In the wide world of female performers, you have two camps: one that values extravagant style over substance (e.g., Lady Gaga, Beyonce, recent upstart Kreayshawn) and the other valuing substance over their own understated style (the folk singers, generally). Of the latter category is 20-year old Alessi Laurent-Marke, who records under the name Alessi’s Ark. Laurent-Marke will be getting her first widespread North American debut as the Londoner supports Laura Marling on a 2-week tour of our continent.
She will also be promoting her first full-length release in America, Time Travel, scheduled for release on September 27 on Simon Raymonde’s Bella Union label. (The album was already released in the UK in April, and there are some songs on Spotify [some old, some new] to tide you over until the actual release of the album here.) I am quite pleased that Alessi’s Ark is finally getting attention on this side of the Atlantic, as I’ve been keeping tabs on Laurent-Marke since her first album, Notes from the Treehouse, was released in Britain in 2009.
Alessi’s Ark songs generally follow one rule: they’re all very short. On Time Travel, only the title track and “Stalemate” go over 3 minutes, with some of the other songs not even going past the 2-minute mark. This can be good or bad; in the good sense, Laurent-Marke’s thoughts are put into small, compact compartments, like something you want to scuttle away in a dark corner of your pocket and save for a rainy day. But in the bad sense, you’re left wondering where the song would have gone, had she decided to soldier on with her thoughts. The best example on the album is “Wire” (download it from Bella Union here, video below). It appears to be a cryptic love letter to an important woman in her life (her mother? a lover?) that is now dearly departed. Yet there is also clear the acknowledgment that she feels lost, forsaken, and misunderstood (“I’m tired of walking this wire / it keeps me awake for heaven sake / I was made for this girl / I feel lonely / my friends don’t seem to know me / like I thought they did / I thought they did, but they don’t”). The angst of growing up is of course a common theme across many genres of music, but I’d like someone to come up with a song as elegant as this.
The beauty does not end there. “Run,” barely clocking in at a minute and a half, is the musical equivalent of seeing the moon’s reflection in a still lake. In “On the Plains,” Laurent-Marke uses simple chord changes against her effortless vocals for a simple love song. Flutes add a level of whimsy to this track, and throughout the album, you will find also find brass instruments supporting the standard folk backdrop of thoughtful guitars and Laurent-Marke’s calm voice. It’s almost unbelievable that someone so young could have such great control over the sounds that come out of her mouth. Then again, remind yourself who she’s touring with: Laura Marling, merely 1 year her senior. In the tune “Stalemate,” she admits, “the only thing I’ve learnt is I like singing / all the lessons that the guitar is bringing.” Something America should learn – and quickly: all aboard Alessi’s Ark, and prepare to enjoy the ride.
Time Travel, the first American release for Alessi’s Ark, will be released on September 27 on Bella Union. Catch Laurent-Marke on tour, supporting Laura Marling, on the dates below.
Track Listing
01. Kind of Man
02. Wire
03. On The Plains
04. Must’ve Grown
05. Time Travel
06. The Fever
07. Blanket
08. Maybe I Know
09. Stalemate
10. The Robot
11. Run
12. The Bird Song
Tour Dates (supporting Laura Marling)
Sept 22 – Lincoln Hall / Chicago
Sept 23 – Great Hall / Toronto
Sept 24 – Corona / Montreal
Sept 25 – Brighton Music Hall / Boston
Sept 27 – Sixth & I Historic Synagogue / Washington, DC
Sept 28 – Webster Hall / New York City
The music of English duo Slow Club has slowly but surely been making its way into America’s consciousness. The most recent appearance of the act’s sound was of the song “Apples and Pairs” from their first album released in 2009, Yeah So, at the end of an episode of Showtime serial “United States of Tara.” Slow Club hails from Sheffield, a place that most people outside of the UK associate Def Leppard, Pulp, and Arctic Monkeys with. So it’s great that this pair is putting the Northern city on the map for folk rock instead.
The album was released this week on Moshi Moshi, a London indie label that seems to have a good finger on the pulse of the best from the underground English music scene, always managing to pick the cream of the crop from blighty. (And while I’m here, I might as well clue you in to two other bands on their roster: Trophy Wife [from Oxford, England, not the one from Philadelphia] and Summer Camp [another boy/girl singing duo, from London]; if you haven’t heard of these bands yet, you will. Soon.)
