The Strokes - Angles

I had a disagreement with some fellow music critics once about the impact The Strokes had on the indie music world. It was largely over my claim that their arrival changed everything. It's easy to see why my peers scoffed at such a suggestion. Over the last few years, The New York quintet have hardly set the world alight with patchy second and third albums, slurred live shows and uninspiring side-projects, but I stand by my claim. At the turn of the Millennium, The Strokes really mattered. Like, really mattered. Back then, Limp Bizkit were considered the height of talent. They were bleak times. Then The Strokes arrived on the indie scene like a slap in the face. A brilliant, jangley-guitared slap in the face. Is This It remains the best record so far this Century and if you don't agree with me then you are wrong. Not only was it 30 insanely amazing minutes of the punchiest garage rock songs since godknowswhen, but it also allowed the likes of The Libertines and The White Stripes to follow in the band's slipstream and into the consciousness of the indie fraternity.

Since then though, it's been a mixed bag. The second record offered a couple of outstanding singles that only served to illustrate just how disappointing the rest of the album was and the next record was similar in that it had a few brilliant songs but was still a long way short of recapturing the magic of their debut.

Now, after a lengthy break to allow for side-projects and wotnot, comes Angles. Was it worth the wait? Unfortunately the answer to that question is emphatically in the negative. To be honest, after five years, unless they had come up with the next Pet Sounds, it was always going to be a let down.

Angles is an album that tries to paper over the cracks of a band that clearly aren't into it anymore by being fun, upbeat and at times experimental. However, every sound that emerges from the speakers does so dripping in insincerity. It's not a bad record - in fact, it's an above average one - but there is nothing believable about it. On first listen it's very clear that these songs were not created because Messrs Casablancas and Co simply couldn't bear for the world not to hear them.  Sure, there is plenty of energy and a few stirring moments, but it's all merely a smokescreen to disguise the fact that Angles is clearly weighed down by a miserable sense of obligation. If Is This It was the sound of The Strokes changing everything, then Angles is them as a tired old wedding covers band - offering enough to allow for moderate enjoyment, but the kind of enjoyment that no-one will remember too much about when the party's over. At its best, it wanders somewhere vaguely near the landscape of their first recordings. Under Cover of Darkness, for instance, is strong because it has its roots in that classic Strokes sound. The more experimental efforts don't come across so well though. Machu Picchu is an example of this, opening the album on some kind of ill-advised reggae tip.

Simply, once I put the last full-stop at the end of this review, I doubt I'll revisit this record often. If I want to listen to The Strokes, I'll give their debut a spin. Even all these years since its release, it still sounds fresher than their new offering. Sadly, if Angles does anything, it suggests that it is time for this once important, vibrant and exciting band to finally reach their own full-stop.

Review by Bobby Townsend 

Trekstock 2009

When music and charity mix, it often amounts to little more than ego-massaging pomp; Bono and Eddie Vedder getting all dewy-eyed as they hold hands at centre-front of stage and set about saving the world by singing Neil Young covers while Madonna adopts her 37th African child. Thank goodness then for the delightful Trekstock, which just gets on with raising money without such self-congratulation.

Trekstock began in 2006, when London-based good egg, Sophie Epstone, needed to raise some dosh to embark on a trek to Everest in support of Teenage Cancer Trust. To do so, she put on a small, fundraising gig. Since then, the events have grown in size and support for the cause has become widespread, with a number of celebrities happy to show get involved. Beth Ditto, Katy Perry (below), Mischa Barton, Kings of Leon, Agyness Deyn, Klaxons, The Mighty Boosh, Jarvis Cocker, Russell Brand, Albert Hammond Jnr, Kate Nash (below), The Horrors, Radio 1's Chris Moyles, Zane Lowe and Alan Carr all wear their Trekstock badges with pride. Trekstock has, thus far, raised thousands of pounds for Teenage Cancer Trust.
On May 13th, the charity returns for its fourth year of fundraising gigs with a launch night that sees Mark Ronson and some famous mates play at Proud in Camden, London. The supercool night will also mark the launch of a new range of Trekstock clothing and accessories, designed by Will Broome, Kate Moross, Laura Lees and Tatty Devine. If you can spare a few quid and want to get along to support a fantastic cause, then get your ticket to the gig from seetickets.com. As with previous events, it is sure to be an insanely cool night, as the young, talented and beautiful do their bit to help out the six teenagers a day that are diagnosed with cancer in the UK. If you are a facebooker (and who isn't nowadays?), then why not join the group?

Albert Hammond Jr interview

 

ALBERT HAMMOND JR TALKS TO ROB TOWNSEND ABOUT HIS NEW ALBUM, HIS UPCOMING TOUR AND HIS OTHER BAND’S IMPACT ON THE MUSIC WORLD

Albert Hammond, Jr. is a talented guy. As well as being in one of the most lauded bands of the last decade, The Strokes’ guitarist is making a name for himself as a singer/songwriter, and this week releases his second solo album, ¿Cómo Te Llama?

However, far from his solo work being down to any long-standing desire to go it alone, Hammond, Jr. admits it came about almost by accident after he wrote a couple of songs he liked. “I felt I had reached a point where if I didn’t record them in a way that would let me let go of them, I would never move on. Friends started to really like what I was doing, so I kept doing more until I was like: ‘Oh, I have a record. Cool. Maybe I can put it out in England or something.’ I wasn’t planning on touring or doing any press but it kind of built up and before I knew it I was on the road and the album was out everywhere.”

That album was Yours To Keep and now, a couple of years on, ¿Cómo Te Llama? follows, showing growth and increased ambition to his sound. The guitar-led, perky pop melodies are still there, but this time they are bolder and more powerful. Another difference is that this album was more of a collaborative effort, with Hammond, Jr. including his band in the songwriting process at a much earlier stage. “I really like the concept of trying to explain what you hear in your head to someone else and seeing how they bring it back to you. People can add more by how they play it or by thinking of tones you might not have thought of. Even if the collaboration is as small as a tone, in my world that’s huge because it keeps everything fresh and exciting.”

The New York-based musician has long been iconic as a member of The Strokes, who changed the course of indie music for the better when they released their debut album in 2001. Having witnessed their seminal performance at that year’s Reading Festival, I ask Hammond, Jr. whether at the time he had any idea of the impact his band was having. While he says in retrospect it was an amazing experience, he admits that, back then, he wasn’t thinking about his role in altering how bands would sound and look. “When you’re doing it, you almost don’t realise that your dream is coming true. It’s all just day-by-day; you don’t really see an arc. We were happy and it’s awesome when you are a part of things changing, but if you’d have asked me that question back then, I don’t think I would have said anything about changing anything. I’d have probably asked you how I could meet a girl I liked or if you had any coke,” he laughs.

With The Strokes still going strong, Hammond, Jr. describes his dichotomous musical life as: “Positioning myself between two things that give me great joy,” and says it’s not difficult to balance his time and mindset between the two projects. Typical of the laid-back charm and appealing optimism he displays throughout our conversation, the American says: “I try to find the way it can be done as opposed to the way it can’t. I can still write songs for my third record and be playing with The Strokes. It’s like that Spinal Tap thing [where keyboardist Viv Savage is asked to deputise for an absent Nigel Tufnell]: ‘Oh yeah, I can do that. I've got two hands.’”

When I reviewed Hammond, Jr’s performance at England’s Latitude Festival last year, he seemed a very natural frontman, but he tells me he found it strange stepping up to the role. “The hardest part was probably to be on my third or fourth show and being reviewed as if I’d been around for years. Most people get a year or two, if not more, to find their way and I was already being looked at before I really even understood what I was doing.”

Having played live all over the world for much of last year, Albert Hammond, Jr. is now increasingly confident fronting his band. He begins a hectic worldwide gigging schedule in Australia in a few weeks and hints that he hopes to bookend months of touring by playing Big Day Out next January. “They didn’t ask me last year,” he frowns. When I enquire whether he is excited about his visit to Sydney in August, his enthusiasm is palpable. “Ah yeah. Are you kidding? I really wanted to come over with the first album but you guys are far away.”

Albert Hammond, Jr. - ¿Cómo Te Llama?

ALBERT HAMMOND JR
¿Cómo Te Llama?

While Albert Hammond, Jr’s rather lovely debut solo album, Yours To Keep, proved – as if we needed it - that The Strokes guitarist has an ear for a perky pop melody, it also undeniably signposted its influences, not least in his Beach Boys harmonies. And it is here that his sophomore effort ¿Cómo Te Llama? differs slightly.

When Drum recently spoke to the American, he said that his major influences for this record were The Kinks, The Clash and Neil Young, yet none of these are especially obvious to reference within the 13 songs on offer here. Sure, there is some nice chunky riffage on The Boss Americana which nods to The Kinks but this record sees Hammond, Jr. clearly starting to find his own sound. ¿Cómo Te Llama? is bolder and more ambitious than its predecessor.

There are inevitably moments, like Gfc, that sound rather like The Strokes but there is also some interesting experimentation, most notably on the instrumentation of Spooky Couch and the intro to Lisa, which is reminiscent of Super Furry Animals. Although there is nothing especially distinctive or outstanding about Hammond, Jr’s vocal, the fact that it sounds a bit like his band-mate Julian Casablancas and sometimes like David Bowie means it is more than adequate to sit atop his guitar-lied compositions.

¿Cómo Te Llama? might not have quite the same sunny appeal of Hammond, Jr’s debut, but it is perhaps a more coherent album and certainly shows a continuing musical growth and maturity to his songwriting.

The Latitude Festival 2007, UK

Even though I'm back in Blighty, I'm still writing for Drum Media. Here is my review of England's Latitude festival, which included a great set by New Young Pony Club (below):Blazing sunshine at a festival in England? Surely not? Well, in contrast to the mud-bath that was Glastonbury, The Latitude Festival was played out to gorgeous blue skies in the most picturesque setting imaginable, on the banks of a lake in the Suffolk countryside.

As well as being the most aesthetically-pleasing festival in England, the relatively new three-day event also boasted an outstanding line-up, which included a couple of Sydney bands. Tucked away on a stage in the woods, Howling Bells offered a suitably atmospheric set as the sun went down behind pink skies.

Meanwhile, in front of a large crowd, folk siblings Angus and Julia Stone (below) told beautiful tales of love and pain plucked from their upcoming debut album, before raising the roof with a delicious rendition of Chumbawumba’s Tubthumping. The rapturous reception and yelled proclamations of love that they received suggests that England is falling for their unquestionable charm in the same way that Australia is. Theirs is a star which continues to ascend at pace.On the main stage, which frustratingly suffered from sound problems all weekend, the legendary Jarvis Cocker played a cover version that rivalled Angus and Julia’s. His rendition of Eye Of The Tiger ended a stunning display which was punctuated by him casually chatting to the crowd about everything from cloud formations to politics. It was a performance which cemented Cocker’s place as one of the most charismatic frontmen of all-time.

While the muddy sound emanating from the PA was usually nothing more than a minor annoyance throughout the weekend, it was woeful to the point of being offensive during Midlake’s short set. Soldiering on, the Americans were joined onstage for Roscoe by the busiest band of the festival, The Magic Numbers, who also turned up to help Damien Rice end his epic performance with a bang. The brother/sister quartet had earlier played their own set, which once again proved they are the perfect festival band. Singing along to their harmonies under a clear blue sky certainly beat getting soaked to the skin while watching them in the torrential rain at The Great Escape earlier this year too.Brazilian indietronica/dance sextet CSS (above) brought the party to Latitude with their infectiously poppy tunes. On a stage bedecked in helium balloons, vocalist Lovefoxxx danced with abandon in glittery cat-suits so wonderfully garish that even Karen O might have thought twice about wearing them. By the time the mesmeric frontwoman belted out crowd-favourite Let’s Make Love And Listen To Death From Above, Latitude had turned from being a quaint part of the English countryside into the best disco ever. Similarly, on the same tiny stage that Howling Bells played, New Young Pony Club (below) went off. Literally. The crowd went so nuts to the Londoners’ dancey tunes that the plug had to be pulled on their show due to safety concerns.Elsewhere, Albert Hammond Junior (below) proved himself to be more than just the guitarist with big hair from The Strokes by playing an outstanding, pop-tinged set with the backing of a ridiculously tight band. Clap Your Hands Say Yeah put in a performance that split the crowd in two, with fans loving it while the uninitiated struggled to overcome the abrasive vocals. Having previously made a guest appearance on stage during New York folk singer Elvis Perkins’ appealing set, Cold War Kids ended their own energetic and well-received show with the storming Hang Me Up To Dry. Herman Dune played kooky guitar tracks, Joan As Policewoman combined the magical elements of Cat Power, Kate Bush and Regina Spektor and Au Revoir Simone’s dreamy synth tunes were perfect for a sunny afternoon.On Sunday night, the festival was brought to a majestic close by art-rockers Arcade Fire. Theirs was an utterly thrilling performance, and it was an indication of their awesome songwriting that, even though they only have two albums under their belt, their show played like a greatest hits set. As thousands of sunburnt Brits danced and sang along to No Cars Go and Neighbourhood #3, it became clear that Latitude can seriously rival Glastonbury as the best British festival, with its beautiful setting, chilled out vibe and no end of art, poetry, theatre and great bands to enjoy. Now all they need to do is sort out those sound problems on the main stage.