nme, you harsh bastards!

[carmen]

Seachange, 2/10??!
Are you kidding me?!

[gwai]

Originally posted by carmen
Seachange, 2/10??!
Are you kidding me?!
what matters the most? a person's point of view or the band itself?

[Susan Kirk]

The love of a boy and his dog is what matters most.

The Seachange album is disappointingly average and unexciting. But then again, so am I.

Just one girl's opinion.

[nosferatu man]

I still don't understand why people live by NME's and Pitchforks reviews. They are complete rubbish. Listen to what you like. Who cares if some indie prick doesn't care for some band because of some moronic reason. I despise NME and pitchfork.

[Gerard]

"Formed in Nottingham during the late '90s by six students with idealistic thoughts of playing folk music across Canada, Seachange live in a dream world of haunted houses, barn parties and Pentangle. But for this band of romantics the pace of life has just got a hell of a lot quicker.
Having become the first English band to sign with legendary independent imprint Matador in five years, there's a certain amount of pressure on them to deliver with their debut album. And they don't disappoint. Taking the emotionally resonant sound of their celebrated live show into the studio, 'Lay Of The Land' retains the band's primordial quality for soaring, spellbinding anthems. Fusing the bashed repetitive chords inspired by Spacemen 3 with a visceral and escalating power, Seachange are a hypnotic proposition.
Accompanying a brutal, two-guitar onslaught, Jo Woodnutt threads her bruised and aching violin, lending a sorrowful and organic air to proceedings. This paves the way for Dan Eastop's driving, deadpan vocals, which owe a small debt to Liam Gallagher, only with less attitude. When this all fits in to place on the soar-away barrage of 'Glitterball', the sextet's true promise shines.
There are weaknesses, most notably on the wimpish and gratingly dull 'Nightwatch'. But that's nitpicking. As a debut, 'Lay Of the Land' marks Seachange as a true British talent." - Chris Parkin, Time Out

“A Nottingham six-piece (indie-rock subverted by violins) who through sheer force of willpower turn their weaknesses into strengths, Seachange are attracting rabid hype for this promising, flawed debut and its gusts of Interpol (or for older readers, The Sound or Comsat Angels). At times its sounds like it was produced for threepence, and Dan Eastop’s voice is not what technicians call ‘good’. But he’s proof that it’s what you do with it that counts; urgent as a dying man, he rasps and yelps through his wordy, pleading tirades with such unflappable belief that the band soar to grandeur. Dynamically it’s full of jagged theatre, and ‘Glitterball’ repeats its charms till you’re seduced. ‘Anglokana’ is equally insistent, Seachange never losing their nerve. Wave them ahead.” – Chris Roberts, Uncut

“Hailing from Nottingham… and an expansive sextet in an age where minimalism is everything, Seachange are something of an anomaly.
Their debut album, 2004’s densest so far, features 12 tracks full to bursting point, as drums, guitars, violin, bass and Dan Eastop’s Jesus and Mary Chain-esque vocals compete for their moment of space. The results are cluttered, exhausting and remescent of Eighties alt rockers Husker Du and courtesy of the violin, The Waterboys. Indeed, the concept of musical shading is an alien one in Seachange’s blunderbuss world.
While their sheer intensity (Eastop is almost screaming by the end of ‘Do IT All Again’) is often overwhelming, it is also beguiling and, without the comfort blankets of irony, kudos and fashion, Seachange sound convincing. Better still, they are not without song writing merit and News From Nowhere, Glitterball and the closing Fog have choruses to spare. An outside bet.”
John Aizelwood, The Evening Standard

[Squall91]

Originally posted by nosferatu man
I still don't understand why people live by NME's and Pitchforks reviews. They are complete rubbish. Listen to what you like. Who cares if some indie prick doesn't care for some band because of some moronic reason. I despise NME and pitchfork. I don't live by Pitchfork's reviews.

But I still like their writing. Fuck all the Pitchfork haters. Suddenly, it's become so cool to hate them. And for what? All they do is expose me to new bands a lot of the time that I wouldn't have heard about anywhere else...well, I don't know about that, but...yeah.

Can't say the same for NME. Hate that shit.

