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Dark Compass

I think that while Anne’s music has historically been rooted in the Rock, Country and Alt Folk scene, this track feels more like a fusion of folk, pop and psychedelia, with the latter providing a subtle brilliance reminiscent of many late 60s and early 70 recordings.
 
The album opens with "Fly or Fall", and it immediately evokes a 60s flashback, particularly through the sitar textures that were so prevalent at the time. I last reviewed Anne in 2006 with her album Koala Motel, and her vocals have clearly evolved since then, which is hardly surprising given the twenty year gap. Where they once felt brighter, there is now a sense of time passing, her voice recalling shades of Marianne Faithfull or latter day Joni Mitchell. Not old sounding, but more lived in and experienced. All that said, this is a nicely upbeat track and a strong opener for the album.
 
Taking things down a notch, "Leaping on the Moon" feels like an intentional nod to early Bowie, both in its lyrical style and musical accompaniment. There is even a faint hint of British affectation running through it. It is a decent track, but one that feels like it could use a small jolt of electricity to truly come alive.
 
The next track, "Loneliest Saturday Night", continues the slower vibe, but it does so with real charm. There is a strong eastern flavour here, with both the vocals and lyrics giving the song a lovely sense of warmth.
 
"Witch Song" for me, ambles a little too much. There is a nice hint of sitar that helps lift the track, but it does not stop it from feeling as though it plods along. A mid track break introduces what sounds like mellotron textures, offering a glimpse of something more, but it does not quite do enough. That doesn't make this a bad track, just one I feel could have delivered a little more.
 
Things come alive again with "Feelin’ Alright Now", which re-introduces a more upbeat flavour to the album. The track is rich with appealing musical textures that recall the lighter, melodic side of the Monkees, while some particularly strong keyboard fills add colour and momentum, helping the song truly spring to life. It feels like a moment where the album regains its sense of fun and forward motion.
 
We flip back to something a little more laid back with "Gone", and it sits really well in the flow of the album. It is a mellow folk song that begins with simple acoustic guitar accompaniment before gently expanding to include touches of flute, piano, and some wonderful backing harmonies. The result is a song that feels unassuming yet truly delightful.
 
I think "Remembory #9" must surely be an affectionate nod to the Beatles’ "Revolution #9", though presented here without the madcap oddness and with the addition of actual lyrics. Those lyrics are still suitably out there, and they sit comfortably alongside the track’s musical direction.
 
I loved the quirkiness of "Shadow Lane", which seems another affectionate nod to the Beatles’ “Penny Lane.” At first, the track gave me more of a Donovan vibe, particularly in the vocals. As it unfolds, it evolves into a fusion of Beatles and Kinks influences, while remaining very much a biographical song. The result is charming and thoroughly enjoyable.
 
Another track, "Make Our Escape", reveals yet another musical influence that’s hard to miss—this time, Simon & Garfunkel’s Scarborough Fair, especially in the recorder/flute introduction. As the song unfolds, even its metre closely mirrors the original, yet it still stands as its own track rather than feeling like a pastiche. 
 
Bringing things to a close is "The Years". For me it felt very much a fluff track, a filler. Laid-back and pleasant enough, but personally I always like an album to close on something that leaves the listener feeling somewhat sated. Like the album has signed itself out.
 
There is much to like on this album. It feels very much like a personal project, a deliberate effort to capture the spirit of the flower power years, and on the whole, it succeeds admirably. I wouldn’t call it a psychedelic album per se, but several tracks are infused with hints of psychedelia, while the rest clearly carry that 60s DNA.

Whooly Roller Coaster

I’ll just say it upfront. This is a cracking EP from a band I have to admit I've never heard of before. It delivers four tracks and not a single one falls short.
 
The EP opens with "Lifers Too", a fast paced and foot tapping burst of energy. As soon as I heard the lead vocalist, another artist came to mind, although it took me a while to pin down the comparison. Some may say it is an apples to oranges match, but to me he's very reminiscent of Talk Talks lead singer Mark Hollis.
 
The dial turns down a notch with "Cocaine and Lexapro", but that doesn’t make it a boring track by any means, the title alone can't help but grab your attention. Two vocalists take the lead here, and once again the second one reminded me of someone I just couldn’t quite place. I enjoyed the song a lot, but one line stood out in particular: "Pilot's still a pilot 'til he crashes the plane". I’m not sure why, but it really resonated with me. Maybe it's that philosophical ponderable.
 
