Song reviews

Offbeat and displaced male vocals ride a lo-fi looped bit of reasonably convincing of plastic coated indie rock. However, you do get the feeling that the band are missing a guitarist but, that said, the lyrics do suggest a lot more intelligence than the laptop in a frenzy backing track would otherwise have you believe.

It would appear that bedsit electronica exists even in Cornwall and Sister Savage is the proof. Perhaps that physical separation from the big city makes all the difference as “Stars Fall Like Leaves” floats upon an ethereal cloud that showers you with folk inspired, gently persuasive female vocals. Really rather beautiful..

Stomping four on the floor electro rock from, I assume, a German band. Squeezing in an ironic one chord at a time guitar solo in as a counterpoint to the three chord riffing, Mont Go set up “Seelenleer” and send it off to invade neighbouring dance floors. Perhaps I’m being a bit harsh as I did want to bang my head off a wall as this song stomped all over my brain.

Once more into the pit of melancholy as Gus By Heart makes his heart bleed in the “The Last Place” and, like too many such practitioners of beard scratching, going all deep and serious did not add significantly to his appeal. Bit of a shame as the song has potential and would suit a proper rock band a lot better.

If you happen to be looking for a pleasingly breezy electro pop experience then “Now Now Now” by French band The Penelopes could well be just what the doctor ordered with the entwined male and female voices adding a soupçon of laconically Gallic charm to the perfect Renault Clio soundtrack.

“Keep It Comin’” is about as solid as a rock song from an absolutely solid rock band from dear old Englandshire can be. The drumming is solid, the riffs are solid, the chorus is big and solid and the vocals are, once more for those in the cheap seats, rock solid. You could build a house on top this song with no fear of it ever collapsing.  Best enjoyed at ridiculous volume.

“Deserts” is the kind of song that counts as commercial these days. Or at least it does if you have not been brainwashed by Saturday night talentless contests. With this song, Lizzie and The Yes Men demonstrate that they have the attitude and the reverb to lift themselves clear of lesser, melody free, indie rockers. Methinks many will feel the urge to sing along with this one.

OK, so her song, “It’s OK”, sounds like an offcut from the debut album by any American idol contestant but Josefin Falthin’s voice is anything but banal. She sounds precisely in control yet full of determination and emotion and, while I would hesitate to actually call her soulful, Josefin Falthin is undoubtedly the real deal.

A bit of lonely guitar in reverb mode launches Daniel Badeie’s song “Moments”. Then the rich voiced Mr Badeie throws everything else into the song that he could find lying about. I’m not sure why he would want to hide his voice in such uninspired cacophony but the result ends up sounding more American than Swedish. Maybe that was the plan? 

Ever since Holly Cole’s seminal “Temptation” album, it has hardly been unusual for a jazz singer to civilise a Tom Waits song. Duly, Serena Spedicato brings supper club sophistication to the dark words of “Invitation To The Blues” and carries it off without a hint of awkwardness.  Simply tasteful and elegant!

“Highland Home” is a fundraiser for a charity called Clan Cancer Support Charity. It’s slow paced and reminiscent of Donnie Munro at his most parochial but, hey, it’s in a good cause so we’ll let that slip. No idea why the feeble attempt at faking the bagpipes was in there though.

Tom Vevers demonstrates that he has a nice way with words in “Seven Days” even though it is a pretty standard too shy to talk to her tale. However, the song takes a long time to get going and, even then, trips over its own feet by making a rather awkward attempt at being indie rock. With some capable musicians, this song would have been so much better.