Man Man / On Oni Pond (album review)

Man Man’s fifth album is very possibly the band’s most cohesive work. There remains enough of their essential and defining madness to satisfy the long term fans, and there are some of the band’s strongest songs to date here. The band has already amassed a wildly exploratory catalogue that would make many a band blush, as it has constantly come across as looking for something. Whether the members of this band found it or not is another matter, but it’s good to know that five albums into their career they seem as driven as ever, just a little more focussed, mature and direct. The journey from A to B isn’t defined by arriving, but the path taken, the landscape on the way, and the entire experience of the moments in between the two points, and this band has ever made the journey fun.

So, On Oni Pond arrives on the heels of a magnificent single, ‘Head On.’ To follow that wasn’t easy, but for the most part this record impresses and shares a lot of fun with the listener. It definitely includes some beautiful and soulful moments therein. It really is hard to see how the band isn’t better known. I can only suppose being unique and having talent and a compass that takes you away from the masses is not something that is appreciated anymore. It once was, but now a band such as Man Man can only ever live on the edges.

The fleeting and sombre fanfare instrumental kicks off proceedings nicely and from that moment forth the band shows its range and versatility of song writing. It’s a nice opener and leads perfectly into ‘Pink Wanton’ which has an amazing upbeat summer vibe with classic old fashioned female backing vocals. Honus’ lyrics create an assorted bag of images and thoughts. There are other highlights, to accompany the first single, there are a few weaker moments, but mostly it is a jaunty and highly enjoyable listen. Honus Honus’ voice is sharp and soothing, in its own madcap way. The instrumental exploration remains something that further entertains the listener. There are times when you never quite know what they have thrown in there. The brass and string parts work wonders.

If I have to give it a mark then I’d say 8 and a half out of 10. I still feel they can do more, still feel they have something better in them, but they are definitely getting closer. A band whose career is endlessly interesting, which to be frank is quite a rarity. Keep watching; in fact, don’t take your eyes or ears off them for a second.

'In Utero' Turns 20

In the history of popular music Nirvana occupies an increasingly important standing. As with Hendrix some decades earlier what it achieved in a short space of time has lived with us and will continue to do so a long time afterwards. When I heard some months back that Nirvana might reform with the unique and talented PJ Harvey I thought it was one of the single most fascinating pieces of music news I had ever read. I could only really see someone like her replacing Cobain. She had the relevant howl and screech that someone needs to pull off the vocal parts that Cobain had penned in the early nineties. Very few could have filled such a large pair of shoes and not looked stupid. Okay, so it didn't happen, but what a thought it was. It reminded everyone just how relevant Nirvana is today, how much many of us still want and adore the band.

In the grand scheme of things, popular music misses Cobain, and the band's small catalogue is a thing of intense scrutiny and inspiration, not to mention strange beauty. 'Nevermind' or 'In Utero'? It is an oft recurring question. For me, it has only ever been the same answer. That album this month turns 20 years of age. It is as stunning today as it ever was, in fact, even more. It feels like a passionate response to the popularity of 'Nevermind,' as if Cobain and co. were saying 'if you like that, then we are going to do this instead!' They had the winning formula, but for a band of such talent to copy the blueprint it had created was all too boring. 'In Utero' gripped me from the very beginning. There was something more human, ugly, and real about it. It was the sound of a man in pain, recording his inner torment, and I hate to say the sound was unbelievably good, but it truly was. It's easy to pick out songs, singles, special moments, but the whole as one big, noisy, tender and well constructed album is astonishing. From start to finish it is a masterwork, and looking back the perfect epitaph. The dynamics are more urgent, the tone is darker and some of the lyrics are the greatest ever. I understand why 'Nevermind' is considered the greatest for many, but for me the challenge of this record, released in September 1993, is what makes it greater. It feels like a more honest depiction of the band and its leader. The listener is pushed into a territory less comfortable, and has to come to terms with possibly not escaping unscathed.

It's a full on blow to the senses, and it still doesn't really sound like anything that had come before or has been made since, even though it is the ever popular genre of rock music. It makes you wonder what Cobain would have sounded like today had he continued shredding his voice in that compelling way that sucks you into the records. Everything here is perfect, from the voice and guitar to bass and drums, the lyrics and changes in volume to the way it picks the listener apart and leaves you changed forever. It is music of the highest calibre. It is life changing, tragic, golden and utterly brutal.

Nevermind what others think, 'In Utero' is the definitive Nirvana. The extended deluxe anniversary release of the album can only serve to demonstrate how good the band was at that time. It was the band's peak, it ended all too soon, and it won't be forgotten within the context of the pantheon of popular music, and nor should it be.

'In Utero' is 20 years old. It's one of the all time classics, go and give it a listen now!

Arcade Fire / Reflektor (single review)

I am pretty sure right now as I write I am listening to the new Arcade Fire track, 'Reflektor.' It sounds as spectacular as only this band could. It has voices that are as unique as those of Win Butler and Regine Chassagne, and yes, that DOES sound like Mr. Bowie. Surprisingly, it is an eight minute opus, is completely based in the roots of dance music, and is a total challenge from the start. That is no slight at all on the track, I mean that with the utmost respect. So, the track has a murky and confusing opening, a dance beat kicks in, a drifting saxophone in the distance, and Win Butler's voice, gentle and romantic, filling the room. When his wife Regine starts singing it begins to suck you into the Arcade Fire's universe. It is dramatic, incredibly bright and colourful, the sections are well defined, the whole thing gently coming in and out of your ears, building, exploding into some kind of chorus. The dynamics are mind blowing.When the piano taps in at the 5 minutes and 30 seconds mark only then does this song begin to sound like a complete classic for these times. In fact, it feels like a potential life changing moment, from this band, again. There are goosebumps, and despite wanting to wait until 9pm tomorrow, it was just too irresistible, and to be frank, given what I am listening to it is not even remotely surprising.

