Track Review: Them & Us- Sleep Talk



Them & Us


Sleep Talk




Sleep Talk is available at:





The E.P. Chapter 1: And So it Begins is available to pre-order at:


11th September, 2015

GENRES: Dance, Pop


London, U.K.


Ami’s Theme/And So it Begins- 9.4

Sleep Talk- 9.5

Happy Ever After- 9.0

Pass on Through- 9.1

Heart Attack- 9.2

Lost Our Heads- 9.0



Ami’s Theme/And So it Begin; Sleep Talk; Pass on Through; Heart Attack


Sleep Talk


Ami Carmine and Lee Michael

BEING may last review for a little while (perhaps) it is fitting….

to go ‘out’ with a bang- with a home-grown act offering stunning and powerful music.  My featured act goes beyond musical expectations: most bands/acts you expect certain things; they fit into a particular mould- not usually superseding surprise and predictability.  When it comes to Them & Us, things are very different- I shall introduce them in due course.  I am compelled to investigate a few points: the first one relates to the music brimming from the capital; the sort of sounds flowing from London.  I have covered this point before- well, smothered it in honey; tied it to a four-poster bed and given it a right going-over- but with each dawning week; comes a new (and enlivening) musician.  Over the past few weeks, I have been treated to Soul-based magic; Pop and Rock fusions; Electro.-Trance offerings- with some terrific Indie and Alternative thrown into the pot.  In the past, I have been attracted to the north of the country; across Yorkshire (and leading into Scotland); those areas have been most fruitful- producing the most diverse and original acts coming out.  It is true; Yorkshire has a rare and fantastic allure: they are promoting Retro.-Swing artists (that make you smile, kick and evocate); arena-made bands (like Allusondrugs); terrific Pop acts and glistening Folk-Pop duos- a cornucopia of bristling and busy sounds.  To my mind, London is taking back the throne: perhaps they are lack Swing/Electro.-Swing artists, yet they make up for it elsewhere: the sheer range and confidence emanating is something to behold.  The London market is a very young one: there are some ‘older’ musicians working the scene; what I am picking-up on is the vibrant youthfulness; the 18-35 market- artists starting out on the scene.  With such a rich and communal music scene, London is housing some serious names to watch- there is so much potential and fantastic music.  In addition to the communal aspect, social media is playing a part: fellow London acts (are supporting one another); they are connecting via Facebook/Twitter; spreading music and gig news- making connections and forming (important) bonds.  From the Soul/Urban-fused sounds of east London- I have unearthed some great talent out of Mile End, Hackney and Bow- to the great bands of North London; the terrific Pop and Indie artists elsewhere (extending anywhere from South Kensington and Chelsea to Greenwich)- there is a wealth of eager talent.  It is not just the range of sounds (that is impressive) but the depth and innovativeness- going beyond the stale and samey sound of the mainstream.  What is most pleasing regarding this trend- and something happening in London music- is the introduction of electronic sounds.  I am a huge advocate and patron of Rock/Alternative bands- they consist my favourite type of music- yet something rather curious is shaping-up- Electronic music is among some of the most feverish and impressive of 2015.  If you like something more introspective and romantic; that with a bit of Pop edge and sound- there are some great Electro.-Pop artists (usually female).  Whether you like your music a bit heavier; taking in Rock elements and club sensations- there are some great Trance and Electro.-Rock hybrids.  If that sounds a bit niche, then there is another option: Electronic-based music that ties in all of that; keeps going and elicits something limitless and all-encompassing.  Whether it is Dance or Trance-based; new artists are finding limitless potential; expanding the emotional (and sonic) pallete- creating something spectacular.  Throwing twisted guitars together with low-down beats; snaking myriad electronic colours- from chocolate-smooth to jittery; pulsating to ‘90s-influenced- it is the most burgeoning and prosperous genre/sub-genre.  It is London that is leading this charge: the capital is spawning the most fierce and intelligent proponents of the craft; together they are leading a noble charge- something underground and secretive; growing yet held-back; sounds that will see the light soon enough.  With the mainstream being somewhat limited and narrow- not showing the same sort of elasticity and variegation as the new musicians- it is time for an upheaval; start beckoning-in the best (new music has to offer).  This brings me, somewhat ineloquently, to my featured act.  Before I go into depth (with regards my featured artist) let me introduce them:

Ami Carmine (Vocalist, Songwriter, Producer) Lee Michael (Songwriter, Producer, Beatbox, Bass)

The duo (themselves) is courtly and approachable; friendly and fan-embracing- having contacted them about reviewing their new music.  The two are skilled and multi-talented musicians; they have been working hard for years- forged a tight relationship; a seamless kinship (that reflects in their music).  Lee Michael is a multi-vocalist/Beatbox pioneer/producer; one of the most talented musicians around.  Bringing an inimitable and multi-emotion take to the music; his chops and skills run riot- across the music of Them & Us- his compositional genius radiate and stun; one of the most agile and nimble talents in the U.K.  Ami Carmine ranks among the most striking singers in the country.  Being a fan of girls with colours in their hair- from Jen Armstrong to ADI- Carmine is an azure-haired songstress; ADI and Armstrong mix shades of pink, blue and purple.  Carmine certainly strikes the eye: one of the most beautiful and jaw-dropping humans in music (not a relevant point; just an observation); her voice startles even more- a tremendous proposition and natural-born performer.  When the two combines, you get the effect of (their combined) arsenal: the galvansied beats and deep dips; the lush-cum-jagged composition pairings- all wrapped around tight and intoxicating performances.  Their music is mind-bend into the heavens; a trip across multiple genres- they tie in Pop and Electro.-Pop together with Dance and Dub-Step.  Having worked with a note-worthy roster of producers- who have, in turn, worked with The Prodigy, Bloc Party and One Republic- and you get a multiplicitious and genre-hopping sound.  The London two-some have a clear affection and understanding; they melt their talents together; whip a spectrum of sound and emotion- conjure something eye-watering and heart-stopping.  Whilst not a new-sensation act- there are other duos out there like them- they go above and beyond the fray- hitting harder and more passionately; lingering (longer) in the memory.  Before I get down to assessing Them & Us (and their past and present music) I am back in ‘duo territory.’  London is turning-in some terrific and varied duos.  From lovers and sweethearts- Gypsyfingers; Greenfield and Conder- to friends (Ivy & Gold), there is something for everyone- it is a genre/formation that is coming into vogue.  Band formation will always be popular- with more bodies and creative minds; it makes writing and recording easier- whereas the solo market is the most full and completive (it is the easiest way to start in music; the simplest way to record music).  Duos have always fascinated me, though.  From mainstream acts like Royal Blood; through to new music like Waiting for Wednesday- such a staggering array of (diverse and different) sounds are coming out.  As close and in-step- as any other duo out there- Them & Us are less love/romance-based; the duo are not in a relationship- they focus on common concerns and the dream-like; the emotions and bigger themes- wrapping it in huge and gravity-defying compositions.  One of the U.K.’s most fast-rising and critic-grabbing two-pieces off the block, this is just the start of things; the guys have produced their E.P. (Chapter 1: And So it Begins) - and preparing to tour the country. When it comes to evaluating the modern moves of Them & Us, it is worth stepping back- and see how they have developed.  Oh My God is (one of their) earliest works: a song that is bracing and layered; compelling and expectation-shifting.  The vocals begin light and tender.  Employing sounds of Hounds of Love- Kate Bush at her finest- you detect undertones of Cloudbusting and Hounds of Love (title track) - that similar voice and sense of projection.  Riding and pushing that vocal is an evocative beat- again, born out of Hounds’- that dives and powers; shakes and jumps.  A hugely uplifting and spiritual sound, our heroine is in the eye of the storm; her voice is echoed and multiplied- adding to that sense of beauty and weight.  The song is wind-swept and dancing; child-like and innocent- with a wounded heart.  The track rises and falls; catches your breath- before that Dub-Step explosion occurs.  Blowing everything else away- expect our heroine’s beauty and conviction- the coda is robotic and city-squashing; blood-baying and zinging- a biting, vibrating attack.  Released a couple of years ago, the song is an emphatic and fully-rounded statement.

