Fenrir- ‘Live Like Royalty’ EP (08/09/2012 –Self Released)

Fenrir, an alternate Rock band from Suffolk, who were formed at the tail end of last year, and have spent the last six months recording ‘Live like Royalty’ at Hidden Track Studios in Folkestone with producer Oliver Craggs, who worked previously with Feed The Rhino. The quintet have been touring constantly under the influence of their various heroes, such as Deaf Havana, Maroon 5, Paramore, Patrick Stump and Foo Fighters.

Artwork

    The EP shoots into action with the punchy and rhythmic ‘Haven’t You Heart It Yet?’, which is made up of strong vocals from frontman Ben Slater and an obvious tight musical connection between the members. In fact, the instrumental, tender breakdown towards the end of the track mirrors the likes of a You Me At Six ballad, which sadly begs the question of how unique Fenrir actually are.   

     ‘It's Not Quite the End of The World (But You Can See It From Here)’; is not only a horrendously long song title, but also the most unapologetic twin of a well-known Lostprophets song. But it is now where near as big as the Welsh Rock heavyweights achieved. Fenrir come across as so caught up in their influences, that they forget to pin-point their own style at all. This track is nothing more than a gang-vocal heavy blend of Foo Fighters’ and Lostprophets’ finest moments.   

     Unfortunately, this trend fails to deteriorate in penultimate track ‘The Puppeteer’, which despite its use of various effective musical elements, such as a wide-range of vocal techniques, assorted melodies and volume changes, is just another replica of some great Paramore and The Blackout tracks. Fenrir clearly know their inspirations by heart, but the lack of personal or honest emotion in their compositions come across stronger than the respectable features nabbed from the brilliance of their muses.

Fenrir's logo

    The fact that final track ‘Click’ follows in the limp footsteps of the other tracks of ‘Live like Royalty’ is no surprise. But what is surprising is the fact that Fenrir clearly have a vast array of musical gifts between them, but banish those talents by failing to be rare in any way.

1/5

Mumford & Sons- Babel(21/10/2012- Island/Glassnote Records)

    Mumford & Sons were formed back in December 2007 and after their first album ‘Sigh No More’ reached number one in the Irish and Australian album charts, and eventually peaked at number two in the UK after selling over five million copies, the band were propelled into the limelight. Having already been awarded the ARIA Music Award for Most Popular International Artist in 2010, the Brit Award in 2011 for Best British Album and a European Border Breakers Award for their international success in 2001, the Indie-Folkers had a great deal riding on their second record.

   Unusually, Markus Dravs produced ‘Babel’, who has worked previously with Coldplay and Arcade Fire, begins with the title track, which is full of the most stunning echoed harmonies and the leading banjo Mumford fans are used to. Marcus Mumford’s voice is full of soul, potency and intensity, but still retains a sentimental and honest element through his nature-associated lyrical choices ‘Winds will howl…slip into the clouds.’

Artwork: 'Babel'

     Although there is a similar structure to each track on the album, each is powerful enough to potentially stand alone as a single, which is something very rarely found in an album. Each song breaks down towards the end, which constantly works extremely well because of Marcus Mumford’s wonderful vocals. And let’s face it; you know you found a good song when you’re disappointed when it ends!

    The relatable lyrics in ‘Whispers in the Dark’ come across as compelling and full of passion because of how fervent the instrumentation is; ‘I’m worried I blew my only chance.’ Despite how potent ‘I Will Wait’ is, it is difficult to decipher it as the album’s single because of how effective the entire album is. However, the track was released on the 7^th of August this year and peaked at number twelve in the UK Singles Chart. The track is as lurid, yet fresh and organic, despite its ‘I Would Do Anything for Love’-esque piano sections. But as listeners have come to expect nothing but perfection from Mumford & Sons, that is what is delivered, with the most descriptive and hard-hitting lyrics, ‘Paint my spirit gold.’

