Music Reviews: February 2015

Sleaford Mods
Tiswaz EP
EP (Invada Records)
Hot off the back of their latest album Divide and Exit, the Nottingham duo have teamed up with Invada Records for even more brash, working-class melodies that embrace the complications surrounding the everyman and everywoman. Andrew Fearn’s minimalist, repetitive and often bass-heavy beats act as the canvas for Jason Williamson to spill his quick-witted, profanity-laced prose across this five-song EP, which clocks in at a whisper over thirteen minutes.
Tracks like 6 Horsemen (The Brixtons) expand upon the unique and unequalled sounds the duo have established over the past handful of releases, while making mention of the “massively bad calculation” Razorlight’s Johnny Borrell made by spending all his money at the height of his fame – clarifying that nobody in the country even cared. The pair have never shied away from controversial subject matter and that’s evident throughout Tiswaz, with second song Bunch of Cunts as a prime example; Fearn’s low-fi, tribal drum beat acts as the fuel to Williamson’s fire as he informs Dr Dre, “Them headphones are shit and they’re fucking everywhere, mate” in his familiar Notts twang. It’s actually pretty refreshing to hear such a brutally honest focus of attention from Sleaford Mods on this record – especially as it’s presented with such a blunt authenticity - one which, arguably, hasn’t really been heard since the heyday of punk music in the late seventies. Christian Povey

Fable
Transitions
Album (Self-released)
Fable has been pushing the musical boundaries of his talents for the past decade, releasing a string of highly successful underground EPs. However, his debut album has broken the mould considerably, resulting in a musical journey incorporating elements of hip hop, dub, reggae and even a sprinkling of downbeat funk which you’d be hard pushed to resist the urge to break out a few moves to. Transitions relies heavily on the considerable influences that have shaped Fable’s sound, but it’s also evident that he’s trying to do something unique rather than engage in the same humdrum, mindless music a lot of producers put out. The standout track is 1991 - a bouncy, soulful number packed to the rafters, full of hard-hitting beats that resonate deep within the soul. A truly organic piece of personal work that you can feel has pushed the artist creatively. A masterpiece of production value. Jack Garofalo

Grey Hairs
Colossal Downer
Album (Gringo Records)
The first thing you’ll notice, and it’s hard not to, is the gloriously overwhelming amount of guitars. This is a record deliriously drunk on them, from the heavily-layered, ear-punishing riffs to the ground-shuddering bass. It’s not just noise for noise’s sake, though - these are well-constructed songs that boast big, catchy hooks alongside clever nuances and subtleties. It’s the string taps that replicate the vocal line in Creepy, for example, that make repeated listens a treat. The clue may be in the title, but Colossal Downer perfectly captures the existential angst every thirty-something nine-to-fiver the world over will understand; the reality that hits you in the depths of your despair on a Monday morning and only leaves you when you are cradling that first post-work pint on a Friday. “What does it mean?” repeatedly wails Anxiety Dream; Grey Hairs are burning with impotent rage and frustration. Paul Klotschkow

Moscow Youth Cult
Lux EP
EP (I Own You Records)
There’s so much to explore here, from pounding bass lines to tiny snippets of voices, that initial listening can leave you feeling disorientated. Given time though, this EP unravels itself, and among what first may appear to be white noise, glimmers of sound and colour rise out of the digital mire. The title track is the kind of witchy electronica that has become MYC’s stock-in-trade; it twitches like an anxiety-filled dream before gradually bursting into life with a euphoric punch in the air. Tenebris is driven by the sound of an 8-bit games console gasping for life while Mario and chums party towards their imminent deaths; Les Hiker II takes the retro techno duo’s sound and stretches it to breaking point; while the trashy, straight-to-VHS B-Movie, adrenaline-pumped synths of Trancers flail around like a Jean-Claude Van Damme roundhouse kick to the mullet. Paul Klotschkow

