Years- All We Have Is Now (July 2011)

    Years, formed in Manchester boast influences from Rock and Pop Punk heavyweights such as Jimmy Eat World, You Me At Six and Paramore, and have played shows with the likes of Save Your Breath and Man Overboard. The EP, ‘All We Have Is Now’ was recorded in July this year in Stockport and the band claim they are all ‘very proud’ of the final outcome.

           Their influences are more than clear from the get go with first track ‘Here’s To You’. Although they are musically capable they fail to stand out from other emerging pop punk bands. Although vocals are strong they have yet to define themselves as a band collectively, and overall, their sound is very similar to We Are The Ocean. It also appears that the band are used to playing live shows and their songwriting is formed around crowd pleasing aspects for future performances but are currently characterless as a band.

     The introductory melodic elements of title track ‘All We Have Is Now’ are beautiful if a little repetitive, particularly because vocals do not kick in until almost a minute into the track. Again, influences are incredibly clear once again, specifically in relation to the Paramore track ‘When It Rains’(Riot, 2007). Additionally such a gentle backbone of melodic work does not bode well with such a deep, and frankly hit and miss and emotionless vocal. Yet it is clear that the band have put a great deal of time and effort into this track in particular as it is the best produced. It also depicts the vocalist’s skill better than the remainder of the EP put together.

Years' artwork: 'All We Have Is Now'

     ‘Runaway’ begins with heavy inspirations from You Me At Six, and their track ‘Stay With Me’(Hold Me Down, 2010) in particular. Although Years’ vocalist is alike to We Are The Ocean’s, Years’ sound fails to be as epic or interesting. The vocalist may also have a groundbreaking vocal range, but it is never utilised, which makes each track appear very monotone and rather generic.

      Years have done well with regards to track positions, with a good mixture of ballad based songs and their more upbeat work. However, ‘Hide And Seek’ is limp and may not highlight the band’s abilities or potential. ‘Waiting’ is a nice attempt at a big ballad finale but even with gang vocals, it fails to excite and is, in fact, monotonous.

      Overall, Years are in desperate need of discovering their identity and not relaying on their influences from such world renowned bands. Also, being more specific and personal when it comes to songwriting may help spark emotion for the listener because, ‘Call me whenever you need me...’ are dry and dreary and very conventional, but for all the wrong reasons.


2/5

Lostprophets–Liberation Transmission (26/06/2006-Visible Noise)

      Lostprophets were formed in 1997, in Pontypridd, originally as a side project post hardcore band known as Public Disturbance. As it stands, Liberation Transmission is Lostprophets’ third of four albums released to date and has gained them various Kerrang! Awards and nominations peaked, at number thirty three in the Billboard 200 Chart and went Gold in the UK with over 27,000 copies sold. Approximately a year prior to the official release of Liberation Transmission, founding member and drummer Mike Chiplin left Lostprophets to pursue ‘other musical opportunities’. The album’s artwork which reads ‘Nobis Pro Lemma Vobis’ which loosely translates as ‘For us, for them, for you’, a lyric taken from the band’s 2004 single ‘Burn Burn’ from previous album ‘Start Something.’

     Liberation Transmission opens with the thunderous ‘Everyday Combat’, which sets the listeners sights high for the remainder of the record. Made up of a pop punk style chorus, ‘walk on streets, on fire...’, guest screaming vocals from Sean Smith (The Blackout) and a thunderous guitar solo or two. The track commences with the ear splitting sound of speakers being ignited, setting the scene for a loud listen. Perfectly arranged, with a call and response dynamic running between faultless lead vocalist Ian Watkins, gang vocals and edgy guitaring. A pop punk/rock song with a kick is a common theme for this track and the remainder of the album and the genre hopping Welsh quintet do not fail to deliver on any of the dozen tracks. It is certainly surprisingly to learn that ‘Everyday Combat’ was not released as a single, considering the punchy without being poppy quality from start to finish, ‘don’t think you’re safe ‘cause it’s not over!’.

Liberation Transmission: Artwork

    Second track, ‘A Town Called Hypocrisy’ was sold as a single from 11^th September 2006 and consequently reached number 23 in the UK singles chart. It would have been a perfect opening to the album but as ‘Everyday Combat’ is heavier; it is easy to tell why it was chosen instead, as it is a gentle welcome to old fans used to Lostprophets’ sound from their previous two albums. Similarly to ‘Everyday Combat’ however, ‘A Town Called Hypocrisy’ is gritty, flavourful and very dynamic, ‘Save your sympathy!’, with flawlessly entwined lead and backing vocals as well as instrumentality. This track also verifies the fact that the band do not belong to any music scene in particular, yet still manage to genre hop admirably; from pop to rock to metal to pop punk.

