Posts Tagged ‘ indie ’

Grouplove – Never Trust A Happy Song

Info:

Genre: Indie rock, alternative rock

Length: 46.34

Tracks: 12

Origin: Los Angeles, California

Release Date: 2011-09-05

Review:

Grouplove’s debut album – Never Trust A Happy Song, has been a long time coming, having first heard the single ‘Colours‘ back in 2010 on a website featuring a compilation of up-and-coming indie rock bands, Grouplove was the one that stuck out for me and unfortunately at the time, Colours along with a ‘Captain Cuts‘ remix version (equally good, incorporating a faster tempo) was the only material available at the time, but regardless I had the words – ‘black, black, green and brown, brown, brown, brown and blue, yellow, violets, red…‘ lodged in my brain for ages.

So the big question is – how does the rest of the album compare to Colours? Well, while Colours remains to be the best song on the album, the other songs aren’t bad at all with lead singer Christian Zucconi’s distinct voice shining through on every track and accentuated with backing vocals by the sweet canary-voiced Hannah Hooper.  Colours has been featured on EA Sport’s Madden NFL 12 and FIFA 12 soundtracks, as well as a Polish beer advertisement.  Other notable songs like Tongue Tied featured on Apple’s iPod Touch commercial.  On December 8, 2011 Tongue Tied debuted on #78 on the Billboard Hot 100, not surprising as the song is both catchy and upbeat (like the majority of the album).  Never Trust A Happy Song is first and foremost a feel-good musical experience (rather ironic given the title of the album), the album’s tempo is fast and seldom diminishes, and even the song Slow picks up rather quickly.  Grouplove fits the indie moniker to a tee with an alternative rock sound that opposes the contemporary sounds of popular music.  The world would be a happier place if more radio stations played this sort of music (not about to hear this on my local radio) but alas it is not so, so if you’re able to, do yourself a favour and get a copy, in the high probability that the album isn’t available in your local music store, I’m sure iTunes can oblige.

Conclusion | Music is subjective, if for instance you have a propensity for the indie genre then odds are you will share my opinion, if not then move on to something else.  Grouplove’s Never Trust A Happy Song is a well-crafted, easy to listen to and pleasant musical experience.  Furthermore, one can always judge the ability and authenticity of a band by its live performance ability and after listening to Grouplove performing Colours on the Letterman show I am glad to see that Zucconi’s distinct voice is his own and not that of auto-tuning processors.  Grouplove is also highly energetic (just follow the Letterman link to see for yourself), and one can clearly see that they’re doing ‘a hundred in a fifty zone’ if I were to put it that way.  If grouplove sounds interesting to you then you can check out more from them on their official site, which includes 90 second samples of each song from their debut album as well as photos and music videos.

Grade: B+

Florence + The Machine – Ceremonials

Genre: Indie rock, art rock, baroque pop, soul, experimental

Release Date: 2011-10-28

Length: 89.27 (including deluxe edition bonus disc)

Origin: London, England

After the critical acclaim of Florence Welch‘s first album – Lungs (2009), Florence and the Machine (stylized as ‘Florence + the Machine’) have released their latest album entitled CeremonialsLungs received much praise and exposure – BBC Introducing attributing a large role for the band’s rise to popularity and mainstream success.  With Lungs being one of the best-selling albums of 2009 and 2010, it will certainly be a tough act to follow, and rightly so because in my opinion, Ceremonials is inferior to its predecessor.  Where Lungs was criticized for lacking cohesion and being ‘all over the place’, I criticize their latest album for being uninspired and tedious.

Florence writes her best songs when she’s drunk or has a hangover, because that’s when the freedom, the feral music comes, creating itself wildly from the fragments gathered in her notebooks and in her head.

I’m at odds with the above statement (taken off of the official Florence website) because judging from the band’s latest work, I’m inclined to believe that Welch must have been sober as a judge as Ceremonials doesn’t bring anything new to the table, in fact, the random style of Lungs, which brought us such imaginative and catchy songs as ‘Drumming Song‘, ‘Cosmic Love‘ and ‘My Boy Builds Coffins‘ has been extinguished for the sake of a more ‘cohesive’ song line-up with the result that everything sounds ‘samey’ to the point where one is not sure where one song ends and the next begins…

Welch’s voice is beautiful and powerful, shown off nicely in songs like ‘Heartlines’, which wasn’t half bad and has a decent amount of energy to it, I just wish the album was a bit more lively and inventive.  I suspect that die-hard Florence fans will disagree with me and that’s fine, this review is after-all an opinion piece, I just wish I could understand why this album has had so much acclaim.  Even though critics are saying that Ceremonials is a vast improvement over their previous entry, I believe that Lungs was far better and because of its popularity, the resulting hype and anticipation of the second album has blinded people somewhat.  Oftentimes, it takes a while to get into an album and repeat listening may be required until the hooks of the songs start dancing around one’s head, unfortunately after listening to this album three or four times now, it just doesn’t seem to do anything for me with the exception of ‘Remain Nameless‘, a beautifully constructed song and ironically a bonus track.  On a positive note, there’s no denying that a lot of time and effort has gone into Ceremonials, with twelve songs making up the main album and an additional eight tracks on the bonus disc (from the deluxe version) putting the running time at almost one-and-a-half hours.

