It seems I just couldn’t keep away.

After managing to cope for almost three months without a blog to my name, I’ve set up camp over at the Acidic Turtle. See you over there, hopefully!

You may have noticed that it’s been over a week since I last made a post and even before that I was struggling to get back into the routine of daily posts; you’d have to go back a good few months to find the last time I was posting that frequently. There’s not one single cause for this but it’s more of a combination of many different things I’ve been doing.

Given that I’m currently on my summer holidays, I would have thought it easier to make regular posts but as much as I love my music and talking about music, it just takes too much time to write a decent sized post. So, I’ve decided to put this blog on what one might call an ‘indefinite hiatus’. I’ve been posting for almost a year and it seems the fun has all but dried up in the Blanathema. Plus, it’s time that I’d rather spend doing other things.

There is a slight chance that I might get the ‘blogging bug’ again some time but it seems unlikely that it’ll be any time this summer. If and when I do start using the site again, I’ll make sure it’s as consistent as it was earlier this year, around February time. Until then, though, this is the last post. Thanks a lot to anyone who’s read my blog in recent months and all those other blogs listed in the sidebar that have inspired me and provided me with some new music to listen to.

Thanks.

B.

The nominations for the Mercury Music Prize 2007 were announced today and although there’s a couple of weird surprises, it’s pretty much as you’d expect - or possibly not. Of the many different music awards doing the rounds, this is probably one of the few half-decent ones; recognizing some genuinely good albums as opposed to just the stuff that was most popular with the UK’s 12 year old population. That being said, 2007’s shortlist has pulled out some right stinkers that include New Young Pony Club, who I hate with a passion, and The View.

Before I go any further, here’s this years list of nominations:

• ‘Back to Black’ - Amy Winehouse
• ‘Favourite Worst Nightmare’ - Arctic Monkeys
• ‘Basquiat Strings with Seb Rochford’ - Basquiat Strings
• ‘Fur and Gold’ - Bat For Lashes
• ‘Maths + English’ - Dizzee Rascal
• ‘The End of History’ - Fionn Regan
• ‘Panic Prevention’ - Jamie T
• ‘Myths of the Near Future’ - Klaxons
• ‘We Can Create’ - Maps
• ‘Fantastic Playroom’ - New Young Pony Club
• ‘Hats Off To The Buskers’ - The View
• ‘Voices of Animals And Men’ - The Young Knives

So, after looking at that list, you can probably see exactly what I was talking about. In addition to the expected albums (Last year’s winners, Arctic Monkeys, as well as Amy Winehouse and Klaxons), we’ve got the more obscure albums that are just stuck in there for good humour (see: Fionn Regan). Of course, I’ve not heard all of the albums in that list but if I were forced to choose, I’d put my money on either Amy Winehouse or Klaxons. Ideally, though, I’d like to see Jamie T get the prize because in my opinion, ‘Panic Prevention’ is one of the best albums of the year so far. Although they won it last year, I’m unsure as to whether the Arctic Monkeys will win the prize a second time round. Still, I’ll be mighty pleased for them if they do win it.

As for the duff ones, though, I don’t really know what to say. The ‘panel’ has called New Young Pony Club “fresh, fun and flirty” but I couldn’t disagree more strongly with that comment. I certainly find no fun in listening to some of the shite they pour out. Anyway, we’re all entitled to our own opinion, aren’t we?

We’ll have to wait until September to find out who wins, so you’ve got a couple of months to place your bets.

B.

I have got a few more albums to mention that I bought over the past week or so, which I’ll get around to sooner or later but for now, I’ve got some more ‘new music’ from a less recognized band that I think I’ll introduce to you. Of the several new bands that I’ve been looking into recently, hoping to make a post on, this is the band I’ve enjoyed the most and they’re called the Attachments.

