With a ragged beauty and grandiose formula suitably befitting a band from Iceland, Sigur Ros are a breath of fresh air in a sometimes stale indie market. While many of their contemporaries' follow well worn formulas, Sigur Ros have a sound that is uniquely theirs. One word of warning though, don't buy this album if you couldn't care less about missing out on something special. Every song on Agaetis Byrjun is an opera in itself. A ethereal voice that could cut through a glacier soars and swoops over arrangements that are so endearing you sometimes think that they could be wasted on an audience not willing to succumb to its charms. The lyrics are a melange ofIcelandic, Hopelandic (Sigur Ros language) and some English but as such it doesn't matter. Remember how you watched 'Life is Beautiful' and forgot there were subtitles, well it is the same here.

While every track is a winner there are a few inter stellar moments that actually produce goosebumps. Sven-G-Englar an early single has been re-released to coincide with their latest tour and proves a good introduction to the scope of Sigur Ros' output. Witness the vocal as the best instrument you've ever heard, so primitive but so hauntingly beautiful beside that submarine echo. Seeing Sigur Ros live is an experience you will treasure for life, it may even move you to tears on occasions. They play against a backdrop of a clear starry night, you'll stand hushed, incredulous that you are witnessing pure pop music. When an album like this is played with the same passion and power, there is no live experience that can come close. 'Starafur' will melt your heart. It will swathe you in a ready brek type glow as the soft vocals, electro twinkling and sweet strings create a concoction that is mesmeric. Try playing it to a fierce creature and watch the beast sit back and reflect on how great life is. I defy anybody not to be moved by it. 'Flugufrelsarinn' sails by for almost 8 minutes with giant slabs of soaring guitars intermittently interrupting the vocal gymnastics and organ drenched backdrop.

The longest track on the album, 'Vidrar Vel Til Loftarasa', starts out like a snowflake. Over the course of its 10 minutes it transforms into something altogether more powerful. Blending the finer strings with music box tittering and a pretend country strum, this song ushers in a frosty vocal. As the friction builds up the tempo warms until the movement is unstoppable. As you get caught up in it you can't breathe, but remember what they told you in ski school. Don't panic at all costs because help is on the way. Several minutes later as the sun filters through, you smile and the world becomes your oyster once more. A close thing but what a wonderful thing this avalanche of sound is. 'Olsen Olsen' has a seasonal ring and hearing it does create goodwill feelings that few things can produce. Made up of a hybrid of heavy bass riffs, Jonsi’s almost female sounding vocals, a wandering flute quiver and a sweet barrage of backing vocals, this is exceedingly good stuff. The title track appears soon afterwards and just ups the ante on an album on its way to the stars. It is fragile, vulnerable and so close to perfection it hurts.

Sigur Ros are a band to treasure. If they are nurtured well they could hold onto the incredible power that their music currently unleashes. As is the case in a cruel world it's unlikely they'll ever reach the heights of Britney Spears stardom but for a lot of people they will mean an awful lot more. And anyway, with bands like this you get greedy and want to keep them to yourself. Already national heroes in their own land there is a Sage being written about them as we speak. KD

Rating: 9/10

More Info: Official & Myspace
Buy Album: [UK] Agaetis Byrjun [US] Ágætis Byrjun
Listen: Sigur Ros - Starálfur

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You've got to hand it to Shed Seven's incredible longevity. Where other bands would have thrown in the towel much earlier these perennial underachievers continued to ply their trade with limited success. Remember it took Pulp ten years to break even but perhaps we're talking about different leagues here. It is hard to figure out why Shed Seven have rarely impacted on mainstream consciousness. On paper at least they have a good fighting chance. Rick Witter gives off the notion of a preening rock star (who looks like a young Ian Brown on the cover of this album) capable of coming up with little pop gems like 'Chasing Rainbows' and 'Going for Gold'. Rather unfairly Witter has been a figure of fun in the music press, seen as a semi-faux pretender. In Alan Leach Shed Seven possessed a drummer who follows in the great tradition of nutcase stick handlers, a necessary requirement in the rock and roll scheme of things. Add to this the other band members who are more than capable of delivering on Witter's pop vision. Perhaps it's just a case of missing the X factor that marks a band out from the large cast of wannabe stars. Shed Seven are a little short of inspiring, maybe a bit too aspiring for their own good.

