Goodbye, 2014: Hoping for a better new year

Goodbye, 2014:

 

 

Hoping for a better new year.

 

 

THIS past year has been a pretty dreadful one- even by my standards.  After suffering a car crash six weeks, I find myself in pretty bad financial state.  It looks as though I will not see any money come by way (from the other party)- having had to pay over a grand of my own money, the punishment keeps coming.  After having to schedule a medical appointment (in relation to the accident), I will be charged a ‘cancellation fees’- which will put me into debt.   One single and stupid event has cost my so much- not just financially, but emotionally (and physiologically).  This year has also seen my lose a very dear (online friend)- over something very stupid and baffling.  I have had one of my worst years of depression- helped in so small part because of recent events.  Being in a job (that is causing a lot of stress and dissatisfaction), I find myself looking to 2015 with a sense of… skepticism.

Aside from getting a lot of support (from my family), music- and my music-producing peeps- have given me the most fulfillment- and satisfaction.  I am not sad to see the back of 2014, as it has been a pretty disappointing year.  On the plus side, I am determined to change everything in 2015- and I mean, EVERYTHING.  I have not put any of my music to tape; not collaborated with any musicians- that will change.  I have a ‘wish list’ (of people I want to work with); a song (a very big one) I want to get produced- and of course, get a band together.  It is time to stop thinking so much about other people- if recent unfortunate occurrences have shown me anything, you get screwed over.  It doesn’t matter how much you give and give- someone will take that spirit clean out of you.  Sitting with a pile of stress and (a severe lack of money), it is time to burn the remnants of this year- start fresh and learn from it.  I am going to focus more on myself- whilst continuing to give to others.

When all the debts, costs and sacrifices are tabulated- it is time to start doing things differently.  I am determined to stop working just for the hell of earning a wage- do things I actually WANT to do with life.  Get music made; get ambitions realised- start focusing on better things.  I hope to move to London (or closer to it); see some of my online friends- head to Yorkshire for a start.  I am not one for making ‘resolutions’ (when we approach a new year) as they are cliché and insincere.   It would be nice (if 2015) gave me the following (and helped me achieve…)

Record at least one song

Form a band

Visit as many online friends as possible

Move to my own place

Stop being single- it gets annoying after a while

Stop putting everyone else before myself

Complete four new half-marathons (for charity)- in addition to fundraise

Get my charity endeavours and projects launched to a wider audience

Manage my depression and try to keep it under control

Be braver and less reserved- being bold can lead to some good things

Punish those who punish me- not letting people and things screw me over

Promote new music and help my music friends- as much as I can

Try and get my Psychoacoustics business ideas started

And…

Well, you get the idea.  I am more than fed up with losing out; getting knocked down and kicked.  It sounds like I am on a total downer- this year has seen a lot of good.  I am so glad that many of my music friends have managed to achieve success- so many of them have made some big strides.  Seeing other people succeed (and do so well) has given me a lot of pleasure- I hope that 2015 is huge for them!  If I can achieve a few of my ‘goals’ it will be a massive achievement- I feel this year has consisted of setbacks and day-to-day grind.  Whether- realising my goals- involves poverty and illness, I will make it happen.  Positivity and (focusing on me) is the way forward- it does not mean abandoning others.  I think getting the balance right; taking risks and being bold- THAT is the smartest thing to do.  Karma and equality do not exist- they are mythical concepts expounded by people that want the universe to ‘level the score’.  Life doesn’t work like that- reality exists; the universe plays no physical hand in anything.  I have accepted I will experience misfortune and sadness- although hopefully less than this year.  The only way to obtain satisfaction and self-fulfillment is to take gambles; go out and get it- not expect others (who should give back and appreciate their lot) to do the right things.  It may not go exactly ‘according to plan’; there may be some roadblocks and delays- but the ambition is there.  Being stuck in a rut is sucky; losing so much is horrendous- why would you not want to change that (whatever it takes)?  I hope that others (and those reading) have their eyes trained to the next year (and aiming for bigger things).  If you have had a bad year- make a list and set yourself targets; look ahead and make 2015 so much better (than this year).  If you have had a good year, then keep the momentum going- and get stronger and more assured.  I am looking forward to focusing more on music; following dreams- and stop living a boring, buttoned-down and frustratingly (pointless office life).  To hell with 2014- let’s start to plan for an exciting new year.  This time next year, I will post another blog- I hope to post lots of great news.  It is ambitious stuff, but I have always been that way- it is so much better than being boring and ‘realistic’.  As I make plans; try not to let financial woes dictate things- it is a good time for others to reflect.  I know that next year will be a much better one; a more productive one…

A more musical one.