Making a change from a tad too many local bands that I’ve been talking of recently, this band originate from the other side of the Atlantic in sunny California. Also, typical of bands from their area, they make some lovely, summertime indie-pop that is really bloody addictive. With this particular blend of music being one that’s all too common in the world, not every band taking this stance are quite as interesting as you might thing and a lot of indie bands sound exactly like the next. Still, every once in a while you come across a decent band hidden amongst the thousands of average ones and the Attachments are just one of those bands.

The band have recently released their debut 6-track EP which is available to buy through their Myspace, if you so desire. Of these six tracks, I’ve heard a fair few and not one is in the slightest bit disappointing. Personally, if I was to recommend just one track, it’d be Karla-la; a truly enjoyable, upbeat and lively song with many of those previously mentioned hooks. It takes just one listen to become firmly embedded in your head. As well as that, though, you’ve got the slightly softer F-Train Girl. Other than in the chorus, the musical side of this song is very minimal and this just serves to make it all the more effective when the whole song lifts itself to another level at that point.

Although I’ve not heard the EP in full, a sufficient sample is enough to tell me that it’s a fantastic slice of the very best kind of super-happy, upbeat indie-pop that we all love, whether you’ll admit it or not. As well as this, other tracks such as Here They Come - currently streaming at the bottom of this post - show that the band has plenty more good tunes to their name, surely promising equally brilliant future releases. I strongly recommend you check them out, be it by listening to the track below or heading over to their Myspace page to have a listen to a few more.

B.

Link - The Attachments - Myspace page

Audio Sample: Here They Come - The Attachments

Looking back at my recent posts, I’ve realized that a lot of time has been spent dwelling on new album releases, which is not I originally started writing this blog for. Of course, things change and I am now writing a lot more about albums but I can’t resist it; when I hear a new record that I love/hate, I get the urge to come and express my feelings about it. Still, as good as some of that music is the majority of it, with a couple of exceptions, has been in the UK or US top 10 over the last few months. It is because of this that I’ve decided to skip back to how things used to be and unleash a little bit of new music onto the Blanathema - something I’ve not got round to doing for a little while.

First of all, I’ll apologize for regularly posting about Manchester-based bands; the places I look for new music are, predominantly based in my local area. As you might expect, then, this next band are once again from Manchester. Maudite Dance is their name and I can assure you that I’m not just picking them to fit along nicely with other such recent mentions as Autokat and Polytechnic (whose album review will be coming soon enough). They list amongst their influences the Rapture and although I’m not a fan of this particular band, you can see where the similarities lie.

I must mention that Maudite Dance is not an entirely new conception; they were originally called the Clerks and sprung out of the French capital before heading over to make their home in Manchester. After some success earlier this year under their former name, supporting the Sunshine Underground and the Automatic, they appear to have reformed with a different line-up (one extra member, I believe) and a different name to go forth and conquer the world.

With songs such as these, too, it’s not as farfetched an idea as it sounds. Whilst I’d never come across the Clerks before, the band’s Myspace allows you to listen to songs from both bands and see where they’ve come from. Maudite Dance isn’t a whole load different, though, but why change something which is already so good. The two songs labeled under their new name are both incredible tunes. Whilst Echoin’, with its sharp, rapid-fire vocals and some very jerky guitars, is very good, it’s Underground, the other free MP3 available on their Myspace, which shows the band at their very best. I just love the dark, powerful tones of those vocals, as well as some quite catchy lyrics. It’s actually quite a haunting performance from the band.

If this isn’t promising enough, have a browse through some of their previous work, specifically The Dissidents; another example of how magnificent this band can be. Anyway, if you only do one thing, just click play below and have a listen to Underground, what I consider to be the band’s most brilliant piece of work and one that promises plenty more slices of indie perfection from these guys. If you like what you hear - and I’m sure you will - just head on over to the band’s Myspace page. Scroll further down that page, too, to hear better quality versions of all their songs and also download your copies of Underground and Echoin’.

Audio Sample: Underground - Maudite Dance

Link - Maudite Dance - Myspace page

B.