[johansen smith]

oh please, we all know FakeJazz is the only true online authority for music reviews.

just joking.

[bitterfruit]

That's why I hate the reviewer's tone commonly used in wannabe-intellectual articles written by the same dope who claims that there are "no good movies released after 1980."

They all need to create a little controversy on occassion to keep themselves popular.

[nosferatu man]

Originally posted by Squall91
I don't live by Pitchfork's reviews.

But I still like their writing. Fuck all the Pitchfork haters. Suddenly, it's become so cool to hate them. And for what? All they do is expose me to new bands a lot of the time that I wouldn't have heard about anywhere else...well, I don't know about that, but...yeah.

Can't say the same for NME. Hate that shit.


I have never enjoyed Pitchfork. Thier reviews are complete rubbish. I can understand some people checking it out for new bands and/or music news. But to get pissed off over a review from some moron, is quite pathetic.

[Gerard]

http://www.bbc.co.uk/dna/collective/A2384246

Seachange - Lay Of The Land

Tidal folk-rock.

Defiantly lo-fi, this debut is a beautifully realised blend of tempestuous guitars and choppy drumbeats, with one track, Do It All Again, simmering moog-ily along like Electrelane covering Sonic Youth. Johanna's violin mewls keenly throughout, thankfully steering well clear of fetid folk. If it wasn't for the occasional mention of terraced housing and the pronunciation of laaaaaugh, this collection could comfortably slot in among other Americana moochers like Sebadoh. Singer Dan Eastop might well be singing about snails and salt - I don't know and I certainly don't care because all I hear is music, stitched together with unfulfilled lust in postered bedrooms on sticky summer nights. Quite marvellous. (8/10) Kim Taylor Bennett 05 March 04

Seachange - Lay Of The Land
There's stirring intensity and urgency to the fore on this Nottingham sextet's debut album. Their shock tactics and love of epic overdrive come to the fore on "The Nightwatch"...an intriguing outfit. - Daily Mirror, 5 March 04

please keep in mind that I'm not suggesting any of these reviews are "correct" any more than the NME's is full of shit. But there is a fair bit of discussion going on...and when you consider that in the past week we've seen Seachange compared to (hang on) the Jesus & Mary Chain, The Waterboys, Husker Du, Sebadoh, Interpol, The Sound, The Comsat Angels, Sonic Youth and Liam Gallagher (!)...I guess there's no further proof necessary that everyone has a different opinion and there's no clear consensus on the part of the rock press about what this band sounds like. Just as the NME's negative review is hardly a universally held view.

GC

[Gerard]

http://www.manchesteronline.co.uk/entertainment/music/albumreviews/stories/Detail_LinkStory=82926.html

Seachange - Lay of the Land (Matador)

Elizabeth Alker

SEACHANGE_are more comparable to the American, alt-rock scene of the ’90s than any current UK movement.

Their debut album Lay of the Land is an onslaught of manic guitar thrashing, intricate instrumentation and refreshingly soulful lyrics which parade signs of real reflection.

A wall of sound quality, reminiscent of Sonic Youth’s Daydream Nation era, is intercepted by dynamic, rhythmic outbreaks delivered with a unique and heartfelt aggression.

Gracefully

Seachange shift gracefully between complicated, yet carefully crafted rhythm structures. Brief acoustic lamentations and a notable use of melancholic, dEUS-like string patterns also display a developing yet confident flexibility.

Seachange’s distinct melodic intensity is a wilful, loud and explosive cry in the ‘contrived rock market’ wilderness.

from Joyzine.co.uk

Seachange first blipped onto my radar whilst recording for the excellent Gringo Records label, and their invigorating guitar/violin dynamics seem to have been attracting the right kind of attention, leading to this, their debut album, being released on the equally great, but substantially bigger Matador Records.

Initial impressions of this shining new era are a little on the disappointing side. In fact, scratch that, initial impressions are a little on the stomach churningly, ear violatingly awful side - first track 'Anglokana' opens with ropey vocals, awful lyrics that smack of a band meeting that went something along the lines of 'Hey, let's write a song about drugs, that'll make us look edgy', all wrapped up in non-descript guitars and apologetic drumming. Luckily, from the moment that the luke warm nothingness drops away three minutes later things take a turn for the better - the singer stops trying to 'sing', reverting instead to a cracked drawl, breaking occasionally into a throaty howl that suits both him, and the by now apocalyptic meltdown taking place behind him.

