On All Fours

My first introduction to the Video Nasties goes back to early 2007. By chance I stumbled on a link to the infamous Southern Demo's and immediately fell in love. What struck me the most was the fresh yet fierce and direct sound of the band. Mainly due to the prominent sound of Jørgenson powered keyboards and instant hit-potential lyrics “I used to sing in the shower / I couldn’t get any louder” or “since I turned twenty my life’s become a Video Nasty”. However, strangely enough these songs remained largely undetected by radio frequencies. Hence, by the time I saw them live for the first time (late 2007) their sound had been driven into a more garage/punk orientated direction, hence, the Karl Blau EP. Despite my initial love for their more poppy sound, songs like Karl Blau and Devil seemed like exactly the right songs at the right time. Their show at the London Calling festival lacked most of the original Southern Demo's, but surprised me with some mind-blowing ‘new’ material such as Hearts & Bones and TV. Nevertheless it was one of their oldest songs that made this gig unforgettable. The grand 7 plus minute Teenage Celebration erupted from the speakers and infected the crowd with its epic brilliance like swine flu in a congested 6 p.m. central line tube.

After a six-month hiatus, in which I thought they had drowned, they returned with the release of the even darker sounding Albatross EP. Proving that their sound had again progressed gradually creating a more and more distinct own sound. Title-track Albatross is a short ferocious yet melodic song that is best experienced in a small sweaty live venue with amps turned up all the way to eleven. The last seconds of the song burst into an extravaganza of sound in which one cannot but freak out like a kid with ADHD on a trampoline. The b-side Heart and Bones is a little less vicious and expresses a more mellow side of the band. The low and mysterious vocals combined with delicate organ-like keys and elegant yet powerful guitar riff make this to be one of my favourite Video Nasties songs to date. The two other songs Break and Man took me a little longer to fully comprehend, however, after repeated listens they make perfect sense. Break and Man flow along the same heart broken line as Hearts and Bones, rounding up yet another flawless EP.

After at least two years of eager anticipation I was psyched to read, in January of this year, that the debut album On All Fours was recorded, mastered and ready for release in April. Unlike a few years ago, when one would go to record stores on release dates and spend the entire afternoon listening to new releases and discussing them with other people in the store, albums are now bound to leak on the net months in advance. This takes away most of the charm, but is the listener to blame? I’ve yet to find a person who waits two months to unwrap a present after receiving it.. In the end the music remains the same. The opener of On All Fours, HNB, an 'updated' Hearts and Bones, doesn’t mess around and launches the album straight into sixth gear. Other than the title the song sounds completely different from Hearts and Bones. The song is enhanced by shredding vocals, prominent drums and an amazing guitar riff that brings the song to a close. The latest single Jellybean unrolls into an anthem that should be played at every decent party. Old Flowers, which slightly reminds me of Break, flows perfectly into the closing chords of Jellybean. It is especially due to James Churcher’s vocals that this songs stands out, they’re mysterious and powerful but at the same time not afraid to encompass fear and emotion. From Old Flowers onwards the album switches into a slightly lower gear, unlike a lot of bands, Video Nasties manage to blend upbeat and slower rhythm sections without failing to hold the listeners attention. It is this diversity in sound that makes the band stand out. Due to the different layers in each song the songs on On All Fours should be regarded as sophisticated garage-rock songs that act like silent assassins, which will bound to catch you humming along without realising what has hit you. Conversation Dies manages to grasp the full potential of all the instruments, as the song slowly builds up the tension with haunting keys and gradually speeds up with ecstatic bass, drums and guitars.

Halfway through the record turns it up a notch with the opening chords of Albatross and the relentless sound of Stay Home creating a tension and urge to solo bedroom pogo, which I can barely resist. It’s the opening chords of Rolling that calm me down and send a genuine shiver down my spine. At the outset Rolling might seem like a straightforward love song, however it iss its less-is-more-attitude that makes this song stand out. The honest chords and direct vocals create an unadulterated feeling that would make this song the excellent pre-summer single. "maybe you have foundnd somebody new/ Well maybe I have too" Kaiser continues were Stay Home left off and is the perfect build up song to what remains Video Nasties’ most dynamic and epic song, Teenage Celebration. Through a filter of shredding distortion Teen Celebration launches into layers of reverberation, aggression, emotion and sheer genius that leaves you restless and evidently on all fours after 480 seconds.

