Showing posts with label soundnorfolk. Show all posts
Showing posts with label soundnorfolk. Show all posts

Saturday, 23 June 2012

JAPANESE VOYEURS CD GIVEAWAY (AND SOME OTHER STUFF TOO)

I've begun the long and drawn-out process of tidying my room so I can start packing, as I move out of my Norwich house in a week. Which makes me sad.


While digging through my stuff, I came across a few CDs that I'd been given to review, and I thought to myself; I'd already intended to do a giveaway, so why not add these into the bargain? So it is now, in effect, a Japanese Voyeurs Giveaway Now With Other CDs That Aren't Japanese Voyeurs But Are Still Good.


My question to you is the devilish: What is the name of Japanese Voyeurs' first and only album?


The prize is:


  • Japanese Voyeurs 'B-Sides & Rarities' 40/250 - a 10 track album, one of only 250 ever made, containing bonus unreleased songs by the band, celebrating their too-brief existence after their split in March.
  • Japanese Voyeurs 'Slimeball Comics' Volume Four
  • Japanese Voyeurs 'Yolk Tour' Winter 2011 Tour Poster - again, part of a limited run of hand-drawn posters for their tour last October/November. It's a B&W photocopy that the band sent out to fans with the view that fans could colour them in as desired, but as they sent 2 I have a spare.
  • The Horrible Crowes 'Elsie' - debut album by the side-project of The Gaslight Anthem frontman Brian Fallon and his guitar tech Ian Perkins. My favourite album of last year, read the 5* review I wrote for SoundNorfolk for it here.
  • Deaf Havana 'Fools & Worthless Liars' album sampler - 5 tracks from their excellent album, read my review here.
  • Four Year Strong 'Stuck In The Middle' single - read my review here.
Ok, I think that's everything. I might add things to it if/as I find them, but please share this around to anyone who would appreciate it, I want this to work! I will love you for sharing it. Send your answers with your name to tomcastle12@googlemail.com (don't spam me) and I will pick a winner in 3 weeks' time, on Sunday 15th July. x

Tuesday, 29 May 2012

I DONE DID SOME MORE REVIEWS

Check out these reviews I recently did on SoundNorfolk's website! If you like what you read, share this, SoundNorfolk and most importantly, go and check out the song the review is about! If they're on Spotify, then I'll add them to my summer Spotify playlist that I wrote about here. But anyway, I hope you enjoy the reviews!


Creeping by 2:54


Time And Place by Last Dinosaurs


Tapes And Money by Totally Enormous Extinct Dinosaurs

Sunday, 6 May 2012

UPCOMING REVIEW; NEWTON FAULKNER

On May 12th I shall be going to see Newton Faulkner at the Open in Norwich, so I'll share my SoundNorfolk review with all you, my lovely readers. 

Friday, 6 April 2012

SINGLE REVIEW; FOUR YEAR STRONG, 'STUCK IN THE MIDDLE'


4****

The first track to be taken from the band's fourth studio album “In Some Way, Shape Or Form”, the single marks their first release since the departure of synth player Josh Lyford. However, despite losing the synthesisers from their sound FYS are still definitely going strong.
“Stuck In The Middle” is characteristic of the band's general style of fast-paced, upbeat pop-rock, blended with hints of post-hardcore every now and then. With a typically catchy chorus it will almost certainly go down a storm live – opening with some quiet guitar and vocals, as soon as the guitars and drums drop, it's a song that will make you want to move.
This track is a classic slice of pop-rock – upbeat, fast, dance-worthy and almost anthemic in places - and indicates that FYS have no intention of slowing down any time soon.

COPYRIGHT Thomas Castle, November 2011

ALBUM REVIEW; DEAF HAVANA, 'FOOLS AND WORTHLESS LIARS'


4****

Two years in the making, FAWL sees the highly-anticipated return of Norfolk rockers Deaf Havana. Originally a quintet for debut album “Meet Me Halfway, At Least”, lead vocalist Ryan Mellor left the band in 2010, and the remaining members decided to remain a quartet. Initially a post-hardcore group, Mellor's departure marked a change in direction to a sound somewhat more influenced by pop-rock, and FAWL is a very enjoyable album that is, at the same time, very personal.
Each of the album's 13 tracks are lyrically deep, all dealing with different things from addictions to loss and regret, but remains musically upbeat and optimistic. Tracks such as “Little White Lies” and lead single “I'm A Bore, Mostly”are carried along by lilting guitar lines, and all of the tracks showcase the strong vocal skills of singer James Veck-Gilodi, who has free rein over all the vocal duties. “Hunstanton Pier” is another of the record's highlights, an initially quiet affair that gathers pace into a strong track.
All in all, this is a powerful and positive album from one of the country's best upcoming bands, sure to go down a treat in a live scenario. An excellent effort.

