‘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

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Urgent Talk – Owls

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Urgent Talk – Untitled

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‘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:

[See post to listen to audio]

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

[See post to listen to audio]

Warren John Myles – Bagshot Balloon Factory Theme:

[See post to listen to audio]

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.

Next up was Brahms’ Adagio in B minor for viola and strings. Here Bashmet takes centre stage, and his performance is mesmerising, incessant, and emotive. The dynamism of his viola and the intricate interplay between the cello and viola sections provides the perfect counterpoint. After that was Three Film Scores for Strings by Japanese composer Toru Takemitsu. Here the highlight was the first piece, Music of Training and Rest from the film Jose Torres,which possessed a great jazz rhythm reminiscent of Gershwin and Bernstein. The manner in which the cellists were transformed into the role of jazz-blues bassists with the violas replicating sharp off-beat jazz piano notes conveyed a really impressive and innovative arrangement.

After the interval was Mozart’s Exsultate, jubilatewith the first choral appearance of the night in the form of a female soprano. To be honest, I found this piece a bit tedious. It was fairly standard Mozart, and the music remained shackled by the piece’s emphasis on the singer. I kept flashing back to visions of Simon Cowell-derived television ‘talent’ contests, and the annoying warbling stylings of current wannabe pop singers, as to be honest, what the soprano was doing was basically the same thing but a little bit more elaborate, in Latin, and in a higher key. It was essentially just warbling though of a different kind, but because it is masked behind the respectable face of classical music it is therefore obscured from similar public criticisms. I thought it only fair to redress the balance.

The programme finished with Mass No.2 in G Major for mixed chorus and stringsby Schubert, and saw the full Moscow State Chamber Choir take to the stage. The night ended on a high, and the third movement struck a particular chord with me, with it’s minimal but strident string tones, and deep, ominous choral chanting, it had something of a Soviet vibe to it. It reminded me a little of (and this is where I lose any credibility as a serious classical reviewer, if I hadn’t already done so by use of the word ‘vibe’ in the last sentence)… the film score to The Hunt to Red October.

And on that bombshell, I think I’ll go back to my day job.

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.

The percussion and rhythm of a song can convey a sense of physical momentum reflective of your means of travel, which can make the experience of getting to your destination all the more enjoyable and relieve some of the stress from travelling. Most important to remember is that holidays are about escapism, a relief from the trappings of everyday life. Your music should reflect this. You don’t want to be listening to songs with strong home associations when you’re away trying to forget about everything.

Here are my ten essential summer travel tunes, all of which I will taking with me on my impending trip to the Far East:

The Knife – Heartbeats

[See post to listen to audio]

Made famous by Jose Gonzalez’s not inconsiderable acoustic cover version, the original is pure feel-good summer vibes. Great pre-going out, whilst watching the sun go down to with a drink in hand.

Supertramp – Take the Long Way Home

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This song breathes pure escapism. Its whistling harmonica and bouncing piano riffs conjure up the image of a long sun-drenched train ride.

Paul Simon – Graceland

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This whole album is an undisputed classic, and with its prominent African influences, its musical exoticism makes it perfect for globe-trekking. The title track in particular with its rolling baseline propels you forward in both body and mind to your destination.

Belle & Sebastian – Ease Your Feet In the Sea

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The title says it all really. Lie back on the beach, relax, and watch your problems drift out to sea.

Phoenix – Too Young

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Phoenix have consistently made great pop songs for years now, and their latest album presents their most feel-good summery sound yet. This classic track from their first offering has become synonymous with iconic foreign cityscapes due to its ‘Lost in Translation’ association. Its insistent guitar riff shoots past you as you stroll down busy sidewalks to the staggered rhythm of its chords, contemplating its emotive introspective lyricism with a simultaneous sense of wonder and longing.

Thomas Dolby – Budapest by Blimp

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From the first ethereal synth note, it feels like your floating on air. Look out of the airplane window across a blanket of clouds, and dream.

Joe Jackson – Steppin’ Out

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An all-time favourite of mine, its unrelenting bass-line propels you through the nocturnal streets while the piano melody shimmers around you like bright white city lights.

Laptop – Nothing to Declare (Les Rythmes Digitales Remix)

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Catchy pure electro pop fun, its comic travelling sentiments will keep you smiling while you’re forced to queue for hours through customs.

M83 – Kim and Jesse

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Possessing ghostly vocals, and moving from moments of windswept desolation to pure euphoric melodious joy, this song transcends both time and space.

The Zombies – Time of the Season

[See post to listen to audio]

A classic holiday romance song, it manages to simultaneously induce a sense of nostalgia for summers past and optimism for the future. Its unmistakable vocal-clap percussion style merely adds to its musical sensuality.

I hope you enjoy them! Keep checking back for my musical musings from Singapore and Malaysia over the coming weeks.