Getting back to the music, Change Giver was a fine debut. It produced several singles that went on to make a dent (admittedly small) on the charts. None of the tracks, however, are truly groundbreaking. They are pleasant in a throwaway type of way. You may whistle them down the road but the next nice one that comes along quickly replaces them. Just like 'Missing Out', all jingly jangly and a strong vocal but also quite forgettable. Change Giver is the quintessential indie album. It's got the choruses, the guitar mix and the whippet like vocals. Harmless pop that won't fill your head with dreams, perhaps its slight nature is ultimately its undoing. There are a few genuine highlights though. 'Speakeasy' has a spiky guitar entrance and a breezy cool nature that levitates its groovy nature. 'Ocean Pie' is also wonderful. A slow burner that resonates classicism and insightful lyrics that are sadly prophetic. 'I don't need to live, I need to survive' neatly describes the bands hanging on by a fingernail situation.

While there are a few duds the album possesses more hooks than a seabound trawler. It's like Mr. Witter figures that if he throws out enough candyfloss some of it will stick. So you get a Dead or Alive homage on 'Dolphin', something approaching an average Suede tune on 'Stars In Your Eyes' and the indie by numbers stoop of 'Mark'. Surprisingly there are a few hints of something bigger on the last track 'On An Island With You'. Stretching to over 8 minutes you wonder why it couldn't always be like this. Starting out at breakneck speed it flowers into a something altogether more beautiful with a distinguished guitar sequence befitting a truly great band. Not an ‘I Am The Resurrection’ type finale but it does leave a sweet aftertaste. If the posturing could be harnessed into a more diverse sound then Shed Seven could finally break free of that nearly men tag. ‘Change Giver’ is more than an honest, workmanlike album and deserves an audience. No student party would seem quite complete without it (while we're on this subject, what happens to students when they enter the world of work, do they suddenly become Westlife fans, I've never quite worked it out). Give them a chance and maybe Shed Seven's luck will change. KD

Rating: 6.5/10

More Info: Official & Myspace
Buy Album: [UK] Change Giver [US] Change Giver

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The year was 1990 and baggy culture had truly taken hold. While the movement saw the indie and dance streams merge, Ride from Oxford cut a furrow down the Shoegaze route. A blazing guitar backdrop with vocals intermittently drowned out and then coming back to the fore defined their sound. Ride had an incredibly cool persona and boasted 2 great songwriters. Mark Gardiner had the choirboy vocals, while Andy Bell (who went on to join Oasis) on guitar provided the ammunition. While their relationship was all things harmonious at the beginning by the time 'Tarantula' was released in 1996 things had soured considerably.

Nowhere's artwork contains a drawing of a cool blue sea with a large swell building. The scene is a good analogy for the goings on throughout the album. 'Seagull' sweeps in with incredible power, a mountainous soundwave of shearing guitars, bass tumbles, backward loops and that unique bi-vocal supplied by Gardiner. When 'Kaleidoscope' carries on the assault it's almost enough to shake your boots. Ride's tact changes considerably over the next 2 tracks. 'In a Different Place' has a subdued momentum and that early nineties guitar trickle that sounds positively historic but cool in a Doors hammond sound sort of way. 'Polar Bear' is still immense, its circular guitar structure a much loved Shoegaze technique. Gardiner sounds ethereal at times and the song's energy is powerful enough to induce cloudbursts.

On side 2 (no cd's in 1990) 'Dreams Burn Down' is a quilt of buzz-saw guitars, a searing sound that will melt your ears and put the fear of God into small household pets. 'Decay' and 'Paralysed' are probably the 2 weakest tracks on the album but are pleasing in there own way. Things improve markedly with 'Vapour Trail', which is nothing less than beautiful. Gorgeous melody and the cleverest guitar strums combine with a drumbeat that jumps out at you. A fitting climax to an album that could take your breath away. When I bought the cassette back in 1990 Nowhere had only 8 tracks but the CD has 11 including the single 'Taste' and 2 of its B-Sides 'Here and Now' and 'Nowhere'. 'Taste' was born in Pop heaven, it has lived there ever since. It can only be heard on the sunniest of days, by the happiest of people in the coolest Joe Bloggs ever. 'Here and Now' is completely of its time and is full of fender rushes suffering a little by being a bit too echo and not enough bunny.

