Tag Archives: #indiepop

Review: Sparklehorse and the Tragic Beauty of Mark Linkous and 2023’s “Bird Machine”

Sparklehorse – which I can’t think of really being anything other than Virginia native Mark Linkous – has, in the fall of 2023, released his last, and maybe most remarkable album, “Bird Machine.”

I remember buying out of the blue and listening to his debut: “Vivadixiesubmarinetransmissionplot,” as a solicitor training in London. It brings back lots of late 1995 memories. It was also an incredible album.

I love the way – when describing Spaklehorse – AllMusic states: “The project of Mark Linkous, Sparklehorse’s noisy rock, pastoral folk, psychedelic pop, and gently devastating ballads were always grounded in empathy.” Noisy rock, folk, psychedelic pop, ballads… grounded in empathy. That is one big stew.

Linkous recorded four albums before his death. In 2010, on Saturday, 6 March, in Knoxville, Tennessee, he took his own life with a shotgun, shooting himself in the heart in an alley outside a friend’s home. He was only 47.

He had a lot of personal struggles, to say the least.

Before that, after “Vivadixiesubmarinetransmissionplot” became somewhat heralded in the indie circuit, Linkous experienced a life-altering incident while on tour with Radiohead in 1996. After ingesting a mix of Valium and antidepressants, he passed out in the bathroom of his hotel room in London with his legs pinned beneath him. He remained in that position for almost 14 hours, which cut off circulation to his legs. The lack of blood flow caused him to go into cardiac arrest when the paramedics attempted to straighten his legs. 

He technically died for a couple of minutes but was revived by the emergency medical team.

This incident led to a grueling series of surgeries for Linkous. He had to undergo multiple operations to save his legs from amputation, and during this period, he used a wheelchair for six months. Despite the severity of the incident, he managed to recover to the point of walking again, although with difficulty. Sparklehorse’s second LP, “Good Morning Spider,” was released around this time, and Linkous would perform in a wheelchair.

He released two further albums, “It’s a Wonderful Life” and “Dreamt for Light Years in the Belly of a Mountain” (Danger Mouse and Linkous’ collaboration, “Dark Night of the Soul” came out soon after Linkous took his own life in 2010… but it doesn’t feel like a real Sparklehorse album.)

Now we’re in late 2023, and thirteen years following Mark Linkous shooting himself to death, we have “Bird Machine.

This post took me a while to write.

His family was left behind what was an almost complete “Bird Machine” before Linkous took his own life. It was to be Sparklehorse’s fifth album. Linkous had even kept handwritten notes featuring Bird Machine’s title and tracklist. He had begun working on it with producer Steve Albini.

So it was left to his family – his brother Matt and sister-in-law Melissa – to help complete the project in early 2023 (plus nephew Spencer, who provided additional vocals.)

Verdict: it’s great.

I think Linkous would have adored this album – this is Sparklehorse at its finest, primarily low beat, often fuzzy, spacey noise-pop, but with sprinklings of beauty such as “Evening Star Supercharger.

It can be like the first track, “It Will Never Stop,which is about as noisy as he gets (on first listen, someone else asked me, “Is this music?!”). But the album will move on to the simple, acoustic beauty of “Falling Down.” and its haunting lyrics, “I Keep on falling down. To be found by the plow. Years from now. Keep on falling down.

The most heartbreaking song is “Stay,” the closer, with its simple lyrics: “Stay today. Stay for the day. Oh, it’s gonna get brighter. Stay for the day.”

Matt Linkous ultimately said of the project: “It means so much to me, this last batch of beautiful stuff that my brother was putting together. When I sit down and put on a pair of headphones, I’ll run it all the way through. Everything from ‘It Will Never Stop’ to ‘Evening Star Supercharger’ to ‘Stay’, that’s Mark just letting it out.”   

As one of the song titles suggests, Linkous “Fucked it up real Good.” Because he took his own life, and I wish Mark Linkous was still here.

But I’m so glad to finally get “Bird Machine.

9/10

Chris Garrod, November 18, 2023

PS: Do buy/rent but watch the 2022 documentary “This is Sparklehorse” if you can…

Review: GROUPLOVE’s “I Want It All Right Now” carries on their winning ways.

As soon as you put it on, this album screams, “California!!”. Well, the sound of these Los Angelinos, GROUPLOVE, haven’t made a bad record since their inception in 2011, and this, being their sixth album, is an example of why these energetic, 1990s-influenced indie-poppers are so consistent.

They consist of a married couple, Christian Zucconi and Hannah Hooper, who, besides sharing lead vocals, contribute keyboards and rhythm guitar, respectively, include the other original member, lead guitarist Andrew Wessen, and Daniel Gleason on bass since 2014, and drummer Ben Homola who joined in 2017.

GROUPLOVE was the last band I saw live before the pandemic turned the world upside down. It was March 4, 2000, in Camden, London. It was fantastic (well, before the whole ‘world turning to crap’ part.)

Shark Attack,” March 2020, London

If you want a band with positive energy, meet GROUPLOVE. “I Want It All Right Now” starts with single “All,” where Christian said via DIY magazine it was: “…our way of asking, “Why do we always want something more than what we have?” So many of us are stuck in this perpetual cycle of seeking some type of validation or fulfillment from the outside world when it’s very possible that everything we need already exists within us.” 

The lyrics start: “In my mind, I think I’m gonе. In my mind, I can’t turn off. I wanna have a good time, wanna be fine wine. I want it all right now.”

But then there is a resolution, with Christian determining that what he has is good, he can’t have it all right now. Really, no one can: “I wanna take a long ride with you by my side. I wanna be alright now.” 

