My Blood Runs Thicker with 51/50s

I've often thought that we live in a new era of music; an era in which genres and sub-genres are getting blended and reblended with the results of sound that we've never heard before. As much as I love the music of the decades before me, and could have definitely seen myself growing up in 1986 or as a teen in 1992, I realize that I would then have to sacrifice something that I as a music fan have come to see as my own: namely the era in music which has seen the rise of new genres and the reemergence of classics with new flavors.
This is no more apparent than with 51/50s, a garage-rock/alternative quartet from the banks of the Thames in London, England. A subtle mix of White Stripes-esque garage-rock sneer with a melodic polish reminiscent of '90s Britpop, 51/50s blend seamlessly an amalgamation of genres that I never thought could work together in a million years. Yet they make it work, and do so with style.
When members Rikki Lee (lead vocals), Ollie Cook (guitar), Jason Gale (bass), and Billy Baker (drums) first got together, I don't think that they in any way could have foreseen what kind of sound would be coming out of their speakers once they plugged in. But that's how the best sounds come to life. Rarely do artists know exactly how it's going to sound, or how they want it, and that's what makes for the most interesting albums and songs. Some lineups are poison to the music they create: prone to infighting and clashes in artistic direction that eventually lead to the demise of a clearly talented group and thoughts of what might have been. I'm no band therapist, but I don't see any signs of that here. Something about their music shows that 51/50s know exactly what they have going, and know how to keep it coming.
With the release of their album Dangerous State of Mind, 51/50s are definitely poised for a garage-rock takeover of the unsuspecting underground masses. The energy that flows from songs like "Heartbleeder" and "Blood Runs Thicker" isn't something you can fake. You either have it or you don't, and these guys really have it. A mix of garage-rock smirk and alternative swagger, "Heartbleeder" showcases 51/50s' fantastic instrumental talents as well as their cleverly written lyrics. With a cymbal-led intro by Baker and a vocal slide-in by Lee, I immediately see influences from JET and The Vines. Gale is on his mark brilliantly, and his bass lines pulse with the energy and attitude befitting a true punk-rocker. Halfway in between classic bass influences like Jack Bruce and Geezer Butler and more modern ones like Flea and Greg K, Gale's bass fills in breaks of the song that would otherwise be lacking without him. Yet his bass lines, funky and sexy as they are, would seem empty without Cook's guitar work. Relying heavily on a great amount of distortion with stop/start chords and catchy melodic hooks, Cook makes "Heartbleeder" a must-hear track on the album.
One of the songs that really impresses me after "Heartbleeder" is "Lies," a poppy, almost theatrical track where Lee shows that he's got something to say. I can only imagine that this would be a great song to hear live, and in my mind I see Lee bounding over the stage to the beat set down by Gale and Baker behind him as Cook's guitar fills in the rhythm and musicality behind him. This song must be a crowd-pleaser, and if the melody and "la, la, la, la" chorus weren't enough to get those fans up and jumping with the beat, then Cook's guitar solo would be. "Lies" is definitely a party song, and any party going on and these guys playing out back is just destined to be legendary. Blending raw energy with party-starter attitude, 51/50s take it to the next level, and I have no choice by to ride shotgun on Baker's pounding drums and Gale's head-bopping bass. If there is anything wrong with this track, I can't find it, and if there is, it doesn't matter anyway: there are just too many things right with this song for it to be brought down by anything. Brilliant.
The party continues with "The Great Pretender." I'm having a hard time finding words just to describe this track. It's so melodic and guitar heavy that I don't know if it falls into alternative-rock or just a category of its own. Cook's guitar is a bit heavier here, but with riffs and chords that you can't help but hum along to. Hell-bent on leaving no fan behind, Lee's vocals pack a punch, leaving your head spinning as Gale and Baker drill into your mind with a rhythmic set that moves the song along at a break-neck speed. Fast enough to keep you guessing, but not too fast to leave you behind, "The Great Pretender" seems to be the epitome of great British rock of the modern age, boasting commendable guitar work by Cook and Gale and drumming that lends just the right of kick to the back-beat. And with Lee as frontman and lead vocalist, the chorus here is something I won't forget for a very very long time, if ever. If every track on Dangerous State of Mind is like this one, I see no stopping any time in 51/50s' future.
I'm so flustered by the catchy and hard-rock nature of their sound that I can't find anymore words to write about 51/50s. Their songs are top-notch, their melodies and rhythms tight-knit, and their hedonism stylistic in its execution. These are the guys that every new band will want to model themselves after, and the one that no one will ever get close to. Like I always say, the mark of a truly great artist is what sets them apart from others, and here 51/50s have set themselves so far apart I wonder if they're even in the same universe anymore. But I don't care; their music is amazing and their collective attitude contagious, and that's something I don't see changing anytime soon. I love it.

