Because they say it better than anyone.

CocoRosie (NNF10 13/05)

The date is 13/05. The time is 10.30 pm. The setting is ... unusual. We're at Norfolk&Norwich Festival '10, inside the whimsically-titled spiegeltent - a travelling wooden conception entirely reminiscent of a Victorian circus. Inside, everyone's in the spirit - the workers are in costume, the audience are glancing around appreciatively, and the ambiance is one of shared revelry and anticipation.

There are no support acts to introduce the main theatrics, which only adds to the surreality of the night. Instead, Bianca and Sierra Casady - otherwise known as CocoRosie - attended by keyboarders and a beatboxer, walk onto the stage and begin the set. The stage itself is overtly abnormal - on a table to the side is a careful collection of care-worn children's musical toys. These, it later unfolds, are the bands instruments, as much as Sierra's harp and Bianca's clarinet. The toys set the scene for what will be undoubtedly an engaging and mesmerising ninety minutes.

Though the crowd is an interesting if diverse mix of ages (and, evidently, musical tastes), there is at least one common factor between us: total immersion in the antics on stage. Indeed, the stage is a clusterfuck, a myriad of colours and shapes and images; behind the band (engaging in themselves, donning makeshift costumes and facial decoration) plays a video of crashing waves, of people, of eyes, of nature. The visual scenes are entirely relevent; as the track 'Grey Oceans' comes to an end, soft piano notes fading into nothingness, behind the two girls is framed slowly receding waves. Frankly, it's stunning. This evening - I refrain from referring to it as the proverbial gig: it's so much more - is as much a treat for the eyes as it is for the ears. And this is an impressive claim, because the music is so eccentrically, fantastically marvellous. The majority of songs are taken from the band's 2010 album Grey Oceans, a mish-mash of genre-defying tracks that centre on the theme of twilight (dawn and dusk, not vampires; nothing so generic). Though the album is new, unheard by most of the audience, all of us are moving languidly to CocoRosie's surreal sound - ranging from soft and tinkly, to electronically pulsating, and even to childishly jolly (in their aptly-named 'Hopskotch', a song that inspires the two girls to play an impromptu game of patty-cake). Grey Oceans, fourth album of sibling-duo CocoRosie, combines operatic arias and poetic rap; musically, the girls have progressed since La Maison de Mon Reve (2004), but they have also managed to cling to their original sound, the sound that made them so outrageous - and such a hot topic between alternative-music connoisseurs - when they made their debut.

When we leave the spiegeltent, we are buzzing from the narcotic effects of the night we have experienced. We do not stop commending the band and their performance until we get home. It is a night over which we will continually reminisce. And if that isn't the sign of a good concert, I don't know what is. 
 

The soundtrack to my revision...

... on this beautiful, overcast Sunday morning.

1. Masterswarm - Andrew Bird

2. Postcards From Italy - Beirut

3. Clickity Clack - Alela Diane

4. Butterscotch - CocoRosie

5. The Wrote And The Writ - Johnny Flynn

6. Made by Maid - Laura Marling

7. King Of The Mountain - Kate Bush

8. Alphabet City - Clare & The Reasons

9. Place To Be - Nick Drake

10. Chicago - Sufjan Stevens

Johnny Flynn - A Larum (2008)

Evidently far more than just a (very very) pretty face, actor-poet-songwriter Johnny Flynn - frontman of Johnny Flynn & The Sussex Wit - clearly has a penchant for the stage. And rightly so - he's beautiful. More than this, though: he's talented too. I have to admit, I was wary of listening to his 2008 album A Larum, scared that he was more face than talent, that the hype surrounding him and his success was essentially aesthetically-driven. I could not have been more wrong. Like Laura Marling, Mumford & Sons, Noah And The Whale, Feist and countless others, Johnny Flynn is bringing updated folk to the modern masses. Not so overdone that it's killing itself on the radio, but still popular enough to put on at houseparties, this genre is almost cutting edge in its retro-ism. And Johnny Flynn manages this effortlessly; A Larum ranges from upbeat - 'The Box' and 'Tickle Me Pink' in particular - to subdued - 'Wayne Rooney' (which, incidentally, neglects to mention the footballer, thank God); but the overall effect of the album is to leave you wanting more. For me, it's one of those I think I'll leave it on repeat affairs, suitable for walking into town, for cleaning your room, for reading a book - anything, as long as it's playing continuously. I can't seem to get enough of it.

