37500 Yens review

37500 Yens - Astero (originally posted at www.thesilentballet.com)

Score: 3.5/10

37500 Yens are, to be brief, two blokes from France. To expand on this, 37500 Yens are comprised of two young men from Reims. Excuse the stereotyping now, but whenever I think of instrumentalists from France, I still think of the slightly dandyish but ever so arty image of Parisians Arca, you know, the two young men who are “inspired by music, cinema, literature, photographs, daily occidental sounds,” so imagine my surprise when I was met with the image of two metal-esque chaps, one even had dreadlocks, yes dreadlocks, like that fellow out of P.O.D, or Newton Faulkner, if you’re looking for a pop-friendly approach to the hair style.

Now, I usually refrain from embarking on linking seemingly “random” thoughts about a band to other bands. In fact, I do not think I have ever mentioned a band member’s hair in a review. This isn’t something I’m proud of, I’ll admit it, but all of this “filler” basically comes down to the fact that I don’t have much to say about 37500 Yens, and I’ve noticed that other reviewers have fallen into this trap as well. Admittedly, there is absolutely nothing wrong with their music, they’re clearly very talented young men, it’s just that Astero is inexplicably dull. Sure, it ticks the right boxes, if you like your math rock to have a heavy foundation (think Russian Circles) then you may be interested in hearing this, but the problem I have is this: it’d be far more fruitful to just slip a Russian Circles disc into your CD player (or CD drive, if that’s how you roll) than to really bother with this thing. I’m not suggesting that I dislike the record, parts of it are okay and it provides a decent mix of the aforementioned math-rock archetypes with elements of jazzy Acoustic Ladyland madness and even the intensity of At The Drive-In, but it is not a record I would specifically recommend to anyone, nor is it something I would listen to if I wasn't reviewing it. This does seem incredibly close-minded, I realize, that to deny listening to a piece of music may seem that I have a somewhat blinkered vision towards 37500 Yens and their style, but it’s just that their music could easily be heard on other, better records, by better artists.

The sheer amount of “I’s” I’ve employed in this review means I’m verging (there we go again) on making this piece more about myself than the French duo I’m attempting to write and I admit I’ve failed in taking a rather French point of view in this album -- I think it was Baudelaire who suggested that “the man of the world” is an ‘I’ with an insatiable interest with the ‘non-I’, I’m paraphrasing here, but anyway. Rather than closing this review with a witty remark about how 37500 yens is a real bargain for what this duo are offering, I will just leave you with this; if you feel you disagree with my comments, you may well be right, if you really feel the urge to check this record out then do it and if a friend informs you that 37500 Yens are the greatest band they have ever heard, take what they say with a pinch of salt, just as you should do with my opinion.

65Daysofstatic review

65daysofstatic - The Distant and Mechanised Glow of Eastern European Dance Parties (originally posted at www.thesilentballet.com)

Score: 7.5/10

Like most correspondence in our epoch, the news of 65daysofstatic’s fascination with Eastern European dance parties broke through e-mail. A rather oddly worded note from Iryna Berliawsky was sent out members of the Sheffield foursome's mailing list, containing the following utterances:

“I have been to CEE both nights now, even if this cold must grow always like a great fist… they have broken through a new dance hall in the old train tunnels without his help…Spring soon I count, and then we will have a party like before, and dance, dance, dance.”

It soon emerged that Iryna was actually a central figure in an Eastern European themed ARG (alternate reality game) that players followed over the space of four months, which led onto, amongst other things, a do it yourself remix of 65dos’ The Distant & Mechanised Glow Of Eastern European Dance Parties title track “Dance Parties” (the remix can still be found here). Some may already be familiar with 65dos’ previous dabblings with “Dance Parties,” the track from which the EP takes its title appeared on 2007’s The Destruction of Small Ideas and retrospectively, it now seems obvious that the group would have wished to expand on this “stand-out” (as colleague Alex Bradshaw termed it last year) track.

The EP sees the group “creating a 16 strong choir from their own under rehearsed voices” on opening track “Dance Parties [Distant],” which due to the dominant use of synth and enthralling closing chant; “All hold on the day is young/All wake up the future’s here/The schools all closed/The roads are clear” makes this variation on a theme an explosive high-point of the record. The EP includes a second re-working of the dance party variety in the form of “Dance Parties [Mechanised].” This song develops into a heavier rave-rendition, featuring the electronic undercurrent of the track now fighting eagerly with the more noticeable guitar section and stuttering drum beats. The closing sample of the song which observes that “the radio stations are afraid of this stuff” even seems to be a subtle reference to Mogwai’s “Punk Rock” from the seminal Come On Die Young.

