Promo Album Reviews

Promo Index | Page 4 | Page 3 | Page 2 | Page 1

Review Index (Page 3):
* Chapter XIII - 'The Last Time'
* Hey Negrita - 'Old Britannia'
* Riotmind - 'Riotmind'
* Murkin - 'The Halloween Party EP'
* Stoner - 'Life And Times'
* Liner - 'Mirror'
* Ultrasonic - 'Annihalating Rhythms'
* Fire Rocket Launcher - 'Stuff Yer Turkey'
* Nadie - 'Indifference'
* Stereotactic - 'The Dawning'
* Brian Eno - 'How Many Worlds'
* Marconi Union - 'Distance'
* Circus Normal - 'Circus Normal'
* Nadie - 'Like I Used To'
* Beach - 'Missing The Action'
* Viarosa - 'Where The Killers Run'
* Jynxt - 'Electric Knives'
* Mostly Autumn - 'Storms Over Still Water'
* Red.Star.Line - 'Red.Star.Line'
* Presley - 'Elizabeth EP'
* Marsha Swanson - 'Losing Me'
* Kald - '(Can You Feel The) Magic'
* Kaedee - 'Kaedee'
* Seminole County - 'Seminole County'
* Undercut - 'Something To Die For'
* 'Heartache & Pain: An Introduction to the Alternative Country of Jamtland'
* Iodo - 'This Is Now'
* Quartershade - 'Machines To Live In'
* Hey Negrita - 'Devil In My Shoes'
* Undercut - 'To Die For'
* Kate Aumonier - 'Much Like Yesterday'
* Beach - 'Burning Up'
* British Beef - 'Without Me'
* The Conway Story - 'Ghostwriter'

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Chapter XIII - 'The Last Time' (24th Oct 2005) Levelsound Records

This five-piece band from Bristol with a numeric friendly name is finding some recognition on The Strangler's tour, so trying to win over a hardcore Stranglers fanbase will be a tricky undertaking. Slap-bass, piercing guitar solos and stuttering keyboards, Chapter XIII have set down their intention of mixing Faith No More rhythmic rock with eclectic mix of pop, electronic and modern rock on their one-track single 'The Last Time'. With only one song to judge, the slow-paced and doleful tempo is an attempt to appear all serious, with prolonged American sounding vocals. The song builds to a suitably dramatic finale, the musicians plugging away at their instruments to create a heady wall of distortion. The inclusion of woozy and prominent keyboards does make the song rise above any derivativeness that could be levelled at the song - adding an extra layer to the evocative textures. So no complaints from me, this is steady and well-arranged rock with a modern keyboard feel.

To find out more visit http://www.chapterxiii.co.uk

Hey Negrita - 'Old Britannia' (14th Nov 2005) Fat Fox Records

Following up first single 'Devil In My Shoes', this is another impressive offering from the London based countrified band. Before delving into the music, special note about the CD disc, designed to look like an old vinyl record (even underneath is coated black) and a good indicator of how traditional the songs will sound. The general rule of thumb I use when listening to distinctively Country music is: how authentic is the music in context of the downbeat lyrics. In this instance, I'm left convinced that Hey Negrita's main-man Felix means what he sings - 'Old Britannia' tackling adolescent struggles of drug addiction. The band has even teamed up with drug and alcohol charity RAPt to play Wandsworth Prison - at the very least; Hey Negrita will play to a captive audience. The deep resonance in vocals and discordant atmosphere generated in the lush arrangements and melancholy guitar picking sounds authentic enough.

The second slice of Americana 'Come On Jane' is even more sombre and desolate - which is a good thing. This is a cross between Frank Black and Johnny Cash jamming on a David Lynch soundtrack. Whatever that description means (don't ask me, the song created this imagery in my head) 'Come On Jane' is built totally on atmosphere, as the actual song doesn't really need a strong melody to work, it's just one of those songs. Let's conclude with 'Down The River' which mixes up Neil Young catharsis (although not a cover of 'Down By The River') with a gently strummed acoustic guitar. As a whole, Hey Negrita are all about the texture and mood created in their low-key music, very considered and dark - the only type of Country music I like in fact.

To find out more visit http://www.heynegrita.com

Riotmind - 'Riotmind' (2005)

The sum of three previously-released E.P.'s, this self-titled record is a hotchpotch of Britpop influences and New Wave. It's a mixed bag, with some tracks working well ('Out Of Your Mind' springs to, er… mind) and others too derivative and plodding for their own good ('Monday' sounding disturbingly close to the era of The Longpigs, The Bluetones and Mansun). When 'Revolution Tonight' revs up, the verses are brooding, delivered in the tone of Moby on his mid-Nineties records, full of rattling percussion and shouty vocals - in stark contrast to 'Cold And Confused' which is piano based and soft singing - not a bad effort, it does sound awkward and lacking in heart. Solo artist Riotmind's strength lies in punchier offerings like 'My Friend Lucifer', using agitated guitar tones to give a post-rock metallic sheen to an unsubstantial song at its core; the track oozes energy and is well-arranged. Another highlight is 'Friends Like New #7' which gets under the skin which little delightful moments like the speeded up rhythm and dead-pan vocals. Keeping with the positives, 'In The Name' works rather well, yet another upbeat, distorted chord strumming number. As I mentioned 'Riotmind' is a mixed bag, the vocals lack emotional depth and it's difficult to pick out individual instruments in the mix, but the enthusiasm and brace of enjoyable songs in 'Out Of Your Mind' and 'In The Name' make for a useful career overview.

To find out more visit http://www.riotmind.com

Murkin - 'The Halloween Party EP' (31st Oct 2005) Manilla PR

Self-proclaimed "anti-popsters", Murkin are an off-the-wall rock band who was zany enough to call their debut album 'We're Not Pretty & We're Not Clever'. This Halloween themed single, titled unsurprisingly 'Halloween Party', is to be conveniently released on Halloween. And I'll refrain from using the word Halloween again. It's a fuzzy garage-rock tinged single and although the hook is derivative it still packs a potent punch due to the insanely simple chorus. In contrast, 'Sometimes' introduces females vocals from band member Holly which works pretty well in the context of the song, yet another worthy chorus and fast-paced basic three chords turn a potentially turgid tune into something that does not disappoint. Vocalist El-Gordo has an unassuming voice which compliments the more sedate 'Freeworld', which has ringing acoustics harking back to the eighties of The Replacements and mellow (if there's such a thing) Husker Du. Production-wise, these songs are tinny and lack a coat of polish, former single 'This Time' sounds like it was recorded in a shed. This does not diminish the music, as you don't need flawless production to get the most out of the songs. In fact, the moving melodies and enthusiasm overcomes any shortcomings. The band also has a perverse and welcome sense of humour; their website contains many nuggets of irrelevancy from band interests ranging from "screaming in terror, throughout the night" to "basket weaving" and the anti-pop manifesto of attempting to redress the manufactured pop imbalance with issue driven songs. Have Murkin succeeded in wiping out banal pop music? Well, of course not, but as least they gave it a go….

