Sometimes it's just... difficult to buy albums. Often it's because there are no decent records being released. December is when the annual CD drought kicks in, due to the proliferation of dreadful CDs aimed at the Christmas market. Yet another oxymoronic Katie Melua 'Best Of', anyone? Or Daniel O'Donnell's Christmas Album? Yes, I'd prefer to drink Gluwein flavoured with bleach too.

Most times though, it's just the feeling of not knowing where to start. All those CDs, and so little desire to spend fifteen precious minutes being lectured to by the bearded guy behind the counter about the latest release from their favourite unknown Jazz-Funk combo. My favoured fallback option is to plump for a compilation album - the best friend of the unsure or skint. For the same price as a standard album, you get a whole bundle of songs picked by someone else. It's a bit like borrowing a friend's iPod and setting it to shuffle.

The great thing with compilation albums is that they work as intended for everyone involved - the listener gets a taste of a load of new bands; the artists, often without the money, or variety of songs to warrant their own album, get published; and the record execs get to cream off another 10% to spend on coke, champagne and hookers. With this all in mind, I can wholeheartedly recommend any of the brilliant compilation CDs from Rough Trade, or the equally ace Studio One series.

Today's New Band, Fredrik, are probably on a compilation album somewhere. For good reason, too - they're the second delicious folky band we've had in as many days. They hail from Sweden, and somewhat predictably have the Swedish knack for squeezing a great tune into a four minute pop song. fabulously, they manage to make these songs sonically inventive whilst maintaining pop sensibilities.

Alina's Place is a clicky, puffing and outrageously enjoyable pop-folk song enlivened by what sounds like the tinkling of jars full of water and gentle vocal chanting. It's so comforting and cosy that if you listened to it whilst sitting in a bean bag and sipping on a mug of cocoa, you might slip into a coma of joy. Holm shuffles like an old man dancing to his favourite song and Angora Sleepwalking lumbers around, confused but happy, before bursting apart in an muddle of plucking and fiddling.

Fredrik are a folky, accessible cross between Sigur Ros and The Kings of Convenience, and much more fun than either. Their songs fuss along, scattering ever-inventive and enjoyably tactile noises on their way. They are poppy one moment and introspective the next, but their gentle, low-key and unassuming music is always sprightly and determinedly exciting. If you're somewhere cold, like me, Fredrik are the warmth that you need in your life. Lovely. Listen to them here!

Labels: actual brilliance, creative overload, Sweden

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In these recession-ridden times, hidden value - getting more than your bargained for - is about as good as it gets. This is especially true if you think that you've been diddled out of too much money in the first place. An example: when I went to see Pete and The Pirates last night, they had to prize the £9.50 out of my clammy hand. I paid it with half reluctance and half comfort - on one hand, nine pounds bloody fifty is a lot of money to see a band that hardly dents the Top 40, but then on the other hand, if that band is as good as P&TP, who cares?

They were, indeed, great. Lovely, charming, inventive tunes with lovely, charming, inventive lyrics. They reminded me a bit of James - not in their sound, but in their arty contrariness. But what made me totally forget all about the cost was the fact that their support band, Ex Lovers, were superb too. And so, in a fit of inevitable cunning, they are Today's New Band.

Ex Lovers just work. There are so many bands that aren't quite there - a good singer with a clunky band, or a great guitarist in a band that writes sub-Travis dirge. But Ex Lovers all fit together perfectly, like Stickle Bricks. And like Stickle Bricks, each bit of the band is different, and contributes something good to the whole. (No more dreadful toddler's toy analogies, I promise.)

Their gentle songs have that great indie coyness that has been hitherto trampled over in the rush for 'dancefloor' staccato beats and choppy too-cool guitars. Listen to Just A Silhouette, and swoon to the dreamy vocals, snappy hooks and the way it drifts into the chorus. Then - more hidden value - bathe yourself in the total absence of pretentiousness.

There's something softly defiant about Ex Lovers - all the songs sound like they are just about to dissolve nihilistically into warm fuzz. When I saw them last night, they were smart enough to only let that happen once or twice.

Ex Lovers play songs that do exactly what you were hoping they'd do, just when you were hoping it would happen. Thanks, Ex Lovers, for making that £9.50 seem like a bargain. Their songs are like soft electricity, a descripiton which I freely accept is the most pretentious phrase I have ever typed. But it fits. Listen to them here.