MuHa
Reka
Album (Self-released)
The term ‘World Music’ can too often be the thing of nightmares: white guys with dreads playing bongos, middle-class students in flares and unwashed hair playing bongos, or lentil-weaving yogurt-knitters from Forest Fields playing bongos. Plus, aren’t we all part of the world, man? Awkward genre-name aside, and away from the cultural appropriation of a small minority attempting to appear more interesting than they actually are, there are artists crafting engaging and worthwhile music that genuinely reflects their own lives and culture, including MuHa. Although Reka won’t be for everyone, for listeners curious about modern European folk music that travels from east to west while mirroring the experiences and backgrounds of the band’s various members, there’s much to take from this album. MuHa want to share their traditions, stories and sounds with the world and there’s not a lentil or yoghurt in sight. Paul Klotschkow

Nina Smith
This Love EP
EP (Self-released)
It seems like an age since we last heard new music from Nina Smith, but the local favourite is back with a new four-track EP that’s been well worth the wait. Lead track This Love has been around for over a year, and while you might have seen it performed acoustically with a guitar, this version benefits from sparse electro production. Stronger is a piano-led soul number that showcases Smith’s terrific vocal talents and would sit perfectly alongside Sigma and Disclosure on a dance-pop compilation. The undoubted highlight of the EP, though, is final track Nothing More, a beautiful and harmonic mid-paced pop song. Smith has writing credits on all four tracks and this collection showcases a new, more mature sound. Blending r’n’b with soul and pop influences, This Love is a superb offering of songs that ought to finally propel this local girl into the national spotlight. Nick Parkhouse

The Rascels
This Is
EP (Self-released)
Full of catchy melodies and cheerful tones, This Is is the latest EP from these young Nottingham heartthrobs. The six-track wonder throws you back to the best of pop music that dominated the start of the 21st century, as a reminder that good music doesn't always have to be dark. Managing to showcase a variety of perspectives, they go from feisty upbeat tracks to more acoustic melodies with this release, highlighting the versatility of their talent and emotional range. Get Up is the most passionate song on the EP, with the boys turning up the attitude to get people dancing. My Summertime and Georgia are scattered with gorgeous imagery and romantic ideals – you'll fall in love with The Rascels before you even get to the end. If you like good music from good guys, This Is cannot be recommended highly enough. Penny Blakemore

Shelter Point
Weird Dreamers
EP (Space + Time)
Shelter Point, still only in their twenties, have matured a lot since their first EP. Weird Dreamers sees their wonky post-garage, post-dubstep influences refined into dreamy, haunting soundscapes. Singer-songwriter Liam’s fragile but penetrating voice combines perfectly with Robin’s more pared back production on the very heartfelt, honest Hansei and title track Weird Dreamers. New single Fossil is introspective electronica at its finest, all haunting vocals and sparse beats building into epic Bjork-like strings, while on Dog Howl, the echoey vocals, plunky plucking and woozy synths transport you to the boys’ nocturnal dream state. A place you don’t really want to come back from when the four tracks are up. Kick back in your favourite comfy chair and enjoy — a full length LP is on the way some time this year on Sony/RCA subsidiary Space+Time. Shariff Ibrahim

Wolf Club
Back To The City EP
EP (My Hart Canyon Music)
Having played No Tomorrow festival back in the summer, these lads had a lot riding on this debut release - and they don’t disappoint. It is thudding electro-pop at its finest, with soaring choruses and the kind of drums that are perfect for festival fist-pumping. It’s catchy enough for the charts and cool enough for the clubs, making it quite difficult to understand why they aren’t bigger. The songs do keep to a rather similar structure but, as they say, you can never have too much of a good thing and these guys have their sound pretty much bang on. This EP is a great taste of what they do best, with tunes like Back To The City demanding hands-in-the-air “I love you, man” vibes. It’ll be interesting to see if following releases deviate from this pretty much perfect formula. Sam Nahirny