REVIEW: Deadwax (demos + She's A Queen release)

A year or so ago, the band Deadwax sent me their demo to do a review, which I had then published on another blog, closed now. As their first video has reached 1000 views on youtube this last few days, I'm re-publishing this "vintage" review ;). But first, to see their video, click here. Plus check out their facebook page right here. I'll do a review for their She's A Queen later on in the week. Maybe just a few words to say that it sounds freaking good.

When I received the well-known « add me request » on myspace, I thought « oh gee, Deadwax?? That sounds like some deathcore band with obscure references. Some kind of Iron Maiden's teenage wannabe. Yet, your humble servant decided (with some new professional conscience) to click and throw an ear at the band.


Happily surprised I was when I discovered 4 young Londoners with influences as diverse as cool. Deadwax are a cocktail, a BRMC-Kasabian Mojito with some pre-1996 Oasis aftertaste. Indigo starts the whole thing and sums up everything we, French people, are unable to do: powerful yet ethereal rock n' roll. Without any doubt, the best song on their myspace. Fly starts acoustically and sounds a bit like the Kooks. The whole song just perfectly demonstrates how the band has assimilated their musical background and let you see a naughty boy attitude with a baffling capacity to write catchy tunes. I'm holding back my breath when Put Your Feet On The Accelerator starts: the song is a BRMC soundalike A pity as I expected the band to be able to keep using their influences without copying them that much.


It's with some kind of apprehension that I directly go to song #4  Burn This Town. From the first chords there's no denying Deadwax's back. If it's true that we can hear the Kings of Leon and The Stone Roses, anyone over 27 will feel like they've been brought back to their teenage years, somewhere during a memorable smoked-out binge-drinking experience in an English park during a summer exchange program in 1995. This excellent song is followed by She's Automatic that I will pretend I didn't listen out of the good impression left by Burn This Town. Maybe just a few words to say that if you forget it, it's as good as listening to it. That's also probably why it didn't get as many plays as the others. Anyway, let's move to Tearing Each Other Apart which I would say is a strange though good mixture of 1980s Manchester sound and the noughties New York rock revival. Nowhere, antepenultimate song, reminds us of the Srokes' Last Night and the Libertines who would support the Beatles in 1966. They're blowing on the long-burning ashes of Revolver, that's for sure .Finally, Home a suburbian American-emo sounding tune will join She's Automatic. One of the couple of songs that should remain b-sides if they're on to release an LP.


A well-deserved B for a band who tried to encapsulate four decades of britrock . If they hold on to their course, they could get more than some internet success.

BLOG: doit-on laisser Mickael Miro chanter?

J'étais partie pour écrire un article sur Metronomy quand soudain, une révélation. Non, dans mon top des artistes qui me donneraient même envie de regarder la rediffusion de l'Ecole Des Fans spécial Colonel Reyel (cette émission existe!) , un seul atteint la première place en ce moment: Mickael Miro. Et pour l'occasion, je m'en vais blogger en français- faut pas rigoler non plus, le petit Lyonnais ne risque pas de franchir nos frontières, nos voisins ne sont pas totalement cinglés.
Pourquoi m'en prendre soudainement à ce variéteux élevé au bon grain, bien de chez nous? Pour la simple-et bonne raison- qu'au moins deux fois par jour, ce type se permet de me vriller le cerveau et les tympans avec son dernier single La Scandaleuse . Son premier titre était déjà une perle niveau paroles avec des réflexions pseudo-philosophiques dignes d'un mauvais dragouilleur qui fait les sorties de lycée mais le dernier atteint des niveaux que seuls nos « crooners » des années 80 avaient pu atteindre. Mickael Miro, fils spirituel d'Herbert Léonard?

Avec son look de geek qui aurait reçu les conseils de Christina « regarde ta morphologie, tou es un X » Cordula, foulard négligemment posé autour du coup, look de boho trop étudié (ou d'éternel étudiant de première année, option cafétéria), le lyonnais semble être capable de produire à la pelle des chansons qu'on espérait impossibles à nous refourguer depuis 1992. Fan de Cabrel, Goldman, Balavoine et Berger, Mickael Miro semble plutôt nous faire du mauvais Charlie Winston, en VF. Pourtant, par delà le fameux foulard, on sent le cousin sympatoche, un brin gentillet, qui aurait passé trop d'étés à regarder Champs Elysées chez ses grands-parents. Et on se dit qu'on ne devrait même pas lui en vouloir. Champs Elysées en a fait des dégâts sur toute une génération.