Eight months ago, One Day was unveiled- a track that builds from (Oh My God) and sees the duo grow.  There are Folk and Pop unison- in the early exchanges- that sees the heroine sway and dream.  When the beat comes in- and starts to punch and stutter- there are initial Dub-Step elements- it is never heavy-handed or overly-primal; quite restrained and supportive.  Our heroine has her head tied-up; in knots, she seems emotive and lost- that sense of confusion and meaning comes in.  Although treading on familiar scenes- that idea to find safety and get out of a whole- the voice and production raises the song; highlights the urgency and passion- adding head-rush and massive intrigue.  The song’s Dub-Step input puts me in mind of Skrillex and Rudimental; elements of Nero too- a combination of the genre’s masters.  Them & Us show a lot of character and uniqueness; making sure they come off as fresh and distinct, the track has their patented blends and notes: gorgeous, scene-stealing vocals; everyday lyrics and struggles; married to fireworks beats and electronics.  Over the course of two songs, you can see diversity and mobility: they sound different and their own beast; both brimming with confidence and authority- revealing something new with every listen.

Since last year- and the duo’s earliest moments- they have gained new impetus; increased their ambitions and grown (on their early) promise.  The five tracks see a two-piece with fresh zeal and campaign: retaining their early hallmarks, the new tracks sound even more impassioned and colourful- adding plenty of heart and electricity.  If anything, the two have expanded on their sapling moments.  Those cinematic elements- that were hinted-at at times- are now large and proud; more gripping and dramatic, they are right at the fore.  The main impressions are of consistency and identity; the duo has not lost their voice and skin- remaining loyal to their infant offering.  Those stunning vocals remain in-tact; mixing Lana Del Rey and Kate Bush; swimming and graceful- they steal the limelight throughout.  The genre-mix is all there, too: ‘70s Pop fuses with modern-day Electro.; Alternative and Dream-Pop sounds are tied together.  At the core, is that Dub-Step menace: an animal that keeps coming back to feed; never seems to relent- always pushing and pressing away.  Fans of the early work will find much to love; if you are new, I would suggest delving back- and seeing where the duo came from.  One of London’s most innovative and stand-out acts, they always (seamlessly) mix the dangerous with safe; the light and the dark- ensuring each song comes to life with a bang.