To find out more visit http://www.murkin.8m.com/

Stoner - 'Life And Times' (7th Nov 2005) Rhythmbank Entertainment

No, not another "stoner" rock band ripping off Kyuss, Stoner is laid-back and mellow taking their influences as far and wide as The Police and Paul Simon. Made up of brothers Desmond and Gavin Lambert with Rob Flanagan completing the line-up, Stoner go for the soulful rock vibe, with good-natured vocals and easy on the ear guitar melodies. Over three tracks 'Life And Times', 'Settle Down' and 'Shine Some Light', there are scatterings of highlights. 'Life And Times' has British nostalgic lyrics with notable mention of "Remember Thursday night, Top Of The Pops was on, we would listen to every song, and the next day in the playground, we would all sing along, it's seems like only yesterday". Nothing too audacious, it will appeal to middle-of-the-road rock fans who like a catchy beat and nothing too sharp around the edges. Of course, that's what the general public want, judging by the latest British charts so Stoner will appeal to many people. 'Settle Down' is very similar to 'Life And Times', but with a stronger chorus and some nifty guitar chord changes. That leaves 'Shine Some Light' to close the E.P. a slower and dare I say "soulful" number with falsetto singing verging on Jeff Buckley territory from Desmond Lambert with subtle gospel styled backing vocals. A decent stab at a difficult sound, Stoner saves their most convincing song till last.

To find out more visit http://www.stonertheband.com

Liner - 'Mirror' (2005) Manilla

A fully fledged band - check; a passionate, youthful frontman - check; a decent batch of tunes - check. Liner tick all the right boxes with their 'Mirror' single, it's catchy and as musically tight as a duck's arse. Liner has the same sort of hooks that Hot Hot Heat served up so well, twitchy guitars and a singer who can hit the right notes. 'Mirror' is well-put together and gives the impression some effort went into the songwriting process rather than just banging out some chords. There's enough to gleam from this three-track single raising hope that Liner's forthcoming 2006 debut album will be worthwhile. Both B-Sides 'Money' and 'One Kiss' are vocal-led with some jangly guitars to give the music a modern touch. 'Money' gets the nod as the better track, with singer Alex Callaghan questioning "what's wrong with your life" over a robust rhythm section and it works well as a memorable vocal hook, before offering the solution of "taking the money and run". This is the sound of a professional band honing their skills at an early stage of their career, showing promising glimpses of their future potential.

To find out more visit http://www.linermusic.com

Ultrasonic - 'Annihalating Rhythms' (3 Oct 2005) Rumour Records

Formed way back 1991, just as dance music was going completely mainstream, Scottish act Ultrasonic have toured the world dance circuit quite a few times and finally after a lengthy absence since their last studio album - it's been 7 blimin' years! - comes 'Annihalating Rhythms'. The dance genre is so fragmented 'Annihalating Rhythms' could easily be described as 'hard house', 'electro', 'acid', 'trance-core' and 'breakbeat', and you would be none the wiser. Looking past the misspelling of annihilating, this is bass-driven, repetitive and distinctively "old-skool" hardcore and very head-nodding in places. Sometimes the song gets ambient at key moments (High Energy), and other songs overlay some MC shout commands to the audience (Flatliner) such as "push it", "put your hand's in the air" and "let the crowd say ho!". All very clichéd, but play this record to a packed, sweaty dancefloor and 'Flatliner' would become a fantastic dance soundtrack. Some of these songs remind me of Scooter, one of the many acts who half pinched Ultrasonic influential sound. Even The Prodigy's recent 'Never Outnumbered, Never Outgunned' album has uses similar old-skool vibe, mixing fuzzy synths and discordant rhythms. The rapid-tempo '4,3,2,1' harks back to the early nineties, giving the impression Ultrasonic are stuck in a time warp unable to keep up with current dance music which has since moved on. Oh screw that, this is so outmoded, hyper tempo and cyclical with little respite (for example '4,3,2,1' finishes with what appears to be children cartoon samples) that it is a big, dumb, play it loud to annoy the neighbours kind of album.

To find out more visit http://www.rumourrecords.com

Fire Rocket Launcher - 'Stuff Yer Turkey' (3 Oct-2005) Fire Rocket Records

Now this album is a jolt in the arm - enthusiastically played "punk-metal" Xmas covers. Despite being only October and Xmas a (not so) distant event, Fire Rocket Launcher have laid down ten damn fine cover versions of family favourites like 'Jingle Bells' and 'We Wish You A Merry Christmas'. There is so much energy in the musicianship with what could be a Lemmy impersonator spiting out the once clean-cut lyrics in tightly constructed songs lasting less than 3 minutes, in fact, the whole album flashes past in an all too brief 24 minutes. With a band comprising of Axle Grease - vocals, Ed Lamp - lead guitar, Johnny Chords - guitar, Fast Eddie - drums and Ors Power - bass, it's fair to say Rocket Launcher are not taking this lark seriously. Highlights are an over the top 'Deck The Halls' with mischievous backing vocals and chug, chug, chugging chords along with a fairly faithful rendition of 'Jingle Bells' which works surprisingly well as speedy punk song which you could imagine The Ramones pulling off. This is not 100% Xmas festivity mind, the last two covers - 'The Hokey Cokey' and 'The Conga' are even more moronic yet still great fun for blaring out big speakers at a drunken party. Each song is given the same treatment no matter the song, the band use with the same distortion pedal setting and the drummer pounds away regardless of the song content. Axle Grease keeps the same vocal range, which somehow works out, giving a single bloody minded approach to performing this well-known classics.

It's enjoyable, initial fun with plenty of entertainment value. Long term, these songs could get distracting and eventually annoying although when a band like Me First And The Gimmie Gimmies attempted a similar exercise with their punk re-workings of pop songs veering wildly from Barry Manilow to Wizard Of Oz, it turned out successful, so I can't see why Fire Rocket Launcher can't create a minor buzz amongst rock fans with this clutch of festive fun tracks.

To find out more visit http://www.firerocketlauncher.co.uk

Nadie - 'Indifference' (14 Nov 2005) Halo Records

The second single 'Indifference' from female vocalist Nadie Keating shows her rockier side; chugging guitars, bass-heavy production and some attitude on the vocal delivery. It's a fine song and an improvement over debut 'Like I Used To', with good lung busting singing, groovy rhythm section and loud cymbals to create a compact rock song in the vein of PJ Harvey's more outgoing performances, that ebbs and flows with a screeching, dramatic climax. This is in sharp contrast to B-Side 'Be A Man' - more low-key and softer in tone. Not creating as strong impact as 'Indifference', the subject theme of wanting some bloke to, well, "be a man" goddamnit and commit to Nadie is still a telling lyrical insight into the artist. Not a bad song, although 'Indifference' is far superior.