Psychoacoustics: A One-Stop Music Venture

Psychoacoustics:

 

A One-Stop Music Venture

 

______________________________________________________

With social media stagnating; the music industry showcasing fewer surprises- perhaps a time for change (is required).  Short of looking for a big money opportunity; Psychoacoustics is a way to bring musicians together- and ensure a community for all

 ____________________________________________________________

OVER the past few months, I have been neglecting music reviewing: seeing it as a bit of a dead-end junction.  It was great to begin with- I felt I helped a lot of artists- but after a while, the whole thing became unsatisfying and stagnated.  My own music ambitions have come to the forefront, and I find myself becoming more forward-thinking and far-reaching- aiming high and (formulating some) rather big ideas.  Music-making and writing is my biggest passion; singing my all-consuming obsession.  I am looking to recruit a band that is less all-male- more Fleetwood Mac (with a couple of girls; a few boys to create a more diverse and richer sound).  I have my ideal band in mind; the songs practically written- the seduction will be forthcoming.  One of the things I find- when looking for band members; writing songs; trying to make things happen- is how hard it can be (to achieve rather simplistic goals).  In the last few weeks, I have been engaging more in charitable endeavours; donating time and energy to some worthy causes- something that will augment and multiply in the lead-in to Christmas.  One thing that is frustrating is how hard it is to coalesce (music, charity and recruiting) together; make life a lot easier- get people involved.

When trying to get people involved in charitable avenues; getting funds and awareness raised- it seemed like an uphill struggle.  I know there are some good and loyal people out there- those that are always keen to help out and do their bit.  The trouble is; it is near-impossible to engage and motivate large sectors of the online community.  Music is something that compels and seduces nearly everyone: that force of nature that is universal and free for all.  In addition to formulating my own music; I have been thinking of a way to get everyone together- tying various threads into one idea.  As Virgin do; the idea is to have an organization with several strands- but not doing everything for profit and money alone.  I have no interest in being a millionaire and wealthy- it is not something that interests me in the slightest.  The aim of Psychoacoustics is to have a name that promotes music alone- yet has a business mind; an ambitious and multipart logic.  Whereas music-making takes a bit of money; a bit of input- a business venture (like this) takes a tonne of each.  It may be an uphill struggle, yet I am passionate about making it a reality.  Below are the various ‘sides’ to the business- what Psychoacoustics will consist.  Most of you are probably aware of a few of these (in other blog posts), but here they all are in one place- how considerate, huh?

THE CHARITY:

The final tentacle of my five limbed squid is a charity: a benevolence that helps to prosper musicians, and non-musicians alike.  Let me elaborate.  There are a few charities around which aim to provide funds to the new musician- not many mind.  The idea is to filter and tribute the profits and finances gained from the other arms of the business, and funnel it into the charity.  Of course it will not receive ALL of the profits: there is staff, expenses and other costs that need to be dealt with, yet will (hopefully) benefit from a sizeable chunk of revenue.  The charity will aim to provide funding to new musicians: those struggling, as well as those finding it hard to fund their projects.  In addition, finance will be assigned to worth music-related projects: invigorating struggling venues; providing support to record labels as well as independent record shops and larger chains alike.  Aside from music digressions, it will have an intention to provide support to a multitude of other charities.  The idea is that an assigned percentage of donations will go to charities, such as cancer charities, those whom support the elderly etc.; yet will also aim to benefit many others.  I would hope that the charity could entice established as well as new musicians to act as ambassadors and supporters: who would help to raise funds for the charity- as well as raise awareness for worthy causes.

All of us have experiences tragedy of life: either first hand or indirectly.  Whether a relative has died of cancer, or a local business has faced ruination; there are many things and events that can shape a human being for the worst.  Of course we have established charities and great causes, yet few that are music-based.  It is hoped that not only Psychoacoustics’ profit-share benefit a multitude of charities and ventures; but it would inspire multinational companies, organisations and huge bands to kick in some funds; help raise revenue and assist in rejuvenating people, causes and lives.  There is a lot of focus based around self-involvement and self-enrichment; yet small mind is paid towards those less fortunate.  This would be a way of helping to raise money, yet also be involved with music and musicians.  The idea is that the charity would have a website and you could pledge an amount.  Like the Psychoacoustics website, one could download and access music- at a cost; the idea being that as well as purchasing a track or album a small amount would go to the charity- thus benefiting the associated musician as well as others.  Gigs would be organised and events (runs, bake sales etc.) would be hosted; with the intention of encouraging as many different people- from all around the world- to donate their time and effort to symphonise a more stable future.  Who could object?

THE RECORD LABEL:

Named Psychoacoustic Records, I am determined to create a small record label that will give a warm home to some great talent.  In my previous role as music reviewer, Scottish band Universal Thee was one of my favourite ‘subjects’ (see them at https://www.facebook.com/universalthee).  I have been communicating with their lovely members James and Lisa Russell for a while now; having been bowled over by their brilliant and original sounds.  Between the three of us (as well as the band as a whole) we summated that there is a lot of great talent that emanated further north- Scotland especially.  Most of the musical money; including the big labels etc. are based in and around London.  I have been blown away by the sheer quality from bands such as Universal Thee- a stunning band that is starting to get the attention they deserve!  In addition wonderful bands like Issimo (fronted by the phenomenal lead Abi Uttley, and multi-talented wonder Marc Otway), as well as talent such as Nightwolf, Katsuo, Lisa Marini, Steve Heron and Jade Barnett have been featured amongst the pages of my blog.  I have mentioned these illustrious musicians as they are the epitome of the modern-day idols: those nauseated by the cheap X Factor fakery and noxious fame; talents whom let their voices do the speaking and are deserving of a huge audience.  They are all going to be huge one day very soon, and it is artists such as these I am trying to recruit.

