Review: Tom Stephens - Division (EP)

Before we go anywhere I must offer my apologies for my lack of recent posting. As is often the case during the summer months, I’ve been away having much fun and neglecting this blog. But I’m here now and before I leave you all again, I’ve managed squeeze in a little gem for your listening pleasure. And the good news is that’s totally free.

Today’s offering comes from the guitar of singer/songwriter Tom Stephens and his first outing as a solo artist. Spending most of his music career to this point as frontman for various different bands (one of which springs to mind…), this short EP marks a departure from rock music and is very much in the realm of all that is acoustic.

Opener My Rosie is unquestionably the highlight and isn’t just your usual singer/songwriter fare. Whilst all the pieces are there for a Damien Rice regurgitation (acoustic guitars, double bass, strings), what we actually get is a dark and slightly angular track that makes full use of the acoustic guitar’s resonant capabilities. Tom’s impassioned and rough-round-the-edges voice adds real character and emotion to create a clever feeling of sympathy rather than tear-jerking sadness.

Whilst the EP doesn’t quite rise to these heights again, the Nick Drake inspired strings on third track Family Tree, are another interesting play on the normal format. It begins nicely enough, but it’s not until the strings rise and sway that the song really begins to lift and show how a simple chord pattern can be given a new life with the simplest of additions.

However, despite the excellent string arrangement and high quality of songwriting, I can’t help but feel that the EP is a touch overambitious and muddy in places.

The double bass employed on It Could Happen To You should work in principle but on the record it just doesn’t sit well with the acoustic guitars. It sounds clunky, overcomplicated and actually works against the stripped back simplicity of tracks such as the aforementioned It Could Happen To You and My Rosie.

And despite the beauty of the string arrangement on Family Tree, it’s sounds separated from the rest of the song. The acoustic guitar struggles to cope with the depth and vastness a string section brings and, if drums or percussion aren’t an option (which is understandable), perhaps there’s a case to be made for the stripped back sound we hear on the rest of the EP, to come into play a little more rigorously here.

But please don’t misunderstand me. Overall this is a very accomplished record. The high production values are a welcome change and should be a template for others in the same genre. Similarly, the quality of songwriting stands above many of those with far greater reputations and hints something very exciting to come.

Whilst it may not be the finished article yet, it’s an extremely solid base on which to build and is up there with Dark Mean’s Music Box (EP) as my favourite free download of 2010.  Get it while you can.

Download Division (EP) for free or visit Tom Stephens

Over on the Mother-Blog are My Rosie and Family Tree from the excellent and soulful Division (EP) by Tom Stephens. My Rosie is available to download but you can get the whole shebang for free right here.

Lyrics of the Week #5: Elbow - Station Approach

As the 5^th in an ever-expanding set, I felt this week’s edition of Lyrics of the Week (or LOTW #5, if you prefer) needed to be a bit more upbeat. Not necessarily happy or overtly positive, but something that’s not about love. To that end I have settled upon Manchester band Elbow as the band of choice and in particular, their song Station Approach.

It’s taken from the 2005 album Leaders of the Free World and is an unquestionable Elbow classic. Starting with a simple acoustic guitar line and accompanying piano, it’s grows and grows as the emotion in singer Guy Garvey’s voice builds until booming drums and expansive guitars see the song through to a anthemic conclusion. As with much of Elbow’s work, the song itself is magnificently simple and is testament to the power of a good melody and clever arrangement.

However, the most important part (in this instance at least) is the lyrics and is of course, the reason why we’re here. As is becoming habit, I’m looking at the first verse:

“I haven’t been myself of late. I haven’t slept for several days. But coming home I feel like I designed these buildings I walk by”

As this may or may not reveal, this song is about coming home. Nothing metaphorical, just the simple pleasure and excitement of returning home. As a feeling, many of us know it and as a song, Station Approach is the perfect soundtrack to that event.

The first two lines not only describe the feeling of displacement and homesickness at being away, but also cleverly double up to highlight the butterflies and the excitement as the time of going home approaches and lines three and four echo that sentiment. They expand on the feeling of familiarity in a brilliant and (that word again) simple final line that distils a collection of emotions into one clear and concise sentence. The picture it paints never fails raise a tiny, contented smile.

I’ll admit that these are not the most poetic of lyrics or the most romantic, but that’s why I love it. It’s hard to write about happiness, but these lyrics capture a small moment of delight we all feel from time to time and the excitement we get from being with family, at home.

I would thoroughly recommend not just the album from which Station Approach is taken, but also any of the records in the Elbow canon. Don’t let the Mercury Prize sway you, each album is as good as the other and you can do much worse than start with Leaders of the Free World. Clever, melodic and hugely enjoyable, I urge you to hear the unique sound of one of Britain’s best bands. You won’t regret it.

Visit Elbow or their MySpace.

Get Leaders of the Free World

If you visit the Mother-Blog over at Wordpress you’ll find the excellent Station Approach for your listening pleasure. Simple and brilliantly driven, it’s an Elbow classic that should be cherished.