To find out more visit http://www.nadie.co.uk

Stereotactic - 'The Dawning' (2005) Avebury Records

Stereotactic are your typical screamo hardcore / emo crossover American band - but this lot are really great at what they do. There are loads of bands of similar ilk, so what makes the 'The Dawning' album stand out? Well, the answers would be good production, concisely played guitars, tight melodic dynamics combined with shouty moments and enough modern reference points (Snapcase, Funeral For A Friend) to appeal to the modern teenager.

This Bakersfield, California band (also home of Korn) manages to write plentiful pounding minor-key chords, some loud cymbal-crashes and a singer with better than average dynamic range. With this type of genre, it's very easy to concentrate on the aggression and churning out fast, noisy guitar notes. It is a good job Stereotactic also spent some of their time on the song-writing process, constructing catchy rock tunes like 'Selfishness' to bring a little depth to the table amongst the head-crunchers like 'Dead Man'. With hints of Jimmy Eat World in the melodic vocals from Kyle and even some guitar solos akin to ex-Gun's N' Roses Slash, 'The Dawning' is a soup of influences, some classic rock, but mostly inspired by the burgeoning hardcore scene. It's difficult not to think of other bands throughout 'The Dawning', but the opinion remains, this is very proficient hardcore, played well and with enough bountiful energy to satisfy rock urges.

Many bands want to display their sensitive side and Stereotactic are no different, 'Lost And Found' is laden with strings and sentiment, which thankfully doesn't come across and trite and laboured. This quietness only lasts three minutes anyway and a distinctively Slash type solo bursts out and brings the song back into "rawk" territory. With Todd (again, no surname) providing backing vocals, there are occasional pairing off of lines as 'Put It In Ink' demonstrates - the song title probably a reference to their record contract. Album closer 'Sweet Denial… With A Taste Of Revenge' is one of the highlights, the lyric "one shot, right between the eyes" becoming a good hooky moment.

There's not much more that can be said, the songs do merge into sameness after a while, which is down to the genre's limitations, but in closing, Stereotactic have put out a very commendable album.

To find out more visit http://www.stereotacticmusic.com

Brian Eno - 'How Many Worlds' (31-Oct 2005) Opal Ltd

From the respected Roxy Music to working with David Bowie on his "Berlin" era albums, Brian Eno was a pioneer in ambient music and hugely influential artist. With new single 'How Many Worlds' taken from the 'Another Day On Earth' long-player, Eno is looking to score some more acclaim. So does this 'radio edit' song deliver the goods you may ask? As a mellow, introspective song, 'How Many Worlds' succeeds; containing a slight and affecting melody with Eno gentle singing showing sincerity. Then half way through, the song turns into a string-led instrumental, keeping the acoustic strumming as its backbone, layering on beautiful strings until it becomes so sugar-coated it could rot teeth. Finally, the four minute song goes full-circle back to Eno singing the same melody at the end. This is all very stirring stuff, likely to find favour both with people unfamiliar with Eno's previous work and Eno's existing fan-base. 'How Many Worlds' is no grand statement, rather a slight and welcoming ditty that will be considered as "nice and pleasant" rather than genre-defining.

To find out more visit http://www.anotherdayonearth.com

Marconi Union - 'Distance' (3rd Oct 2005) All Saints Records

Reclusive Manchester duo making calm, drifting ambience that can only be described as "cinematic". To the uninitiated, 'Distance' would be one long-bore fest with no hooks, song structure or even vocals - it all depends on your musical taste if you will get anything out of Marconi Union. For those weaned on Sigur Ros, Brian Eno and some of Pink Floyd's more drawn out and spacey moments will find a treasure trove of atmospheric and soothing sounds. 'Distance' is more of an "experience" than a collection of songs, full of warmth, subtle effects and droning synths. It's difficult to review individual tracks as they merge into one another, the uniform nature apparent throughout. But let's try - 'Buildings And People' has a creepy and unsettling undercurrent, slow and meandering in places yet still holds my attention. 'Inter' manipulates a dub bass line and steadily holds the beat whilst adding some nifty effects - not much happens but is highly listenable.

Jeez, this is such a hard album to review, 'Distance' can be summed as one 40 minute song broken down into seven parts; each part eerie, effortless with mostly lulls and very small peaks when a new instrument enters the mix. Actually the comparisons to Sigur Ros can be deceptive, as Marconi Union doesn't use much dynamic range, keeping to one static sound level. Sigur Ros frequently move from intricate quiet moments to loud crescendos within one song, creating greater impact. Despite the samey nature, 'Distance' is an ideal accompaniment to closing yourself off from the outside world.

To find out more visit http://www.allsaintsrecords.com

Circus Normal - 'Circus Normal' (31st Oct 2005) Freeport Records

Welsh rock - there's so many Welsh rock bands plying their trade and many decent ones around, Manic Street Preachers obviously, Stereophonics, Super Furry Animals and Feeder. Straight outta Cardiff Bay are Circus Normal, gigging regulars of the bluesy rock kind. There's nothing flashy about this lot, the music is straight-forward classic rock with earnest vocals and the same grit that served the Stereophonics so well. There are even hints of The Verve on this single release, 'Ride' being a prime case in point - acoustic strumming and pensive singing. The opener 'Only Time Will Tell', however, is a seventies inspired funky rocker with memorable guitar wah-wah forming the main melodic hook.

Not at all shabby, this is enjoyable rock, the type that goes down well with festival crowds which Circus Normal are no strangers to. 'Scream' lacks the groundswell of positively that 'Only Time Will Tell' gained by being pedestrian and having an obvious chorus done by countless of similar bands, but flows neatly. There's even a "hidden" song called 'When Will I Be Free' at the end of the disc, which maintains the quality control, the lead guitar being the high-point. The song is not too far removed from later day Pearl Jam, rough around the edges aspiring to the classic rock hey-day. The single serves as a good sampler of the band's repertoire with plenty to chew over.

To find out more visit http://www.circusnormal.com

Nadie - 'Like I Used To' (2005) Halo Records

With plenty of emotional baggage (heartbreak from ex-boyfriend at time of father's death) Nadie Keating has found a musical outlet to set her lyrics to punky, commercially acceptable rock. Nadie is also the name of the band (think Bon Jovi or Van Halen) which also includes songwriter, guitarist and producer Jo Webb, and have released a debut 'The M'Naughton Rule; from which this single comes from. With the introduction over, let's get down to business and find out if Nadie's music matches her driving passion.

Glossing over the angsty female reference points of Alanis Morrisette, Pink and several other female light-rock artists, Nadie comes off pretty well on 'Like I Used To', which boasts a convincing chorus and strong vocal performance. There's enough authenticity in the song, given it's about a break-up with an ex-boyfriend that comes across fine, although the chugging guitars are predictable but suit the song well. The B-Side has vocals sounding remarkably likesimilar to ex-Spice Girl Melanie C on the fast paced 'Sick Of My Skin'. It is slightly weaker than the A-Side but has enough spunky energy to get the head nodding in agreement. Overall, not much different from other head-strong females personalities that make up the rock scene, but Nadie does have a good ear for melody which bodes well for her and band's future.