The album’s lead single “Where I’m Waking” begins aggressively, almost Sleigh Bells-like. Thankfully, Rebecca Taylor and Charles Watson pull it back with the right amount of restraint. The result is bouncy and fun, certainly one of the sunniest tracks on the album (possibly tied with the equally energetic “The Dog”), so it fits in nicely as part of “the story so far” coming off the success of Yeah So‘s more recognizable tracks. While neither is a “Giving Up on Love,” they’re still pretty good.
“Two Cousins,” the opening track of Paradise, also skirts the noise-pop barrier again, with bracing vocals. Is this the same band? It has been suggested by several British music pundits that Slow Club has “grown up” in this album, most noticeably with Watson’s voice being less young-girly and the duo’s foray into more bluesy, almost gospel territory (see: “Never Look Back”, “You, Earth or Ash”) utilizing their strong harmonies.
Taylor and Watson’s near perfect vocals in Yeah So are what made people fall in love with Slow Club, and while these great vocals are still present in Paradise, the percussion is cranked up in the wrong places and some instrumental choices have been made that are not flattering to the vocals. The title of “Hackney Marsh” is, I assume, a loving reference to the part of North London of the same name which, oddly, is the home of a disproportionate number of the city’s musicians. (Maybe that’s why it’s being immortalized in a song title?) It’s a great song, with a novel – but strange – saxophone interlude with Taylor scatting the melody. The thudding drums of “Beginners” mars an otherwise good song. You’d wish you had a mixer in your hands so you could adjust the equalizer. Slow Club took risks with this album and are showing their true hearts in it; this album less innocent and less precious than their debut was. The strong songwriting is still there, but I think in terms of the execution, people are really going to love love love this or not care for it.
Paradise by Slow Club is available now from Moshi Moshi.
Track Listing
01. Two Cousins
02. If We’re Still Alive
03. Never Look Back
04. When I’m Waking
05. Hackney Marsh
06. Beginners
07. You, Earth or Ash
08. Gold Mountain
09. The Dog
10. Horses Jumping
The third album from English folk songbird Laura Marling is called A Creature I Don’t Know and the approach this time around seems to be a mature one (like Marling’s second, I Speak Because I Can) but more raw and back to basics, more similar to Marling’s 2008 debut and Mercury Prize-nominated album Alas I Cannot Swim. Take, for instance, the opening track “The Muse.” A fast folk guitar, honky tonk piano, and drum brushes were adopted for this song, and the overall vibe is very laid back. Too laid back I think: Marling’s voice is jazzy, and it’s not really the best to showcase Marling’s otherwise beautiful singing voice. Check out “Don’t Ask Me Why” and “All My Friends” for clear evidence of this and Marling’s mastery of songwriting. The only problem I see with this album is that it is uneven in song quality.
The lead single for A Creature I Don’t Know is “Sophia,” which begins with spare guitar chords and a dry vocal from Marling. With beautiful backing singers harmonizing perfectly with her, it’s so gentle, as if you were in a boat going down a gentle river. But this doesn’t last long: confusingly two-thirds into the song, you are jolted back into reality when the song turns Mumford and Sons-ized. It’s a knee-slapper, folks. The first couple times I heard this song this summer on British radio, I was really unhappy with it because Marling is such a talented woman, I felt like she sold out trying to make it more radio-friendly. The song has grown on me since I’ve seen the video for the song (watch it below) because it feels less contrived when you see her and her band playing it in a church. The video is a nice preview of her upcoming tour at home in the UK, as she will be playing churches across the country.
“Salinas” appears to be a nod to John Steinbeck (the Nobel Prize-winning author’s hometown) and possibly his most famous work The Grapes of Wrath. The song speaks of strong women and questions of morality and mortality. Heavy stuff. Then again, no one ever said folk music was for the weak-hearted. Also see “The Beast,” which may be a reference to Satan and viewing sex as a sin. The instrumentation is probably the hardest we’re going to get from Marling – unless she does a complete 180 and completely gives up folk for hard rock, which I highly doubt – and while there have been aggressive tracks like “Devil’s Spoke” from her in the past, this one is a definite ratcheting up on the rockiness.
