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Post by blade on Aug 31, 2011 12:17:23 GMT
www.hitthefloor.co.uk/tour-dates/album-review-the-howling-bells-the-loudest-engineHowling Bells are an Australian indie rock band comprising of Juanita Stein (singer/guitarist), Joel Stein (lead guitarist and brother of Juanita), Glenn Moule (drummer) and Brendan Picchio (bassist). The four piece (who are now based in London) release their third studio album ‘The Loudest Engine’ on 12 September 2011 through Cooking Vinyl. The album was produced by The Killers’ bassist Mark Stoermer in Las Vegas and is Stoermer’s first attempt at producing. ‘The Loudest Engine’ has been described as ‘a modern psychedelic record’ and one that is more ‘folk rock’ than their previous two releases (although it is more a continuation of their self-named first record Howling Bells than Radio Wars) where the band had experimented with a more electro-pop sound only using synths and drums machine. They have however ‘refrained’ from ‘relying on use of technology’ on ‘The Loudest Engine’ and instead have decided to give it a ‘singular sound’ taking influences from folk and rock. Howling Bells are known for their country-goth-rock and they do not disappoint with this album, giving the listener a sense of ‘doom-and-gloom’ and melancholy psychedelic seventies folk. Add to this Joel Stein skilful guitar playing and Juanita’s beautiful lead vocals (complimented with haunting backing vocals) and, with many tracks incorporating string and brass, creates an intelligent independent sound and overall leaves an impression of vastness and wilderness. Stand out tracks include ‘Charlatan’, ‘Into the Sky’, ‘The Faith’ and ‘The Loudest Engine’. My only criticism would be that some of the songs can blend into each other and are a bit samey but this is an album beautifully written and produced and definitely one to add to your record collection. Reviewer: Julie Elford
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Post by tealovertoma on Aug 31, 2011 21:12:48 GMT
Well, that certainly read more like a preview.
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Post by mattchew on Sept 1, 2011 12:28:52 GMT
You can download October 2011 issue of Clash Magazine as PDF here and see review for The Loudest Engine (p. 144) and also a write-up from Juanita about her love of films. (p. 73). Juanita's blog - 100 films in 100 days (Backup)
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Post by mattchew on Sept 5, 2011 20:24:43 GMT
05 September 2011[/i][/size] Howling Bells - The Loudest EngineExpat indie-rockers try and burn cities down again[/i][/center] (Cooking Vinyl/Shock)
London-residing Sydneysiders Howling Bells have gone a long way since their humble beginnings as Waikiki, erupting to near-universal acclaim five years ago and subsequently carving a fairly comfortable niche in the radio-ready-indie world (their success due in large part to frontwoman Juanita Stein’s powerful vocals and striking looks). Recorded in Las Vegas’ Battle Born Studios and produced by The Killers bassist Mark Stoermer, The Loudest Engine is by far the four-piece’s rockiest outing. The band themselves have reckoned that the LP is a sequel to their self-titled 2006 debut rather than 2009’s glossy, electronic-tinged Radio Wars – and for the most part, the statement rings true. Shorn of synths, TLE is a crisp, if still fairly safe, jangle-and-crunch record. The opening double of Charlatan and Into The Sky contains some of the band’s catchiest guitar riffs to date, while Juanita’s brother Joel indulges in some prime classic rock string-bending on the groovy title track. ‘Hit’ number Gold Suns, White Guns is the album’s own Cities Burning Down or Low Happening – only a lot more structurally and melodically complex than the above calling cards. The likely (unfortunate) forecast is that in present-day Australia, the Bells are going to be sideswiped by the all-conquering Jezabels – but luckily, they remain less all-out MOR than, say, Little Birdy. Still, adding a touch more stylistic diversity to the tried-and-true Pretenders formula would have done wonders for the unquestionably talented outfit.
***½
DENIS SEMCHENKO
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Post by blade on Sept 5, 2011 21:49:37 GMT
dollarfiftydinosaur.wordpress.com/2011/09/02/new-album-review-howling-bells-the-loudest-engine-3/Howling Bells, Australia’s favourite indie-folk rock expats, are back with third release The Loudest Engine. Recorded in Las Vegas by The Killers bassist Mark Stoermer, the album features faultless production and a heavier psychedelic-tinged sound.
‘Charlatan’ opens with the distinctive sultry tones of leader Juanita Stein soaring over glitchy and overdriven electric guitar. ‘Secrets’ is Howling Bells at their best, with a thick and unrefined sound accompanied by almost haunting vocals. Whilst ‘Sioux’ sees calm yet melancholy guitar punctuated by progressively building crescendos.
The Loudest Engine is both a welcome return to basics and an enviable release by one of this country’s oft forgotten and most exciting bands.