Review: The Rebs - In a Heartbeat

A few weeks back I attended my first gig outside of the capital for a long while and, whilst I didn’t expect to be disappointed, it’s fair to say my expectations were lower than usual. Someone once said that when it comes to music, London is the place to be and although it may be where most record labels are situated, an energetic and marvellous performance from Southampton based band  (and last year’s ‘Road To V’ winners) The Rebs, proved categorically that there’s plenty of success to be found outside the big smoke.

They took to the stage in a unusually professional manner and it was immediately obvious from the moment the synth line of album and set opener Would I Remember swung into view, that we were dealing with a group a league above the rest. The energy lasted throughout and lead singer Russell Edmonds continued to roll out melody after melody that had the room buzzing.

I’ve since come in the possession of their debut album In a Heartbeat and, as is customary on this blog, will proceed to give my opinion.

First off I should say that The Rebs aren’t that original. The best summary would probably be a cross between the Killers and The Kooks although the latter does do them a fairly large injustice. They’ve taken the best bits of the both those bands and formed them into a dynamic album that hints at being something more than simply indie.

As I mentioned above, opener Would I Remember immediately sets up what the band are about. It’s one of the stronger tracks on an album full of singles and contains a fist-pumping chorus that reminds of The Automatic in their prime (and on that single), and semi-title track Always In a Heartbeat has brilliantly crafted electronics that sit expertly within the crashing drums and overdriven guitars. It’s clear just two tracks in that these guys have won awards for their song-writing.*

The melodies don’t end there.  Keep Smiling is a impressive, Zutons inspired pop track that is ready made for the festival circuit this summer and first single Don’t Fool Yourself is a clever track and is perhaps the one that really stands out from the album.

Not only is it excellent as a straightforward indie-cum-pop track, its use of strings and pads really lends the song an authority that lifts it out of teenagers bedrooms and into the mainstream. If there was a criticism to be made, then it’s perhaps that the album does feel like it’s repeating itself. On the the band’s myspace, influences are listed as “Artists with great songwriters - we like singles” and whilst that is refreshing to see, it wears towards the business end of In a Heartbeat. Songs such as Leave it all Behind seem a little like they’re forced to fit with this mantra and make the album seem like a singles collection than a cohesive album.

Whilst it would be nice to see some development and a small injection of variety, In a Heartbeat is an excellent debut from a band that really is on the rise. Songs such as Would I Remember and Don’t Fool Yourself (both below) ensure that this rises from the ashes of the fading indie scene and arguably rises above its predecessors. It’s an unrelentingly catchy and well-produced collection of songs that’ll form a great soundtrack to the summer and is a commendable effort from a band that is as good live as any other I’ve seen this year.

They might not be breaking too much ground yet, but they’re certainly having a great time trying. Remember the name.

*Don’t Fool Yourself won both Best Pop Song and Best Overall Song at the Exposure Music Awards that, I’m reliably informed, are judged by a panel of assorted experts.

Visit The Rebs or their MySpace

Get the album on iTunes

Don’t forget to visit the Mother-Blog on Wordpress to get album opener Would I Remember and award-winning single Don’t Fool Yourself. Both are brilliantly catchy and are the perfect soundtrack to the summer.

Lyrics of the Week #1: Simon & Garfunkel - Sound of Silence

So as is traditional, let’s kick off with week one. Today’s entry comes from folk greats Simon & Garfunkel, with these words specifically written by Paul Simon. Lifted from their breakthrough 1966 album of the same name, Sound of Silence is one of those fantastically simple and awe-inspiring songs. The haunting electric guitar (interestingly not composed by Simon) sets a bleak outlook, which is ultimately reversed by Simon’s wonderfully building melody, and the dated drums  serve only to add to the power of lyrics, giving them centre stage.

“Hello darkness my old friend, I’ve come to talk with you again.”

Mrs Robinson aside, these are probably the duo’s most lasting lyrics and so they should be. The chilling familiarity and casual nature of the words are devastatingly simple and yet very effective as they paint an instant picture that is clear to us all.

For my money this is Simon’s best work (musically and lyrically) and is a great introduction if you’re not already a fan. They come thoroughly recommended and you could do much worse than starting with this very album.

So that’s it. I chose a great one to start and they’ll be plenty more where that came from in the next few weeks. You can hear Sound of Silence in it’s entirety over the Mother-Blog on Wordpress and don’t forget to get the album if you haven’t already (which, as I go to press, is at an insanely low price). 

Audio: Delphic - Clarion Call

Pounding, call-to arms opener taken from Delphic’ debut album Acolyte.

By combining all the right elements of Electro, Rock and Pop, Delphic have produced an excellent debut album of which this is just the start. Singles Counterpoint and Doubt are as good, but neither sound as impassioned or swagger quite as much as this one.

Listen to Clarion Call by Delphic on the Mother-Blog at Wordpress.