Of course there are hundreds of small record labels- some fail; some succeed- that are trying to do the same as me.  I want to set up a label not restricted to the U.K.  As much as I want to entice the likes of Issimo, Universal Thee, Steve Heron etc. to the books of P.R.; I want to look farther afield: to the U.S., Australia, Europe and Africa- aiming to help those who have a stunning talent, and need a record label to help them out.  I have been speaking with, and reviewing for, Phil Cass’ brainchild, Cuckoo Records: http://www.cuckoorecords.com/.  With the help of a couple of his friends and music colleagues, he has raised and built up a brilliant Yorkshire-based music label.  They have some stunning talent on their books- including Cisse Regwick, Annie Drury and Raglans- giving a voice to some superb northern (and Irish) talent.  There are precious few southern/London-based labels that share the ethos of Cuckoo': encourage a wide range of genres and talents; with the intention of sharing their brilliant sounds to a wide audience.

In conjunction with the studio (below), the label would initially attempt to attract a dozen or so local artists.  The long-term aim is to tie and bind international and local acts under one roof: to provide assistance (both financial and creative) to the patrons and participants.  Not only that, but provide opportunities for the acts to work with each other and generate publicity and gigs for each other too.  It is hoped that I can find premises either in Surrey or London- but I will mention that more later.  There are a lot of merits one can assign to and ascribe, with regards to the big labels.  They provide a home for some superb artists, yet I feel that too many have limited quality control.  I don’t want an X Factor/The Voice parasite in the team; no generic and faceless U.S. act: just concise and staggering bands and artists.  Bigger labels such as Rough Trade are the exception that proves the rule; as it seems that there are few smaller labels that have their voices heard.  I hope those labels can kick the dust aside and break through.  I want to assist them, and work alongside them.  I have an idea for a band of course, and it seems logical to parabond the twin desires of music-writing and talent-hunting.  I have an idea for a logo; I have some names I want to approach; and have a location in mind- who wants in?

THE WESBITE:

Idea of the site:

There are quite a few music websites at the moment, between the iPhone, Facebook and the Internet. Most of them offer roughly the same things- music sharing, free downloads, and Internet radio access. There are a lot offering the same things, and quite a lot of things are not being considered. The idea of Psychoacoustics, is to pull all the existing qualities of these sites, together, as well as offering new features, and great networking opportunities- for free. The plan is to top Spotify, iTunes and the biggest sites, by offering what they do, plus much more besides. Specific areas and pages on the site will be named after musical figure, albums and events. For instance, a lyrics section will feature Bob Dylan’s name and be themed around here. It is sort of like a music Disneyworld- different zones and characters. This makes it more interactive and interesting than most music sites and is engaging.

Interface:

By accessing www.psychoacoustics.info, (website currently under planning/construction), you will be able to access the site. From there, there will be a home page. On the home page is a main design. It is an animation of a studio, called Psychoacoustics. It is designed like Abbey Road, and there is constant movement on the page. There will be a bank of about 200 different musicians, who will walk into the page and interact with each other; leave and enter the studio, and keep the user amused. The icons as well as the animation will be colourful and interesting and better designed than most of the music websites out there. The icons and options displayed on the homepage are as follows:

Chat:

There is a chat/Skype option where you can interact with any of your contacts or friends. This can be done via a Facebook-style message service, or Skype. When you add contacts- like Facebook or Twitter- you can chat with any of them at any given time.

Mail:

Your personal inbox; you can mail your contacts, as well as any musician or venue.

Search Engine:

This is a bespoke, specialist search engine. It is similar to Google but responds to questions and searches effectively, returning only relevant websites. It also can record via and audio, so if you were searching for a song title or name of song, it would be able to locate it. The search engine is able to answer specific music questions and ties together information and resources from Yahoo, Google and Bing.

Updates/Events:

This is a diary of important music events and updates specific to the user.

Music Player:

You will be able to create a playlist or jukebox of up to 2,000 songs.

Personal Profile:

You can create your own avatar, and enter all of your information. It is similar to Facebook, but more detailed, and upload photos, videos, and designs. I will go into more detail later, but on your personal profile, is all of your information, favourites, and links. The profile works like Twitter and Facebook but more in depth with fewer faults. I have described the social side of things in a previous mail.

  1. Studio and Rehearsals:

This is an animated studio and rehearsal rooms (about 3 studios with control rooms and one rehearsal space). Unlike sites where there are a list of features, you access the features via icons; so for instance you would click on a T.V. or a guitar to access the relevant feature. The tab on the interface is red, and will consist of different shades of red. The specific names and designs for each feature are to be decided, but are as follows:

Music video:

Here you can pitch ideas for music videos to bands, acts and labels. You can protect your idea and sell it for money or use it to gain points and exchange for a reward in the future. There is also a music video store, where you can access any video from any song, and search by genre, artist or time period. Also, there is a software where you can put ideas into and create videos through animation, film or various other techniques and apply them to your own songs.

