Album Review: Tape Deck Heart - Frank Turner

The name Frank Turner is now a recognisable brand name. Formally, a musician loved a lot but by a few, has earned wide-ranging recognition. In 2012 alone, he became known as a friend of Billy Bragg, for headlining Wembley Arena, and perhaps most significantly, for playing at the Olympic Opening Ceremony. Where do you go from there, now 2013 has well and truly begun? How do you beat that? Creating an album to mark the next significant step in your career, seems the most logical way forward, but can Tape Deck Heart stand up to the high standards Turner has already set himself? These previous achievements have ensured that more people than ever have been glued to his career, watching and waiting to hear what will happen next. 

Encouraging and attracting a fan-base who are, more often than not, truthful and outspoken, means that opinions of the album are unlikely to be sugar-coated. Notably, a philosophy that has been interwoven into Frank’s lyrics consistently. Writing a review for this album, about an artist whose music I greatly admire, and ensuring I’m being consistently honest, has proved to be a difficult task. Yet somehow, it seems the only thing to do.

The album begins with Recovery – catchy, poppy, appealing to the masses and a far cry from folk music. A song that immediately establishes the thoughtful, candid theme of the record. It expresses a need for personal self-improvement, and the effect encountering problems in your life can have. Something that has been consistent throughout Turner’s career, which has not been left out of this record, is his ability to create songs that connect with the listener. Losing Days discusses the feeling of days disappearing, and time flying away from you. It’s a subject few would think to form a song around - this ability to discuss the rarely discussed is what makes his music particularly memorable. 

Four Simple Words is a welcome break amongst the hard-hitting, heartbreaking lyrical content of this record. Positive, upbeat and fun, it stands out hugely. It follows Tell Tale Signs, a song so remarkably personal I feel significantly uncomfortable listening to it. This album is somewhat of an emotional roller coaster, which manipulates emotions in a remarkable way.

Tape Deck Heart takes a completely different direction, both in themes and music, to previous albums. Lyrically, it connects with the listener on a rawer, far more personal level, with songs based on relationships, loss and love. These are not subjects rare to find in song writing, but not something Frank is normally known to visit in such depth. Moving a gigantic leap away from folk-rock songs about England and travelling, and noticeably produced and promoted on a much larger scale, makes the album feel like uncharted territory for Frank Turner. The Sleeping Souls, the band which give substance and musicality to the albums and live performances, seem to have played a much greater role in this record. The music includes a greater variation in instruments, such as the mandolin, and songs like Broken Piano demonstrate a far more obscure style. Somehow though, I’m left missing the traditional band format, and punchy upbeat style of the previous albums. In some ways driven folk-songs and story-telling is perhaps an unusual angle from which to write, which overall, makes for a good selling point. However, all good musicians may have to have the ability, and perhaps the necessity, to change. 

Recording in LA with well-respected producer Rich Costey, has clearly had an impact on this record. It has been produced to within an inch of its life – gone are the gritty voice cracks and imperfections, replaced instead with clear, polished, technically perfect ones.  The Sleeping Souls also appear to have been manipulated quite significantly, as though there has been an attempt to make them as clear and perfect as literally possible. However, they were already an incredibly tight band, that true to name, had soul. It seems to me that they have been over –produced and perfected. 

Normally, Frank albums have a healthy balance between thoughtful songs and positive, hopeful ones. Tape Deck Heart doesn’t. It manages to project these sad and meaningful thoughts onto the listener. Probably demonstrative of a good song,  but in all honesty it is fairly draining listen, and not something it would be wise to listen to in a less than upbeat mood.  It’s an utterly personal record, the lyrics at times cringe-worthy to hear. Pushing far beyond the boundaries set in his previous albums, Tape Deck Heart is a raw, biting record. At times, it feels as though you’ve accidentally read the diary of a stranger – that you’ve heard something not intended for public consumption. 

It’s a technically accomplished album, with deep and thought-provoking lyrics. It visits musical styles not before heard in previous albums, yet it seems to lack the folk-rock charm Frank Turner and The Sleeping Souls are famous for. It may not be the best record you hear this year, and it may not be the best record Frank has ever written, but it is a huge step away from his ordinary style, and courageously honest, and for that alone, it deserves significant recognition.

Record Store Day UK

Before Amazon and iTunes changed music consumption forever, before superstores like HMV dominated Britain's high streets, independent record shops were the main source of music. Although far from extinct, these stores full of varied genres and musical advice have gradually declined in popularity. Presumably swayed by easy digital access to music, and the availability of music-chains, many potential customers have sadly chosen to take their business elsewhere.