Bird song begins Sleep Talk: a calmed and soothing refrain; you are given a sense of relax and scenery- picturing meadows and sun; the landscape and peace.  The song’s video (available via the YouTube link; at the top of the review) is cinematic and grand- eye-catching characters and big sets; something quite epic.  The song (itself) starts off more intimately and tender: after some clattered vocal rush; backed against a tribal and teasing percussive line, our heroine comes to the microphone.  Early words directly reference the (song’s title): she has been sleep-talking and in a daze; with stories “whispered in the dark”- you speculate as to their origins; what the secrets are.  Quite emotive and direct, the vocal resonates with urgency and openness- there is a sense of anxiety and pin underneath everything.  This central idea and point- about talking during sleep- is repeated and pressed; such a determination and desire- as though the words are intended (for a subject or lover); again, you wonder what is being said.  Whether romantic confession or dark-held secrets, there is mystique and obliqueness.  Backing this charge and campaign is that beat: both slight and powerful, it perfectly suits the vocal; ensures it supports and augments in- whilst creating its own weight and momentum.  Ghostly vocals trip in the background- with an electronic and shadowy sound- and add to that element of shiver and night-time confessional.  At night (it is said by our heroine) the fire burns; burning and extinguishing dreams, there is this inner-turmoil and heartache; she cannot find solace and answers- being kept awake by something troubling and deep.  It seems there is history and a past (behind the dreams); maybe a sweetheart is back in mind; perhaps desires are being lost- deeply personal, regardless of the origins.  To my mind, I sensed that need to escape and run; achieve something more meaningful and better- the horror of being stuck in an undesirable life.  Before the song fully enchants and hooks- and as you’d expect from Them & Us- a hardcore and heady beat is dropped.  Chilling and hurricane-force; earthquake-like and missile-deathly; it strikes through the dark, igniting with a burning desire- shaking everything to its core.  Against the turbulent ballistic, our heroine continues her charge- dreams are burning and secrets revealed- and sounds essential and troubled.  Whether referencing a break-up or something less obvious, there is clear emotion and conviction: every word and sentiment is delivered with an upmost degree of immediacy.  The song relies on a sense of simplicity and tradition: the lyrics are designed to be quoted and sung; remain in the mind- make them too complex and the song loses appeal.  At its center is that secret-revelation and trust: whoever is with (our heroine) is being implored; the need to keep that secret- the mystery is never revealed or uncovered.  By ensuring the song has clarity, does not mean it is slight or effete: each time the lyrics are revealed, you get new sensations and nuance- the composition, in turn, unearths little insights and contours.  It is hard not to be gripped (by the insatiable) coda: our heroine is “burning down”; her passion reaches fever-pitch.  Like previous Them & Us compositions there is that projection of armies and flames; burning scenes and spectacularness- Sleep Talk projects a very epic and grand-swelling mood; something evocative and fantasy-based.  It is the mix of the fantastical and realistic that makes the song so gripping and memorable.  Towards the latter stages, there is a key line- “Look at the bridges we’ve burned”- that gets my mind thinking.  I can’t help imagining whether this is a friendship or relationship; it seems the situation is irrevocable- maybe things have gone too far.  Whether there have been too many arguments and fall-outs, you can feel that heat and resignation- like there is no going back.  Repeated and reintroduced; echoed and essential, that thought comes to the precipice- designed to haunt its subject; our heroine’s voice mixes feather-light and empowered.  Once again- and retaining that quiet-loud dynamic- there is another dip (I am loathed to compare anything to a roller-coaster; the song has a definite movement and shape) that brings in a death-rattle beat.  With each new presentation, the song seems to up a gear; you get lost in the electronics and beats- the soundscape projects such a host of images and possibilities.  Whilst your mind starts unveils cinematic sights and something fiery; your heart sticks with the lyrics- wondering how things will resolve; whether our heroine is okay.  Towards the final seconds, the final comes more to the fore; rushing and breathless, our heroine is holding on- against the spectral grasp of the composition.  As the track ends, you are afforded a chance for breath; take things in- and get to the bottom of it.

Sleep Talk- as has been noted in other reviews- does not bring up new subjects.  In a packed and busy music scene, few songs (when it comes to themes) are going to be original.  The public want something they can relate to; songs that mean a lot to them- Sleep Talk will resonate and affect.  The way the words are delivered and teased-in gives the song huge emotive force.  The production is gleaming and polished: not polished-to-death, essentially everything is given room to shine and strike; nothing seems too murky and raw- giving it a vibrancy and energy.  The E.P.’s standout track- although there are plenty of treasures to be discovered- it is a superb number; one that has cross-over appeal and enough force- to draw in new listeners a-plenty.  Carmine shows herself to be one of the (best and most multi-talented) voices on the scene: she can go from emotive and haunted to ecstatic and vibrant.  Bringing so many emotions to the plate, the song goes beyond expectations and the current (Dance/Dub-Step) scene.  The lyrics remain focused and sparse- there are few original words; they are repeated to great effect- whilst showing an air of fragility and vulnerability.  As I stated, these are words that are universal and true: many listeners will feel sympathy and familiarity; that relatable coda will mean it is a natural crowd-pleaser.  Michael ensures the song is given a whirlwind of sonic innovation.  Lurching and head-spinning moments sit with swimming and tranquil electronics; lighter percussion spars with cinematic lust.  The beats and electronics ensure each word and sentiment is given full exposure; brought vividly to life- and lodges in the brain.  Together, the pair sounds completely in-step and seamless: they raise and support one another; have a clear affection and understanding- meaning Sleep Talk sounds tight and compelling throughout.

