutely enchanting experience.
Recommended listening: 'Derezzed'
#5 - 'Doctor Who'
 |
| Cover art for the latest soundtrack, © Silva Screen Records |
And finally, for one of my favourite TV shows of all time and, in turn, one of my favourite soundtracks. What would 'Doctor Who' be without its iconic opening theme tune, or the dramatic, frightening incidental music accompanying Daleks and Cybermen as they invade the Earth (again), or The Doctor's heroic 'I Am The Doctor' theme music playing as he saves the day (again)? 'Doctor Who' soundtracks have got better and better with each series, and as the show prepares to celebrate its 50th anniversary, the importance of its music must never be forgotten. I think that it's safe to say that, without the consistently high standard of soundtrack composition, recording and performance in the series since its debut, it would not be the iconic national treasure that it is today.
Recommended listening: 'This is Gallifrey: Our Childhood, Our Home'
...And there you have it, my top five TV and film soundtracks of all time.What's your favourite soundtrack? Do you agree with my choices, or do you think that I was completely wrong? Leave a comment in the comments' section (...I bet you weren't expecting that! Comments, in the comments' section?!) letting me know what your top five soundtracks are!
Also, stay tuned to the blog, as coming up on 'Superunknown' sometime soon(ish) I'll be posting reviews of Foo Fighters' track 'Everlong (Acoustic)' and Canterbury's album 'Heavy In The Day'.
PsyD*
*And no, I'm not the guy off 'Gangnam Style', before anyone asks...
Tuesday, 25 September 2012
I'm still alive!
I know, a couple of weeks ago I said I'd post something each week 'at the very least'. And I know, I haven't posted anything since. But I've had an insane amount of college work over the past few weeks, and I've spent my free time going on university open days, filling in UCAS (university application) forms, and in the case of last Saturday, going to see We Are The Ocean's acoustic set at HMV Manchester (which was absolutely awesome, despite a low turnout. If you haven't heard any of We Are The Ocean's music, go and check them out now, you won't be disappointed!). I've not had anywhere near enough time to sit down and write a blog post, and I have a busy few weeks ahead of me, but I'm going to try my best to post things whenever I get the chance to.
Coming up on the blog:
PsyD
Coming up on the blog:
- Alive in the Superunknown: I'll be reviewing 'Everlong (Acoustic)' by Foo Fighters
- You Know You're Only In It 'Cause It's Hot Right Now: I'll be posting short reviews of my top 5 TV/film soundtracks
- Album review: I bought Canterbury's 'Heavy In The Day' album recently, and it hasn't left my CD player since! I'm definitely going to have to review it on 'Superunknown', so stay tuned for that!
PsyD
Friday, 7 September 2012
Labrinth: Electronic Earth
I'm so sorry for the immense delay in posting this review! I started back at college on Wednesday, so I spent the first half of last week making sure that all of the college work I'd been set was done, and spent the latter half doing yet more homework and college-y stuff. College does take up a lot of my time, but I'm going to try my best to post something once a week (at the very least) on this blog, so at any one time an update will never be too far away!
Labrinth's 'Electronic Earth' has taken the world of pop and electronic music by storm. An entire 5 tracks from the album have been released as singles so far, with a 6th one in the pipeline. The album has been immensely successful both in terms of radio airplay, and in terms of the support received from music fans. In the first week of the its release alone, it sold over 32,000 copies and entered the UK Albums Chart at number two - a great feat considering that it is Labrinth's first (and only) album. Although 'Electronic Earth' isn't without some weak moments, overall it's an impressive and very innovative effort from a relatively new artist.
Rather than meticulously writing about every single moment of every single track, Twin Atlantic style, I thought I'd pick out a few tracks that seem to sum up the album: The best track, the worst track, and one that sits in between.
Top Track: 'Sweet Riot'
'Sweet Riot' is a song that, surprisingly, hasn't been released as one of the album's many singles. After all, it is undoubtedly one of strongest tracks on 'Electronic Earth'; a song that's just oozing with the creativity and originality that makes Labrinth so popular as a producer. It has everything that you could possibly want from an electronic track: A strong, heavy beat to dance to, prominent synthesizers, lyrics that speak directly to the young target audience - or, to quote the song, "the mosh pit generation" - the list goes on. 'Sweet Riot' even features a (pretty good) guitar solo! It's rare in the world of pop music to find something that sounds totally original and new, but this track defies that rule. If you have 5 minutes to spare, 'Sweet Riot' is a must-listen.
