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drinks Monday 3 November 08
THE MAGNETS
CD - Another Place
featured in
Band on the Break
Verdict: Cunning a capella
This review covers The Magnets' CD Another Place, to be launched late 2004, with tracks featured in their live appearance at The Pod.
The Magnets are 6 men who sing and make the noises of instruments with their voices. It may be a capella, but it's cunning.
If this sounds worrying - like English folk - it's not. They come to Edinburgh hot from a UK tour supporting Tom Jones. It's an apt coupling - their style is variously smooth, rocky, sophisticated stuff - a blend of stadium and Las Vegas night-club.
Tracks from upcoming album Another Place include:
Another Place Evocative rising beat and backing voices with whispered lead vocals. The organ-like vocal splays that come with the line 'I dream of you' suddenly astonish.
Yes We Can (Lee Dorsey / Allen Toussaint). World-improvement song with late 20th Century New-Orleans-style syncopation characteristic of the legendary producer, pianist, writer and arranger Allen Toussaint. Vocals simulate the wind instruments skilfully.
Better Than That Highlight. Love-song that throws down the gauntlet for better sex. 'There's no snap to your honey-trap / If you want me back you're going to have to do it better than that'. Perfect antidote to sugar-coated romantic ballads.
Promise To Love Me Sensual love-song, setting out the rules of engagement. High-register lead vocal with strong ensemble chorus.
Similar To You. Fragmented vocal sampled backing to layered lead voices. 'Looking through my black book / (to find someone) / Similar to you'. With vocal percussion and bass.
Searchin'. Looking for a lost lover. Layered voices with vocal bass, percussion and the occasional vocal organ chord.
In Love Since Then. Subtly-constructed song, almost like a madrigal at first. Its classical construction uses the voices in harmony, and contrast. The theme is of not being in love since the Big One.
No Matter What. Love song. No matter what, he's going to be there. Strident vocal percussion and vocal synthesiser effects.
For What It's Worth (Stephen Stills 1966). 'Stop children what's that sound? / Everybody look what's goin down'.
Holding Out. Love song. Holding out for her love. Strong vocal instrumentation and rhythm section; layed vocals
Tinsel Town. Sharp departure in style for a political look at Bethlehem at Christmas. Curfewed streets and frightened children. 'When did Christmas lose its sparkle?'
Performer Credits (alpha order): Andy Frost, Colin Griffiths Brown, James Fortune, Michael Welton, Nic Doodson, Steve Trowell. Writers (include) - The Magnets, Stephen Stills, Allen Toussaint.
CD Credits. Writer Credits: All tracks written by The Magnets except: Yes We Can - Allen Toussaint. Better Than That - The Magnets & Martin Sutton. Searchin' - Lieber & Stoller. For What It's Worth - Stephen Stills. Other Credits: Produced by The Magnets & Dr John Milner. Mastered by Jűrgen Koppers at MLM Munich. Arranged by The Magnets. Recorded at Novasonics Studios, Herts (www.novasonics.co.uk) & Cheeky Owl Studios, London. Management Greg Lynn / Andrew Haydon. Agency - Peter Conway.
END
John Park
reviewed 1 August 04 / CD Another Place
Fringe Report (c) Fringe Report 2002-2008
