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Post by mattchew on Sept 18, 2011 4:23:55 GMT
12 September 2011GAFFAHowling Bells The Loudest Engine
Forførende frontfigur sætter dagsordenen Cosmos Music Group / Cooking Vinyl Ingen tvivl om, at Juanita Stein er den absolutte stjerne i det britisk/australske indie-band Howling Bells. På The Loudest Engine, det tredje udspil fra kvartetten, forstår hun med finesse at sætte så meget variation med sin ømme vokal, at selv de ligegyldige numre får deres særegne udtryk og virker sært forførende. Bandet har skrevet de fleste af sangene on the road og derefter været en tur i Las Vegas' golde ørken og indspillet med The Killers' bassist Mark Stoermer bag producerknapperne. Det har bragt nogle tiltrængte spøgelser op til overfladen, hvor Howling Bells flere steder spiller med en mystik og spænding, der ofte har været en mangelvare på deres tidligere udgivelser. På The Loudest Engine, der indimellem har sine begrænsninger, er der satset på en mere bastant sound, hvor det kommercielle er gemt godt af vejen. Charlatan åbner sejt som en gang støvet ørkenblues, mens Into The Sky og Secrets svæver højt under loftet med nogle knivskarpe guitarstikninger og Steins totalt forføreriske vokal. Højdepunktet er titelsangen, hvor Howling Bells sætter dagsordenen med en gang psykedelisk og udknaldet stener-rock, der her og som på det meste af The Loudest Engine ikke lefler for publikum. 4/6 Finn P. Madsen Translated:[/i] Howling Bells The Loudest Engine
Seductive frontman sets the agenda Cosmos Music Group / Cooking Vinyl No doubt that Juanita Stein is the absolute star of the British / Australian indie band Howling Bells. At The Loudest Engine, the third release from the quartet, she understands the finesse to put as much variety in his aching vocals, while the even numbers have a distinctive look and act strangely seductive. The band has written most of the songs on the road and then been on a trip to Las Vegas 'barren desert and recorded with The Killers' bassist Mark Stoermer producer behind the buttons. It has brought some much-needed ghosts to the surface where the Howling Bells play in several places with a mystery and tension that often has been lacking on their earlier releases. At The Loudest Engine, which sometimes has its limitations, is given over to a more massive sound, where the commercial is hidden from the road. Charlatan opens tough as once dusty desert blues, while Into The Sky and Secrets float high to the ceiling with some razor sharp guitar blends and Steins totally seductive vocals. The highlight is the title song, where Howling Bells set the agenda with a time psychedelic and udknaldet stone-rock, here and across much of The Loudest Engine not pander to audiences. 4/6 Finn P. Madsen[/i]
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Post by mattchew on Sept 19, 2011 7:19:21 GMT
19 September 2011Cooking Vinyl / 2011 O psychodeliczna Australio! Nie tworzą może fenomenalnych płyt, lecz na każdym krążku znajduje się kilka świetnych utworów. Na wcześniejszych albumach pojawiły się takie robaki uszne jak m.in. “Low Happening”, “Setting Sun” czy “Cities Burning Down”. Nie ma się co obawiać – trzeci longplay przynosi kolejne ciekawe melodie. Po latach dobrej znajomości z basistą The Killers, Markiem Stoermerem, udało się w końcu zespołowi skutecznie poprosić go o zajęcie się produkcją albumu. “The Loudest Engine” jest powrotem do tradycyjnego rockowego brzmienia. W trakcie promocji bardziej elektronicznego materiału z “Radio Wars” członkowie grupy uświadomili sobie, jak trudno przełożyć studyjne tricki na koncertowe brzmienie. Troszkę rozczarowani ograniczeniami zdecydowali się więc na surowsze podejście do muzyki. Wszystko okraszone jest jednak łagodnym wokalem Juanity Stein, przez co nawet ostrzejsze solówki nie mogą sprawić, by uznano ten album za prawdziwy, brudny rock and roll. Zresztą już sam teledysk do przebojowego “Into The Sky” przypomina raczej czasy hipisowskiego otwarcia na światło kwasu. Domieszka gitarowej psychodeliczności odróżnia trzeci studyjny album od debiutu z 2006 roku. Dobrze przyjęty pierwszy krążek doskonale wpisywał się w ramy standardowego indie rocka. Supportowanie takich zespołów jak Editors, Placebo czy Snow Patrol wydaje się to potwierdzać. Porównując oba materiały można szybko zauważyć właśnie ten znaczący dodatek psychodelii na “The Loudest Engine”, coś co wcześniej pojawiało się w niewielkich ilościach. Na tę chwilę czują się najlepiej z takim nierewolucyjnym dźwiękowo podejściem. Początek jest naprawdę mocny i nie chodzi tutaj o wyraziste riffy gitary. Od pierwszego kawałka (“Charlatan”) atakują wkręcającymi się w ucho melodiami. Następnie wspomniany już utwór “Into The Sky”. Trzecia