- Audio CD (23 Mar 2009)
- Number of Discs: 1
- Label: Dance to the Radio
- ASIN: B001RTYL08
- Other Editions: MP3 Download
- Average Customer Review: 4.7 out of 5 stars See all reviews (3 customer reviews)
- Amazon Bestsellers Rank: 106,563 in Music (See Top 100 in Music)
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Customer Reviews
Most Helpful Customer Reviews
7 of 8 people found the following review helpful
Format:Audio CD
I became interested in 'Grammatics' after discovering that Ex-Colour of fire vocalist, Owen Brinley had started a new band under the aforementioned moniker. After keeping tabs on the band, and the progress that they have made for many months, I was delighted to learn that they were finally releasing their debut album. I was particualrly impressed with the previous outpourings of the band in the guise of such infectious singles as 'The Vague Archive' and 'D.I.L.E.M.M.A'. Particularly 'The Vague Archive' wiith it's reminscence of summer, chased with a gorgeously driven chorus and orchestral breakdown. However that's not to draw attention away from the rest of the album whith it's shimmering gleam of pop/indie/rock melodramatic meanderings, piano lead introductions, give way to sparkling, twinkly guitars, that have a mathy feel to them sometimes bordering on Foals territory. The piano, and orchestral pieces interweaved into many of the tracks found here, create a sublime feeling of mood and darkness, before Owen's beautifully resonant voice, pierces the atmosphere, pulling the listener back to consciousness. Overall all Grammatics succeed, in created a richly textured album which embodies many musical layers, which when taken apart, co-exist to create an album of lush beauty, that transcends the 'colour of fire' blueprint that Brinley previously helped to create, Here with Grammatic Owen sounds more at home, rather than trying to create his own blend of US post-hardcore inspired rock music, he seemes a lot more comfortable producing rock music with string and piano arrangements, his peerless voice reflecting the mood of the instruments so thoroughly on each track, that it works as an addtional mood enhancing instrument itself. This album is an absolutely flawless debut album, Grammatics are a band that are going to be on everyone's lips before the year is out, and for a band that appear to be in their early twenties the grasp and maturity that they have accomplished in evoking in this their debut album, is quite simply staggering. With the corrent PR, and promotional and advertising facilities at their fingertips the remainder of 2009 could quite easily belong to Grammatics. Watch this space with due dilligence.
1 of 2 people found the following review helpful
Format:Audio CD
The great thing about this album is that it brings something new to the table. Yes it is indie/art rock but it is different. The musicmanship between the members is amazing.
All the tracks are interesting.
Shadow Committee: Catchy guitar with interesting drums. This track really show cases the beuty and range of the singer's vioce.Great melodies 8.5/10
D.I.L.E.M.M.A:Begins with good drums similar to that of 'Faols' but more beefy.Once again catchy chorus sang with much emotion 8/10
Murderer: Quite a slow track but it grows on you. 8/10
The Vague Archive: Fantastic track has a great feel to it, with wonderful simple guitar in verses. Once again the song is full of emotions 10/10
Broken Wing: A rather long song but every second is a treat. So much power and energy is in this song, The guitar captures such a raw feeling. The vocals are exceptional. 10/10
Relentless Fours: Similar to 'Broken Wing' but just not as good. A quiet few minutes followed by a powerful explosion of noise. 8/10
Inkjet Lakes:A nice delicate song with lovely accompanying vocals from the chello player 8/10
Polar Swelling: A heart wrenching song with a lyrcis "I can't afford you love." A good song but slightly lacking 7.5/10
Rosa Flood: Another great song a lot quicker then earlier songs. Brilliant guitar which is supported b ytheother instruments well. 10/10
Cruel Tricks Of The Light: Slow but the beuty of the singer's voice keeps it afloat 7.5/10
Swan Song: Perfect ending very powerful, lovely lyrics, the singer really does pour his heart into the songs 9/10
To conclude fantastic singer , lyrics and instruments. Grammatics have made indie good again. To appreciate this album you must listen to it all together. 9/10 great debut on par with Bloc party's 'Silent Alarm'
All the tracks are interesting.