Doit-on pour autant le laisser chanter? J'ai choisi ma solution, rester sur Oui FM et éviter de tomber sur NRJ Hits lorsque je zappe.

NEWS: le top 1O de Sound Of Violence

Classique en cette fin d'année, le site pour lequel je chronique fait son best of. Allez y jeter un coup d'oeil en cliquant sur ce lien !

Petit rappel pour ceux qui ne connaîtraient pas Sound Of Violence, c'est un site qui chronique les sorties albums et singles, les concerts et balance régulièrement ses interviews avec la crème du rock anglais (PAS anglophone, hein ;) donc pas de rock US ni français).

VIDEO: Noel Gallagher- The Death Of You And Me@ Casino de Paris

Find the video for Noel Gallagher's The Death Of You And Me by clicking on this link:  The Death Of You And Me

BLOG: What I've learned from teaching English to teenagers: the death of rock n'roll heroes.

Let's make things clear: teaching is like being a contestant in Survivor. But it pays the rent, and the concerts, and the booze, and the Eurostar tickets and a few extras. So here I found myself, in a class, trying to insufflate some interest- if not love- for British culture through, guess what, music.

And the first thing I've learned is that kids have absolutely no idea about recent bands. Let's say that they have some vague knowledge of American hip hop and punk-rock (what the radio is feeding them) and absolutely none about indie music. But they do have requests.

And that's the second thing I've learned: kids have no kids taste. I mean, how come you can relate to Adele when you're 14? Where has teenage angst gone? Shouldn't they be asking for something loud? Well, obviously, not. Or not anymore I should say, because when talking about their musical/rock n' roll heroes, the names I finally got were : Led Zeppelin (« alright luv, but they're like you're grand-fathers age? »), Nirvana (« I remember the day Kurt Cobain died and you were not even born ») and AC/DC (same profile as for Led Zeppelin).

So coming third is the direct consequence of I've noticed just before: rock n' roll heroes are dead and gone. Who could socially embody rock n' roll heroism these days for 13 year old kids? When my mum was a teenager, she had a plethora of singers and bands- the 60s being the cradle for heroes. When I was a teenager, I had two brothers who didn't give a fuck about the rest of the world, about their band or their fans (or that's what they said). But being 14 in 2011 is living in a musical wasteland where old heroes try to re-enact old flames, where new bands and singers address a small part of the teenage population without being able to gather their contemporaries whose musical minds have become obese, listening to junk music.

Video might have killed the radio stars but internet probably killed the rock n'roll heroes, literally stuffing kids with tons of new bands without being able to push forward any of them.  And I'm not looking back in anger, I swear.

PHOTOS: Kasabian @ Le Zénith- Paris Nov 22

 

BLOG: why we're in favour of a monthly residency of Phil Smith in Paris

Phil Smith. If you went to an Oasis gig- prior 2009-  to a Beady Eye or High Flying Birds concert, or if you are lucky enough to belong to that London rock intelligentsia, then you know who the guy is. He is the DJ who is usally more missed than the support band. So here's High And Loud's list of the reasons why we want Phil Smith in Paris once a month for a residency.

Reason #1:  he plays the songs we love.
Obvious, you'd say? Not that much with rock DJs here. Phil Smith actually plays a lot of 90s britrock anthems that we all know and love, 60s mod songs and more recent stuff. It's like being in the UK without having to pay for the Eurostar.

Reason #2:  we don't have any decent French rock DJs.
Well, not that many! we've been to many different clubs in Paris and rock is losing its place. So to attract crowds, they have a strong tendency to mix their set with electro or dance songs....

Reason #3:  he has no French songs on his playlist.
French rock is like English wine as John Lennon famously said. There's nothing else to add.

Reason #4 : it's financially good for the club that would have him
as we spend an awful lot of money on booze when he plays. Yes, dancing to Kasabian or Miles Kane makes anyone thirsty, doesn't it?

Feel free to add any other good reasons why Paris should get Phil Smith! He was at the Truskel for Noel Gallagher's aftershow, let's request him for 2012.

BLOG: Five things NOT to do when you meet your rock n'roll hero.....and you're a guy.

