It wasn’t that long ago that if you went to a gig and on to stage came one singer and one guitarist that you’d know exactly what you were about to
experience and that experience was going to be some sort of acoustic folk.

Modern technology though now allows these duos to do a lot more than those simple acoustic stylings. Drum machines, loopers and samplers give these twosomes to make sounds that you’d normally expect from a much larger band.

This same technology also allows for experimentation with sound that wouldn’t have been achievable with just a guitar meaning that these small bands can touch on genres you wouldn’t have expected.

And this is where La Fin Absolute Du Monde come in, this duo is certinaly experimental and definitely don’t play acoustic folk. La Fin instead play their own brand of neo-noir music. This is essentially indie electronica with hints of their many and varied influences throughout and those influences include, punk, pop, trip hop, downtempo, grunge, in fact you name it and they’ve probably played around with.

Often eschewing standard musical structures La Fin create compositions that are profoundly different to anything you may be used to, tone, mood, tempo, anything can change within the confines of a single song which will forever keep you guessing as to where they are taking you. The heavy rhythms of album opener Descent Into Madness are deep and brooding to be followed by darkly tinged dream pop (nightmare pop?) inspired tracks. All in all it’s an eclectic mix of genres that are blended together seemlessly and artfully with a level of dynamism that is rarely found anywhere. The changing music is greatly complemented by the wonderfully crafted vocals that are delivered in fashions that are as disperate as the music itself.

The real achievement is that despite all the mixes, changes and blending of styles the music works, somehow it all melds together into an outstanding final concoction that is truly musical medicine.


and all this doesn’t begin to touch on what they are like live. If you ever get a chance to see them play I would highly recommend going and I’m sure you wont regret it!

Vienna Ditto are a genre defining band. That is to say that they have defined their very own genre in Voodoo Sci-Fi Blues. It only takes one listen to understand why Vienna Ditto needed to do this as they certainly don’t fall neatly into any predefined musical genre.

What you have in Vienna Ditto is a mixture of influences mixed together in ways you wouldn’t normally expect.

The blues that is mention in the genre name is easily identifiable on tracks like The Undefeated which opens with some classic blues guitar and if you are listening to the limited edition version of the EP which includes previous single I Know His Blood Will Make Me Whole on top of the blues guitar you also get some wonderful gospel blues vocals from Hatty Taylor.

However neither of these tracks stay as blues for their entirety, as both break down in their latter stages in ways you wouldn’t expect. On I Know His Blood the simple guitar and vocals vie with the growing drum beat which is joined by electronic samples before dropping into a dance like beat before being rejoined by the earlier elements for the finish. On The Undefeated the simple guitar and vocals are joined by a drum beat before dropping into a dubstep like segment before returning to the simple guitar and vocals.

These descriptions may seem overblown but it is hard to put into word the intricacies of what Vienna Ditto create. With only two members and a single guitar the sound is created by sampling, looping and mixing vocals, guitar, drum beats and other samples to create multiple layers of sound which allow the merging of the variety of tones, beats and genres from which the band draw.

The changes are sometimes subtle, sometimes stark, but no matter where they are taking you on the journey it is never discordant which highlights the craftsmanship that is put into the tracks.

Whilst this may all be sounding like a beautiful mess Vienna Ditto can create songs that are as simple as they are dramatic.Taylor’s vocals can be as varied as the music but often only have a simple accompaniment which allows the vocals to have emphasis as they are usually delivered clearly and without effects which allows you appreciate the honest and expressive lyrics.

Experimental and different but also thoughtful and intelligent this is music that will move and uplift those willing to take the risk and take the road less travelled and have Vienna Ditto as their soundtrack

Post rock is not a genre that everyone understands. With whole albums of completely instrumental music there are some people that are left wanting more and equate what they have heard to “elevator music”. But lyrics aren’t everything. For those that take the time to immerse themselves in the music they can come to appreciate how expressive sound alone can be. Ranging from the mellow and atmospheric to the fast and frantic post rock instrumental music can convey the whole gamut of emotion.

Near Light are a four piece from Bournemouth who have placed themselves towards the atmospheric end of the spectrum with their self titled debut EP. Many Post rock bands that play this style have a tendency to meander through some of their tracks, continuing long after most people would have given up, however at just over 25 minutes for 5 tracks Near Light have been quite restrained by comparison.