It's testament to how good this set of musicians is that they can evolve into such different musical territory and yet somehow make the transition seem totally fluid and seamless. Let us not forget for the best part of ten years this has been an alternative rock outfit, only landing anywhere near this kind of territory on the latter stages of 2010's 'The Suburbs.'

Welcome back to the Arcade Fire. It's hard to think of many bands that are even remotely close to this kind of platform, for ideas, for execution and for ability. Long may the band reign, for it is a gift to us all. So, the majestic build up towards tomorrow's first airing was somewhat sabotaged, but let's be honest, they pulled us in before we had heard a note, they have us dangling on a thread, and this, well this is more than anyone could ever have expected. It is remarkable when a band like this comes along, it needs acknowledging while they are still in action. You never know what you've got until it's gone, perhaps this time we shouldn't make that mistake.

September 8th, 2013 (Dominic J Stevenson)

Reflektor 9.9.9 (Arcade Fire News)

The wait for new Arcade Fire material has at times seemed torturous. The slow and painful build up, similar to that of Daft Punk earlier this year, has been akin to the greatest advertising campaigns I have witnessed in the history of music. The first brief video (including no real discernible music) had the word 'REFLEKTOR' being written onto a blackboard. That was the only old fashioned thing about it - a black and white video with a blackboard and chalk. Then, this past week short videos and announcements have left the new music on the mind of many a music fan. It certainly does build up the excitement around a band who has already delivered previously on multiple occasions. So, for those who love the band, and even beyond, this has become something to incite great waves of interest. A new Arcade Fire release is a special moment. For surely the band has become one of the most significant and one of the best of this side of the millennium.

So, to 9pm on September 9 (9/9, this imminent Monday), finally the new song with its accompanying video can be witnessed, processed, absorbed and probably admired the world over. This again defines the way music now reaches us and is enjoyed. Okay, so I thought perhaps people had been tricked into believing the album was to be called 'Reflektor' and that maybe it would be the title of the first single. From reading other sources it appears to be the name of both, though definitely the brand new lead single to be lifted from the album, released on the final Monday (Tuesday in the US) of October.

What can we expect then? Arcade Fire is not a band that really lets its fans down. The standard of all three of their previous long players is exceptional, and they are works that have genuine heart and soul, cohesion, and identities. There are powerful themes of love that carry a weight of values, of the beauty of the world and the tragedy that goes along with it. It is simply a band for the times. Having seen the band live on numerous occasions it is hard to think of a set of musicians whose performances are so life enhancing and loaded with intense rays of passion. I have no idea what the new album will sound like, as each of their previous efforts has had its own unique sonic palette, though always staying true to its roots and sounding like it could only be the Canadian band, but I feel sure it will be spectacular. Win Butler's herculean vocals always sound like he is sweetly or frenetically carrying us toward the end of time, the musicianship of every member is phenomenal as the group constantly switch instruments, and together they form a unit that is so tight they know when they have stumbled upon beautiful and magical sounds. They just know somehow. We know this though - less information, more intrigue, ever growing curiosity, until people are talking and the interest is finally satisfied. The cloud of mystique is what makes this all so much fun.

Monday is indeed a special day. This is a band that cares, that gives money to charity, that seems less interested in so many of the mundane aspects of modern life, and really can enhance our own lives positively. The wait for the new song is almost over. Long live Arcade Fire!

Man Man / Head On

I want to start by saying that 2013 has become a splendid year for music. There have been more than a handful of exquisite releases, and beyond those masterpieces many other quality records and songs. This song, however, deserves a special mention. It's the first single that in my mind merits me dedicating a full blog to (in The Musical Garden), and is the first release taken from the imminently released 5th album by the American band Man Man.

Now, the classic song is not easy to achieve. In fact, I often think about which are the classic pop songs of all time. Time is indeed a factor. It isn't easy to know how a song will age and then stand up twenty years or so later. There are songs by REM, The Smiths, The Beatles and a whole host of great songwriters that only seem to grow and improve with age, and perhaps this will be one of those songs of the future. Yes, it's that good.

The 4 minute pop song, 'Head On,' has everything, from sentimental lyrics to both a catchy verse and chorus, from delightful instrumentation to a fiercely beautiful and husky growl from the singer who in the past was not always capable of harnessing his talent, both as a songwriter and singer. Not only does the song have perfect verses and a chorus to match, if such a thing is even possible, but it has one final section, the middle eight, before the final repeat of the chorus takes the song towards its end. This section builds gently through the urgency of the vocals and drums and effortlessly merges into the final chorus, and once again it is utterly sublime.

Perhaps the wide eyed and fickle music buying public will mostly never even know about this masterful cut of pop music, but regardless of who it reaches here is a song with every chance of one day possessing the title of 'classic pop song.' All we can do now is await the album it was lifted from and hope the band managed to somehow make a cohesive piece of work to a similar standard. Once upon a time, this band was made up of endless ideas and a resulting messy feel to its records, but as it has aged it becomes a band capable of increasingly beautiful yet still challenging music, maintaining its identity but somehow pulling the reins in and displaying some focus that it once lacked.

So, to Man Man, for making a thought-provoking and heavenly piece of pop, in an age filled with all too mechanical methods. They prove that the heart beats louder than anything else.

Man Man release 'On Oni Pond' on September 9th and 10th, 2013, depending on where in the garden you grow.