To find out more http://www.halo-uk.net

Beach - 'Missing The Action' (2005) Sliding Vinyl Records

Following sharply on the heels of the catchy and highly addictive 'Burning Up' single, the accompanying album from Beach is surprisingly lacklustre. The retro blend of Roxy Music maturity and dated compressed guitars don't travel well over twelve tracks, even during the choruses, choosing the middle ground. What's most frustrating is the undeniable potential these songs have; there are some decent sing-along moments - 'Slipping Away' is a Depeche Mode call-to-arms but the hackneyed lyrics of "We've got something that's special, but it's slowly slipping away" is a cliché written by countless artists before. Beach only has one tone in his voice, rarely changing vocal key or showing any depth of emotion, even when the song demands a big delivery during the rockier moments, take 'Revolution' which lacks the killer punch it threatens.

Tossing out the same AOR rehashes dressed up in modern production, Beach lacks charisma to give the songs any individuality. When the single 'Burning Up' appears half-way through, it sticks out like a sore thumb, a diamond amongst the rough. The vocal delivery is still flat, but the chorus is so strong it would not matter who sang it. The tracks surrounding the single are inoffensive, passing by without leaving a strong impression, only album closer 'Valium' injects fresh ideas. One of the few times when the electronic beats are incorporated well in the soft-rock, 'Valium' is full of atmosphere, Beach actually putting effort into getting out the rut. Also, 'Cops And Robbers' succeeds in the chorus department, although the verses are forgettable. You'd imagine Beach playing the song on a television show to an appreciative audience who would enjoy the song whilst it played, then immediately forgetting it afterwards.

Don't get me wrong, 'Missing The Action' is toe-tapping catchy and has plenty of sophistication, nothing here is remotely bad. It's just that Beach plays retro eighties rock without much in the way of passion, the songs being two-dimensional and emotionally empty.

To find out more http://www.beachrocks.com

Viarosa - 'Where The Killers Run' (2005) Pronoia Records

Viarosa are a solemn alt-country act with well-meaning Americana songs about dreams turning sour. Emulating downbeat and world-weary folk-rock giants Johnny Cash, Leonard Cohen and their ilk, Viarosa make a serious and po-faced collection of similar sounding folk songs which would make an ideal soundtrack to a dark and quiet night. Layered with violins, musical saws and slowly plucked strings, 'Where The Killers Run' oozes sinister atmosphere and whisky soaked front porch heartbreak. With two vocalists, the deep-throated drawl of Richard Neuberg combining with Emma Seal's restful backing vocals, the likes of 'Blood From A Stone' and 'Only Child' are competent and well-composed without offering anything unexpected to the listener.

The haunting 'Call To Arms' is effortless in delivery, Neuberg sounding emotionally involved on the track, with simple arrangements. It's during the really bleak and straight-forwardly simple songs that Viarosa excel on, as it feels more earnest. In contrast the next track 'All This Worry (Will Be Over Soon)' has Emma Seal taking charge of lead vocals for an up-tempo Country jaunt with violins and Bumpkin hew-haws. Not the kind of song I normally enjoy, it nether less is a fine foray into Country music without upsetting my musical taste buds.

Although grand in places, 'Where The Killers Run' lacks a sense of humour, strong hooks and ultimately proves exhausting. There are a few gems amongst the endless folk tardiness, the opener 'Blindfold' is an archetypal overview, using violin as an integral tool rather than a distraction. The lyrics to 'Blindfold' are personal and full of advice, peaking with "if you're gonna feel disgrace, you better walk out the door".

It really depends if you like downbeat, similar-sounding folk to really appreciate this album. With the lead instrument often being the violin, it can get tiring to hear the same mood setting over the course of a long-player. But perseverance does pay off in some regards, as the songs start seeping into the subconscious, the music slow and jaded, bitter and eventually depressing. The songs are universally well-performed with enriching production but the lack of a decent melody being the main stumbling block.

To find out more visit http://www.viarosa.co.uk/

Jynxt - 'Electric Knives' (2005) Halo Records

Please don't let the band's gimmick - that the band includes children of Fleetwood Mac founder Jeremy Spencer - or the photo of Jynxt posing with the credibility void that was Crazy Town on their website throw you off the scent, this is distinctively attitude-chick driven rock. The band comprises of shortened named Tally (vocals), Nat (drums), Ben (guitar) and Jez (DJ), with their sound described as electronic music in the style of Evanescence. This couldn't be further from the truth. Instead of gothic whining, Jynxt are more New-Wave punk with modern sounding electronic trickery and hotch-potch of Eighties and Nineties influences from Garbage to Roxette. The single 'Electric Knives' combines fuzzy guitars with strained female vocals and simplistic guitar notes. The B-Side 'Lucky Day' continues in a similar vein, but less propulsive and energetic, the main hook being an out-of-place Spanish guitar motif. There's no passion, conviction or musical ideas spanning more than a chugging guitar and unnecessary electric garnish. It's a shame as with the band's musical heritage something less generic and idea-free would have been expected.

[A few weeks later …]

Since my original review of 'Electric Knives', I felt I was too harsh on Jynxt - still they do have a crappy band name. A few weeks later I was sent a second copy of the single, but this time with a different B-Side ('Perverted Mind' replacing 'Lucky Day'). And to further tempt fate, 'Electric Knives' was given a very positive review in rock bible Kerrang! - which raised my eyebrows. So let's re-appraise, the chorus to 'Electric Knives' has eventually grown on me after giving the song some breathing space. Maybe it's my imagination but the song sounds like it has been remixed, the production fuller than the tinnier version on my original copy. I still think the band is trying too hard with style over substance. B-Side 'Perverted Mind' is a decent stab at Shirley Manson sultriness with a very commercial feel - again nothing approaching brilliant but surprisingly good and much better than the sub-standard 'Lucky Day'. After a second chance, Jynxt leave a better impression.

To find out more visit http://www.jynxt.com

Mostly Autumn - 'Storms Over Still Water' (2005) Autumn Records

Ah, the Seventies. An era of adventurous classic rock bands, warm sounding guitars, well-placed synthesisers and a time when Deep Purple and Pink Floyd were the soundtrack to every teen's life. York-based seven-piece Mostly Autumn want to re-capture that time, an era when songs were enriched with Hammond Organs, symphonic strings, female backing vocals and weeping guitar solos. In existence since 1999, Mostly Autumn have picked up a solid fan base, selling out 2000+ capacity venues and selling over 15,000 copies of their previous 'Passengers' album - pretty impressive stats for a relatively unheard band.

Polished and crammed with multi-layer instrumentation, songs like the Heather Findlay sang 'Heart Life' ooze sophistication. When the solo lead enters towards the end, the spirit of Gilmour is apparent. The same soaring notes and are played with conviction and would not be out of place on a classic Pink Floyd record. The catchy 'Broken Glass' has an Eighties style multi-tracked guitar hook, whilst dated is still foot-tappingly pleasurable.