But brevity does not reduce the intensity. Emotionally fulled the tracks draw you in to a seemingly endless swirl of melodious wonder. Near Light have managed to weave a mesmeric soundscape with the EP, the tracks rise and fall spectacularly and blend together almost seamlessly to create a greater feel for the EP as a whole rather than just a series of individual tracks. 

Subdued starts often explode into life only to fall back into a soft reverie, subtle repetition creates an almost hypnotic ambiance, simple guitar riffs and drum beats entwine to create a more complicated whole, the EP is a collection of little touches and techniques that are woven together in spellbinding fashion to formulate the kind of music that you can happily lose yourself in and forget the world around you.

The last time I wrote about Explosions in the Sky I was writing about one of my favourite post rock bands but what we have here is an entirely different kettle of fish.

Explosions in the Sky this time is an acoustic EP from Cheltenham three piece The Drawing of the Three and if inspiration for band names is an indicator of the type of music they play then in sharing a name with a Stephen King novel you might expect something dark, moody and mysterious from The Drawing of the Three.

And you’d be partially right, there is definitely a moody feel to the EP both musically and lyrically.The lyrics drip with emotion and touch on the darkness of the feelings of loss and loneliness, of disassociation and dejection, but despite this the EP isn’t depressive, more melancholic and wistful.

The song writing is extremely expressive and at times manages to be so without the use of a lot of words. Painting the outlines and creating hazy images with the lyrics the songs allow the listener to fill in the details and subtly immerses them in the music.

The stripped back acoustic sound is reminiscent of Turin Brakes or Kings of Convenience especially in the harmonies, but this isn’t simply acoustic folk-rock as the bands Indie origins are clearly present with guitar riffs influenced by the softer Indie music of the last decade adding profound depth to the tracks.

A simple sound doesn’t mean the music is simplistic, the minimalist aesthetic just highlights the qualities of the bands playing. The percussion is simple and unobtrusive, helping to emphasise the vocals rather than over power them. Meanwhile the guitar, with it’s mix of simple riffs and intricate fills, acts as a fantastic counterpart to the plaintive vocals.

Overall the EP doesn’t rush at you with power and energy but instead washes over you with a more intimate and intricate touch that lifts you up and allows you to drift in a contemplative cloud which, being only 5 songs long, is gone far too soon.

Little Specks of Blood Lust Blood are a two piece outfit from Brighton but listening to their music you’d think there was more of them as this pairing produce a sound that is broader and certainly louder than you would expect.

Trying to place Little Specks into a genre isn’t easy. A starting point would be electro-rock but that is no where near a fitting description. At times ambient, sometimes cranking out the rock riffs whilst at other times pumping out great dance beats. This is an eclectic experimental new wave mix with gothic undertones that would make the likes of David Lynch smile.

There is a definite avant garde nature to A Beautiful Equation but Little Specks achieve this without drifting into pretentiousness. It’s a mix of ideas, forms, feelings and emotions, it’s essentially a stream of consciousness in musical form.

While Little Specks may have no bassist and no drummer this doesn’t stop them utilising a drum machine and other electronic wizardry to produce some fantastic bass lines and driving, intricate drum beats. But through all this and most often at the fore are the vocals. Even when effects are added the vocals are clear and crisp allowing the meaning of the well crafted lyrics to be understood. The vocals themselves have a mainly innocent, dreamlike feel but occasionally reveal a slightly devilish nature.

Overall the album is a seamless melding of styles, with no element feeling out of place, which is paced to perfection, reaching the end before you know it but without feeling rushed and leaving you wanting more.

In addition to the above review I would like to thank the band for giving me a new insult; from now on if I call you a bastion of idiocy you have Little Specks of Blood Lust Blood to blame

A few more reviews of followers of mine on Twitter where I was only able to listen to a single or two

Old Colours - Giants

After the Canadian flavoured tracks in my last selection this time I start off with a band from the UK with the indie folk rock stylings of Old Colours.