Chapter 1: And So it Begins is keen to start off with something fascinating and different- Ami’s Theme/And So it Begins certainly draws the listener in.  The opening (first part) is a narrative.  Delivered by a young male voice (both calm and pressing) a tangle of scenes is elicited.  The voice behind the words is actually Lee Michael- a rare chance to hear his voice on the E.P.  In the initial seconds we hear of arrivals and departures; hills scream for mercies- a place where the land is eaten by titanic steps.  You try and take it all in; picture what is being spoken- those epic scenes and slice-of-life images.  Here, there are massive drops and harmonious break-downs.  It seems the armies are coming-together; there is a battle afoot- winter has frozen to the core.  Casting himself as the narrator; maybe a warlord or leader (the young narrator) retaliates into the forest floors; in a strange land where children became heroes.    It is said animal instincts are needed; human touches sought- their voices will be heard in future tapestries.  The commentary is fast and furious; words and scenes tumble and fall; you sense an epic fight unfold- our heroine’s voice is represented; Carmine’s testimony laid-out; introducing the E.P.  As the opening develops- and the song’s second half comes through- we get a vibrant and pulsating Dub-Step beat- that will sound familiar to fans of the duo.  Its intensity shakes the speakers; a storm that is acid rain-laden it is trippy and terrifying; toxic and evocative.  It is the sound of the armies coming-together; the opening lines- the E.P. has a storybook/novelistic approach.  Almost like a book’s first chapter- where a war is unfolding- the swelling and looping coda has rhythm and progression; swagger and teeth- highlighting the song’s ignitions and soul.  Towards the closing moments, the song intersperses dialogue- that was referenced in the opening moments- to stunning effect.  Elongating and echoing; repeating and tense- it adds to that building drama and passion.  As our heroine’s voice swims in the background- the repeated “I just wanna be” seems like the song’s business statement- and sounds intense and intent.  The composition remains hard and accelerated; the beat smashes and leaps- ensuring the song’s (early lyrics and story) is brought to life; given a breath of air and life.  A stunning opener, it is a perfect leading statement- that sets out the E.P.s themes and sound.

Happy Never After starts with gentle and melodious steps.  Tip-toe and gentle; you get an electric buzz- the Dub-Step element comes in hot.    In the opening moments (our heroine sings of) “Sugar-coated dream”; dancing through April showers - living like “we just don’t care”.  There is a sense of optimism and hope early-on; that happiness and hope- our heroine seems filled with potential and life.   With the world her playground; she seems to be addressing the world- rather than just a particular person.  Given what has come before- and ideas of battles and dreams- the song casts outwards; never seeming too insular and personal it is a mandate for the people- a song designed to be chanted and sung.  After that initial optimism- where everything seems possible- the seasons change; things get harder and colder- the summer vibes are replaced by something unpredictable and autumnal.  With the change of mood; the composition reflects this- and becomes supportive and darker, too.  Carmine’s voice never sound mordent and angry; it remains controlled and light- making the words and sentiments more effective and urgent.  Throughout, the lyrics seem pressing and emotional; the world is getting her (Carmine) down- it is just “another Monday morning”.  Maybe a sly reference to Manic Monday (by The Bangles) this is the updated version- that fear of a new week; the end of happier times; harsher, colder times.  The composition never impedes too much: remaining level and equal, it never goes solo- meaning the song is balanced and beautifully realised.  With some subtle notes (electronic piano?) there is off-kilter electronics and jagged beats- adding to that atmosphere of discontent and resignation.  With our heroine bereft, the composition rises and projects- suddenly announcing its first explosion.  Whirling in a centrifuge, the rain pours and drowns; the composition matches the intensity (of the lyrics) - a full whirlwind of song.