ścieżka utożsamiana przez “The Wilderness” z powodzeniem mogłaby znaleźć się na debiucie…gdyby nie ta zaskakująca końcówka – ostra jazda. Kolejne kompozycje nie schodzą poniżej przyzwoitego poziomu, nawet jeżeli instrumentalnie grozi nuda, to z marazmu wyrywa słuchacza jeszcze jedna fantastyczna melodia głosu. Uwagę zwraca, emanujące psychodelią, “Gold Suns, White Guns”. Relatywnie dużo zmian jak na zwykły alternatywny zespół. Pod koniec zespół popada może trochę w przeciętność. Serwuje jeszcze typową dla Howling Bells balladę – “Baby Blue”. Ostatni utwór, czyli “Invisible”, stwarza westernową atmosferę. Kilka ciekawych przesterowanych motywów i…sapanie Stein skupiają na sobie zmysły. Nawiązując do jej nazwiska: lepszego zaprzeczenia nie można sobie wyobrazić, wokal na pewno nie brzmi kamiennie, aksamitność głosu wyróżnia grupę spośród wielu innych i wielokrotnie stanowi największy atut. Dzięki temu ogólne wrażenie nie jest złe, kwartet wykonał swoje zadanie – dostarczył kilka ciekawych melodii i nagrał spójny album, oczekiwanie na coś więcej w przyszłości jest raczej daremne. Łukasz Stasiełowicz Translated: A psychedelic Australio! Can not create phenomenal albums, but on each disc are some great songs. On previous albums, there are ear worms such as eg "Low Happening", "Setting Sun" and "Cities Burning Down". There is a need to worry about - third album brings another interesting melodies. After years of good knowledge of the bass player of The Killers, Mark Stoermerem, succeeded in the end the team ask him to effectively deal with the production of the album. "The Loudest Engine" is a return to traditional rock sound. During the promotion of more electronic material from the "Radio Wars" group members realize how difficult it is to translate studio tricks to sound live. A little disappointed so decided to restrictions on the stricter approach to music. Everything, however, is topped with a mild Juanita Stein's vocals, which even tougher solos can not make this album was for real, dirty rock and roll. Already own video for the hit "Into The Sky" is more like a hippie days of opening to the light of acid. Additive guitar distinguishes psychodeliczności third studio album since its debut in 2006. Well-received debut album perfectly inscribed within the framework of the standard indie rock. Supported, bands such as Editors, Placebo, Snow Patrol seems to confirm this. Comparing the two materials can be quickly noted, this is a significant addition to the psychedelia of "The Loudest Engine", something that previously appeared in small amounts. At the moment they feel best with that nierewolucyjnym sound approach. The beginning is really strong and not a matter of vivid guitar riffs. From the first piece ("Charlatan") wkręcającymi attack on the ear melodies. Then the previously mentioned track "Into The Sky". The third path is identified by "The Wilderness" with success could be on the debut ... if not for the surprising ending - rough. Subsequent compositions do not go below a decent level, even if instrumentally boredom threatens, it pulls the listener apathy still a fantastic melody voice. Attention, emanating psychodelic, "Gold Suns, White Guns". Relatively a lot of changes as an alternative to the usual team. At the end of the team can fall into a bit of mediocrity. Still serves typical ballad Howling Bells - "Baby Blue". The last song, the "Invisible", creates a western atmosphere. Several interesting themes and distorted ... wheezing Stein focuses on the senses. Referring to her name: better negation can not be imagined, certainly not vocal sounds kamiennie, silkiness voice stands out among many other group and often the largest asset. Thus the overall impression is not bad, the quartet has done its job - provided some interesting melodies and consistently recorded an album, waiting for something more in the future is rather futile. Łukasz Stasiełowicz[/i]
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Post by mattchew on Sept 22, 2011 23:35:35 GMT
mattchew's review
Howling Bells - The Loudest Engine Finally got my cd in the mail just two days ago, and am so glad that I waited to listen to this on the good stereo because the first thing that struck me was how beautiful the production is. Definitely the best Howling Bells production yet. It sounds so warm and inviting. Even if these songs sucked, which they don't, I might still listen to it just for the production value. Not sure if credit goes to Stoermer, Robert Root, the Studer, or all three, but... respect. The low-end is gorgeous and has never sounded better. Bass drum and bass sound so full, it's great. - Charlatan: Oooh, the dirty blues nummer. Very much likey. Good sound, Good melody verse and chorus. Good song.