'Nowhere' is not a perfect album by any means but it has a jagged sound and vision that is hard to resist. When you hear it first you'll probably wonder what all the fuzz is about but hang around and it will start to make sense. It is a landmark album from the Shoegaze scene, up there with Slowdive's 'For A Day', Chapterhouse's 'Whirlpool' and My Bloody Valentine's 'Loveless'. KD

Rating: 8/10

More Info: Official
Buy Album: [UK] Nowhere: Remastered [US] Nowhere
Year: 1991

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What do you do when the world forgets to listen to your bands second album. Well, you go about attracting people's attention the only way you know how. First of all you write some sublime tunes and then you invite some superstars of the underground music scene around to help you record it. And that's what Snow Patrol's Gary Lightbody decided to do. Snow Patrol's 'When It's All Over We Still Have to Clear Up' may have had the critics salivating but it hardly set the world alight. A bit of a shame really because songs like 'Ask Me How I Am' were pretty darn special. Lightbody's seized his opportunity at a drunken gig in Glasgow when he approached his mates from some other local bands about the possibility of recording an album together. A positive response had him penning over a dozen songs in lightening quick time. The album was subsequently recorded in the Ca Va studios in Glasgow in 10 days. He and the other 14 artists who collaborated with him became collectively known as the Reindeer Section. 'Y'All Get Scared Now Ya Hear' became one of the unexpected delights of 2001.

'Will You Please Be There For Me' is the terrific opener. Fragile, simple and stripped of electricity Lightbody's vocals sound like they have been recorded in the hull of a submarine. The gentle strumming wouldn't be out of place in Honolulu and as such don't deflect from the intimate wording. 'The Opening Taste' is similarly lavish in its skeletal approach. It has a remarkable hushed beauty and a simple melancholy that is truly haunting. Jonny Quinn of Snow Patrol provides the nervous drumming, scared that his interruptions could somehow deflect from the tunes subtle intricacies. This is surely music to watch the squirrels go by. Gill Mills, a presenter on BBC radio Scotland sings on '12 Hours It Takes Sometimes'. His voice is coarse and the composition has Will Oldham written all over it. Scattered and loose it is frequently touching especially when the piano keys tinkle delicately in the background. 'Deviance' is equally erratic, kind of shambolic but never enough that you lose interest. Failure was never on the cards anyway with Richard Colburn's (Belle & Sebastian) on percussion and Willie Campbell (Astrid) spinning bright chords.

'If There Is I Haven't Found It Yet' is the first real signal of Mogwai's John Cummings significant involvement. It may be lo-fi but there is intensity in the chord progression that smacks of deep rooted rock action. As Gary Lightbody sounds lost and forlorn Eva's Jenny Reeve sweeps in with a consoling violin. Jenny Reeve takes over on vocals on 'Fire Bell', a beautiful ballad that benefits from the most tunesome of keyboard doodles. 'Fire Bell' would be right at home on your collection of the best Gentle Waves songs ever. The fact that it's all over in 2 minutes makes it even more precious. 'If Everything Fell Quiet' has that by now familiar ramshackle rhythm that is infectious. From 'I've Never Understood' on things start to gather momentum. Gareth Russell of Astrid pummels out a bass line while the wheezy guitar sound seems almost neanthrathal when compared to the innocent vocals. Colin Macintyre of the Mull Historical Society duets with Lightbody on 'Raindrop'. The drumming becomes more assured and the distinct riff gives the whole operation an unprecedented groovy feeling. As it turns out 'Raindrop' is only the warm up act for the albums centrepiece 'Sting'. Where the early album basked in it's simplicity, 'Sting' develops into a jangling opera, a multi-faceted beast that is sure to become one of the singles of 2001. Mick Cooke of Belle & Sebastian adds a jaunty trumpet to seal matters.

After this high, the quality temporarily dips on 'Billed As Single', a diluted effort that is a bit of a chore to endure. 'Toute Le Monde' is slightly better and drifts a little closer to the Snow Patrol blueprint of crashing guitars and flailing cymbals. With the brief aside into sonic mayhem dispatched it's left to Arab Strap's Aiden Moffat to restore the generic Reindeer Section sound. 'Nightall' is a perfect vehicle for Moffat's almost lazy patter. The summer breeze instrumentation that shuffles round his warblings is the perfect cocktail. ‘The Day We All Died' comes complete with a flock of pigeons, put there intentionally to mask the singer’s flight of fond farewells. Once again the song's inspiration is simplicity itself and its execution is close to masterful. With some many cooks involved, this particular broth could have failed to catch the imagination. Luckily the myriad of performers go out of their way to give the album a unique blend. 'Y'All Get Scared Now, Ya Hear' is an album of disparate parts that will doubtless enthral everyone who owns it. It provides an intoxicating listen and much credit must go to Lightbody who took a big risk with the project. His risk taking took him close to the precipice, where for once the final straw didn’t come close to breaking the camels back.