I don’t know whether I should do this or not but I tend to group certain bands together and the White Stripes come firmly attached to a select group of other bands, one of which is Queens of the Stone Age. The two American giants both released albums this June and I knew there was going to be, in my own mind at least, a bit of competition between the two. Which one would come out on top was going to be a difficult decision, especially as they seemed to strong to start with. In the end, though, if forced to come to a decision, I’d pick ‘Icky Thump’. Now, allow me to explain why.

Casting aside any petty competition with other albums released around the same time, the White Stripes have come out with an incredibly inventive and original album that’s simply astounding, even before you remember that there are only two people making this brilliant music. Not that you’d ever realize this from the songs, though, as the album thunders to a start with lead single and title-track, Icky Thump. It’s typical White Stripes style, too, with roaring guitar riffs, pounding drums and clever lyrics. The track had cast doubts over the album’s quality when first heard, not being quite as traditionally catchy as some of their earlier singles.

After You Don’t Know What Love Is (You Just Do As You’re Told), which makes up for the lack of catchiness in the previous song, and a slightly down-tempo 300 M.P.H. Torrential Outpour Blues, we’re treated to Conquest, one of the albums greatest songs. It contains Jack White’s trademark vocals pouring out some brilliant lyrics and Meg’s thundering drums pushing themselves much further forward than the drums usually find themselves on an average record. As well as this, you also start to feel sorry for the organ being hammered to pieces in between the raging guitars. Bone Broke, the next track is very similar in the way that it tears down anything in its path with some fantastic guitars and more quality lyrics. What more could you expect from the dear White Stripes?

Well, not bagpipes, that’s for sure. Yes, it’s true, on the next few tracks they over-indulge themselves in some wailing bagpipe tunes that come very close to ruining a good album. You can’t blame them for wanting to try something different and not let their low numbers tie them down but it doesn’t really make for pleasant listening. Prickly Thorn, But Sweetly Worn is probably acceptable as it has some really catchy ‘lieyde-lieyde-lie-lie’s in between choruses but apart from that, the bagpipes are a real turn off. The following track, St. Andrew, is a near catastrophe and is often skipped when I listen to the album.

At this point, you may be wondering why I still prefer this album to ‘Era Vulgaris’ when the latter contained no such oddities in it. Well, ‘oddities’ are what the White Stripes do best and rather than the rest of the album fading away into indulgent nonsense, they get back to basics for five-point combo of good old rockin’ tracks for the album finale.

A Martyr For My Love For You is the album’s most beautiful track and penultimate track, Catch Hell Blues, is…well, Catchy as hell! Add to this the brilliant Rag & Bone, which is part song, part banter between the two band members and you’ve got something special. Finally, the album draws to a close with Effect and Cause, jam packed with some tremendous lyrics that are quite funny, as well as being up to Mr. White’s usual witty standard.

I think the reason I find this album more enjoyable than the Queens of the Stone Age album is that despite there being some annoying moments, specifically around the central point, there’s not one time you start to get bored, which ‘Era Vulgaris’ verged on in some of its tiresome final tracks. The White Stripes can make some impressive tunes and ‘Icky Thump’ is a bizarre mixture of different styles, varying from catchy guitar-pop songs to traditional blues tracks (via some muddy bagpipe songs that we could have quite easily done without). My main point being that this album has longevity, and lots of it.

While you’re at it, have a watch of this video of the White Stripes playing Effect & Cause on ‘Jools Holland’.

B.

Album Rating: 8.5/10

I’m getting a bit fed up of constantly being behind on the old album reviews, not giving me much time to post about anything else. To solve this problem, I’m going to do two albums in one quick, short post. It doesn’t mean I love them any less, I just don’t have the time to write as much as I usually do about them, without getting even further behind in more recent albums. I mean, Modest Mouse’s new album was released way back in March and I’m only just getting round to mentioning it (granted, I didn’t buy it on the exact week it was released). So, here they are.