Other Top Tracks on the 'Electronic Earth' album include 'Vultures', 'Earthquake' and 'Last Time'
It's-Alright-I-Suppose Track: 'Express Yourself'
In my opinion, 'Express Yourself' is quite overrated as a track. It does have several strong points - in today's celebrity and perfection-obsessed world, it's great to hear lyrics that give out the message that "it's not what you look like" that matters, for example. Also, like 'Sweet Riot', the track does sound quite unique compared to the material that other artists are producing at the moment. It's instantly identifiable as a Labrinth song.
Compared to tracks like 'Vultures' and 'Earthquake', however, 'Express Yourself' seems distinctly simple and over-commercialised. And although the synthesizers and production of the song sound distinctly Labrinth, the main body of the track is in actuality a cover of 'Express Yourself' by 'Charles Wright & the Watts 103rd Street Rhythm Band' - and Labrinth's version isn't all that different from the original.
The track's still worth listening to, but by no means is it in the same league as the Top Tracks mentioned above.
Similar songs include 'Let The Sun Shine' and 'Treatment'
The 'What Were You Thinking, Labrinth?' Track: 'Sundown'
'Sundown' is, in my opinion, the weakest track on the album. The first 3 minutes and 50 seconds of the song seem to consist only of Labrinth singing crude innuendos and descriptions of a girl who is, apparently, "every man's dream". The track feels slow, lacks a consistent beat, the synths are too subtle and underused, and Labrinth's use of autotune in this slow, quiet song often seems excessive and out of place.
Although the track admittedly increases in pace and vigour (a bit) towards the end, it just seems as though it takes way too long to build up to what is quite an undramatic anticlimax.
Similar tracks include... well, none, because Labrinth is generally an awesome artist, who generally produces much better material than this!
So, that's 'Electronic Earth' in a nutshell. Overall, it's a great, upbeat and fresh album, and one that any pop and/or electronic music fan should definitely have in their record collection! Like any other album, it has some disappointing moments, but it contains an abundance of incredibly exciting tracks like 'Sweet Riot' and 'Climb On Board' that completely outweigh any such lapses in musical judgement.
PsyD
Stay tuned to Superunknown for a review of 'Everlong (Acoustic)' by Foo Fighters! Also, I've already started planning September's edition of 'You Know You're Only In It 'Cause It's Hot Right Now' - this month I'll be posting my top 5 tracks from the world of TV and Film music, so keep an eye out for that article over the next few weeks!
The album cover of 'Electronic Earth' by Labrinth, © Syco
Labrinth's 'Electronic Earth' has taken the world of pop and electronic music by storm. An entire 5 tracks from the album have been released as singles so far, with a 6th one in the pipeline. The album has been immensely successful both in terms of radio airplay, and in terms of the support received from music fans. In the first week of the its release alone, it sold over 32,000 copies and entered the UK Albums Chart at number two - a great feat considering that it is Labrinth's first (and only) album. Although 'Electronic Earth' isn't without some weak moments, overall it's an impressive and very innovative effort from a relatively new artist.
Rather than meticulously writing about every single moment of every single track, Twin Atlantic style, I thought I'd pick out a few tracks that seem to sum up the album: The best track, the worst track, and one that sits in between.
Top Track: 'Sweet Riot'
'Sweet Riot' is a song that, surprisingly, hasn't been released as one of the album's many singles. After all, it is undoubtedly one of strongest tracks on 'Electronic Earth'; a song that's just oozing with the creativity and originality that makes Labrinth so popular as a producer. It has everything that you could possibly want from an electronic track: A strong, heavy beat to dance to, prominent synthesizers, lyrics that speak directly to the young target audience - or, to quote the song, "the mosh pit generation" - the list goes on. 'Sweet Riot' even features a (pretty good) guitar solo! It's rare in the world of pop music to find something that sounds totally original and new, but this track defies that rule. If you have 5 minutes to spare, 'Sweet Riot' is a must-listen.
Other Top Tracks on the 'Electronic Earth' album include 'Vultures', 'Earthquake' and 'Last Time'
It's-Alright-I-Suppose Track: 'Express Yourself'
In my opinion, 'Express Yourself' is quite overrated as a track. It does have several strong points - in today's celebrity and perfection-obsessed world, it's great to hear lyrics that give out the message that "it's not what you look like" that matters, for example. Also, like 'Sweet Riot', the track does sound quite unique compared to the material that other artists are producing at the moment. It's instantly identifiable as a Labrinth song.