Unfortunately, if you’re more of a rock than a folk fan like me, the album plods along instead of continuing in a jaunty fashion. Things can get a little…well…boring. Marling is 21 now, has 3 albums under her belt, and has had two high profile relationships with fellow musicians Charlie Fink (Noah and the Whale) and Marcus Mumford. The question now is, how will Marling change as the years go on?
A Creature I Don’t Know will be released in the U.S. on September 12 on Ribbon Records. Catch Marling on tour in North America this month, starting on September 17 in San Francisco. The opener for the tour is Alessi’s Ark, another amazing female English singer/songwriter.
Track Listing
01. The Muse
02. I Was Just a Card
03. Don’t Ask Me Why
04. Salinas
05. The Beast
06. Night After Night
07. My Friends
08. Rest in the Bed
09. Sophia
10. All My Rage
Tour Dates
Sept 17 – Bimbo’s 365 Club / San Francisco
Sept 18 – Masonic Temple / Los Angeles
Sept 20 – Troubadour / Los Angeles
Sept 22 – Lincoln Hall / Chicago
Sept 23 – Great Hall / Toronto
Sept 24 – Corona / Montreal
Sept 25 – Brighton Music Hall / Boston
Sept 27 – Sixth & I Historic Synagogue / Washington, DC
Sept 28 – Webster Hall / New York City
London garage rock band the Jim Jones Revue has announced plans for a 2-week tour of North America in the first half of September. Catch the band’s special blend of classic rock ‘n’ roll piano and punk rock at a venue near you. To give you an idea of what they sound like, watch the video for “Shoot First” below.
Tour Dates
Sept 01 – Biltmore Cabaret / Vancouver
Sept 03 – Doug Fir Lounge / Portland
Sept 04 – Bumbershoot Festival / Seattle
Sept 07 – Independent / San Francisco
Sept 08 – Echo / Los Angeles
Sept 010 – Music Hall of Williamsburg / Brooklyn
Sept 11 – Brighton Music Hall / Allston, MA
Sept 12 – Casa del Popolo / Montreal
Sept 13 – Horseshoe Tavern / Toronto
Sept 14 – Schuba’s / Chicago
Sept 16 – Blockley Pourhouse / Philadelphia
Sept 17 – Black Cat / Washington, DC
Sept 18 – Maxwell’s / Hoboken
The nominations for the 2011 Barclaycard Mercury Prize – for the best album from the United Kingdom and Ireland – were announced last week at a special ceremony in London by BBC6music radio presenter Lauren Laverne. Receiving a Mercury Prize nomination (and/or winning it) generally leads to increased album sales and increased celebrity profile for a band. The winner will be announced on Tuesday, September 6 at a special event in London featuring performances from all the nominees.
Here are the 12 albums up for this year’s Mercury Prize:
As a record label, Paris’s Kitsune seem unable to make a misstep when signing bands. The latest artists they took a chance with that made it huge here in the U.S.? Hopefully La Roux and Two Door Cinema Club ring some bells for you. And it’s quite possible that the first album Kitsune releases on this side of the Atlantic, thanks to a recent deal with Cooperative Music and Downtown Records, could be just as big. As might be expected from their name, Is Tropical, a dance trio from London, make tropical music. And their debut album Native To, which quite possibly might be “the” soundtrack to the summer, is dropping just in time for the warmer weather, this Tuesday.
Early on in the game, Kitsune gave away “The Greeks” as a free download. With its quick guitar line, infectious chorus and relentless beats, it’s no surprise it’s been a runaway success online. Certainly, some of its popularity has to do with the unveiling of its NSFW promo video featuring kids in shooting each other, cartoon blood flying. Not really my thing at all, but I guess dubious promotion is better than no promotion. I like “South Pacific,” the opening track, much more; it’s got the same guitars as ‘The Greeks’ but is more mellow and less frenetic, which is better for summer driving music anyway. It’s like a tropical version of the The’s “This is the Day”. Watch the video for it below.