3.5 out of 5
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Post by mattchew on Sept 6, 2011 10:57:19 GMT
6 September 2011After extensive U.S. touring in 2010, during which most of this record’s songs were written, Aussie expats Howling Bells shacked up in Las Vegas, Nevada with first-time producer Mark Stoermer, who some may recognise as the po-faced bass player for pop-rock juggernauts The Killers. There, amongst the open desert plains and iconic tumbleweeds, the band recorded this powerful and definitive third album. The London-based quartet have come a long way since their days as Waikiki – from the get-go, the jarring and bluesy Charlatan, it’s clear that the jangly pop of 2002’s Here Comes September is a distant memory. The Wilderness strikes a chord, or rather violently hammers it. The growling, psychedelic pop that envelopes singer Juanita Stein’s agitated musings on insomnia comes to a close only to explode back to life with a frenetic and apparently spontaneous jam; a surprising and personal glimpse at the raw side of an otherwise composed ensemble. While their time in gloomy London may encouraged a darker tone in these blues rock explorations, the expansive and uncompromising landscape of the Nevada desert seems to have shaped the calmly explosive energy of Howling Bells into something greater than the sum of their parts. ***1/2 Pat Harris[/i]
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Post by mattchew on Sept 7, 2011 1:38:40 GMT
dollarfiftydinosaur.wordpress.com/2011/09/02/new-album-review-howling-bells-the-loudest-engine-3/Howling Bells, Australia’s favourite indie-folk rock expats, are back with third release The Loudest Engine. Recorded in Las Vegas by The Killers bassist Mark Stoermer, the album features faultless production and a heavier psychedelic-tinged sound.
‘Charlatan’ opens with the distinctive sultry tones of leader Juanita Stein soaring over glitchy and overdriven electric guitar. ‘Secrets’ is Howling Bells at their best, with a thick and unrefined sound accompanied by almost haunting vocals. Whilst ‘Sioux’ sees calm yet melancholy guitar punctuated by progressively building crescendos.
The Loudest Engine is both a welcome return to basics and an enviable release by one of this country’s oft forgotten and most exciting bands.
3.5 out of 5 This review was originally published on p. 36 of issue No. 62 in Reverb Magazine, with words by Liam Demamial. See it here.
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Post by mattchew on Sept 8, 2011 20:14:11 GMT
8 September 2011BBCHowling Bells The Loudest Engine ReviewThe Australians have compromised their strengths to force themselves into a new style. When Sydney’s Howling Bells relocated to London to hook up with British producer Ken Nelson and record their self-titled debut album in 2005, the result was a chaotic and stirring jumble of styles. Juanita Stein’s vocals jolted imperiously against her brother Joel’s spiny guitar licks, introducing a blend of Victorian folk and Brontёan glower to the band’s driving rock‘n’roll, like The Unthanks with riffs. It was an exciting first statement from a band that was, like so many others, attempting the Herculean feat of reviving the past and remoulding it for the present. Unfortunately, Howling Bells’ synth-tinged follow-up Radio Wars and now The Loudest Engine haven’t quite been able to recapture the sultry fire lit by their debut. The former was an experiment in electro textures that some appreciated more than others. But the worrying thing about the band’s latest album is that, on paper, it bears all the hallmarks of a genuine stab at returning to the twisted folk-rock drawing board, and from that perspective it seems to fail as much as it succeeds. At first it’s difficult to pinpoint exactly where The Loudest Engine strays off course. Certainly, the band’s chemistry is still intact on the album’s finest moments: lead single Into the Sky is fully laden with momentum and hooks, Stein’s voice stalking across the track like a hungry lioness, perfectly in sync with the band’s growling rock‘n’roll. The Wilderness is another rollicking number, its concluding guitar squall perfectly capturing the twitchy frustration brought on by the song’s subject, insomnia; and closing track Invisible’s deep, doleful guitar arpeggio elicits the same sense of unease as some of the band’s best early tracks. The fundamental problem seems to lie in Howling Bells’ relocation to the Nevada desert (and their partnership with first-time producer Mark Stoermer of The Killers) to record the album. The claustrophobic menace of the band’s debut fit them like a glove, but the widescreen, dust-flecked stylings of their latest effort feel laboured and, at worst, contrived. On the likes of Charlatan, The Faith and the title-track, the Steins aim to take the best of vintage acid rock, but all they resemble is sonic tourists in a foreign land, and the less said about the Kate Bush-aping misstep of Gold Suns, White Guns, the better. By trying to interpret a whole new landscape and atmosphere, Howling Bells have compromised their strengths in an awkward attempt to force themselves into a new style. Instead of capturing the essence of the dusty trail, on this album they are struggling just to avoid the middle of the road. Chris Lo[/i]
