No Frills Reviews

Vampire Weekend Only God Was Above Us

While there’s been a sense of evolution across their catalogue, Vampire Weekend always sound unmistakably like Vampire Weekend. I think of them as a sunshine band; the merger of quirky indie-rock with African and chamber pop influences, the youthful yelp underpinning Ezra Koenig’s vocals, and plenty of sweet, sweet melodies. On Only God Was Above Us they’re as bright as ever (there’s even a song called Ice Cream Piano FFS), yet there’s an unnerving darkness bubbling under the surface.

A hushed “Fuck the world” are the first words you hear, setting the tone for the sense of conflict that carries the album. A series of battles are played out, figuratively and literally, with a recurring theme of history repeating. Koenig often takes the role of reassuring realist, contextualising the anxieties and fears of his songs’ subjects with those of preceding generations. There’s always a fine line being tread between helpless inevitably and hopeful redemption.

The conflict is mirrored in the contrast between the dark lyrical undertones and that old sunshine music. But it also emerges in the music itself, distorted bursts of horns and off-kilter rhythms appear, like a foreboding dread waiting in the wings. A dark and challenging album, that’s accessible and full of beauty. Conflict never sounded so sweet.

Best Tunes: Classical, Gen-X Cops, Mary Boone, Hope

Honourable Mentions

Bob Vylan Humble As The Sun – The London duo continue to deliver hard-hitting punk laced with political and social commentary, while increasingly incorporating hip-hop influences.

Arsun Babe I Hear Thunder in Your Heart – An enjoyable collage of 60’s throwbacks; baroque folk, disconcerting psych, and huge helpings of Dylan homages.

Grace Cummings Ramona – Epic soulful folk ballads from one of the most powerful voices around, although the grandiosity borders on exhausting.

English Teacher This Could Be Texas

The latest young band to board the great British hype train, and there’s a few too many hallmarks of other recent commuters for me to get too excited. Do we really need yet another band doing irreverent speak-singing in a vaguely post-punk style? The affected detachment is beyond played out and periodically brings this album down. But beyond those (somewhat misleading) first impressions, what really characterises this debut is its ambition. Perhaps too ambitious for its own good.

There’s a real sense of versatility and grandeur here. The post-punk elements aren’t actually too prominent, and it’s almost proggy in the way that it frequently shape shifts. The best moments come where gentle ballads build into bold explosions, which can range from noodly math-rock riff-fests to hazy dream-pop soundscapes. And despite her claims otherwise on R&B, frontwoman Lily Fontaine really does have the voice; a mix of vulnerability, character, and power that can draw you in and then smack you in the chest for those big emotional climaxes.

You’ll inevitably be seeing this all over end of year lists, but I think the hype is slightly premature; this is an early shot at greatness that falls short by trying to do a bit too much, however there is a ton of potential here. Please ditch the sprechgesang shit though, this is so much better when it doesn’t sound like you’re pretending not to care.

Best Tunes: Nearly Daffodils, The Best Tears of Your Life, Sideboob, Albert Road

The Libertines All Quiet On The Eastern Esplanade

There’s certain bands that are intrinsically linked to particular moments in time, whether that’s culturally or personally. The Libertines are one of them. Perhaps the poster boys for the last big hurrah of the British music press, before the internet and streaming changed the landscape. And for many of my generation, they were a gateway into the grim and glamorous world of indie rock & roll. They were exciting.

But now, the excitement has been replaced by something different. They represent that things aren’t quite the same as they used to be; the passing of time. This feeling permeates All Quiet On The Eastern Esplanade, for better and for worse. On the downside, there’s occasionally a sense that they’re still pining after past glories with the up-tempo tracks lacking the spark of old classics. But they excel when they face up to that passing of time. They’re now a much more accomplished band and the more they reflect on how things have changed, the more they’re able to fully realise their old visions of Albion, delivering their strongest outing since their early days.

Full Review

The Black Keys Ohio Players

It’s been over 20 years, they can’t still just be a blues rock throwback, can they? Especially since they’ve ditched the gritty fuzz of their best work. This sounds largely fine but it’s just boring, man; too cleanly produced for its own good. It doesn’t sound like The Black Keys have anything of their own left to say; this is just a patchwork of classic rock pastiches. And, no, the couple of half-arsed rap features don’t count as experimentation, they sound as dated as anything here. A band past their sell-by date peddling lifeless approximations of their favourite records.

Best Tune: I Forgot To Be Your Lover

How???

The self-titled debut album from LA duo, How???, combines upbeat pop with offbeat electronica and dreamy ambience. It’s success comes in merging its disparate influences into a cohesive whole. It brings to mind the synth-pop of Phoenix’s best work, alongside the experimentation of electro-psych weirdos like Animal Collective or Super Furry Animals. An album to dance to, to think to, to relax to; and all under 30 minutes.

Oh and they’ve got a self-titled song on a self-titled album, which always feels admirably self-indulgent.

Best Tunes: How???, Always, Time of Day

Antenna Antenna EP

This was released back in March, but the debut EP from Sydney punks, Antenna, is far too good to be forgotten. The second new project from former Royal Headache frontman, Tim “Shogun” Wall to debut in 2024, following the Stay Young EP from Finnoguns Wake. This is 12 minutes of the most vital music you’re likely to hear all year. Now a punk veteran, Shogun is still grappling with old struggles, and the EP plays like a confessional as he tries to break the self-destructive cycle.

On opener, Cubes, he falls back into bad habits as he drops psychedelics out of boredom. There’s a semblance of bittersweet comfort in the fact he’s survived long enough to become a “teenager again” on Don’t Cry. While elsewhere there’s defiance and anger as he laments a failed relationship. This is the sound of someone searching; for answers, for stability, for happiness. While it’s drowning in melancholia, the delivery is pure catharsis as the riffs of guitarist, Hideki Amasaki call for urgency. The “Love should be all that you need” line on the closer could be trite, but this isn’t a cheesy soundbite, it’s Shogun pleading with himself. This isn’t music for wallowing in your feelings, it’s music for exorcising them; punk rock that’s desperately soulful.

Best Tune: Cubes