- Into the Sky: The song definitely sounds like a radio hit that people would come to a concert to hear. Whether or not that's what the band and Stoermer were going for, who knows. If Howling Bells would have sold out to a corporate record label, they could have got some push behind the song and maybe it would have been big a big hit, but instead they stood behind their music that they believed in, which is a very admirable thing to do when you consider the fact that they were potentially giving up fame and lots of money. Maybe what I just said was totally incorrect and stupid but hey... what-ever.
- Wilderness: That riff from Joel... it's a good! And Glenn's taking his horse for a ride on this one. Love the beat that he and Brendan put to the song.
- Secrets: Find myself doin the ol' pervert dance in front of the mirror on this one. Can't explain it... think it's the groove.
- Don't Run: The very start of this song and even the piano bridge section reminds me of a song or maybe even two songs that are familiar to me but I can't seem to place my finger on it. Again though, the pervert dance thing, I dunno why, but I seem to want to do it on this song as well, just not as strong.
- The Faith: To me, this is the standout track of the album. Just love it. No more words neccessary.
- Live On: Glenn and Brendan are really driving this song forward with their playing. I don't listen to U2, but the very little that I've heard from them, Live On for some reason makes me think of U2. I dunno why, but anybody else feel that way?
- The Loudest Engine: Nasty, nasty blues nummer, killer hook, and verse into chorus is really special. Great words from Juanita, and haunting too.
- Gold Suns, White Guns: Juanita sounds as good as she ever has and the song is great. Love it.
- Sioux: Just a very, very beautifully trippy, rockin' lullaby. That's it.
- Baby Blue: Wow... those notes from Joel are very infectious. They remind me of ...And Justice For All. Very cool track though.
- Invisible: Hmm, I do love this song, but it's been overtaken by several other tracks from the album. Great number to end on though.
So yo, all you lot out there that be not liking this Loudest Engine and thinking it be stinkin' worse than your nan's underpants, well you is wrong, and so now who's got a ed full o jelly beans in their ed!? Okay, so you say, shut the fuk up mattchew, here you go talking like a freakin' idiiot again. Alright then, normal talk says that this release is stacked from top to bottom and is just as good as their debut. It's very strong, and I love it. The band should feel very proud of their work on this album, no matter how many crackhead reviewers think otherwise. It's just too bad more people will never hear this release, because they're really missing out on some good stuff.
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Post by mattchew on Sept 23, 2011 16:59:51 GMT
24 September 2011Wild Flag's debut album kicks some serious arse, which is not much of a surprise when you realise that its practitioners have a not insignificant, albeit indie, past. Singer-guitarist Carrie Brownstein and drummer Janet Weiss were in the creative and social force that was Sleater-Kinney, one of the key bands of the agit-rock riot grrrl movement, an outfit which had a way with power grind and songs to match the drive.
Meanwhile, singer-guitarist Mary Timony and keyboard player Rebecca Cole had their time in Helium and the Minders, respectively, as well as solo careers. So that's the experience.
But Wild Flag works because the depth of experience is barely visible at first, buried beneath energy that borders on bratty, genuinely punchy guitars that nod to both '70s rock and punk and, crucially, big, fat, make-you-smile tunes.
Glass Tambourine begins with a riff that will have you thinking Deep Purple have entered the building, adds a stiff-legged beat more like a bit of choppy post-punk and then layers on a melody with more than a nod to '60s French pop gone psychedelic.
Short Version, on the other hand, goes straight for snotty garage rock sung by the Shangri-Las, part sneer and cheap beer, and part teenage drama. Elsewhere, voices are swapped up front, tempos slow down and crank up but the noise remains controlled and the swing can knock you out.
Former Sydneysiders Howling Bells are a generation on from Wild Flag, though they do have a bit of history themselves with the band's core, siblings Juanita and Joel Stein, first appearing in the pop-focused Waikiki.
