Bidston Moss
Bidston Moss CD-EP
Ramjet.
by Scott Zimmerman.
December 26, 1996.
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If you keep your multi-disc cd player stocked with the likes of
Scrawl, Veruca Salt, Throwing Muses or other edgy guitar groups with
girls singing, then here's another one to add to the rotation.
In Bidston Moss, Beth (bass) and Christine (guitar) are the starring pair, combining their voices to form sweet harmonic confections. Mung (lead guitar) and Christian (drums) make up the remainder of this Victoria, Australia four piece.
"Penguin" and "Orange Couch," the two most frenetic and energetic of the six songs on this ep, so far have been giving me the maximal thrills. The guitars are delicious. "Junior" isn't far behind (nice melody on the vocals!), and "Muttonbird" and "Cerulean" work in a similarly pleasant way. In the middle of the ep is "Silver Top Taxi," the most unique sounding of the compositions. It features some groovy sliding guitar work and particularly warm, attractively bluesy vocals. Smashing!
Bike
Take In The Sun CD
March. MAR047.
by Keith McLachlan.
December 28, 1997.
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Imagine a world where Oasis had a slightly more shoegazing-like bent and
there you might find a world where Noel Gallagher would hold the same
position as Bike's Andrew Brough. For Andrew, according to many (Neil
Finn included), is one of the kings of the ultra romantic, intensely
beautiful and melodic brand of songwriting, which of course always made it
puzzling to see him flailing away in rokk band extraordinaire the
Straitjacket Fits.
For as the Fits were keen to blowing eardrums the world over, Andrew would snuggle his 2 or 3 pop gems per album into the consciousness of the more sensitive Fits fans. That said there is more than a bit of enthusiasm greeting this the debut longplayer from Mr. Brough's new outfit Bike.
But what about Noel Gallagher? Well let me tell you, this album has more guitar (surely Andrew has found an amplifier that goes up to 17) than on any record you are likely to hear this year save a certain crap British band (see Oasis). The title track opens and finds the band exploring the uptempo pop song flush with squalls of beautifully strummed guitar, simple and melancholic vocals and a throbbing rhythm section.
The next two songs 'Circus Kids' (the first single) and 'Tears were Blue' bring back fond memories of Andrew's time as second banana to Shayne Carter in SJ Fits as they are slower, although the guitar is still momentous, and more languid tunes that just wash over the listener with thrilling ease.
The record is not incredibly varied in style but there is a winning formula here that does not sound repeated. Andrew's voice is not so strong but it is resonant and when he turns balladeer on the majestic 'Sunrise' you can't help but swoon with cheer. Here's to second bananas making better records than the first bananas. yay!
Bis
"Sweet Shop Avengerz" 7" vinyl
Wiiija. WIJ 67.
by Scott Zimmerman.
May 27, 1997.
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It would be easy to join the snob trend and write a bad review of this
new ep, but instead I will join the more appealing mirroring trend and
write a good review! Yes, even though these are not perfect pop songs,
even though they can manage to be a little grating, even though there
is not a pristine production aesthetic, in the end these are still
fun, dancy, unapologetically-over-the-top sugary rockers that for some
reason are an exhilarating listen!
With "Sweet Shop Avengerz" and the rest of the tracks, Manda Rin and gang in mere seconds can suck you right into their hype machine. That ability is art in itself. Don'tcha just wanna scream along with them!? Oh yeah. So, okay, count me as another one of those easily manipulated sheep that is into the mind-controlling phenomenon known as Bis.
Blueboy
"Dirty Mags" 7" vinyl
Sarah. Sarah 099.
by Aurore Bacmann.
December 31, 1995.
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Of Blueboy, we had kept the image which their first LP If Wishes Were
Horses had printed in our minds -- bright guitars accompanied by a
cello and shy singing -- the perfect picture of wet, grey days on cold
beaches. In this view, their new 7" single, the last single to be ever
released by Sarah Records, might be quite a surprise. The first two
songs of the ep are more agressive than usual, which the lovers of
tense, restless indie pop should certainly enjoy. The main reproach
that could be made is that the originality of Blueboy is a bit drowned
in the conventional noisy-pop sound that you are bound to hear if you
just switch on your radio, and the songs do not ascend as high as
tracks like the marvellous "Johnny Rave." However, "Toulouse," last on the
ep, is an acoustic song with a flute and cello in the style at which
Blueboy excel. And it's also a beautiful way of ending the eight years
of the fabulous Sarah adventure.
Blueboy
"Love Yourself" 7" vinyl
Shinkansen. Shinkansen 4.
by Keith McLachlan.
December 26, 1996.
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I always found Blueboy to be one of the least interesting Sarah bands,
their landscapes seemed more vacant than inspired and the music was
never all that comely. The last album Unisex made me change my
opinion and this 7", by the now two strong Blueboy, is an alluring
piece of acoustic wistfulness and innocence.
Blueboy
The Bank Of England CD
Shinkansen. Shinkansen 12CD.
by Keith McLachlan.
September 4, 1998.
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You know I am not so in the know when it comes to indie pop (the
Non-Pareils do nothing for me really) but I like Blueboy a lot more
now than I ever did before. I wonder why this is? Maybe cause they
suddenly acquired a personality? 'If Wishes Were Horses' was just so blase
and homogenized it really made me think they were a waste of Sarah Records
time but somehow the Blueboys have turned into a really nice band and man
this record almost rokks. Lots more guitar than on the wistful 'Unisex'
and less cloyful vocalizing. The new girl singer is not as charming
as Gemma was but she still gets a passing mark and the album really does
glide by on an inspired flow of emotion and beauty.