Compared to tracks like 'Vultures' and 'Earthquake', however, 'Express Yourself' seems distinctly simple and over-commercialised. And although the synthesizers and production of the song sound distinctly Labrinth, the main body of the track is in actuality a cover of 'Express Yourself' by 'Charles Wright & the Watts 103rd Street Rhythm Band' - and Labrinth's version isn't all that different from the original.
The track's still worth listening to, but by no means is it in the same league as the Top Tracks mentioned above.
Similar songs include 'Let The Sun Shine' and 'Treatment'
The 'What Were You Thinking, Labrinth?' Track: 'Sundown'
'Sundown' is, in my opinion, the weakest track on the album. The first 3 minutes and 50 seconds of the song seem to consist only of Labrinth singing crude innuendos and descriptions of a girl who is, apparently, "every man's dream". The track feels slow, lacks a consistent beat, the synths are too subtle and underused, and Labrinth's use of autotune in this slow, quiet song often seems excessive and out of place.
Although the track admittedly increases in pace and vigour (a bit) towards the end, it just seems as though it takes way too long to build up to what is quite an undramatic anticlimax.
Similar tracks include... well, none, because Labrinth is generally an awesome artist, who generally produces much better material than this!
So, that's 'Electronic Earth' in a nutshell. Overall, it's a great, upbeat and fresh album, and one that any pop and/or electronic music fan should definitely have in their record collection! Like any other album, it has some disappointing moments, but it contains an abundance of incredibly exciting tracks like 'Sweet Riot' and 'Climb On Board' that completely outweigh any such lapses in musical judgement.
PsyD
Stay tuned to Superunknown for a review of 'Everlong (Acoustic)' by Foo Fighters! Also, I've already started planning September's edition of 'You Know You're Only In It 'Cause It's Hot Right Now' - this month I'll be posting my top 5 tracks from the world of TV and Film music, so keep an eye out for that article over the next few weeks!
Thursday, 30 August 2012
Alive in the Superunknown #8 - Godless by Blue Origin
Stoke-on-Trent metallers Blue Origin have been rocking for over half a decade, and that experience really shows in their single 'Godless' from their brand new, independent and soon-to-be-released album 'Somnium'. The song is a 3 minute and 46 second rollercoaster ride showcasing the band's unique blend of "rock, blues and every good album from the past 80 years"*, and a must-listen for anyone who likes heavy rock music, with a bluesy edge.
'Godless' begins with a haunting, lone guitar melody, before the thick, distorted guitar and bass tones, double-bass-pedalled drums and bluesy vocals kick in. The band's approach to metal seems to hark back to rock bands of the '70s, '80s and '90s, in a refreshingly good way, delivering typical heavy metal power chords, melodic vocals and a strong drumbeat. That doesn't mean that Blue Origin aren't innovative musicians - it just means that their take on heavy rock is more in line with AC/DC, Iron Maiden and Soundgarden rather than Cannibal Corpse and Lamb of God. Which, in my opinion at least, definitely isn't a bad thing.
The song isn't just musically great - it's also lyrically interesting. In a world where songs can get to #1 in the charts with lyrics like "What's charming? Just a rapper / Load him up and eat that snapper / I want 16 pints of rum and then I go bom bom" (I'm not even joking. Those lyrics are from 'Bom Bom' by Sam and the Womp, the UK's current #1), the lyrics of 'Godless' yet again provide a refreshing contrast. Listen closely to the track's vocals and you'll hear comments on capitalism, the loss of morality in society and the worship of material goods - the things that have replaced traditional beliefs and made us 'Godless'.
The song isn't just musically great - it's also lyrically interesting. In a world where songs can get to #1 in the charts with lyrics like "What's charming? Just a rapper / Load him up and eat that snapper / I want 16 pints of rum and then I go bom bom" (I'm not even joking. Those lyrics are from 'Bom Bom' by Sam and the Womp, the UK's current #1), the lyrics of 'Godless' yet again provide a refreshing contrast. Listen closely to the track's vocals and you'll hear comments on capitalism, the loss of morality in society and the worship of material goods - the things that have replaced traditional beliefs and made us 'Godless'.
Also, as a guitarist myself, I've noticed that a lot of newer bands struggle to write decent solos. Some guitarists (*cough* Dragonforce *cough*) showcase their technical ability really well, but fail to produce something melodic and in keeping with the song as a whole. Some bands have even resorted to abandoning guitar, bass and drum solos altogether! But in keeping with Blue Origin's traditional blues-metal sound, the 'Godless' solos are, like the song as a whole, refreshing to hear - the technicality is there, but at the same time the solos are packed full of bluesy double stops, slides and pitch bends, so they stay in keeping with the feel of the song as a whole, and sound absolutely awesome.