COPYRIGHT Thomas Castle, November 2011

ALBUM REVIEW; THE HORRIBLE CROWES, 'ELSIE'


*****

The Horrible Crowes are the brainchild of two men - The Gaslight Anthem frontman Brian Fallon and guitar technician Ian Perkins - and “Elsie” is the first record to be released by the duo. Blending together elements of folk, rock 'n' roll, blues and even soul, “Elsie” is a dark, evocative, expressive and quite simply brilliant album.
With a few small exceptions, Fallon and Perkins handle all the instrumental duties, marrying together guitars and bass, strings, piano and even an electric organ to create this bluesy, soulful yet rocky collection of tracks. The album progresses through this range of styles, from mellow opening tracks “Last Rites” and “Sugar” to the very rock-influenced songs like “Go Tell Everybody” and “Mary Ann” right through to the sombre and beautiful (and album highlight) “I Believe Jesus Brought Us Together”. Fallon has a distinctive vocal style that additionally lends itself to the variety of sounds created within “Elsie”, with a more gravelly voice for the rock-tinged edges contrasted by altogether more dulcet tones on the quieter side of the record.
Altogether, “Elsie” is a beautiful album and a superb debut. Lyrically and musically excellent, every song in the 45 minutes of music is in itself uniquely styled, and is simply one of this year's best albums.

COPYRIGHT Thomas Castle, November 2011

LIVE REVIEW; LABRINTH, 4/3/12, UEA LCR

****

Ahead of the release of his debut album Electronic Earth, slated for release April 2nd, Labrinth paid a visit to a sold-out LCR on his first-ever UK tour. One of the most exciting new artists to come out of the UK in recent times, Labrinth is a self-taught singer/songwriter/multi-instrumentalist who first came to prominence in 2010 when he featured on Tinie Tempah's hit singles Pass Out and Frisky – already a producer of some repute, he burst onto the UK scene last year with the hugely popular solo effort Earthquake and has since gone from strength to strength.

Testament to the hype surrounding Labrinth as an artist, the gig was originally at the Waterfront but was upgraded to the LCR after the original listing sold out. So needless to say the excitement was palpable as the lights went down and he burst onto the stage into what was a vibrant and diverse show. A man clearly determined not to be pigeon-holed into any single genre, Labrinth's set consisted of a great number of styles, blending elements of dubstep, electronic and hip-hop/R'n'B with flashes of indie and rock. Alongside singles Let The Sun Shine and Last Time, we were treated to glimpses of the album with rockier numbers such as Sweet Riot, as well as acoustic track Vultures, one of the night's highlights. Mixing these up with partial covers of more well-known songs by Tinie Tempah, Professor Green and Ms. Dynamite, before bringing the evening to a close with an encore of Earthquake, he made sure the crowd was well-entertained.

Clearly a born performer, Labrinth showcased why he is currently one of the UK's most interesting exports – a very diverse talent, as well as a very down-to-earth man, who took time between songs to engage with and thank the crowd for all their support. With his album due in just over a month, it seems that his popularity can only increase, and on the strength of this show Labrinth is a man that will go a long way.

COPYRIGHT Thomas Castle, March 2012

*No, I don't just do rock and metal...

Thursday, 5 April 2012

INTERVIEW; ERIK CHANDLER of BOWLING FOR SOUP


Ahead of their headline date at the UEA LCR (17/10/11), I sat down with Bowling For Soup bassist Erik Chandler to chat about touring and what the future might hold for the band.