‘Release The Stars’, Rufus Wainwright: 8.5/10

Rufus Wainwright isn’t the most familiar artists to me; it’s difficult to be ‘familiar’ with every single artists out there but after hearing him perform on a TV program, I got round to buying his latest album, ‘Release the Stars’ and was very impressed. The album varies from song to song but each one keeping a very strong sense of theatre about it. The most theatrical of the lot being Between My Legs; my personal favourite and one which comes complete with sound clips snipped from the Phantom of the Opera to finish things off. It’s just a great fun song.

Most of the slower songs, too, are just as amazing when sung with Rufus’ fantastic voice. Sadly, I feel that some of the later tracks fail to grip me in the same way as others, with Leaving for Paris No.2 dragging a little and not being the most memorable track on the album. Still, the rest of the content more than makes up for this, with such beautiful pieces as Sanssouci and Slideshow. I’ve really enjoyed this album and after reading that it’s not quite up to the standard of some of his previous albums, I’m excited to hear what the singer’s back-catalogue has in store for me.

‘We Were Dead Before…’, Modest Mouse: 7.5/10

Elsewhere, I bought Modest Mouse’s new album, ‘We Were Dead Before The Ship Even Sank’ and have enjoyed that too, but not quite to the same extent as the previous album mentioned. In stark contrast to ‘Release The Stars’, the singing from Isaac Brock is sometimes a little too raw and the album clearly doesn’t possess the same vocal talents but that’s not to say it’s lacking in talent completely. With new addition to the line-up Jonny Marr providing some input, albeit a bit less noticeable on certain songs, the album feels fresh and full of energy.

Energy being the operative word, too, as lots of the stuff will be required to make your way through this album in one piece. It has its fair share of catchy numbers and interesting songs and unlike other albums, rather than falling to pieces towards the end, it seems to just get better and better; my four favourite tracks all come in the second half of the album. Still, the album runs in at over 60 minutes and is sometimes a little tiresome - I think that some songs could have been easily relegated to B-side status. On the other hand, a rather pleasant surprise comes in the form of Spitting Venom, an 8-minute epic that you’d expect to be dragged out and dull but one that turns out to be one of the highest points on the album.

I’m glad I forked out the money for this album and it’s certainly one of the more imaginative and different albums I’ve bought so far in 2007. The album flows wonderfully from start to finish, even though it does take a while, and there’s enough little gems hidden amongst the few filler-style tracks to make it a more-than-worthwhile listen.

B.

Just a quick note today, before I get back to some more lengthy posts in the next couple of days. Basically, I’ve come across a fantastic album that I’ve listened to more so than anything else this week and possibly next week too; that is ‘Dog Problems’ by the Format. I Guess I’m Floating brought this album to my attention last week when I read that the Format was giving away their 2006 second album for free. To me, a free album has got to be worth a listen as even if it’s absolute crap, you can just delete it. Well, there’s very little chance I’ll ever be deleting this album.

‘Dog Problems’, another dosage of summery, American indie-pop goodness, has to be one of the catchiest albums ever. There’s not a song on there that you can’t at least sing along to after just one listen. As well as that, though, it’s not just the same couple of lines repeated over and over; most of the songs have enough lyrics to fill a book and are very cleverly written to tell a story that whilst sounding all happy and jolly are not always just that. There are some quite nasty lines in there, if you listen properly.

All in all, it’s a stunning album that I’m glad I’ve been able to listen to and I strongly recommend that any of you that haven’t heard it yet head over to the Format’s website to download the LP. It’s only available for a limited time only, mind, with the download going offline after the 16th of July. Of course, you’ll still be able to buy the album after that date but if you’re not too sure, just download it for free now and be blown away by an album of cleverly written and beautifully sung tracks.

P.S. The Format has an amazing website with a flying dog that makes the site worth a visit alone, before you throw in the free album.

B.

Links -

‘Dog Problems’ free download

The Format - Myspace site

The Format - Website

If you’ve been reading long enough, I’m sure you’ll remember how much I adored Kite Flying Society towards the end of last year after discovering their warm, sunny pop music in the middle of a cold winter. Well, nothing’s changed and it looks like the San Diego-based band are set to do exactly the same this year with their second album due to be released around autumn time, just in time to thaw the ice once more.