The tropicalia vibe continues through “Land of the Nod,” sounding like it could easily be placed as the background music for a Club Med advert, and “Clouds,” suitable for a Super Mario game set in the islands, mon (if Nintendo ever decides to go there, that is). “Think We’re Alone” will remind you of Cut Copy. And I did say this band was “dance”, and this is clear in the track “Lies” (not to be confused with Fenech-Soler‘s “Lies”). Compressed synths stretch around this track’s corner, and the words “they don’t love you / they just need a little sex sometimes / gotta shine through / don’t beat yourself up for being too blind,” while cynical, they ring true about some of the worst liaisons, don’t they? “Berlin” sounds like Kraftwerk redux, but with more heart. And vocals echoing all the while.
Here is the main problem I have with Native To: while of course there is echo and reverb on dance albums, for some reason, there’s too much of both on here. I admit that to some people, this is endearing because it gives the music a “lighter”, floating on air-type of quality. But a song like “Zombie,” with a dark vocal and even darker buzzing synth, tells you this band is capable of being a heavier band. It’ll be interesting to see what direction they take for future material – whether they stick with the tropical, dance beat formula or go somewhere else.
This is a good question, because there are songs on here that just don’t relate to the others. “What????” isn’t satisfying, with quickfire rap as an overlay on an otherwise hohum synth base. After Lupe Fiasco “lifted” the chorus from Modest Mouse‘s “Float On” for his recent single, “The Show Goes On,” you should be looking at the Is Tropical tune “Take My Chances” with a jaundiced eye. The melody’s a bit similar, isn’t it? Groan. The album ends with the instrumental jam “Seasick Mutiny.” It’s okay, just repetitive. While there are definitely some worthwhile tracks on Native To, I can’t call it a 100% stellar album. But it’s definitely worth looking into if you want to equip your car with some fun new tunes this summer.
Tracklisting
01. South Pacific
02. Land of the Nod
03. Lies
04. The Greeks
05. What????
06. Clouds
07. Take My Chances
08. Oranges
09. Berlin
10. Think We’re Alone
11. Zombie
12. Seasick Mutiny
As fans of The Boxer Rebellion, DarkFibre jumped at the chance to collaborate with the band and turn “The Runner” into a visually engaging mini-masterpiece. “We took the cornerstone idea of honesty and its fragility from the lyrics and created a narrative that would be both completely surprising and utterly compelling,” says co-director Ishbel Whittaker. “We wanted to make something that was playful and naughty but also profound, raw and honest.”
Following on from a completely sold out, very well received solo tour this past spring, English folk singer/songwriter Frank Turner has announced a huge tour of North America beginning at the middle of September to the beginning of November. This series of dates takes Turner and his band to many places he hasn’t headlined yet, including several major Canadian cities.
Turner’s new album, England Keep My Bones, will be released on Epitaph Records next Tuesday (June 7) in America.
Tour Dates
Sep 20 – Heirloom Arts Theatre / Danbury, CT
Sep 21 – Bowery Ballroom / New York City
Sep 23 – Ottobar / Baltimore
Sep 24 – Alley Katz / Richmond, VA
Sep 25 – New Brookland Tavern / Columbia, SC
Sep 27 – Social / Orlando
Sep 29 – Culture Room / Ft. Lauderdale
Sep 30 – Crowbar / Tampa
Oct 01 – Masquerade / Atlanta
Oct 03 – Emo’s / Austin
Oct 04 – Loft / Dallas
Oct 05 – Conservatory / Oklahoma City
Oct 06 – Record Bar / Kansas City
Oct 07 – Marquis Theatre / Denver
Oct 08 – Launch Pad / Albuquerque
Oct 10 – Rhythm Room / Phoenix
Oct 11 – Glass House / Pomona
Oct 12 – SOMA Side Stage / San Diego
Oct 13 – El Rey / Los Angeles
Oct 14 – Slim’s / San Francisco
Oct 15 – Hawthorne Theatre / Portland
Oct 16 – Neumos / Seattle
Oct 17 – Biltmore / Vancouver
Oct 19 – Starlight Room / Edmonton
Oct 20 – Republik / Calgary
Oct 21 – Exchange / Regina, SK
Oct 22 – WECC / Winnipeg, MB
Oct 23 – Triple Rock Social Club / Minneapolis
Oct 25 – Turner Hall / Milwaukee
Oct 26 – Bottom Lounge / Chicago
Oct 27 – Magic Stick / Detroit
Oct 28 – Phoenix / Toronto
Oct 29 – Corona Theatre / Montreal
Oct 30 – Mavericks / Ottawa
Oct 31 – Cercle / Quebec City
Nov 02 – Middle East Downstairs / Boston
Nov 04 – TLA / Philadelphia
Released in the fall of 2008, Friendly Fires‘ self-titled album had me at hello. It was the sonic equivalent to the boy next door: a bit naive, a little rough around the edges, a tad tentative, yet completely unpretentious. It winked with the wide-eyed naivete able to win your heart but was sexy enough to make you feel like you were the prettiest girl in the room. Having had a love affair with its predecessor, I knew Pala had to really wow me like a knight in shining armor to even stand a chance against my darling Friendly Fires. Basically, it was an impossibly tall order.
