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It has been almost two years since angry art-noisers Heart/Yeah? – aka Warren Myles and Jack Fabian – realised they weren’t that angry anymore and decided to pack away their distortion pedals. They’ve grown up a lot since then, and from those ashes emerged the much friendlier-sounding Urgent Talk, with the addition of Roo O’Hare on viola and vocals. Having released their debut double E.P. ‘&’ and ‘&&’ last year, they now return with their first full-length album.

‘Alexander, IV’ is a natural progression for the band, retaining their trademark string and computer counterpoints, quirky alt-pop arrangements and boy/girl vocal harmonies, but presenting it in a more cohesive and polished package. They manage to convey much of the energy which marks out their live performances, but do so without the singing tipping over into ’shouting’  which it can so often do in these shows. I do feel some of the vocal parts here need to be pushed a bit more to the forefront, however, particularly O’Hare’s as the natural singer of the band. A little bit more attention to this facet in the mixing would have gone a long way to improving the overall sound, as next to the abrasive percussion and full instrumental parts, the vocals can sometimes sound a little feeble and the harmonies underwhelming. A shame, as when done properly, this is one of Urgent Talk’s most endearing features.

© Graham Shackleton

It is on track 4, ‘Owls’, where the vocals are at their best and we get a glimpse of what the band are capable of, with a dynamic theatrical performance of onomatopoeiac melodiousness that even Kate Bush would be proud of. The intricate interplay between the vocals, strings and acoustic guitar create some truly sublime moments, reminiscent at times even of Vaughan Williams’ own ornithologically-themed work, ‘The Lark Ascending’. Williams, however, had not heard My Bloody Valentine, and the song breaks into an epic ‘Loveless’-inspired outro. This particular influence is also reflected on tracks ‘Are You Going to Redbridge’, and ‘You Let Me Sleep in the Car’, though it avoids being derivative, and this development is perhaps the most ear-catching feature of Urgent Talk’s growing confidence and evolution as a band.

With this release, Urgent Talk again underline their huge potential, without fully realising it yet. I still feel that they are in need of a more organic drum arrangement. Without it, they may struggle to find the subtle dynamism needed to push their songs to the next level, though if ‘Owls’ is any indicator of the future then the signs are promising. The band still have a truly unique sound, and there is no doubting their creativity, nor their inspired genre-crossing range of motifs. They are now taking a hiatus, during which time they plan to work on their sound and live show, along with assorted solo projects. With a little fine-tuning, there is no reason why Urgent Talk can’t come back bigger and bolder than before. Perhaps this album does not befit the title ‘Alexander the Great’, but it is certainly ‘Alexander the Very Good’. 

Rating – 8/10

‘Alexander, IV’ is out now on Dear You Records and can be downloaded for free (128k version) or £2 (320k version) at: http://urgenttalk.bandcamp.com/. 

Urgent Talk – Palindromes

Urgent Talk – Owls

Urgent Talk – Untitled

Warren John Myles has long been a stalwart of Sheffield’s anti-establishment subterranean music scene, though you would be forgiven for not instantly recognising his name, as he is perhaps more familiar for his work in art-punk anti-emo noise combo  Heart/Yeah?, and more recently, violinear electro-folk pop trio Urgent Talk. It may therefore be a surprise to hear that ‘No Drama’ is in fact his third solo album release, following on from 2007’s ‘Gameboy Songs’ and last year’s ‘Coughs’.

‘No Drama’ marks a significant departure from Myles’ earlier work in both scope and conception. I think it is fair to say his first two works were more exploratory pieces, charting Myles growth as an electronic artist and gameboy connoisseur, and it was perhaps an overemphasis on this particular ‘instrument’ that turned-off many a snobbish muso which meant the musical depth and quality of songs such as ‘I am the tiger from clipart’ remained largely overlooked. Even yours truly must hold his hands up and apologise for this. ‘No Drama’, however, is no avant-garde statement, but one of serious artistic intent. The electronica remains, but it is primarily developed from an acoustic guitar with samples mixed through his laptop, producing a quite remarkable range of sounds and offering a much more versatile platform upon which to explore his songwriting skills.

