Cougar Microbes

With the snow in Britain finally cleared off all roads and hopefully not making another appearance during a far to brief summertime, this can only mean one thing: the start of a beautiful British festival season. Whilst there may only be sunshine for a couple of these weekends the main focus is on the music not the lamentable elements. This is a key ethos of the wonderful Live at Leeds, who will not let cloud cover get in the way of some of the most vibrant British bands playing to awestruck audiences in this expansive metropolitan festival.

First band of the day came in the form of Pigeon Detectives who’s already energetic set has been revitalised by the release of their new album ’We Met At Sea’. Frontman Matt Bowman relished catching his breath between songs and sharing the company of his hometowns crowd, many of whom were on other peoples shoulders making them the tallest crowd of the day, before jumping up and down (and off) the stage whilst singing his way through the bands ever growing collection of gritty hits, with the audience suitably impressed by newer songs such as “I Won’t Come Back” and “Animal”.

Little Comets managed to tie the balance well between playing the livelier dancy songs off the first album and the more sombre, lyrically poignant songs of the second album to give the impression they are a band comfortable with their progression and understand they will be able to take new directions in the future whilst maintaining their song writing talents and crucially, the backing of fans.

Tribes had the whole crowd eagerly listening for the new tracks which would build anticipation for their album out later this month. Their sound maintains its roots of the first album, but there are now impressive overtones of American rock though the 60s to the 80s. Having an album materialise in just one year, like traditional rock bands in previous years, may be a gamble but from the hits played during the set there is still a highly optimistic mood that the rest of the album will not simply be full of filler.

Live at Leeds has prided itself on having a keen eye for spotting up and coming potential and in the evening the Cockpit venue’s dressing room was awash with talented musicians such as Swim Deep who managed to kick back with fellow Brummies Peace after having finished their shimmering, hype worthy set playing latest single “She Changes The Weather” amongst a raft of 90s inspired songs.

In Cockpit 3, Roo Panes, commanded the stage with innate gracefulness as the intimate crowd were all encapsulated by beautifully crafted harmonious songs containing delicate crystals of insight with their origins in poetry written by Roo.

Headlining the Cockpit were Peace who had just finished a 4 day residence in Dalston’s Birthdays were the final night was finished with a cover of Daft Punk’s “Get Lucky” with support from previous touring friends Mystery Jets. Carrying on the spirit of the previous night, Dom and Harrison of Peace treated us to a backstage rendition of the number 1 single allowing the joyous mood to be taken onto the stage were a rowdy crowd lapped up the grungy singles of “Wraith” and “Follow Baby” whilst the epic “1998” induced a state of frenzied dancing to finish off a day that marked the start of what promises to be a fantastic summer full of great music.

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Post by Sam
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TRACKS:

It is incredible to see how far the steam train that is Alt-J has travelled since we interviewed them almost a year ago. When they find time between picking up awards and performing gigs across the world, they can reflect back at some fantastic remixes taking advantage of the beautiful subtleties that may not have got their deserved attention underneath all the albums layers, but are accentuated into the principle scaffolding of the remix and hold strong throughout.

They are composing music for films, fulfilling a previous ambition of the band and drummer Thom has also produced an elevating remix of Sivu’s “Better Man Than He” complete with graceful nods towards Alt-J-esque piano flurries and characteristic shuffly electronic beats.

Not wanting to miss out on the next step of the journey, Cougar Microbes will be seeing Alt-J soon on their tour for what promises to be an encapsulating set.

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Post by Sam

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TRACKS:

For a band based in Birmingham, an hour and a half away from the nearest beach, there is an uncanny undercurrent of connotations relating Swim Deep to water, as their recently released video shows.

The flickering of the bands logo ‘≈’ (yet another mathematical symbol embraced by a band for its aesthetic appeal) appears before establishing shots of the two characters, in a restful, safe state on a tube home where the boy seems to be reflecting on the mesmerizing contortions in the allure of the water, where anything was possible, yet also there seems to be an trace of melancholia as if what has happened, won’t happen again due to a breakup. For a few brief moments, the band appear as delicate forms in the pool, neither sinking nor floating, simply existing in the empyrean water, before the ‘≈’ once again appears to signify yet another switch into the unknown.

The video has been released at an important time in Swim Deep’s career, just weeks after good friends Peace released “In Love” to massive critical success, showing what is possible for the new age of bands from Birmingham, or B-town as they call it. The video also comes just weeks before Swim Deep set sail on their trans-European headline tour which will quickly be followed by a flotilla of festival appearances during which their debut album ”Where The Heaven Are We” will be released in late July.

