BITE
REVIEWS
W
aiting six years to follow up a debut
record is not usually a good move, but it
has worked out well for Tom Vek. Since
indie music fashions have moved on since 2005, he
no longer comes across as being part of a larger
trend and his eccentricity is more apparent. He’s
dropped a lot of the post-punk antics of his debut,
but his emphasis on rhythm remains, with nearly
every track built around a crisp, precise beat. His
compositions are neat and tidy; he cycles through
textures and sounds but avoids clutter and unnec-
essary doubling of parts. There’s a ruthless effi-
ciency to his music that can be very attractive, but
even at his best, Vek sounds like a producer just
on the verge of finding his own distinct style.
Vek’s voice, often flat and heavily accented, is
alternately one of the most appealing and most
off-putting elements on “Leisure Seizure”. He’s
very good at affecting a petty, bratty tone, and this
suits the bitter, confrontational character of
album highlights “A Chore” and “Aroused”. Vek
has a limited vocal range, but it’s obvious that he’s
put a lot of thought into how to play to his
strengths and switch on his technique. At some
points he exaggerates his flatness for effect.
He is most compelling when he employs a sin-
ister singsong on “A Chore” and the semi-rapped
“World of Doubt”, casting himself as something of
an antagonistic presence. His music will not
appeal to everyone, but if you like something a lit-
tle different, heavier and a bit dark, then give
“Leisure Seizure” a shot.
Friendly Fires - Pala
F
riendly Fires have so much to live up to on Pala seeing
as their first album was such a corker. The album cover
of a bright, tropical coloured bird is a true reflection of
their sound suggesting a band spreading its wings to reveal a
triumphant celebration of a remarkable album.
The opening lead single “Live Those Days Tonight” is a
mammoth mix of 80s electronic and synths with a flawless
dance rock chorus that makes you want to shake your hips
like Ed MacFarlane himself. The most notable change from
the debut album is the vocals, no longer playing second fiddle
to the music but instead they’re complimenting one another
brilliantly. Ed MacFarlane’s croon almost prompts the swift
changes in sound throughout the songs.
The title track is the midway point of the album and the
first time you really notice a drastic change in tempo. Opening
with the sound of bird song, it gradually builds into an R&B
smoothie of a song which sounds beautiful. “Hawaiin Air” is
the biggest track on the album with the most monumental of
choruses. Its delicate chimes and frantic drums lead into a
bizarre flutter ; however lyrically it’s brilliant and a truly
fabulous piece of music on a magnificent album. Once again
their orgasmic music is complimented by delightfully teasing
lyrics and as the album draws to a close, you’re left with the
feeling that all the other dance rock indie acts that have
emerged over the past few years have been left in the dust
by a trio who know how to write music and make it sound
like the sexiest of beach par ties.This is my favourite album of
the year so far and I’m not going to get fed up of listening to
it over and over again anytime soon
Tom Vek - Leisure Seizure