I have heard rumours that a relatively large world event has occurred today, and I'll be honest, Single of the Week doesn't quite measure up in terms of magnitude. However, it will have to do as light refreshment, with releases from Miles Kane, Sarabeth Tucek and The Computers, amongst others. Following on Kentish Fire's success last week, taking 48.91% of your votes, and Purity Ring following second with around 18%, I can offer everything from shoegaze to Detachments, with a very heavy emphasis on the sixties this week, both for better and worse. Get voting at the bottom and try to power through those Bank Holiday hangovers.
The Computers - 'Music Is Dead'
Photobucket Writing music that successfully shits all over the generic, boring synth-led tat that we're beginning to accept as the current standard, The Computers have released a brilliant, punk-pop hit in the lineage of The Buzzcocks that celebrates the sheer balls of decent rock'n'roll. The throaty, Jon Spencer vocal and sparse, garage drumming show a firm two fingers to the establishment (whatever that is) and follow on from contemporary bands like The Vaccines by celebrating the heritage of the Beach Boys and the Ramones. Bollocks to disco and electronica.
Detachments - 'Audio/Video'
Well, bollocks to electronica until you listen to this. Produced by James Ford, his influence is obvious in the meandering keyboards, but then there are hints of Bowie, Joy Division and Parisien underground; this isn't an easy track to pin down. The vocal is pretty reminiscent of Faris Badwan, with the deep, sombre tone reflecting the morose techno, which sounds a lot better than my description. We'll stick at 'very Depeche Mode' and leave it there.
Miles Kane - 'Rearrange'
Miles Kane is very much the indie golden boy of the moment, which can only mean that the inevitable backlash is brewing. Not here though; no matter how derivative music is, if it's catchy as hell then it'll be popular. So sixties it would make Paul McCartney's plastic face ache, this is a fun, singalong anthem with the vocal doing all it can to ignore the inevitable Alex Turner comparisons. It's not necessarily big, it's not particularly clever, but it's actually very very good.
The Hit Parade - 'There's Something About Mary'
Taking bubblegum melodies to a fruitier, jaw achingly twee new level, courtesy of the Gideon Conn voice and harmonised chorus, this is almost pushing on skiffle as the sixties revival stutters in earnest. I'm quite a cynical, horrible person so this verges in irritatingly too sweet, but the fact that I'm still humming it two hours after first hearing it suggests that inside I’m probably a big softie, or some other ridiculous cliché that doesn't really mean anything.
Sarabeth Tucek - 'State I Am In'
> Based purely on one listen of this track I bought a ticket to see Ms Tucek at the Brudenell this Saturday, without quite being able to put my finger on why. By the third listen it was increasingly apparent that I've fallen head over masculine heels in love, with 'State I Am In' representing the laconic, nihilist daughter of Best Coast and Alanis Morisette. Which I personally think is freaking awesome. Although please insert someone cooler and more alternative than the latter if you deem it appropriate. I think you'll struggle to find anyone cooler than Sarabeth herself though.
Joana & The Wolf - 'Hide Me'
Kate Bush, Anna Calvi, Esben and the Witch- this is the big year for powerful female vocals, and Joana & The Wolf is ripe to be added to the list. From the concluding choral arrangements, and the urgent, chase guitars, there is a sense of occasion to the track, and a great level of production which informs the tension of the song. Steering clear of Twilight and perhaps fitting a gothic Little Red Riding Hood (before the dire pisspot of last month's film), there is a definite theatre and drama to 'Hide Me', which coincides perfectly with the anxiety it inspires.
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