Don’t get me wrong, this is not pop in any highly-polished, Trevor Horn sense of the word. Nor will it be storming the charts or be covered by this year’s X-Factor winner. I imagine the raw, bedroom production will not be to everyone’s taste, neither will his strained vocal parts, but if you look past these for a moment, Myles’ pop sensibilities come shining through. He has a real ear for a catchy hook, and a great sense of harmony, and though his voice is admittedly not the strongest, it has a fragile quality which really captures his human vulnerability, and gives us a glimpse of the man behind the entertainer and exhibitionist we are used to seeing shed his shirt on stage. Myles has always been a very poetic and insightful lyricist, something perhaps not fully conveyed in the noise records of his past. In this context though his words shimmer with a heady mix of surreal beauty and satirical social commentary. In fact, it is a more mature Myles, as both a songwriter and individual, who shares with us his own personal reflections on growing up and settling down, epitomised in the song ‘Little Coney’. This song in particular has an incredibly infectious dancebeat melody you can’t help but hum and tap your foot to, a vibe somewhat ironic considering the song’s opening line: ‘now why would I want to stay out in a club?’. 

This is an impressive offering from Myles, which firmly cements his place as one of the most innovative and exciting artists currently performing in the Steel City. Furthermore, ‘No Drama’ can be downloaded in its entirety completely for free at: http://theeeldance.blogspot.com/2009/08/warren-myles-no-drama-dyr07.html. Therefore you have no excuse not to check it out!

Rating: 7.5/10

Look out for my review of the new Urgent Talk album in the next week, also from Sheffield’s ‘Dear You Records’ stable.

Warren John Myles – Little Coney:

Warren John Myles – And When I Die Throw My Body In:

Warren John Myles – Bagshot Balloon Factory Theme:

Greetings from Singapore, the Lion City. I arrived here during the final week of the Singapore International Arts Festival, and thought it only couth to sample some of its musical offerings as I am here. The headliners for the final week are Russian classicalists, viola-virtuoso Yuri Bashmet, leading the Chamber Orchestra Moscow Soloists, accopanied by the Moscow State Chamber Choir. Now, I know classical music isn’t the usual remit for this blog, however, I thought it would be an opportunity missed to go along and not attempt to review this act, so here goes…

First, to set the scene.  The performance was held in the iconic Esplanade. It really is a spectacular piece of architecture. Inside, the main concert hall resembles a cross between an upturned Noah’s arc, and a wooden cathedral, and the acoustics are excellent, I’d say better than the Albert Hall’s from past experience. During the interval I wandered out to the bar to grab a swift beer, which enjoys fantastic views overlooking the marina which is really quite stunning lit up at night.

I really enjoyed most of the programme. It opened with Stravinsky’s Concerto in D for strings, which sounds very contemporary despite it being over 60 years old. The first movement, Vivace, really stood out, a frantic, bustling piece, which conjured up images of a busy metropolis such as Singapore, and with a fantastic recurring discordant motif which feels like it’s always teetering on the brink of crashing, but remains beautifully balanced throughout.

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The success or failure of any holiday or long trip abroad hinges on many things – Have I got my passport? Has the hostel/hotel been booked? Do I know where I’m going once I get there? Have I got enough money? – These are all very important issues, but one of the more crucial questions which can either have an adverse effect upon holiday vibe or enhance the experience is “What music should I take with me?”

Planning your holiday playlist is not a task which should be left to the last minute, like say, packing! Much care, thought, and attention needs to be invested in it. You need to think about the place you’re going to and match your choices accordingly. For example, if you are planning a trip to the top of a tall landmark like say the Eiffel Tower or Niagara Falls, then it might not be a good idea to have Van Halen’s ‘Jump’ suddenly blaring out of your headphones! Clearly Balearic grooves are more fitting for sun, sea and sand rather than a skiing retreat to snow-fettered mountains, for which something post-rock would perhaps be more apt. For a relaxing retreat, chilled-out ambiance is probably more desirable than banging party anthems.

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