The album is sequenced to include the shorter, poppier songs at the beginning with a few slow epics towards the end. Flutes, sombre piano and heavier emphasis of atmosphere dominate 'Carpe Diem' and the title track - 'Storms Over Still Water'. Both songs show a band flexing their creativity, with 'Carpe Diem' about the devastating 2004 tsunami walking off with top honours, the striking vocal section from Heather merges nicely into Bryan Josh's signature soaring guitar solo, which he pulls out the bag quite often throughout the album. Another extended song is 'Candle To The Sky', evocative of 'Dark Side of the Moon', perhaps too much; the obvious influence is as distracting as it is unoriginal.

It's hard not to think of Pink Floyd when listening to 'Storms Over Still Water', as the similarities are striking and unashamed. Fair play to the band, as Mostly Autumn has released a highly dependable and well-rounded album which has already gained plenty of acclaim from existing fans.

To find out more visit http://www.mostly-autumn.com

Red.Star.Line - 'Red.Star.Line' (2005) Quite Great Publicity

Dripping with attitude and possessing enough dirty great riffs to give The Black Rebel Motorcycle Club a run for their money, Red.Star.Line are not afraid to play loud - vocalist Tim Crosby is raspy and spits out his words with fervour. The band's self-titled album starts off strong with 'Katabatic' standing out, urging to "take the money and run" amongst the straight forward rock n'roll. The London-based quartet have been compared to many modern bands - Jet, The Datsuns, The Cooper Temple Clause - an indicator of where their passion lies, and it's easy to see why Red.Star.Line have created a buzz within the industry. The songs have balls, mostly hard rocking and don't drag.

The pounding 'Pure' snarls like Oasis in their prime, with rumbling bass and a decent guitar groove. The other three members; Colin Lomas (bass), Rich Beniston (guitar) and James Rixon (drums) play their instruments with purpose and are tight and noisy. Likewise, the celebrity slamming 'Rewards For Informers' rides a wave of enthusiasm and grander with the hook solely comprising of the words "you are you are you are you are you are". Luckily, there are other lyrics, taking pot-shots at actors with "you sell yourself far too cheap, so learn your lines and just repeat again, again". With Seventies wah-wah licks and bass heavy rhythm, Red.Star.Line are strongly influenced by The Stone Roses, although vocalist Crosby sounds nothing like Ian Brown, instead more aggressive in his delivery. Album closer 'Dead Man Driving' begins with acoustic guitar and leaden introspection, thankfully turning the guitars on as the song develops into a Led Zeppelin styled stormer.

As with 99.9% of new bands, Red.Star.Line offer little in the way of originality or new ideas, but they have the edge over many of their ilk, showing swagger, confidence and rip-roaring rock songs that stand up to repeated scrutiny.

To find out more visit http://www.redstarline.co.uk

Presley - 'Elizabeth EP' (2005)

The follow-up EP to the self titled album reviewed on this site a few years ago, Presley are still moving head-long into improvisational noise-scapes using the standard set-up of guitar, bass and drums. When the mood feels right the band will play on, hypnotising and forming experimental passages, the opening song 'Hunting The Dingo' is 9 minutes of unstructured no-wave while EP-closer 'Skies Filled With Wizards' is an eye-watering 21 minutes in length. You need great patience to sit though the last song as all kinds of weird sounds emit from the speakers, in line with Presley's notorious live gig where they click into a rhythm of walls of sound. The intriguingly titled 'Jeff Goldblum' is a brief 4 minutes in comparison and one of the most accessible tracks. The unnerving spirit of Fugazi is apparent with discordant jagged guitars ragging away as Christian Campagna's monotonous Hamilton Page styled vocals become like another instrument to the song rather than the defining factor.

The title track is quietly reflective, taking the Mogwai influence to the fore. Deftly played and with retrained loveliness, Presley provide a little lightness to their music, which continues with 'Unfortunately You've Lied Again', chugging guitars and cymbal crashes eventually taking the song as an intense driven song makes itself known. Combustive and dripping in feedback, 'Unfortunately You've Lied Again' is clearly a highlight on a record with plentiful of great moments.

When a band what to push their song structures in unconventional ways, the song writing is prone to suffer, with a lack of a nagging melody to compel repeated listening. Between all the channelling of guitar feedback, incessant drumming and propulsive bass lines, the songs remain unmemorable once they have finished. During a live setting these songs would overcome the audience as one long wall of sound, but in the comfort of a living room, part of the impact is lost. However, as a purveyor of noisy landscapes and improvisational exploring, Presley remains a band of the highest order.

To find out more visit http://www.presleytheband.com

Marsha Swanson - 'Losing Me' (10th October 2005) Manillapr

Singer/songwriter in the Carole King/Beth Orton mould, London based vocalist Marsha Swanson is a pleasingly proficient singer who keeps her folk-influenced single 'Losing Me' simple, using violin, acoustic guitar and her voice to create a relaxing and easy on the ear composition. There's nothing ground-breaking or emotionally crushing here, just modern re-telling of folk-songs played over the decades that your Carole King's and Janis Joplin used to churn out in the Seventies all the way through to mainstream likes of The Corrs and credible Fiona Apple. The key to a solo female artist is the strength of voice and Swanson possesses a good set of vocals, aiming more for soothing and atmospheric than lung-busting. The single has an obligatory dance mix which strips away some of the nuisances and feeling from the original, which is flat and uninspiring. The stripped down piano version is far more effective, Swanson's vocal performance more powerful and expressive, which plays to her vocal strengths keeping the dealings natural.

To find out more visit http://www.marshaswanson.co.uk

Kald - '(Can You Feel The) Magic') (3rd October 2005) Manillapr

Mixing drum'n'bass with pleasant pop, Welsh duo Kald glide into view with the Massive Attack / Portishead influenced '(Can You Feel The) Magic'. The single contains two versions - club mix and radio mix, both concentrating on Marilyn Albuny's low-key sultry vocals. Awash with all kinds of sounds, the layers of instrumentation add to what is essentially a simple pop song. The difference between the two versions is minimal, the Club Mix increases the tempo and distorts the bass more prominently, but the Radio Mix works better with lush production and warmth. Parping synthesisers are played throughout this well-composed and performed song with a tightly constructed guitar solo towards the end; it's pretty hard to find fault in this smoothly made song.

To find out more visit http://www.manillapr.com/artists/Kald.asp

Kaedee - 'Kaedee' (2005) Bacton Hill Records

Three piece band hailing from Philadelphia, Pennsylvania band with a tendency to stray into noodling guitar passages. The singer Steve Mousseau has quite an authentic voice in the Eddie Vedder, Dave Matthews and Jim Morrison mould, the songs benefit from his vocal delivery. The eight songs were recorded live in the studio over 10-12 hours which gives an unpolished and welcome edge to the music. Guitarist Chris Mercer uses space in-between the guitar parts effectively, letting the instruments breathe with some minor effects adding some spacey vibe, as 'Movement 2 (The Escape') demonstrates. Opener 'Beg and Borrow' is a driven rocker with bellowing vocals and chiming chords dropped into place. Getting progressively more intense as the song develops, it's a fine introduction to Kaedee. To display the band has some diversity, 'The Vision' is underpins by Rich Breazanno's drums, showing this band are a collective unit. The production values are just about held together as Mousseau howls out the key line "getting it right" halfway through.