Again, though, it's not history that defines the third Howling Bells album. Like Wild Flag, the Steins - with drummer Glenn Moule and bass player Brendan Picchio - manoeuvre themselves between pop tunes (Don't Run is a seriously pretty song), definite '70s sounds (Live On is Fleetwood Mac mated with Blue Oyster Cult) and some swing, which speaks both of confidence and an acquaintance with the style of Josh Homme of Queens Of The Stone Age.
Maybe it's that they recorded this in the Nevada desert, not a million miles away from the California desert where Homme makes his music, but at times here Howling Bells emerge both heavier and sexier than they've ever managed before. Not a bad result at all.
HOWLING BELLS
The Loudest Engine
(Cooking Vinyl/Shock)
Bernard Zuel
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Post by mattchew on Sept 24, 2011 7:35:42 GMT
18 September 2011Vast, raw and stiflingly hot, 'The Loudest Engine' is Howling Bells' Las Vegas-recorded third studio album and it couldn't be a greater product of it's surroundings if it tried. The Australian-formed quartet have really challenged themselves with this latest release, dipping into a blend of more classic sounds as well as setting the bar higher in terms of vision and depth. From the first attitude-laden strum of guitar in the opening bars of 'Charlatan', the album assumes the character of a weather-beaten figure that's traversed the breadth of arid rocky landscapes with a pocketful of stories to share. This was an record written on the road, the sense of voyage and experience driving every beat and inspiring lyrical content throughout. Despite coming from a new place, Howling Bells still play to their strengths and have a firm grip on the creative identity which has become loved by so many- notably the presence of Juanita Stein with a mic in hand. Latest single 'Into The Sky' capitalises on the gorgeous sound a powerfully wistful female vocal can bring to a bass-heavy rumble of bluesy garage rock that BRMC would be happy with. At it's core, the flavour of this record is neo-psychedelic. It's got it's roots and influences firmly in the 70s, where the grooves were deep and the sounds large. It does feel like a natural progression for a band who have drawn such influence from the greats like Hendrix and Reed in the past, and it certainly shifts their usual feel of indie rock up a gear. 'Don't Run' is an intelligently pitched slower paced track, bringing in country-tinged elements to develop a rich swell amid the haunting harmonies and steady guitar strum. This feel of the American wild is taken in another direction with the background sound of 'The Faith' sounding like something that could have appeared on an Ennio Morricone soundtrack- a bravely epic angle to achieve. If you were to listen to one track to get a taste of this album's intentions, make it the title track. Loaded with retro riffing, some stunning solos and psychedelically harmonised vocals, the 70s sounds has never seemed so fresh. Throw in those few touches of guitar usually symptomatic of a band like QOTSA, you will fully understand this new chapter of Howling Bells. 'The Loudest Engine' is bold, ballsy and it's really rather beautiful. Lucy Sanderson[/i]
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Post by mattchew on Sept 26, 2011 21:06:00 GMT
26 September 2011The world may be full of rock bands, but few can boast a kick-ass female lead singer who delivers great vocals with an awesome band. Howling Bells are here to prove that they have set their sights on, and intend to achieve mainstream success. Having toured with some of the greatest bands of the moment, Howling Bells now return with their third album, The Loudest Engine. Produced in Las Vegas’ Battle Born Studios, there is an obvious American undertone to the sound of this album. It is guitar heavy with lead singer, Juanita Stein’s enchanting, vixen vocals over the top of some great riffs from guitarist, Joel Stein (Juanita’s brother) and strong bass lines from bassist Brendan Picchio. Drummer, Glenn Moule completes the magic formula that this band have, and this album proves that they have grown up now to a different level of music, where they are finally achieving the success they deserve. Catchy opening track, ‘Charlatan’, sets the bar high for the rest of the album, and tracks such as ‘The Wilderness’ and ‘Secrets’ maintain the catchy melodies and deep sounds that Howling Bells are so very good at. Even on slower tracks, such as ‘Sioux’, the songs are still punchy and provide the interlude between the louder, rockier tracks. It is very easy to compare Stein to an array of female singers such as PJ Harvey or Karen O of the Yeah Yeah Yeahs. However, she has a unique talent of her own which, coupled with the musicianship of Howling Bells as a whole, provides a very unique rock sound. The band are certainly back with a bang, and this album is their best to date. Victoria Lee[/i]
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Post by houdini on Sept 28, 2011 7:39:00 GMT
Mojo said Loudest Engine was their best work and after a lot of listens I think that may be true, NME is ridiculous and has devalued itself in my eyes, in fact many really good albums have scored poorly with them . they cant take away the 9 out of 10 for Howling Bells 1st album
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Post by mattchew on Oct 3, 2011 12:30:49 GMT
3 October 2011The Loudest Engine is Aussie outfit Howling Bell's thirds outing. Recorded in the Nevada desert with one of The Killers, it's really not what you'd expect. There is a dark underlying presence as you'd expect of something recorded in the desert but a poptastic album full of indie anthems it ain't (as you would expect with the Killers) and I strongly suspect this could be in response to their last release and their change of labels.
