Robyn Writes

Review: Everybody Looks Famous – Fuel To Fire

Birmingham pop-rock quintet Everybody Looks Famous are probably set to take the UK by storm. They’ve got all the right combinations going on. Cute female vocalist? Check. Bouncy synths? Check. Perfectly polished riffs? Check. But therein lies the issue – Fuel To Fire is a saccharine, juvenile affair with plenty of style but very little substance.

It’s difficult to listen to any female-fronted pop-rock band and not draw comparisons to Paramore these days, and sadly, Everybody Looks Famous fall into that category. Vocalist Lex shows tons of potential on the more ballad-esque tracks, like ‘Fingerprints’ and ‘Stay With Me’, as her voice takes on more ethereal, breathy qualities, but she doesn’t have the power for the rock tunes and the generic hooks can’t carry her through it either. While you can tell that she’s not trying to emulate Williams, the guitar carries a lot of influence from early Paramore, but is far duller and safer in its approach. The saving grace of the album is the synths. They’re not spectacular, by any means, nor do they do much to innovate, but they make it feel like a more complete record. There’s a few songs on the album that stand out as ‘almost there’, such as ‘Fly’ and ‘Skinny Jeans’. They’re catchy, fun and start to reveal the promise that Everybody Looks Famous could well have. However, a closer listen to the lyrics results in typically immature and overdone teenage emotion. You write what you know, and not everyone can be Jesse Lacey or Tegan and Sara Quin, but the cliché that abounds throughout Fuel To Fire sounds so typically American and overtly sweet, so much so that none of it feels genuine in any way, shape or form.

All in all, if you’re fifteen years old, you’re going to love Everybody Looks Famous. There’s probably plenty for you to want to identify with, and Fuel To Fire slots in perfectly with the growth of the UK scene at the moment. But if you like your records a little rough around the edges, with some real emotional depth, then Everybody Looks Famous are best to be avoided.

2 out of 5 high fives!

Review: Lacey – Outlaws

Lacey have been busy in recent times, the release of two EPs in 2012, What Use Is Wasting Time and Chapters, has been followed in with a plethora of live shows allowing the band to start to establish themselves on the national circuit. Now with their third EP Outlaws to be released on September 13, the future could be bright for the alt-rock four-piece from Nottingham.

Starting off the latest four song sampler is ‘Hometown’ and as intros go, it doesn’t disappoint. Bringing out the powerful fist-punching melodies straight away, it is easy to see why Lacey list bands such as Taking Back Sunday and Kids in Glass Houses among the artists they take inspiration from. With a fast paced drum beat giving it a very pop-punkish sound, ‘Hometown’ also has slower moments, showcasing powerful riffs and great hooks.

Second track ‘Contender’ stands out as the ‘something a bit different’ on the EP. It starts much more slowly than the other three and plays out like an anthemic ballad, but rather than crowing vocals bassist (and lead vocalist) Graham Turner puts a lot more variation as well as power and emotion behind the lyrics, sounding more like a song from You Me At Six than say, Hinder. The emergence of the melodic guitars and slow drum beat give the whole song much more of an alt-rock ballad sound.

I’m sure they won’t mind the comparison to You Me At Six and there’s no reason why they couldn’t follow in their footsteps. While not being too similar, Turner’s vocals are certainly reminiscent of Josh Franceschi’s, with the ability to hit the high notes and keep the melodies, yet still giving bursts of a stronger and more aggressive side. ‘Contender’ is the sort of song that can get a band like Lacey noticed, bringing listeners their way before getting them hooked on their staple of pop/alt-rock.

The faster and more rocky beat is brought back with ‘Burning Out’. A fast-paced intro slows down for the delivery of the verses, before speeding up again to deliver a catchy and foot-tapping chorus. The track really slows down the pace for the bridge where Turner’s vocals subside to give way for unaccompanied gang chanted vocals. The powerful backing chants of “We all fall down, we all do nothing” remain even after the guitar, bass and drums explode back to life in a powerful final rendition of the chorus and as the song fades out we are left with only the gang vocals once again, lulling the track to sleep.