Labels: actual brilliance, embarassingly pseud review, wistful

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We started yesterday with a quotation, and that shaped up pretty well, so here's another one: "The goodness of the true pun is in the direct ratio of its intolerability." That one was from Edgar Allen Poe, and it makes us think our writing has some associated respectability when really, it doesn't. In all honesty, we still haven't totally figured out what he's trying to say. But anyway, - PUNS! - we can't get enough of 'em at A New Band A Day.

So, inevitably, it's Another Day, Another World-Class Pun. Today's New Band is - wait for it - Awesome Wells. His music is soft, strong and long, like Andrex toilet paper, except you wouldn't want to wipe any part of your body on this - it's too good.

The Highs and Lows of... is an eight-minute long magnus opus, that starts with chanting rounds, clapping, brass and a military drumbeat and then decides that, having started with such a rich and varied sound palette, everything else may as well be thrown into the pot as well. Strings, glockenspiels, accordions and samples of big bands then all make a fleeting appearance. On paper, this sounds like a recipe for overblown, rock-star-experimenting-with -new-solo-material- type disaster, but Awesome Wells clearly has a deft touch and all the sounds are massaged gently into something that is not only coherent, but hypnotically soothing.

After that, how many people would then have the audacity to cover the Theme From Twin Peaks? To anyone who has spent hours drawn in my David Lynch's masterpiece of TV weirdness, the song has such strongly defined emotions stitched to it that this too seems like a bold step too far, but Awesome Wells gets away with it in style. Removing it almost completely from its' origins and yet retaining every haunting nuance is some achievement in itself, but to then pull it away even further into new, fascinating places, as the five-minute weird-out at the end does is evidence of a special talent.

If you combined mid-90's Tortoise with the entire BBC Sound Effects Library, you may come close to approximating Awesome Wells' sound. But you wouldn't come anywhere near to his precise, caring control - the sounds ebb, flow and weave together to the point where any lingering doubts are assuaged by the gleefulness of the sonic journey you've just taken. Make yourself feel underwhelmed by your comparative lack of talent here!

Labels: actual brilliance, instruMENTAL, Pick 'n' Mix

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More Great bands as seen at Mudfest 2008 Bestival 2008...

Mixing and matching is a whole bundle of fun - that's why Fuzzy Felts and Sticklebricks were the the weapons of choice at playschool when i was a nappy-bound dribbler. This inquisitive desire to put two and two together and see if they make three, four or even five stays, latent, with even the most rock 'n' roll of adults.

Hence a band that has a smattering of Talking Heads' polyrhythmics, whilst simultaneously somehow summoning up the spirit (though not the sound) of 80's RAWK, yet without any of the awful associated ear-pounding, poodle-haired horrors. This sounds like either alchemy, insanity or stupidity - but it's actually a fair starting point when describing Today's New Band, White Williams.

Pulling sounds together and fusing them to make something that is almost entirely unique White Williams are creative, idiosyncratic and mysterious. Funnily enough, when these facets of rock align, great tunes almost always result - and guess what, it's happened again.

Songs like New Violence chime and shimmer brightly, then dip into lo-fi simplicity, before bursting out, wide-eyed into joyfully soaring choruses. Violator also draws influence from a billion different bands all at once, and works to produce a fabulous new sound that wobbles along like a happy fat man in a Hot Chip-py, Lou Reed-y sort of way.

Always restrained and controlled, but not compromising their ambitious scope, still managing to zip around inventively with a wilful naivety, White Williams are dreamy, happy and brilliant. Listen now!

Labels: actual brilliance, Bestival Theme Week, Pick 'n' Mix

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Mixing things together is one of those childlike pleasures that never leaves us as we're drawn, inexorably, towards adulthood. Presented with a table of food, what child doesn't think, "I wonder what happens if I stir that gravy into that ketchup/mashed potatoes/custard and then taste it?" It seems like only a whole load of good can come from dedicated investigating like this. The truth is somewhat harder to swallow, literally and metophorically, and surely the real reason for the glut of knuckle-chewingly idiotic 'mash-ups' that polluted the internet a while ago.

In the non-gravy laden world of rock 'n' roll, what happens when two rock asteroids collide? Again, mixed results inevitably ensue. For every wonderful Fairytale of New York, there's a brain-auto-euthanasia-ing Ebony and Ivory. These collaborations should be approached with extreme caution, or dodged altogether, just in case.

Today's New Band, Glam Chops, is a meeting of, amongst others, Eddie Argos and David Devant from the lovely Art Brut and the delicious David Devant and His Spirit Wife. Surely nothing can go wrong?