Yes, this recording is a little rough around the edges - but I think the lack of work that has gone into finishing it gives it a warm if quirky quality. It's sort of wonderfully imperfect.

I realise that Johnny Flynn, the entire reason for this post, doesn't actually sing in this video; but he does act in it. Take it as an example of his acting abilities. Or, at the very least, take it as an example of his beautiful face. While you're doing that, also listen to the song. It's cute and catchy, and deserves more attention than it receives.

Laura Marling.

Laura Marling is a tough nut to crack. Emerging onto the music scene around 2007, with her first album Alas I Cannot Swim, she began her career as folk-singer at just seventeen. For this, she is worthy of praise. And yet, it seems to me that her perhaps the production of an album at such a young age was no good thing. Alas I Cannot Swim is sweet and sad and youthful - but, listening to it, I could never escape the feeling that there was something missing. The album received rave reviews - even the sales assistant in HMV praised me on my choice of purchase; and I did like the album. It was only that I felt I would never progress beyond 'like'; for me, the album would never be stunning. It was almost irritating: I had an idea of what I wanted the album to be - but I felt that it just missed the mark. It was almost there - but not quite - and that was the most unfortunate thing about it. Perhaps the album was produced too quickly; perhaps Marling was not given sufficient time to develop and refine her musical talents. For this, I'm willing to hold her age responsible. Once again, that's not to say I dislike the album. On the contrary, a few tracks - 'Ghosts', 'Old Stone' and 'Night Terror' I found enjoyable.

Between this album and her second, I Speak Because I Can (2010), the singer suffered a change in image: her blonde hair was cropped close, and then, later, dyed black. The dark hair gave her the appearance of maturity - and, luckily for listening audiences everywhere, this abrupt progression in maturity carried into her music. I Speak Because I Can was everything I hoped it would be. In all honesty, it took me some time to come around to the album - not because I found Alas I Cannot Swim terrible, but because I was scared of experiencing that same disappointment all over again. I Speak Because I Can, though, misses out on nothing. Marling's songs are boundless in their yearning, in their energy, in their emotion, and their melancholy, and their discontent. Track two, 'Made by Maid', almost brought me to tears. When I listen to it, I feel a strong affinity with the young singer. Any album that can achieve such a feat will stick with me forever.

Taken from I Speak Because I Can, this video is an effortless example of Marling's fantastic progression. The content and the style are dark but hopeful. Aged only twenty, it must be conceded, the girl has achieved a lot.

All in all, the few niggling complaints I had with the singer have been quashed by the brilliance of her second album. Besides, only a few months older than me and already a successful musician. I'm probably just jealous.

The sound of Saturday

(Well, the sound of my Saturday, at any rate)

1. Meet Me In The Morning - Bob Dylan

2. The World At Large - Modest Mouse

3. Free - Cat Power

4. Pluto - Clare & The Reasons

5. Funny Little Frog - God Help The Girl

6. Strawberry Swing - Coldplay

7. Liza Radley - The Jam

8. My Manic And I - Laura Marling

9. Middleman - Bright Eyes

10. Saturday Morning - Eels (... because it had to be done)

Lost in translation.

A couple of weeks ago, I was in town with a friend; and, as he went into a local bookshop to buy a book on bi-polar disease, I waited outside, leaning back against a low post, patiently minding my own business. Before I knew what was happening, I found myself accosted by a group of Japanese tourists, each armed with a clipboard and a few sheets of paper. Oh no, I thought to myself. They're going to ask me boring and inane questions. Funnily enough, I was right.

"What's your favourite kind of music?" one of them asked me.