In my mind Teenage Celebration was always the perfect closing song to the album, as well as it is to the live sets, however, the addition of Colours Bleed proves me wrong. The short and delicate song once again states the great diversity in vocals that only leaves you desperate to hit the repeat-all button as soon as it finishes. With eleven songs clocking in around 42 minutes I must conclude that On All Fours is one of the most solid and honest albums released this year. With a debut album and fully independent label in their hands it should only be a matter of time before Video Nasties conquer even more hearts and bones nationwide.

Video Nasties

Video Nasties - On All Fours


1. HNB
2. Jellybean
3. Old Flowers
4. Dead Again
5. Conversation Dies
6. Albatross
7. Stay Home
8. Rolling
9. Kaiser
10. Teenage Celebration
11. Colours Bleed
Buy

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WHITE LIES BOUND TO GAIN A LIFE

Seen: White Lies, 20 January 2009 @ HMV Oxford Street

Last year we mentioned that White Lies had a sparkling bright future ahead of them. After playing various festivals around the world it was just a matter of time before the album To Lose My Life. Unlike their bright future the album is filled with dark songs mainly inspired by death. The demo’s of the three main songs we discussed last year Death, From the Stars and Unfinished Business are still excellent and haven’t left their soul at the studio’s editing board. New single To Lose My Life is bound to sing around in your head forever, as the chorus “Let’s grow old together and die at the same time” is ultimately catchy. Harry McVeigh’s voice is distinctive but above all breathtaking. The songs on to Lose My Life are characterised by slick keyboards and synths as well as edgy guitar and bass lines flowing into a sublime album.

The release of To Lose My Life was celebrated with an instore at Oxford Street’s HMV. At the outset the plastic scenery was never going to do justice to the intimate feel of the music. Nonetheless White Lies managed to create a personal atmosphere and clearly enjoyed every second of the long anticipated release. The set kicked off with Unfinished Business, which was followed by To Lose My Life, EST, A Place To Hide, The Price of Love and finished with arguably their best song to date Death.

WHITE LIES: listen


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TONIGHT: FRANZ FERDINAND AT ROUGH TRADE

Seen: Franz Ferdinand, 19 January 2009 @ Rough Trade

It has been a good three years since the release of Franz Ferdinand’s second album You could have it so much better with Franz Ferdinand (2005). Nevertheless their worldwide fame has been merely increasing over the years. Arguably obtaining the status of one the biggest bands the 21st century has produced to this day. As part of the promotion for their long awaited third album Tonight: Franz Ferdinand they are playing a series of intimate secret gigs across London town this week. Kicking off at a secret wristband only instore at Rough Trade last night.

The 250 lucky lucky fans were treated to an exclusive preview of the bands new album. Unlike the previous albums Tonight is a concept album, which refers to The Odyssey and James Joyce’s Ulysses as is most striking in Franz’s new single Ulysses. Besides the theme the most obvious element in which Tonight, to a certain extent, differs from previous work is the overall sound. In essence the album is filled with pop songs but these songs have got a more experimental twist to them as was ever so clear during their performance.

Tonight’s set commences with two classic Franz Ferdinandesque tracks both Send Him Away and No You Girls are straight on pop tunes with a rather catchy chorus combined with highly danceable rhythm sections. Live Alone is filled with bleep synths but as the song progresses they’re pushed to the background by a über catchy chorus “ “wherever you are, whoever is there, you know I’ll be here, whishing I could be there”.

Halfway during the set Bite Hard starts slow but soon goes into another up-tempo synth filled tune “we ride together, we die together”, with the scorching guitar solo at the 2:22 minute mark, turn it into another great tune. Single Ulysses gets the crowd chanting, the already instant hit, chorus “laa-lalalalaaa, Uylesses, I’ve found a new way”. Turn It On rolls into a lovely drum beat and razor guitar riff, turning it into another flat out wonderful song.

The set concludes with What She Came For, which starts of with a very classic Franz feel “I’ve got a question for you… Where do you see yourself in five minutes time?” As the song strides along the inevitable explosion comes at the end of the song when it turns into a full on punk tune, with explosive drums and squeaking guitars.

No, this is not the Franz we knew 3 years ago, this is better. They’ve found a healthy balance between their pop feel and their drive for more experimental songs. At moments when you feel the songs are turning into slightly cheesy pop songs the bands surprises and steps in at the right moment to turn songs around into proper tunes. Where other big bands such as Coldplay and Kaiser Chiefs have failed to achieve the standard of their debut album, Franz Ferdinand has come back with a more than decent third album which will most surely please first minute, last minute as well as new (cavemen?) fans.
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