The calm before the storm is a technique used in final track ‘Let It Go’ just as well, slowing the song right down before it bursts back to life, with Dave Pearson behind the drums really impressing on a song that may only be rock-lite, but definitely deserves to be called more than ‘pop’.

Having toured with The Blackout, becoming finalists at Red Bull Studios Download Festival Competition and headlining the Red Rooms Stage at Hit the Deck Festival, 2013 has been a big year already for the Nottinghamshire quartet. Now with Outlaws ready to hit the shops (so to speak), the year could end in just as much glory as it began. Before long Lacey could hit the big scene and find themselves with a lot more airtime, following in the path of fellow Nottinghamshire lad Jake Bugg.

4.5 out of 5 high fives!

J-Pop Sunday: The Mirraz

Time for another J-Pop Sunday! No, wait! Don’t run away, avid TBO reader! These guys are all punk rock-y and that means that this column might actually fit in with the rest of the site for once! That’s right cool kids and kidettes, I can be cool! Check out “The Mirraz”!

…You can’t see it, but right now I’m doing a super-cool double hand finger guns thing to show how cool I am. Oh yes.


Nah, the camera’s over here, lads.

Quick Guide:
Act Name: The Mirraz
Line-up:
Shohei Hatakeyama (畠山 承平) – Vocals/Guitar
Masahika Sato (畠山 承平) – Guitar/Vocals
Keizo Nakajima (中島 ケイゾ) – Bass/Vocals
Rui Sekiguchi (関口 塁) – Drums (Former member, left June 2013)
Years Active: 2006 – Present
Genre: Indie Punk/Rock
Kaito’s Choice Tracks: TOP OF THE FUCK’N WORLD (2010), ハッピーアイスクリーム (Happy Ice Cream)(2010), 真夏の屯田兵　～yeah! yeah! yeah!～ (Colonizers of Midsummer ~ yeah! yeah! yeah! ~)(2013)

So, The Mirraz! I’ll be brief: The band formed in the September of 2006, got their name from the mistaken belief that “Mirra” was Portuguese for “Mummy” – as in those chaps in Egyptian Tombs – and were influenced primarily by British band “The Arctic Monkeys”.

…And that’s all I’ve got. I’m sorry! I literally only found out about these guys yesterday after buying their third album in a game of “J-Band Album Roulette Chance”. English language information about the band seems to be scarce and my Japanese is just awful. However, I do feel as though I hit the jackpot with my little shopping game and after checking out their music, I’m sure you will feel the same.

Title and opening track from the album I mentioned a moment ago, ‘TOP OF THE FUCK’N WORLD’ oozes a delightful blend of tough and cool which builds to suggest that we’re in for a treat with the rest of the album, yet it doesn’t fall into the trap of being an “intro track”. It’s strong enough to stand on its own feet, even without the album behind it.


How many different Tokyo landmarks can YOU name in the video for “Happy Ice Cream”?

You could argue that Happy Ice Cream is generic and/or repetitive, especially in the guitar riffs, but, it’s still a nice song to chill or drive out to. And it makes me smile.


“Colonizers of Midsummer ~ yeah! yeah! yeah! ~” appears on the band’s latest release.

Another upbeat track, “Colonizers of Midsummer” feels free-spirited while invoking the spirit of classic punk in its’ music. Which, y’know, it’s pretty neat. Those guitar riffs in particular make me think so.

See, cool punk people, Japanese music can be hip too. Sadly, I’ll never be “with it.” Until next time!

More of The Mirraz:
Official Website: http://the-mirraz.com
Twitter: https://twitter.com/the_mirraz
Facebook: https://www.facebook.com/TheMirraz

Review: Scouts – Why Do My Friends Have To Live Around Here

From the title, you’d think that Why Do My Friends Have To Live Around Here would be an extremely self-deprecating snark fest. However, Scouts have come up with a much better idea, and instead, WDMYFTLAH is a gloriously life-affirming punk rock singalong with plenty of heart and mind.

