Webcuts Music

Folk bands are slowly going the way of the emo bands — cookie-cutter, predictable, uninspired, and inevitably becoming a parody of themselves because music is a business and the market dictates that consumers will always want more of what’s popular. The Beggar Folk fall nicely into the afore-mentioned folk music genre, however their music doesn’t seem to follow suit with the folk status quo. These are ballads and hymns, carved from trees and molded from soil. This music demands your attention and effortlessly passes any authenticity tests. It conjures up what real Americana and country music should conjure.

Could it be true that the end of a beloved and highly regarded band came down to a simple “a funny thing happened while putting together our career retrospective”? It’s something of a prerequisite to contribute to Webcuts that you have at one time been an R.E.M. fan. Actually that's not true, we'll take anybody, but it is no small coincidence that many people who's taste in music we respect happen to be so. When putting together this tribute, the Webcuts collective decided to take a look at each of their 15 albums and select a track that for us, showed why R.E.M. were one of the last truly great rock n’ roll bands of the 20th Century.

“Walk Unafraid” (1998) The retirement of drummer Bill Berry caused something of a mid-life crisis. Having always been a democracy, R.E.M. didn’t know how to proceed without one of the founding members. Up is, as a result, a timid, nervous album, rife with attempts at new sonic directions. “Walk Unafraid” is unabashedly tender, a messy [...]

“You Are The Everything” (1988) As much as Document was a major turning point in the public view of the band, Green embodied their own increasing personal and political views. “Wake up, stand up, believe in yourself” seemed to the mantra of the hour. Sandwiched between two prime examples of this, “Get Up” and “Stand”, [...]

When it comes to the mythical it-factor, New York’s The Rassle by their own admission are “just rock and roll”. They understand that thousands of people have been there, done that. They’re here to enjoy whatever the moment is right now, and it feels pretty damn great. Listen to The Rassle’s first single, “Wild Ones” and you’ll hear what they’re talking about. It’s a sound that’s been done before. A little synthy, a little danceable. But by the time that kick drum chorus comes bellowing forward, it doesn’t matter. You’re bobbing your head like this is the first time you’ve heard indie rock before. It’s fantastic.

With their debut album If It Carries On Like This We’re Moving to Morecombe, London post-rock quartet The Fierce & The Dead left an indelible impression at Webcuts HQ. It was an album that defied categorisation and challenged perceptions of the post-rock genre, not only from the exceptionally long-winded and unselfconscious title, but in the way it fused elements of post-rock with hardcore, ambient soundscapes and jazz/funk experimentation. It was as if The Fierce & The Dead wanted to sound like all bands, and none, which intrigued us enough to want to find out more.

It’s ok for you to think “who? never heard of ‘em”. Honestly, you’d have to be aged 35+, Australian, and a regular listener of Triple J or Triple R. Maybe you watched Neighbours. In the finicky annals of Australian music history, and with no disrespect to Helvelln, they barely warrant a mention. To briefly summarise, Helvelln were an inspired pop/rock 3-piece formed in Melbourne in the late 80′s, released two singles and one album and then broke up in the early 90′s. Google them and you’ll get pictures of mountains. Impressive and rocky, but hardly rock n’ roll.

Part 2 of our Secret History of Australian Music retrospective on Helvelln and interview with guitarist/vocalist and songwriter Jeremy Gronow. For part 1 and a more considered introduction, go here. Bedroom critic that I am, I’d be amiss not to suggest that only thing that lets Side 1 down is the lugubrious “Temptation”. If I [...]

You have to question the motives behind a band who put a picture of two gurning band members on the front cover of their debut 7″, or when asking the record company for a promo photo being offered ‘the one where they’re all dressed up in drag’, or ‘the one where they’re chewing grass’ (we passed on both). Sheffield’s Seize The Chair have the air of a band who clearly and delightfully just don’t give a fuck. In fact they probably just want to make music and have a laugh. Which, if you’ve seen that record sleeve, you’ll be laughing too.

For the last three years the Too Pure Singles Club has been releasing monthly 7″ singles to subscribers featuring a selection of rising UK and international alternative acts, many of whom are unknown outside their own country (their own town even). The appeal of a singles club is more than just a piece of vinyl every month by a band you’re unlikely to have ever heard of. Actually, that is the appeal. Hit or miss as they can be, you never know which one of these limited run singles will turn out to be your next favourite band.