I could probably sit here typing all day about the track's incredibly catchy riffs, the band's inventive use of dynamics (stripping away the guitars and bringing them back again and again with a powerful, heavy metal kick), and raving about how amazing this song must be live. It's a truly fantastic effort from a local, relatively under-the-radar band - a band that, like all unsigned bands, need as much support as they can get from their fans. So check out 'Godless' if you haven't already (the music video is embedded at the top of this blog post), and if you like it then you can download it via iTunes (search for 'Blue Origin'), Amazon MP3, or buy it through the band's own merchandise store.
PsyD
Coming soon on Superunknown -
· This weekend: I'll (finally) be posting a review of 'Electronic Earth' by Labrinth
· Next time on 'Alive in the Superunknown': I'll be reviewing 'Everlong (Acoustic)' by Foo Fighters
Also, major thanks to We Like Humans, who I reviewed in a 'You Know You're Only In It 'Cause It's Hot Right Now' post just over a week ago, for posting a link to my blog on their official website. (And while I'm on that topic, hello to all of my new readers who found this blog through Blitz Kids' retweet the other day! *waves*)
*From the band's Facebook page
*From the band's Facebook page
Thursday, 23 August 2012
The Blackout + Blitz Kids + Proxies - Thursday 23rd August 2012, Stoke Sugarmill
Proxies' set was musically amazing. The band presented a heavy crossover of the electronica and pop-rock genres, and their energy-fueled setlist kicked off the night fantastically! However, the band's performance wavered in only one area - crowd participation. Although they maintained a packed room throughout their set, the audience was generally very still, choosing only to enthusiastically applaud at the end of each song. Overall, the band performed a great set, but it was a set that could've been even better had they made the crowd feel truly involved and immersed in the music, rather than maintaining their position as spectators.
Nonetheless, you should definitely check out Proxies' music! You can download their EP 'Lost Tapes, Volume I' for free via their official website, and trust me, it's a fantastic set of tracks from a very promising band.
Blitz Kids - The absolutely epic second support act...
In contrast to Proxies' set, Blitz Kids got the crowd jumping, singing and clapping from their first song to their last! Whilst lead singer Joe James enjoyed running right up against the barrier to get as close to the ecstatic audience as possible, the rest of the band owned the stage with the energy of a handful of Mexican jumping beans on Lucozade. And on top of the songs that required the audience to go, in the frontman's own words, "a little bit crazy", the quintet also showcased (slightly) slower-paced, more anthemic and melodic tracks like Never Die, proving that they're not a one-trick-pony band only capable of high-octane, hard rock numbers.
The band put on a truly great set. It's safe to say that the handful of fans in the audience that had come all the way from Nantwich to see Blitz Kids perform (and who sang along to every word of every song with their whole heart and soul) weren't disappointed. Indeed, if Thursday's performance was anything to go by, the band's hardcore fanbase will be continuing to grow fast over the coming months and years. And after that momentous performance, consider me one of those fans.
You can (and I recommend that you do!) check out Blitz Kids' music for free on their official Myspace page. Also, look at this fancy banner I found on their Myspace site! How cool is this?...
The Blackout - The headliners!
And now, the headliners. To be honest, The Blackout's set is all a bit of a blur in my mind - a mass of headbanging, arm-waving, singing along and hoping that the gig would last forever. Before Thursday, I'd heard of The Blackout, and I'd listened to a few brilliant songs of theirs, but I was yet to understand what the massive Blackout-hype was all about in magazines like Kerrang! and NME. Witnessing the band in action showed me what all the hype was about. And then some.
Musically, the band were faultless throughout, and their post-hardcore sound packed a punch with every track. This wasn't the best aspect of their set though - the most memorable part of The Blackout's headlining performance has to be the atmosphere. It was mental. During some tracks, the entire ground floor of The Sugarmill was transformed into a huge mosh pit. The immense heat in the room, coupled with the feeling of mass hysteria, led a handful of fans to literally strip down to their underwear. Frontmen Sean Smith and Gavin Butler had the crowd in the palms of their hands, on one occasion getting the entire audience to sit down, jump back up and dance like there was no tomorrow. Other memorable moments include Butler climbing off the stage and onto The Sugarmill's balcony (see the above images), Smith asking the audience to "remember those less fortunate than ourselves" - which he later specified to mean Avril Lavigne, upon to her recent engagement to Nickleback singer Chad Kroeger - and Smith tying guitarist James Davies' shoelaces whilst casually chatting with the audience (again, see above).
