We Are the Dead

The lively band with that bit of dark...

Given the name, We Are The Dead seem to be ironically one of Coventry’s most energetic and enthralling contenders on the music scene. With a colourful and interesting array of musical influences, they have a small and proud catalogue that wouldn’t seem out of place in a Ziggy Stardust make-believe record collection. Aside from a Bowie-driven stream of influence behind the band, Iggy and the Stooges can’t pass by without venting wind under the sails of the good ship Dead. First impressions of We Are The Dead presents a mysteriously dark and intriguing persona; yet somehow with that small and delicate pinch of sparkle. Singer Tom Simkins feels that the band should "present more than just music", and that "art and visuals should be a big part of live performance in particular".

Songs like ‘She Put My Heart in a Cage’ can best be described as getting thrown through the motions back and forth on some volatile fairground ride… but none-the-less a comfortable one. Whereas the steadier ‘Slow Burn’ remains vivid, yet creeps into your imagination with clear-cut lyrics and moderate drums lain under the temperate guitar. We Are The Dead songs don’t go without a touch of Suede, and ‘So Damn Pretty’ replenishes the kind of 90’s tunes missed from when bands like Pulp and Blur were in their heyday. Then their grungier number ‘I’ll Be Your World’ starts with a thrash reminiscent of a dingy CBGB’s stage featuring Iggy Pop (the former version of today’s sinewy figure we can’t avoid on daytime TV insurance adverts), before becoming increasingly synthy.

As for the live shows; jumping and crawling are not qualities to be unexpected, and singer Tom Simkins makes sure to keep his showmanship interesting. He certainly looks the part wearing trilby hats, waistcoats, and a splash of purple involved somewhere. Want to know where you can catch them next? Find them at www.myspace.com/wearethedeadspace and make sure to give them a listen.

The Sequins: The Risky Woods Review

By Joanne Ostrowska

Proving that there’s still a heart in a genre thought to be selling its soul; The Sequins bring a sweet pinch of sentimental dazzle to indie pop. With their EP entitled The Risky Woods, it seems more likely you would encounter Lorraine Kelly rather than any goblins or trolls out in rural fantasia; despite what the front cover may convey.

They "make pop songs with guitars" admittedly; and the result is somewhat like combining Roy Orbison with the Maccabees on the edge of Dr. Parnassus’s Imaginarium. Yet in a land far far away from fairytale make-believe; The Sequins can currently be found gigging around the venues of Coventry- the city of three spires and almost no obvious woodland. They play in a sea of gritty rock n’ roll and blues; combating the most dominant themes piping from their hometown with an enchanting quality- which is at times, haunting. Perhaps it is best to describe their songs as downright jaunty, yet coming from a contrastingly sorrowful place. Vocalist Hywel Roberts sings with dainty charm; almost as though a voice could walk over eggshells. And guitar provided by Justin Hui is succinctly plucked and fired up alternately; a good concentration of the bands outright energy. The band’s EP sounds a bit like stop-motion animation.

All That We Know is wistfully vibrant; the instrumentals thoroughly rev up momentum where it’s needed in a Queen-esque fashion, and the vocals pepper the down-time with a blissfully melancholic warble. Space Travel in Your Blood has the makings of a jazz number with salsa undertones, and delicate psychedelic touches. Then The Chiming Bells contains shades of both light and dark; it takes you from the yellow brick road to the backstreets of Oz faster than a Munchkin. Angeline is almost like a journey; perhaps on an aeroplane, maybe as part of an escape adventure- but most likely because Freddie Mercury wants his riffs back. Finally Offside & Beautiful finishes the EP off on a classical, more romantic note; imaginably like dancing a waltz under the glare of frosty pale moonlight. The song naturally leads to a peppier crescendo, but otherwise the vocals in particular are floating down like feathers.

If The Sequins was a place, it would surely be a land of magical enterprises; a spell-binding flurry of sparkle- located somewhere near to Narnia. A trip to The Risky Woods for some indie tunes or turkish delight anyone? Find out more at www.myspace.com/thesequinsspace

Shackletons: Album Review

Shackletons
Life’s Losing Love

By Joanne Ostrowska

Monopolizing Coventry’s rising and thriving musical serge, the Shackletons have finally released their long-awaited debut album. Life’s losing Love is the homegrown and tenderly nurtured product years in the making, as the band took time to carefully craft their catalogue and alter their line-up. It’s just as well too, as latest addition and bassist Paul Hartry finally sent the album through production in his home studio. The result is a fresh sounding pop record with nostalgic qualities drawn from influences including Neil Young, Frank Zappa and The Faces.

Firing off with the short and snappy ‘Deal or New Deal’, the Midlands five-piece spend only one and a half minutes to sing of job centre queues and the perks of unemployment; all held together with a few rounds of sha la la la la las. The next track ‘Nobody Cares if You’re Dead’ exemplifies perfectly some of the best use of harmonica and slide guitar which continues throughout the next 10 tracks. Some of the more softer and mellow numbers such as ‘Too grown up’ sound like the possible product of an angsty teenager; but the lyrics go beyond petty adolescent insecurities. And so burns the soft and smouldering embers which crackle beneath the subsequent fire and ardency fuelling the band’s objectives.

Written in homage to singer Reid Currie’s dad, ‘Hold On’ opens with beautiful vocal harmonies from guitarist Ryan Every; and the entirety wastes no spillages in oozing sweet sentiment. However, the line "all you need is a hat to tip and a hole to take a shit" seems to emerge uncomfortably in an otherwise placidly-flowing tune. Working their bluegrass side, the revved up ‘Train Keeps Rollin’’ shows the band’s country western roots before feeding into the breezy ‘No Expectations’. Then songs don’t come more heartfelt than ‘Love Lets You Down’; the eighth track on the album is one of those spine-tingling numbers which you solely repeat for the first few plays of the album. The vocal harmonies, almost ska-like rhythm, and slide guitar solos flow directly through your ear drums and pull on your heart strings.

As a front-man, Reid aptly switches between a Dylan-esque enthusiast and Faces’ style Rod Stewart; yet not without a strong sense of individuality, and never failing to nail personal expression and emotion. Toward the end of the album comes a Zappa moment when the introduction of ‘When the Rain Comes’ pays tribute to one of the bands’ shared influences… "This is a message…" is therefore voiced over Ryan and Paul harmonizing the word "rain" repeatedly. Then ‘Time Goes By’ is another good example of slide guitar; played behind a set of contemplative lyrics, before the harmonica flares back up again in the final song of the record. ‘Wait Until the Morning Comes’ is almost like a mellowed down version of the first Faces’ hit ‘Stay With Me’, and a perfect way to round off the unruffled temperament of the entire album.

Life’s Losing Love is a 12 track search for meaning, and the bigger implications of life. If slow and steady wins the race, then the Shackletons should be careful not to sacrifice their prize for a potentially botched follow-up; as apparently their next album is already in the pipe-line. However, I get the feeling they’ll be no rushed catastrophes from this group of ardent devotees, and you’ll be doing nothing but holding on for another cracker!