Its received a mixed reception on initial release. Not as instantaneous and radio friendly as its predecessors. Juanita's voice is still one of intense beauty but the band shelve traditional song structures and ignore what expected of them to make the album they want to and when it comes off in their favour, it really works well and has to be applauded. There are echoes of their debut in Charlatan, Into The Sky and album highlight Faith.
When it doesn't however (in the Kate Bush sound-a-like Gold Suns, White Guns) it merely comes off sounding a little off focus. There are also a couple of awkward moments which become a little too personal like the paean to being on the road and trying to keep a relationship going 'Don't Run'. Good tune but with the pleas to the other half, you can't help feeling you really shouldn't be listening.
Overall as an album 'The Loudest Engine' works well. It takes a few listens to get into however those listeners that delve deeper will ultimately be rewarded.
It hasn't got the raw beauty or the edge of their self-titled debut but is streets ahead of their previous effort Radio Wars. Howling Bells are one of the most interesting bands in the world right now and should be cherished as such.
7/10
Scott Causer
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Post by mattchew on Oct 3, 2011 12:56:47 GMT
3 October 2011Nous avions découvert Howling Bells déjà trop tardivement avec le superbe 'Radio Wars' qui faisait tout simplement de ces Australiens l'un des meilleurs groupes de Britpop du moment. Nous avons ensuite rattrapé notre retard en nous régalant avec leur premier album éponyme sorti 3 ans plus tôt. Mais on n'a jamais vraiment compris pourquoi ce groupe si formidable n'a jamais percé en France. Il a pourtant assuré les premières parties de Coldplay sur leurs précédentes tournées, mais apparemment cela n'a pas suffi. C'est donc dans une trop grande discrétion qu'arrive aujourd'hui 'The Loudest Engine'.
Changement de plan : exit la Britpop, Howling Bells revient avec un disque certes toujours identifiable par son côté Indie Rock, mais un peu moins Britannique. On s'inquiétait un peu en voyant qu'ils s'étaient offert les services de Mark Stoermer, le bassiste des Killers, pour produire leur album... Enfin, tant que ça n'est pas le chanteur... Le résultat nous a vite rassuré, tout d'abord parce que le groupe bénéficie d'un atout majeur, la voix de Juanita Stein, toujours aussi envoûtante. Elle atteint très vite des sommets sur l'imparable single 'Into The Sky', un tube planétaire, vraiment.
Musicalement, Howling Bells nous dévoile une musique plus bercée par le psychédélisme Rock des années 70, comme sur le morceau titre ' Loudest Engine'. Le son de guitare est plus brut et les solos sont également plus présents, notamment sur le final de 'Sioux'. Il y a également ce psychédélisme 'Hippie' que l'on retrouve sur 'Live On'. Fort heureusement ce changement de cap ne remet jamais en cause les évidentes qualités de composition du groupe qui nous offre à plusieurs reprises des morceaux vibrants, parmi lesquels on retiendra notamment ' The Faith' avec ses choeurs hantés, ou le titre d'introduction, 'Charlatan', dont l'atmosphère n'est pas si lointaine de celle de The Kills.
En fin de compte on ne sait pas si l'on peut parler d'un album moins Pop, car il conserve toujours ces mélodies évidentes qui font tout le charme de Howling Bells. Il illustre en revanche une nette volonté de passer à autre chose, à se sortir des étiquettes dans lesquelles le groupe s'est retrouvé embourbé. Il a réussi à donner une vraie touche personnelle à cet œuvre qui, espérons-le, sera celle de la révélation, car il le mérite depuis bien longtemps. Titres conseillés : Charlatan, Into The Sky, Wilderness, The Faith, Gold Suns, White Guns
8.5/10
David Servant
Translated:
We discovered too late Howling Bells with the superb 'Radio Wars' which was simply the Australians one of the best groups of the Britpop moment. We then catch up regaling us with their first album came out three years earlier. But we never really understood why this group has never drilled so great in France. He however assured the first parts of Coldplay on their previous tours, but apparently that was not enough. So too much discretion in what happens now 'The Loudest Engine'.