Sounds Like: JET, Kaiser Chiefs, Oasis, The Vines

Key Tracks from Dangerous State of Mind: "Heartbleeder," "Lies," "The Great Pretender," "Blood Runs Thicker"

Check out 51/50s more at: http://5150smusic.com/, http://www.myspace.com/5150smusic and http://www.facebook.com/5150s

Hey You, Columba

It's been a few days since my last post, and I hope you guys have been checking out all the new people I've had up; they're all really incredible, and if you haven't heard them yet, you're definitely missing out. Anyway, I'm here today to let you guys know about a new band I just found, and I gotta say they're truly amazing.

Out of Glasgow, Scotland, U.K., Columba are an indie-rock four-piece that blend the blues guitar of Clapton and Beck with the indie, Brit-pop vocal melodies of Oasis and Blur. A truly unique melding of two completely different styles, yet one that works so well it makes me wonder why I haven't really heard it yet up until now. Composed of Jamie Davidson (lead vocals), John Carson (lead guitar and backing vocals), Scott Campbell (bass), and Tony Osborne (drums), Columba's melodies tie in with hypnotic rhythms to produce the Smashing Pumpkins in bed with Oasis and Cream.

It hasn't evaded my attention that I've been throwing out numerous, seemingly contradictory comparisons, but being as truthful as I can be, these guys just seem to have influences from bands across he board, and with the sound they produce, I wouldn't have it any other way.

The first song I listen to from Columba's demo EP is "Before the Time." Starting with a solid drum beat by Osborne, the song launches straight into a melodic trance as Carson soon blends bluesy chords and notes with Campbell's strong bass notes. One of the things I love in this song that I hope I hear on the other ones is Carson's blending of acoustic guitar with electric. With an almost ridiculous air, Carson's guitars meld brilliantly to make me think there are two guitarists, and then I hear Davidson's vocals, loud, clear, and brilliant. It's like hearing "Champagne Supernova" again, but with a harder, more blues-rock backbone. This is truly one of the best songs on the EP. Everything is right: Campbell's bass is tight and strong next to Osborne's rhythmic drums, Carson's guitar is loud and melodic, and Davidson's vocals just serenade you into a hypnotic trance of indie and pop. And just when I think the song's going to wind down to a soft end, Carson shoots it back full of life with a shining guitar riff that gives the song a perfect ending. One thing I can hear clearly on this song, these guys are tight and know how to play with each other, and it definitely comes through on their music.

Track two is "Hey You," a slower, more bluesy, almost country-esque song. But Davidson's vocals and the rhythm section of Campbell and Osborne make sure this is not a song that gets categorized with Rascal Flatts or The Avett Brothers. Carson's guitar once again just bleeds through the speakers surrounding me in melodic chords and sharp notes. These guys definitely picked the right guitarist for their band, and he's right on the money in this song. Meanwhile, Davidson's vocals are sultry and hypnotic, and just wash through my mind in a way that none really have since I first heard Oasis. Now although I'm not a huge Oasis fan, you gotta admit that their vocals are pretty good, so this isn't meant to be a dig at these guys for having a bit of an Oasis influence because they make it work for them. Then there's Osborne, who's drumming is minimalist it seems, but the song is only better for it, and Campbell, whose bass seems to whisper its notes, but that's what makes his technique great. The mark of a really great rhythm section is knowing how to carry the song and make your mark without overpowering the melody, and Columba's certainly achieved that here. This is definitely my pick for my favorite song on the EP. No contest.