Zoe Meads ephemeral vocals waft over the song like a more comprehensible Elizabeth Fraser. The similarities to the Cocteau Twins doesn’t end with the vocals as the twinkling folksy percussive rhythm of the track could have been lifted from Blue Bell Knoll and even builds through the song in much the same way. However what Giants builds into is less dream pop and more indie folk especially with the effects laden guitar and crashing drums. There may be similarities to the Cocteau Twins here but this track has a broader, more cinematic scope, there is a mix of styles and sounds that in the end gives Old Colours a unique feel and a track that you can easily slip onto repeat

Dawn is Broken - Fixed on Dynamite

Reading through my reviews you could easily think that I only like alternative and experimental music. This isn’t the case, you don’t have to push the boundaries in order to be good, sometimes you can do something that is tried and tested and still stand out, all you have to do is be very good at whatever you have decided to do.

This is where Dawn is Broken come in with their single Fixed on Dynamite. This pop punk rock track isn’t breaking new ground, they aren’t pushing the extremes of the envelope, but what they are doing is being extremely adept at what they do.

Comparisons could easily be drawn to the likes of Green Day or My Chemical Romance. But that is not to say that Dawn is Broken are aping any other acts more that there is a large similarity in sound amongst acts in this genre especially with the guitar riffs and drum beats which can be heard on this single, but there is enough variation here to think that Dawn is Broken are treading there own path. Fixed on Dynamite doesn’t explode with originality but at the same time isn’t totally secured in the same old formula

Colour of Bone - Sympathiser

I’m not sure where to start with this track so I’ll take the obvious step of starting at the beginning. Grungy blues rock guitar and thumping drums start what you would then expect to be a traditional hard rock track but this then changes to slightly softer, more melodic riffs as the vocals join, vocals that I have to say remind me greatly of Pop Will Eat Itself. The fuzzy guitars always come to the fore between verses but drop back so as to not overpower the vocals. It’s a nice blend and helps maintain the raucous energy of the track.

This is rock with an experimental edge, there is an obvious desire not to be constrained by the expectations placed on a particular genre but to try different things and see what can they can add to the hard rocking beats and produce a sound that is forceful and yet intriguing

This is rock music. Pure, unadulterated, rock music. Right from the blues infused grunge opening you know what you are going to get from this six track EP. The influences of older rock greats are obviously there but these are mixed with newer grunge rock influences, this is Led Zeppelin meets Pearl Jam.

There isn’t one set rock sound on the EP, the influences vary from track to track with fuzzy grunge guitar at one point changing to blues riffs on the next track but all the time being powered forward by the rampaging rhythms supplied by the drums and base.

The vocals too vary, at times growling like Mark Lanegan and at others soaring like Robert Plant. This great vocal range adds fantastic presence to the lyrics.

Throughout the EP you’ll have moments where you are reminded of other bands but the overall sound is something that is Radio Free Universe’s own, it may just be rock music but it is rock music played how it’s supposed to be played. There is a visceral rawness to the sound that just grabs you and makes you want to be a part of it. All the elements are working in harmony with no part trying to stand out above the others, this is a band working in unison to make the music they obviously enjoy which is captured wonderfully in their recording but you can tell will be even more powerful when played live.

What I review is currently being decided by looking at what bands have started following my twitter account and my last few reviews are examples of just that. However some of the bands that are following me I have been unable to get hold of any of their material to listen to,or in the case of the reviews to follow all I can get is a single track so I thought I’d put them together and do a few single reviews…

Weekend Riot Club - Again and Again

Hailing from Hamilton Ontario Weekend Riot club are a three piece, female fronted, alt-rock band. A lot of the music coming out of Canada over the last few years has had an off the wall, experimental, psychedelic feel but this is definitely a more traditional rock outfit. The vocals of Melissa Marchese are obviously fantastic and you can’t help but think that live they would have a larger impact but here they feel slightly restrained. This feeling is pervasive through the entire track, the band are tight and completely solid and there is nothing wrong with their performance but there is a sense of too much control with the band unable to fully cut loose. The result is a sound that is more soft rock than you feel they want to be playing. Terms like run of the mill, formulaic or generic would be overly harsh on a band that are clearly better than average but appear to have not unleashed their full potential on this single.

