This page contains a Flash digital edition of a book.
Te Fratellis


We Need Medicine (BMG Records)


Similar to a fine wine, 2006 was a good year for music. Whilst Gnarls Barkley dominated the charts with ‘Crazy’ and Nizlopi annoyed most of the public with their JCB Song, Te Fratellis released Chelsea Dagger, a song easier to sing when spangled on a Saturday night, then when actually sober. After their debut, ‘Costello Music’, spent three weeks at number two, the excitement surrounding the band quickly dwindled, Chelsea Dagger was reserved for the Indie Disco and football terraces, and their second album, ‘Here We Stand’, didn’t receive as great a response as its predecessor. Now, they’re back, with new album ‘We Need Medicine’. After an indefinite hiatus ended last year, the trio return to try and pick up where they left off in 2009. However, they’re acting like the last four years didn’t happen and their sound has become stagnant. Despite what the lyrics may be depicting, all the songs leave a sickliness, like eating too much candyfloss at the fair then taking that ill-fated go on the Waltzers. It’s hideously littered with clichés too, such as “we need medicine and we need it now, to get us to the end of time” and other confusing moments. Despite having brief moments that can only be described as ‘nice’, these prove little treatment for the majority of ‘We Need Medicine’. Whilst 2006 may have been a fine year for music, that wine has since corked and we have all moved on to a different beverage.Will Nixon


42 /October 2013/outlineonline.co.uk


an Accident (Prescriptions / PledgeMusic)


Future of the Left How to Stop Your Brain in


It could be said that after two game- changing first albums, FOTL kind of ate their own shit on the third. So buoyed were they on the praise they’d received from the music gobbling community that they stuffed themselves so full of their own formula that it became contrived and tawdry. Oh, and someone from the band had fucking ransacked Cash Converters for all the synths they could find. Te band turned to the Pledge crowd-funding community for the cash to fund the fourth, but would the fans write off the 3rd as a blip, and get behind them? Tey did and thankfully, they’ve been repaid, as ‘How to Stop Your Brain…’ is a return to form, as acerbically witty as ever and with a brutality restored to the music. Tat’s not to say they’re scared of mixing a bit of melody into their post- hardcore explorations of sound and form. It’s at its most satirical on ‘Singing of the Bonesaws’, which plays out like a Charlie Brooker-ised manifesto on the MTV- isation on our nation, made so much more fervent by the rolling bassline and energetic bursts of lead guitar. It’s completely pared back on opening track, ‘Bread, Cheese, Bow and Arrow’, which Andy Falkous spits his delivery of over in Beastie Boys-esque style over instruments that are used only for rhythm, not colour. It’s a strong opening statement for sure. Te whole album is totally unafraid of pace and on this one, melody is used to highlight, not simplify. Stormin’.Emma Garwood


Kathryn Williams Crown Electric


Kathryn Williams looks like a very nice lady who probably enjoys a cup of tea and a craft fair. Tis is her 10th studio album, and it's named after the company that first employed Elvis Presley. Not sure really what that has to do with this album, but hey, trivia, right? She's worked with some well famous people like Sandie Shaw and John Martyn so she's obviously a name to know in the word of gentle folk. It's a very restful "ladies" album, the sort of thing to listen to while you bake, or play quietly when your lady friends come over to talk about their problems and whatnot. It's full of emotions and tracks called things like 'Arwen' and 'Tequila'...you know, stuff 'ladies' like. She sings of being brave enough to be yourself, and of trusting a new partner, all laid over her acoustic guitar, beautiful string parts and occasional brass. It reminds me very strongly of Rumer, and also of a kind of English Charlotte Gainsbourg; in fact, she is VERY Gainsbourg... but somehow it loses something somewhere. Te words she chooses to use are very simple, very everyday, there's not much lyrical beauty; "working so hard, I'm all burnt out", - it's a bit dull. I feel that she needs to feel free to really go mental and let it all out. It's rather British and repressive - still, perfect for Mother's Day innit. Lizz


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64