     Despite having released ‘The Betrayed’ in January 2010, Liberation Transmission truly marks Lostprophets’ peak in terms of sound and overall production. ‘A New Transmission’ follows suit, retaining concise lyrics, ‘Take, take, take all my time all my company, take everything from me...’ and a heavy gig vibe. The band even manages a breakdown into a piano section and some ‘woahs’ without turning into Westlife, followed by a signature colossal chorus. ‘Rooftops (A Liberation Broadcast)’ is the token tearjerker for the CD yet also comes across as a ‘feel good’ summer hit. Yet by the second verse, Ian Watkins’ vocals and Lee Gaze’s lead guitar become very rhythmic, and similar to Green Day and their 2003 album ‘American Idiot’. ‘Will we make our mark this time?...always said we’d try...’ will stay with you like the common cold, and overall ‘Rooftops...’ is the natural sequel to ‘Last Train Home’ (‘Start Something’, 2004); heavy and heartrending.

     Fifth track ‘Can’t Stop, Gotta Date With Hate’ proves that Lostprophets can conjure every single track on an album to be a stormer, despite some emotional guitar at the beginning, and more than worthy at being played live, ‘Cause I see nothing in those eyes...’. ‘Can’t Catch Tomorrow (Good Shoes Won’t Save You This Time)’ is definitely the band’s most indie based song to date without a loss of the coarse vocals. Released as a single from 27^th November 2006, the track is forceful yet bright and comes full circle to a complete end, conveying the strong abilities of the band in terms of songwriting and track arrangement. They also depict the possibility of writing emotion based lyrics without ballad type melodies accompanying them, ‘Maybe someday you will know, maybe someday you will end these tears and go!’.

     Something to note about Liberation Transmission is that every single song could be released as a single and potentially warmly welcomed by fans, because although Lostprophets utilise a number of genres and styles, they have developed their sound and retained it throughout the album. ‘Everybody’s Screaming!!!’ and ‘Broken Hearts And Torn Up Letters’ are certainly no different, and with these two tracks in particular, you can hear the confidence within the band in terms of who they want to be as musicians, ‘You’ll regret it all, livin’ behind your walls and you’ll never fall in love if you don’t fall at all!’ ‘4:AM Forever’ is caresses your ears like a gentle breeze; beautiful from beginning to end, and not tarnished by a harsh chorus.

Lostprophets in 2006

    The opening of ‘For All These Times Son, For All These Times’ suggests a metal-esque track, followed by Watkins’ scream based vocal. Lostprophets are not oblivious to the power of call and response within a piece of music, and how effective it can be at gigs, ‘Lipgloss lies, doin’ the time, never gonna miss what a left behind...’.  ‘Heaven For The Weather, Hell For The Company’ is not only another excessively long song title almost on par with the likes of Fall Out Boy, but if the weakest track from Liberation Transmission had to be named this would be it, slightly limp lyrics and rhythms with other instruments. Brining the record to a close is ‘Always All Ways (Apologies, Glances And Messed Up Chances’) which marks Lostprophets’ flawless style blending, which The Blackout have also achieved.

      With metal, pop punk and rock as well as moments perfect for Radio 2, Liberation Transmission is a speedy, sentimental slap in the face in the best way possible.         

         

5/5

Ed Sheeran- + (12/09/2011- Atlantic Records)

     Ed Christopher Sheeran, from West Yorkshire is a twenty year old singer songwriter who began recording in 2005 when he was just fourteen. After auditioning for Britannia High in 2008, playing over 300 gigs in 2009, and releasing several EPs, Sheeran’s fan base swelled without connection to any label or management team.  His final independent EP, ‘No. 5 Collaborations Project’ reached number 1 in the iTunes chart, selling over 7,000 copies in its first week alone, even coining his own genre, 'acoustihop'. 

     +, Sheeran’s first full length studio album commences with ‘The A Team’, which was also the first single to be released from the album on 10^th June 2011, peaking in the UK singles chart at number 3. Although, hypothetically, a debut single is the first welcome to listeners to a debut album, this track is the most beautiful and best written on the entire compilation. Telling the story of a drug addicted prostitute and is stunning in its sheer simplicity, ‘slowly sinking, wasting, crumbling like pastries, and they scream, the worst things in life come free to us.’