Well, no, nothing can go wrong. Yes, it's Glam Rock, and no, it's not changed that much since the 70's - but that's only a good thing. Glam Chops lovingly revisit the past, but unlike Marty McFly, don't muck around with it. Don't Be Glum Be Glam is just pure, mindless fun - the best kind of all. HUGE guitars, HUGER choruses and chant-along verses VAST enough to climb on and lever the earth out of orbit.

In The Lord Is A Man of War, Glam Chops, frankly, push the basic tenets of glam to it's mentalist conclusions, with a monster reverb-spazzed guitar solo and guitars so crunchy that they've probably been constructed purely from Tortilla Chips.

More fun than hot oil wrestling, more catchy than the airborn Ebola virus from Outbreak and more out of sync with today's po-faced haircut-rock posturing than Kenny Rogers, Glam Chops are here to change the world. Imagine a platform boot stamping on a human face - forever. Then imagine the face is Johnny Borrell's. Or just listen to their brilliant songs here.

Labels: actual brilliance, art brut, chorus-mageddon

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I had one of those iPod mental tics this morning. You'll recognise the problem - wandering along, scrolling through the albums, but none of them that scram up the screen seem to be the one that's just right for that exact moment in time. This morning I knew that I needed a sound that was just so, something that was fast, hard and upbeat but that wasn't gabba or screamcore. Something like a cross between early-90's period Prodigy and, I dunno, The Fall. One of those kind of moods.

Funnily enough, I couldn't find any songs that fitted hitherto-yet untested combination of cranky Mancunian miserablism and mentalist bonkers-core aggro-noise. In a fit of idiocy, I picked the full 10-minute mix of So Much Love To Give by Thomas Bangalter & DJ Falcon. After 8 minutes, I realised that my infatuation with Thomas Bangalter perhaps doesn't stretch to a full 10 minutes of the same loop over and over again, however LOL! AWESOME! it sounds to start with.

It later occurred to me that what I actually wanted to listen to was Today's New Band, Indica Ritual. Their song Top Forty is all of these things: 1) Bonkers, 2) Super-duper funky, and 3) Sounds like a test version of the 1973 Tomorrow's World TV theme tune that was rejected for being too 'out there'. Mostly, though, it's a superbly alert, twitchy song that sounds confident and cocky. It's modern without being arch or knowingly ironic, taking the path of least resistance to the parts of your brain marked 'fun' and 'quirky'. Dad's Wristband nicks the ace crunchy guitar sound off the first half of David Bowie's Low and moulds it into a tasty, inventive instrumental. And surely Num Lock sounds more creative, more wild and more new than is plausible.

Indica Ritual are quite possibly the band you have been looking for, like, ages. They are actually brilliant, in every sense of the word. You must listen to them now, or your life will be that much poorer. Drown yourself, laughing, in their songs right here!

P.S. This is the second Liverpool band in a row on A.N.B.A.D. Could another accidental trilogy be the making? Tune in tomorrow to find out!

Labels: actual brilliance, creative overload, ZX 48K Spectrum

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Possibly the most idiotic, frustrating thing about rock music right now is its tiresome and seemingly endless ability to create new 'scenes' out of old ones. Nostalgia has infected the one thing which, in the wake of punk, would supposedly tear up the past and focus solely on the future. Maybe bands or journalists or radio pluggers or whoever it is that actually makes things happen in the murky depths of rock have lost their nerve waiting for a new, exciting movement to begin and are happy to brand old ideas with the dumb, shiny sheen of a "New-" prefix. Take an undeserved bow, New Rave, New Rock, Nu-Metal and all of your unwanted friends.

Perhaps it's pop 'n' rock music's innate simplicity (See yesterday's New Band, The Gravity Crisis, for more guff on this topic) which means that old sounds are endlessly recycled, and really, it's one of it's most endearing qualities. Who hasn't ever thrilled at the moment when a new song you hear reminds you - for a split second - of one of your favourite bands? Well, this happened to me, today, as I was listening to Today's (superb) New Band, The Pains of Being Pure At Heart.

After only a millisecond of listening to the cracks and explosions of drums and guitar fuzz that is the wonderful Come Saturday, I suddenly had a brain-flash of being 16 again, when I first heard, in quick succession, My Bloody Valentine and Jesus and Mary Chain. This is good nostalgia, the type that leaves you a bit giddy and wide-eyed with joy, and not the sort that is dreamt up by someone with an ironic haircut who's, you know, getting into this Indie music stuff, yeah?