The first track from their new album, entitled ‘The Aviary’, to be released for public listening pleasure is called Oh, Amy! I’d love to say that they’ve spent the last few months listening to nothing but Metallica and gone all ‘different’ on us but that is certainly not what they’ve done. Kite Flying Society’s new song (/single?) takes the same formula as their fabulous debut, ‘Where Is the Glow?’ and creates that same warm, fuzzy feeling inside after listening to it. As I said, this is perfect summertime music but in a summer like the one we’re having here (There hasn’t been a day for weeks without at least one torrential downpour) it serves a very different purpose, somehow managing to brighten up the drab weather.

There’ll be more about the album when it’s released later on in the year but for now, I suggest you take a listen to the new album track below and see what you think. If you like it and haven’t yet heard 2006’s ‘Where Is the Glow?’ make sure you head over to the band’s Myspace for some more information.

B.

Audio Sample: Oh, Amy! - Kite Flying Society

Autokat are another Manchester-based band that I’ll be pleased to add to my not-so-recently-updated ‘Local Delicacies’ section of the site; a place where I’m keeping track of those special local bands that I’ve got around to mentioning. Autokat released their debut album, ‘Late Night Shopping’, in March this year on Akoustic Anarkhy Recordings, a label that is also based in my dear home city.

I first came across the band a while ago - just before the album release date, if I remember rightly - but decided not to mention them on here until I’d got my hands on their debut album and had formed a more complete opinion on them. I heard Shot on the radio and later on their Myspace page, swearing that I’d get down to the shops and buy that album. Unfortunately, it kind of slipped my mind and it wasn’t until Tuesday this week that I actually got round to buying the album.

‘Late Night Shopping’, it seems, has been a pleasant surprise to me and not exactly what I expected. If Autokat were a bigger band, you’d say that Shot is probably the big single, the one with the most ‘commercial potential’; it’s got a gradually mounting introduction that eventually, after over a minute of instrumental, peaks into a incredible single filled with echo-enhanced vocals and fierce guitar solos. As good as this song is, though, it doesn’t come close to showing the talent of the band and their ability at making some truly inspired tracks. Even Seven Years, the album’s second track, takes that standard ‘indie formula’, albeit a slightly twisted version with some good tunes in there and some down-tempo, sing-along style lyrics. It’s not until track 3, Dealy, that we begin to experience the magic of ‘Late Night Shopping’.

There are several instrumental tracks on the album, with Dealy and Uber Patriot being the two main ones, plus a couple of others that have very, minimalist vocals used in select places. Whilst Dealy is a soaring, atmospheric track with soft, gentle guitars laid gently over the top of some subtle cymbal crashes, it’s Uber Patriot, cropping up towards the end of the record that is the real album highlight. Whilst also being one of the softer ones, it’s a complete contrast and is often quite eerie. The song’s stripped-down, lo-fi feel being quite a spine-tingling experience.

Throughout the rest of the album, the atmospheric is served out in equal portions to the familiar, upbeat songs. ‘Late Night Shopping’ is littered with Bloc Party-esque guitar riffs and Innocence could quite easily be a Strokes track for the first 30 seconds or so. I have to say, though, that this isn’t what Autokat do best. If you step back and look at the album, you’d see that the best songs, including Uber Patriot and Fill Your Cup, are the more instrumentally-dominated ones.

Still, it’s a damn promising album and it’s no surprise I’ve read in so many places that Autokat are Manchester’s “best-kept secret”. I just hope as many people as possible get to hear this album and enjoy some of its incredibly uplifting moments. Of course, it’s not perfect; there are some places (such as Bowling and Frantic Below) where you start to think that it’s all getting a bit too familiar and typically ‘indie’. Those moments, though, soon pass and you’ll easily realize that this is far more than another indie album; it’s in another league completely and you only need to hear a few seconds of Uber Patriot to understand why.

B.

Audio Sample: Uber Patriot - Autokat

Album Rating: 8.5/10