After the misery of Monday/winter; Heart Attack begins with build-up and fade-in.    Starting-off with a punchy and gripping sound; it is insistent and dramatic.  Our Heroine does not want to wait; does not want her drug to be taken away- she won’t to kick habit.  A metaphor and idea- that has been used multiple times when explaining love and passion- it will seem familiar to many; maybe a little been-there-seen-it-done-it.  No such fate with Them & Us: the way the ideals are projected is original and stirring; personal and distinct- making it a new and vibrant song.  Our heroine is scintillated and overcome; enraptured (by a lover or feeling) she does not want to relent.  The wavering and ghostly electronics augment that insatiability and delight.  Euphoric and drug-addled, our lead wants every second to count- her sonic hero boosts this feeling with zipping and spine-tingling electronics.  The beat teases and tempts; stifled and opens- covering such a spectrum of emotions.  There is emphasis on the lyrics: that suffocation and pain; the desire and longing- it is (one of the E.P.’s) most emotive and immediate tracks.  The chorus (on this track) is the E.P.’s finest- memorable and indelible, it will be remembered long (after the song has ended).  That sound of Ibiza-Trance-cum-club-sweat radiates and effuses.  In spite of this- and the genres described- there is mainstream appeal and sound; the song is not overpowering or divisive- it can be loved by all; it has a populist edge.  The central mantra is tangible and relatable- being under the spell of an intoxicating love.

Lost Our Heads takes the E.P. down: it has a woozy and druggy composition.  Bringing Chapter 1: And So it Begins, the song snares and tumbles; before concentrating and running (with firepower and punch).  Our heroine has lost our head; she seems lost and confused- a song about making mistakes and not being wise?  There is that lingering sense of threat and danger: the uncertainty and edginess comes out; whether it is a dalliance or meeting, you can feel the anticipation.  Not wanting to be anywhere else (tonight); our lead knows the risks; she does not care a bit.  Maybe it is a sexual encounter; perhaps something quite proclivous- she has been here before.  The composition is a swirl of beats and notes; they tangle and kiss- a sonic representation of the song’s thoughts.  The voice always says high-reaching and emphatic; delicious and urgent- never become overcome and fatigued.  A great way to end the record- and perhaps the last chapter of the first book- it completes proceedings with memorability.  Over the course of events, the duo has covered a wide spectrum- never sounding anything less than essential and divine.

The entire E.P. is defined by the interplay of Carmine and Michael: the beat-master and innovator supplies the sonic elements; the heroine and voice-in-chief provides the lead.  Having performed together for years, there is a naturalness and intuition: they each know (the other’s strengths) and play on this- in turn, ensuring every song is rich and vibrant.  The production values are terrific and atmospheric: each note and track comes to life; the vocal (and composition) is not buried or toned-down; everything is given a crisp and rich platform.  Sounding both urgent and passionate, the duo hit their peak here: never have they sounded so up-for-it and dramatic.  With Carmine and Michael providing true-to-life lyrics- that we can all understand; have a personal aspect to them to- you get a writer with a unique and intelligent voice.  Evocative and scenic, the words are quotable and memorable; they are always tight and focused.  That voice (from Carmine), too, has such a huge grasp: covering a wide range of emotions- from sugar-sweet and honeyed to snarling and operatic- it (is the E.P.’s) central pivot; the axis (by which everything else rotates)- a startling thing.  Not just confined to Dub-Step confines, there is a fluidity and endless mobility.  Sounding instant and confident; without any nerves or false moments; Chapter 1: And So it Begins is a terrific achievement: few other duos have created something so deep and nuanced (this early in their career).  The soundtrack for the broken-hearted and hopeful; those that want better things in life- and do not want a single boring day- it is a kaleidoscopic and dare-devil record; one that never sits still- keeps coming at you!  Consistent, challenging; universal, dramatic and tender- the E.P. has it all.