Interestingly, the connotations between the dance party theme and the last two tracks on the EP are not as evident. Although “Goodbye, 2007” often acts as a prelude to “Dance Parties” in the live setting, here the order is rearranged. Unlike the plethora of new directions previously heard on the EP, the aforementioned effort harks back to Fall of Math-era compositions. This slight moment of recession can be easily forgiven though, partly because of the wealth of new material the listener is offered with both variations of “Dance Parties” and also due to album closer “Antique Hyper Mall,” which is quite possibly one of the most down-tempo and laid back efforts the group have created.

As 65dos’ Eastern European ARG escapades came to a close, players were treated to an essay on music, life, and social networking from wily protagonist Oscar Thompson. Thompson submitted that what society needed was a “LAST DANCE, the actual culmination of an entire history of fights and parties…One final underground movement before the entire fucking concept is swallowed up by this My-fucking-space-based hegemony and commodifying of an alternative idea of how we are supposed to live”. Whether 65dos are now set on changing the world with their music is uncertain, but The Distant & Mechanised Glow Of Eastern European Dance Parties seems a fine place to start.

Jess Lipworth review

Jess Lipworth - Meandering Through (originally posted at www.thesilentballet.com)

Score: 3/10

Part of Jess Lipworth’s “blurb” on MySpace reads “more spaces less clutter.” Whether he just really digs Feng-Shui room arrangements is yet to be seen, but his sentiments about “space” seem to permeate through his debut album, Meandering Through. The album is a collection of beats, glitches, and field noises, which, I’ll be honest, seems to induce lethargy upon listening. Lipworth’s record label, VU-US is also home to Library Tapes side-project Forestflies, and the parallels between the two are uncanny. Like Forestflies, this album “stretches thin,” in fact, and it’s one of the few records that, after listening to it thoroughly over the past few weeks, I find it hard to remember what actually happens in it.

The beats appear to be recycled liberally, as while browsing Lipworth’s MysSpace and listening to “The Bird Sanctuary,” I was amazed to find that the track in question was actually far more interesting than I remembered it to be. I was soon disheartened when I realised I was playing two tracks at once. “The Bird Sanctuary” played in perfect time with Lipworth’s 'new' track on Myspace, “Summer Storm [edit].” Of course, this could just be coincidence, but if the beats are, as I suspect, at least similar, it hardly grants the listener with either change and to be honest, insulting, that this record barely develops from the following elements: slow ambience, glitchy beats, “meandering” synth noises, another layer of drum beats, “melodic” breakdowns, and occasionally Lipworth will employ a sample (though bear in mind when this happens, it won’t really add much to the music, it’s more of a case of “Oh, here’s a pointless sample”).

I will resist the urge to end that list with “Profit!”, because to be frank, neither the listener nor Lipworth can gain from this regurgitation of same-old ideas. Lipworth influences include Boards of Canada and Prefuse 73, obviously it isn’t fair on Lipworth if I compare him to these luminaries, but let’s pretend I’m a heartless, unfair reviewer (no doubt Lipworth fans will already think I am, but bear with me). Prefuse 73’s 2003 “outtakes” album, Extinguished: Outtakes, provides a far more fruitful listen, and considering the album is almost a collage of scrappy ideas, not all of which were worked into the final record, One Word Extinguisher, if Lipworth is really influenced by Herren, he should already know that innovation is key, as opposed to repetitive and droll beats with the odd sample thrown in. However, if this idea has really passed him by, as Meandering Through suggests, I’ll reiterate it here:

No one likes a bore.

After several listens of Lipworth’s album, I’ve come away thinking that Henri Bergson was right when he proposed the idea of “durée,” as I feel like I have wasted a good chunk of my life on this record, when in actuality I’ve probably only wasted a few hours. Although I don’t intentionally mean to insult Lipworth, or anyone that enjoys his music, I genuinely can’t see anything of interest in this album; it’s dull, drippy, dire and any other words you can think of that begin with “d” and suggest boredom.

