The opening track ‘Tusk’ starts off with some Animal Collective-style synth before bursting into a flurry of carefully placed instrumentation, which shows off the band’s spontaneity. Fuzz-fuelled electric guitar has hints of the band’s earlier offerings, while still fitting in perfectly with the synth-shoe gaze vibe of this record. The next song, ‘Magna Encarta’, takes it down a notch, with emotive keys and gentle build ups as each instrument adds to the sound, layer after layer.

Errors are really proving their skills as songwriters here, using vintage styles with a modern twist. For the first time in the band’s history, some vocals are used here but instead of taking centre stage, they’re used as another instrument completing the orchestra of Errors. Without really knowing what’s being said, the wailing really adds to the emotion of the composition – proving you don’t have to be over-obvious to make an impact.

‘Blank Media’ throws in some fun, with 80’s synths and sirens, without overdoing it. The song then fades out to a clear cut guitar melody – beautiful in its simplicity. ‘Pleasure Places’ includes that certain house music hand clap, yet the song still manages to harbour some originality. ‘The Knock’ could be described as the ballad of the album, but it fails to portray any real substance. The song seems lazy compared to the first half of the record, although this may be due to its limited instrumentation.

‘Canon’ is a kind of interlude within the album whilst ‘Earthscore’ gets back to business – stamping drum beats open the song, which then build to a raucous of vox effects – proving that the band are definitely going to make the most of this new ‘vocals’ thing. The production on ‘Barton Spring’ breaks the album up, with its intense reverb and vocal focus. The album finishes off with ‘Holus-Bolus’ – a fine combination of the band’s talents – before fading out to some scuzzy feedback.

‘Have Some Faith in Magic’ is a real triumph, proving you don’t need a traditional set up to make a great record. Errors have really come into their own and in the midst of bands such as Caribou and Toro Y Moi, the band still retains a certain individuality.

Words: Sammy Maine

The album kicks off with title track ‘Aabenbaringen over Aaskammen’ – an atmospheric, accordion tinged opener that sparks hints of early Arcade Fire. Sampling cassette books and radio shows, teamed with gentle instrumentation showcases the band’s ease of introduction. Single Det Haster! would make any audience erupt into a dance frenzy, proving that Casiokids can do electro dance floor fillers just as well as the pros. Elements of Toro y Moi and Friendly Fires are prominent in tracks ‘Dresinen’ and ‘Elefantenes hemmelige gravplass’ thanks to falsetto vocals and rhythmic bass without playing copy-cat.

‘Olympiske Leker’ has a childish charm reminiscent of Robyn and Annie’s quirky electro-pop, revealing the band’s light-hearted means when it comes to album tracks. Fans of the XX and Gold Panda will be happiest with instrumental tracks ‘Kaskaden’ and Sigur Ros inspired ‘Dr Tarzan Monsoon.’ The only let down of the album is final track ‘Aldri ska me ha det goy,’ which is seemingly lazy and the least intuitive compared to all the other tracks.

Fans of fellow electro darlings will snap this album up in a heartbeat. It’s refreshing and full of talent whilst still maintaining a sense of familiarity. The instrumentation is exquisite, the vocals haunting and the percussion infectious which makes Casiokids ‘Aabenbaringen over Aaskammen’ a sound debut indeed.

Words: Sammy Maine

Starting with ‘Given to the Wild (intro)’ is clear that the band are onto a new chapter. Dulcet tones and howling, echo-fuelled vocals introduce us to a deeper, more experimental take on the indie genre. Second track ‘Child’ is brought in with the help of sultry guitar and vulnerable vocals before erupting into a frenzy of electric, brass ridden jamming reminiscent of Foals’ ‘Total Life Forever.’ The similarities with the math-rock group continue, however Orlando and Felix’s distinctive vocals give The Maccabees the edge to set them apart.

Third track ‘Feel to Follow’ is an epic eruption of noise, with the guitars taking full reign and drummer Sam Doyle having the time of his life. A pattern starts to emerge, as each song tends to start off slow and gentle before bursting into a raucous of jostling instruments and wailing choruses. Three tracks in and it’s already obvious that the album was written for live performance. ‘Ayla’ is possibly the track most akin to the band’s previous material with spritely guitar licks and a chorus as catchy as ever. ‘Glimmer’ and ‘Forever I’ve Known’ takes the tempo down a notch, proving the band can still do a ‘Toothpaste Kisses’ style ballad without taking a backwards step.