Yeah, this post's only for guys cause if you're a girl, you are pretty much allowed everything that's forbidden to the male sex. Yeah, we are lucky bitches.

So here you are. At last. The Heavens have noticed your existence and even heard your prayers. And because you're either a lucky bastard- or you sold your soul to the devil of rock n' roll- you can finally meet your musical hero. Let the lights shine on you, He, God, is looking at you, right in the eyes and everything you had imagined and the words you had rehearsed have suddenly gone. Woosh. Your mind is just filled with awe, blinded by His light. So here's a short survival kit to make the most of these few minutes.

1- Don't tell him you've just downloaded the leaked version of his new album.
Even if you find this album fantastic, just don't. For you might get two reactions. First one, the guy is nice and polite. He's had a great day, great sex or a great meal. He'll laugh, thank you, shake your hand and go. If He's had a bad day, or you just caught Him leaving his hotel at 8 in the morning for another shitty, rainy day on the road, and He's hungover, well, He may suddenly want to punch you in the face. Sure you want to keep a little souvenir from Him, but not one of your teeth on the pavement. So if you did hear this new album, just tell Him the new songs sound great live and that you listened to some of them on the internet and you are really looking forward to the release of the album. Don't go further than this.

2- Don't shout « I love you, mate ».
Okay, you've been waiting for hours in front of the venue, you've been drinking to keep your spirits high and at last, He bursts out of the backstage door but that's no bloody excuse for voicing your love so loud! First, because He only wants one thing: escape the mass of people that surrounds Him and freaks Him out (remember Lennon?) - and two, because you can say goodbye to all your hopes of getting a girl after the gig.

3- Don't copycat.
You love His musical style and His awesome dress sense. Sure you get a few girls because you do look like Him when you're wearing that jacket and have that haircut. But strangely, when He's surrounded by 10, 20 or 50 guys with the same jackets, boots, haircut, it freaks Him out. You would freak out if suddenly a dozen of guys decided to wear the same clothes as you at work. Do copy though as we, girls, like it. Just don't overdo it.

4- Don't come with your whole collection of vynils, CD, singles, posters, leaflets, concert tickets to get them signed.
Remember, He can only give you a few minutes of His precious time. Do you really want to overload Him with a bunch of vintage stuff? Remember, one of the things He hates is to be forced to look back on His career. Coming with a collection you've started 15 years ago is not recommended. If your musical hero though has just released a couple of albums (not more) , you can still come with your collection as He or His band is still excited about their success.


5- Don't cry, don't kiss.
Basically, don't touch. Only handshakes are allowed.

LIVE REPORT: Noel Gallager @ Casino de Paris, Dec 6th

Pour les francophones, mon live report sur Sound Of Violence

Providential bellyaches happening mid-afternoon, family problems to solve rapidly or urgent gastro-enteritis, yes, there were a lot of totally weird excuses given by Noel Gallagher's fans to their bosses to be in front of the Casino de Paris around 4:30 PM. The Chief's concert, which had sold out within five minutes in September was the event one should not miss. Prices of the tickets on the black market rocketed at 120 euros just before the gig started.


As a bunch of old friends, we arrived at the Casino de Paris around 5:30, meeting Russell Pritchard, bass player for the High Flying Birds trying to avoid the colossal masculine crowd waiting for Noel Gallagher at the backstage door. In the queue, people were either getting freaking cold, drunk or arguing- Team Noel vs Team Liam-but also about The Electric Soft Parade who would be opening the concert. Though the band is quite famous in the UK, it remains pretty much unknown in France and a large part of the audience seemed to be doubtful and disappointed with that choice as some had hoped for Miles Kane.


As usual, Phil Smith, branded « Oasis official DJ » but who is most evidently a Britpop and mod sounds aficionado, was already officiating when the doors opened. When the five members of The Electric Soft Parade came onstage, it was in a real freezing atmosphere, the audience not responding at all to either the songs or the band's humour. Though the band tried their best to insufflate some warmth to the crowd, they appeared helpless in front of such a chilly ambiance. The parisian audience obviously wanted to live up to its reputation. Only Misunderstanding did get some applause. For those who didn't know anything about The Electric Soft Parade, they seemed like a hybrid of Dodgy and The Thrills, nice and sunny but not good enough to be the support band for Mr G.


