Sleeping Dog - Polar Life

Sleeping Dog is the recording name of Belgium’s Chantal Acda, whose second album ‘Polar Life’ is released through Leeds-based Gizeh Records. Opening song ‘Prophets’ sets the scene for those which follow; its breathtakingly delicate vocals almost whispered over a sparse piano accompaniment with hints of xylophone. ‘Your Eyes’, shows a similar approach, with its evocative piano throughout. Lyrically, Acda is inspired by nature: “We walked through fields of wild flowers”. And according to her press notes, the climate and landscape of Iceland have been a starting point for her work, and with her template of crystal-clear vocals overlaid onto a shimmering backdrop, this inspiration really comes across; you can genuinely imagine this album as the soundtrack to a road trip through some volcanic landscape.

 

The title track ‘Polar Life’ has a distinctive, dreamy melody; however, the highlight of the album is unquestionably ‘The Sun Sinks in the Sea’. With its melancholic piano chords, it’s a truly affecting track, and it comes as no surprise to learn that it was inspired by Icelandic poetry. ‘Sunshine Delight’ is a track so delicate it makes you feel almost protective towards it, and ‘When it Lies is all breezy gorgeousness.

 

The closing song is a cover of ‘If Only’ by Sophia, a song which Acda claims as her own. And this really is the key to the album’s success: it feels as if Acda is an artist with a clear vision of what she wants to achieve. However, she is also unafraid to collaborate, and the album also features Adam Wiltzie from Stars of the Lid and Rickard Knox of Gizeh labelmates Glissando. There are some similarities with the latter, for example, in the way both bands have an intensity at their core, achieved more through simplification than elaboration. It is only towards the end of ‘Polar Life’, for instance, that you realise there has been almost no percussion throughout. 

 

Overall, this is an album of rare beauty that offers a real balm for the soul.

Dir En Grey - Uroboros

Dir en grey have probably garnered a larger international audience than any of their fellow country men of the so-called j-rock revolution, much due to the very western edge their more recent efforts have been graced with. While their visuals have always incorporated grotesque and often vile imagery it wasn’t really until 2003’s “Vulgar” when their really extreme persona came to light in the music, in which the band painted their sound with plenty of screaming and distorted guitars rather than the poppier efforts of their past. The band also changed their look accordingly, shying away from the flamboyancy into a clearly more western-influenced style.

This all culminated in last year’s ‘The Marrow Of A Bone’ which was without a doubt the band’s heaviest album to date. Focusing almost entirely on their most extreme side the album was almost physically straining to listen to in anything but short bursts and suffered from a noticable lack of depth and diversity.

With this in mind it was forgivable to have low expectations for the band’s latest release ‘Uroboros’, but it turns out the name is strikingly accurate (Ouroboros being the mythological snake which eats itself, signifying endlessness and ending up where you began) in that this could be the band’s most accomplished effort to date.

I think I can safely call this album truly eclectic, without coming across as too much of a music journalist twat. If there is one thing that has always been Grey’s primary sign it’s their ability to leap between sounds and genres almost without pausing. One second you’ll listen to what sounds like an upbeat pop-track and the next it will plunge itself into an unrelenting darkness with devilish shouting and blasting, hellish riffs before turning into a soaring ballad. While they haven’t always managed to pull this off without coming across as needlessly schizophrenic, many songs on ‘Uroboros’ are textbook examples of when it’s done right.

Before the album’s release a japanese reviewer commented on the sound as “if Thom Yorke made metal” and it’s hard not to see his point. ‘Vinushka” is a nearly ten minute long beasts which transfigures endlessly during it’s course and sets the mood for the remainder of the album. The band constantly throws you off once you feel you have a firm hold of the music and will throw you, without warning, into a new atmosphere and soundscape. In short; it never bores you.

Luckily the songwriting itself hasn’t suffered. I am inclined to say this is the most solid collection of songs the band has yet to produce. While there is a clear lack of potential superhits, we’re given excellent numbers like the soaring ‘Glass Skin’ to the bonebreaking ‘Red Soil’. A personal favourite is the slighty stoner-sounding ‘Toguro’ and the absolutely phenomenal ‘Vinushka’ which is a great example not just of the band’s diversity but also of singer Kyo’s massive range. More often than not he will use up to four or five different voices per song, making him come across as a demonic entity simontaneously possessing half a dozen different singers at once.

It’s always great when old favourite rise to the occasion and surprise you just when you began counting them out. ‘Uroboros’ is not only a stark reminder that Dir en grey are one of the most interesting metal bands in the world now, but also the band’s best work so far. It is absolutely essential listening for anybody with even the slightest shard of metal in them.

Nicholas Stevenson - Demo Review

Originally from Cambridge, but currently finding residence in rural Herefordshire, Nicholas Stevenson has cast aside his hazy past amongst the world of guitar rock in favour of a new, acoustic singer-songwriter approach; releasing his debut demo into an audience that couldn’t be more ready for the change.

The first track, “Tip Toes”, highlights just how worthwhile the shift has been. Lusciously smooth acoustic guitar lines and subtly reverberant piano stand as the only accompaniment to Nick’s melancholically moving melodic vocal performance. Taking the listener on a journey through hope, loves and losses, this Lo-Fi garageband recording carries with it a certain raw intensity songwriters three times as experienced would sell their guitars to gain.

Second Track, “New year Waterloo Station”, brings something entirely different to the table. Still here are the desperately emotive vocals, but here too are programmed drums and distorted guitars, giving an entirely new dynamic to Nick’s songwriting. Crashing influences of Death Cab for Cutie, Sonic Youth and Elliott Smith become increasingly evident as this track’s rich instrumentation parades itself upon the listener

This debut solo demo shows great promise from a real songwriting talent who, with full band on the cards, is certainly worth looking into.

http://www.myspace.com/sirnicholasstevenson

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