Change of plan: exit the Britpop, Howling Bells returns with a hard course, always identifiable by his side Indie Rock, but a little less British. We worried a little when he saw that they had offered the services of Mark Stoermer, bassist of the Killers, to produce their album ... Finally, as this is not the singer ... The result was quickly reassured us, first because the group has a major asset, the voice of Juanita Stein, always captivating. She quickly reached the summits of the unstoppable single 'Into The Sky', a worldwide hit, really.
Musically, Howling Bells reveals more music rocked by the psychedelic rock of the 70s, as the title track 'Loudest Engine'. The guitar sound is more raw and the solos are more present, especially in the final of 'Sioux'. There is also the psychedelic 'Hippie' found on 'Live On'. Fortunately this shift does not question the obvious qualities of composition of the group that gives us several times vibrant pieces, among which we note in particular 'The Faith' with haunted choirs, or as an introduction, ' Charlatan ', where the atmosphere is not so distant from that of The Kills.
Ultimately we do not know if we can speak of a less pop album, because it still retains the melodies that make clear all the charm of Howling Bells. It illustrates, however, a clear desire to move on, to get out of the labels in which the group found itself mired. He managed to give a real personal touch to this work that, hopefully, will be that of revelation, because he deserves a long time.
Suggested titles: Charlatan, Into The Sky, Wilderness, The Faith, Gold Suns, White Guns
8.5/10
David Servant
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Post by mattchew on Oct 6, 2011 23:39:01 GMT
6 October 2011I already have Howling Bells’ eponymous debut album in the racks somewhere at home at Chateau Claire and recall being quite taken by their brand of moody gothic rock. This new album is their third so the second must have passed me by for some reason.
They’re fronted by sultry singer/guitarist Juanita Stein and excellent first single ‘Into The Sky’ rumbles happily along while she enigmatically yelps and writhes around the words. The album was recorded in Las Vegas with Mark Stoermer – the bass player from The Killers, and you can hear that he’s tried to inject a more widescreen approach to try and expand on their intense gothic leanings.
He’s succeeded to a certain degree - ‘The Wilderness’ has a great sense of urgency before collapsing into a frantic crescendo of noise, and ‘Don’t Run’ is easily the best track on the album – comprising of a simple yet nagging melody, a nice progression through the song and a strong vocal.
But the rest of the album doesn’t quite reach those highs – tracks like ‘True Faith’ and ‘Live On’ are dependable, solid enough indie-rock songs – and they won’t let you down too much, but they don’t really offer anything particularly new or exciting. Perhaps I need to give it a few more listens but they don’t feel as though there’s much room for them to grow that much.
The album kind of fizzles out to a bit of a disappointing close with tracks like the dreary ‘Baby Blue’ and ‘Invisible’. You get the impression they could whack these kinds of tracks out in their sleep. A shame as I was expecting much more.
Steve Claire
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Post by mattchew on Oct 17, 2011 7:23:14 GMT
3 October 2011[/i][/url][/size] Album Review: Howling Bells - The Loudest Engine - [Cooking Vinyl][/center] Expectation can be a weighty thing to have placed across ones shoulders; the Australian originating and now London based four piece Howling Bells know this only too well. There critically acclaimed self-titled debut saw them temporarily morphed into being broadsheet darlings, yet later deliverance of a sophomore album that was sturdy yet underwhelming led to once anticipated expectation gracefully slipping away, and which meant that this third instalment could be constructed without unwanted spotlight glare or pressure. And yet the band return with an album that delicately purrs rather than roars for attention.
Though the highly spirited opening ‘Charlatan’ shows promising shards of a less angsty ‘Rid of Me’-era PJ Harvey, it neglects to stay in this position for long as the road it takes from here on in zooms towards a familiar terrain, which sees Howling Bells once again revert back to constructing the tastefully melodic grown up coffee table guitar pop that we now fully expect from them. Occasionally there’s a quick detour via whiffs of Fleetwood Mac (‘Live On’) and Kate Bush overtones (‘Gold Suns, White Guns’), but while past aficionados will not be disappointed, most people will.
