Whiteboard Project

The Albums Round-Up

 Whizz! Pop! Bang! Yes, it’s the weekend where us Brits gather around bonfires and set off fireworks to commemorate the state execution of Guy Fawkes and his terrorist/freedom-fighter chums (depending on which side of the fence you’re on). Fear not music fans, I’m not going to get all political - I’m all about the music -  but I am going to use the annual opportunity to let off explosives in one’s backyard inform my column this week. Right, what will set your ears alight in the next seven days? Read on to find out.

My album of the week is Fight Less Win More by My Sad Captains. Its opening track Orienteers is a warm acoustic guitar number that plods along quietly with a dash of tambourine and glockenspiel sparkle. It would be the perfect comforter on a cold autumn night were it not for the startling lyric, “I reserve the right to decompose in front of your eyes”. Don’t be put off though, follow-up track Resolutions promises something more welcoming, offering the listener “somewhere to sleep” because “it’s a nice time here in January”. The off-kilter harmony of Round and Back Again is underscored by a jaunty beat, drifting synth chords and acoustic guitar – its closing “ooh la la la”s over a picked electric guitar provide a breezy sing-along opportunity. All in all Fight Less Win More is a delightful album packed with subtle surprises. The joyful melody and electric guitar hook of Little Joanne (with its lyric of “never get enough of hanging around you”) suggests that these captains aren’t very sad at all. Heartwarming, idiosyncratic and charming, like writing your name in the dark with a sparkler. Highly recommended.

My Sad Captains - Orienteers by The Line Of Best Fit


The title track of Hands of Time by The Janks is a country-infused acoustic number, with ascending vocals and descending instrumentals that create an infectiously woozy effect. There are some lovely percussive delays on Billy the Kid that give this ballad a lackadaisical charm. Dead Man is a slow-burner that begins as a quiet confessional and escalates to a country rock anthem via military drums and exquisite melodies delivered by rough-hewn voices. That military snare is back for Demon Dance which has a stronger rock edge and some soaring electric guitar licks. If you like the alt-folk-country-rock of Band of Horses then you might find Hands of Time by The Janks a bit of a sizzler.

The Janks - Hands Of Time by Cargorecords

The songwriting skills of Cass McCombs are on show on his latest offering Humor Risk. Each song tells a unique story and the arrangements are very much tailored to reflect the individual narratives. The pulse of electric guitars drives the opening track Love Thine Enemy forward whilst The Living Word is a softer affair with a light-touch vocal and careful drum-rim percussion. The Same Thing combines the charm of a simple acoustic guitar line with heavy drums and multi-tracked vocals. It’s a highly-polished song that perhaps loses some of its effect due to its glossy production. Nevertheless, the simplicity of the arrangement for Robin Egg Blue (acoustic guitar, homespun percussion, and just a slight echo on the vocal) allows the appeal of its story (of temptation without regret) to shine. As warming and hypnotic as a bonfire.

Cass McCombs - Robin Egg Blue by Domino Recording Co

After the apparently simple delights of Cass McCombs, the surf-noise of Odonis Odonis’ Hollandaze comes as quite a shock. Imagine what would happen if your favourite garage band covered The Shadows whilst retaining a grunge vocal, and you’ll get the idea. The deep and dirty guitar notes of the title track set the album off like a rocket and it whizzes and bangs with insouciant dazzle. Busted Lip offers a grungey fuzz take on 60s guitar pop whilst Ledged Out allows the guitars to chime in a higher register. A right little fire-cracker.

Odonis Odonis - Hollandaze by snipelondon

The debut LP from Blouse is an 80s-inflected collection. The lethargic vocal from Charlie Hilton gives Firestarter a dream pop feel, with crisp symbols and guitar reverb cutting through the sweetness. The use of synths and drum pads to drive forward Roses and Videotapes makes them feel like nostalgia pop. But the trippier beats and bassline on Healwaysflysaway disrupts the retro feel somewhat. There are some persuasive melodies on this eponymous album, with Hilton’s voice as the real hook. As tempting as a toasted marshmallow.

Firestarter by BLOUSE

Anomie Belle releases The Crush this week and one thing’s for certain: her voice is sure to divide opinion. Her approach to vowels is to purr, whilst consonants are stressed in new and unexpected ways. Some will find her voice beguiling, others might find it affected. Comparisons to Bjork’s vocal style are more or less inevitable. Nothing can be predicted about this album’s arrangements. The epic pop opener Electric Lullaby is replaced by keyboard reggae for Inky Drips, and Lavender Days mixes trippy beats with blues guitar slides. Belle’s unique voice is the lynchpin to it all. As crazily entertaining and unpredictable as a Catherine wheel.

Inky Drips by Anomie Belle

Sweden’s latest export is The Sound of Arrows, a duo who have channeled Pet Shop Boys and Vangelis to create a pop mash up all of their own. Album opener Into The Clouds insists “nothing can stop us if we stick together” before a double drumbeat kicks in. This is classic 80s-style synth pop of the euphoric, anthemic variety. Wonders is a synth-disco stomper with a trance-like breakdown, whereas the chorus of The Ruins of Rome has multiple youthful vocals that expand the track. Magic is ‘We are the world’ re-imagined as Europop, bringing a choir of children onto the song to underline its call for hope and imagination. Voyagefrom The Sound of Arrows is as fizzy and poppy as a shaken-up can of Tango.

The Sound Of Arrows - Magic by maxvibus

Civil Civic release Rules tomorrow and it begins with a synth mimicking a steel drum on Airspray. The rest of this prog-meets-electronica album offers a variety of digitally-manipulated instruments to create an intriguing collection of instrumental tracks. Street Trap has a commanding bassline with some quality junk drumming, and Mayfield is a curiosity for its light-touch on the manipulation front. The track is a classic ballad, with a prolonged electric guitar solo taking the melody line in lieu of a vocal. Closing number Slack Year has some exquisite interplay between fuzzy guitars, topped off with a layer of sparkling synths. I don’t normally like instrumental music but there’s something about Rules that has lured me in. As mesmerizing as a firework fountain.

CIVIL CIVIC - RULES - 10 Slack Year by lp7678

I couldn’t close this week’s column without mentioning the latest release from Fireworks Night. It’s called One Winter, One Spring and the handclaps of the first track Settle Down draw you in before James Lesslie’s vocal (which recalls the crispness of David Bowie or Bryan Ferry) interjects over classical strings and Latin-inspired percussion. It’s a disarming combination. Other tracks are darker: Here The Roses is a moody enquiry about the absence of a loved one, and the stripped back approach of That Easy Way will not please everyone with its focus on Lesslie’s voice accompanied by a whisper of strings. However, this is a unique and quirky record that will delight its intended audience. A whizz bang.

Fireworks Night - Settle Down by Organ Grinder Records

And with that I wish you farewell – get working on those Movember moustaches, we’ll be half way through the month next week. And I intend to see whiskers. Cheerio ‘til then, I’m off for a banger.

Words & thoughts of Amanda Penlington

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