Eaten by Tigers review

Eaten by Tigers - Solstice (Originally posted at www.thesilentballet.com)

Score: 7/10

Eaten By Tigers' debut EP, 2007’s Entropy, scored rather favourably with The Silent Ballet last year. As an assurance that said EP is “really good,” the only criticism reviewer, James Ould, could offer up was that “During each track a concurrent melody is played throughout that almost acts as the missing vocals… it’s this method that could cause tedium on a longer time span.” Having been handed EBT's 2008 release, Solstice, I hope to evaluate whether the band has progressed musically and if Ould’s concerns of tediousness are beginning to show in the sophomore release. So, let’s carry on and avoid the usual introduction of basic biography, as to reiterate my point about The Silent Ballet’s readership skills on the internet; I’m sure you know you how to use the search button if you really, really want to know Eaten by Tigers' backstory.

So, how does Solstice differ to Entropy? Well, for a start the tracks are no longer as fleeting. The EP opens with a definite starting point, aptly named “Prelude,” which encompasses Eno ambience and glitchy beats; on first listen, it’s not dissimilar to cLOUDDEAD album opener “Apt. A, Pt.1.” The transition between “Prelude” and “Solstice” is seamless, and when compared to Entropy, the EP functions a lot less like a collection of demos and more like a regimented and solid piece. The addition of vocals is welcome, with Ould’s criticism seemingly quelled as both “Prelude” and “Solstice” feature hushed utterances. However, the quartet seem to slip back into old habits with third track “Reflections at 40,000 Ft.” While I can’t fault this composition in terms of its clear display of musical skill, it feels like a pale revival of ideas already executed in Entropy. Thankfully, EP closer “Dedicious” hints that Eaten By Tigers can progress even further, with an excellent ensemble of those glitchy computer noises everyone seems to love, acoustic guitar, and violin.

I’m sure you’ve all been holding your breath waiting to hear Solstice to see if Ould’s premonition of tediousness may be correct, so hopefully I can put an end to your sleepless nights, irritable behaviour, and general on-edge lifestyle by letting you know that Solstice does not slip into tedium. Eaten by Tigers have clearly upped their creative output, and they have offered the listener an exquisite array of sounds specifically suited to sooth your worried palette. Worry not, reader, Eaten by Tigers are obviously improving all the time.

Morr Music review

Morr Music - A Number of Small Things (originally posted at www.thesilentballet.com)

Score: 7/10

Morr Music are clearly in the mood for celebrating. Six years from the creation of their offshoot label, A Number of Small Things, which specializes in seven inch releases, comes this compilation, a chronological compact disc release of the great (and not so great) artists that they have let loose on vinyl. The record features a plethora of artists, ranging from established acts such as Styrofoam to smaller ones such as Butcher the Bar, which leads rather nicely into a discussion on the first few tracks on the record, the latter artist’s 2007 tracks “Get Away” and “Leave this Town”.

Butcher the Bar, although a rather obscure artist, is unquestionably the strongest way to open this compilation, so it is lucky that he’s also the most recent artist to be released on the label. “Get Away” hammers out a perky Death Cab for Cutie styled tune, which although sounds like quite a bleak description, really sets the trend for the rest of the record. With vocals that aren’t as nasally as Ben Gibbard’s and a hushed guitar, “Get Away” features thoughtful lyrics such as “I may be over-reacting… but I swear this town is dead” and a Bob Dylan harmonica outro. All in all, it’s lovely stuff.

The compilation then follows with Benni Hemm Hemm who seamlessly fuse an interesting array of horns with an equally upbeat and energetic chorus. The track “Aldrei” is a sentimental work of delicately strummed guitar and gentle horns, with vocal duties handed to Jens Lekman. Benni Hemm Hemm also appear later on the record, but you can’t help but feel that this is to combat the slump the listener feels after working through the bland alt-country efforts of Mash Qrella.

Covers pop up across the compilation. Seavault re-work “Mercy Seat” by Ultra Vivid Scene, but it’s their cover of “I Could be Happy” by Altered Images that really makes an impact on the listener. Seavault excellently deconstruct the song and come off with something that’s a lot more melancholic and shoegaze than the original. Seabear also offer up an interesting re-working of a classic, with their rambling rendition of The Undertones’ “Teenage Kicks.”