Album cover:

Here you can view any album cover, and search for it like the music videos. The features here allow you to design covers using animation, photography or a photography edit where you can mix and edit images and merge together to create incredible designs. From here you can publish them or share, or pitch ideas to bands looking for ideas.

Photography:

This is like Instagram where you can upload photos or designs and edit them, using hundreds of options. Here too you can search for photographers and view images, websites and famous images from music history.

Music video player:

This utilises YouTube where you can view music videos for free and have a favourites list, or share the video to social media.

Song dissect/mix:

On this page, you can take any song- from rock to classical and dissect it. You can see what notes are played, and what instruments are played. This helps when writing songs and can learn easily about music. Also you can take sections of various songs and mix them together, and edit the sounds to create new songs.

Entrepreneur:

Here there are guides, links and ways to set up your own record label, festival, or music magazine. You can interact with others online, and get funding in order to set up your own business, and then network on site to attract users and business. Also you can invent new music ideas and instruments; design them on this page and pitch them.

Broadcast:

There is a software where you can design and broadcast your own podcast and radio station. Broadcast over the site or YouTube, play your own songs and broadcasts and get fans and followers as well.

License:

On here you can sell songs to T.V. and film companies and productions.

Band sites:

I will explain more on the registration but when bands and artists sign up they can create their own website and include a wealth of information, and make it easy to promote and get fans.

Sounds:

This is a sound library with thousands of sounds, effects and mixing options.

D.J:

If you are a D.J., here you can mix tracks, scratch and broadcast your own set, via the site and promote your gigs.

Home Studio:

This is a software where you can record vocals, instruments and effects and then send your songs to fans or broadcast the tracks online. There is also software for tuning instruments as well.

Recording and Production:

This allows you to record songs professionally and easily, and provides every technology a modern studio would. You can record vocals and instruments, mix and layer them, and create a professional sounding track. From there you produce the tracks, and broadcast them, and burn them onto C.D. It also allows for album covers to be printed and gives links to sites where you can buy C..D. case and additional software.

Rehearsal and Live Room:

These are simulations of studio spaces where you can play live or rehearse. Via Skype you can jam with the rest of your band or solo and be seen by contacts and have your performance saved and shared. There are options for recording. There are guitar, drum, piano, vocal and orchestra options where you can simulate any guitar or piano etc. and get the most realistic sound possible. Unlike software where it is flattering, here you have to know how to play. Like Wii it reacts to touch and you can simulate yourself playing, as if it were real. From there you can either mess around or record the sounds, or join with others or your band members, and jam together. You can tune the instruments and it is as good as the actual instruments. You can do the same with vocals and record as many tracks as you like, and access different mics, and effects. It is able to work with recording so you can record full songs and albums using this. it is not to replace real life but more act as an easy way to share and record demos for when you are in the studio.

  1. Bar and Venue:

The venue is downstairs of the studio and the bar upstairs. It is animated like the rest of the site and acts as a portal for socialising and broadcasting. The tab for this is green and appears with different shades of green on the interface.

Radio player:

You can access tens of thousands of digital stations from around the world and stream them live, as well as access archive broadcasts and songs.

Links:

There are links to all music magazines and publications, as well as music websites as well.

Donate:

Like PledgeMusic where you can donate to get album made, and respond to pitches. Artists can offer rewards or treats, and get a % of funds raised. Can network and swap and record vocals or write as well.

Share:

Due to revenue coming from advertisers and labels, the site can pay royalties to artists whose songs are downloaded, and means that songs can be downloaded free, but artists get paid.

Food and Drink:

Links to music venues, as well as music bars and cafes, anywhere in the world, and you can get alerts of any local to you as well as any events that are happening, and share them on the site.

Leagues and Competitions:

There are various leagues for new bands and directors etc. that are updated and points given to the winners. These charts reflect download amounts, most hits as well as popularity too and there are leagues and competitions for new and unsigned bands.

Music Fantasy League:

This is like football fantasy, but you choose a 5-piece band. You have to choose at least one drummer, and one singer, and can choose from any musician from history. You also select 2 songwriters as well and an album and song. There are various points awarded to each depending on how many times they have been downloaded and mentioned, and there is an overall league that updates each week.

Read and Write:

You can publish blogs and reviews of bands and gigs, and albums and publish them and share them, as well as gig reviews and album reviews.

Social:

There is a dating website and connection site for musicians, as well as connect and promote music charities. There are event postings and updates for your local area as well as internationally. You can also tie all of your contacts and friends in from other social sites into this one.