Things are cranked up again with "Havenhead", a track that pushes forward and carries you with it. There’s a strong 90s feel here, and that flavour runs through the whole EP. I’m not sure whether that’s unique to this release or part of the band’s overall sound, but either way it works. This is a cracking track.
 
The EP closes with "Berlin", shifting from high energy to something a little more sedate. Yet it retains a sense of something special, particularly with the 80s-style synth underpinning the track.
 
This is the kind of EP that could easily serve as a band’s “best-of” collection, with all the strongest tracks gathered together. As I mentioned earlier, I’d never heard of the band before, but I’ll definitely be exploring their back catalogue and eagerly awaiting their next release.

A Brief Intermission in the Flattening of Time

Flowers for the Dead are a band from Washington, DC. I hadn’t encountered them before, but they’ve already built a solid body of work, with numerous single releases, a couple of full-length albums, and now this EP, which offers a glimpse into their evolving sound and artistic vision.
 
The EP opens with "Tiny Beanie" a relatively short track at just a minute and a half. Musically, it gives a clear sense of the band’s style, though the valley-girl–style talking layered over the track feels a bit like misdirection, teasing one expectation while hinting at something different.
 
With "First Place" the dynamic flips. The vocals are more in line with what I anticipated, but musically the track is somewhat restrained and flat. It picks up in the second half, yet it still feels a little at odds with itself, as though the song can’t quite decide whether to hold back or fully soar.
 
"Thorn" is another short track, again just over a minute and a half, and just as the pieces start to come into its own, the song ends, leaving you wanting more.
 
The final track, "Perfect View" immediately brought the Beatles’ “Dear Prudence” to mind, or, considering the band’s direction, perhaps the Siouxsie and the Banshees rendition. The gentle build and melodic interplay highlight what the band can achieve when their ideas fully gel.
 
There’s a lot to like in this EP, but it also feels like a teaser for what could be. While that might sound like faint praise, EPs often serve as introductions to a band, and the ideal is for them to be as strong and cohesive as possible. I missed the band’s 2024 album release, "Magnolia" but this EP has definitely piqued my interest, and I’ll be keeping an eye out for future releases.

Perfect View

Emmet Swimming is a band that while they've been on my radar, I somehow hadn't manage to pin them down for a listen. Until now. After receiving an email from one of the many PR companies, I have a wonderful relationship with, I figured now was the best time to at least have a quick listen, to see what they were all about. And in a word, or maybe two in this case, "Hoochie Momma". This is a band that are no strangers to the rock scene, having been around since 1991. Indeed they have had 3 albums with Epic Records, but in 2000 took an extended break. After listening to the first track on this EP, I gather things maybe went a bit sour. This EP was originally released in 2003, but I'm hoping that it will be a bigger hit second time around, as I definitely want to hear some new stuff from this, my new awesome find. The EP is available in 2 versions. Digitally from iTunes, it comes with 4 tracks and 1 bonus track. From Amazon, also digitally, it comes with an additional bonus track. The EP opens with "The Dance" which is a fantastic slow burner. Straight out of the gate, it's the vocals that hit you. They remind me a lot of Brad Roberts, without the quirkiness, but they're deep and wonderfully powerful. On this track there appears to be something of a backhanded comment, regarding Epic, which I find interesting. I'm guessing the label figured they'd run their course and didn't want to do another record. Well this EP is well and truly a one figured salute (two figured in the UK) to Epic. "Don't Call" is again a slow burner, featuring a different, not so dark sounding vocalist. There's no denying though that it's a wonderful track. In fact this is the track that really got me hooked on Emmet Swimming, but I now find I much prefer "The Dance". "Heart Like an Eskimo" again features "The Dance" vocalist (I need to learn my vocalists), but the song is much lighter, reminding me at times of a happy Nick Cave. "Joanna at the Door", is an interesting song, which wouldn't sound out of place in the Pulp Fiction movie, but I'm afraid it does nothing for me. It has that latin rock sound, and indeed the lyrics are all in Spanish, but it feels most definitely like the odd song out. There is however an interesting guitar solo, about 2 third of the way in, that goes on for the remainder of the track, which goes some way to lightening up how I feel about it. We're now into bonus time. The 1 extra bonus track from iTunes is "Door 2". Flagged as explicit, it's not quite the racy track, that the term explicit always has me expecting. It's a very grunge sounding track, and relatively short at just over two and a half minutes. The second extra bonus track on Amazon, is "Waving at Cars", a very upbeat track, which rounds off the EP nicely. Conclusion : I'm hoping I haven't come to Emmet Swimming too late. Yes this maybe a 2003 re-release, but if you don't have it, I'd say it's a definite purchase for your collection. Here's hoping for a new release, sooner, rather than later.