Conclusion

Overall, even after repeated playing, I found Ceremonials to be uninspired and for the most part disappointing.  I love Welch’s voice, it’s gothic and oftentimes quite haunting, I just feel that her vocal prowess has been wasted with this latest album.  I can only hope that her next album will be more like the first, allowing her to flex her vocal talents with something unique and funky as opposed to ‘cohesive’ and unitary.

Grade: C

Cloud Control – Bliss Release

Genre: Indie rock, psychedelia, folk

Release Date: 2010-05-14

Length: 42.45

Origin: New South Wales, Australia

I’m not quite sure what it is, but there’s definitely something enticing about the indie rock scene, perhaps it’s the underground, garage band vibe or the ‘do-it-yourself’ approach that comes with developing such music, regardless of the reason, indie rock certainly has a more personal and heartfelt feel to it than its brethren and perhaps that’s where the attraction lies.  After the release of their single ‘Death Cloud‘ on November 13, 2008 – Cloud Control started to garner immense popularity and after several festival appearances and tours, the band released their first album – Bliss Release in 2010.

Admittedly, it took me a while to get into this band, its sound and style are quite different from what I’m used to listening to, but after playing the album through four or five times, the hooks of the songs dug themselves into my brain giving me a new-found appreciation for how catchy most of these songs truly are. Cloud Control shares a strong similarity to psychedelic bands like the Beatles, with a lot of their songs being up-tempo, feel good and generally mellow.

Though the term ‘indie’ doesn’t really refer to independent anymore, as the moment the bands are picked up by a major label (Ivy League Records in Cloud Control’s case) they cease to be independent, ‘indie‘ is now a music genre in its own right having a distinctive sound that people now associate the term with.  Indie rock is not as heavy as most other rock genres and focuses more on guitar and vocal melodies.  You will also find that bass-lines play a major role in most songs and are often quite pronounced.  Cloud Control shares all of the aforementioned attributes and more with catchy guitar riffs, funky drums and creative lyrics.  For me, a lead vocalist can either make or break a band, I’m not a fan of guttural screeching and thankfully indie rock is generally devoid of it, Alister Wright’s (lead vocalist) voice is expressive and mellow, and complemented wonderfully with backing vocals from Heidi Lenffer (keyboards) and Jeremy Kelshaw (bass guitar).

Songs of note include – Meditation Song #2 (Why, Oh Why), Ghost Story, Gold Canary and my personal favourite, Death Cloud – added to Bliss Release as a bonus track.  A reworked version of Death Cloud has been released recently and while I do prefer the original, this new version has a certain funkiness to it as well as an awesome, if somewhat odd music video.

Conclusion

Much like Scotland, there is an emerging indie rock scene coming out of Australia, and I highly recommend that fans of the genre keep a watchful eye on Cloud Control as they are definitely going places.  Having won several awards and opening for superstar bands like Foo Fighters, it’s only a matter of time before Cloud Control reaches super-stardom themselves.  While I’m not too certain of the global availability of Bliss Release (I don’t expect to see it in any of my local music stores), if the band strikes your fancy, it can be bought off of iTunes here for $16.99 (about  R135).  If you’re looking for something funky and chilled, you need not look further than Bliss Release.

Grade: B

Limbo

Info:

Developer/s: Playdead

Platform/s: Xbox Live Arcade, PlayStation Network and Windows Platform (via Steam)

Genre: Puzzle-Platformer

Release Date: 2011-08-02 (Steam Edition)

As one of this blog’s readers pointed out sometime ago, it seems that attempting to quantify something like a video-game by singling out and rating it in sections (graphics, lifespan, etc) in order to give it an overall score can be somewhat confusing as it raises constant questions as to why, for example,  one aspect of the game scored a ’4′ instead of a ’5′.  In the end though, this is a self-interest blog and most of the articles written here are solely my opinion.  However, in light of this, I have revised the way in which I shall review computer & video-games and will employ a ‘unified’ method whereby the review shall be one streamlined ‘opinion piece’ with a final rating at the end.  The score system will work as follows – games will be rated as either S, A, B, C, D or F (See the Rating Systems page for more information).  Okay, so now that that’s been covered, on with the review.