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Post by mattchew on Sept 9, 2011 9:40:31 GMT
8 September 2011[/i][/url][/size] Howling Bells - The Loudest Machine[/center] Cooking Vinyl / Indigo Das nach London übergesiedelte Quartett aus Sydney durfte sein drittes Album mit Mark Stoermer aufnehmen, nachdem man sich auf einer gemeinsamen Tournee nähergekommen war. Der Killers-Bassist debütiert mit "The Loudest Machine" als Produzent vor der eigenen Haustür in Nevada. Prompt glaubt Howling-Bells-Sängerin Juanita Stein, Geister in der Wüste gespürt zu haben, doch entscheidender für die Genese war dann vielleicht doch Stoermers Filmsammlung (viel Hitchcock) - und vor allem sein Gespür dafür, dass die Band nach dem zerfahren-konfusen Vorgänger "Radio Wars" wieder die Besinnung aufs Wesentliche und reichlich Boden unter den Füßen brauchte. Also: Keine Elektro-Experimente mehr, keine Streicher, keine Bläser. Stattdessen vom Start mit dem fiebrigen "Charlatan" weg wieder volles Vertrauen in die Saitenkünste von Joel Stein, der stets stupend, doch songdienlich präsent ist und zur Not auch mal alte Twin-Gitarren-Tricks bemüht ("Into The Sky", "Sioux"). Und seine schöne Schwester bleibt eine gute, manchmal charismatische Sängerin. Dabei kommen ein paar Songs raus, die öfter mal fürs Stadion im Vorprogramm der Killers taugen ("Secrets"), aber auch mal für die Aftershow-Party of two (wie das liebliche "Don't Run"). Und "The Wilderness" wird im Finale tatsächlich richtig wild. Vermutlich Geister am Werk. Beste Songs: "Into The Sky", "Don't Run" **½ Jörg Feyer Translated: The quartet had moved to London from Sydney was allowed to record his third album with Mark Stoermer, after they had come closer to a joint tour. The Killers bassist debuts with "The Loudest Machine" as a producer in their own front door Nevada. Prompt believes Howling-Bells -singer Juanita Stein, spirits have felt in the desert, but crucial for the genesis was then perhaps Stoermer movie collection (much Hitchcock) - and especially his sense of the band after the incoherent-confused predecessor "Radio Wars" again, the reflection on the essential and needed plenty of ground under their feet. So: No more electrical experiments, no strings, no horns. Instead of starting with the feverish "charlatan" gone back full confidence in the stringed arts by Joel Stein, who is always astounding, but song serve present and if necessary even sometimes old twin-guitar tricks trying ("Into The Sky", "Sioux" ). And his beautiful sister is a good, sometimes charismatic singer. It come out a few songs that are good for the stadium often times act for the Killers ("Secrets"), but also time for the after show party of two (like the lovely "Do not Run"). And "The Wilderness" is actually the final wild. Presumably spirits at work. Beste Songs: "Into The Sky", "Do not Run"[/i]
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Post by tealovertoma on Sept 9, 2011 11:52:14 GMT
Well, that BBC review wasn't very positive. Given that I love the psychedelic sounds of Loudest Engine, am sure I'll love the album regardless. At least they gave solid reasons why they disliked it, I guess.
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Post by mattchew on Sept 9, 2011 15:06:53 GMT
9 September 2011For a third time, the Bells do toll. A stealthy surprise this, a return from a band who released their last work just two years ago but seem to have been lost to the wilderness for a lengthier stretch. Alas, fads come and go but good old-fashioned rock 'n' roll works whenever it's called upon to do so and, with The Loudest Engine, Australian four-piece Howling Bells are once again ready to howl - and howl loud. 2009's Radio Wars was a worthy successor to 2006's eponymous debut, the startling introduction that painted the band as navigators of their own dark sonic highway. The follow-up kept the growling guitars but expermented with synths, brass and beats in an attempt to throw off critics after descriptions of their sound as 'gothic' left the Bells confused; I really liked the new direction but said critics, who had previously hailed the debut, were lukewarm. Therefore, The Loudest Engine could be considered a 'make or break' affair for a band in want of - and deserving of - both critical and commercial acclaim. Las Vegas production duties were extended to Mark Stoermer, bassist with The Killers (a band the Bells have toured with extensively), and that title is one so bold that it's required to deliver. Thankfully, Engine is well-oiled like its immediate predecessor but isn't afraid to detour down some darker, more treacherous paths. 