DRUNKENWEREWOLF

The two sisters have named their music “freak folk” and you can see why. With a mix of pop, indie, blues and even opera all intertwined through electronica, CocoRosie are well aware of the fun they can have while throwing out the rulebook.

The sisters were raised in various locations across the United States until Sierra (aka Rosie) eloped to Paris and they grew apart. Once reunited, their background and love for the experimental lead to the formation of CocoRosie in 2003. The colourful get-ups including drawn on moustaches and elaborate accessories all make for a circus cabaret feel and as you can imagine, so does their sound. It can be quite bizarre, even by our standards, and that certainly is the initial feeling of their latest album Tales of a Grass Widow.

Opening track “After the Afterlife” has a rock edge. Some listeners may, at this point, wonder whether they’ve opened a can of worms with a further ten tracks to go. However, this is a first impression, and against popular opinion and phrases that control our existence, that shouldn’t be judged. The feeling is short-lived as “Tears for Animals” kicks in. With a far more catchy rhythm about it, there is an uplifting quality and this is something that continues throughout.

Flirting between haunting vocal performances and the influence of hip-hop, it feels as if CocoRosie have really developed their sound. Reigning in the craziness present in their last album ages (aka three years) ago, Tales of a Grass Widow is a carefully produced selection of beautifully experimental world music.

The slow tempo songs do have a level of euphoria about them. Almost like an exotic Sigur Ros which can be heard in track four “Broken Chariot”. With vocals similar to the likes of Lykke Li yet more attitude than you can wave a stick at, the chemistry is definitely infectious and there is much more of a flow from start to finish.

Their latest single is “Gravediggress” and one of the standout songs of the album. However the variety of sounds on offer means that you can change your mind in the blink of an eye. By the time you get to the last song, it’s like you’ve done a full circle. From the unpromising start of “After the Afterlife”, the album has grown and accumulates with my personal favourite “Poison”. Enjoying the last song of an album so much is always an unexpected highlight. Generally used for filler, CocoRosie have saved the best until last. And fast forwarding the track from 4 minutes to just over 13 minutes and you will hear a delightful almost childish surprise.

Having released an impressive total of five albums to date, they have found their niche in the form of bat-shit crazy instrumentals that go beyond their drawn-on moustaches. With an influence of hip-hop and floaty electronica running strong throughout, this is a contemporary and interesting album that doesn’t just suit current music trends, but excels them.

Release: 27th May 2013, City Slang

Once I Was an Eagle is Laura Marling’s fourth studio album in five years. From an artist already loved by many, it neither steps up a gear nor presents the listener with something wholly new. What it does do very successfully is establish Marling as a tour de force of British talent, but one that nods sturdily in the direction of our cousins in the United States of America.

The lyrics of Once I Was an Eagle have Marling deal with her inner demons in a similar fashion to that of A Creature I Do Not Know. There are some notable differences, however. The conceptual references of a relationship gone sour that embellished her 2011 album have been replaced with a more heartfelt and sometimes painfully raw representation of the Real Marling. Within the first moments of Once I Was an Eagle she has already called for her beast to “be bad for me”, and admitted the inadequacies of her relationship skills on the humble “Breathe”.

These truly are moments. The Marling that composed abridged songs like “The Captain and the Hourglass” and “I Speak Because I Can” has been consumed by the restless author of “Night After Night” and “Alpha Shallows”. The songs on Once I Was an Eagle waver in and out with no discernible pattern. Ears prick on certain words and turns of phrase that resonate only because they’re so wise. This atmosphere is largely set by the first quarter of the album, which deliberately uses the same chord structure over and over again. As a result the songs are mercilessly difficult to separate unless you’re paying very close attention to what it is you’re listening to. It’s a treacherous path to tread, but in Marling’s case it miraculously works, and you find yourself being drawn slowly towards the speakers to catch a whiff of her genius in action.

The first break comes with single “Master Hunter”. Drawn from the same barrel as “Salinas”, it sounds alarmingly like Tom Petty ‘doing’ Bob Dylan. This is the instant in which Marling’s new found love of the States comes into play; she recently relocated to Los Angeles having declared all of her relationships in Britain “stagnant”. The marked vocal delivery that first reared its head on I Speak Because I Can has been whittled down to reveal something raw and proud, while also recapturing the beautiful clarity of Alas, I Cannot Swim. On “Master Hunter”, “Where Can I Go?” and “When Were You Happy (And How Long Has That Been)” this is paired with an Americana lick and drawl of guitar. Combine the two and you’ve got yourself a country star on your hands, yessir, and the one aspect of Once I Was an Eagle over which Marling’s British fan base may struggle.

While “Master Hunter” clears the air and starts the album proper, it also acts as the straw shoved up the camel’s arse to launch it into orbit. The songs that follow all demand praise, but “Devil’s Resting Place”, “Pray for Me” and “Love Be Brave” scream for it. They’re the kind of masterpieces artists pray for once in a lifetime, and it’s almost a crime that Marling has included them all on the same album. It certainly makes for muso head overload which perhaps explains why so few critics thus far have paid attention to the latter half of the album.

Once I Was an Eagle is more than a record; it’s a two part declaration. The first holler claims Marling’s right to the throne of British musicians, establishing her in a class of her own by drawing from the most poignant aspects of her career to date. The second claim is that Marling’s flight is not over. Her light’s not done yet, and she knows it well enough to give every ounce of energy currently available to her over to Once I Was an Eagle. This is a stunning piece of work in every sense of the word.

Release: 27th May 2013, EMI

The latest effort from Sparrow and the Workshop is a difficult album to review, for no other reason than it’s so staggeringly good that it leaves very little to discuss. Murderopolis, from start to finish, is among the best records released so far this year, to the point that any reviewer can justifiably leave it at that.

The album opens with “Valley of Death”, a powerful statement of intent that sets the bar very high for the music to follow, and it’s a standard that is met throughout the record. The band’s musicianship is clever and thoughtful, and they display a knack for memorable riffs and choruses whilst avoiding the cheesy and obvious choices. From the central riff of “Shock Shock” and the slick bassline of “Water Won’t Fall”, to the soaring chorus of album closer “Autumn to Winter”, the music is at once familiar and exhilarating; a penchant on the band’s part to create hooky yet interesting and captivating music. The eclectic sounds on display prove the band’s considerable musical talent, and while the whole band is on top form throughout the album, it’s singer Jill O’Sullivan who is particularly worthy of mention, displaying an enviable mix of power and delicacy that deserves worldwide recognition.

It is exceedingly difficult to find fault with the album. It is best during its louder, more bombastic moments, and so by comparison some of the slower pieces at first feel as if they’re lacking in power and memorability. Where the choruses of songs such as “The Faster You Spin” and “Flower Bombs” feel grand and majestic, slower pieces such as “Odessa” at first feel weak and insubstantial. However this is naught but an illusion, and upon repeat listens these tracks stand up just as well, if not better, than others.

In short, the worst songs are great, and the best are amazing. This really is a superb release from the Glaswegian trio, and beyond being thoroughly enjoyable it really makes you wonder why this band aren’t more widely appreciated.

Release: 27th May 2013, Song, By Toad