ALBUM REVIEW: Various Artists - Blues Skies Up - Welcome To The New Pop
Revolution (Dogbox)
A compilation of alternative pop music - it's a simple idea, but it might
just work. Of course, we're talking specifically about new and upcoming
artists here, but, don't run off, as there's a confidence and intrigue to
much of the music here that's a world away from tawdry demo tapes and
MySpace mediocrity. I've neither the time nor inclination to talk about all
of the sixteen songs/acts here, and let's face it, you wouldn't be terribly
keen to read such detail, so let's focus on the more interesting stuff,
shall we? Possibly most 'famous' are The Boyfriends - you've probably heard
all about their Morrissey support slot shenanigans, but the truth is,
they're distinctly underwhelming. Their 'Remember' is pleasant and mildly
diverting, in a mid 90s Mozza b-side kind of way, but nothing to get
terribly excited about. Miles better, and far more imbued with the sound and
manner of The Smiths, are London noir-poppers Luxembourg, whose effort here
('Not My Number') doesn't quite scale the heights of their '...versus Great
Britain' debut single, but still ticks all the right boxes nonetheless.
There's a welcome smattering of electronic noises here too. Swimmer One turn
in a languid slice of pastoral electro-pop with vocals reminiscent of, er,
someone I can't quite pinpoint, actually, whilst Bib's slightly morose
'Jobs-On-Line 06' has some New Order/Cure spindly guitar and ultimately
proves a far more beguiling commentary on modern-day employment than The
Rakes' '22 Grand Job'. Elsewhere, then: lo-fi disco-punk pop from Germany
that's far better than it has any right to be (Planetakis), short girly
twee-pop (The Sweethearts), almost-genius wry new wavey moodiness (Robots In
Disguise) and subtly Suede-redolent swaggering indie (The Bleeding Hearts).
Possibly surpassing all of the above, 'Blue Skies Up' ends with something
quite moving (as all good pop albums should) - the shimmering Spector-esque
dream-pop of Morton Valence's lush 'The Kiss'. Oh, and, lastly, the sleeve
notes aren't bad either. Viva The New Pop Revolution, then. MS
Released date: 15 May
Press contact: Emms [all]
Revolution (Dogbox)
A compilation of alternative pop music - it's a simple idea, but it might
just work. Of course, we're talking specifically about new and upcoming
artists here, but, don't run off, as there's a confidence and intrigue to
much of the music here that's a world away from tawdry demo tapes and
MySpace mediocrity. I've neither the time nor inclination to talk about all
of the sixteen songs/acts here, and let's face it, you wouldn't be terribly
keen to read such detail, so let's focus on the more interesting stuff,
shall we? Possibly most 'famous' are The Boyfriends - you've probably heard
all about their Morrissey support slot shenanigans, but the truth is,
they're distinctly underwhelming. Their 'Remember' is pleasant and mildly
diverting, in a mid 90s Mozza b-side kind of way, but nothing to get
terribly excited about. Miles better, and far more imbued with the sound and
manner of The Smiths, are London noir-poppers Luxembourg, whose effort here
('Not My Number') doesn't quite scale the heights of their '...versus Great
Britain' debut single, but still ticks all the right boxes nonetheless.
There's a welcome smattering of electronic noises here too. Swimmer One turn
in a languid slice of pastoral electro-pop with vocals reminiscent of, er,
someone I can't quite pinpoint, actually, whilst Bib's slightly morose
'Jobs-On-Line 06' has some New Order/Cure spindly guitar and ultimately
proves a far more beguiling commentary on modern-day employment than The
Rakes' '22 Grand Job'. Elsewhere, then: lo-fi disco-punk pop from Germany
that's far better than it has any right to be (Planetakis), short girly
twee-pop (The Sweethearts), almost-genius wry new wavey moodiness (Robots In
Disguise) and subtly Suede-redolent swaggering indie (The Bleeding Hearts).
Possibly surpassing all of the above, 'Blue Skies Up' ends with something
quite moving (as all good pop albums should) - the shimmering Spector-esque
dream-pop of Morton Valence's lush 'The Kiss'. Oh, and, lastly, the sleeve
notes aren't bad either. Viva The New Pop Revolution, then. MS
Released date: 15 May
Press contact: Emms [all]
Was Elton John on that one?Cheers glad you liked the review, alex.