‘Heave’ is surprisingly similar to the folky talents of Fleet Foxes or Mumford and Sons thanks to harmonious vocals taking centre stage, whilst ‘Pelican’ has a punk rock feel but with The Maccabees signature style. ‘Went Away’ electronica opening proves that the band have grown into pastures new, which flows over to next track ‘Go.’ Many bands have attempted to incorporate the electronica trend into their material with most failing but The Maccabees still manage to keep their dignity and produce electronic-indie to its fullest potential. The album finishes with ‘Grew up at Midnight,’ with the opening vocal similar to that of Bon Iver’s latest record.

The Maccabees have really come into their own with this third album. Sounding more mature and distinguished than ever, there’s no reason why ‘Given to the Wild’ can’t single-handedly save indie-rock in 2012.

Words: Sammy Maine

NME adore them, the kids seem to be creating a fuss so what could go wrong? Sadly, opening track and first single ‘Stay Gold’ is unashamedly mediocre; with tried-and-tested synth melodies and a cringey chorus, the London duo seem to have got off on the wrong foot. Thankfully second track ‘Hit the Ground (Superman)’ seems a little more hopeful (bar the Avril Lavigne style opening, complete with vinyl scratch) as the vocals pay homage to a more stylised approach a la Animal Collective. The chorus however, takes yet another poppier manner finished off with cheesy vocals. ‘Give It Up’ is a sultry number, with a brass ensemble introduction and some strings thrown in for good measure. It seems as though the album may be getting better with each tune.

‘The Palace’ shows off the duo’s talents of instrumentation; starting off slow and building to a clever mix of synths and drum machines. However, the lyrics let it down again due to their obvious metaphor use worthy of any 14-year-old emo – ‘Every day just like living in fiction, swimming in this endless ocean…’ ‘1313’ is the best offering of the album, with intelligent vocal placement and eclectic instrumentation that works.

The second half of the record seems to outdo the first, with the drum fuelled ‘Rubbernecking’ and experimental ‘Jump Music.’ However, ‘Lose Your Mind’ let’s them down again, sounding like a remixed B-Side to some early Backstreet Boys. Title track ‘Future This’ ironically sounds like something you’ve heard before, whilst last track ’77’ finishes off the album in an average fashion. Sadly, The Big Pink seem to have got that second album syndrome. Let’s hope that album number three will resuscitate the magic that ‘A Brief History of Love’ once generated.

Words: Sammy Maine

The album begins with the aptly titled ‘Intro.’ Starting off with atmospheric drones before bursting into a synth-tastic frenzy with sultry vocals, this is what Sigur Ros would sound like after a few strong whiskies. With a crescendo so well done thanks to tension built wails and introductory drum beats, you can just see this going down well at a Glastonbury dusk set – fireworks, sing-a-longs, hands in the air, the lot. After that epic introduction, M83 is quick to keep the pace going with single ‘Midnight City.’ A favourite with Radio 1 and a regular on dramatic scenes in a certain posh E4 reality show, you want nothing more but to hate it. But it’s so darn catchy, you can’t help but bust out some serious dance-floor swagger and enjoy what is simply a fantastic electro-pop groove. There’s saxophone at the end too! Saxophone!

Track three ‘Reunion’ takes a rockier approach – although this may only be due to the prominent guitar provided by Brad Laner of Medicine fame. Morgan Kibby returns to say some lovely things in a rather sexy, sultry voice which only aids the chorus’ ‘woah-oh-ohhh!’ remedy that makes the song another catchy belter. ‘Where the Boats Go’ starts off like another suspense fuelled synth number, moving into some delicate classic keys. There’s no vocals and no catchy chorus, which makes this particular song stand out like a sore thumb but hey, we need a breather after those first three.