However, musicians and fans have not given up on them just yet - today they united to preserve these dwindling businesses, taking part in the annual event, Record Store Day UK. Designed to encourage the choice of independent record stores over Internet purchases or high street giants, in-store performances took place in over 200 record stores throughout the UK.

I experienced the London section I this event, first at Rough Trade East on Brick Lane, then at Sister Ray on Berwick Street. True to form, I tailored my day to include Frank Turner & Matt Nasir shows; however there were so many other musicians dedicating their time and energy in order to promote the record stores they genuinely have faith in. It was clear than everyone in sight was passionate about these smaller, knowledgeable record stores.

Mp3's are now the most popular way to purchase music, yet they seem the most soulless. Being able to visit a record shop, seeing exactly what you are purchasing, and then flicking through the album notes whilst listening to the record seems a privilege - something to preserve, rather than destroy.

With the demise of shops like HMV, and the encouraging force that is Record Store Day UK, it feels that perhaps, independent record stores may just be able to climb their way back up to the top.

Harlem - New Politics

Stop whatever you're doing. Now. Put down that phone. Unless you're reading this on it...I've found a song so good it made me stop listening to Frank Turner. Really. If you don't know me, that doesn't happen for any old song. I was immediately hooked, and it may just be the best song you hear this week. This musical gem is called Harlem, and comes from Danish band New Politics.

After a bit of research on t'internet, it seems that they have slipped under my musical radar, and have been around for a few years, their debut album released in 2010. It was reasonably successful, but with Harlem, they seem to have reached an entirely new level of songwriting. This polished, addictive song is what would happen if rock music tried to break into dance music. I would be very surprised if this doesn't make it's way into the UK top 40 soon - it's already in the US chart. This is a song to enjoy, a band to watch out for, and an album that seems very promising indeed.


http://youtu.be/NVOUTkFkMNU

Should music be censored?

I've been inspired to write this after receiving some music earlier today. I love hearing new songs, and am happy to give honest feedback should it be required. Always. I'm also not the kind of person to be easily offended - I'm fairly tolerant in general, most of all with music. In fact, if you'd told me this morning that I'd take considerable offence to a ska song, I'd have probably laughed.

However, it took me by surprise, and what started out as a seemingly upbeat offbeat song, turned into something that made me feel fairly uncomfortable. I'm not going to list the reasons as to why, it doesn't seem necessary, or entirely appropriate, but I will leave a link at the bottom, and let you make up your own mind.

It did get me thinking though - can music really go too far anymore? There are no limitations, other than censoring language on the radio, for most countries at least. Sadly, not everyone lives in a world where music is readily available, tolerated or even legal. But that's a topic for another time. For the most part though, long gone are the days where punk music could shock a nation, or gigs are shut down for being too hardcore.

I certainly don't want the music I listen to to be censored, or edited. It should be as honest and real as possible, should that be what the artist wants. (Yes...even Emo music). I've always been fascinated by what punk bands like the Sex Pistols and The Clash did to help shape the music genres we now know and love. It seems almost insulting to the work they did to demand any sort of censoring.

But perhaps, if you could label such music as "This song has unexpectedly disconcerting lyrics, with undeniably creepy undertones", next time, that'd be great. Or just, "THIS SONG IS WEIRD".


http://www.reverbnation.com/goodsign2012

Adios to Emo?

Yesterday, in a sudden and somewhat unprecedented fashion, My Chemical Romance announced their departure from the world of music. Far from a convincing end, they did this through a small statement on their official website, and a cryptic Twitter post from lead singer Gerard Way, along with a picture of Houdini.

This may suggest escapism, but certainly doesn't match their previous announcement of an end for the band. It could well be the end of My Chemical Romance as they have previously existed, but for a band in the midst of creating an album it seems hugely unlikely, and somewhat coincidental, that this is a final goodbye.

Although an opinion up for debate, I consider this band to fall into the category of Emo. Lyrics which are harsh, and that certainly do not promote mental well being, have managed to earn them an army of dedicated followers. These fans are understandably upset - something which would certainly change were they to next announce a miraculous re-formation. Cruel, yes. Sneaky, most definitely. But an un-faultable promotional technique? Most certainly.