Connected:

Once you have created a profile you can search for potential band members or venues. When bands or acts register, like a dating website you answer various questions such as favourite music, bands and albums. If you are looking for someone you can either type in a search and the site matches people for you, or you can click on a map. From here you can click on any country or city and search for any member located in that area and contact them. There are sections where you can connect bands and venues, labels to acts and band members and bands together. If you make a successful match, you gain points that can be exchanged.

Actors:

This links actors to bands looking for people for music videos, and also can join actors together, who can share links and tips with regards to music, and best contacts and agents.

Contacts:

I have explained all of the social side, but the site works more like Twitter where you can ‘add’ any band or musical act, and follow their progress and updates. There is a LinkedIn style site too where you can connect with employers or contacts and build up a network of fans and followers which gives you greater opportunities.

Live:

You can broadcast live shows and gigs and stream concerts here and share them.

  1. Living Room:

This tab will appear shades of yellow. The living room will consist of a sofa, chairs, jukebox and notice board as well.

Music download:

Like Spotify, you can download any track for free, and either play them, or create your own playlists and sections. You can compile songs into albums and burn a C.D., or you can share songs via your phone or social websites. There are also links to Spotify and iTunes, as well as music apps too.

Promotion and Distribute:

You can listen to recommended music depending on your mood or find any new music depending on your tastes. You can then share them via social media, or you can promote new bands and artists, and share acts with promoters and venues, as well as labels. It works like ReverbNation but more in depth, and gives tools to find new music, as well as share and get your own voice heard easily.

Jukebox:

You can have a playlist of up to 2,000 songs, and play them, whenever you like.

Reference Library:

You can view information about every band, artist or album released. It is like Wikepidia where you can find out anything about music, and gives info about bands, videos, links and merchandise; which allows you access to new music, old music you may have forgotten about, and can access any information whenever you want.

Music Trends/Stats:

There are tables and graphs that show music trends, sales figures and stats relevant to you, that are updated daily.

Charts:

These are all of the charts from home and abroad, updated weekly, with links to all of the songs featured.

Search engine and lyric finder:

The search engine is also available here, but is a lyric finder, where you can type words or lyrics and it finds the song. Also you can input audio or video if you are unsure of the song or artists, and it will find out for you.

Pitch Zone:

If you have spare lyrics or ideas, you can pitch them and trade them with artists. You can earn points for anything that is bought from you, and you can pitch and find ideas for songs. Also you can pitch music, so if you have no lyrics you can match them, and also collaborate with people on site and join your music and lyrics together. From there you can create songs together and share them.

Music Notation and languages:

There is a software where you can learn music and translate your music into musical notes, so that it makes it easier to write music. There is a link to a language site where you can learn any one of 30 different languages for free. This makes it easier to communicate with international contacts as well as write and sing in a different language.

  1. Bedroom and Kitchen:

This tab appears as different purple and the bedroom has a bed, wardrobe and table, T.V. etc.; the kitchen is a smaller room connected to the room.

Updates:

You can access all of your updates, information and messages here- as well as directly from your personal profile.

T.V. zone:

This allows access to dozens of music T.V. channels as well as archived videos and shows as well, and relevant T.V. shows and performances.

Links:

There are links to music teachers, studios, websites and bars and venues; everything anyone could want.

Creative Zone:

You can chat with anyone; share ideas, stories, gig reviews as well as photography and videos etc.

  1. “Acoustic Vinyl”:

This is a specially designed shopping site. The animation is designed like a large Rough Trade store and the tab will be a specially designed one.

Music:

Search by genre, period or artists and find music from them to buy. It pulls together Amazon, iTunes and all music websites so you can compare prices for the album and gives you the most choice you can imagine.

DVDs and Merchandise:

You can search for DVDs and merchandise from any band. This gives you links to shopping sites as well as band sites, so again you can find the best deal.

Others:

You can purchase band and festival tickets, music books, apps and instruments. You can also purchase gift cards too.

Stores:

There are links to shopping websites as well as info for independent stores, with website and address details.

  1. Join/Log-In:

This tab is in shades of black and grey.

Registration:

Different registrations. For casual user, browsing, solo, band, promoter, venue, label and other. They ask for different details and different lengths but all very simple and easy.

Log-in:

It allows a simple log in and a feature where you can log in to all of your music and social accounts at the same time.

  1. About Us:

This tab is going to be detailed in shades of orange.

Studio history:

There is information- fake of course- of how it was set up in East London in 1969, and the story behind it. There is a ‘mock’ Vevo-style video and video history of the studio and founders. It is comical and is also like a guided tour.

About the site:

This is a serious description of what the site aims to do and how it will evolve.

Press and links:

This displays any links to relevant sites and partners, as well as software sites so you can create your own music website.

  1. Music Player:

This tab will be in shades of blue. This ties together all of available and your downloaded music so you can play it on-going and create smaller playlists.

  1. Advertise With Us:

This tab is in shades of pink.

Adverts:

This is a separate page where all adverts from sites, and venues can be displayed. This means it doesn’t interfere with your profile or browsing but can access it any time from this site. Advertisers and sites pay to be published on the site. There are contact numbers and an online form if you want to advertise or subscribe.