'Charlatan' is a perfect opener to ease both the dedicated and newcomer back in, an acknowledgment of a love/hate figure that idly throws attitude from the speakers thanks to gutsy guitars and a perfectly judged delivery of its central lyric, "You steal the light from the sun / You're not a man / You're a beautiful, beautiful charlatan." New single 'Into the Sky' (catch the vid below) is similarly short but savagely sweet, a pleading farewell to a no-good lover driven by propulsive drums, squalling guitars and a vocal that is equal parts cool and fiery. Notice a theme here? As always, the assured vocal presence of frontwoman (and unofficial eighth wonder of the world) Juanita Stein is a consistent feature of the album, although brother Joel on lead guitar and Glenn Moule (drums) and Brendan Picchio (bass) are also on form. Together, they shape a record that takes the previous records' gloomy blues and anthemic driving rock and decorates them with new folk flirtations and psychedelic obsessions. It's certainly a progression, the crazy carousel of noise that acts as the coda to 'The Wilderness' only a stone's throw away from the soul-lifting harmonies of 'Don't Run'. The album's real strength lies within its final stretch, the final third or so proof that the back-end of a record doesn't have to struggle and sink; here, the band hit their stride, settle into their new proggy tip and grip us through to a thrilling conclusion. What has come before has been enjoyable, sure, from the spirited hip sway seduction of 'Secrets' to the sing-aloud chorus of lens-flared '70s throwback 'Live On'. However, the cinematic atmosphere of the first record (briefly ignited on 'The Faith') is reborn on the chugging, antsy title track - heed Juanita's advice and "don't even try to tame" this one because it is confident in its gloriously dramatic destination. Its direct follow-up 'Gold Suns, White Guns' is a wonderful surprise free of signposts, witnessing Juanita's vocal going a bit Kate Bush before spinning into a trippy sonic representation of the inside of a kaleidoscope. These two highlights make way for a superb finish that witnesses both 'Sioux' and 'Baby Blue' providing swooning melodies set to twisted folk backdrops, before 'Invisible' closes the deal with a dazzling demonstration of the Bells' tense and twitchy but beguilingly sexy rock sound. Juanita purrs the promise "Keep breathing, you're alright" over prowling guitars that suggest she's actually about to entrap us and work some black widow black magic. Although on first listen, The Loudest Engine may present itself as the most scattered of the band's three albums, it works its wonders patiently and an assured thread soon presents itself. That first album is still its own peculiar creature and hard to beat because of this, but the band have proved their belltower remains a den of intoxicating noise. 8/10 Luke McNaney[/i]
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Post by mattchew on Sept 9, 2011 22:02:33 GMT
9 September 2011[/i][/size] Howling Bells - The Loudest Engine - (Cooking Vinyl)[/center] There may be the ring of familiarity to a lot of Howling Bells’ third album, but it couldn’t be further from being a contemptible affair. As always, Juanita Stein’s a substantial part of that, bringing all manner of voices to bear on proceedings, from the steely-gazed sirenisms of ace single ‘Into The Sky’ through the troubled tremolos of ‘The Faith’ and on to the spell-casting swaying of ‘Sioux’. The beaus in the Bells are on majestic form too, though, switching between translucent narcoleptic country, scything scuzz-rock and dark pop gigantism with a newfound vitality and a career-best consistency. Excellent.
Iain Moffat
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Post by mattchew on Sept 10, 2011 6:17:20 GMT
9 September 2011The MercuryHowling Bells - The Loudest Engine
A SPLASH of 1970s psychedelic rock gives Howling Bells some oomph on The Loudest Engine. That might sound a little retro, but it’s not really. Their third album is a slam-dunk: raw, experimental and powerful. There is a habit on The Loudest Engine of letting things flow into uncharted territories, which fits the band like a new pair of jeans - tight in all the right places. A touch of madness seeps in at the edges of their sound (The Wilderness), but the band aptly keep proceedings from getting too progrock, and this collection of songs is punchy. The band’s knack for pop structures is evident at every turn. With ease they will team a squealing guitar line and crunchy rhythm section with a floating, delicious vocal (Into the Sky). It’s a matter of balance and Howling Bells have got each element lined up perfectly. Don’t Run stands out as the record’s first guitar-ballad. The blend of male and female vocals is a treat, the piano and guitar sublime. Sharing the album’s title, The Loudest Engine is a rollicking jaunt, fresh, nimble and attitude-filled. The cracking guitar solo at the song’s end is an unexpected but welcome addition. 4 Stars Jarrad Bevan[/i]
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Post by mattchew on Sept 10, 2011 7:51:50 GMT
You can download Sep. 10, 2011 issue of NME as PDF here and see review for The Loudest Engine (p. 47).
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Post by tealovertoma on Sept 11, 2011 10:15:35 GMT
Ouch, a 2? I actually checked their debut out after they gave it a 9. Not that NME is to be taken serious at all, but yeah.
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