The album was named after the fictional setting of the Aldous Huxley novel Island, and based on that alone, you can tell this album was conceived, written, and recorded with much thought. This time around, lead singer Ed Macfarlane took advantage of writing songs not just in their hometown of St. Albans like for those on Friendly Fires but also Rye in Sussex, the little village Yvetot in France, and New York. He’s talked about wanting to break out of the stereotypes that the media tried to pin on them after their first album, and certainly, no one can accuse them of writing a Friendly Fires pt. 2 with this effort. The problem? Pala is an example of how (usually) less is more. Despite the great care taken to make every sound on this album resonate beautifully (no doubt with producer Paul Epworth‘s help), there is so much going on here and in so many different directions that it’s hard to find continuity.
Having said that, there are some real winners on here. “Live Those Days Tonight,” the album’s first single, is a carnival. The first time I heard it, I hated it. I had already worried based on the “Kiss of Life” single released in the summer of 2009 that Edd Gibson‘s guitar work was going to be muted on their future recordings in favor of a heavier dance sound; for this song and most of Pala, I was right. But the song grew on me: it’s kind of hard to not eventually fall in love with it, because it’s so damn catchy. And if you’ve ever seen Macfarlane dance when the band performs live, the mental image of him swiveling his hips around to the music pops into your mind and is pretty mesmerizing. A good friend of mine just saw the band play at London’s intimate club venue Heaven on May 9 and assured me that the Friendly Fires live performance is better than ever and completely “lush,” and I take his word for it.
Let’s talk about the good. “Show Me Lights,” having a sensual r&b groove, is the stand out track on the album. Interestingly, when you compare this song’s chorus of “take me back / take me back / take me back in the darkness” to “Strobe” from the first album, which begins with the words “I see you / you come out of the strobe / you come out of the strobe,” you notice both songs are about winning back a love, just in opposite lighting situations. Comparing the new track to the old one side by side is like comparing apples and oranges, and in this case, I approve of the newer apple. “Pull Me Back to Earth” lets guitarist Gibson flex his musical muscles – thank goodness. Title track “Pala” is a fantastic slow jam; with Macfarlane’s dreamy vocals, it would have felt completely out of place on Friendly Fires. But it’s a perfect example of my “less is more” argument.
Less successful are the songs that sound like they’re from an earlier time. “Hurting” would have felt at home in the ’70s, and you almost feel compelled to do the hustle to it. The ’80s sounding “Hawaiian Air” has video game-like bleeps. Both this track and “True Love” (guest starring Holy Ghost!‘s Alex Frankel on clavinet) buzz along with Jack Savidge‘s relentless drumming leading the way, and for some reason, they just don’t ring true with me. I’m going to assume that these translate better live than on record, and I hope when the live Pala and I are formally introduced next week in Washington, we’ll get on like a house on fire.
Pala by Friendly Fires will be released in America on May 24 on XL Recordings.