Fortunately, over the course of the 12 tracks here we get a lot more of the latter, albeit with the occasional blip like the inexorable 'The Nightwatch'; and at times their keen sense of structure and dynamics even stands up to the likes of Interpol, or my beloved Six by Seven. The inclusion of a single violin, rather than the orchestral swathes that regularly suffocate the turgid work of bands like Starsailor and Spiritualized with a gag of their own grandiosity, is a welcome one, helping to build an individual identity for an album that otherwise treads a well worn vaguely experimental rock out path.

'AVSCO10' is the undoubted highlight here. A remnant of their Gringo days, it blazes a trail of effects strewn feedback, driving drums, strained vocals, and one of the most energising riffs I've heard in a long while. 'SF' is also well worth 3 minutes and 17 seconds of your time, injecting a before they were shit Oasis swagger into a riff hewn from pure rock n roll, with politicised lyrics and a bloodcurdling howl in the chorus that makes me think of The Pattern.

Not quite the leap in stature I was hoping for then, but the combination of passion and precision that drew me to Seachange in the first place is still very much in evidence.

http://www.music-dash.co.uk/releases/release.asp?item=823

:: Seachange - Lay Of The Land

26 January 2004 / Matador Records / 12 Trk CD

By JA

Nottingham six piece, Seachange, dazzled us with the brilliance of their EP “Glitterball” easily garnering our Record Of The Week accolade. Their debut album is an ambitious collection and one full of contrasts and contradictions. At times there’s an acoustic drive to things and then, often abruptly, things couldn’t be more noisy or abrasive. Both traits are crammed into opener “Anglokana” which rumbles in with Factory bass lines and dry vocals, before crashing into a cacophony of skittering guitars and on-edge strings. “News From Nowhere” is upbeat and plugs directly into a widescreen lo-fi of punchy drums and hammered bass lines, all topped off with scratchy guitars. “No Questions” blisters in its intro and then begins to break down into interludes where a bowed violin (a consistent feature) takes a central role. “Do It All Again” makes the most of the bass/drum sound and it’s sparse outlook creates some truly spooky atmospherics, all driven by a firm beat that fondly remembers groundbreakers such as “A Forest” (Cure) with sinewy rock outs like the Pistols’ “Satellite”. Seachange somehow seem to have come up with a cocktail of pure rock and roll, psychedelia and nervous post punk new wave rattles. Not only brave, but on the face of it, a successful job too.

[Joseph]

Originally posted by Susan Kirk
The love of a boy and his dog is what matters most.

The Seachange album is disappointingly average and unexciting. But then again, so am I.

Susan Kirk, I think I love you. Do you have a boyfriend? If not, do you want one? Can you take a punch and keep it a secret?

Swoon,
Joseph

[Ladt]

Q gave the album 2 stars. Sorry to steal your thunder.
I don't know if the 2/10 review in the NME is justified. I guess I never will.

[Patrick]

Well Ladt, I don't think you have to be that fatalistic about it. You could listen to the MP3s we have available. You could give the band another chance live.

What's clear is that the band is exciting widely varying reactions on people - usually a good sign.

Patrick

[9000]

i haven't really heard these cats yet, but look forward to them opening for GBV. i'll have to start the pre-drinking at home a little earlier.

[Ladt]

I have downloaded the MP3s actually Patrick, and actually, I thought they were OK. Nothing special, but OK. I guess I may have been a bit harsh making judgements from one show. That said, I still wouldn't buy their album. If you were to send it to me to try and change my mind, I wouldn't send it back though....

[9000]

Originally posted by Ladt
That said, I still wouldn't buy their album. If you were to send it to me to try and change my mind, I wouldn't send it back though....

and i'd like a pony.

[fuzztony]

Originally posted by Gerard
http://www.bbc.co.uk/dna/collective/A2384246

Seachange - Lay Of The Land

... there's no further proof necessary that everyone has a different opinion and there's no clear consensus on the part of the rock press about what this band sounds like. Just as the NME's negative review is hardly a universally held view.

