the View - Hats Off To The Buskers

year 2007 review: The View appeared on the scene in the early part of 2006, touring with Babyshambles and releasing a limited EP on the Two Thumbs label. They've since played shows in the US and Japan, supported Primal Scream and released two top-20 singles. After the band's first single Wasted Little DJs graced the indie radio waves, it became obvious that they'd go places rather fast.

Kyle Falconer's distinct tone shines through on every View song, blending his Scottish accent with a mixture of Bobby Gillespie and Robert Plant. Overall he's got a great rock 'n' roll voice which makes Superstar Tradesman and Wasted Little DJs far more interesting than they would otherwise have been.

The rest of the record throws up a few suprises. I’d never heard Scots do 2-tone until I’d heard the insanely catchy ‘Wasteland’ and ‘Face for the Radio’ is a witty and beautifully melodic number that recalls Hurricane #1’s brilliant but unappreciated ‘Monday Afternoon.’ But, for the most part, Hats Off To The Buskers is just two or three songs too long and one step off the pace set by Arctic Monkeys last year. The similarities between the two bands are uncanny at times but ultimately The View’s debut album is on the second tier, but demonstrates massive scope for improvement if tracks like ‘Face for the Radio’ and ‘Don’t Tell Me’ are anything to go by.

Kings of Convenience - Riot On An Empty Street

year 2004 review: Riot on an Empty Street ends a long period of inactivity for Kings of Convenience. During their three-year layoff Erlend Øye could be found making solo records and DJing while Eirik Glambek Boe was finishing his psychology degree. Luckily for fans of beautiful vocals and thoughtful indie pop, they decided to get back together. What this band is all about is the sound of Boe and Øye's voices blended together in harmony. Their first album (in both incarnations) erred on the side of consistency. Here the band seems to have learned the all-important lesson of pace and variety. The arrangements are fuller too with pianos, strings, the occasional electric guitar, and lovely guest vocals on two tracks from Broken Social Scene member Leslie Feist. Not to say that they have gone crazy with change. They still stick pretty closely to the acoustic guitars and vocals path, and the tone of the album is autumnal and restrained as before.