Bathing in the New Economy

Lloyd Dobbler Effect sounds like something Doc, from Back to the Future would be looking for to generate the jigawatts of electricity need to bounce around in time. In fact it's a Washington DC based band, that have a wonderful and energetic sound. There's certainly no lack of musicanship on the 15 tracks on this album, which is not surprising as the band does around 200 gigs a year. With a hard rock sound, softened by more pop biased vocals, there is a nice balance between blowing the cobwebs out of your ears and lulling you into a false sense of serenity. The album opens with "Have Faith" which for me, has a oddly soft rock feel, but really loosens up when the chorus chimes in. This is a funny track, as I could really feel it growing on me as the song progressed. "Radio" for me is where things really seem to fall into place. For a lot of songs on the album, I kept getting an 80's slap across the head. It's nothing really definitive, just a riff here and a lead in there. While I really enjoyed the album, there was not enough here for me, that had a definitive stamp on it, a sound that would would allow me to pick out this band on the radio for instance. That being said, there's some tracks on here that are real gems including the previously mentioned "Have Faith", "Radio", "The Past" and "I Have the Touch". Conclusion : There's no denying the talents of this band. With such a touring schedule, I imagine they are pretty hot to see live. It will be interesting to keep an eye on this band, to see how they develop, but if you enjoy 80's/90's rock / pop then I think this will be right up your street.

Lloyd Dobler Effect

First off I have to say, I get a little antsy when a band releases a 7 tracks and calls it a CD. To me 7 tracks, weighing in at 24 minutes is more an EP than an Album. Calling it a CD just seems to be a way to blur the lines. Anyway rant over. It's sometimes difficult when a band requests a review to get a good feel of what they are about, just by listening to a few tracks on MySpace. Sometimes I take a chance and am blown away and sometimes I get a CD and just think, ouch a one track wonder. So when this CD came in from Chasing Arrows, and I heard the first half minute or so, I began to wonder what I'd let myself into. This 1 and a half minute track is more like a drummers warm up, but I could sense something really pleasant coming, unfortunately what I got was the next track "Stranger than Danger", which while a pleasant enough track has an awful start. Oh those lads from Oasis have a lot to answer for, in this case more for the guitar work that's interspersed throughout the title track "Transparent", rather than overall musical influences. This is a great track, that really has a great vibe about it. The vocals also have a very distinct sound and contrasts the music nicely. I was trying to think of who the lead singer reminded me of, but couldn't quite place it, but when "My Addiction" started I keep thinking of John Evans from the John Evans Band, an artist already reviewed here on Indie Launchpad. The more I got into this CD, the more it started to relax itself. The first few tracks feel somewhat uptight, but by the time "Unaware", the firth track starts, everything seems to flow much freer. "Down and Out" failed to really grab me, but the final track "Look Ahead" I really enjoyed, with it's flashes of Bruce Hornsby. Conclusion : A great band which I can see developing nicely by the time a full album release comes to fruition.