It would be glib to say that if you like MBV and JAMC, you'll love The Pains of Being Pure At Heart, but what the hell, it's true. If you love songs that drive forward with breathless abandon, all fuzzy, warm and colourful as a novelty Christmas sweater, then let yourself swoop head first into their songs. The fact that they have a song about Kurt Cobain's Cardigan is the cherry on the icing on the frosting on the cake.

The worrying element of The Pains of Being Pure At Heart's ace-ness is that they'll get lumped in with the dregs of the latest music revival - the return of the dreaded Shoegaze (though by now some smug idiot has already termed it "New-Gaze" as they were riding their micro-scooters to work). This would be a travesty and must not happen. Reclaim them as your own, right now, by listening to their fantastic songs on this Myspace page, here!

Labels: actual brilliance, fuzzbox frenzy, jangle

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Remember how we went mental over the brilliant "The Battle Is Over" by Paul Hawkins and Thee Awkward Silences a few days back? Remember how we raved about the voice of the guest singer, Candythief? Well, with a shuddering inevitability, Candythief is today's New Band Of The Day!

There's a couple of 'truisms' when it comes to discussing vocalists. The first one is to point out that sometimes you hear a voice so beautifully penetrating that it speaks to you in a different way to most others. "That sounds wonderfully mindless," you're thinking, but it's true in the case of Candythief. Singer Diana's voice is the kind that would make you mix your metaphors and make you happy to crawl over hot broken glass, just to ask her to sing you to sleep at night. It's genuinely lovely - rich, dreamy and innocent enough to sound slightly dangerous.

The second 'truism' is to say that a good voice can hide a glut of crappiness, mainly the enriching of average songs. The happy news is that Candythief sing great songs, subtle and entrancing. A Good Day is one of these songs. It's as light as a feather and yet as powerful as a punch on the nose. "I feel like there's petrol in my veins, whilst fierce joy's bursting through my brain" she sings, while guitars and violins meld into a rolling accompaniment.

Junk is similarly ace, a wandering, violin-powered drift through a happy/gloomy folk nursery rhyme. The good news is that she's just got a record deal and so, hopefully, these fabulous songs can gently slide in to as many people's ears as possible. There's honestly no reason not to listen to Candythief's songs, so do it here! - http://www.myspace.com/candythief

Labels: actual brilliance, folk you, violin

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Weirdness is an underrated virtue in pop 'n' rock music, and for understandable reasons. It's too often, rightly, associated with acts who use a veneer of 'kooky' as an execrable cover-up for lack of talent - take a bow, Babylon Zoo. However, if these awful aberrations can be forgotten, weirdness is a Good Thing - if only as in indicator of deliberate step away from convention. Anyone with a pair of ears and a skull that isn't used as spare storage space for semi-ironic glow-sticks, back-combed hair and slogan T-shirts knows that the bands who tow the line and trudge the well-worn skinny-jeans-and-aimless-posturing path rarely innovate.

What really sets the pulse racing and induces involuntary grins of deee-lite is that moment when you hear something new, something that sounds enough like everything else to be bearable, and far removed enough from exactly the same things to be exciting, surprising and, well, new. If you don't quite follow, Today's New Band, Paul Hawkins & Thee Awkward Silences, are a good place to start. There are a number of antecedents that his music could be favourably compared to (see the super exciting SECOND INSTALLMENT of today's GLIB COMPARISON GIMMICK for more details), and yet his grouchy, slightly deranged vocals and frankly tremendous tunes are something that are enticingly sparkly and new.

In The Evil Thoughts, he chunters through a scenario about a woman who is shunning him, and the result is, indeed, slightly sinister - "And even though I'm nice to your face, the evil thoughts form in my brain." An even better track, though, is The Battle Is Over, a similarly half-crazy, all-wonderful story of a man returning home from war to find his woman telling him that, whilst he, "went away to play soldiers with your friends/I had to rely on other men". The female vocals are sung by the fabulously voiced Candythief. Make no mistake, this is the best song you'll have heard for a long, long time - since, frankly, All the Rage by the Royal We. If you only listen to one new song this week, it should be this one - it's truly, brilliantly, wonderfully fantastic. Song of the year so far, easily. Listen to it, and the others, here, now, or you'll regret it, young 'un!

TODAY'S GLIB COMPARISON: Like Nick Cave having a drunken brawl with a theoretical newly-acoustic-folk-change-of-direction Pop Will Eat Itself, whilst Shane McGowan watches, caressing his knuckle duster. And the Pixies. Again.