Over the course of the self-titled album, the debt to classic rock is obvious. No modern day gimmicks or flavour of the month trends are applied, the songs are straight forward and passionate. Bands like Free and The Doors have performed this type of music decades before, yet Kaedee exude enough sincerity to make the listener believe that the band believe in their own music. However, there are times when Kaedee go forth and expand on their jams, with three of the songs exceeding the 7 minute mark. Over this length of time, as on 'The Cetacean Glyph', there are enough musical ideas to retain attention with a locked in groove half way through.

Amongst the positives, the main criticism is lack of diversity over a full album with songs not differing too greatly from each other. The same mood is applied to all the songs but that's just nitpicking. Overall, an impressive release with the same thirst for exploring structural boundaries as Dave Matthews Band before them.

To find out more visit http://www.myspace.com/kaedee

Seminole County - 'Seminole County' (2005) Davemac Records

Comprising of female singer/rapper Jj and guitarist/occasional singer Byron J, Seminole County formed 2 years ago in south Florida county where the band gets its name. Let's get the obvious out the way first, the duo sound remarkably like Linkin Park crossed with Evanescence with a hint of Garbage's Shirley Manson attitude. The mixture works well on their 10-track self titled album, with Jj spurting out her vocals in clipped tones over processed guitars during the verses, then reverting to Linkin Park styled harmonies during the evitable choruses. Highly commercialised and geared towards fans of Linkin Park and Evanescence without the strong gothic tendencies, this young act are certainly a very modern and "right now" sort of band. The rap influenced groove of 'Let 'Em Know' will appeal to hip-hop fans with slight electronic tinges heightening up the sound density. The short named Jj (with emphasis on lower cased second "j") has a specific vocal style and uses it without diversifying her range or tone too much. It works well enough but needs to develop to stay interesting. Luckily for us listeners third track 'Playin' Me' has Jj attempting straight forward singing which turns out lovely and not used enough. Byron J duets on the song and his commanding voice works well as does all his vocal contributions across the whole album. The stop-start guitar stutter returns for 'Myself', crunchy yet non-sloppy the song is sleek, polished and again fits to type. Seminole County have found a style that suits them and stick with it, though added piano touches enliven the song, showing stronger Evanescence comparisons.

'Better Than Me' continues the tight formula of drawn out guitar chords and vocals dominant in the mix. Other instruments aren't so clearly defined, instead focusing on the duo trading off some assessable vocal harmonies. 'Life In Me' introduces acoustic guitar, offering some lightness - it's a good move as it offers some diversity to the pattern of similar sounding songs. One of the album's highlights, 'Life In Me' approaches ballad status and stays sincere. Over the course of 10 tracks, with the exception of 'Playin' Me' and 'Life In Me' the remaining tracks begin to merge into one another as identi-kit slabs of modern American radio rock with hip-hop influences. The quality stays consistent throughout, no track weaker than the other. Probably the most quintessential track is 'Let 'Em Know' with its hip-hop beat and Jj's head-strong female attitude coming through. The most impressive in dynamics and showcasing the duo's best attributes is 'Playin' Me' as it strays from the clipped rap vocals into pure melodic singing with professionalism. Overall, it's a promising release from a young band with potential to develop away from their obvious influences into something more unique and musically developed. The music production is highly polished and sounds great on loud speakers, which is job done.

Seminole County are on tour with The Backstreet Boys throughout August 2005. Wow, The Backstreet Boys - let that fact sink in for a while. Now that's an intriguing combination, the rock edge of Seminole County touring with the pure boy band pop of The Backstreet Boys.

* The band have been getting enough industry publicity to warrant attention - here's a corporate factsheet of Seminole County's activity.

To find out more visit http://www.seminolecountyonline.com

Undercut - 'Something To Die For' (2005) Distiller Records

Having already reviewed the undeniably catchy 'To Die For' single, Undercut's full length album is a mixture of unwavering vocals over chiming, non-aggressive guitars. In context with the rest of the album, 'To Die For' is still the strongest in terms of melody and still reminds me awfully a lot of Foo Fighters at their most pop sheen. The other single, 'Soul Food Mother' is also American sounding, reference point for me being Filter during their 'Title Of Record' phase. Hailing from Bristol, England - the band sure have enough American influences seeping through their music. Many critics and media types frequently mention Coldplay and U2 as comparisons but I can't see it. The vocals are less dynamic, lacking the bombast of a Bono or heart-wrenching impact of Chris Martin. Singer Johnny Benn has a smooth and listenable voice, easy to sit back and not feel threatened - rock radio is ready and waiting. 'Crazy Too' has a reflective mood which is appealing with well-built song structure. Far more exciting is 'Soil' which opens with throbbing bass and stadium sized guitar chords before settling into solid verses and a pop-infused chorus.

The production is crisp and clean, no sudden left turns into experimentation, fitting the mould of a rock band suited to radio play lists. Compared to the current flavour of the month Snow Patrol and Kasabian, I would take Undercut over them as Undercut's music doesn't completely fall into pop blandness trap which I've grown despondent with. The chorus to 'Rising To Fall' is well-crafted and works well with crashing cymbals and displays Benn's vocals in a positive light. So what we have is a very consistent album with no obvious low points. None of the songs offended me or made me reach for the "skip" button which is a very good sign. The singles 'Soul Food Mother' and 'To Die For' are uniformly excellent in the face of derivativeness, and to top it all off, this is a band on the rise - I've even seen this album regularly advertised in rock's Holy bible - Kerrang!

To find out more visit http://www.undercutmusic.com

'Heartache & Pain: An Introduction to the Alternative Country of Jamtland' (2005)

After such a long winded album title, this is essentially a compilation of Swedish Country bands; four artists, two songs per artist (that makes eight songs in total mathematic fans). The artists are: Former Beauty Queen, who play ragged reflective country-fried odes to pain; Six Figure Transatlantic, influenced by seventies era Bob Dylan and Neil Young; Grande Roses, who must have Johnny Cash on heavy rotation and finally The Celophane Flower, more light-hearted with twang guitars.

Since The Celophane Flower was the very first band I reviewed for my promo page, they are not a band I could easily forget. So when this compilation dropped on my doorstep, it was time to re-evaluate the Swedish Country scene in a broader sense. I still don't consider myself as a Country Music fan; some early seventies Dylan goes down nicely and a handful of others are on steady rotation - but that it.

Former Beauty Queen is disappointingly not a Beauty Queen, former or otherwise. Once I got over the fact I wasn't listening to some hot chick, the two songs 'Our Private Mardi Gras' and 'A Typical Syndrome pt 2' are of very high standard - enjoyable, melodic, dark atmosphere and a decent singing voice. Former Beauty Queen is probably my favourite artist on the disc, which is a high compliment.

