REVIEW: Porcelain Raft - Strange Weekend

Porcelain Raft is the chosen moniker for Mauro Remiddi to record solo material under. He has released a string of EPs throughout the past few years, and has now arrived at a pivotal point in his journey, with the release of debut LP, Strange Weekend. Previously in the band Sunny Day Sets Fire, the musician has a lot of experience both as a frontman and a composer. The album coincides with his recent support slot for M83's UK tour, and the comparisons between the two acts are apparent throughout.

Dream pop is a genre that I've covered extensively on this blog, and as far as dream pop goes, Strange Weekend is a pretty great dream pop album. Remiddi doesn't mess with the staple criteria of the genre too dramatically, instead he mixes wistful guitars, synths, strings and electronic drum samples to form an enjoyable, enigmatic record.

Remiddi draws inspirations from a vast selection of musicians and eras. The electronic beats and drum samples are similar to the aforementioned M83, as well as some of the vocal work. The hazy, laid-back production style is akin to that of Atlas Sound, while some tracks hark back to music of the 80's and 90's. The thing that sets Strange Weekend apart is primarily Remiddi's vocal work on the album. He uses his voice dynamically, both as a way of conveying messages, and also as an instrument in its own right. The way it transforms itself throughout the album is rather unique. His androgynous tones can change dramatically from track-to-track. At times he is reminiscent of Bradford Cox, and the next he has a voice shrouded in mystery and longing.

Considering the petite length of the album, the amount of different ideas on display in Strange Weekend is quite surprising. Much like the vocals, the vibe of the tracks vary wildly throughout the ten-track LP. Remiddi makes his influences clear throughout the album; the most obvious is that of Atlas Sound. The hazy, nonchalant production shares uncanny similarities with the prolific musician. There's hints of MIA's 'Paper Planes' on 'Unless You Speak From Your Heart', while The Cure's influence is apparent on album opener 'Drifting In and Out'. The vastly different styles on the album make it a pleasantly unpredictable record and prevent it from getting stale.

Remiddi chooses to record his music in a basement in New York rather than the more traditional way, in a recording studio. Assumptions would be made that the production quality would be affected detrimentally, but home production seems like it suits Porcelain Raft's lo-fi styling well. Although it wasn't professionally recorded, it still maintains a feeling of professionalism. He obviously worked tirelessly to make the album sound as good as it could, with the layers of music mixed together meticulously so that no beat or string seems to fall out of place.

Although Strange Weekend is certainly an ambitious debut, not all of the tracks seem like they fit in as well as others. There are a few  songs that feel like they were added to bump up the play-time, such as album closer, the slow-burning 'The Way In'. The slow, distortion filled tones of 'The End of Silence' don't really add much to the overall flow of the album either.

With Strange Weekend, Remiddi displays great potential both as a musician and producer. The debut shows great craftsmanship, production values and dynamics. It's an album that doesn't rely on hooks to keep the listener's attention; instead it uses a plethora of intriguing ideas, captivating vocals and hazy, whimsical pop to demand attention. Even if not everything on the LP is executed to great effect, there's still a lot on the album worth checking out.

8/10

REVIEW: Pulled Apart By Horses - Tough Love

Pulled Apart By Horses are a peculiar band. The Leeds quartet have managed to make savage, guitar-filled music with searing vocals and heavy riffs while somehow maintaining a somewhat mainstream appeal, with constant backing from the BBC and plays on daytime radio aplenty. Maybe that's due to them making music that might seem heavy and overwhelming at first glance, but is also riddled with underlying hooks and melodies that make it all feel oddly inviting.

Their 2010 eponymous debut was welcomed by critics with open arms, hailed as a fun, bombastic album that exploded the band into the public's consciousness, and they quickly became known as one of the most energetic and engaging live bands currently touring. With this reputation in tow, they're back with their second album, Tough Love.

Tough Love is an unrelenting, adrenaline filled record that takes everything they've learned over the years, both through recording and constantly being on the road, and makes it louder, tighter and altogether more well conceived. Where their debut album showed valiantly what Pulled Apart By Horses were all about, their second effort feels like a wholly more well-realised album.

Frontman Tom Hudson sure has a set of lungs on him. His roaring vocals assault your ears and give Pulled Apart By Horses their signature sound. They might not suit everyone's tastes, but they fit the atmosphere of the music perfectly. Hudson's vocals are accompanied by some of the most intricate compositions of music in modern rock. The riffs come fast and heavy, with impeccable drumming giving the music a great rhythm and pace. Considering the type of music they play, it's surprising how easily some of the songs can slip into your subconscious, thanks to the hooks displayed throughout.