Tom: Erik, welcome back to Norwich. Is it good to be back?
Erik: Oh, absolutely. Actually, Norwich is one of the very first places we ever played, we did the Waterfront when we toured back in 2001.
T: This is the first time you've been here as a full band since late last year, but you did an acoustic tour back here in April, how was that in comparison to playing with a full band?
E: You know, it's cool because when it's just the two of us (Erik and singer/guitarist Jaret), the touring party's much smaller, and logistically it's just easier. I think in April there were maybe 12 people in total, and I think we're approaching close to 60 here. Trying to wrangle that many people, it's just a bigger headache, though we miss our friends when they're not with us.
T: And is it something you reckon you'd do again, the acoustic tour?
E: We're talking about it right now, so it's kinda in the works.
T: Would it just be you and Jaret again, or would you consider bringing in the others?
E: It'd just be the two of us. It'd take away some of the atmosphere of the acoustic show.
T: You've also been in Japan recently, doing shows for the (American) military. How was that?
E: That was really awesome. That was a hell of a trip, bouncing around Southeast Asia with the Navy, and we met some really cool people. We basically had our own Naval plane which flew us all around. And it was cool because we had the same crew every day, so we got to know them really well.
T: That sounds brilliant. Now, you guys are almost pioneers of the pop-punk genre as you've been doing this for 17 years now, and influence a lot of bands, but who do you take influence from yourselves, as a band?
E: Our influences are so vast. We all grew up, and still do, listening to everything. Country/western to hardcore punk to thrash metal, it's kinda difficult to point at a couple of things – everyone has their own personal favourite songwriters. Every album sorta absorbs a slightly different vibe, it's just the way it happens when you let them evolve on their own. We go in a studio with zero expectation and zero ideas – just see what happens. With (new album) Fishing For Woos, 3 days before we went in the studio I got the demos, which were just Jaret and an acoustic guitar, it was as broken down as it could possibly be. It's very cool and interesting to watch them take shape. Forget the quality of the songwriting, I think that's (Fishing For Woos) the best sounding album that we've made. We did it in a hurry, inexpensively, and somehow it worked.
T: So, are we going to be seeing any new material soon?
E: This tour kinda ends the year for Bowling For Soup, and next year we're just gonna take things a bit more slowly. Jaret and I have solo projects – mine's out in the spring, Jaret's is out towards the end of November, so we're gonna work on those next year, and then back to the Bowling For Soup business in 2013, I guess.
T: So finally, what have you got for us tonight, and on this tour in general?
E: This is a really interesting tour, because we've wanted do something like this, well, forever. We're playing all the singles that we've ever released, and not all of those are songs that we normally play, so we're having to remember all these songs. We never use a setlist; well, we have a list, but we just pick the order there and then. Everyone's got to be so on it – last night, we were playing one song, and there was a part where we all stopped. Then Jaret just starts playing another song, and when we'd finished that one, he went back to the one we were playing before, But I had forgotten what song we were in the middle of! But it's fun, keeps you on your toes.
T: Well, thanks very much for taking the time to have a chat with me.
E: No worries.

COPYRIGHT Thomas Castle, October 2011

LIVE REVIEW; BOWLING FOR SOUP, 17/10/11, UEA LCR

****

Heroes of pop-punk, Bowling For Soup brought the second date of their unforgettable live show to Norwich in support of their 11th studio album Fishing For Woos. Heading to the stage amid a sea of rapturous applause, chants and their own recorded “Bowling For Soup, HEY!” introductory number, they burst into a unique and entertaining set.
Although they don't use a strict setlist, with 17 years as a band behind them, it's clear the band know how to open a show, and with an opening barrage of hit singles I'm Gay and High School Never Ends the crowd instantly tune in and sing along, almost louder than the band themselves. Their set mingled their most popular tunes, such as Emily, The B**ch Song and My Wena with slightly lesser known album tracks that nonetheless went down a treat with their hardcore fans. They even treated the crowd to 2 covers; Stacy's Mom, by Fountains Of Wayne – singer/guitarist Jaret joked that “most people thought we did this, even though we didn't, so we're gonna play it” - and Bryan Adam's classic Summer of '69.
A massive part of the BFS live setup is their interactions with each other and the crowd – between practically every song there would be a pause for the band's wonderfully immature jokes with each other about things that just can't be printed, or for complimenting crowd members on their figures – they even had their own bar on stage, where a handful of the crowd spent the entire show enjoying free drinks named after drummer Gary. Their rapport with the crowd is second to none, and the atmosphere created was one of toilet humour and laughs, yet their set itself was polished and excellent.
In their final flourish, BFS demonstrated the improvised nature of their set by breaking out into a jam involving the whole crowd and a member of support band Suburban Legends in the middle of final song Girl All The Bad Guys Want, that very much kept with their air of immaturity. When they left the stage, the crowd was all smiles; a very successful start to this tour for the band.

COPYRIGHT Thomas Castle, October 2011

LIVE REVIEW; ENTER SHIKARI, 5/10/11, UEA LCR

*****

Fresh from completing work on 3rd album A Flash Flood of Colour (due for release early 2012), St. Albans quartet Enter Shikari hit UK roads for a headline tour following a summer that included a huge set at Reading/Leeds. Norwich was the tour's first port of call for a band fast becoming one of Britain's best live acts, and their unique blend of rock, hardcore and drum 'n' bass/dubstep went down a storm to an adoring crowd.

Wasting no time, the band dived into their set (quite literally – at one point vocalist Rou Reynolds actually swung into the crowd from stage-side rigging), and tore through a set comprising of their most popular songs covering their 2 records and recent singles, as well as some fan favourites. A semi-acoustic interlude fell a little bit flat, not keeping with the slightly chaotic atmosphere permeating the LCR (there were even human pyramids at one point); that said, the crowd knew every word anyway. After a blistering encore, Shikari left the stage triumphantly, and left the LCR itself battered, bruised and grinning from ear to ear. It's safe to say Norwich set a good precedent for the rest of the tour.

COPYRIGHT Thomas Castle , October 2011