Labels: actual brilliance, deranged, Glib comparisons week

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I watched a BBC4 documentary about Britpop the other day. It'll be on Youtube if you look for it. There's loads of documentaries about Britpop, possibly because it was such a recent popular period in music, and possibly because it's all very simple to explain: UK bands get bored by grunge, look back to the 60's, make great songs, get coke bloat and collapse in on themselves.

However, it ended with One Very Important Thought: that trailblazing Britpop wonders like Suede, Blur and Pulp ultimately didn't affect music much at all - the bands that traded in inane, emotion-lite songs with huge, soft choruses, like Oasis and the Verve have spawned the similar big bands of today - I'm waggling my finger at you, Coldplay and Snow Patrol.

The point is that the early 90's were a fertile time for actually new, interesting music, before giving way back to cruddy average music. And so when I listened to Today's New Band, Sweden's Envelopes, I immediately thought of the early 90's. Possibly because their fabulous song Sister In Love somehow straddles the late 80's and early 90's, whilst luckily missing Shoegaze altogether - no mean feat. "Is your sister in love?" chants the chorus, joyously pinging from person to person in the party, kissing each on the cheek.

The chorus is so much fun, they don't waste much time on verses and get there as soon as possible, and Freejazz, similarly, is a big, fun-tastic romp through a delirous chorus. Party even is as cheeky enough to interpolate some of Bonnie Tyler's Total Eclipse of the Heart, and guess what - it works. Brilliant. If only all music could stop and deviate from here. Listen to their great songs right here!

Labels: 80's/90's, actual brilliance, chorus-mageddon

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Oh, bugger it. We had the hat-trick of dinosaur-themed bands the other week, and it should be clear to you regular readers by now that we love gimmicks just about above anything else here at A New Band A Day. So, after yesterday's super Glaswegian Scrabble-fiends* Q Without U, we're going for broke and pumping two more Glasgow bands at you, today and tomorrow. Glasgow, similarly to issues we've expounded limply about Wales before, must have something special in the water (no jokes about Tennants Super, please) as the city is churning out superb bands left, right and centre at the moment.

So, Today's New Gimmickly-Induced Band is ERRORS. If I was mildly cretinous, I'd make a poor joke about how there is nothing erroneous about their music, because it's fantastic. Unfortunately, I am that cretinous - there is nothing erroneous about their music - they sound exciting, inventive and are so pleasingly non-Razorlight/Kooks/etc that I almost did a backflip listening to them. To be slightly glib, they sound a bit like A.N.B.A.D. favourite PixelH8 coupled with the gloriously noisy Battles. You honestly have to hear Salut France, a song with all the skippy beats, gorgeous melodies and bleepy poking you'll ever need. Focussed and sharp, but without falling into that awful laptop featurlessness like most electro-noise bands.

You could dance to them, you could strut around town to them, and if you were pretentious, you could stroke your chin to them. Whatever you do, just listen, because they're SUPER.

Listen to them, quick! Myspace here. More Glaswegian bands tomorrow!

*possibly true

Labels: actual brilliance, bleeps, glasgow

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Splitting up a band at the right time is tough. Some bands split up far too late (or worse, not at all), casually pissing all over their good legacy by releasing an ever increasing number of pointless, going-through-the-motions records. Some bands split up just after things get good, and The Big Time is just beginning to beckon its evil gold-laden hand, thus leaving an ever-lasting legacy of music bores yapping on about ‘ what might have been’.

Therefore it’s hard to say whether today’s New Band, Glasgow’s The Royal We, are rabid-dog crazy or rocket-science clever, as they have already split up whilst they can still be considered a new band.

Just listen to any of the songs on their MySpace site, http://www.myspace.com/theroyalweee , for proof of their actual brilliance.

Especially listen to “All the Rage” and then listen to it again, and then again, because it’s going to get stuck in your head anyway, so you may as well beat your brain to the manic repetition bit.

Perhaps it’s all a brilliant post-post-modern statement. Instead of droning on in the NME about how you’re going to record a load of great songs and then split up, ‘cos they’re so rock and roll, The Royal We just went out and actually did it. They’ve got a great mini-album, also called The Royal We, which is about 20 minutes long and has a Chris Issacs cover on it. How much more convincing do you need?

So to recap:

1. Eponymous debut album

2. Chris Isaacs cover

3. Attractive and highly talented female lead singer

4. Best song of the last 12 months

5. Already split up

If that doesn’t convince you, nothing will. Let us know what you think!

---Don't forget, ANBAD is running a reduced service this week, due to being on holiday and eating a lot of dried cod in Portugal. Full service as per usual next week---

Labels: actual brilliance, already split up, Chris Issacs

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