I hesitated. My mind had gone blank. The question had thrown me, for some reason: it had figuratively forced all genres and categories of music, not to mention specific artists and bands, straight out of my head. As I say, this happened a few weeks ago - and, since then, I've had plenty of time to come to understand why I found it so hard to answer the boys. My reasoning is this: I couldn't come up with an answer on the spot because I like too many genres of music. It wasn't as though I could very well ask the poor tourists to stand there as I reeled off every kind of music in which I like to indulge: from the occasional mainstream chart-topper, through embarrassingly clichéd emo-punk, past classical scores, to the ever-played indie/alternative. For one thing, it would have taken both time (which, admittedly, I had to spare) and effort (which I didn't); but it would also have been awkward, and I'd have felt like a right dork, listing in my most pretentious "music-journalist-hopeful" accent, all of the types of music I like. Look at me, I would have been saying. I'm clever because I know lots of different genres and lots of different artists.

"Um," I said, instead. "I like ... indie?"

"Oh, yes!" they said. They were very enthusiastic. "And who is your favourite singer or band?"

Oh God, I thought. I'd been under the impression that the first question had been hard to answer - but now, as I stood there in front of the tourists, desperately wishing my friend would hurry up and help me out of this situation, I was forced to delve through the many categories of music I had just brought to the front of my mind and select a relevant artist. Many flashed through my head. Kate Bush? No - too weird. Alberta Cross? No - too specific. The Beatles? No - too generic. Come on, think - you like more than three bands, surely. Feeling like a disgrace to the name of music-journalism, I named the next appropriate band that materialised in my mind.

"Radiohead. I like Radiohead."

Again, they were enthusiastic: they had heard of Radiohead - they even liked Radiohead. After asking only a few further questions, they left me in peace to mull over my unsatisfactory answers. It's not that I dislike Radiohead - in fact, they are one of my favourite bands - but I couldn't help feeling as though I'd missed out on an opportunity. Five minutes earlier I had had the chance to wow some Japanese tourists with my far-reaching knowledge of music and its history: and yet, in my answers, I had chosen a generic genre and a well-known band. Why hadn't I felt comfortable in describing my many favourite genres of music? Why hadn't I chosen a lesser-known band to describe as my favourite, and perhaps encouraged them to give them a listen?

The truth is, I suppose, there is just too much music out there. I couldn't choose a favourite genre because I like too many; and, for much the same reason (but to a greater extent) I couldn't choose a favourite artist. Part of me wonders if I'll ever be able to answer those questions readily.

But, in the end, I try not to beat myself up about it. They were fairly stupid questions, after all.

Loads more new tracks!

.... all right, they're not that new. A few of them have even been used on adverts. Gasp!

1. Sub Symphonkia - The Submarines

2. 2080 - Yeasayer

3. Silver Soul - Beach House

4. Submarine - The Drums

5. Too Too Too Fast - Ra Ra Riot

6. Halcyon - Delphic

7. Under The Water - Clare & The Reasons

8. After The Storm - Mumford & Sons

9. I Was Born (A Unicorn) - The Unicorns

10. Hummingbird - Born Ruffians

Enjoy! x

Songs for an evening in ...

... curled up, and reading a book.

1. Black Market Baby - Tom Waits

In fact, the entire 'Mule Variations' album is perfectly suited to an evening spent alone. Daniel Durchholz described Waits as having a voice that sounds like it has been "soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car". Whether or not you agree, you have to admit, it's a fantastically imaginative metaphor. As it goes, I would agree with Durchholz - Waits's voice is raw, aged and rough as sandpaper; why, then, is his album the perfect choice for a night in? Simply because, despite the timbre of his voice, his jazz-influenced melodies are soothing - soothing to the extent that they border on hypnotic. The majority of the tracks are soft and low and melodic; 'Pony', 'Picture In A Frame' and 'Take It With Me' are particularly moving. 'Black Market Baby', the specific choice for this post, is as dark and smoky as a Parisian jazz-bar. You'll see what I mean.

2. Silence - PJ Harvey

Taken from the 2007 album White Chalk, this song, and indeed the entire LP, marks a change in the singer's traditional style. White Chalk relies heavily on simple piano melodies, effectively breaking away from her previous, and unquestionably rockier, sound. When compared to an earlier album, Stories From The City, Stories From The Sea, it is hard to imagine that one person created two such utterly different styles of music. And yet, that is not to say that one album is better than the other; they are simply very different, and each enjoyable in their own, largely respective, ways. This track, 'Silence', features soft, haunting vocals; halfway through, the staccato notes of the backing piano fade - and all that is left are the words: or, I should say, the word - 'silence'.