As much as I love music, I find it necessary that it's a positive element in people's lives - needless to say I am not a fan of the Emo genre. It seems illogical to add sadness to an already troubled world, and I would dearly love to see the demise of bands such as My Chemical Romance. Music for unhappy times is incredibly important, but artists which feed off and influence the emotions of their fans for financial gain and increased popularity seem as far from a positive attribute to the music industry as literally possible.

My Chemical Romance were on of the most popular rock bands of the last 10 years, and for good reason. After releasing The Black Parade, they received phenomenal success, both with dedicated rock fans, and those who had sworn themselves to a life of pop. It was a brilliantly made album, there is no denying that. However, there is also no denying the dark and depressing nature that it, and their previous music, was built upon.

The influence that Emo bands such as this can have of the mindset and emotions of their fans is not always immediately apparent, even to the listener themselves- but the lyrics and opinions of an artist will always have an impact, especially to their dedicated fans.

While this may not really be the end of My Chemical Romance, their break-up has the opportunity to be prompt the beginning of the end of Emo music. If they do undergo a 'miraculous' transformation, then they have the opportunity to release something good into the world, and to their fans. I sincerely hope they do.

Is it bad I listen to...?

Reading some of the responses to the BRITs on Twitter last week, I couldn’t help but notice the comments directed at the nominees did not entirely reflect the smiling faces and awe filled responses we saw on-screen.  The artists deemed worthy of awards have certainly dominated radio stations and record sales over the past 12 months, but I’m not sure they represent the best that British music has to offer. This kind of programme gives you a feeling of being preached at as to what you should be listening to. Call me mad, but I’m not sure I want music advice from James Corden, suit-clad or otherwise.  

The nominations seemed as though someone had flicked through a copy of NME, and chosen bands at random. The majority of them seemed to fit into the same perfect ‘indie mould’, odd for an awards ceremony that claims to acknowledge artist’s iTunes might class as ‘alternative’. They all seem to produce fairly ‘wishy-washy’ music, that lacks something - not one song that makes you say “yes, I get that song, it really means something to me”. Is this really the kind of music we’re encouraged to enjoy? Songs sung by people in ironic glasses, top buttons practically strangling them and unnecessarily skinny trousers. One particularly cringe-worthy moment, was Dave Grohl saying “long live rock’n’roll” whilst presenting an award to The Black Keys. 

Just like anything else, however liberal or independent minded you consider yourself; liking music that no one else seems to like can make you feel awkward. Or odd, even as though you’re missing something that everyone else sees. One occasion recently where this feeling manifested itself, was at a gig I took two friends to in Shoreditch. I hope they don’t mind me writing about them...though there’s not much they can do about it if they do! Even several pints down, I felt a vague feeling of apprehension as to what they would think. In some ways, what they might think of me for liking such music. The first artist plays somewhat discordant, definitely unique, acoustic music. The second band were somewhere between rock and ‘hardcore’ – not exactly death metal, but my friend’s face mirrored that of a nun taken to a Slayer show.

I found myself nodding in agreement when they mocked the first artist. I’ve seen him before, playing at a gig I consider one of the best music nights I’ve ever had. I genuinely like his music. Then why, did I feel the need to hide this? Am I actually that afraid of what my own friends might think that I’ve lost the ability to express my own opinion?  

I have an issue with label giants promoting a limited amount of artists until they rule the world. I’ll defend independent labels and artists to the hilt. But even I have music on my phone I would be ashamed for others to know I listen to - both people that like rock music, and people that worship the Top 40.  But why should I? Why is it important to have a music taste that ensures you fit in with everyone else? Even within the world of rock music, which is generally thought of as promoting individualism and freedom of thought, there is a great deal of judging going on. I think it’s high time we listened to whatever it is that makes us happy. I’m in my element in a mosh pit, but every so often I’m quite content to listen to some Michael Buble with a nice cup of tea. There, I said it.

Most Anticipated Albums of 2013

2012 was an eventful year for music. Fun. took the world by storm, Gotye was played enough times to turn us borderline insane, Green Day released some...interesting albums, the wonderful NOFX released “Self Entitled”, and we still all had the Moves Like Jagger. But we are well into 2013, which brings with it huge opportunities, and expectations, for music. Offerings from Biffy Clyro, Everything Everything and Black Veil Brides have kick started what looks to be a successful year, and with eleven months left, who knows what could be gracing our stereos. I have chosen 5 records due for release this year, which I think ought to be most anticipated.