  1. Contacts/Links:

This tab is in shades of whites and grey.

Contacts:

This details all e mail and phone contacts for every department.

Enquiries:

Up to 6 different contact email and phone numbers depending on the query

Address:

This is the address of the H.Q. and map.

Social media:

This gives links to the Twitter and Facebook sites, as well as YouTube.

Feedback form:

Provide feedback on the site.

Suggestions box:

If you have any ideas for futures or designs, then let us know and will take into account.

FAQ and Troubleshoot:

If you have trouble with any part of the site there is support. Also an FAQ if you have a question and can report abuse or any issues day or night.

THE BAR/CAFÉ:

Logo:

The logo will depict a gorgeous woman in a black dress.  In her left hand is a blue rose, whilst in her right, is a microphone.  There is a microphone stand in front of her, whilst we see a spotlight shine to the side of her face; whilst drops of rain are overhead and on the other side of her face.  She has brown fair and green eyes, with red lipstick.  To the side of her is a gramophone, as a vinyl plays.  She looks focused but relaxed; enjoying and entranced by the music playing.  The main logo will be centred, whilst either side of the logo will be ‘Psycho’ and ‘Acoustics’ in red lettering.  The letters will be in a stylised font, but easy to red; with the letters bordered in white to give a modern and striking design.

Intended Destination:

Hoping to have the premises located either Piccadilly Circus, Covent Garden or Soho.  Due to the size of the building it will need to be located in these areas; and are also locales that attract huge amounts of tourists and attention- providing the most possible custom.

Building:

Inspired by Café De Paris, the building will be very large as well as decedent.  The premises will comprise two floors; with the intension of each being large enough to contain all the incorporated properties of the business (see below).  Hoping to have it opened no later than 2018.

Opening Hours:

Mon-Fri:

8am to 12am.

Sat:

8am to 12am (when gigs are performed it will be extended to 1am).

Sun:

9am to 9pm.

Staff:

Around about 50 in total.

Policy:

It will be over-16s only: no babies or children allowed.  Dress code is not strict and open to the public.

Funding:

I know of websites similar to Kickstarter that provide funding opportunities for businesses.  I hope to pitch a business plan and raise as much of the funding from there.  Aside from a business loan, I am hoping to raise as much of the remainder of the funds myself.  I am not sure of the exact cost of the entire business, yet hoped that over the coming few years the entire amount can be raised.

Ground Floor:

Bar and Kitchen:

As you enter, to the left of the premises is the bar.  The bar will be very modern with a wide and long counter, in order to allow maximum custom.  The bar logo will be emblazoned above the bar, and will be unique.  As well as serving coffee (and tea, hot chocolate etc.) alcohol will also be served.  There will be a range of beers, wines and spirits- as well as an extensive cocktail menu.  The menu will be extensive.  There will be breakfast, lunch and dinner options- with a dessert menu.  The range will include British, American, Mexican, French, Chinese, Thai, Italian, Australian and Spanish food; from savoury to sweet.  The kitchen will be next to the bar, and will serve food from opening through to close.  There will be themed dishes and cocktails that will incorporate band names, lyrics and album titles etc.

Seating: 

There will be a large amount of sitting, to accommodate around about 100 people.  The seats will consist of sofas, leather sofas and chairs, as well as wooden chairs.  It is designed to be a relaxing and comfortable environment; it will not be cluttered or compacted- space and openness is a huge key.

Jukeboxes and Speakers:

This is one of the main features of the business.  The music will be the epicentre of the bar/café, and will be a constant.  As you enter, to the left and right hand corners; to the back left and right corners; as well as in the centre, will be two digital jukeboxes.  It will be free, where anyone can select a song.  There will only be allowance for one song per customer; with a continuous playlist being selected.  The jukebox menu will be interactive, so you can select a song by searching; or find by genre/decade etc.  There will be access to over 500,000 songs, and will include every genre and style.  There will be screens in the centre of the room (overhead) that will show which song is next- running order etc., and everyone will be able to hear the music.  There will be four speakers suspended from the ceiling- on each corner of a chandelier.  The music will not be so loud that you cannot converse, yet will be crisp and true.  Using latest technologies it will be possible to blend the sound of music and conversation so that neither becomes too distracting.

Stages:

As you enter, to the right hand side of the building is a small stage.  It will measure 15 by 20ft, and will host intimate performances.  At the back of the building will a main stage.  It will be 25 by 30ft, and will have a retro feel.  There will be a blend of modern, gothic and American; giving the stage a unique feel.  The stage will host larger gigs; whereas in front of the stage, will be an orchestra pit that can host 30 musicians.

Décor:

The décor will be a main attracting.  On the walls will be paintings and landscapes depicting famous album covers, music photos, as well as band portraits and designs.  It will encompass a large range of artists and there will also be canvases on the wall.  There will be modified street signs and portraits, giving it a retro and classic feel all at once.  There will be a white wall as well, where lyrics can be written and designs drawn.  The entire interior will mix modern and vintage, with artefacts and designs reflecting this.  It will not be like Hard Rock Café where it is a sort of music museum or attraction; it will be subtle and will play second fiddle to the key components.  Overhead will be several chandeliers as well, providing a romantic feel.  At night these will be on, and soothing lighting will bathe the interior.