Given the E.P.’s title; the duo has more plans and ambition- this is just the start of things.  Being their first chapter, it is the early days; the sapling steps- all the signs are incredibly positive.  The five-track collection packs punch and panache; tenderness and underlying sensitivity; themes that look at dreams and personal pains- which the listeners can relate to.  Amidst the common themes and tangible motifs, there is a lot of personal insight; the lyrics are very much Them & Us’- an insight into their creative mind and personal struggles.  What compels me about the act is the truth behind the songs.  Through the E.P. there is some torment and pain- from sleep-deprived moments to dream recollections; broken hearts to personal splits- and you wonder how much is fictionlised.  Our duo (Carmine especially) projects with such conviction and emotion; pure force and purity- every word seems raw and honest.  If that is true- and the songs all emanate from personal events- it is both impressive and saddening.  All acts have their share of woes and discontent; the way they present them is paramount.  Them & Us project such a weight and rush, you do not get bogged-down- the abiding mood is one of hope and potential.  Carmine and Michael bring two very distinct (and equally potent) voices to the fold.  Our heroine is a sensual-cum-evocative voice- with her beguiling beauty- with a huge range and nuance; vibes of U.S. Dream-Pop with U.K. Dance music, you get suggestions of multiple eras- flairs of the ‘90s; undertones of the ‘00s; plenty of modern-day lustre. Michael has darker and more urgent tones- and has often been compared with Nero- that juxtaposes nicely; seamlessly blends when needed.  The duo has a huge understanding (of one another): their vocals do not encroach or compete; they have a natural affection; both performers motivate and compel the other.  Few other acts combine Urban explosions- sounds of Grime and the streets; the clatter of the concerted jungle- with something cinematic and accomplished- compositions and moments that swell and sway; project and defy.  Nestled in-between are Pop melodies and Rock undertones; Dub-Step juggernauts and theatrical beauty.  On that note, the London duo has a live reputation: their shows parabond entrancing visuals and phenomenal production values- creating a hugely immersive and unforgettable live experience.  Throughout November, Them & Us embark on U.K. dates: taking in the likes of Manchester, Bristol and Sheffield, they are taking in some great venues.  It will be a change to showcase their new music; the E.P. will get a first-hand reaction- the initial buzz is effusive and excitable.  I can add my praise to the list; the dup have an exciting future ahead; I am sure more E.P.s will be in-the-works- what we have now is stunningly realised and dramatic; theatrical and brave- with plenty of personal insight.  What great music does- and not many do in the current climate- is to relate to the listener; speak to them and their lives.  Themes like love, isolation and dreams are common themes- and have been interpreted in thousands of ways- yet it is how to differentiate your version (that makes that impression).  Them & Us have created (in their E.P. and single) something crowd-uniting and sky-scarping; music that hits all the emotional centres- and sound utterly addictive and memorable.  I am left to come back to my opening subjects: London music; duo and Electronic music.  It is clear something great is occurring in London: the city is a fast-rising hotbed for our best talent; where there is more diversity and ambition (than anywhere else, I would argue).  Maybe it is a sign of things to come; perhaps it has always been this way- the 2014/’15 wave of new music (is among the most stunning) I have ever heard.  As I stated before, it is the innovation and uniqueness that compels me: from genre-splicing and cross-pollination through to Indie anthems; terrific young Rock bands and Soul-Pop girl bands- the U.K.’s music epicenter is being cemented and defined.  Them & Us are clearly enticed by the city; vibing from its music and community- inspired by what is unfolding and taking shape.  A lot of duos have a very familiar sound; perhaps come across a little un-emotive and slight- even if that is not their intention.  Carmine and Michael inject each track with energy-rush and mysticism; theatrical grandeur and hard-hitting street-beat- a delirious and comforting blend.  At the heart of matters- and the core of their explosive sound- is that combination of fierce and restrained.  For every fast-rushing and domineering Dub-Step moment, there is something more refined and emotionally-driven- the way these are connected and defined is tremendous.  If you have not heard of Them & Us; may balk at (the sound of their) sound-blend and biography- shake-off preconceptions and dive right in.  I am not a huge fan of Dub-Step; have little time for (most of the) modern Club genre- the London duo go above and beyond expectations.  The two-piece never needlessly overwhelm or try to fit-in (to a market-man demand or niche); they make music that makes them happy- in turn, that which seduces the listener.  Chapter 1: And So it Begins may be the start; it sure-as-Hell isn’t the end.  The duo has a sound that could extend to an L.P.; a wealth of ideas and potential- I am sure 2016 will see new music and records.   Sleep Talk is their stand-out track and current single: a song that defines their objectives and colours (in a single moment).  If you are seeking a song to take you away; nestle inside the brain; transcend your mood- then this is the song I’d recommend.  Make sure you do not overlook (this young) London duo; an incredible music force.  When it comes to cinematic grasp, emotional resonance; stunning evocation and intense passion…

FEW acts will come close.




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