As the sign gradually fades, an epic instrumental intro builds anticipation whilst cinematic shots depict a life of discontent and restlessness in a world full of industrial estates and grey and brown bleak backdrops. A deep longing for the soothing blue water is characterised by savouring the times spent making ripples in puddles and long wistful stares out to the river. When the boy makes his way to the pool the girl is already in it, and when the boy jumps in there is a brief sense of serene happiness, yet the girl then looks away simultaneously crushing the boy’s spirit and suggesting that maybe the water is not the idyllic heaven the boy had been expecting. Such subtle moments with big implications reflect the nature of teenage relationships and the angst of categorising life into boxes, a sentiment that has been portrayed well by Georgia Hudson, the video’s director.

The ending shots comprise mainly of the girls figure being blurred by swells in the pool, drawing neat parallels with the idea that the boy was unable to clearly see what was going on in the relationship, the camera then cuts to a shot of the devastated boy lying down as an image of the blue pool fades over the top of him, representing how enticing the sea can be, even if one of the fish were not right for you.

The final image of the video is of the ‘≈’ symbol reaffirming the connection to the water and the waves but also ensuring the image has been burned to the back of your retina so many times that you won’t forget Swim Deep, as if that was at risk.

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Post by Sam

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TRACKS:

For a band infamous for the unpredictability of the sound their constantly changing tastes will convene on, or even the songs that would be included in their album, it was with great certainty that, regardless of these vital details, the album would be of incredible quality and would yet again redefine the boundaries of their ever expanding collection.

Having already been introduced to “Inhaler”, with its powerful riffs, and raw voice-box-shredding vocals, many prepared for a heavier direction for Foals to take, yet everyone’s hypotheses were evaded when the unashamed pop of “My Number” became their next single. Its fluttering guitars and bongos proved infectiously catchy and it was one of the most welcomed songs in the set when they played in November, inducing a carnival atmosphere in a crowd.

Crucially these singles have managed to infiltrate the mainstream radio stations and allowed Foals to appeal to a broader audience. The singles have kindled and interest, but now ‘Holy Fire’ must ignite fans past, present and future with the burning spirit of the album.

“Prelude” acts as a whitewash, entertaining the possibilities of a repeat of ‘Antidotes’ yet ultimately moving beyond such safe ground onto grittier guitar work which severs the potential to compare the two, creating distance from preconceptions and leaving Foals with a blank canvas from which to embark on their own personal holy campaign. The two early singles follow in quick succession settling nerves whilst summoning a thirst for more new material.

“Bad Habit” begins with a dark Muse-y bass synth line then flourishes into an uplifting ballad full of heavy subject matter and emotional angst before a refreshing staccato solo rides in to elevate the song to a strong statement of Foals’s new direction.

For brief moments, ‘Holy Fire’ has the angular, immediacy of ‘Antidotes’ but they are rarely sustained, often passing as soon as you were getting up to dance, and in other moments there is as cinematic a feel to it as ‘Total Life Forever’, yet it is when the band embrace a brand new area such as in “Late Night” when they seem at their freshest and most exciting. It begins as a slow burner with a piano chord sequence just begging to be built upon and thanks in part to the guitar work giving more licks than an excited puppy dog, it does indeed tower into an excellent bluesy groove whilst the lyrics ‘Stay With Me’ heighten the anticipation for an epic Yannis solo to close the track.

As a whole the album has a very organic feel to it and this may be down to the fact that the band made a conscious decision to bring plants and shrubs into the recording studio so that they could grow and mature just as the album did.

“Providence” fades into your ears with the lyrics “I know I cannot be true, I’m an animal just like you Oh I bleed just a little bit too I bleed just like you”, what follows then forms into overwhelming wild animal of noise tangled in too many ideas causing it to appear to be bleeding to death. However four succinct beats from drummer Jack Bevan simultaneously resuscitates and tames the animal into a ferocious dancing coherence of all the ideas, creating carnage when they played this live late last year. Many of the lyrics in ‘Holy Fire’ have imagery of blood and whether consciously or subconsciously, this creates a strong message that this work has come straight from the beating hearts of Foals now and onto their metaphorical sleeves.

The primordial percussive backbone in “Stepson” nods towards the works of Alan Lomax, most notably his field recordings, whilst the aching voice of Yannis bemoans the fate of having to “Fall into the blue”. In the final track, lightly touched piano keys ripple through a pool of ambience reflecting the moon, bringing both a tranquillity and acceptance to the end but also an exquisite, delicate closure to an excellent third album.

In a strange way ‘Holy Fire’ was exactly what we all expected: to be left overwhelmed and confused, desperately trying to process what just happened. It is too early to rationalise, but just as ‘Total Life Forever’ took a while to adjust to, so ‘Holy Fire’ will require time to understand. But when it does click, the epiphany will make us all realise what a clever little band the continually morphing Foals are, and how engrossed we can be with their incredible feats of escapology from any box anyone tries to fit them into.

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Post by Sam

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TRACKS:

Cougar writer Sam offers his top ten albums for our Top albums of 2012 feature.

The XX – ‘Coexist‘

Included in the Cougar Microbes albums of 2012 here.