Mumford & Sons

    Through ‘Holland Road’, Mumford & Sons have proven they are capable of something very unusual; they have managed to not only preserve their unique style, but also seem as refreshing as ever. They have more than broken the cliché of how difficult releasing a successful second record can be after an excellent debut.  Additionally, ‘Ghosts That We Know’ begins with an almost acapella style, that is sharp but very gentle through its harmonies, and is driven by the most sensitive and moving lyrics; ‘‘I’ll give you hope all of your life, just promise me we’ll be alight.’

    Piano-led ‘Lover of The Light’ is something quite unusual for the band. Yet it is still has a flamboyant, gorgeous rhythmic melody that evolves into involving more instruments and a dramatic finish. The start-stop motion of ‘Lover’s Eyes’ is so captivating, and when intertwined with various rhythms and melodies onto of one another, you can’t help but keep listening. Mumford & Sons have composed something as classic and reliable as a Bible to a Christian. Speaking of which, the number of sweeping Biblical references in ‘Babel’ is astounding, but what is even more astounding is the fact that they fail to isolate the listener if they aren't that way inclined.

    Rustic and Indie, ‘Reminder’ and ‘Hopeless Wanderer’ are worlds apart of the bulk of popular, auto-tuned, white-wash music. The tracks are full of melodramatic build-ups, various breakdowns and constant shifts from eerily calm to downright erratically loud at times. The anger of ‘Broken Crown’ (so anger fuelled it uses a certain F-word!), but still manages to merge perfectly with the tender notions of ‘Below My Feet.’ In fact, it is so mellow yet intoxicating; it’s almost hymn-like.

    The multi-instrumental quartet bring ‘Babel’ home with ‘Not With Haste’, which certainly does what it says on the tin! But is is still as provoking and undeniably full of heart. Like the rest of the album, even when emotional, it is toe-tappingly warm and comforting somehow. ‘Babel’ is a modern Folk classic, and so much more than a hoe-down soundtrack.

5/5

Blaqk Audio- ‘Black Bright Heaven’ (24/09/2012- Superball Music/Big Death)

     Ever wondered what the Pet Shop Boys and Patrick Wolf would sound like together? Well Blaqk Audio are the answer. The band’s origins lie primarily in electronic dance music, inspired by the likes of Depeche Mode. Blaqk Audio’s line up consists of Davey Havok and Jade Puget (current members of AFI),who never considered the band as a side project, and pride themselves on the music they having been creating since last September.

    ‘Black Bright Heaven’ is perceived by the band as an expansion of their debut ‘Cex Cells’. But fundamentally, the album is repetitive and a little limp considering if is dance music. There seems to be very little emotion or sentiment thrown into the interesting mixes in ‘Cold War’ or ‘Fade to White’. However, the use of vocals in ‘Faith Healer’ really steps up and is more captivating, along with a simpler song structure.

Artwork

    Blaqk Audio make use of their inspriations throughout their work, and the pop and electronic blends fit together well in tracks like ‘Deconstructing God’. Although the vocal tones are quite Rock-based, the Dance style elements are similar to some of Radiohead’s work. However, ‘Everybody’s Friends’ is almost identical to the beats found in the biggest clubbing songs around.

   At times it seems a shame Blaqk Audio want to tamper with decent vocals by adding cyclic components and excessive editing techniques. Lyrically, the album lacks any kind of strong theme or storyline, aside from sex and relationships in general, which makes it difficult to engage with. The song structures of some tracks are also hard to follow. Blaqk Audio need to pinpoint what type of electronic dance band they are aiming to be, as some of the Dance style sounds are quite strong and swift, whereas some are unhurried.

   The synthesised parts of ‘Bliss’ and ‘Bon Voyeurs’ pick up the pace somewhat, but it is clear that this Electronic-Rock album was not written to specifically appeal to fans of AFI. ‘Say Red’ is so hasty that it reflects the idea that Puget and Havok are getting their love for electronic music of their chests without actually creating anything spectacular. However, the harmonies and dance elements work very well together and bonus track ‘Lit Ships’ provides a beautiful piano led finish.

Blaqk Audio

    Blaqk Audio is essentially a secondary project for two members of a successful Rock band, and appears to be unpolished, under-produced and lacking in emotion severely. The best song the album has to offer is the bonus track which is made up of piano, vocals and gentle backbeats.

1/5