4/10
Nathan Westley
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Post by mattchew on Oct 19, 2011 19:11:39 GMT
19 October 2011StereoboardHowling Bells - The Loudest Engine (Album Review) After a year of writing, England’s adopted Aussies have released their third album The Loudest Engine. Recorded at Battle Born Studios in Las Vegas and produced by none other than Mark Stoermer from The Killers. There’s a lot to be hopeful for.
ImageTitle track ‘The Loudest Engine’ displays Juanita’s rock and roll, eerie voice that we all know and love. Mixed in with Joel’s jerky guitar riffs and occasional moody silences it seems that all is well in the Howling Bells camp.
But the US desert seems to have had some kind of effect on them. It’s almost flattened their songs. We’re used to being bombarded with riffs, powerful and passionate songs. It just doesn’t quite feel the same. There’s something too perfect about it.
They’ve lost the synths and gone full on guitars. Juanita’s eerie voice is still what it used to be but the songs just aren’t the same. There are some promising tracks on the album. Don’t Run is a sweet little track telling the story of ending relationships and the fear of not being perfect. Although the line “imperfections are what makes this work” could easily refer to the band itself.
There’s another glimpse of the band we all know and love in single Into the Sky. It’s reminiscent of the tracks from their previous album Radio Wars. It’s got the atmospheric hush hush drums with Juanita’s voice and Joel’s guitars taking over the track. It’s feet tapping loveliness with a vicious edge to it.
Howling Bells should have stuck to what they know how to do – make really good but different indie rock songs. Instead this album seems flat and almost distant, like they’ve lost their main focus on their sound. The album just seems too perfect bearing in mind that they’re known for their sweet imperfections. In this case they’re trying to be a genre they are not. Hopefully by the next album they’ll find their feet and get their individuality back.
Sophie Williams
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Post by mattchew on Oct 27, 2011 18:55:58 GMT
27 October 2011Juanita Stein has a great voice, one that can be used to raise the ordinary to another level, which is, unfortunately what she’s called upon to do far to often on this, the band’s third record. She elevates the choruses with her own harmonies, creating miniature choirs with in the tracks. It saves a few numbers, but isn’t enough on some others. When she goes all ghostly falsetto on ‘Into the Sky’, it brings the drama to an otherwise stilted scene. Some songs stand out as completed pieces, ‘Secrets’, ‘The Faith’, rise above their component parts, more than the sum of the indie-rock idioms assembled beneath the swirling, teasing vocals. The title track is an insidious grower, the guitar almost reminiscent of ‘Bootilicuous’, and ‘Gold Suns, White Guns’ which sounds like a charming pastiche of ‘Never For Ever’-era Kate Bush, hints at what can be achieved by and expansion of the bands colour palette. They’ve tried to trim it all back here, go simple, play rock and roll to try and rediscover their mojo after the sophomore slump, and they’ve done well to capture the reality of their sound, simple, live-sounding, and human, it doesn’t have an artificial sheen attempting to paper the cracks. Ultimately it comes across as a sideways step, we already knew Juanita could sing, and was an excellent melodist, but it may not be enough in this case. A band with excellent potential who are yet to raise themselves beyond being mere potential. Dara Higgins[/i]
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Post by mattchew on Oct 30, 2011 7:38:41 GMT
26 October 2011 - Issue #1292. p. 77[/i][/url][/size] Howling Bells: The Loudest Engine[/center] The third album is always the acid test, and Howling Bells latest effort, The Loudest Engine, is an intended further step away from their previous two. Described by the band as their "grown up" record, it moves further away from the raw, more rock 'n' roll, vibe of their earlier releases, towards a more abstract and psychedelic '70s thing. I feel like I'm sitting on a rug at Woodstock, with a furrow on my brow, and my arm around my slightly unhinged soul mate. There's continuity with the songs, which makes for a well-produced album, but it's harder to pick out the instant winners, unlike Low Happening and Blessed Night from their 2006 debut. At risk of being the guy "livin' in the past, man!", I feel like they've gone off and joined a cult where it's against the rules to have fun. I like Charlatan. It's the first track, and a slap to the face of a dirtbag trickster - "You steal light from the sun/You're not a man/You're a beautiful, beautiful charlatan." It's got a good groove, with heavy bass and some nice riffs. The second, Into the Sky follows a similar route, but then the rest of the songs drift away, like the acid just kicked in at song three of the set list. Secrets is pretty cool with some smooth base lines. It smolders and makes me feel like I'm away in an isolated wood cabin, and my life is in danger. The new songs focus more heavily on the lyrical stories by bringing the vocals well out in front of the mix, floating on a much heavier psychedelic haze. Howling Bells are a class act and my lack of enthusiasm is probably more me than them - I think this one was a bit over my head. Mickey Rennie Flipbook[/i]