Access:

There are two methods of access from the ground to upper level.  There will be a staircase to the right of the entrance; in addition there will be a small lift giving disabled access (and to allow transportation of equipment, stock etc.)

Upper Level:

Store:

This is a store with Rough Trade in mind.  The store is split into different sections.  There is an extensive store that offers music by genre, decade etc. and has a large stock- similar to HMV’s largest stores.  As with the lower level of the bar, there are paintings, designs and artwork on the walls- and ceilings.  There is also band merchandise and memorabilia, signed memorabilia, as well as musical instruments.  The idea is that there is everything under one roof that a musician, music fan or music lover could want.  There is a charming décor that mixes ’90s Seattle, modern-day U.S. as well as Rough Trade.  It is homely as well as modern and cutting-edge.  As well as being an all-inclusive store there is a profit-share initiative.  Schemes will be set up to allow a small percentage of profits going to independent record stores, as well as local bands.

Charity Office:

There will be a small office, next to the store, which will house the Psychoacoustic charity.  It will employ around 10 people, and is a charity which aims to raise money for musicians, struggling bands and children from difficult background persue their goals.

Consoles and screens:

This will incorporate everything from the Psychoacoustics music website: http://musicmusingsandsuch.wordpress.com/2013/10/.  There will be about two dozen consoles arranged within the middle of the floor.  These allow direct access to the website.  As mentioned, the website aims to make it simple to create music, music videos; collaborate online and distribute music.  It incorporates all of the best features of the major music websites, and offers so much more.  People will be able to access the website through the consoles.  There will be two large walls which will display music videos, or can alternatively project images from any of the consoles- for instance is a music video has been created, it can be instantly projected.

Studio:

Dominating one half of the level will be the studio.  It is a medium-sized studio that will offer all the benefits and technologies of the biggest studios.  It will encompass a studio, rehearsal room, control room; as well as lounge and bedroom.  There will be an in-house engineer, producer and representatives and offer rates that are very competitive.  The hope is that is will appeal to new bands, but also drag in big names and established acts.

Garden and Tranquility:

In the center of the level will be a small garden.  There will be a water feature, as well as plants; aimed to relax and inspire.  There will also be a balcony that will provide a small garden as well as seating.

Décor:

There will be chandeliers as well on this level, but a more toned-down feel.  There is impressive lightning and a warm and relaxing vibe.  Again there will be leather chair and sofas- located near the consoles.

THE SOCIAL MEDIA WEBSITE:

In conjunction with the music website (itself); the website is going to be different from the likes of Facebook and Twitter.  Although I use both; I find they have huge limitations and drawbacks- primary among them is the emphasis on irrelevance and self-indulgence.  We all love to have a good vent; to put our thoughts onto the page- the Psychoacoustics site is all about music- nothing else.

Design and interface:

The home page will be designed like a hotel building.  It will consist a building with rows of windows- you can see a lift running up the middle.  The sign at the top of the hotel will say ‘Psychoacoustics’- it is a simple design that is easy to read and clear.  There will be 16 windows in total.  At the top left will be the most recent post/update- the bottom right will have the oldest.  Unlike Facebook, there will no adverts; no poor layouts or needless icons- it is efficient and organised.  Running down the left hand side of the screen- going vertically will be: Mail; Updates; Search; Map and Favourites.  Down the right will be Chat; Contacts; Profile; Events/Gigs and Edit.  At the very bottom left of the screen will be a video player- where you can watch YouTube videos or any other music-related video.  At the bottom right will be a music player where you can stream tracks- listening as you navigate.  The whole page will be a catchy and stunning design; with constant movement and animation, it will feel less static- and unmoving- as current social media.

Functions and Features:

The site shies away from the user’s personal thoughts and ponderings.  The idea is to promote music; connect musicians and music lovers- for that reason, the site is design to focus on music alone (rather than self-promotion etc.

The Search function allows the user to search for bands and music.  It connects with Google (and other search engines) to hunt for bands and new music.  Connecting in with YouTube, you can hunt for songs and music videos.  The Map allows you to track down bands and artists from particular regions.  The map will bring up every country of the world.  You can clicks into a particular region/city- from there will be a list of musicians (arranged by genre) who are on the site- so you can connect with and interact.  The Favourites tool allows you to save your favourite bits of music- arranged by song/album/act and update.

The Profile and Contacts section are the main focus.  When a person logs onto the site; they select whether there are a Music-Lover; Musician; Manager etc- the interface will then tailor to that person’s needs and desires.  There will be personal information you need to fill in- name, location, favourite band/genres/albums.  From there, the site can find recommendations- songs and other artists; and put you in touch.  A Song of the Hour uploads to your home page; facts and links are fed in- that are of interest to the user.  If you are a music-lover, you can just go on the site to find great music and acts.  The site recommends existing music and songs from YouTube; finds recommendations; builds playlists and selections for the listener.  If you are a Musician, then the site factors that in- connecting you with other bands; venues and contacts.