Transparent

Good Grief. You can say that again. I bet 3 Blind Mice are glad to have this album finally in the can, as it's had a gestation period more akin to that of an elephant. That however is by the by, as once again they are triumphant in releasing a cracking album, which we've pretty much come to expect. According to iTunes, this album came out at the end of 2006, so I'm nearly a full year behind the curve, but some things are worth waiting for. Although I'm often chomping at the bit to review new releases from artists who I've previously reviewed, I still like to take the time to really let an album sink in with me before reviewing it. Although I've had this album a month or so, I hadn't really had a good chance to listen to it until last week. It was yesterday however when I started to cosy up to it and really feel like it had got under my skin. After work last night, I took the opportunity to finish off Christmas shopping for my wife. The snow had been coming down since about 4pm, so by the time I left work at 5:30pm, there was enough snow on the car for it to take me a few minutes to clear it. Just before pulling away, I put this album on the car stereo and it became my sole companion for the rest of the night. The first track "Your Face is Not Enough" really greets you like an old friend. Those harmonies are unmistakable and I pulled out of the parking lot, with a warm glow and a big smile on my face. "Dead Penguin" is the track that follows and while I still haven't warmed to this track, it does provide another dimension to this album. "Kolysanka" has the feel of a Russian folk song. It's slow and deliberate and filled with lush harmonies and what sounds like a balalaika, at least I think that's what I think it is anyway. "Derek Malone" has to be one of my favorite tracks on the album. It has all the qualities we have come to love on the Beatle's, Penny Lane, with a narrative that flows effortlessly with the musical accompaniment. For anyone subscribed to PW Fenton's, <a href="http://www.digitalflotsam.org/" title="Digital Floatsam" target="_blank">Digital Flotsam podcast</a>, "The Word" will sound very familiar, having been used as the theme track for a good couple of years now. "I'm So Tired" is probably my least favorite track on the album, I just keep feeling like the track is barking at me, if that makes any sense. "The Breaking" provides a nice foil to the previous track, calming, soothing and washing over like the soothing waves of a warm sea on a summers day. If there's one thing that really impresses me about 3 Blind Mice, it's that while their tracks all sound very familiar, leaving no doubt who there are by, they also have a real diversity. "The King's Shilling" shows this to the full, a Christmas song, without fanfare, frills or gimmicky sleigh bells. At just over 2 minutes, it's a little on the short side, but excellent nonetheless. This is another one of those albums where I can just go on and on, telling you how good it is. Better than that, you can go buy a copy and discover how good it is for yourself. If you're already a fan, you will need no prodding, to add this to your collection. If you are new to 3 Blind Mice, this is an excellent introduction, which still leaves you 3 other albums to pick up. Conclusion : Simply a wonderful example of everything that's right in todays indie music. Great music, inventive and interesting lyrics, resulting in another must have album.

Good Grief

The Australian music scene is one that I'm not too up on. Apart from breakout bands like Savage Garden and the recently reviewed Youth Group, my last real investigations brought up Frente, a band that I think I heard on the Australian soap Neighbors, or maybe it was Home and Away. OK so now my nasty secret is out, but it was many, many moons ago. It was after a recent plea for international suggestions, that I was given a list of Australian acts and this is the first one I'm featuring. I have to admit, although I listened to a few of her tracks on-line, when I got the album in, I kind of prejudged the album, based on the CD cover, thinking it was going to be a fairly light, whimsical pop album. What I found was something much deeper and not the bouncy pop record I was expecting. That's not to say this is a dark and depressing album, it's not, but it certainly has a more mature, rocky feel to it. In fact vocally there is a lot here that reminds me Sophia Ramos, but with a softer edge. My favorite tracks on the album, "Coming to You" and "Jesus' Blood" have a very strong acoustic feel, even though the latter has something of an odd lyrical slant. Another favorite of mine "Lay Me Down" has the hallmarks of some of the songwriting greats, including Crowded House and Squeeze. In fact to my mind, this would have been the kind of direction I would have liked the album to take. The rest of the tracks are great in themselves, but none of them really burst out, but this still makes for a very accomplished and entertaining album. Conclusion : There's obviously a huge untapped ocean of bands in Australia, the problems is finding them. If they're all as good as this CD from Anne, it's going to be a pleasure.

Koala Motel

I first have to say, what a great way to open an EP, with the excellent track "Our House Would Make a Beautiful Bonfire". It draws you in with some great instrumentation and then explodes with the great chorus. It's one of those tracks that has you singing the chorus hours after. So you're drawn in very quickly. My two daughters had a listen to the opening track and said they sound a bit like the Rasmus. They would know better than me on that one. Whilst the opening track is definitely more pop than rock, the next track "Fireflies" is rockier and a tad darker in sound, offset with some sweeping synth to open the song. In fact the darker sound is prevalent throughout the rest of this 6 track EP, so whilst the opening track is the killer song on the EP, it's a distinctly different sound, which is a shame as I can still hear the chorus for the first song in my head, while still listening to the rest of the EP. "Satellites" reminds me very much of 90's rock, with the distorted vocals and heavy guitar sound. There's also a relentless bass underpinning the whole track. Of the darker sounding tracks "Used as Directed" is probably my favorite. Rounding off with "Sofaking", this is a band to keep an eye on. If you are into a more darker rock, this is certainly the EP for you. But for my money the direction of the opening track would have made this a killer release. Conclusion : A definite buy, even if it's only for the opening track. But fortunately there's a whole lot more, making this a quality EP.

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