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Post by mattchew on Oct 30, 2011 11:44:28 GMT
30 October 2011Howling Bells nunca ha sido un grupo que haya destacado por unirse a modas que no le convenían, y ahora parece que las cosas siguen su curso y en su nuevo trabajo, The Loudest Engine, vuelven a ofrecernos una carga de folk-rock de esas que en ocasiones se echa de menos. Esta vez el productor ha sido Mark Stoermer, bajista de The Killers. Pánico entra al pensar en los destrozos que en ocasiones productores de cierto nombre o popularidad hacen con ciertos grupos, reinventándolos de manera absurda en algo que nunca quisieron ser. Afortunadamente, el grupo liderado por la carismática Juanita Stein sigue empeñado en repetir fórmula, su fórmula. Es decir, rock, folk, country en ocasiones, y guitarras. Su debut homónimo y Radio Wars, representan, a la vez que unos álbumes de obligatorio disfrute, quizá una carga comparativa excesiva en cualquier trabajo que los australianos puedan sacar, pero intentanto evitar comparaciones, The Loudest Engine se trata de un buen álbum. Charlatan e Into The Sky abren el álbum ofreciéndonos minutos de fuerza y rock, presagio de lo que sucederá. La voz de Juanita, los coros y las guitarras se hacen sentir. ¿Influencias? The Velvet Underground, The White Stripes y Black Rebel Motorcycle Club. Si se puede elegir, es de sabios acertar. Secrets es un tema que, aunque baja el ritmo de intensidad, probablemente sea unos de los mejores temas de todos. Medio tiempo, que evoluciona, coge fuerza, vuelve a sí mismo, coro logrado y estribillo sencillo. Parece fácil hacerlo. Por rescatar los cortes con más fuerza, que es donde mejor se desenvuelven estos músicos, la country Live On, The Loudest Engine, demasiado psicodélica. El resto se enmaraña en ocasiones en un pozo de notas confusas, pero rescatamos la gran Baby Blue, ejercicio de guitarra, blues y soft-rock, dejando un buen sabor de boca al final de todo el trabajo. Era de esperar lo que nos podían ofrecer Howling Bells, pero gusta a pesar de seguir en la misma línea, pero es que la línea es buena, es sana y es la correcta. Puntuación Crazyminds: 6.5/10 Carlos Morán Translated: Howling Bells has never been a group that has stood for joining fashions that did not suit, and now it seems that things run their course and in his new work, The Loudest Engine, again offering a load of folk-rock of the kind that sometimes misses. This time the producer was Mark Stoermer, bassist for The Killers. Panic comes to think of the damage that sometimes producers do some name or popularity with certain groups, so absurd reinventing something I never wanted to be. Fortunately, the group led by the charismatic Juanita Stein is determined to repeat formula, his formula. That is, rock, folk, sometimes country, and guitars. Their self-titled debut and Radio Wars, represent, while enjoying a mandatory album, maybe a comparative excessive burden on any Australians can work out, but avoid comparisons intentanto, The Loudest Engine is a good album. Charlatan and Into The Sky opens the album features rock strength minutes, a harbinger of what will happen. Juanita's voice, the chorus and the guitars are felt. Influences? The Velvet Underground, The White Stripes and Black Rebel Motorcycle Club. If one can choose, it is wise to hit. Secrets is an issue that, although the rate of low intensity, probably one of the best songs of all. Part-time, evolving, take force, come back to himself, choir and chorus made easy. It seems easy to do. By rescuing harder cuts, where they develop these players better, the country Live On, The Loudest Engine, too psychedelic. The rest sometimes gets tangled in a confusing notes well, but rescued the great Baby Blue, exercise, guitar, blues and soft rock, leaving a good impression at the end of all the work. It was hoped that we could offer Howling Bells, but like despite following the same line, but the line is good, is healthy and is correct. Crazyminds Score: 6.5/10 Carlos Morán[/i]
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