Spector – ‘Enjoy It While It Lasts‘

With the confidence that is exuded from frontman Fred MacPherson, it is understandable that ‘Enjoy It While It Lasts’ is so unashamedly triumphant. Confident, bold choruses throughout, Spector have made an album full of songs for people to enjoy on indie disco dance floors for a long time to come.

Alt J (∆) – ‘An Awesome Wave’

Included in the Cougar Microbes albums of 2012 here.

The Maccabees – ‘Given To The Wild‘

Three albums in, The Maccabees have produced an album unlike any of their previous works. Orlando and co have released an expansive album both internally and sonically and by doing so found a comfortable resonance where they can soar through epic tracks, such as “Forever I’ve Known”.

The Milk – ‘Tales From The Thames Delta‘

Making foot tapping motown authentic in the 21st century has rarely been done, yet Ricky Nunn’s growling voice along with a set of passionately soulful tunes have attracted attention from people who believe they’re onto something.

John Talabot – ‘fIN‘

In a musical void in the electronic scene lurks an artist, who much like his work, is drenched in shadows. Despite the anonymity of the producer, ‘fIN’ as an album has a deeply washed out sound that has raised the profile of the Barcelonan even more than the technical mastery of his remixes did, and rightly so.

Tribes – ‘Baby’

Energetic and poetic, these lads from Camden recorded the whole album on tape for a grittier rock and roll sound. Powerful guitar lines display an elating feeling of youth yet the softer songs of the album question whether they have been corrupted by growing up, in retrospective ballads.

Lucy Rose – ‘Like I Used To’

Recorded in her parents’ home, ‘Like I Used To’ has a distinctly warm feel to it. Lucy’s delicate vocals neatly tie together calming and tranquil guitar lines which compliment the unusual quirks in tempo throughout.

Lana Del Rey – ‘Born to Die’

Included in the Cougar Microbes albums of 2012 here.

Peace – ‘Delicious EP‘

With the signature sound of Peace not yet pinned down into one area, it would be understandable for people assume there was no coherence in their work. However quite the contrary, the four song jigsaw shows the range they are capable of, be it from the clanging guitar in “Bloodshake” to the simply epic atmosphere, and subsequent drop in the cover of “1998”.

Lana Del Rey became one of 2012 most discussed artists thanks in part to her calculated retro femme fatale image, the visual power of her infamous ‘Video Games‘ video, a slew of amazing remixes and her unaffected yet incredibly deep vocal delivery.

Cougar scribe  Mario said “when listing my albums of the year I couldn’t leave out one of the year’s authentic surprises. Lana Del Rey has been much discussed. What I do know is that, while the album at times does not live up to the level set by its singles, the talent is there for everyone to see as well as is her already iconic image.  Only time will tell if  this is a well packaged marketing operation or whether we are faced with a new American showbiz diva“.

Sam also listed her adding “nostalgic lyrics capture the aesthetic of a girl let down by everyone to paint a world of Hollywood tragedy whilst luxurious strings flood through your speakers like tears from the broken dreams of the troubled singer”.

TRACKS:

It’s hard to pinpoint Alt-J exact sound with the band aggregating numerous familiar elements and churning them into delicious novel sound bytes. Armed with a mercurial live set and an album that seemingly peaks on every track Alt-J were one of 2012 best surprises.

‘An Awesome Wave” is sprayed with guitar arpeggios, eerie pianos and contemporary beats blended together in cinematic fashion. The tracks crash into one another introducing new elements and returning to familiar motifs in savvy style allowing for frontman Joe Newman‘s cryptic lyrics to flow majestically above.

The new Radiohead? Perhaps not, But Alt-J have succeed in releasing an album that sticks to its left-field aspirations while remaining entirely listenable.

Sam added it to his top 10 saying “If winning a Mercury prise wasn’t enough, Alt-J’s debut album is awash with quirky melodies, fresh beats and cryptic lyrics. Interludes are used well to enhance rather than prolong the album as the listener rides through an awesome wave of intricate, at times heavy, but crucially, unique Alt-J sounds“.

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Following on from the XX‘s decade defining eponymous début everyone was curious to know what the trio’s next move would be.  There was almost hushed reverence when they announced their comeback with first single “Angels“.

“‘Coexist’ is an overwhelming success with a melancholic, bleak landscape of sparse sounds portraying the distance felt between once lovers who share no common ground but a past. Each listen reveals another hidden layer of Romy and Oliver’s longing and the efficacy of the concept is beautifully curated by Jamie’s minimalist but enchanting production” said Cougar staffer Sam.

Thom added that ‘Coexist‘ was that “blissful mix of distant minimalist echoes and frugally dispatched beats. The genius of The xx is that they don’t know they are geniuses, therefore there is never an ego in sight but just a shed load of passion and reverb. “Fiction” and “Reunion” were simply inspiring”.

Mario concluded that “the English trio passed the complicated test of following up on the success of their self-titled début with a record that is perhaps less rhythmical than it’s predecessor but is far more intimate and nocturnal“.

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