While most albums allow the listener a degree of downtime throughout the proceedings, Tough Love pulls no punches. From start-to-finish, the album never slows down or gives up in its half-hour runtime. It is a constant assault on the ears and will get anyone feeling energised. The majority of tracks fall underneath a three-minute play time, and so nothing ever outstays its welcome.

Opening track and lead single 'V.E.N.O.M.' does a stellar job of giving a clear indication of what listeners are getting themselves into when giving this album a spin. Pounding rhythms, semi-incomprehensible lyrics and intricate guitar work are all present; all the while being turned up to eleven. 'Epic Myth' shows some evolution in Hudson's vocals, with a cleaner, more melodious sound. 'Bromance Ain't Dead' showcases their devil may care attitude to a tee,  while 'Everything Dipped in Gold' sends the record off in style.

Lyrically, there is not much remarkable about the album. The band seem to have moved on from their trend of overly long, kooky titles such as 'I've Got a Guest List To Rory O'Hara's Suicide', but they maintain the same approach to lyrics as a whole, with lines such as 'When I was a kid I was a dick / But nothing changes' (from 'Wolf Hand'). Sure, it's not exactly high prose but it still rings true and sure feels good to shout at the top of your lungs.

Tough Love is a fleeting, testosterone fuelled tornado of an album, leaving destruction among all those who hear it. Pulled Apart By Horses seem to be the newfound pros of what they do; creating brutal riffs and very heavy melodies but somehow making them endlessly listenable and FUN, and this album exemplifies that brilliantly.

8/10 

REVIEW: Tribes - Baby

It's been a slow start to 2012, with notable releases few and far between so far. Camden natives Tribes are here to kick-start the year with their own brand of good old-fashioned rock n roll. They've been gathering steam over the past twelve months or so, with stand out single We Were Children getting played on the likes of NME radio and Radio 1. Baby, their debut effort has been on the radar of many for quite some time.

Tribes are a band that aren't trying to reinvent the wheel; instead they settle for simply making impeccably refined music that's filled to the brim with infectious hooks, intricate melodies and whimsical lyrics.

The album takes cues from many, many different bands and eras of music, but the easiest way to describe it is like a cross between Pixies (the chord progression of 'We Were Children''s and 'Where is My Mind?' is uncanny),  and the very best Brit-pop of the 90's, with an added kick of attitude.

'We Were Children' is undoubtedly the highlight of the album, and they were wise to release it as a lead single. It acts as a love-letter to the 90's, with nostalgic instrumentation and the lyrics "these things happen, we were children in the mid-nineties". The song just has an invigorating atmosphere and will creep its way into your head unsuspectingly and leave you humming it for days to come.

'Walking in the Street' is another high-point of the album, with a riff and bass-line reminiscent of The Cure, but frontman Johnny Lloyd's vocals give it its own personality. Similar to 'We Were Children', the hooks and melodies are the things that really carry the song a long and help it stand out on the album.

The album travels at a brisk angst-filled pace but it takes a breather occasionally to let Lloyd show himself at his most emotive and reflective. Songs such as 'Halfway Home' paint a sombre picture which builds up to a triumphant finish. That, accompanied by tracks such as 'Alone Or With Friends' which has an Oasis-esque vibe act as welcome interludes to the pace of the rest of the album and help show some much-needed diversity.

The main problem with the album is that it all treads very familiar ground. Tribes aren't doing anything to push the boundaries of what we come to expect of modern music. Although it is all technically well made, I can't help but feel like the album is a bit behind the times. If it had been recorded and released in a time earlier than 2012 it would make a bigger impression, but right now the album can't escape a feeling of déjà vu that pervades the majority of tracks.

If guitar music is dying, as so many bands have suggested over the past year or so, then Tribes are one of the glimmers of hope for the genre. Although Baby isn't necessarily bad in any meaning of the word, it doesn't push the envelope enough for Tribes to remain relevant in 2012. Saying that, the album has enough charm and appeal  that will resonate with a lot of people, and will gain them a large following. I have a feeling that 2012 has big things in store for Tribes. And if anyone's going to 'save' guitar music, better these guys than The Enemy, eh?

 6/10