At one point, Sean Smith told the audience that when the band decided to perform a one-off gig at The Sugarmill, "we didn't know if anybody would come" - albeit with a wry smile on his face as he said so. He had nothing to worry about - the band are absolute masters live, and Thursday night's packed-out gig was no exception. It's definitely made its way into my list of all-time favourite gigs. If you ever get the chance to see The Blackout live, take it, because onstage this band deliver everything you would want from a rock concert, and more.
So, hopefully I've given you a bit of an insight into how manically awesome the gig was!
Stay tuned to Superunknown because coming very soon is my review of 'Godless' by Blue Origin, and next week I'll be reviewing Labrinth's 'Electronic Earth' album. Rock on!
PsyD
Monday, 20 August 2012
You Know You're Only In It 'Cause It's Hot Right Now: August 2012
Here’s my second entry into the unnecessarily long-named ‘You Know You’re Only in It Cause It’s Hot Right Now’ feature, where I pick out the songs that are ‘Hot Right Now’ in my world.
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| George Gershwin, photographed by Carl Van Vechten |
To kick off the post, here’s something a bit different – a classical piano piece. I know a lot of people probably just switched off at the word ‘classical’, but just hear me out for a second! I too used to be completely averse to this kind of music, but recently it’s seriously grown on me. This piece is one of my favourite classical pieces, and I think it’s a fantastic introduction to classical music if you’ve only heard the typical Mozart and Beethoven material before, because it proves just how versatile and varied the genre is.
I first heard this piece on the radio the other day – I was just about to turn the radio off, this song came on, and I just stopped dead in my tracks and had to listen.
I first heard this piece on the radio the other day – I was just about to turn the radio off, this song came on, and I just stopped dead in my tracks and had to listen.
Gershwin’s ‘Prelude 2’ sounds mysterious and suave; it brings to mind a crossover of the atmosphere of blockbuster silent-movie 'The Artist', crossed with the intellectual, confident personality of literary character of Sherlock Holmes - but in music form. It also seems to have a sort of American Western feel to it, creating images of saloon bars and shoot-outs with each unusual harmony and chord. On top of all that, the chord progression reminds me of Radiohead’s ‘Everything In Its Right Place’ for some reason, and I’m a huge fan of that track!
...Whatever it is about this song that captures my imagination and attention every time I hear it, it’s totally addictive - I’ve been listening to it on loop for about a week now, and I'm still not tired of it!
...Whatever it is about this song that captures my imagination and attention every time I hear it, it’s totally addictive - I’ve been listening to it on loop for about a week now, and I'm still not tired of it!
Gershwin’s ‘Prelude 2’ is available to download online (legally, of course!), and available to buy in your friendly neighbourhood music shop as part of one of the many, many George Gershwin albums and compilations.
2) Devlin – Watchtower ft. Ed Sheeran
On a completely different side of the coin, here’s a rock-hip-hop-indie fusion track from Devlin and Ed Sheeran, based on ‘All Along the Watchtower’ written by the legendary Bob Dylan and famously covered by Jimi Hendrix. Just as with any adaptation of a classic track, Devlin’s effort has been controversial (especially with fans of the original!) but personally I really love it! I think that Devlin and Ed Sheeran have done a fantastic job in a) fusing the new sounds of contemporary hip-hop and mainstream music with the classic, guitar-based music of the 60s hippie movement, and b) hopefully bringing the music of Dylan's era to a whole new generation and a whole new audience.
Devlin’s lyrics are deep and contemplative, Ed Sheeran’s vocals are pitch perfect and, as usual, contain his trademark laid-back, tranquil tone, and of course the original track's instantly recognisable guitar lines are prominent throughout. In my opinion at least, this song isn’t just a cover of an old hit – it’s an obvious tribute from two great, exciting artists, to artists that have evidently inspired them (and inspired countless other people) very much.
Devlin’s ‘Watchtower’ (Featuring Ed Sheeran, of course!) was released as a single on 19th August. You can watch the official music video right here…
3) We Like Humans - Homebound
I first heard about this band a few weeks ago, by stumbling across them on YouTube. They’ve literally been around for a matter of months, but already they have a professionally-produced EP for sale featuring their own, original material, they have their own website (none of this Facebook/Myspace business!) and they’re already developing their signature sound with leaps and bounds. We Like Humans are evidently a band with a clear focus in mind, and the determination to get there. They also have the musical potential for success, with obvious influences in their sound from huge acts like Foo Fighters, Twin Atlantic and even Rage Against The Machine! Their music has a sort of raw honesty about it, but it’s also accessible for a more mainstream audience, sounding like it’d be very at home on the likes of Kerrang! Radio and the Radio 1 Rock show. Keep your eyes and ears out for We Like Humans, because I’m super-confident that we’ll be hearing a lot more from them in the future!