     Second track, ‘Drunk’ reveals Ed Sheeran’s hip-hop edge and although he currently has a major label assisting with production, every track is written by Sheeran himself. Despite the presumption that any song with ‘Drunk’ within the title is likely to concern how wasted you feel, Sheeran opts for in depth personal emotion, ‘I wanna hold your heart in both hands, I’ll watch it fizzle at the bottom of a Coke can...’. Thankfully, Sheeran has taken notice of that fact that personal songwriting creates unique songs that are likely to help sell more records and establish an emotional connection with the listener.

'+': Artwork (A pastel drawing by Phillip Butah, London)

     ‘U.N.I.’ illustrates an interesting aspect of Ed Sheeran’s musical style, which is his rap based elements coinciding with classic acoustic elements. He has the ability to vary tempo very rapidly without allowing it to affect the quality of the track or disallowing the listener to actually understand what is being sung. He also utilises a technique that is traditionally only used by artists of the hip-hop and rap world; the use of unusual metaphorical references, ‘they’re more like tsunami tides in my eyes...’. After listening to just three tracks, it is clear, whether material from a singer songwriter is your cup of tea or not, that Ed Sheeran is a unique talent.

     Fourth track, ‘Grade 8’ cyclic, concise and catchy without need for fancy production or voice and instrument editing. ‘Wake Me Up’ is one of the most minimal tracks you will ever listen to. Although it does involve occasional strumming and chords, Sheeran employs his distinctive method of speaking in tune. Without using distinctive rhyming patterns or cheesy symbolism, this track dives into the mind and heart of Ed Sheeran, allowing the listener to understand precisely how he felt when he wrote this song, ‘And I know you love Shrek ‘cause we’ve watched it twelve times. But maybe you’re hoping for a fairytale too...’.

     The art of storytelling through songwriting is a rarity nowadays and from someone as young as twenty, it is groundbreaking. ‘Small Bump’, unsurprisingly, tells the story of an unborn child,’ you can wrap your fingers round my thumb...’ that is ‘torn from life’ after just four months. As well as his ability to break your heart with his narrative portrayals, this track also showcases Sheeran’s stunning singing voice. ‘This’ is similar in style to ‘Wake Me Up’ as there is very little addition to the timeless combination of guitar and voice, allowing the listener to comprehend the purity of Ed’s talent.

     ‘The City’ is a welcomed variation within the record, revealing more hip-hop and rap based influences, specifically, beatboxing. Along with a drumming back beat, 80s style guitar chords, piano and backing vocals, the poppiest track of the album is constructed. Set to be released this month (September 2011), ‘Lego House’ reverts back to the guitar and vocal combination, as well the occasional rapid tempo providing rap based vocals, ‘and of all these things I’ve done I think I love you better now...’. All in all, this track is stunning. ‘You Need Me, I Don’t Need You’ is also sold separately as a single from 26^th August 2011 and is the best produced track of the record and well as the most rap based; an angry song without screamo or heavy guitar riffs, ‘Does he write his own tune? Does he write his own verse?

     ‘Kiss Me’ is a calming and exquisite ballad; uncomplicated in every way but the emotion it depicts. Like the title itself, lyrically this song is fantastic, ‘cover me up, cuddle me in, lie down with me, hold me in your arms...’, ‘...lips pressed to my neck, I’ve fallen for your eyes, but they don’t know me yet.’ Although, ‘Kiss Me’ would have been a welcomed finale to the record, ‘Give Me Love’ follows and completes the CD admirably, and if nothing else, is inspirational. Hidden track ‘The Parting Glass’ commences with its obvious tribal inspirations, drum beat and immense harmonies.

Ed Sheeran

     The deluxe version of ‘+’ consists of ‘Autumn Leaves’, ‘Little Birds’ and ‘Sunburn’ depict distinctive and gentle yet soulful vocals whereas ‘Gold Rush’ has a similar reggae style introduction to Bruno Mars’ ‘The Lazy Song’. However subtle it is a bad idea to release a track that alike to another. Luckily, ‘Gold Rush’ is primarily occupational and relationship based, ‘I never told her that I liked the way she dances slightly out of time...’. Ed Sheeran is lucky to possess the rare capability to write cute, edgy love songs without being cheesy.

      Arugably, the individual singles should be spread throughout the record, as well as the variety of themes and techniques in order to make the album flow better. Although charming, after five or six tracks, acoustic songs can often become very monotonous, but with Sheeran’s hip-hop influences, and curious vocal abilities this is simply not the case. For a debut, this record is astonishing, and Sheeran’s EPs have clearly provided him with priceless musical and recording experience as well as intent to be unique without transforming into the likes of Lady Gaga. It has been a long journey thus far to this peak, but Ed Sheeran’s future is as bright as his hair.

4/5