The last song I listen to is "Right Here." As the last chords of "Hey You" trail out, "Right Here" starts with an interesting, almost weird acoustic chord set and electric riff from Carson. Then Davidson's vocals come in, and it's creepy almost how much they sound like Billy Corgan meets Liam Gallagher. Then as the acoustic guitar fades out, Campbell and Osborne appear in the background, giving the song a great rhythm section to fit nicely over Carson's blues guitar chords. Of the three songs I listen to, this one is definitely the most different of them, but Columba make it work for them, and I can't resist this one the same way I can't resist "Hey You" or "Before the Time."Like many of the songs that have drawn me to the groups I've reviewed, this is one that just pulls me in. It's so all-encompassing that you forget that anything else but the song exists. Certainly one of the must-hear, more interesting songs on Columba's EP.
With these three songs heading up their EP, Columba produce an album that's different and unique, and definitely worth listening to. If you like anything indie, acoustic, blues, or pop-rock, then these guys are your assignment for the next few days. You won't be sorry. I'm sure as hell not.

Sounds Like: Oasis, Smashing Pumpkins, Goo Goo Dolls, Third Eye Blind, Blur

Key Tracks from Columba EP: "Before the Time," "Hey You," "Right Here"

Check out Columba more at: http://www.unsigned.com/columba

Counting 50Leaves

These guys were my indie-pop surprise last night, and as I discovered them right before I went to sleep, I listened to them as I drifted off, and it was amazing. It took just four songs, all that there was to their demo EP, to show me that these guys have what it takes to be as big as Oasis.

Composed of Rob (lead vocals and acoustic guitar), Stu (vocals and guitar), Mike (keyboards and guitar), Lee (bass), and Ady (drums and percussion), 50Leaves hails from Manchester, England, U.K., and is here to treat us to amazing alternative rhythms laced with indie-pop vocals and lyrics with deep messages. So no more stalling, let's get to it. 

The first song I listen to has apparently garnered some attention, and after listening to it, all I'm wondering is why it hasn't garnered A LOT of attention. "Wide Open" starts with a cool acoustic note progression from Rob, and as the others come in, Rob's vocals have already knocked this song up a couple of notches. Ady's drumming is easy, cool, and Lee's bass is almost non-existent at some places, but during the chorus you can hear it locked tightly with Ady's kit. Stu's guitar riffing is only outshined by his great backup vocals for Rob, and here, Mike adopts a piano sound over that of a keyboard, and I love this song. I'm listening to it for the eighth time already. As we reach the interlude, the sound is like nothing I've ever heard before; ambient, encompassing, easy, but powerful; this track is a five-star song easy. Love it. 

Track two is "Run from the Sun," and though it begins like the first with an acoustic string set, it quickly moves away from sounding like "Wide Open" as Ady's drumming has picked up noticeably, and Lee's bass is more out in the open here. Mike's keys have a more electric sound to them, and the combination of Rob's and Stu's vocals sound incredible, as Stu lets loose with small note progressions that remind me of the Pixies. I can't even begin to stress what pop ambience this song exudes, and for anyone looking for something strong to listen to, but not too overpowering, this is your song. Definitely not a filler track. 

Track three's "May You Never" is a tribute to painter John Martin, and makes use of Ady's unique drumming style, coupling it with Rob's acoustic guitar, and his sultry vocals. This is perhaps Lee's greatest moment, as his bass is front and center during the verses, and the notes are strong and tight, carrying the song anywhere it wants to go. Mike's keys are scaled back here a little, and perhaps he's chosen on this one to play guitar alongside Stu, who is providing incredible vocals of his own behind Rob. It certainly seems to me like a two-guitar song, and I love it. And the riff about two-thirds of the way through is brilliant. Here, Mike has moved back to melodic keys, and beside Stu's guitar notes, builds a bridge that is solid and full of melody. 

The last track I listen to is "Man on Fire." This track seems like the perfect way to end the EP, as it is melodic and continues 50Leaves' sense of musicality, but is easy and soft enough to leave you wanting more; looking for more; waiting for more. I love what happens right after the second verse, where the song starts building into a frenzy of melody set down by Rob's acoustic guitar, Mike's keys and Stu's guitars, and capped off by Lee's bass lines and Ady's cymbals. A solid finish to a great EP. If I were a record label and heard this EP, I'd get these guys into a studio so fast it wouldn't be funny. Amazing.

Sounds Like: Oasis, Live, Blur, Pixies

Key Tracks from demo EP: "Wide Open," "Man on Fire," "Run from the Sun," "May You Never"

Check out 50Leaves more at: http://www.myspace.com/50leaves, http://www.50leaves.co.uk/index.html and http://www.unsigned.com/50leaves