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Kiss and resolve.

Pigeon shit-storm forces Kings of Leon off stage

Music fans rejoice.
IN what appears to be the funniest story of the year so far, turgid MOR rockers Kings of Leon were forced off stage during a gig in St Louis - because of defecating pigeons.
The peculiar dullards cut short their set just as they were about to rip in to I Want Poo, from album Only By The Shite, as a blanket bomb of sizzling pigeon plop covered the band in what can only be described as a commendable synchronised dirty protest.
According to The Guardian, Andy Mendelsohn, the band's manager, said bassist Jared Followill was hit "several times during the first two songs" with a number of droppings "landing near his mouth".
If only the pigeons got it Closer. I bet it really did look like Mancrappan up there.

NME reports Interpol "not afraid" of making music without Carlos D

Luminous Plectrum predicts: the end is nigh.
AN NME interview with Interpol's Sam Fogarino sent alarm bells ringing here at Luminous Plectrum.
Despite his reassurances about the close future of the band following Carlos D's departure, Fogarino seems somewhat unconvinced on where they might be in a year or two's time, admitting the vibrant bassist will be missed.
Talking to NME, Fogarino said: "I don't think we're afraid to work on music without him but it's just so far away. Who knows how we'll feel in a year-and-a-half or two years."
He added: "As to whether [Dengler's talent] will be missed, yeah, how can it not be? "The band will just rely on other strengths in the future. Emotionally, it will be missed but pragmatically, no. We're all pretty capable musicians."
Interesting, yet unconvincing, words there and It's difficult to see a future for this band after the release of their self-titled album some time this year.

Album review: Benni Hemm Hemm -- Retaliate

ICELANDIC 14-piece Benni Hemm Hemm take the "less is more" approach with this glowing five-track EP.
Retaliate sounds like it barely jumps out of the starting blocks but the warmth radiating from its every pore is enough to keep the record burning - albeit slowly.
Album opener Retaliate combines feather-light acoustic guitars with delightful piano chimes that build to its pleasant finish, while Blood of My Blood follows a similar route.
Rousing shanty Shipcracks is, without doubt, the record's high point and gives the record a welcomed lease of life before the triumphant conclusion of Blood on Lady Lawson, which can only be described as breathtaking as an Icelandic waterfall.
Retaliate is a simplistic pleasure.

Pitchfork TV premiers Minks -- Funeral Song

MINKS' Funeral Song, which featured on Luminous Plectrum's week 3 mix, has received the video treatment and been premiered on the wondeful Pitchfork TV.

Minks -- Funeral Song:

The song is a huge fave here in Luminous Plectrum towers and, despite it's gloomy title and black and white, grainy video set in the scummier parts of what looks like Brooklyn island, it's been one of the sounds of the summer.
Check it out.

Interpol leak new track 'Barricades'

IT’S official. Interpol have ditched the glorious thick claustrophobia of Turn on the Bright Lights and the dry, honest sentiment of Antics for good.
Barricade, the next song to be leaked from the up-coming self-titled album, is a clean, crisp affair but it’s shamefully similar to anything from Our Love to Admire.
Is it any good?
It’s polished to an inch of its life. Paul Banks’ vocals aren’t tested too much but the quintessential Interpol rolling guitar riffs are here.
The sadly departed (from the band) Carlos D provides a tangled melange of a bassline while drummer Sam Fogarino, the band’s secret weapon, keeps the song ticking along at a frantic pace.
It’s not a bad song, a grower for sure, but it’s nothing new.
I’m not holding out much hope that the new album is going to be anything more than a half-arsed, mediocre effort.
From a band that could have had the world at their feet in 2004, to this – it’s massive shame.

Interpol -- Barricade (from the up-coming self-titled LP)

Album review: The Drums -- The Drums

Better late than never, eh?
HYPE can either make or break a band. In the case of four-piece The Drums, the hype machine has gone into overdrive.
Luckily for us, it’s done little to alter their ability to make refreshing, joyous music.
Last year’s superb Summertime! EP showcased The Drums as perfect pop-making machines and gave us some of the songs of the year in Submarine, I Felt So Stupid and breakthrough hit Let’s Go Surfing.
The EP, though released in October, propelled UK listeners to a warmer place and now the summer’s actually here, let’s see if their debut long player matches the standard they’ve set themselves.
Sadly and surprisingly, there is no place for Submarine or I Felt So Stupid, but the fantastic I’ll Never Drop My Sword and Me and the Moon make a much-welcomed appearance.
Album opener Best Friend is arguably one of the best pop songs of the year. It’s drenched in Morrissey-esque melancholy - lead singer Jonathan Pierce wails in his distinctive vocals “you’re my best friend, but then you died” - with a rolling, infectious drum beat and the most simple of guitar riffs. Its charm is in its minimalism.
Throughout the album, most of the songs revolve around the theme of love.
Me and the Moon tells of a stressful and turbulent relationship that keeps on rolling because of the undying love for one another and the majestic Forever and Ever Amen shows The Drums at their fullest, with Pierce triumphantly declaring that he and his love are unstoppable - it's going to last “forever and ever and ever and ever.”
There is a downside to the album, for all its high points. We Tried seems rushed and should have been titled We Tired. It could easily have been replaced with, say, a meatier cut like Submarine.
It Will All End In Tears is the album’s stand out track. It’s not quintessentially Drums-y. It’s strained rather than airy pop and shows Pierce at his most vulnerable, fearing the death of a relationship. The music is reminiscent of Joy Division, (think Closer), and early New Order and without doubt takes strong influence from their 80s counterparts.
The album concludes with The Future, the album’s biggest and most layered effort.
It’s an ideal way to round things up but ultimately leaves the listener wanting more.
Pierce’s vocals climb higher as the song progresses and the jingling glockenspiel in the background shows the band isn’t afraid to tap into its creative side. It's also the only song on the album that's co-written between Pierce and Conor Hanwick, so hopefully we can look forward to what Hanwick has to offer in, well, the "future". It’s another highlight.
But this leaves us asking what’s next for The Drums? Surely another album of summery pop isn’t going to work? The worrying aspect is their lifespan. How can they progress from this? It’s an interesting question and if they’re going to want to obtain longevity, they’re going to have to tap into originality. They’ve admitted themselves they’re not an original band, just trying to bring music back that shouldn’t have gone away in the first place.
This is ideal for the time being, but isn’t going to “last forever and ever and ever and ever.”
Now though, Pierce and co have the world at their fingertips and there's no sign they're going to let that slip.

Let's Go Surfing:



Best Friend:



Forever and Ever Amen:

Rated Records round-up: Minks, Best Coast, His Clancyness, !!!

Minks -- Funeral Song (live at the Union Pool)



Quirky power pop at its best in this live performance of Funeral Song.

Best Coast -- Boyfriend



Enthralling, gorgeous sounds from low-fi girl group Best Coast.

His Clancyness -- Summer Majestic



One of 2009's great revelations has released this pulsating piece of majestic pop.

!!! -- AM/FM



!!! give us a taste of what's to come from the up-coming Strange Weather Isn't It? with AM/FM - a chilled-out funk-fest.