David Bowie –The Next Day (UK Release – 11^th March)

I feel somewhat nervous, almost under-qualified, writing about such an influential musician. I can happily rate (or slate as it were) most musicians, but Bowie seems to require exceedingly careful commentary. Releasing a respectable 24^th album, 10 years after the release of “Realise”, and with dramatic changes in style throughout his 51 year reign, the album could bring quite literally anything to the (turn) table! The first single released, “Where are we now?” impressively for free, seems moody, strangely calming, and hugely promising. From the artist responsible for songs such as Starman and Life on Mars?, anything is possible. 

Fall Out Boy – Save Rock and Roll (UK Release – 6^th May) 

They have definitely had the most surprising and instant return music has seen for quite a while. Transforming from a distant memory, to a band at the forefront of many music lovers minds, they’ve returned quite literally, overnight. Their new song "My Songs Know What You Did in the Dark (Light Em Up)", is a world away from their normal style, and oddly, reminds me of Tenacious D. A sudden return, a new year...who knows what this band are capable of. If the monumental blow-up of social media is a reliable enough indicator, they certainly haven’t lost many fans during their four-year hiatus. It may be a wise choice to adapt their style - they have after all, got considerably older, and music style has changed since their split. The question is, have they changed in a good way? Their new single seems to lack substance, but who knows what the new record may contain?

 Frank Turner – Tape Deck Heart (UK Release  - 22^nd April)

Writing about this album involves less prediction as to what it’ll be like, but more counting down the days until its release like a mad person. (68, to be precise..). It has been produced by American album giant Rich Costey, responsible for records such as Muse’s “Absolution” and “Black Holes and Revelations”. Having worked with countless successful musicians, such as Foo Fighters, Weezer, Springsteen and Arctic Monkeys, it seems his input may induce a considerable change.  It is quoted as a “break-up” album, something far from the general themes of his previous albums. The first single released, “Four Simple Words”, is loud, inherently catchy and incredibly polished. More of a musical journey than a song, it certainly packs a punch. I consider this artist utterly brilliant, and to avoid sounding overly-complimentary, probably one of the best musicians I’ll ever hear. That said, I once said thought that of Green Day! However, it would be complacent and most likely ignorant to assume it’ll be an album of brilliance. I’ll admit I’ve trawled YouTube to find live versions of new songs - and they’re good. But it will be interesting, to see how the songs differ once produced, mixed and on an album. Backed by the brilliant Sleeping Souls, and with the addition of Rich Costey, it has all the factors needed for a fantastic record. 68 days to go...

Lady Gaga – Artpop  (UK Release – Spring 2013) 

This is not the kind of music I find myself writing about or listening to very often, but it can’t be argued that she is one of the most successful women in the music industry, possibly that there has ever been. She certainly doesn’t follow the crowd – in many ways, it seems she is the antithesis of the pop world she thrives on. Her bold look, attitude and dedication to individualism rings more of a punk thesis than typical pop culture. Two remarkably successful albums have established her a solid reputation. Due to release a double album in spring of this year, entitled Artpop, she released this quote - "I'm fascinated with the decay of the blonde pop icon and how culture loves to build and give birth to fantasies and then destroy them and what that means. It's something I want to explore on my next album.” Make of that what you will...

Johnny Marr – The Messenger (UK Release – 25^th February)

Songwriter and guitarist of The Smiths, though somewhat over-shadowed by Morrissey, is releasing his debut solo album “The Messenger”, later this month. He has certainly not been far from the music scene since the demise of The Smiths, working with bands such as Modest  Mouse, Billy Bragg, Oasis, Tom Jones and, bizarrely, Girls Aloud. However, this is his first foray into solo music. It would be unfair to try to predict this album, by likening it to The Smiths – the lack of Morrissey being the most obvious reason. Taking co-responsibility for so many hits, it feels justified to expect great things from this album. Goodness knows he's had enough time to write the songs. Only time will tell with this one.

 Other albums to look forward to...

There are many other albums due for release this year, that didn't quite make the top 5, but which certainly warrant a mention, including Courteeners, Bullet For My Valentine, Stereophonics, They Might Be Giants, Bonnie Tyler, The Strokes, Bon Jovi, The Flaming Lips, Alkaline Trio, Noah and the Whale and Vampire Weekend...amongst many more. Looks like 2013 is going to be a good year for music!

...Worrying however, is the general consensus marks Justin Timberlake’s return as the most exciting musical event of the year. Mhmm.