Tracklisting
01. Live Those Days Tonight
02. Blue Cassette
03. Running Away
04. Hawaiian Air
05. Hurting
06. Pala
07. Show Me Lights
08. True Love
09. Pull Me Back to Earth
10. Chimes
11. Helpless
Tour Dates:
May 25 – Webster Hall / New York City
May 26 – 9:30 Club / Washington, DC
May 27 – Paradise / Boston
May 28 – Corona Theatre / Montreal
May 30 – Phoenix / Toronto
May 31 – Lincoln Hall / Chicago
Jun 01 – Varsity Theater / Minneapolis
Jun 04 – Venue / Vancouver
Jun 05 – Neumo’s / Seattle
Jun 06 – Doug Fir / Portland
Jun 08 – Independent / San Francisco
Jun 10 – Music Box @ Henry Fonda / Los Angeles
Jun 11 – Teatro Chino De Six Flags / Mexico City
Jun 12 – Escenica / Monterrey, Mexico
English folk/punk singer/songwriter Frank Turner is huge at home in Britain and across Europe but as of 2010 had yet to do a proper headlining North American tour. In late April, he embarked on his first, sans backing band. I guess he’s made a good impression on this side of the pond already- as early as mid-March most of the dates on this 2-week tour were already sold out and at the time of this writing, all the dates are now completely sold out, Turner saying to me that he’d been offered “crazy things” by people desperate to get into the Red Palace show in DC Friday night. Definitely a hot ticket.
The support act was Justin Jones, a local singer/songwriter with a similar folk/punk bent to Turner’s. He was joined on stage by upright bass player Tracy Epperson, a former bandmate. Jones has the distinction of being the first act to be signed to 9:30 Records, the new label created by yup, you guessed it, the folks that run the iconic 9:30 Club that looms so large on the Washington music scene. Compared to Turner’s songs and singing style, Jones is decidedly darker. This may be attributed to his addiction to heroin several years ago that temporarily wrecked his life but after rehab, translated into the kind of songs he performs today.
His tunes Friday night ran from heartfelt (a song for his wife called “Keep a Shelter”; another one called “The Little Fox” about watching his daughter play in the front yard of their house) to deep, dark, and dangerous (a murder ballad called “55 Songs”). The man has a powerful voice but it can grate when he’s shouting his heart out. In between songs he entertained the appreciative audience with crass stories, many of which I won’t type out here because they won’t make a lot of sense unless you’ve actually lived in DC (in which case, talking about neighborhoods bounded by particular streets and their relative safety, or lack thereof, is common source of jokes).
In Britain, it’s every man for himself when Frank Turner tickets go on sale. What is it that makes him so popular? Well, in that part of the world, it’s been my impression that many people feel oppressed by the status quo, and in the UK, a lot of that has to do with class inequality and the have-nots struggling to survive and make ends meet. And this man speaks their language. While you don’t have to be a completely down-trodden commoner to enjoy Turner’s music, my guess is that the people who attended the Royal Wedding the same day Frank Turner came to play in DC aren’t among his fans. His lyrics can be vitriolic, which is not all surprising, since he first started playing in a punk band and admitted to us that he was once a young, angry university student in London. But he can also write with emotional love songs, like “The Fastest Way Back Home,” the chorus beautiful with the lyrics, “weather wears down the mountains into the sea / so I will stand in the rain until I am clean / rivers carve the country, a landscape shaped by a stream / so I will swim in the river as long as you need.” Gorgeous.
Most impressive was nearly everyone in the crowd singing along to Turner’s every word, even the new single that just came out on iTunes days ago, “Peggy Sings the Blues.” The tune is the first single from Turner’s upcoming albumEngland Keep My Bones due out in early June, following closely on from his Rock & Roll EP released last year. For me, the highlights were some of his best-known numbers (“I Knew Prufrock Before He Became Famous,” “Try This at Home”) and the more raucous ones such as “I Still Believe” that require manic audience participation in the form of shouting “I still believe!” at the top of your lungs back at Turner.
That said, I get the distinct feeling that not everyone will feel at home at one of Turner’s gigs. Red Palace is pretty small to begin with (200-person capacity) and it’s a little weird standing among burly men yelling with drinks in hand (I guess I have not been to enough gigs in Britain). But if that sounds to you like a good night out, I heartily recommend catching him live. And don’t fret if you didn’t get tickets for this tour. There’s a rumor Turner will return to the U.S. with a full band this fall, so if you didn’t catch him on this go-around, you’ll likely have another chance before the end of the year.
Tour Dates
May 02 – Beat Kitchen / Chicago
May 04 – Bottom of the Hill / San Francisco
May 05 – Hotel Cafe / Los Angeles (two shows)
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Concert Calendar
Nov 23, 2011
HaHa Tonka @ Recordbar, Kansas City MO
Nov 25, 2011
Thee Oh Sees @ The Granada, Lawrence KS
As a record label, Paris’s 
Released in the fall of 2008, 