Rating: 7/10

More Info: The Reindeer Section
Buy Album: [UK] Y'all Get Scared Now Ya Hear [US] Y'all Get Scared Now, Ya Hear

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After producing something as special 'The Bends', Radiohead really had a task on their hands with the follow up. OK Computer, however, is majestic and proved beyond doubt that they were (at this stage in their careers) incapable of producing anything that was slight and easily forgotten. 'Ok Computer' pays homage in no small part to Douglas Adams' classic sci-fi novel 'The Hitchhikers Guide To The Galaxy'. Read the opening pages and you will note several references that appear throughout this album. In fact why not set up 'Paranoid Android' in the background while you're doing it and perhaps it may all make sense. The book flies at every angle with weird and wonderful ideas highlighting a fertile imagination struggling to control the urge to get all the ideas down on paper, Radiohead simply paint the aural backdrop.

'Ok Computer' opens with the guitar driven glory of 'Airbag', full of atmospherics making its point with the efficiency of a sharpened needle. This mark of greatness continues right through to the sombre candy that is 'Lucky' near the end. In the process Radiohead produce a royal flush at every turn but it is far from an easy listen and unknowing ears could be turned away quite easily. The strength of the albums early moments almost eclipse the quieter moments that creep in as the album progresses. This is by no means an indication of an album running out of steam, it is a band with a full grip on how the listener should be treated. The jewel in the albums crown is undeniably 'Paranoid Android'. This is a two-part masterpiece that sucks you in with its delicate beauty and then when you think you're safe a large burst of chords strangle your peace to create a chaotic frenzy that is almost as attractive. The accompanying video was heartfelt and hard-hitting in a clever understated way. It added nothing to the fog of confusion that the song evoked but that doesn't matter because you know that the digs are been made and the guilty have taken note.

'Subterranean Homesick Alien' is expansive, vast and is musically similar to early Verve movements (go see). 'Climbing up the Walls' is a frightening vision. Thankfully then 'No Surprises' and 'Let Down' resemble Radiohead circa 'The Bends’, which is no bad thing because as simple pop songs they provide a bit of relief from the aural challenges that are thrown out in abundance all over the album. 'Ok Computer' is rock opera of epic proportions. It’s genius remains undimmed to this day, gloriously underlining Radiohead’s worth and proving conclusively that contemporary music still had the power to furrow new and exciting ground.

Rating: 8.5/10

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Anyone can play guitar eh? Anyone it seems except Radiohead. Amnesiac was recorded at the same studio sessions that produced 'Kid A' and in reality, this album is the sorry sequel to that mixed up affair. Where Radiohead could have developed on that tatty mess and produced something more worthwhile they instead opt for an altogether disjointed approach yet again. Sequels should show some progression but inexplicably Radiohead have conjured up a monument to regression. From the word go something is amiss. 'Packt Like Sardines In A Crushd Tin Box' could easily be a cut from a chilled out trance album. Why Radiohead would ever wish to outdo someone like Ferry Corsten is beyond me. Are they simply bored by their musical roots, are they trying to cash in on the dance craze, have they completely lost the plot? So many questions, so few answers.

The reworking of 'Morning Bell' is utterly pointless. Thom Yorke had spoken of a radical departure from the version on 'Kid A' but it sounds pretty much the same. 'Morning Bell' was one of 'Kid A's better moments but hearing it again adds nothing to Amnesiac. The first single 'Pyramid Song' has all necessary paranoia required to make it a winner but it lacks that robotic charm required to leave a lasting impression. It is one of those songs that takes aeons to sink in but watching the video for it certainly boosts its charm. One of the mild successes in an album of wretched failures. 'Pulk/Pull Revolting Doors' is surely the most nondescript pieces of music that Radiohead have ever produced. It is made from an idea that the Boards Of Canada would have quickly discarded. With Thom Yorke sounding like he's swallowed one too many helium filled balloons, it is an unrivalled duck egg. 'You and Whose Army' is slightly better but Yorke again sounds freakish. Without trying to be cruel it could easily be the elephant man on vocals. Matters are not made any better when the piano accompaniment sounds like it has drifted eerily from the back room of Bates Motel.