It’s the sort of GROUPLOVE song where you initially think, “OH YEAH!!!” but then, there is this introspective end. Hey, think about it.

The album goes from there in such a landslide of fun, demonstrating how they’ve never really changed.

Cheese” is punky (“Stay close to the cheese. Stay close to all your memories. Don’t worry about me. ‘Cause this is where I wanna be.”), while “Hello” sounds like GROUPLOVE at its finest and most sparkliest. It’s catchy from the first verse.

Eyes” is another highlight, but one where Christian states that it is: “A song about death. “Eyes” explores the fleeting nature and impermanence of life. If I were to die tomorrow, the only thing that truly matters is that I surround myself with love and give love.” So, so true, Christian.

That may sound heavy. It’s still catchy, though.

Tryin’” was written by Christian, a neat rocker, with lyrics like: “Help mе fall asleep, yeah. Nothing as tried and true as taking it day by day. Wе are all holding on, but we’re gonna find our way.” Basically, we’re not giving up. Not now. Especially post-pandemic. Certainly, not now.

You can imagine later songs like “Climb” performed live – what’s great about GROUPLOVE is that they make that sound like it’s happening in your kitchen or living room (or wherever). I’ve read it elsewhere, but this is a band to be enjoyed live – though they’ve brought that feeling – that feeling of listening to them live – on your doorstep. Or whatever room you’re listening to this album to.

I Want It All Right Now” blends in nicely with their discography. If you like dynamic, borderline-Pixie(ish) 1990’s alternative rock music that will make you smile, you must listen to and, if possible, really try to see GROUPLOVE live.

We are getting older. But who cares. Damn, they’re still fun, and this album proves it.

Wе are all holding on, but we’re gonna find our way.”

We’re not giving up. Not now.

8.0/10

Chris Garrod, August 4, 2023

Review: Belle and Sebastian and their latest, “Late Developers.”

Musically speaking, 2023 started off slow for me.

But, thankfully, I had Belle and Sebastian’s “Late Developers” to tide me over when it was released in early January (well, and Margo Price’s “Strays“… but hey, that’s another review!)

I like this album because I’m not a huge Belle and Sebastian fan. So listening to it was a fresh start. They’re a Glaswegian band, formed and led by Stuart Murdoch, with Sarah Martin and Stevie Jackson just behind.

DIY

This is their second album within a year, coming hot off the heels of last year’s “A Little Bit Previous,” their first in seven years. (Not quite as good, in my opinion.)

So it’s now, what, May?!

I started to listen to this in January, and it’s now May. I’m still listening to it, so my Spotify algorithms are now already decidedly shot. I’ll be listening to it all summer. This is an indie-pop gem of an album, from start to finish, with really no terrible weak spots. None. (OK, stop. It is not perfect.)

Belle and Sebastian hardcore fans may gag at the synth poppiness of “I Don’t Know What You See In Me,” and I’ve read many who think it is totally out of place on the album – but it is so catchy, and the rest of the album is as well, I think it suits it. And it is damn good. 

This band displays the confidence to sing with Stevie Jackson on “So in the Moment,” a lyric: “Now we’re balancing upon the curb, please don’t say another word. Way down below, there’s still sharks in the road.

I want to jump in like Paul McCartney and Wings. ‘I feel like letting go.’ I’ll be so in the moment.

I remember when hearing that lyric, having to go back to make sure I had listened to what I just had heard and then thought, “Yup, these guys really are my cup of tea.” Now, let’s go put the kettle on.

The first three tracks immediately hook you in, from Murdoch’s opener, “Juliet Naked,” to what should really be the next single, “Give a Little Time,” with Martin taking lead vocals and the others clapping and providing backing vocals to the lovely end. I want to make my official Teenage Fanclub comparison here, just because of this song. Thank you very much (Hey, they’re both from Glasgow.)

When We Were Very Young” locks you in with the chorus, “I wish I could be content with the football scores, I wish I could be content with my daily chores. With my daily worship of the sublime.”

But then one of my favorite lyrics: “When we were very young, we loved our selfish fun. We cared what people thought about our selfish words.

You could not tell us then how much we wouldn’t care. ‘Bout all the mindless trivia, now we’ve got kids and dystopia.

Hey, being young was fun. But getting old with kids and dystopia… well maybe kinda sucks.

And finally: “I wish I could walk away from my scars and sores.” Ouch.

NME

The Evening Star” and its horn section is fantastic, blending in so well with Murdoch’s vocals- it all sounds so effortless. I forgot this band has been doing this since 1996, and this is their 11th album.

I Do Follow” is a lot of fun, with Murdoch and Martin trading verses, trying to figure out how much they might like (or love) each other – if it’s even possible – and then together coming to a conclusion: “I’ve got a song to sing, I’ve got pain, I’ve got sorrow. It really doesn’t matter what I say, do you follow?” I guess… not.

The penultimate track, “When The Cynics Stare Back From The Wall,” was initially written in 1995, before the release of the band’s debut album “Tigermilk.”

From Murdoch on NME: I remember writing this song very clearly. It was about my best friend Ciara [MacLaverty], who was on the cover of [1996 album] ‘If You’re Feeling Sinister.’ I wrote it in the Grosvenor Café where everyone used to hang out. It’s a pure song that goes right back to those days. I was writing so many songs at the time that there were quite a few that got left behind and never recorded.    

When you listen to the track, it is clear. I remember listening to Belle and Sebastian back then, and this brings their sound back to me.

Belle and Sebastian aren’t late developers because this album proves they are not. Listening to this, they haven’t aged. Largely, neither has their music.

And when listening to this album over and over, that’s such an oh, so, very, very good thing.

Chris Garrod, May 18th, 2023

8.5/10