Posts Tagged ‘Electro’

Recently I discovered a certain site called Urban Outfitters. Laugh as you might at my tragic hitherto ignorance, Urban Outfitters it transpires is musically more hip than a rhythmic pelvis.

On first impressions, UO appears nothing more than your run of the mill clothes shop. However, rummage deeper in the Urban Outfitters wardrobe and you will find a Narnia of eclectic music features. Included in this haven are downloadable LSTN playlists, 5 free songs from Music Mondays and, the ultimate ear-pleaser, UO Radio. 

Below is my highlight of LSTN 16


You’re Mine has underlying tones of, well, The Undertones as it goes.

Many bands can trace their inception back to their Dad’s garage. Leicester four-piece Paladin go one better – conjoined twin garden sheds: site of Paladin jamming studios and the band’s birthplace back in 2010.

Armed with a fleet of their self-styled ‘big beat’ songs, it’s not hard to see why Paladin’s premier gained airtime on regional radio stations. Their debut 11-song demo is hotter property than a burning building and surely posits them knocking on new doors of record labels.

So, what does Paladin mean? “I heard it somewhere, it’s a cool word and it stuck” Foo Fighter-inspired guitarist Joe Foxon tells me at Paladin HQ, his house. And why not? A similar philosophy worked for fellow Leicester band Kasabian who in a striking parallel attended the same high school; now look at them.

Determined to source the word’s origins I delve deeper with a quick flick on Wikipedia disambiguation. Apparently a Paladin is a character class in certain role-playing games such as Dungeons & Dragons. The Leicester quartet have yet to produce a video so one cannot comment with regards to role-play, but as character classes go these are four talented young musicians.

Estranged vocalist James ‘Baresi’ Shaw has a wonderfully resonant voice, rivalling the Reverend Jon McClure for his huskiness and depth. “This will be the end, just a last chance saloon” he croons on the infectious Exit.

Scintillating overdrive is a feature of the Paladin power-dins Show Me The World, Drowning and Walk Away. All are adventurous in their own right, backed by Foxon’s invigorating chainsaw solos. Hit The Road meanwhile is a classic Foo-Nickelback-influenced concoction.

Paladin from left to right: Bassist Matt Jones, former singer James 'Baresi' Shaw, guitarist Joe Foxon & drummer Craig Shaw.

In Paladin’s guitar rock I also hear Feeder rhythms, sparks of Ash and even echoes of The Coral on the Ballad of Boris which sees cocksure drummer Craig Shaw explore his lyrical abilities with intriguing results.

Focus is the real catch of the demo disc. Matt ‘Larry’ Jones’ walking bassline is an instant hook, luring the listener like a moth to a flame. “I’m your target, I’m your man” Baresi announces with aplomb.

Exit this disc early at your peril. Mixed by Foxon and Shaw on a “boring” afternoon, album closer Drowning (remix) is a funky remastered version brimming with Late of the Pier’s electroclash dance sounds and synthesised drum beats.

Another Wiki excerpt says that ‘according to a literary circle known as the Matter of France, Paladins were King Charlemagne’s foremost warriors’. Despite an Italian-style falling out with Don ‘Baresi’, Paladin can consider themselves the Matter of Leicester with this impressive debut.

Exit, Hit The Road and Walk Away suggest that the Cosby boys are heading somewhere. Are you going to follow?

Paladin are looking for a new vocalist: male or female. The average age of the band members is 21.

Find Paladin on myspace at:

Download: Focus, Hit The Road, Exit, Drowning (remix). Just listen to the whole demo.

Thanks to The Monograph for publishing this review 🙂

Bringing a new meaning to the phrase “a teddy bear’s picnic” are Casiokids with their new video for Det Haster!


The Norwegians explore every situation with the cuddly toys: even a bit of teddy smooching at 1:40, tongues included! 

Let this not detract from Det Haster! – a silky, smooth, synth-pop single laced with electro sounds and catchy drum beats. 

Merci beaucoup to Tweek from Take Them On and the ever-reliable Popped Music for alerting me to this fluffy-hot new track. 

 @ Livewire, Foundry, University of Sheffield


DIOYY’s returning UK tour to promote their forthcoming second album Don’t Say We Didn’t Warn You (pictured) looks set to satisfy their existing faithful, while attempting to make closer contact with the sprawling arms of the kingdom of mainstream.

I wouldn’t have guessed, but mid-set lead vocalist James Rushent non-too politely confesses his embarrassment when introducing one of the band’s new ‘pop’ singles; created solely to please radio, and ultimately downloading, chart influencing types. If only every ‘pop single’ instilled its audience with the explosive energy of a Lucozade and pack of Dextrose concoction.

The self-proclaimed house, acousmatic and indie Reading quartet have a solid live set, well blended with original and new numbers which equally offer no repose for their raucous live following. With a well-presented entrance, cued by dazzling light and a growing synth sound, the dominantly instrumental act already have the Union’s Carlsberg plastic pints projectiling, dousing unsuspecting first timers. Welcome to a DIOYY gig all newcomers.

In amongst the promising new material that must certainly have cast shadows of snake pits on the Foundry’s walls were the old barnstorming tunes With a Heavy Heart (I Regret to Inform You) that loosened the belts of most jeans early doors, inflicting the first wounds and attracting the first wave of crowd surfers. The crazily named sonic, speedy, two-minute train track, mad dash Attack of the 60ft lesbian Octopus (which is hard to take seriously, dance accordingly or describe concisely) arrived later. The indistinguishable, live perfected, pogo artist favourites Battle Royale and We are Rockstars cater for all, from floppy haired types, Pendulum lovers to hardcore house fans.

New single We Are the Dead offers an interesting blend of melancholic guitar solo with a mosh-building background beat that the crowd so appreciates. It may even flirt with the UK top 40 if it receives the airtime it deserves, is advertised effectively and the myspace version is replaced with a stonking live recording.

Rushent bemoans the lack of interest at their previous Sheffield outing. Maybe the Berkshire band should question their tour manager’s decision to book a gig over Easter in a city so heavily reliant on its student population. A minority of the long standing fans are peeved at the exclusion of Lets Make Out and Epic Last Song as well as the painful slow murder of Dawn of the Dead which was surely only lengthened to offer some respite to their lary, typically energetic, sweat drenched crowd.

Most however left the Union buzzing, assessing their physical damage, clad in rags seasoned in a beer-sweat recipe, while searching for lost socks and other property. How my plimsolls stayed on I will never know.

Rating: 7 out of 10