'I don't want to get back on that horse again' - no, not my fear of horses but the title of Six Figure Transatlantic's immensely catchy song, the most immediate chorus on the disc. Imagine the song title being repeated a few times in a decent singing voice and you get the picture. The Celophane Flower's '2 a.m.' is gentle with a soft singing voice - very calming with steel guitars. Their second offering 'What Can This Bring' which closes the album is an unusual choice with deliberately tinny production, harking back to decades past. It's an old fashioned Country N' Western poignant number which would be apt around a camp fire in the American wilderness.

Bottom Line: A handy, compact overview of a musical scene, showcasing some captivating artists. Over the course of the compilation, the four artists do sound similar to one another, a uniform sound becoming apparent. Tales of regret, loss and most likely heavy drinking are driven by carefully structured Country guitar songs.

And in reference to my original Celophane Flower review, I'm still off to listen to some Slayer.

To find out more visit http://www.celophaneflower.just.nu

Iodo - 'This Is Now' (2005)

Playing this lo-fi indie record with electronic drum machines and Radiohead influenced blips and beeps is undoubtedly a jagged experience. Not your typical rock record, 'This Is Now' jumps from Pavement scratchy guitar tones and Joy Division bass lines to Aphex Twin drum n' bass beats as demonstrated by 'Stainless Steel Mouse' which their obvious affection for left-field artists. Lincoln lads Kip, Dappy, George and Phillip came together in 2003 and formed Iodo, contrasting poppy sixties melodies with cold, post-punk atmosphere. It somehow works, with some songs more successful than others; 'First Semester' fits a rapid-paced drum beat over a slow, simplistic melodic structure which sounds uneven and difficult to appreciate. More successful in execution is 'By A River' which attempts Sigur Ros ambience, the guitar tone and chord pattern very similar to The Passenger's 'Miss Sarajevo'. It does distract from lack of originality, but overcomes such hindrance from its charm and excellent textures.

The whole album has low key production, is unpretentious and slender. Iodo 's website describes vocalist Kip as "a man with no musical training who was fired from a previous band for lack of singing ability". Either an honest account or tongue-in-cheek and after listening to Kip's singing voice it's difficult to tell since the vocals are distorted and sang in monotone without much variation. Yet, the vocals suit the music much like Ian Curtis from Joy Division or Kraftwork before them. Not exactly karaoke singing material, but plenty of interesting ideas and experimentation to raise my interest. 'The Beauty Of Violence' is another highlight, taking the Aphex Twin template of discordant beats and samples, twisting all kinds of effects into an impressive sprawling outcome. The instrumental coda is especially off the chart in term of sonic sound abuse.

Which brings up the point of non-coherence, switching from dirge acoustic ramblings ('My Regression') to keyboard driven catchy tunes ('A Lesson In Camouflage') to calming ambience ('By A River') within the same album. On the flipside, it shows a band unafraid to try their hand at different styles, the upbeat songs are more listenable and enjoyable than the pensive slow dirges. 'This Is Now' showcases a band with an esteemed set of influences (Radiohead, Pavement, Sigur Ros, Aphex Twin, Joy Division), and moulding them into their own identity. Flawed in places yet the positive moments make for a worthwhile and eventually rewarding creation.

To find out more visit http://www.iodo.co.uk

Quartershade - 'Machines To Live In' (2005) Yellow Noise

Recorded in a rural Leicestershire barn, 'Machines To Live In' is an emotive three song CD from Quartershade, taking in many British influences from (latter era) Headswim, Idlewild and Crackout. Making up for lack of originality are the actual songs, which retain their Englishness in vocals and corrosive guitars a la 'Pablo Honey' era Radiohead as on the soaring 'Stay With Me'. Drumming is rudimentary, giving focus on vocals and guitars which keep my interest throughout. The most sombre track 'Swim' starts off slowly with just the guitarist playing repetitive chords, allowing bass and drums to enter the mix which progressively builds into an epic sounding rock song. It's quite calculated, pushing emotional buttons in the listener, in the same way Hell Is For Heroes can put together a life-affirming rock song. The most conformist structure belongs to 'Capetown', the shortest song at less than 2.5 minutes, the chiming guitars and solid rhythm section make Quartershade appear to be a more sincere and low key U2, which in my book can't be a bad thing.

Four years into their career, the Loughborough band have assurance in their abilities and know their strengths - soaring guitars, energetic drum bashing and unfashionably solid rock songs. There's enough in the music to appeal to the commercial crowd, with accessible songs and broad, easily digestible lyrics, take Capetown's lyrics of "you seem to be a shooting star, can't ignore, so hard to hold you" which can be interpretive as being unable to keep the girl, one of relationship's universal themes. All the factors are in place for Quartershade to muscle in on the current UK rock scene action; 'Machines To Live In' demonstrates the strong potential.

To find out more visit http://www.quartershade.com

Hey Negrita - 'Devil In My Shoes' (4 July 2005) Fat Fox Records

Singer songwriter Felix has lived a life full of highs and lows, with emphasis on the lows. Heroin dependant, close friends and family suffering tragic deaths (including Paula Yates) and drifting between London and Florida in a drug induced daze, Felix used his excessive experiences to write Nashville influenced country staples of love and loss. When Hugo '3 Horse' Heimann teamed up with Felix, Hey Negrita was formed releasing the album 'We Are Catfish' from which this 'Devil In My Shoes' single comes.

Inspired by the dark vision of Bob Dylan, Lou Reed and Tom Waits, Hey Negrita play acoustic songs with Hammond organs. 'Devil In My Shoes' is the more upbeat of the two tracks on the single; it's a countrified, measured Southern Rock sing-a-long with whisky soaked vocals. The more restrained, slower 'One Mississippi' suits Felix's heartfelt vocal delivery, and you can feel his life's pains seeping from the dark atmosphere. Lacking any real melody, the song hangs on the repeating "one Mississippi, one Mississippi" phrase which succeeds in execution. Overall, a high quality couple of songs, displaying enough authenticity to satisfy.

To find out more visit http://www.heynegrita.com

Undercut - 'To Die For' (20 June 2005) Distiller Records

Right then, the obligatorily details out of the way first:- Undercut are from Bristol, have five members with names like Dave, Matt and Wayne. Using my snap judgement upon listening to the title song 'To Die For', it sounds like the Foo Fighters and I like the song very much. Vocalist Johnny Benn has a relaxed, understated voice which if I didn't know the band came from sunny Bristol, England would have pegged down as American. The songs, especially 'So Beautiful' have that radio-ready jangle which so many bands aspire to. Like so many modern British bands, the influence of Coldplay rears its head, mostly in terms of repetitive clean-tone guitar strumming, combining verses with energy-sapping pace with brief soaring climaxes.