Alright, it’s a tiny bit self-deprecating. ‘Please Don’t Take Me Back To North Shore’ is a little bit snarky, but it’s layered in punchy rhythms, strong and commanding vocals from Bobby Pook and Paul Barrow and puts them in the same kind of league as Latterman or Small Brown Bike with the kind of melody they’re just throwing at you. Although even with comparisons to said American stalwarts, it’s definitely a localised EP – if you’re from the North West, you might just recognise a few scenes. Scouts are decent storytellers and it’s easy to get swept away in the picture they’re painting – but with guitars and really gruff vocals, not actual paint, yeah? ‘Every Day In A New Way’ covers the bleakness of a town that’s just not getting any better, and it makes you want to shout along with it, no matter where you’re from. ‘Superstoker’ is reminiscent of Polar Bear Club’s first (and best) album, but with a keener, more British edge – and better drums. ‘Kensington Streets’ is a slow burner, but it’s infectious and even though the EP ends on a slightly melancholy note, the atmosphere built up in the final few minute is not only testament to the band’s fantastic talent, but to their ability to leave you feeling completely uplifted despite the tone of the track.

Although far more serious than Pook’s usual band, Me Vs Hero, the new Scouts EP is far deeper and far more involving, and therein lies the greater reward. If you like your punk rock to be smart, involving and inventive, then Scouts might just become your new favourite band.

4.5 out of 5 high fives!

Review: Tyler Daniel Bean – Everything You Do Scares Me [7″]

Huzzah! Tyler Daniel Bean returns with a two track 7” of his tender and introspective emo stylings. Hot on the heels of 2012’s stunning LP Longing, a record that no doubt swooned so many fragile hearts, Everything You Do Scares Me continues Tyler’s commentary on his inner turmoil, where sorrow is clearly engrained in every trembling vocal line and overtly minor key chord progression.

Subject matter of death and the shockwaves it sends through the psyches of loves ones may seem foreboding and somewhat morbid, but Tyler’s sublimely striking musicianship and narratives endowed with plain-speaking humility proves alluring to the ear. His incredibly personal lyrics, detailing his inability to cry after the death of a friend, suggest shame – his incapacity to react and convey his grief through means deemed as customary obviously tearing at his soul. He turns to self-deprecation- mocking himself as an “asshole” for his apparent emotional shortcomings. Such world-weary maturity fits the ‘old head on young shoulders’ archetype down to a tee, Tyler’s sensitive and acute observations on the process of grief and sadness belying his relative youth.

Side A, ‘Year Of The Snake’, is held together by sulkily strummed minor chords and a chiming lead guitar reminiscent of American Football’s melancholic and mellow emo digressions. Allusions to Brand New are cemented through a sublime dynamism, Tyler masterfully taking the song to an exultant crescendo where he frees himself of much of the measured restraint, his vocal delivery growing in intensity until it begins to break and fragment. A painfully simple four-note riff brings the track to a dignified and sullen conclusion.

‘I Was Wrong’ employs a more driving rhythmic urgency yet sacrifices none of the subtly invoked gloom that lurks over both of these tracks, inflicting every melody and vocal nuance with a forlorn bleakness and the feeling of omnipresent grey skies . The weaker of the two songs, the track is no less affecting in its conveyance of emotion but remains less aurally intriguing than the A-side.

Everything You Do Scares Me is a beautiful continuation of Tyler’s growing body of work, his playing branching out and becoming more refined. Anyone with a love for American Football’s seminal self-titled album or indeed the sombre emo of the 90’s will surely fall for Tyler’s inviting croon and sumptuous instrumental arrangements. A perfect soundtrack to accentuate bouts of melancholy.

4 out of 5 high fives!