19 September 2010

Top Tunes To Blog About 3


Over the last couple of months there has been little in the way of new music worth posting about, but now the synapses are going hammer and tong and with good reason. There is new material to get your claws into, so sit down fellow owlettes and enjoy. First up is Fenech-Soler. This Franco-named Lincoln four piece have been modestly moseying around the UK since 2006, drifting between recognition and obscurity more than Paris Hilton sniffs at drug taking claims only to be seen nostril deep in powder that clearly isn't blusher. Bimbo's aside, Fenech-Soler are very special. Popping up on the blogosphere back in 2008, they quickly developed a loyal band of followers who enjoyed the bands variant style. Only now are the big roaring beasts of UK music starting to gnaw at the Fenech-Soler rump hide. And of course, this is only but a positive thing; these guys deserve recognition.

The track in question that has sunk it's hooks deep into the ear canals of a select few is "Lies", their 3rd single release. "Lies" is a menacing hybrid of contemporary pop inflated with sweetened electro and thumping indie genes. The track's intro progressively builds into a glistening wave of coppery electro-synthing and tumbles further into a pleasant mixture of bleeping, layered brassy cymbals , repetitive psychedelic drum thuds and an incredibly well executed and bullish chorus. Fenech-Soler clearly know a thing or two about veritable alternative yet friendly music, harnessing the extremities of lesser mainstream production and packaging it neatly in digestible audio chunks.

Ben Duffy's vocals are superb; crisp, haunting and piercing; excellently lacing into the very DNA of the sound this band create so brilliantly. Sound wise, they sit nicely between the delightful electro obscenity that is Late of the Pier and that other heavyweight of the electro-indie arena; Friendly Fires. But don't be lulled into over-comparing this band; they rightfully stand in their boxing ring corner ready to defend their unique sound so watch out any Ricky Hatton "have-a-go" heroes as these guys are no pushovers.

Overall, this track sticks like viscous audible honey to any bodily senses and latches on to create a refreshingly positive and fulfilling vibe. The metallic verve and sweet vocals of such a band allows them to be instantly radio-worthy and should give them the footing to scale the ladder of BBC/NME love and praise. The music video for "Lies" is also a winner. Full of rather amorous yet maddening Grecian beauties who seem hellbent on spilling male blood in some, way shape or form. The floaty whimsical nature at the beginning of the video through the use of warm Mediterranean colours and wobbly camera shots sits nicely opposite the more serious imagery of fire, anguish and hidden agendas. It is nothing too ostentatious allowing the music and the video to work dynamically together. So, turn up the volume and the bass, sit back, and let Fenech-Soler get down to business.

Check out the music video for "Lies" and as always, give the guys some love by visiting their Facebook/Myspace/Twitter pages.


Well well, it would appear that this tenacious Rabies infected crazy Jack Russell of an indie-pop UK duo have returned. Modestly sneaking back out from behind the curtains of the unknown and mythic land of "i-tunes advert overplayed backing music commerciality" to tippy-toe themselves towards the halogen lights of chart success and musical recognition once more. So it would seem.

The music world and the majority of band wagon music lovers haven't been the kindest to these English roses of bright and colourful music maestro-ing. Bubbling away they gently got noticed by NME, BBC Introducing and the like, around several years ago. Then BANG. Like an illegal Chinese firework they scarred our faces with their burning hot new take on UK alternative pop. However, all scars do heal and with that the duo were thrown out onto the side streets, faceless and unloved. A victim of perhaps too much airplay and commercial intoxication. Roll on two years from 2008, and The Ting Tings are back with a vengeance mixed with a dash of maturity and resourcefulness.

The song the pair have used to bolster their comeback campaign with is a corker to say the least. "Hands" is a shiny rhythmic slice of the indie-electro-pop cake that would put any Texan heffer to the test in consuming it's rich goodness. The track highlights the feeling of finishing a hard week slogging in the office and relishing the weekend to let the inhibitions ebb away and go forth and party hard. Lopped off are the 2008 days of tinny simplicity that was, to be fair, a bold and creative change to the music scene at the time.

However, now we must embrace and hail the newly transitioned Ting Tings like loyal disciples. They're dirtier, layered, sweaty and perform with ushered bravado. "Hands" starts off at a steady pace with wallowing electro dins, harpsy-warping keys and an effervescent synthesised fretwork of sparkly 80's glitz meets 2010 modernistic construction. The shift in musical stance places The Ting Tings in line with a more radio friendly Yeah Yeah Yeahs meets C.S.S whilst also echoing traits similar to the now defunct Brit electro band The Modern (now The Matinee Club).

It is clear this track is produced by Calvin Harris; the raucous undertones and typical Harris-esque electro fusions gel formidably with Katie White's clean cut and punching vocal prowess. The repetitiveness of the chorus works well indeed, drawing you in and drilling deep into your head in a rather satisfying way. DIY surgery imagery aside, this track is very well composed. The balance between revelling in the success of "We Started Nothing" and the Berlin forged "Kunst" has been professionally and competently met. The signs bode well for The Ting Tings, however, the shackles of the 2008 backlash may still hold tight for a little longer. Hopefully the Jack Russell spirit within these two will quell any obnoxious critics and solidify their deserved place on the credible indie-electro-pop rostrum.

The music video for this track is well produced. It is darker than previous music videos and the industrial smelting and metalworks is a great juxtaposition to the more polished and sequined array of costume glam that seeps from White's musical veins. The Alphabeat inspired "Dulux wall chart" backgrounds that creep in from time to time neatly balances out what could visually become a welcome video to Hades and the Underworld, thus the colour trips do make the viewing experience all the more pleasing.

Check out the music video below and give these guys some love on their Facebook/Myspace/Twitter pages and keep your eyes peeled for the release of their second album "Kunst". Over and out girl scouts.

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