3. People Ain't No Good - Nick Cave

Because they really ain't.

Having been in the music business since the early eighties, Cave (and his band, Nick Cave and The Bad Seeds) has a back catalogue that is roughly as long as my daily walk to class. Understandably, then, he's a tough nut to crack - but he's definitely worth the effort. People Ain't No Good is slow and melancholic, featured on his 1997 album The Boatman's Call - an album that, would you believe it, was inspired by a relationship with PJ Harvey herself. Needless to say, it's emotionally complex; and, believe me when I say, it makes excellent evening listening.

4. Last Goodbye - Jeff Buckley

Not only perfect for an evening alone, I've recently found out (first-hand, I might add) that this song is perfect listening for a break-up, too: although, it goes without saying, I suppose, that break-ups tend to include more than the occasional lonely evening - and this song is more than fitting for those long, depressing hours. The track begins softly, with heart-rending vocals beside a low melody, but grows in pace and volume, until it reaches the status of angst-ridden ballad. The passion in Buckley's voice is moving; indeed, the entire album is heart-breakingly emotional.

5. For Emma - Bon Iver

'For Emma, Forever Ago' is, in my opinion, a masterpiece. The romantic nature of the album's conception drew me to the singer: following the break-up of his previous band, DeYarmond Edison, Justin Vernon locked himself away in a cabin in North Wisconsin to spend some time alone - or, in his own words, to "hibernate". He emerged three months later with the album. And - oh, my - what an album it is. When I listen to it, I feel as though I can hear the cabin in the background - can hear the wind blowing through a crack in the door, can hear the wooden boards creaking. At the very end of the final track, 'Re: Stacks', you can hear footsteps, and then the sound of a door closing. It's a fantastic way to end an album - to give it that literal sense of closure. 'For Emma', the penultimate track, speaks to me of a turmoiled love: the lyrics even read like an argument. Vernon's voice is versatile; and, on this song, melancholic.

Josh Pyke and Emma Pollock, 18/03/10

Last night I went to see Josh Pyke and Emma Pollock at the Norwich Arts Centre. My God was it a good gig.



(Above): we met Josh Pyke after the gig. I was so excited I accidentally had word vomit all over him. Anyway, I wrote a review of the gig for our student newspaper, and thought I'd upload it here too:

Josh Pyke and Emma Pollock, Norwich Arts Centre, Thursday 18^th March

The night began with a collection of catchy, upbeat songs, courtesy of local band Madames et Monsieurs. A winning mixture of indie, pop and rock, the band set the tone for what was shaping up to be a remarkable evening. Though the room was relatively empty, the young band were not to be deterred; raw, talented and likeable in the way that only unsigned acts really are, they churned out a reel of lively, quirky songs that soon had the audience motivated, capably filling the space before the main performances.

Singer/songwriter Emma Pollock began her own performance with an amusing anecdote, effortlessly loosening up the atmosphere of the room, and casually assuring the audience of her confidence on stage. The former Delgados member played songs from both her debut (Watch The Fireworks) and most recent (The Law Of Large Numbers) albums, captivating the audience with her passionate vocals (and, more notably, her strong Scottish accent). She and her support began with a few relatively heavy tracks; but as the evening progressed, the songs became lighter and more mournful. The popular House On The Hill was the highpoint of her performance: the stage lights dimmed as she delved into the moving, evocative ballad, her voice carrying powerfully through the old, renovated church room.

With Josh Pyke’s performance, the tone shifted again. Launching immediately into a song from his first full album, Memories and Dust, he soon had the audience swaying in time to the gentle rhythm of his music. At first appearance, he may have seemed just another ‘one man and his guitar’, Jack Johnson-types; but Josh’s performance soon dispelled this illusion. Like Emma Pollock, his accent (Australian) carried into his vocals; and his evocative lyrics were almost poetic. The majority of the songs played came from his second album, Chimney’s Afire; both nautical and intensely nostalgic, the tracks were sentimental and inspiring – Our House Breathing and Make You Happy, in particular, had the audience yearning for more. The performance ended on a somewhat mournful note, with Vibrations In Air, a song reminiscent of memory and loss. Definitely a night to be remembered.