‘Wait’ is a gorgeous, simple, guitar accompanied song with exquisite harmonies and gentle commitment. It’s odd that this song features on the same album, as it’s so different to the first half; nevertheless it’s a great tune that of course, features an outro worthy of a stadium. The album then goes back to its electro roots, with the uber-cutesy ‘Raconte-Moi Une Histoire.’ Featuring the story-telling of a little girl, with frogs and cupcakes included, this song couldn’t be any more twee. It’s nice though. The album finishes off with the Animal Collective styled ‘Train To Puton,’ the poppy ‘Claudia Lewis,’ the raucous of ‘This Bright Flash’ and finally, the surprisingly quiet ‘When Will You Come Home.’

‘Hurry up We’re Dreaming’ may not be everyone’s cup of tea, but Gonzalez has managed to create an album of warmth, depth and beauty whilst still throwing in a few dance floor numbers. It won’t be like anything else you’ve heard in a long while.

Words: Sammy Maine

Tiger Blood Vaccine is a song that makes you wonder how you ever lived your life B.S. (Before Schadenfreude). An upbeat song of desperation, haunting melodies combined with beats Ibiza would be proud of make you want to dance and self harm at the same time. Psychosis at it’s finest.

How to Exit a Room is a little more inconspicuous, with comparisons likely to be drawn with Muse, The Pixies and Yeasayer. Gothic, dark and mysterious, with guitars sounding almost medieval at times and a heap of sounds that are completely ineffable, if guilt and self loathing had a theme tune this would be it.

Don’t Take the Compliment is another production heavy track, a futuristic medley of confusion and yearning. With minimal melody, unearthly vocals and a trance like rhythm this song is a little bit like being in limbo. I imagine.

Finally, E.O.I., a track packed full of emotionally driven vocal melodies and guitar riffs that will follow you around for days. The dub step infused bass lines peak in all the right places, and imitation drums are the driving force that make this seven-minute track feel like just a moment in time. You will want to hit repeat.

Download Schadenfreude HERE.

Words: Hannah Giles

Words: Arash Torabi

To get your mitts on a copy have a gander at their website: wivesoffarmers.bandcamp.com

Words: Ben Perks

Words: Arash Torabi

And now they’re back with a 3-track 12” vinyl EP on Exeter label, Occultation Records. It’s been a while and there have been hints. Some unreleased songs from the 1990s, a definitive and definite first-time reissue of their back catalogue – but now this. The first all-new record from The Distractions since the back end of time. Three brand new songs, guitars by Steve Perrin, vocals by Mike Finney. There’s Lost, a Perrin classic. Steve describes it as “a real toe-tapper with a lyric in which a bloke contemplates the pointlessness of his existence.” There’s Nicole, a majestic song about a girl in the great Distractions tradition of majestic songs about girls. And there’s the only non-Perrin/Finney song here, Nick Halliwell’s Oil Painting, a song that nevertheless continues that old “Nobody’s Perfect” feel.

“When the planning started for the possible new single”, says Steve Perrin, “Mike and I had a discussion, the gist of which was that the Distractions in 2010 could sound any way that he and I wanted.” And that sound, brilliantly, is the sound of the 2010 Distractions – guitars and vocals from men who have worked the popface long and hard, but losing none of the soul and vitality that they brought to their earliest work.

With Liverpool production and California mixing by Nick Garside, Come Home is only the second Distractions 12” EP, but is very unlikely to be the last. With the Nothing compilation on the slipway and a new album being planned, The Distractions have not so much come home as been indoors, scrubbed up and got ready to go out again. The Distractions are here again, and Come Home is only the beginning.

More about Occultation Recordings

Exeter label, Occultation Recordings’ motto is: “One heavenly body may conceal another as they move through space”

The label launched in early 2009 with the simultaneous release of two limited edition 10” vinyl releases, The Wild Swans’ English Electric Lightning and The Granite Shore’s Tomorrow morning, 3 a.m. in April 2009, followed in November that year by a further Wild Swans single, Liquid Mercury, on 7″. The 2010 release schedule includes Jonathan Beckett’s She’s A Vampire digital EP and the second Granite Shore single, Flood of fortune, plus the Black Velvet digital EP and the Come Home 12″ EP by Manchester’s legendary Distractions. 2011 will finally see the unveiling of The Coldest Winter For A Hundred Years, the first new Wild Swans album in more than 20 years along with a Distractions retrospective entitled Nothing.

Occultation releases are available online at www.occultation.co.uk and from good independent record shops.