Limbo has been around for quite some time now, however due to Xbox exclusivity, it took over a year before PlayStation and PC gamers could get their hands on this game.  This review is focused on the Steam (a digital distribution platform) version of the game as this is obviously the version that I have.  There really isn’t much of a plot to Limbo, and before reading the wiki page, it really never occurred to me that there was a plot to begin with – turns out there is, you play as a nameless protagonist (a young boy) who is searching for his missing sister.  However, it is rather apparent that the wafer-thin plot only serves as a staging ground for the myriad of lethal puzzles that the player has to solve in order to progress through the world of Limbo.  The lack of a typical narrative (text or cut-scenes) also leaves the plot open to much interpretation, but this was done so on purpose by the developers allowing the player to make up their own mind as to exactly what it was that they’ve experienced.

Every so often you come across other children, be wary - Lord of the Flies comes to mind...

Limbo was created by independent, Danish developer Playdead founded in 2006 by Arnt Jensen and Dino Patti.  The company is based in Copenhagen, Denmark and Limbo is their first title to date.  Limbo draws much inspiration from old-school side-scrolling plat-formers reminiscent of the NES, SNES and Sega Genesis era.  You control a character in a 2D sidescroller environment, and in the typical fashion, you are able to run left or right, jump, climb and manipulate certain objects (like crates) by pushing or pulling.  Your character can be manipulated fluidly throughout the game environment and is a joy to control with little to zero frustration due to the near-perfect game-style.  Perhaps a little less typical of the genre, Limbo employs the use of a physics-based game engine named Unity that governs the environment as well as the player character.  Limbo’s puzzles are all basically physics-based and are for the most part, downright insidious which is not surprising given the fact that Playdead designed the puzzles expecting the player to fail the first time around before finding the correct solution.  Playdead refer to the play style as ‘trial and death’, and what deaths they are, as this game is unexpectedly gruesome oftentimes seeing your character, decapitated, impaled, shot, shredded or electrocuted before a correct solution to a puzzle is found.  While the puzzles are initially simplistic  and singular in nature, as you progress, they become ever-more elaborate and multifaceted, forcing players to think outside the box.  Some of the ‘magnet-puzzles’ are particularly brain-melting.

The monochrome visual style is as eerie as the subject matter.

Moving on, the most notable aspect of this game is undoubtedly its visuals.  Limbo is primarily presented using black-and-white monochromatic tones and hues and incorporates a film grain effect to create an eerie game environment and overall visual style.  Critics have applauded the visuals having compared it to film noir and even German Expressionism.  The characters in the game, including the giant spider (creepy bastard) as well as the protagonist have no discernible detail to speak of, merely portrayed as black silhouettes (save for the white blinking eyes of the human characters) but this minimalistic aesthetic is a welcome breath of fresh air, especially in an age of highly detailed 3D-polygonal models that gamers have grown accustomed to over the years.  While Limbo is definitely game-play driven, the dark and creepy visual style compliments the game beautifully.  Limbo doesn’t have much in the way of a soundtrack, but the acoustic compositions (a form of electroacoustic music) of  Martin Stig Andersen, serve as the perfect ambient remedy employing the game’s environmental sound effects to build atmosphere.

Hate spiders, especially the giant variety that see you as a human happy meal...

Limbo is not a very long game, and can be finished in one sitting (provided you haven’t stormed off in frustration over some yet-to-be-solved puzzle) and being an independent game, created by a relatively unknown (and small) company, the game’s shortness is quite understandable.  My only real gripe with Limbo is its rather abrupt and somewhat unsatisfying ending, but it doesn’t really detract from the overall experience of the game and apart from that I cannot think of any other cons.

Conclusion

With the tagline – “Uncertain of his sister’s fate, a boy enters LIMBO“, Limbo is certainly an intriguing little gem amongst the myriad of computer & video-games available, winner of more than 90 awards, Limbo is well worth your time and given the small file size of this downloadable content (approximately 70MB) and the relatively light system requirements (though the game may struggle to run on systems with integrated graphic solutions) there really is no excuse to not play it.  But be warned, this is a puzzle-game through and through, and gamers unfamiliar of the genre, who spend all their time playing fast-paced first-person shooters or racing games will probably not like Limbo given that expansive 3D worlds have been forsaken in favour of a simple, 2D approach, be that as it may, Limbo is an awesome game.  Highly recommended.

Grade: A

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