Last week saw The Kabeedies romp to victory with your votes, trumping my choice of Melodica, Melody and Me's 'Come Outside' with a whopping 74.81% of the vote, a solid 550 votes ahead. Not what I'd call a close one. This week is grunge-heavy, with Yuck and Japanese Voyeurs releasing new tracks, amongst efforts from rapper Rowdy Superstar and camp, catchy 80's nostalgia from Foster The People. Our favourite single out though is Kitty, Daisy & Lewis with 'I'm So Sorry'. Celebrate Record Store Day with The View, then enjoy this fully interactive and digital competition (in no way helping the cause, my bad) by voting at the bottom and letting me know what you think, and possibly attacking me for my ill-informed aggression. I should warn you, there is a lot of hatred directed at Tinie Tempah in this article. And The View. I'd like to apologise in advance, but then I'd appear weak, so I won't.
Kitty, Daisy & Lewis - 'I'm So Sorry'
Photobucket It's lovely and sunny outside, the ludicrous Royal Wedding is approaching, and the Glastonbury line-up is out and not too shabby; it would be silly not to choose Kitty, Daisy and Lewis as our Single of the Week here at The 405, what with being fans of brilliant songs and brilliant videos. Ignoring the current popularity of angst and misery, the three piece have released a slice of absolute sun-burnt gold, replete with trumpets, swing guitar and real originality. It took a couple of viewings just to comprehend the video; filmed in reverse it is incredibly clever, and perfectly in keeping with the quirky, feel-good aesthetic of the track. There is a DIY feel in as much as this is a band who are operating outside of any corporate motivation or looking to pander to a specific audience; this is a hugely talented group, apparently living in the 1950s, and yet making dance music for 2011, just without the MKat. Shits all over dubstep, that's for sure.
Yuck - 'Get Away'
Now I know what you're thinking- I was a big fan of Cajun Dance Party, but now I feel a little more grown-up, I'm a little more cynical, and fireworks are just a bit of a pain in the arse. And all that stuff about amylase was frankly inaccurate. Well, here are Yuck and a shot in the arm to the British guitar scene, matching The Pains Of Being Pure At Heart and all their introspective lyricism, but beating them in terms of sheer exuberance. CDP always had a knack for finding a killer hook, and Yuck take this trait and apply it to late-80's grunge, reminding us why the Pixies are still so influential. There's Pavement, there's even dabblings of Sonic Youth, and it testifies to the proof that no matter how arty and delicate a song may be (I'm looking at you Thom Yorke), nothing is better than an anthemic chorus and blinding guitar riff.
Like Tinie Tempah, if Tinie Tempah had some vague talent and didn't write possibly the most inane songs of all time. Like, seriously? I'm still waiting for it to be exposed as an elaborate hoax, involving Brit awards and ludicrous Lucozade Sport adverts. Rowdy Superstar is fresh from touring with Patrick Wolf, performed at Rough Trade over the weekend with CocknBullKid, and is frankly doing everything right on the road to widespread success. Apologies for the video quality, but you get the idea. You can genuinely see this song going far, as it manages to be both widely accessible and irritatingly catchy. I haven't been able to get it out of my head. In a week. There are easy preconceptions to make about the British grime scene, but Rowdy Superstar is an artist who is writing fun songs without appearing contrived and vacuous.
Foster The People - 'Houdini'
Basically this is a very fun song. It is like the dancing son of Scissor Sisters and The Naked & Famous, based round thumping piano and harmonised chorus. As much as I don't want to like it, I'm a big fan of cheesy 80s music, and this is the missing link taking Dexy's Midnight Runners to Passion Pit, and just about succeeding in steering clear of Mika.
The View- 'I Need That Record'
I Need That Record by The View Right, we all know that Record Store Day is a fantastic event etc, I can get that out of the way early. But why on earth is this the official anthem? RSD celebrate all that is good about independent music and attacks the monopoly of generic and derivative pop music, and the unfortunate spread of unbelievable idiocy through the mainstream's musical consciousness. As in, impossible idiocy. Tinie Tempah? That fucking song about being like a G6? Everyday I'm shuffling? The words sick, my, own, in, mouth come to mind. However, it's an unfortunate coincidence that the cover released to celebrate everything original and talented is just so dire. This was a B-side for The Tweeds, in 1980. Has nothing better been released in the past 30 years? The View have headed back to the 60s, shat on the Rolling Stones, then cleaned up on the Beach Boys. I'm a big fan of the vinyl as a concept, but not once would I claim to have 'grooved' along. This is wank. Rant over.
The Heartbreaks- 'Jealous, Don't You Know'
Epic guitar balladry, taking military drumming and fragile guitar work and building a sense of urgency and intrinsically English nostalgia. Checking Suede to The Smiths, as broad as I know these comparisons are, the awkward, impassioned vocal does the work of selling the track.
Two Wounded Birds - 'All We Wanna Do'
Just under two minutes of power pop, very much in the lineage of The Ramones and subsequently The Vaccines. You have the slightly distorted vocal, thrash drumming and even the falsetto coo of the chorus. Released on Moshi Moshi, this is a very timely reminder that good guitar music is making a comeback, and fortunately the '70s have more influence than the early '80s.
Japanese Voyeurs - 'Get Hole'
There is an unwritten rule in the school of sexism that every half-decent female-fronted grunge act have to be compared to Hole. Done. Now that's out the way, this is a fantastic single from the London five-piece, as much as they sound like they're fresh from Seattle. The vocal makes this song the gem that it is, the oh-so-innocent gurgle of Romily Alice epitomising the subversion and wit of the genre. This goes way past simple aggression and noise-pop, creating an eerie and painful song which frankly stinks of potential.