When at last Noel Gallagher walked on stage, it was in an orgasmic explosion, as if the 1500 persons in the theatre had been holding their breath since 2009. We do have to admit that the mancunian knows how to take us right by ...the feelings starting with a stripped-down version of It's Good To Be Free. Next to me, a fan who was not even 5 when Oasis was at their climax was in tears. Among twenty songs on the setlist, almost half of them were Oasis's. Wonderwall and Supersonic played acoustic, Talk Tonight, Half The World Away, Noel Gallagher and his band know how to cater for each of our Oasisian needs. Here and there, some people tried to shout « Angel Child », « Whatever » or « Slide Away », which were brushed aside by a smiling Noel. The songs from the new album are already classics and Everybody's On The Run, Dream On, If I Had A Gun, The Good Rebel and The Death Of You And Me , sung one after the other, are biblical. For sure, the older of the wild Gallaghers knows how to compensate for the absence of his infamous brother. There's no denying though that Liam is missed.  Anyway, the very classic and expected Little By Little and The Importance Of Being Idle and a poignant version of Don't Look Back In Anger hammered two royal hours of rock n'roll


Both ecstatic and sad. We do applaude the lad we've always loved while missing the band he led. But, hey, « don't look back in anger » as we've heard him say.

PHOTOS: Noel Gallagher @ Casino de Paris

 

 

 

 

 

LIVE REPORT: Bombay Bicycle Club @ la Maroquinerie

Des photos du concert sont dispo sur http://www.soundofviolence.net/ !

Après la Flèche d'Or en juin dernier, Bombay Bicycle Club investissaient la Maroquinerie lundi 28 novembre pour un concert complet. Vérification faite dans l'après-midi : il ne sert à rien d'espérer, le seul recours pour les retardataires sera un site d'enchères ou l'espoir d'un prix pas trop rédhibitoire de la part des revendeurs à la sauvette.
Lucy Rose a déjà commencé à jouer lorsque nous arrivons rue Boyer. Celle qui a plusieurs fois collaboré avec Bombay Bicyle Club et dont le dernier single a reçu la participation de Jack Steadman, leader du groupe, assure un show à la fois vintage et moderne. L'Anglaise a la blondeur et la fragile élégance d'une jeune Marianne Faithful et pourrait bien, en assurant des prestations vocales comme celle-là, devenir rapidement la muse du folk anglais. Celle que l'on compare déjà aux plus grandes, est une évidence musicale et devrait rapidement passer de la première partie à la tête d'affiche. Un enchantement musical de trop courte durée, on en voulait plus.

Juste le temps de remonter prendre l'air que les Bombay Bicycle Club montent déjà sur scène dans une salle surchauffée et bondée. Il ne reste absolument aucune place et les recoins, comme les marches d'escaliers - qui ne permettent aucune vue sur la scène - sont pourtant pris d'assaut. Le groupe assure un show taillé pour ses fans, égrenant ses meilleurs titres, de Shuffle à Magnet en passant Dust On The Ground. Qualifiés de « meilleur groupe londonien » en 2006 par le NME, Bombay Bicycle Club s'avèrent pourtant assez quelconques en live, assurant un minimum syndical, un concert parmi tant d'autres.
Pas de surprise donc et une vague impression de déjà-vu. Certes, les fans sont à la fois attentifs et motivés, et semblent satisfaits du concert. Ça et là, on danse ou écoute religieusement Jack Steadman, certains osant même le copier-coller du look du leader. Pour ceux qui viennent en novices, c'est un peu la douche froide, certains visages en disant très long. Les titres sont dansants et le groupe semble sympathique mais on reste devant la désagréable impression d'avoir affaire à un groupe low-cost : ils comblent une niche musicale laissée vacante, mais n'offrent ni l'excitation ni l'anticipation que l'on attend d'un groupe après son troisième album, jouant sur la scène d'une capitale. Reconnaissons leur tout de même son excellente section rythmique (Ed Nash à la basse et Suren de Saram à la batterie) qui, on le comprend dès Your Eyes, assure au groupe sa légitimité et lui permet d'être plus qu'une première partie.

Certes, le groupe a son public et sait écrire des titres rafraichissants mais il faut bien plus que ça pour se tailler une place respectable au panthéon du rock britannique. Pour l'instant,Bombay Bicycle Club se contentent de jouir d'une popularité trop facilement acquise par un public en mal de groupes à vénérer.