Shadow Committee: Catchy guitar with interesting drums. This track really show cases the beuty and range of the singer's vioce.Great melodies 8.5/10
D.I.L.E.M.M.A:Begins with good drums similar to that of 'Faols' but more beefy.Once again catchy chorus sang with much emotion 8/10
Murderer: Quite a slow track but it grows on you. 8/10
The Vague Archive: Fantastic track has a great feel to it, with wonderful simple guitar in verses. Once again the song is full of emotions 10/10
Broken Wing: A rather long song but every second is a treat. So much power and energy is in this song, The guitar captures such a raw feeling. The vocals are exceptional. 10/10
Relentless Fours: Similar to 'Broken Wing' but just not as good. A quiet few minutes followed by a powerful explosion of noise. 8/10
Inkjet Lakes:A nice delicate song with lovely accompanying vocals from the chello player 8/10
Polar Swelling: A heart wrenching song with a lyrcis "I can't afford you love." A good song but slightly lacking 7.5/10
Rosa Flood: Another great song a lot quicker then earlier songs. Brilliant guitar which is supported b ytheother instruments well. 10/10
Cruel Tricks Of The Light: Slow but the beuty of the singer's voice keeps it afloat 7.5/10
Swan Song: Perfect ending very powerful, lovely lyrics, the singer really does pour his heart into the songs 9/10
To conclude fantastic singer , lyrics and instruments. Grammatics have made indie good again. To appreciate this album you must listen to it all together. 9/10 great debut on par with Bloc party's 'Silent Alarm'
2 of 4 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
On a first listen, Grammatics' eponymous debut comes across like a neutered At The Drive In (Sparta) covering Red Light Company and Foals' back catalogue. This is wholly unsettling comparison so it's with happy heart that repeat listens volunteer hidden depths. What upsets initial spins is the vocal, pitched somewhere between an indie-schmindie mew and The Mars Volta's wail. In places, there is too heavy a reliance placed on this vocal, as it is passable at best. It would have been better to concentrate on the music, which, for the most part, is quite intriguing. `D.I.L.E.M.M.A' starts with math-rock intricacy, `Murderer' proudly hosts a menacing post-punk base line.
Grammatics take these influences and add a dash of punk-funk to create a sound that in parts recalls fellow Leeds band The Sunshine Underground tackling dusty and emotional Puressence anthems. Radiohead comparisons, in particular with OK Computer, seem a little misplaced. Not to tread on any toes, but the credible Duels may be closer to the mark.
There is a certain integrity to the album that gives it substance, a desire to concentrate on credibility rather than the charts - and they manage it, though only just. Without elements such as the album's pleasing strings (`Broken Wing' and elsewhere), the considered electro-arrangements, or the niggling affection for all things Cedric Bixler (`Rosa Flood'), they could have fallen foul of popular attention, which would have undoubtedly taken off their already rounded corners (see `The Vague Archive') and resulted in a collection of blandish, indie pop-rock. They risk being labelled competent but shrug-worthy, also rans if you will, but happily their attention to detail, the grammar to their essay, should lift their collective neck above water and deliver them into the contender category.
Grammatics take these influences and add a dash of punk-funk to create a sound that in parts recalls fellow Leeds band The Sunshine Underground tackling dusty and emotional Puressence anthems. Radiohead comparisons, in particular with OK Computer, seem a little misplaced. Not to tread on any toes, but the credible Duels may be closer to the mark.
There is a certain integrity to the album that gives it substance, a desire to concentrate on credibility rather than the charts - and they manage it, though only just. Without elements such as the album's pleasing strings (`Broken Wing' and elsewhere), the considered electro-arrangements, or the niggling affection for all things Cedric Bixler (`Rosa Flood'), they could have fallen foul of popular attention, which would have undoubtedly taken off their already rounded corners (see `The Vague Archive') and resulted in a collection of blandish, indie pop-rock. They risk being labelled competent but shrug-worthy, also rans if you will, but happily their attention to detail, the grammar to their essay, should lift their collective neck above water and deliver them into the contender category.
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