We Like Humans’ debut EP can be bought via their website, www.welikehumans.co.uk. You can listen to a selection of tracks from the EP, including ‘Homebound’, on the website and on their official YouTube channel.
4) Twin Atlantic – Free (Ballad Version)
Regular followers of this blog will probably know by now that I love a mash-up. One of my favourite things about music is the way that certain musical concepts and ideas can transcend genres, and I like to consider myself open minded in terms of musical styles and artists. This remix of ‘Free’ by Twin Atlantic is no exception. ByronJWu has somehow turned what is quite an aggressive, bold song into a calm, chilled-out ballad, which sounds as good as – if not better than, dare I say – the original! Die-hard fans of Twin Atlantic might have to give the remix a few listens to get used to it, but it’s definitely a grower, and a song that I’m completely addicted to at the moment! Who knew that classical strings and pianos would go so well with the emotionally charged vocals of Sam McTrusty? It’s a combo that works together unpredictably well; a really pleasant surprise!
Twin Atlantic’s Free (Ballad Version) is available on YouTube, on ByronJWu’s channel. The original track can be bought as part of Twin Atlantic’s album ‘Free’, and also as a single.
5) Alex Day – She Walks Right Through Me
Generally, I tend to be the sort of music fan that puts music first. Music videos, merchandise, branding etc. come second in my opinion, to the main priority - the sound of the music itself. Usually. But here’s an exception. I don’t particularly hate this track, but its cheesy-Europop vibe doesn’t really appeal to me, and with lyrics like “When she takes off her clothes and I know that it’s only me that knows”, it hardly matches the lyrical genius of bands and artists that I usually listen to. However, here’s the catch – I’m just obsessed with this song’s music video. Namely, the dancing in this music video. I don’t really have any words to describe it – you’d have to watch the video yourself (see below) – but it just makes me laugh so much that since I first saw it a few days ago, I can’t stop watching it! Oh, and the video also features a Karen Gillan look-alike, whose resemblance is so strong to the actress, I’m not entirely sure that it’s not actually her. Any fans of 80s pop, cheese, questionable dancing, Doctor Who, or just general randomness really need to see this video.
‘She Walks Right Through Me’ is available to download (LEGALLY. Don’t you be trying any of this illegal downloading funny business! *patronisingly wags finger*), and you can watch the music video right here…
So, that was ‘You Know You’re Only In It Cause It’s Hot Right Now’ #2! Stay tuned to Superunknown, because next week I’ll be posting the next article in the ‘Alive In The Superunknown’ series (a review of ‘Godless’ by Blue Origin), and the week after I’ll (finally) be posting a review of Labrinth’s ‘Electronic Earth’!
PsyD
Monday, 13 August 2012
Alive in the Superunknown #7 - Map of the Problematique by Muse
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| The single artwork for 'Map of the Problematique', © Warner Bros. Records |
After cracking the ‘250 word limit’ challenge (twice!), this week I’m going to attempt yet another daringly dramatic feat: to review this week’s ‘Alive in the Superunknown’ track in the style of a liveblog – that means I’ll review the song riff-by-riff, chorus-by-chorus, in brief, chronological snippets. Here goes...
The London 2012 Olympic Games seem have an ‘official’ everything – official water, official tracksuits, official face wipes, official pyjamas... the list goes on! You’d be forgiven for thinking that Muse have been picked as the official band of the games – after all, the stadium rock megastars have released the official Olympic single, provided the soundtrack to the Opening Ceremony’s countdown and their music has been featured in endless sports montages as the games have gone on. Why? Because Muse are a band with a powerful, inspirational and truly unique sound that showcases the best in British rock music.
The song that demonstrates the band’s unique, signature sound best in my opinion isn’t their latest sport-centric effort Survival, but is in fact a song from an album made all the way back in 2006. Today I’ll be reviewing that song – ‘Map of the Problematique’, from the album ‘Black Holes and Revelations’.
So, in true Olympic style, let the liveblog begin... NOW!
0:00 (That means 0 minutes and 0 seconds into the song)
One of the most epic riffs ever created begins. It’s a riff that just oozes with tension and atmosphere – a riff just made to rock stadiums all over the world. As the drums, synths and layers upon layers of guitars kick in, the dramatic and powerful feel of the track increases and increases until...