Old English - We’ve Been Here Before

Toronto based Old English are definitely more of the experimental Canadian type. Dream pop tinged with more than a hint of electronica and a side order of post rock this isn’t a mishmash of styles but instead a carefully crafted concoction. The medley of musical styles and influences are blended seamlessly to create a unique sound. A simple blend of drums and synth is at the heart of this track with enough touches of other sounds and instruments including, of all things, a horn outro, all of which help set the track aside from the norm but doesn’t detract from the essence of the song. Over the top of all this are the subtle male vocals presented in the normal soft, dream pop style which fits superbly with the music without being washed away as can happen with that genre. The wistful lyrics only help to emphasis the bitter sweet dreaminess of the song. Old English have an album due to drop early next year and on the strength of this single I can’t wait to hear the rest of the album

The Good Fridays - The Ferret Song

For a triumvirate of Canadian bands we have our second Hamilton based band The Good Fridays. This five piece play what they describe as electro funk which is certainly an interesting and uncommon genre but that isn’t what is important with the Good Fridays. This is a band that’s all about the groove, this is a song for Friday nights, this is a song to put on as you loose the shackles of the working week and head into those few short days of hedonistic bliss. With a funk feel similar to Bloc Party but with a more rock orientated edge this is dance music for those who like dancing to real bands rather than DJ mixes. I can only assume that the Ferret in the song title has some colloquial connotation as there is no noticeable mention of the domesticated mammal in the lyrics while the vocal style itself veers from near shoe gaze to indie rock and anything inbetween. Trying to classify the vocals or the music into any particular genre is an exercise in futility and instead you should just accept the fun and exuberance with which they present themselves, especially as name Bill and Ted’s Excellent Adventure as one of their influences - most excellent dude!

Slow Static are a post-rock band from Texas who only formed earlier this year but if their EP is anything to go by you’d have thought they had been together for much longer.

The five song self titled EP opens with Triggerfinger, the opening riff and the rise and fall of the track is reminiscent of God is an Astronaut. Starting with a simple guitar riff to be joined later with a basic drum beat the track starts out with a very ambient feel that builds steadily with the drums taking prominence to then briefly drop back to the initial ambience before a final climb to the finish. It’s a beautifully crafted track and a perfect start to the EP.

The rest of the EP stays more in the ambient zone, the constructs from the basic combination of drum and guitar are extremely atmospheric. Simplistic in set up and yet complicated in feel Slow Static weave an almost visual soundscape for the listeners to lose themselves in.

The bands influences extend beyond the musical with the obviously zombie genre inspired In Case of Zombies Press Play being a dramatic, tension inducing track that wouldn’t be out of place if used when the protagonists were being chased by zombies on The Walking Dead or in a Romero film.

This is a fantastic début from the band demonstrating their ability at producing atmospheric, ambient post-rock whilst also highlighting the fact that they can easily up the intensity and bring more rock to the party. I look forward to hearing more them in the future.

As soon as I heard the first few bars of Radioactive, the opening track of Night Visions, I knew exactly what to expect from the rest of the album, I was about to listen to another alt-rock album heavily influenced by bands like The Shins, Death Cab For Cutie or the Fleet Foxes.

About 25 seconds in I was proven to be entirely wrong in this assumption as the band drop in a dub step beat. The thudding bass continues throughout the rest of the track which rises out of it’s apocalyptic lyrics into each harmonious chorus. It’s an epic, aggressive opener which is followed by a complete change of pace. Tiptoe has more of a nod towards Passion Pit or Two Door Cinema Club with it’s synth-pop intro. Again we get the multi voice harmonies in the chorus which you can already begin to see is a bit of a trade mark for the band.

The use of the mandolin on the third track of the album, It’s Time, again goes to show great variety in style that the band can play and gives the album great individuality. Unfortunately following the great start to the album Imagine Dragons fail to keep the quality up.

As the album progresses patterns begin to show too often. The trademark rise into chorus harmonies is over used. The album is over produced with emphasis on making a grandiose arena band sound which loses all the rawness of a true rock or indie act and moves it towards the Cowell-esque stylings of an X-Factor winning act.

The lyricism is there as is the ability to write a catchy tune with good hooks and strong riffs but the desire to make every song a fist pumping, hand clapping, lighter waving extravaganza means a lot of the tracks lose any individuality and make the overall sound far too mainstream, too formulaic and far more style than substance.

The stand out tracks of the album were all previously released on an EP and it’s a shame that the full length release relies heavily on these tracks but fails to live up to their potential.