A few new finds

Do yourself a favour and listen to the following. You definitely owe it to yourself.

1. Devon Sproule - Keep Your Silver Shined (2007)

In all honesty, I'm not a massive fan of country-esque music. In fact, I tend to hate it. And yet, there is something so profoundly un-hateable about Devon Sproule; her voice is strong, her lyrics almost picturesque. If anything, she is worthy evidence of a progression in this category of music.

Favourite track: 'Eloise & Alex'

2. Clare and the reasons - The Movie (2007)

I was drawn to this CD by its artwork. I know, I know "never judge a book by its cover" - whatever. I'm glad I was drawn to this CD by its artwork - otherwise, I probably never would have listened to it, and discovered the wonders contained therein. This album has been described as easy-listening; and I suppose, in a way, it is. And yet, it seems so much more than this. It is calming and melodically-soft and even, but it also transgresses the very boundaries of easy-listening. It is not boring. This album encompasses perfect ballads and yearning love songs.

Favourite track: 'Under The Water'

3. Charlotte Gainsbourg - Irm (2010)

Yes. Very New. But, in fact, Charlotte Gainsbourg has been on the scene for some time - since 1986, in fact, when she released her debut album Charlotte For Ever. This album is dark and surreal; but, allowing for this, substantially enjoyable. On a number of tracks, she dips into French (see 'Le Chat du Café des Artistes') - and this, in itself, won me over: I'm a massival fan of multi-lingual musicians (see Regina Spektor).

Favourite track: 'Vanities'

4. Blonde Redhead - Melody Of Certain Damaged Lemons (2000)

Another group that have been around for a little while (since 1995); and, incidentally, another band that dips into a myriad of foreign languages. This album has a distinctly electronic influence, but the female vocals prevent it from being too bogged down in bizzare sounds and instruments. Some of the songs are effectively spacey ('In Particular'); some are relatively heavy ('Melody Of Certain Three'); and some are purely fantastic ('This Is Not').

Favourite track: 'This Is Not'

5. Codeine Velvet Club - Codeine Velvet Club (2009)

This self-entitled album is unlike anything previously mentioned on this list. For one thing, the vocals are male. For another, it can be classified as alternative rock. I really, really like this band. The lead vocalist is, incidentally, Jon Lawler (of The Fratellis fame) - but don't let this put you off. Their sound is current, alternative - and not, by any means, mainstream; they lean further toward The Last Shadow Puppets than The Fratellis, in terms of influence. And though they may seem to be jumping on the bandwagon with the 'club' in their name (see: Bombay Bicycle Club, Tokyo Police Club, New Young Pony Club, Two Door Cinema Club etc etc) they are not a band to be missed.

Favourite track: 'I Am The Resurrection' (Stone Roses cover)

"The good times are killing me"

A good mood calls for a good playlist. The following songs are the perfect soundtrack to a fantastic day.

1. Let's Go Surfing - The Drums

2. I Feel It All - Feist

3. To Be Myself Completely - Belle and Sebastian

4. O Yeah - End Of Fashion

5. The Sound Of Fear - Eels

6. Little Secrets - Passion Pit

7. Always Like This - Bombay Bicycle Club

8. Little Lion Man - Mumford & Sons

9. Flakes - Mystery Jets

10. The Good Times Are Killing Me - Modest Mouse

Soundtracks

At the weekend, I went to see The Lovely Bones at the cinema; and, as soon as I got home, I looked up the soundtrack. This track ('Alice' by the Cocteau Twins) made the film for me; the ethereal quality to the vocals are haunting and, moreover, reminiscent of the haunting plot-line. Obviously, a soundtrack should compliment a film. And yet, I would categorise a soundtrack as truly effective only by its ability to reawaken the film. The songs should bring both the characters and the action back to life, even after time has passed.

The song led me to thinking about other soundtracks; a list of my top-ten favourites may be in order.

10. The Boat That Rocked - Various Artists

It goes without saying that it is the that songs make this film; it is a film about music, after all. The Kinks, Eric Clapton, David Bowie, The Isley Brothers, The Moody Blues ... the list goes on. Famous names, brilliant songs.