0:53
The first line of the song perfectly describes the feel of the song so far: “Fear and panic in the air”. The operatic vocals soar above the distorted, grungy guitar and bass parts and compliment them perfectly. Too often in the rock genre, drums become outshined and pushed into the background by the vocal, guitar and bass parts, but here the drums refuse to be overshadowed and continue beating loudly and deeply, fulfilling their essential part in keeping up the frantic atmosphere of the track.
1:24
Here ensues one of many lines in this track that prove Muse’s lyric-writing proficiency. The simplicity of it is striking – “I can’t get it right, get it right, since I met you” – but it strikes a chord with the audience because it’s something that everybody can relate to: Trying your utmost best for somebody, but getting ‘it’ wrong.
1:40
Too often songs are created that seem to waste time, or ‘fill time’, in order to reach the desired 3-minutes-or-more by repeating sections already used, or using weak ‘filler riffs’. Muse are a band that waste no time in their music – even this short bridge section between the chorus and next verse utilises otherworldly synths, some heavily layered vocals and perfectly matched guitar, bass and drum-work to continue the fist-pumping momentum of the track.
2:48
At this point is, in all honesty and sincerity, my favourite lyric of all-time. “No one thinks they are to blame. Why can’t we see that when we bleed, we bleed the same?” – Never has so much meaning and significance been packed into so few words. Muse’s lyrics are consistently perfectly crafted and thought-provoking, completely complimenting the momentous instrumental music.
3:20
And now, it’s the beginning of the end for this amazing piece of music. Even this late on in the track, there’s still the introduction of brand new sounds to accompany the repeated riffs and beats commonplace throughout the previous minutes of the song. The band succeed in keeping listener’s interest active from the first note of the song to the last.
4:06
Muse go out with a bang, as the track finishes just as it started. The crunchy, distorted guitar’s enviable tone rings out the final few notes of the epic riff that’s been present throughout the entire song - but still doesn’t sound old, repetitive or tired. The listener is left stunned; a Muse fan for life.
And that was my review of ‘Map of the Problematique’ by Muse! As always, I completely recommend that you listen to this track, either by purchasing the track itself, which was released as a single back in 2007, or by buying the ‘Black Holes and Revelations’ album.
Anyway, I’d better go, the Olympic Closing Ceremony starts in 15 minutes*, and guess who’s performing? Muse! Stay tuned to the blog for much more reviews and write-ups on the world of music, and thanks for reading!
PsyD
*Correct at the time of writing. Obviously.
Next week's 'Alive in the Superunknown' featured track will be...
'Godless' by Blue Origin
Tuesday, 7 August 2012
The New Wave Of British Heavy Metal
The New Wave Of British Heavy Metal, or the NWOBHM as it's commonly known, was (and still is) one of the most influential movements in music history. It happened in the early 1980s, and saw hard rock music return to a widespread popularity after the punk explosion forced it temporarily underground. A whole generation of Brits inspired by hard rock heroes such as Black Sabbath, Deep Purple and Judas Priest picked up instruments and changed rock history, and that is why this week I'm writing a feature on the NWOBHM: How It Happened, What It Sounded Like and Its Legacy.
How It Happened
The NWOBHM, as with any music movement, relied on three key groups of people to push it up from the underground and onto a world class stage.
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| A sold-out metal gig at The Marquee Club (see footnote*) |
The Media: For any movement to be successful on a mainstream level, it needs the support of the media. The NWOBHM started out as an entirely grassroots, word-of-mouth affair, publicised by DJs like Neal Kay in heavy metal discos, clubs and pubs. Before long, the growing movement picked up the attention of the national media. Magazines like 'Sounds' wrote features on the band, and music journalist Geoff Barton (the founder of 'Kerrang!' magazine) coined the term 'NWOBHM'. DJs like BBC Radio 1's Tommy Vance gave NWOBHM bands valuable airtime, and the movement found itself the subject of TV documentaries like Granada TV's '20th Century Box'. Even Top Of The Pops took notice, and started to occasionally feature heavy metal bands!
The Fans: Neal Kay's hallowed Heavy Metal Soundhouse attracted over a thousand fans a week, and the metal movement as a whole relied on its wholeheartedly dedicated fanbase. NWOBHM pioneers came from all walks of life, but they had one thing in common: They loved to go to gigs, and go absolutely mental! Huge crowds of leather-clad, studded, long-haired metallers regularly queued for hours to pack out venues like The Marquee, The Ruskin Arms and The Bandwagon, and revel in the intense atmosphere. Some fans went even further than the usual headbanging and air-guitaring at metal shows, creating their own cardboard or plywood mock-up guitars and competing in competitions to see who was the 'best headbanger'!