Safely played, you just want Undercut to wake from their slumber on 'Backroom' to toss out some crazy guitar noises. But then two-thirds through 'Backroom', the song picked up tempo, layering atmospheric U2-inspired ambience - the band are forgiven for the slow, wishy-washy start. Comparing the opening number 'To Die For' to the other two tracks is like comparing delicious pork chops with lumpy porridge. 'To Die For' is a well-composed alternative/rock song with a life-affirming chorus that's understated and intelligent pop. Both 'So Beautiful' and 'Backroom' are earnest, solid rock songs with no real stimulation or drive. If Undercut can write more songs like 'To Die For' then their future is bright.

To find out more visit http://www.undercutmusic.com/

Kate Aumonier - 'Much Like Yesterday' (13 June 2005) Sanctuary Records

Aumonier is a UK female solo artist with a smattering of weighty media publications (try The Times, Uncut, The Observer and Logo Magazine for size) praising her sultry sweet vocal chords. And if that was not impressive enough, Kate is performing at the Isle Of Wight Festival on 12th June (hey, the day before this single is officially released!) alongside such musical giants as R.E.M. and Embrace (snigger). So you could say I came into this 2-track single with sky-high expectations. Okay, I put the CD into the disc drive tray and here we go …. lead track 'Much Like Yesterday' is pleasant; the vocals compliment a sturdy rhythm guitar with some unassuming electronic effects and chiming notes making me feel chilled. Now I'm racking my brains to reference my limited knowledge of female singers, only Eddie Reader comes to mind. Some other reviewers have mentioned Dido, but I can't stand Dido and her bland, deadly slow songs so try now to think such evil thoughts.

This is nice, now 'By This Time' is playing, and Kate's soothing, easy on the ear vocals are wafting out the speakers. These songs seem too short at three minutes each, they need more ideas in the melody department and some key changes to be fully fleshed out. The more I hear 'Much Like Yesterday', the more it sounds like a typical Coldplay song with it's atmospheric acoustic dynamics and -- I'm using this word yet again -- pleasant sounding. No-one could dislike these songs, maybe some death metal fans or attention-deficit individuals will find it all too featureless to bother getting excited about, but right now I need something soothing at this time of night - glass of wine and good book music.

To find out more visit http://www.kateaumonier.com

Beach - 'Burning Up' (20 June 2005) Sliding Vinyl

This one-track (one song! How mean is that!) single will remain in the memory not because of the song, but of the music video included on the disc. The video shows badly animated plasticine penguins dancing to collage backdrop of golden beaches (hence the name Beach) and for no reason - the Moon. It's pretty funny since it looks like the animation was carried out by drunken students. The lip synching from the "Pingu on crack" penguins is so badly done it's hilarious. Oh yeah, the actual song - you know what, I really like this song, its eighties sounding and unashamedly pop. And I'm not even talking pop-rock here - it's pure pop with a summer vibe (again with the name Beach).

Who is Beach? He is a solo artist whose real name is Beach (so it says in the press release), resident of London, DJ in Ministry Of Sound (a big deal here in Britain), and purveyor of funky disco house (so it says here). As 'Burning Up' is the lead single from the album 'Missing The Action', it is a joyous slice of guitar pop with no pretension. The lack of innovation, forward thinking or cutting edge sounds is pretty much a given when singing retro eighties pop. The key becomes - can the song stand up on it's own without the gimmicky video and stylish genre cross-over funk. The answer is yes, no matter what tags the music industry wants to place on 'Burning Up', it's a quality piece of fluff entertainment, processed guitars overlay the simple hook of "you got me burning up" in a Human League influenced chorus. Hey, it sounds better than the description I just typed!

To find out more visit http://www.beachrocks.com

British Beef - 'Without Me' (2005) Fat Fox

This day-glo, commercial punk pop single sounds like a cross between all those American bands smothering the airwaves a few years back (Blink182, New Found Glory) and safe British punk influences such as Buzzcocks. It's a predictable yet highly infectious mix, and British Beef are a fun, irrelevant band that would serve a great support act to any pop punk band. In fact they have already supported the likes of Good Charlotte, Baby Shambles and Viking Skull (really? I wonder how they went down with the metal crowd). Lyrical content addresses such hollow points as girls, sticky feelings and getting expelled - the usual teenaged angst that a ready made fan base will strongly identify with. The single comes with two versions of 'Without Me' - one titled "Clean" the other titled "Dirty" - after listening to both versions in succession I can't tell the difference between the two - I presume the dirty version have more disobedient words.

This single comes with a music video of the band fooling around in Central London, with fast editing of band members sticking 2-fingers up to the camera, larking around on the streets looking lost and smashing an acoustic guitar at the video climax. The four-piece band (comprising of Felix, Jam, Gaz and Pat) certainly look like the British New Found Glory, the bleached spiky hair of the singer living up to the image and youthful playfulness is evident in the bashing out three chords as fast as possible. The other song included on this 3-track and 1 video single is "No I Don't Want Another Joint", presumably an anti-drug song but more likely it's the end of the night and the band too stoned to smoked another doobie. It's a blur of buzz-saw guitars, fixed in a generic punk structure, cleanly, pleasantly recorded smooth-punk. It is what the kids would call "skate punk", fast-paced and bouncy with not a redeeming quality in its baggy pants.

British Beef won "The Radio 1 Best Unsigned Act" award and are being courted by the majors -after watching the enthusiasm oozing out of the video and undeniably catchy 'Without Me' in tow, it's not hard to see why. But with Green Day raising the bar to new heights with 'American Idiot', it will take more than simplistic, off-the-shelf Punk Pop to offer anything new to a limited genre. But fair play, 'Without Me' is toe-tapping catchy and strong melody wise and ideal pick-me-up for Blink182 fans wanting to fill the void left by Blink's hiatus.

To find out more visit http://www.britishbeefonline.com/

The Conway Story - 'Ghostwriter' (13 June 2005) - IRL / Kooba Cuts

This multinational collective hailing from California (Jimi, Guitar), Chile (Lenin, drums), Germany (Nik, vocals) and England (Russ, bass and Nick, keyboards) are certainly geographically diverse if nothing else. With songs about relationships and other weighty emotional issues, The Conway Story perform haunting acoustic arrangements with some gaunt guitar lines added to the upbeat moments on 'Ghostwriter', the lead track on this two-track single. The band aren't breaking any new ground, as this type of song has been performed up and down the UK tour circuit since the dawn of the electric guitar, but what makes 'Ghostwriter' stick in the conscious are the careful attention to detail in song writing and Nik Owen's soothing yet measured voice.

Second track 'Hopeless With Our Hands' is a slow-burning piano and acoustic guitar song, very low-key in sincerity and delivery. It's so understated, the melody is stripped down to it's bare essentials and requires a few more listens to remember how it goes. Yet the song eventually gets under the skin and turns into an affecting if slight number. Inoffensive and obviously a talented band, their 'Ghostwriter' single is a pleasant listen whilst it is playing and nothing more.

To find out more visit http://www.theconwaystory.com