Electric President and John Yoko/Lali Puna occupy the last section of part one of this compilation, but instead of tempting the listener with songs that will make them continue to part two, both bands offer up lacklustre efforts. Ben Cooper, lead singer of Electric President, has described his vocal style as “an intimate, slightly nasal vocal style that vaguely recalls Gibbard,” furthermore, “Electric President actually contains a modest number of moping moments, the duo is more interested in generating an elephantine roar.” Unlike Butcher the Bar, who professes to being an artist who “carves out vibes in my bedroom,” Electric President give themselves too much credit. The songs meander, have no real presence or force to them, and, as opposed to similarities to The Postal Service or Death Cab, they sound more like Wheetus. In “Good Ol’ Boys,” Cooper warbles that “music in my head never sounded right on paper/I’ll write myself a note and turn that note into a song,” which is a fair estimation of how Electric President sound; scrappy, half-completed pop songs. Not much can be said about John Yoko/Lali Puna either, they offer up twee and sickly-sweet pop songs in the vein of Rilo Kiley and Stars, but, excuse this crude statement; without all the good bits.

So, that was part one, as we’re working backwards, we’re now approaching earlier releases from the label, hopefully they’ll be as many gems as part one, but from the efforts of Electric President and John Yoko, they suggest a definite slide in standards.

Sadly, Populous open part two with their dreary Stars styled song “Breathes th Best,” with Torquil vocals and uncanny yet inferior similarities in composition. However, their second effort “Bon Bon Pour Les Rappers” adds something new to the mix, it’s a Gonzales-esque, wholly instrumental track and it definitely makes a refreshing change from their earlier contribution.

The peak of part two comes in the form of B. Fleischmann, who contributes four tracks to the compilation. “Frisky He Said” offers some welcome depth and melancholy (trust me, after all that twee, even noise is welcome) that compliments the earlier effort of Seavault.

Styrofoam are probably one of the most recognizable names on the record, which is no doubt down to their excessive output of remixes. Unsurprisingly, the two tracks that feature on this compilation are exactly what you’d expect from them; ethereal slices of electronica with eerily echoed vocals, essentially, it sounds like a lot of “E” (pun intended).

Now just a brief word about the two artists that close the compilation (excluding B. Fleischmann who’s already had his praises thoroughly sung): Team Forest and Other People’s Children offer up indie-electronica love songs, and chances are you’re thinking “that genre sounds familiar.” Instead of name-checking Ben Gibbard again (whoops), I’ll just leave you to fill in the gaps.

So, at the end of all of that, I’m sure you’re wondering whether this compilation is worth the CD it’s imprinted on. Well, although A Number of Small Things clearly started with an infatuation for all things cute and Gibbard, they have definitely provided the listener with an array of cross-genre listens in 2007. The compilation allows the listener a glimpse at both this label’s and Morr Music’s history, what they like and even their own influences, they have also allowed us to take a look at their weaker points and certain things that need refining (clue: more Icelandic acts, less moping young men). This is a record definitely worth listening to, as judging from their 2006-07 output, the label’s future is certainly looking bright, even if they do have a bit of a checkered past.

Not to Reason Why review

Not to Reason Why - Who Wants Flowers When They're Dead? (Originally posted at www.thesilentballet.com)

Score: 6/10

Not to Reason Why hail from California. Now, please resist the urge to yell “Caaaallliforniaaa” (a la The O.C) as they are not from the Orange County (home of perfect tans and apparently, rich teenagers handy with guns who seem to love mopey Imogen Heap tunes), they are actually based in Petaluma. Now that we have that pop culture reference out of the way, I can tell you all about their EP, Who Wants Flowers When They’re Dead?. A rather ambiguous title (do they mean dead flowers or dead folks?) fitting for a band that consciously genre hop and would definitely not cause Ryan and Seth to get their groove on.

The group seem to be fond of clear cut timing, but instead of taking the usual Don Caballero/Battles route and channeling this into a creation of math-rock intensity, they slow things down and instead create an EP that effortlessly weaves between instruments and styles. Ample examples of this are the tracks “Mightiest Monster In All Creation Ravaging A Universe For Love” and “1.21 JiggaWatts!?” with the latter including pulsing melodic piano repetition which provides the backdrop for Explosions in The Sky-esque guitar reverb. Although this EP does draw upon the staples of instrumental rock, it also packs in plenty of unique moments, such as the rather ineffable (basically, problematic for me to describe) drums that crash and soar throughout the record; in short, the percussion is along the lines of the drumming of Hangedup, if it were a little bassier and less claustrophobic.

Moving between moments of ambience and clattering reverb-heavy climaxes, the quartet have created an EP that packs quite a punch. With six tracks totaling in at 30 minutes in total, the EP contains fair amount of material to work through, and although a sizable portion of it seems to be a nod to the usual names within instrumental music, there is enough here to suggest that Not to Reason Why may provide us with something more imaginative next time around.