GC

Gerard - I'm finding this thread discussion particularly interesting at the moment. Reason is I have to write a review for the Seachange: Lay Of The Land album for a new Australian site, Fasterlouder.com.au (site is not mine) Think the album is out through Remote Control records here.

3 listens in so far, and what's certain is the 3rd listen has been the best so far. At first, I wasn't sure, figured they must be killer live to have gotten on the map at all, because the album is lacking, especially in convincing melodies. I can completely understand how folks like Ladt might consider them ordinary. But then the album creeps up and pulls out something impressive...anyhow I'll email you a link to the review when it's up Gerard & Patrick.

Have been curious about them for a while. The Deus, Waterboys, Sonic Youth, Interpol references aren't too far off.

[Gerard]

tony,

I personally think the Interpol, Deus and Waterboys references are totally out to lunch. Sonic Youth makes sense only in the most general way, but I accept that everyone has their own point of view / frame of reference. I do find it a little entertaining that Seachange seem to generate comparisons to so many disparate artists...either this says something about where Seachange are coming from....or the limited scope of the people writing about them. Possibly both.

Here's another review to ponder. From Logo Mag :

Seachange - Lay Of The Land (Matador)

Seachange are Matador’s first UK signing for 10 years and, given that Matador host such acts as Cornelius and Built To Spill, there must be a lot of pressure on them. But fuck, they’re like nothing you’ll ever hear. Album opener ‘Anglikana’ sets a path straight into a Brother’s Grimm fairytale; a woozy melody depicts a murder in the woods as a violin ebbs hazily in the mist. Then scuzz-saw guitars crash in with angular rhythms and the song assumes a propulsive course to sonic destruction. It’s awesome. Seachange are impossible to ignore for numerous reasons; firstly, Dan Eastop’s lyrics are beautiful. Part poetry, part scat and part scream, he darts from piercing wail to soft melody within milliseconds, and he isn’t afraid to talk politics and show you his heart - from the depiction of suicide in ‘Glitterball’ (“whitened skin, luminous black water, hair caught on the rocks like an anchor”) to the bombastic attack on hyper-consumption in ‘Superfuck’ (“I want to spend the rest of my life everywhere, one to one, always, forever, now”) Seachange’s lyrics matter. The music is a complete antithesis to the current inane rock-jockery that clogs the airwaves. They’re the most unique band since The Van Pelt or At The Drive-In, with vocals comparable to the lyrical finesse of Tim Booth. The band do what they do with carefree conviction; feedback screams throughout entire songs, there are points where you think the guitars can’t get any louder, the bass any deeper or the violins more frantic… and then they do. Seachange built a reputation as an awesome live act, performances had them swaying with exhaustion after half an hour of clawing at instruments; many will be relieved that none of that energy is lost in the translation to record. The lo-fi production provides an air of sincerity as the instruments swell with distortion and growl with menace, ‘40 Nights’ for one sounding like Primal Scream fighting My Bloody Valentine in a dustbin; it’s tinny, rawkus rock music that swims in its own volume. Their sonic diversity is partly due to the fact that Seachange are a band with a wide musical arsenal at their disposal, so ‘Lay Of The Land’ allows them to play with conventions, ranging from the perfect pop of ‘Do It All Again’ to the pastoral folk of ‘Fog’. The violin also acts as a secret weapon, floating soothingly on the vocals or bass one minute, only to re-emerge as an intense drone the next. Seachange have a genuine desire to blend folk music into garage rock and the textured sonic layering of 90’s shoegazing; that they do so so effortlessly means that ‘Lay Of The Land’ will surely stand as one of the albums of the year. - Jonathan Falcone

[fuzztony]

Gerard - I think what's emerging here is very positive for the band. Some negative voices (to the band, fuck the naysayers) and christ knows you need them. Then some very passionate reviews, with a little in between.

It does I think reflect the band's varied wellspring of inspiration which surely must be leading to the many disparate references by reviewers. In the end, they're different, and they take time to apreciate and this can only be good for the band's longevity. Go the Seachange FC!