I remember hearing 'The National Anthem' and all I could hear was a good riff and precious little else. 'I Might Be Wrong' is in the same category. Here the riff is not as encompassing (but I guess at least it's a riff) and the electro beats take from it's listenability. Yorke again plumps for vocals that are close to being hallucinogenically detached. There are sparse moments on 'Amnesiac' that befit the Radiohead of old. 'Dollar and Cents' lives and breaths cruel intentions, the chopping guitars providing a perfect backdrop for Thom Yorke's voice which for once is given license to showcase it's quality. 'Knives Out' is laced with a smooth groove, the underdone but wholesome drumming is joined by an intricate guitar progression and a solemn vocal delivery. Both Ed O’Brien and Jonny Greenwood are largely unemployed throughout the whole of the proceedings. It's the sort of album that could have been created quite easily by a single person in a home studio. 'Like Spinning Plates' for example, has a tune that is playing in reverse. The surreal space noises that float in and out of the mix certainly sound different, but rather than being challenging you get the sense that the whole thing is meaningless rubbish imagined by a recluse who should get out more. 'Like Spinning Plates' could have sounded better if that little thing called melody had been introduced.

'Hunting Bears' is the sound of a lone guitar and some shards of bass slowly concocting a Ry Cooder studio jam. It's not too bad but then again put in the context of this album it is entirely worthless. 'Life In A Glasshouse' closes the album. A hybrid jazz funk piece with a skewed trumpet coursing through its veins it is not particularly interesting unless you're into that sort of thing. A pretty mess is the closest one could get to describing it. As it and the album peters out the pain of disappointment is hard to dispel. I'm all for innovation but in Radiohead's case they seem to have totally forgotten what made them so incredibly special in the first place (hence the title?). With a genuine tear in my eye, 'Amnesiac' gets the thumbs down. The lyrics 'Oh no Pop is dead, long live Pop' now seem truly apt.

Rating: 5/10

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Devoid of Ok Computer's intricacy, lacking the killer hooks that so propelled 'The Bends', Pablo Honey still resembles a veritable treasure throve of lost gems. Packed in sardine-like the tunes straightforward approach create a dizzy aural feast. It was Radiohead’s first long player and it introduced a band with the craft to write perfect pop songs. Forget the fact that there were more cerebral Radiohead packages on the way; just feel the noise. The album wakes up with a cranky 'You'. It's more than a little spirited with Thom Yorke's vitriol contrasting with the ever so twinkly guitars shards. There are fractured glimpses of something more complicated on 'Anyone Can Play Guitar' that directly spits in the face of most of the other simpler, more accessible tracks on the album. Yorke's vocals are at times a little ropy (is that John Lydon on How Do You?). He was still in the process of honing one of the most distinctive voices in modern rock but his grip on what it took to create sublime guitar/vocal nuances is touching. If ‘Stop Whispering’ does not blow you away you need to return to the Blade Runner set. Hushed vocals, struggling to stay afloat on sea of shimmering guitars, somehow rising phoenix-like to a point where you can almost hear the tears cascading down the singers face.

The next track 'Thinking About You' just bleets sadness, the acoustic interfacing with that natural human spirit riding in on Yorke's heart breaking words. The melody is open, inviting and devoid of the intricacies that would later propel the band. Play this song to a young child, as a Montessori building block to the later challenges that lie ahead in the discovery of this most important bands music. 'Creep' could have easily become a heavy shackle around Radiohead's ambition because of the ferocity with which it shoved them into the glare of U.S. interest. It is special of course, but Radiohead's ability saw them break free from an audience baying for its loser charm. Radiohead had it in their power to offer greater canvasses of sound.

Radiohead's direct approach doesn't always find its target with the result that one of two cringeworthy moments pop in from time to time. 'Ripchord' and 'How Do You' are complete fodder that take a simple half idea and turn it into something with much less cop. 'Pablo Honey's true heart lies in the triumvirate of tracks that make up the latter stages of the album. 'Prove Yourself' is several layers of simple riffs, rolled over by an angst ridden Thom Yorke whose lyrics resemble a contemporary's over Seattle way. Thankfully Yorke's words were an effective valve as opposed to a declaration of intention. 'I Can't' has astonishing intensity, like a beleaguered man searching for some worth, it somehow raises its own stakes to succeed against the odds. Of course, the searing, jangling guitars add able support but the vocals are at the same time underachieving and powerful. 'Lurgee' has that alarming quality coming forth at will. Decidedly more lo-fi but no less affecting, the 3 minutes it fills are among the most beautiful you'll ever hear. 'Pablo Honey' is a frighteningly good album with strong songs popping out at its strained seams. It works as a superb antidote to the bands more electronic noodlings that require a lot more patience and an almost forensic approach to discovering what was intended. This is Radiohead telling you how it is, master storytellers with the best soundtrack colouring in the already vivid scenes.

Rating: 8/10

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