Favourite tracks: 'These Arms Of Mine' - Otis Redding/'With A Girl Like You' - The Troggs

9. Harold and Maude - Cat Stevens

Seriously underrated film. Seriously brilliant soundtrack. Definitely one to listen to on repeat; the perfect compliment to a chilled mood.

Favourite tracks: 'Trouble'/'Don't Be Shy'

8. Pride and Prejudice - Dario Marianelli

Initially, for the list, I wanted to stay away from soundtracks that are purely scores; but, inevitably, that was impossible. This - and the soundtrack to Atonement - is beautiful.

Favourite tracks: 'Dawn'

7. American Beauty - Thomas Newman/Various

Both the songs and the score for this film are remarkable; a soundtrack that will have you thinking about the film for months after you've watched it.

Favourite tracks: 'Dead Already'/'Don't Rain on My Parade'/'Arose'

6. The Hours - Philip Glass

Another score; but what a powerful score it is. The simple refrain Philip Glass works with is powerful and graceful. The score is continuous, but not repetitive (or, at least, not in a negative way). Rather, Glass allows the music to build, an idea that perfectly echoes the arrangement of the film. Melancholy and moving, it is the perfect soundtrack.

Favourite tracks: 'Escape!'/'The Hours'/'The Poet Acts'

5. Where the Wild Things Are - Karen O And The Kids

I haven't seen the film yet, but if the soundtrack is anything to go by, I'm in for a treat. Bizarre yet enjoyable, the songs are generally upbeat and the perfect choice for a kids' film.

Favourite tracks: 'Animal'/'Hideaway'

4. The Chronicles of Narnia - Harry Gregson-Williams/Various

The music in this film is perfect: evocative of childish wonder and magic, working along the same lines as the movie itself.

Favourite tracks: 'Can't Take It In' by Imogen Heap

3. Juno - Various

Alternative music for the masses. Equal parts weird and fantastic, this soundtrack is so perfectly matched with the film itself it could have been chosen by the main character. Both funny and lovely. Guaranteed to give you a warm squishy feeling inside.

Favourite tracks: 'Sea Of Love'/'Expectations'/'All I Want Is You'

2. Amélie - Yann Tiersen

I've yet to meet a person who doesn't love the music from this film. Melodic and very French.

Favourite tracks: 'La Valse d'Amélie'/'Comptine D'un Autre Été: L'après Midi'

1. Garden State - Various

What a film. What an OST. The instant Coldplay's 'Don't Panic' began to play (right at the beginning), I knew that this was a film I would like - and I did.

Favourite tracks: 'In The Waiting Line'/'Let Go'/'Such Great Heights'

Let's pretend we don't exist ...

Just a quick post before I rush off to a Shakespeare lecture. I've been listening to some artists I'd never heard before and I thought I'd mention them/their songs here - mainly to recommend them; but also because I don't want to forget them, which is pretty inevitable in this head of mine.

1. Wraith Pinned To The Mist And Other Games - Of Montreal

Can't believe I've never listened to Of Montreal before. Upbeat, fresh, utterly new - yet reminiscent of The Shins and The Postal Service. Feel good tune, from what sounds like a decent album.

2. One Week Of Danger - The Virgins

Bizarre intro, but don't let this put you off. An infusion of high-spirits and reckless fun, coupled with a slightly rockier style, make this one fierce track. Appropriate for playing at top volume whilst dancing in your underwear. If I was forced to mention a downside, it would only be that the rest of the album doesn't measure up to this superb track.

3. White Unicorn - Wolfmother

Time for a confession: I downloaded Wolfmother on a whim, having heard some good stuff about them on the grapevine - and, in all honesty, I didn't expect to like the album. I'd already passed the stage of listening relentlessly to rock, I assured myself; that part of me had died, the day I threw away my baggy jeans ... Therefore, it must be a sign of Wolfmother's skill and prowess that I was blown away by the CD. I honestly thought that I'd left heavier music in my past; and I'm grateful to the band for creating a heavy album both enjoyable and approachable. 'White Unicorn' is catchy and melodic. A pure rush of music: I'm in love with their sound. So much so, I may have to devote an entire post to them at a later stage.