What It Sounds Like
Here are three top tracks that, in my opinion, truly define the movement...
'Losing My Grip' by Samson: At the height of their popularity, Samson was one of the biggest bands in the NWOBHM movement. This track demonstrates exactly why. With killer guitar riffs, bluesy, growled vocals, a powerful, fast-paced rhythm section and an epic, effect-heavy solo, this track is a perfect example of the way that metal bands combined the energy of punk with the technicality and feel of classic rock.
The promotional video for this song is available to watch on the official YouTube channel for the Paul Samson Archive, but embedding has been disabled so I can't embed the video here. Here is a link to the video on the PaulSamsonArchive YouTube channel.
The promotional video for this song is available to watch on the official YouTube channel for the Paul Samson Archive, but embedding has been disabled so I can't embed the video here. Here is a link to the video on the PaulSamsonArchive YouTube channel.
'Iron Maiden' by Iron Maiden: Don't worry, that wasn't a typo - The track 'Iron Maiden' was a song created by the band Iron Maiden, for their debut album called 'Iron Maiden' (I know, it's confusing!). The track went down a storm in early NWOBHM pubs and clubs, and is still a staple part of their set to this day. It showcases the heavy crowd participation element of the movement, with metal bands encouraging their audiences to clap and sing along to create an intense, interactive atmosphere. Also, just like Samson's 'Losing My Grip', it makes use of a great, fast pulse, rough vocals and those face-melting guitar lines!
'Captured City' by Praying Mantis: If there was ever one track that completely summed up the NWOBHM, it was this one. Praying Mantis combine time changes, twin guitar harmonies, a strong beat throughout (to headbang to, of course), complex drumming, guitaring and basslines, a typical kick-ass solo, and one of the world's catchiest riffs, to make an awesome pool of good, honest heavy metal.
Sadly I can't find an official source to embed the track on the blog (I only embed tracks from official YouTube channels, SoundCloud sites etc., and not from unofficial sources, to respect the wishes of the copyright holder) but the track is available to download legally online, on sites like Amazon and on iTunes, and I thoroughly recommend that you give it a listen!
Its Legacy
It may seem hard to believe, but the New Wave Of British Heavy Metal is probably just as relevant today as it was in the early 1980s. Why? Well...
- A lot of top NWOBHM bands are still going today, and receiving success all over the world. Saxon and Iron Maiden are two of the most prominent bands to come out of the NWOBHM movement, and both are still making music, going on tours and keeping metal fans headbanging all over the globe!
- Pretty much all of today's metal bands are influenced by the NWOBHM in some way. Ever heard of Metallica? Or Trivium? Or Bullet For My Valentine? All of those bands, and many more, have cited the NWOBHM as one of their biggest musical influences, and the genre's influence is clearly evident in their music. In fact, many people claim that the whole thrash metal subgenre owes its existence to the NWOBHM!
- The NWOBHM hasn't just influenced metal bands - less obvious acts that claim to take inspiration from the genre include pop-rockers You Me At Six, comedy rock duo Tenacious D and even pop megastar Lady Gaga!
So next time people say that the 80s only produced cheesy electro-pop and spandex-clad glam rockers, correct them by telling them that in fact, that key decade spawned one of rock's biggest and most influential movements; a movement that still lives on today.
...And that was the long-awaited blog post on the history and influence of heavy metal! If you enjoyed it and want to know more about the genre, here are some handy sources that I used to research and compile the article...
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| The album cover of 'Metal for Muthas', © Sanctuary Records |
Watch: Iron Maiden's DVD 'The Early Days' - a mini box set containing a documentary about Iron Maiden's formation and early years, information about the wider NWOBHM scene and a documentary from the 1980s called '20th Century Box', which talks about the pubs, clubs and fans of the movement.
Read: 'The Night The New Wave Of British Heavy Metal Was Born' - an article by Classic Rock Magazine, which can be found here.
'Bruce Dickinson: Flashing Metal With Maiden And Flying Solo' - a book that talks a lot about the vocalist's experiences in the NWOBHM bands Samson and Iron Maiden. On a side note, don't be put off by the bad Amazon reviews - I've read it and it's actually a really good book!
Wow, that was a very long blog post. I hope it was as fun for you to read as it was for me to write! Remember to stay tuned to the blog for more reviews and write-ups of the latest and greatest in music. Rock on!
PsyD*Image of Iron Maiden performing a gig at The Marquee Club is a screenshot from the documentary '20th Century Box', © Granada Media
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