Nicker Hill Orchestra review

Nicker Hill Orchestra - If? Or Fades? (Originally posted at www.thesilentballet.com)



Score: 6/10

Ironically, Nicker Hill Orchestra’s “About me” section on everyone’s (now second, curse you, Facebook) favorite social networking website reads as the following: “Where are we today? Somewhere near our future.” A fair statement when you realize that reviewers such as myself are only now catching on about them. Anyway, let’s get descriptive and figure out what this EP is all about.

Well, for a start, NHO are able to produce strong EP’s, with If? Or Fades? clocking in at 25 minutes. However, if you’re looking for a concept record, this probably isn’t the best place to start. The record packs in an uncompromising amount of style, shifting between vocals, math-rock influenced guitar, and Born into Trouble… era twang, essentially, if variety isn’t for you, don’t go for this EP. If you are interested in a band that can, quite clearly, expand and invoke so many styles in 25 minutes, this is definitely one worth checking out. In my opinion, it’s hard to pick one particular stand-out track, these are songs don’t need to be played all at once or in any specific order, they each have their own merits. “May Kiss, Gold Tongue” moves between aforementioned Silver Mt. Zion guitar to a rather perky angular guitar and bass section, finally ending on Kevin Drew styled vocal repetition, all in seven minutes. I’m sure you’ll agree that’s not bad work for their first EP.

My apologies dear reader, it’s 2008 and I’m already suggesting you should reminisce and revisit music from 2007, a particularly tricky task as most now look forward to albums yet to leak before their release date. I can only apologize again, but when it comes to Nicker Hill Orchestra, I suggest you revisit days gone by, after all, you could even pretend it hasn’t been released yet, if that’ll make you feel better.

Element Kuuda review

Element Kuuda - Le Village (originally posted at www.thesilentballet.com)

Score: 6.5/10

Element Kuuda hails from Montreal, Quebec, Canada. Now, due to the almost brainwashing effect that phrase has on people, I imagine you’re now more interested in Element Kuuda then if I would have instead said, “Element Kuuda hails from Pontypool, Wales.” This presents a problem; Montreal transmits this idea of it being an ethereal, ineffable, all in all breathtaking home of music. It’s the place where a Godspeed member owns a club, the place where there’s that recording studio (or slum, depends on how you look at it really), it’s even the home of Efrim Menuch’s lovely little beard, plus, let us not forget the alt-rat-pack that resides there, with the likes of Wolf Parade and Arcade Fire often mentioned in the same breath as Montreal. Anyway, you can see the problem here, I’m guilty of it myself, Montreal shoots out musicians people tend to love and until Pontypool (or anywhere else for that matter) picks up the pace, we’re inclined to think everything Montreal produces is great.

Of course, the flip side of this is we are all the more dismissive of an act that doesn’t live up to the geographical hype. If it isn’t as choir-esque, poetic, and all around mystical as the granddaddies of Montreal, we (or at least I, if you’re still in the Montreal-loving-closet) tend to ignore, criticize, and attempt to deflate the poor musician’s ego. This isn’t fair, we don’t judge Pontypool musicians by the standards set by Pontypool, so why judge Montreal folk by their residence? Before we end up unraveling that question, let’s get back to the point of this prose; I am reviewing Element Kuuda, this is what I think of it: it is an enjoyable listen. Now, allow me to expand on this.

Element Kuuda’s EP, Le Village is a five track effort, released by Magnanimous Records in 2007. It is now 2008, you may think that Le Village is now passed its prime; this would be incorrect. The reason I’ve been leaving this review on the side is not simply a matter of laziness. Unlike his Montreal counterparts (I know, I am comparing him after all, whoops), Element Kuuda, or Christian Richer as he’s known by day, does not make winter themed albums. Le Village sounds like a bicycle ride on a spring day; it’s promising, uplifting, and there’s not a Church organ in sight. The first track “Extrait : La Trache” is perhaps not the best choice to either open with or even include on the EP -- imagine Matmos and the lighter (if there is one) side of Svarte Greiner getting together for two and a half minutes -- although this sounds like an interesting mix-up, it doesn’t fit with the rest of the EP, which is much more centered around a Colleen and Mom style use of samples and acoustic instruments.

