album review

Album Review: Things That Fade - Greeen Linez

​Greeen Linez is a collaboration between Chris Greenberg (of British electronic pop band Hong Kong In The 60s) and UK-born but Tokyo-based for founder for the Disktopia label Matt Lyne. The duo released an eponymous EP through Diskotopia last year but next week sees the release of the full length album Things That Fade.

Unsurprisingly there is a definite Japanese influence to the Greeen Linez sound but it's perhaps subtler than you would expect, surfaced through the occasional Eastern style melodies and percussion. 'City Cell 2' slowly folds in layers of oriental sounding bells and thick, gloppy bass to create something part Asian, part European in sound.

​Things That Fade - Greeen Linez

The combination of both European and Japanese pop and R&B are gently stirred into dance and jazz influences - even a bit of kitsch muzak - to create a somewhat vertically challenged album. It is difficult to imagine doing much whilst listening to Things That Fade but one rather suspects that is entirely the point.

I seem to be being overwhelmed a little with albums of 80s inspired music perfect for soundtracking lazy days on Mediterranean beaches too but this is certainly well done. The jazzy guitar work on 'Knowledge' is an undeniable treat whilst both 'Palm Coast Freeway' and 'Hibiscus Pacific' sparkle like a dive into pure cyan blue coolness. The latter, with roomy echoing percussion and big warm disco keys is a loving tribute to the decades of music both Greenberg and Matt Lyne grew up listening to - listen to it in the player above.

Things That Fade is released through Diskotopia on 13 August​, available from Amazon.co.uk on CD and MP3.

Album Review: The Call - Spitzer

​The Spitzer brothers looking gloomy

Spitzer's album has been some time in the making with two years passing since their debut EP Roller Coaster.

It was time well invested though. Over the years brothers Damien and Matthieu have flirted with styles, moving through alternative rock to remixes of Kylie to, well... This. The Call feels like it borrows elements of the brothers' earlier experiences to create an overall much more enticing proposition. The dark near-gothic post-punk sensibilities combined with dirty clicks and pops and stark minimal in a way very reminiscent of Ivan Smagghe and the original Black Strobe incarnation he featured in.

​​The Call is likened by the promo material to a seventies prog rock record despite its electronic focus due to it's narrative arc and all encompassing diversity. I'm not sure I can read as much into the album's concept as the person trying to shift the units but the variety is certainly present. The record quickly shifts from building techno on 'Marsch', the kind of clanging acidic monster Simian Mobile Disco would make, to the live rhythms and sinister guitars of the cinematic 'Madigan'.

Guest vocals further change up the pace. Vocalist Fab, of Frustration (signed to the Parisian label Born Bad), turns in a rampant and breathless performance on 'Clunker'. It's less "good" than it is alive, messy and grabbing you for your attention but it doesn't totally fall flat either.

Kid A, who collaborated with the duo on their previous EP, provides a stronger contribution on the haunting 'Too Hard To Breathe'. The vocals are delicate and statuesque - like Björk buried in layers of grime, fuzzy bass and syncopated beats.

It's the instrumental work that stays the course and will come back to you though - the thick distortion and subtle Adonis 'No Way Back'-style bass of 'Breaking The Waves' and the shattered reverb and drone of 'Sergen'.

Spitzer have made a compelling and imaginative debut - dark and sparse and yet intricate.

The Call is released through InFiné on 3 September 2012.

Album Review: Confess - Twin Shadow

Image source: Metrojolt

If Twin Shadow's debut album Forget was a collection of brilliant synth-laden hook heavy R&B new wave then new album Confess successfully takes every single element up a notch.

I was definitely a fan of Forget but had nowhere near the affection for it that I've already developed for Confess in just a couple of weeks. Where Forget benefited from Chris Taylor of Grizzly Bear's hazy production, Twin Shadow's real world personality George Lewis Jr. takes the reigns here. He never feels anything less than in complete control. Confess is a tight album of eighties new wave bass and Lewis' impassioned vocals that punch through the wall between the record and the listener - it's hard not to feel everything he bellows down the microphone.

Interestingly this album actually feels a little less focused, with greater variety than the last. There's a gruff rawness in 'Run My Heart', for example - it's like someone took Springsteen and injected it into a Flock of Seagulls record, and you can even actually imagine the lyrics coming from either artist, yet the staggered drum beats and swirling atmospherics make it Twin Shadow's record through and through.

And the only criticism you could make of Twin Shadow is that at moments you can pin the inspiration perhaps a little too clearly at time - the verse of 'The One' sounds so like Morrissey that the use of the electronics is the only thing that gives away that it can't be him. The hooks on this record are so strong though, and the influences so broad, the overall record so bright that nothing feels derivative.

When the pieces come together Confess is a genre agnostic celebration of emotion and dance. Listen to the guitar solo crash in over the throbbing live bass and massive orchestral synths on 'Beg For The Night' and try not to turn up the volume. The climatic closer 'Be Mine Tonight' borrows a touch of the bass sound from Berlin's 'Take My Breath Away' and gives it to a beautiful curtain closing ballad. It's such an utterly irresistible ballad that it even throws in a key change that makes Lewis' optimistically needy vocal hard to resist.

Just like this record, then.

Confess is out now, available from Amazon.co.uk on CD, LP and MP3 [affiliate links].

Stream Confess below on Spotify [account required]:

Album Review: Lucifer - Peaking Lights

Here's a confession: I lost the promo of Peaking Lights' debut album.

Whilst other more established and better organised music blogs were falling in love with with this duo I was falling over myself to figure out exactly where their album had gone.

I found it in the end though, dubby and sunny and seemingly increasingly lost in the moments it had experience in my absence - full of heady dreamy days and sunny hedonism.

The youth of today have seemingly become lost in a sun trap of day dreams and... Well, dreams. Listen to any of the bands you are supposed to give a shit about these days - Beach House, Washed Out, Kindness - and they all feel trapped inside their own lazy ambition.

What I really want. More than anything else. Is to keep on dreaming.

Peaking Lights' new album Lucifer feels like the removal of a veil. A pulling back of the curtain as you enter the tripped out dream world duo Indra Dunis and Aaron Coyes inhabit on this second experiment, their 45-minute sun dance.

And the dance kicks in proper on the intoxicating 'Beautiful Son', an epic crescendo of sunny keys, loving bass and assured guitars that forms a tribute to Dunis and Coyes' son, Mikko. It forms a high that won't let you come down. Not yet.

The intoxication kicks in proper at that point with 'Live Love', which quickly pioneers a groove-based dub adventure. 'Cosmic Tides' will leave you somewhere between enthused and relaxed, a slow move to climax that feels like little work was involved and yet it demands like an un-moveable force. There are traces of Peaking Lights' inspirations all over this record, in the fuzzy guitar lines of Stereolab and the subtle traces of paranoia peddled by Lee Perry. 

This is an album that, even more than their last, sees the listener on a disconcerting journey to discovery. Repeated listens will take you further and deeper, like a ever descending version of Christopher Nolan's Inception. Just ensure you pack a map and a torch for you return trip from dreamworld.

Lucifer is out now on Weird World, available from Amazon.co.uk on CD, LP and MP3 [affiliate links].

Stream below on Spotify [account required]: