Adam 'MCA' Yauch of the Beastie Boys (1964-2012)

Photo: Flickr User: Michael Morel

“I’ve got more rhymes than I’ve got grey hairs / And that’s a lot because I’ve got my share”

With lyrics like these, it’s obvious that Adam ‘MCA’ Yauch was no ordinary rapper. Self-aware, self-deprecating and acutely witty to the last, he was the creative heart of the Beastie Boys and his death, at the age of 47, will be felt throughout the music scene, from hip hop to punk and beyond.

At the time of MCA’s death, the band were reportedly planning a return to their roots in the form of a full-band punk tour, making the news so much more of a shock when it emerged earlier this weekend. Not that it was completely out of the blue – Yauch’s health had been a matter for concern ever since he was diagnosed with cancer of the salivary gland back in 2009.

A true musical pioneer, Adam Nathaniel Yauch co-founded the Beastie Boys in New York in 1981 with Adam ‘Adrock’ Horovitz and Michael ‘Mike D’ Diamond. Originally a hardcore punk act, the band spanned the genres as the years went on, famously supporting Madonna on tour in 1985 and being banned from the UK in 1986 for provoking the trend for stealing VW badges from cars and wearing them as oversized necklaces.

True pioneers of both white boy rap and rap rock, without Yauch and the Beasties we quite possibly wouldn’t have Rage Against the MachineEminem or Linkin Park. MCA’s deep gravelly voice was integral to the band’s sound, providing a perfect counterpoint to the nasally tones of Mike D and Adrock.

Beyond music, Yauch was a committed activist with many causes to shout about, from environmentalism (the band appeared at the 2008 Live Earth concert) to non-violence. He even went public with his views on peace in the Middle East during the band’s 1998 VMA awards acceptance speech and the Dalai Lama paid tribute to Yauch upon hearing the news of his death: 

Adam had helped us raise awareness on the plight of the Tibetan people by organizing various freedom Tibet concerts and he will be remembered by his holiness and the Tibetan people.

For many, the Beasties were the first hip hop act to reflect this left-wing liberal sensibility. From the late 90s onwards, they railed against bigotry in all its forms, proving that rap music doesn’t have to be all about self-aggrandisement and blatant machismo.

To read the rest of this article on Virgin Red Room, click here.

The Cribs - In The Belly of the Brazen BullIt would be fair to say that The Cribs’ Ryan Jarman has had a fairly tough time of late. Ending his high-profile relationship with singer songwriter Kate Nash, as well as his musical alliance with The Smiths‘ former guitarist Johnny Marr left him in something of a dark place. In an interview with the NME earlier this year, he admitted to periods of self-loathing and depression, but claims that this is now behind him due to the excitement of releasing his fifth studio album, backed as usual by his brothers Gary and Ross.

‘In The Belly Of The Brazen Bull’ is the result of this period of introspection and Dave Fridmann is the latest name in The Cribs’ revolving roster of producers (The Flaming Lips,WeezerMogwai). In terms of progression this record seems like a step back towards the band’s earlier work as a trio, with standout tracks ‘Chi Town’ and ‘Come On, Be A No-One’ both offering seriously catchy hooks and snarling punk vocals. Those expecting a barrage of riffs and singalongs in the vein of 2007′s ‘Men’s Needs, Women’s Needs, Whatever’ will be disappointed, however.

‘Glitters Like Gold’ is a hard-hitting and direct opener, but the laborious ‘Jaded Youth’ and the cumbersome ‘Uptight’ fail to keep up the tempo. Indeed, the band’s style remains distinctly coloured by their hit-and-miss collaboration with Marr on 2009′s ‘Ignore The Ignorant’.

What’s more, there is a noticeable leaning towards the most abstract soundscapes of Sonic Youth, no doubt influenced by their brief dalliance with Lee Ranaldo on their six-minute epic ‘Be Safe’, which featured on ‘Men’s Needs…’ and was their most ambitious recording to date. That is until you hear the last track on this new album…

To read the rest of this review on Virgin Red Room, click here.

Maps & Atlases

"Call that a beard? THIS is a beard!"

Chicago quartet Maps & Atlases have shaken off their math rock background, but not their evident love of ampersands and biblical beards (see right), for their sophomore record ‘Beware & Be Grateful’.

Released in the UK next week (April 16th) via One Little Indian, this album comprises ten tracks of delightfully creative indie pop, with echoes of Vampire Weekend and subtle nods towards 80s artists such as Peter Gabriel.

The extravagant flourishes and technical guitar-work in the vein of This Town Needs Guns are still very much in evidence, particularly with the two-minute guitar solo on the album’s slow-building centrepiece ‘Silver Self’. However these technical aspects are no longer the focus, allowing the melodies to come to the fore instead.

‘Important’ is a strange choice of opening track, but this slow-burner sets the tone for the more sombre and reflective moments that punctuate this record.

Next up, ‘Be Three Years Old’ picks up the pace with a vibrant plea for immaturity, and this track works as a strong blueprint for the more upbeat moments of the album. Playful samples and calypso vibes abound throughout, and it sounds like the band have even sampled the coin grabbing sound from Super Mario Land on ‘Bugs’.

The main thing that will divide opinion amongst new listeners is lead singer Dave Davison’s esoteric vocal style, which is flamboyant, affected and immediately recognisable – like a higher-pitched Morrissey with an American accent.

It all comes together quite nicely on the closing double header of ‘Fever’ and ‘Old & Gray’, where Davison really gets to show off his full range in an uplifting and optimistic crescendo.

Overall, ‘Beware & Be Grateful’ is a very catchy, upbeat record to get you in the mood for the summer and one that should play particularly well during the upcoming festival season.

Baddies, the indie rock back from Southend, EssexEssex four-piece Baddies burst onto the indie-rock scene in 2009 with their critically acclaimed debut album ‘Do The Job’, having made their name by playing more festivals in one summer than any other band in Europe (32, since you asked).

The success of that record was built on classic hard-rock riffs, mindlessly catchy choruses and a staccato vocal style that was almost robotic. This sound drew favourable comparisons withThe Futureheads and early Queens of the Stone Age.

On this, their difficult second album, the band has gone for a more synth-led sound, largely jettisoning the riffs in favour of slow-burning melodies. On producer duties, in comes Sean Genockey, who has previously worked with the Manic Street Preachers.

This new approach doesn’t always hit the mark as directly or consistently as their earlier stuff, but the few tracks where they manage to pull it off are really effective. Think ‘Humbug’-era Arctic Monkeys and you’re not far off.

The yearning for reinvention is made blatantly clear on the first two tracks, as lead singer Michael Webster tells us: “Underneath the surface, I’m not feeling quite the same, I need rewiring” and “I’m going to build my very own man-made man”.

From here onwards…

To read the rest of this review on Virgin Red Room, click here.

Frank Turner singing liveIt takes a pretty prolific songwriter to turn out four albums in six years and still have enough left in the tank to record two twenty-track compilations. But not only has Frank Turner managed this, he has done so with style and aplomb, especially on this, his second collection of live tracks, b-sides, covers and rarities.

‘The Second Three Years’ crams together the non-album tracks from his 2010 ‘Rock n Roll’ EP, the special edition bonus tracks from last year’s ‘England Keep My Bones’ LP, as well as a broad selection of punk, folk and pop covers; from Wham to Nirvana, and from NOFX to Take That.

This compilation is an essential purchase for any serious Frank fan, but it also works suitably well as a far-reaching introduction to one of England’s greatest songwriting talents. Right from the opening acapella verse of ‘Sailor’s Boots’, Turner’s voice is enthralling; by turns gentle and powerful, intimate and abrasive.

There’s also plenty of evidence of how his music has developed and matured…

To read the rest of this review on Virgin Red Room, click here.

With 2011 proving to be such a fantastic year for new music, you may be thinking that  2012 can’t possibly top that? Well you’d be wrong! There are plenty of exciting records on the horizon, so I thought I’d run you through a handful of decent prospects to whet your appetite:

1.) Freeze The Atlantic

If, like me, your early 2000s were defined by Hundred Reasons and Reuben, then you should be chomping at the bit to finally hear the debut album from Freeze The Atlantic. Featuring the mercurial drumming talents of Guy Davis (Reuben) and the solid guitar work of Andy Gilmour (bassist for HR), this five-piece looks very promising indeed, especially given they have recruited a front man with a rather fantastic voice, by the name of Chris Knott. If this sounds like an intruiging combo, then check out the video for their upoming single Volcanoes:

 

2.) Baddies

One of the big success stories of 2009, Baddies are back with a bang in 2012. The Southend quartet have a highly distinctive sound, which is robotic, angular and very catchy – think The Futureheads with some beefier riffs and better outfits. New music guru Zane Lowe has been lauding their latest single Bronto and you can download it here for free.

3.) Fighting With Wire

This Northern Irish trio were possibly the most underrated band of 2008, as their debut album Man Vs Monster was packed full of top choruses and fantastic riffs. Put simply, they play rock and roll just like it should be done. They have promised big things for 2012, including a stint supporting US alt-metal legends Helmet on their UK tour in March and April. What’s more, FWW album number two is shaping up nicely, with the first track Waiting On A Way To Believe already committed to record. Have a listen, you won’t regret it!

4.) James Cleaver Quintet

If you haven’t heard anything by the JCQ yet, then they could well be your surprise package of 2012. Their debut album That Was Then, This Is Now was a complete shock to the system when I stumbled across it recently, blending together a wide range of styles from hardcore to swing and from ska to punk. I can only imagine how good they would be at a summer festival…

5.) Brand New

New Jersey’s most famous gloom merchants are going happy in 2012. After three fantastic records in five years, 2009′s Daisy was a distinctly sour note for a band that sounded like they had run out of ideas. However, with an upcoming UK tour and a new album planned, all this is about the change. The band recently said they are “tired of bumming you guys out. We’re trying to write something happy.” I’m intrigued…

Smashing Pumpkins original line-up

Ahh, those were the days...

Disappointed by the latest Smashing Pumpkins reunion? Don’t waste your time trying to get into their new concept album ‘Teargarden by Kaleidyscope’ – just take a trip down memory lane with these expansive new box sets.

Released just in time for Christmas, this may seem like a cynical marketing ploy from their label, but at just £17 for two discs and a live DVD, it’s certainly great value. The rationale behind this release is that it’s 20 years since the Pumpkins’ debut album ‘Gish’ was released.

When that record came out it marked Billy Corgan and co’s arrival on the emerging grunge scene, but two years later ‘Siamese Dream’ took things to a whole new level with enduring alt-rock classics such as ‘Today’, ‘Disarm’ and ‘Cherub Rock’.

Here you get the original albums digitally remastered on Disc One, meaning Darcy Wretzy’s basslines sound stronger and James Iha’s guitar solos sound clearer, all without losing the grungey essence that made this band a serious contender to Nirvana and Pearl Jam.

To read the rest of this review on Virgin Red Room, click here.

Reading Festival 2011 line-up

Erm... whoops!

Reading Festival organisers and Zane Lowe have egg well and truly on their faces today after an unnamed Kerrang! insider leaked the full line-up yesterday lunchtime, more than five hours before it was due to be announced.

As a result, this year is the first time in at least four years that Reading weekend tickets have not sold out in a matter of hours. I checked 23 hours later and Seetickets was still selling them.

The line-up itself was the subject of a fierce Twitter backlash, with many voicing their disapproval. But in all honesty it’s the same every year. Those with the most vociferously negative opinions will always be heard the loudest in the social media echo chamber. Although that said, the Official Reading Facebook page’s attempt to delete spoiler comments was hilariously naive and just proof that they had something to hide.

Is the line-up worse than in previous years? That’s hard to judge objectively, true there’s less metal, but that trend has been ongoing since 2008. The Strokes and My Chemical Romance are both massive bands, whether you like them or not and Muse’s only festival appearance this year is sure to be something rather special.

Zane lowe bbc radio one dj

Zane ain't happy...

The main difference this year is that the power appears to have been at least partially taken out of the organisers’ hands. Zane Lowe in particular was left looking more than a little bit foolish last night after his grandstanding annual line-up announcement live on BBC Radio One was well and truly gazumped by the power of the internet. As he struggled to maintain his trademark Kiwi cool, he let slip “this was meant to be a celebration and now I’m trending with hate.”

Maybe fans are a bit sick of being treated like unquestioning saps by the organisers, who are pushing towards getting the tickets on sale before anyone knows for sure who’s playing.

They may argue that they’re following Glastonbury’s lead, so they are justified. But this is only partially true, as the Pilton farm mega-fest only asks for a £50 deposit in good faith and they then only demand the rest once the first 20 or so bands are announced.

At the end of the day, I can’t help wondering whether this whole embarrassing debacle will maybe make Festival Republic think twice about their approach to announcing the line-up and selling tickets next year…

In the meantime for those of you that are going and are excited (like me), I humbly present my Reading Festival 2011 Spotify playlist and Neat Little Rows from the splendiferously magnificent new Elbow album:

 

I think it’s fair to say that Rival Schools took their time over their sophomore album. The best part of ten years to be precise. Which is somewhat understandable, after their 2001 debut United By Fate was lauded by many as an alt-rock triumph and a sign of big things to come.

Walter Schreifels, Rival Schools

Walter S - one of the nicest men in rock and part-time exorcist

Not that they arrived out of the blue – front man Walter Schreifels had been the brains behind 90s hardcore groups Guerilla Biscuits and Quicksand. So it was a disappointment to many when Rival Schools broke up in 2003, but jump five years later and they returned with the original line-up.

I’m happy to report that their new album Pedals, which was released last week, retains a lot of the New York band’s original appeal, whilst giving several nods to how the scene has evolved in their absence.

Opening track, Wring It Out is as anthemic as anything they’ve ever written, while Eyes Wide Open boasts a beefy riff to keep hardcore fans happy. Meanwhile, Choose Your Adventure shows how the band’s sound has evolved, with a swaggering bassline driving a much funkier tune, although lead guitarist Ian Love’s trademark solos remain as exciting and esoteric as ever.

In much the same way as on United By Fate, the album starts with five tracks that all boast immediate appeal, while the latter half of the album has more of slow-burning effect.

Rival SchoolsWhere Pedals deviates from the first album’s template, however, is at the very end. One of the most impressive feats of the debut album was how it finished on two finely-crafted instrumental tracks, with Hooligans For Life in particular remaining a stunning musical achievement and the band’s most compelling live track to this day.

Instead of trying to repeat this trick, Pedals ends on a more modest and abrupt note, as The Ghost Is Out There sounds more like latter-day Weezer than anything else, suggesting unfinished business and certainly leaving us clamouring for more.

It’s good to have Rival Schools back, but even if they don’t stick around for long, it’s enough to just sit back and enjoy a record that was more than worth the ten-year wait.

This year hasn’t exactly been a classic for rock music, with pop and hip hop stealing most of the limelight, but nonetheless there have been some hidden gems.  
So, for the fourth year running, here are my top picks for 2010. Don’t take my word for it, please click-through and judge for yourself, via the magic of Spotify and Myspace (or ‘My_’. Most ridiculous rebrand ever…)

1.)    65daysofstatic – We Were Exploding Anyway

This record has to take the top spot this year as it is the most inventive and exciting album released in 2010 by a mile. 65DOS take the best elements of Explosions in the Sky and Pendulum along with a guest appearance from The Cure’s Robert Smith to achieve a sound which will leave you rethinking your opinion of instrumental music.

2.)    The Automatic – Tear The Signs Down

Certainly the biggest re-invention of the year, The Automatic have completely transformed themselves since the arrival of Paul Mullen (formerly of yourcodenameis:milo). After playing a more subtle role on 2008′s This Is A Fix, the Geordie guitarist also assumes lead vocal duties on more than half of the tracks on the band’s latest album, and the result is a highly impressive alt-rock record that deserves to be judged on its own merits, not in light of what this band used to be.

3.)    Arcade Fire – The Suburbs

2010 was the year that Arcade Fire really took off, headlining Reading Festival, completing a UK arena tour and surging up the charts with their third album. The Suburbs is a vast, expansive record, which gets better with every listen, while the interactive video for We Used To Wait is one of the most creative musical projects of the year.

4.)    The Gaslight Anthem – American Slang

For summery nostalgia, you just can’t do any better than a bit of Gaslight Anthem. The New Jersey rockers earned much UK praise with their recent appearance on Jules Holland and lead singer Brian Fallon is easily living up to his reputation as the next Bruce Springsteen with his soulful vocals on The Diamond Church Street Choir and Boxer.

5.)    Jimmy Eat World – Invented

Jimmy Eat World’s seventh record is by no means their best, but still packs plenty of memorable tunes, tender moments and singalong choruses to keep old-school emo fans happy. Teaming back up with Clarity producer Mark Trombino adds a retro edge to this release, as well as the smooth backing vocals from Courtney Marie Andrews on Coffee and Cigarettes, Movielike and Heart Is Hard To Find.

6.)    Get Cape. Wear Cape. Fly – Get Cape. Wear Cape. Fly

Once again, Sam Duckworth has created a remarkable album of beats, samples, arpeggios and catchy choruses. Once again he has taken his live show up a level. The truly uplifting Morning Light is a career highlight, yet somehow Get Cape’s third record lacks that extra something special to make it a truly great album.

7.)    Ash – A-Z Vol. 1 & 2

If we ignore the fact that this 26-track project was split into two physical releases, then Ash’s A-Z series as a whole definitely deserves its place in the top ten. Writing and releasing songs of this quality every fortnight is a great achievement, and Russell Lissack (on loan from Bloc Party) gives the band a new edge, but with a bit more discipline, they could have whittled it all down to one of the best albums of their career.

8.)    Pulled Apart By Horses – Pulled Apart By Horses

The Leeds quartet burst onto the scene this year with a debut as mental as it is memorable. I Punched A Lion In The Throat, Back To The Fuck Yeah and High Five, Swan Dive, Nose Dive all hit the spot with remarkable ferocity. Definitely ones to watch in the future, these lads.

9.)    Jim Lockey & The Solemn Sun – Atlases

Cheltenham-based Lockey’s second album saw him recruit a backing band and take the ambition and the intensity up a notch. This release sounds much more professional and accomplished than Jim’s folsky debut, with stand-out track Waitress boasting more tempo changes than you can shake a stick at.

10.)    Weezer – Hurley

Rivers Cuomo just keeps churning out the quirky songs and catchy hooks that have got Weezer where they are. Whilst Hurley has plenty of top tunes, such as Memories and Trainwrecks, perhaps the strains of releasing a record every year have made the Weezer well of ideas run a little bit dry.

11.)    I Am Kloot – Sky At Night

12.)    Vampire Weekend – Contra

13.)    Laura Marling – I Speak Because I Can

14.)    Young Guns – All Our Kings Are Dead

15.)    Taylor Hawkins & The Coattail Riders – Red Light Fever

16.)    Gogol Bordello – Trans-Continental Hustle

17.)    Canterbury – Thank You

18.)    Minus The Bear – Omni

19.)    Jil Is Lucky – Jil Is Lucky

20.)    The Coral – Butterfly House

 
As always, please let me know what you think, if I’ve missed anything off, or you think I’m just plain wrong. Here’s to more great music in 2011, and I leave you with what I think is the best music video of the past year:

Sorry about the advert, but it’s worth sitting through for the video.

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