The Interiors

Delays Are Dangerous

The Interiors relentlessly storm through sub-three minute punk-pop songs on their debut L.P. with vigour and true spirit. The Sheffield four-piece share vocal duties between their two guitarists and bassist, which add variety and ensures that the album does not become monotonous over its sixteen tracks. This is a decision to be commended as even though the recording only lasts for just over half an hour, the limitations of their genre could have resulted in the tracks morphing together had one vocalist taken control.

The album begins with 'She's in Japan', in which the whole band gets involved with some additional Hammond organ-esque squeaks and beeps thrown in for good measure. Next comes 'My Little Pony', with guitarist Sharleen Fenton singing in the spirit of Be Your Own Pet's Jemina Pearl, only with less venom, and whilst this isn't a criticism, her vocals are probably the weakest within the band.

The album continues with 'V166': a bouncy punk track which is an apparent homage to Buzzcocks, which is sadly over before you know it. '3 Punk Bands' is similarly influenced, but brilliantly fun in its own right.

On the whole, there are a great number of good moments on this album. The album passes by quickly but leaves you with a satisfied feeling at the ending of it. It ends with 'Subtle Love Song', which isn't really as controversial as the band may have intended it to be. Sure, it talks of sex toys and uses the c-word at the end, but on a 21st century punk record this isn't really that shocking.

Whilst you get the impression that the members of The Interiors are much less 'punk' than their songs, they have good intentions as a band, which transfers across well on this album.

Stuart Holmes

The Monocult

Maybe We Should

Eclectic is an over used word, but it seems to be the best I can come up with for the Monocult. They are based in the North East, and utilise such a range of instruments and musicians on here it must be a treat to see them perform live, as long as they can find a stage big enough! Their sound is mainly acoustic; something like an un-plugged Massive Attack might sound. No two tracks sound the same, apart from those linked by the thrilling vocals provided by Lucy Pickard, who was recruited when founder Matt Henderson found her through hearing her on MySpace. He was on a mission to take the rap/urban styles outside what might be seen as their natural North London home, and into the more stark reality of Newcastle, where he tried to recruit local musicians who were up for something 'dark, acoustic and experimental'. In the main they pull it off, and if you want something a little different this will entertain you on those long dark nights ahead. It seems to work best for me in a chilled out, darkened room, allowing the tracks to build and weave their magic, although it does take a few listens to appreciate them fully. An excellent debut and a brave effort to achieve something a little out of the ordinary.

Christine Brain

Rodina

Over The Sun

Here's a frightening (or exciting, depending on your taste) scenario – Jools Holland jamming with Corrine Bailey Rae and the musicians from Buena Vista Social Club. If such an occasion arose, (and before anyone emails, I am fully prepared to accept that this has already happened without my knowing) it's likely that the results would sound a lot like Rodina.

Fronted by the sultry vocals of Aoife Hearty, and featuring a 'collective' of musicians as long as your arm, 'Over The Sun' is an exercise in producing some of the most inoffensive music imaginable. Certain passages, such as the extended saxophone solo on 'You Cry I Cry', could accompany a trip to B&Q for a tin of white emulsion, and 'These Things You Do' sounds like the music you might have forced upon you whilst having a massage (I speak from experience here...). On an amusing note, Will Ferrell fans will enjoy the 'Ron Burgundy' style flute on 'So Wrong'. Lyrically, the listener might expect more challenge from a nursery rhyme – heaven forbid that the coffee shop ambience should be spoiled by anything as vulgar as an expletive. The band's website claims that Amy Winehouse could be added to the mix of influences; it certainly isn't Amy's willingness to sing about uncomfortable subjects that has had an impact here.

There's no denying the skill of the performers; the harmonies are perfectly balanced, and the overall sound is shinier than a string of Christmas lights. It's also true that there's probably a sizeable fan-base out there for Rodina; the kind of people who buy those singles that chart at number 14 then disappear the following week, to be the subject of a question on 'Popmaster' twelve years later ('whose only chart hit came in 1993, with......?').

Jon Cooper

The Troubadours

Stolen Time

When I first put this album on I had to go back to the cd player and check I hadn't somehow put on one of my Steve Earle albums. Some bands wear their influences on their sleeve, the Troubadours tattoo them on their forehead. To be fair Mr Earle is credited on the inner sleeve as an inspiration.

So the Troubadours (not to be confused with a bunch of scousers peddling La's style sixties jangle under the same name) specialise in acoustic country rock. They are mainstays of the local music scene playing numerous gigs and running an acoustic night in Wakefield amongst other things.

This is music written from the heart, if not particularly originally. As a souvenir of the Troubadour's live act it pretty much hits the spot. I like the way that Steve, the chief songwriter, has written about what he knows (presumably) with subjects such as family feuds over wills and references to the miner's strike. My favourite song though is by the other main Troubadour, Andy. 'Lost Faith' is a well-measured song criticising the Iraq war articulately. It reminds me of Billy Bragg's mellower moments.

My only other real criticism about this is why oh why the American accent? I realise that it's a common thing, especially in this genre, but singers as varied as Rachel Unthank & Alex Turner are happy to sing in their own voice. Let's have a bit of Yorkshire pride next time!

Pete Ellis

Nephu Huzzband

25 Minute Documentary

Nephu Huzzband, as keen readers of the Sandman will be aware, have been called the most exciting thing to come out of Nottingham for years. Their attacking, take-no-prisoners approach to music is as compelling as it is startling. Keen fans of the band will no doubt have seen the videos for 'Papers' and for 'Nurse, Nurse' on YouTube, so there's not a lot of new footage for them to get excited about, but for the uninitiated it's great fun. What we are given, to pad out this documentary, is some interview footage with the band, and film of a car journey filmed from the front passenger seat. All accompanied by snipets of their songs. Cheap? Yes, of course. Effective, well, in part it is. It did make me want to see them live; something I have not managed yet, but it has to be a good interviewer who can prise out of a band so young as this anything more than words to the effect of, 'we love being in a band'. It'll no doubt make mum and dad proud, and is a great souvenir for fans of the band, but isn't something I think I'll visit more than once.

Chris Xenra

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