4. The Thief & The Heartbreaker - Alberta Cross

I love this band. Their folky-acousticness draws on a slightly 60s sound; and yet, their style and sentiment is something utterly their own. Warm and soothing, yet fierce and passionate, these songs have a lot to give. Stakee's vocals are pure and melodic. Not a band to be missed.

5. Mango Tree - Angus and Julia Stone

It's rare to fall in love with a song on the first listen - rare, but not impossible. This song is calm and soft and perfectly evocative of a blossoming romance. A simple refrain works wonders with sweet lyrics. A song for a summer's day.

A Personal Favourite

I often wonder why it's only ever irritating songs that get stuck in my head. For some reason, my mind comprises a ready supply of songs that I hate, songs that play endlessly, as though I have set them on repeat, until I inevitably feel the urge to put my fist through a wall. What I want to know is, why can I never control the songs that play in my head? It is my head, after all.

If I could control what songs were stuck in my mind, I know what album I would choose: Chutes Too Narrow by The Shins has been a personal favourite for many years. In fact, I can't quite describe the feeling that takes hold when I put the CD in the player and the first track begins to play. Something closely resembling nostalgic elation, I think. To be honest, the fact that I can't quite describe this feeling is problematic; because here, in this small square of virtual space, I am going to attempt to review the album - and it would be useful if, to accomplish this end, I could think of some actual words.

The album begins with a track called 'Kissing the Lipless'. Six claps and a whoop introduce the listener to what will be one hell of a CD. This song is a brilliant way to begin a brilliant album; gradually building to a passionate chorus, it's both catchy and lyrically magnificent. For me, it is their lyrics that set The Shins apart from all other bands; funny and quirky, their songs are intelligently written and often full of deep meaning. Having played the CD multiple times, I can happily vouch for the fact that this meaning unfolds and develops with each new listen. Take my word for it; it will blow you away. Track three, 'So Says I', is brimming over with angst, but is not clichéd. The song describes breaking free of the monotony of life, and it does so with layered metaphor and a fast pace. There is real, almost alarming force behind the lyrics; and a clearly defined yearning for change.

The two slow songs, 'Pink Bullets' (track seven) and 'Those To Come' (track ten) are emotional, and full of feeling. 'Pink Bullets' is tinged with melancholy, and utterly reminiscent of relentless winter. It is almost elegant in its starkness; it does not follow the pattern of the earlier songs, so full of vigour and haste. The slow pace and low tones are cold, almost fragile; it stands alone, secluded. 'Those To Come', on the other hand, is perfectly evocative of a summer's morning; it is peaceful, calm - more than this, it is warm, and hopeful. These tracks adds another layer to the album; they add pauses where pauses are required. Tracks seven and ten are particularly appropriate listening whilst pensive.

"Turn A Square", however, is a different entity altogether. It is recklessly fun; upbeat and catchy (like a few of the others) it takes "musicphilia" to a whole new level. The song describes a romance, but a romance told through layers of convoluted metaphor that perfectly describe the state of the songwriter's mind, at the time of its conception. The sentiment evokes the awkwardness of attraction, and everything it entails. Excellent lyrics; an excellent song.

The album perfectly epitomises adolescence - for me, at least, it is tainted with a warm sense of nostalgia. Whenever I play it, I am taken straight back to the times when I heard it first; I can feel again both the hopeful anticipation and the yearning for freedom that flavoured my final few years at home. Back then, the songs were new, and unlike anything I'd ever heard. It was raw, and fresh. And now, three years later, it means even more than it did during those awkward teenage years. Music is more than words and tunes; and I think that this album, Chutes Too Narrow, sums that up beautifully.

Readers, this is a cautionary tale (of sorts...); and the moral is this. Listen to Chutes Too Narrow, because it is unmissable - and also because, if you don't, you risk allowing songs that you hate to enter your mind, and take control of your senses.

Introductions...

Yesterday I decided to become a music journalist.

This isn't something that I've been thinking about for a while. For some reason, the idea just hit me while I was brushing my teeth; but I've decided to go with it, at least for now. If nothing else, it's an excuse to listen to new music, go to a few gigs, and write some reviews, all of which sounds good to me. Anyway, when I mentioned my chosen career path to some friends, I was advised to create a blog (to recommend music, upload reviews and generally spout opinions);

So here it is.