Le Village is over rather quickly, with its total time running up to around fifteen minutes. If you’re looking for depth in this cold season (if you’re experiencing the cold, that is) then perhaps it isn’t the best record to try out, instead, why not wait till spring, when its fleeting, but interesting composition will suit that season perfectly.

Oh, please don’t hold your breath about an answer to my previous question; it’s very, very unlikely you’ll get one.

Red Paper Dragon review

Red Paper Dragon - Songs of Innocence (originally posted at www.thesilentballet.com)



Score: 6.5/10

Red Paper Dragon are a tricky one to review. Their debut EP, Songs of Innocence, has been released by the unarguably hip label that is Sound Devastation Records, and they are associates of The Pirate Ship Quintet. Let’s face it, even their EP name adds to this culmination of post-rock chic and eloquence that is currently bubbling around the UK. Songs of Innocence is an evocative debut and as usual, means Sound Devastation becomes portrayed as some idyllic, utopic realm of creativity but more importantly, bloody good debut records.

Songs of Innocence is a rather thrilling listen. Opening track "Polar Bear" is a stellar example of the band's dedication to this record, incorporating distorted, dystopic guitar to great effect. A brief dissemination of "Polar Bear" leaves a lot of material to work through -- rallying vocals free from the criticism that has been previously prescribed to The Strange Death of Liberal England. The all-favourite binary oppositions of ‘clean’ vs. ‘distorted,’ oddly free from cliché, apparently rather unlike Forward March, which evoked I’ll admit, eloquently and logical ‘rage’ in one TSB reviewer.

Moving on, there’s the rhythm switches in later efforts such as "If Not Now, When?" Indeed, there is an obvious sense of urgency to the record, but it is not that of "socio-political commentary," it is much, much more than this. Red Paper Dragon have released a debut EP on a record label that is full of interesting debut efforts. Of course, when parting with your hard-earned coin, it may seem reasonable to suggest "I’ve got The Pirate Ship Quintet, do I really need this?" Yes, you do. Red Paper Dragon will not be disappearing into obscurity any time soon and Songs of Innocence is proof of this. With such a wide array of material already expressed on in this brief venture into the studio, Red Paper Dragon obviously have a lot to offer. You may ask "If they have not done it now, then when will they?" I suggest you should stick around to find out, as I can assure you, it will be soon.

IO review

IO - It was Lost in the Fire we Started (originally posted at www.thesilentballet.com)

Score: 6/10

To start, I would just like to clear something up. The ‘IO’ this review will discuss is not the German rock band also titled ‘IO’. Instead, this review is solely concerned with Birmingham "post, metal, math, rock" collective, IO. Now that that has been dealt with, I hope that you are now relatively aware of what this review will be centred around so I may continue.

IO’s recently released EP, itwaslostinthefirewestarted, is apparently based on the "melodies whistled by Garth Marenghi." As an avid Marenghi fan, this is rather exciting. Sadly, IO are simply employing some humour into their work, as their EP is not intrinsically Garth. However, it is an interesting culmination of various instrumental styles that are well expressed throughout the twenty-minute affair. So, really, it’s more of a David Brent style "melting pot." British comedy classics aside, itwaslostinthefirewestarted is quite good.

However, attention must be drawn to the use of "quite" in the previous sentence. IO do expel the clumsiness of verging on "emo"-metal that the Midlands has offered for the past few years, but unless IO start creating some ideas of their own, they are no doubt destined to stay firmly routed in there. IO cite influences ranging from Sunn O))) to Efterklang, but I would hazard the guess that their peers are certainly more home grown. Instrumental acts such as Inertia Blooms and Epic45 are quickly becoming the granddaddies of the Midlands instrumental music scene and if IO wish to surpass the standards set by these acts they need to move away from the formulaic and onto new ground. Indeed, it is not that IO are not aware of the need for change, itwaslostinthefirewestarted at some instances, offers the listener some new points of perspective, for example, "And This is Our Victory Dance" is an undeniably strong song. Yet it is followed with "Girl-on-Girl," which almost erases the previous composition with its stifling sense of reliance on the old.

I am not suggesting that IO need to move away from any influences and into some weird ideal of music-modernity, but instead that the group need to carefully cultivate their sound. At the time of writing, IO have recently scheduled a tour of France. Hopefully, this will kick-start IO’s career, as although they are currently a growing local act, they definitely deserve more recognition. Might I suggest that in order to gain this recognition, IO definitely do need to add more to that melting pot of theirs, though.