You can add Contacts to your profile- these will be fellow musicians/bands (or just other music-lovers with similar tastes).  The status updates will be music-related and aimed at promoting great songs and acts- rather than inanities and personal thought.

It is all a bit brief, but gives you an overview of what the site will do.  Whereas the current social media crop has no real relevance; is flawed and limited; never offers anything beyond vanity and vagueness- this site is aimed at connecting music; finding great music and making it easier to unearth treasures.  One of the issues with the internet is how vast it is.  You have sites like YouTube, BandCamp, SoundCloud, Twitter etc.- yet no way of connecting it all together.  Tying in those sites- as well as search engines- it makes it easy to connect with like-minded people; terrific acts; possible band members (or unearthing a song you had forgotten about).  I love YouTube and its choice, but find it daunting- there are so many songs, it is hard to know what to select.  Psychoacoustics makes the whole experience much smoother and less stressful.  In a nutshell, the site is a one-shop portal for all fans of music.

So then…

I have poured out a lot of words- and put some ideas out there.  I want to do something like Virgin- yet not set out to make millions and become a bloated tycoon.  The idea is to represent musicians and build an international brand- something that aims to help making music easier; get people connected; bring fantastic new music to the forefront.  It will take a lot of money and time, and that is the big dilemma- how to raise the funds?  Sites like Kickstarter exist, yet it will take a lot more- I need to think how to get that started.  When the money is raised, there is plenty of potential and scope.  I want to make it London-centric- the café will be based in Central London; the H.Q. will be based nearby (so it is centralised and focused).  Whether people take to the idea(s); if it appeals to those reading- that is what I need to ascertain.  Over 2015, I will be putting my music charity night into effect; promoting new music and acts- and getting my own music started.  Let me know your thoughts; what you think- until then have a…

HAPPY Christmas and a fantastic 2015!

[youtube https://www.youtube.com/watch?v=j9jbdgZidu8&w=420&h=315]

 

 

The Voice: A Beautiful (and Underrated) Thing

The Voice:

 

A Beautiful (and Underrated) Thing

 

MUSIC is always on my mind…

something that is never going to relinquish its grip- this year has not provided (the strongest and most enduring sounds).  I have stepped away from reviewing for a number of reasons-tiredness is one of them.  Few new acts have caught my imagination; compelled me to listen hard- weariness and boredom have taken the place of surprise and fascination.  In addition to having a severe lack of free time, I am finding something worrying (happening in music): it is starting to decline.  A lot of times (when reviewing) I found my integrity hiding away- uneasy being critical to musicians (I felt deserved it).  Few bands and acts lingered in the memory and it has been fairly easy walking away- I hope 2015 provides to be more eventful, fruitful and imaginative.

One of the best things about music is the vocal- the voice(s) being the creations.  Talent and reality shows emphasise the voice- in a bad way.  The sorry and miserable excuse for singers (and humans) that litter these shows have distilled and clouded the potential of the voice- that magic essence that can elevate music (to rarefied and dizzy heights).  Most of my favourite new music (and most cherished classic music) is synonymous with terrific vocals- it doesn’t have to be showy and huge.  A great singer can turn a mediocre song into something special- just with the simplest of utterances.  Too many people get confused- thinking range and histrionics are the most important factors (when it comes to finding a tremendous voice).  Discount the likes of Freddie Mercury and Michael Jackson (too singers with vast ranges) and you can find a lot of good- artists that can hook you and compel the senses.  Whether you prefer the graveled and animalistic tones of Tom Waits; the soulful hypnotism of Otis Redding- you don’t need a monumental (vocal range) to seduce and entrance.  Too many new musicians overlook the Importance of the vocal performance- the ability and necessity of getting into (the listener’s) consciousness.  Over the last year or two, singers like Sam Smith and Paolo Nutini have made their mark- buckled the knees with their inimitable and distinctive vocal prowess.

https://www.youtube.com/watch?v=pB-5XG-DbAA

I am not saying that the voice is the most important thing- it just seems to be lacking (as-of-late).  Too many acts are concerned with cramming in noise and music- focusing on the sound alone.  Duos like Royal Blood have been lauded for their hard blends; 2014’s best and most profitable have been notable in their own way- how many unique voices have resonated in the mind?  I have a huge amount of respect for the likes of FKA twigs, Kate Tempest (and other Mercury-nominated wonders), but I have craved something singular- a vocal sound that is hard to shake off.  Maybe once (or twice) a year do we hear of such a thing- reality shows are proffering false idols and raising expectations.

Perhaps I will get back to reviewing music- when I am feeling a bit better- but something spectacular needs to happen- the quality has to increase; the vocal warriors have to make their moves.  It is not just enough to have a remarkable voice- you need the songs and lyrics to back them up.  One could criticise artists like Sam Smith for being too thin and effete- not being gritty and real enough.  Whilst few can ignore his immense vocal chops; his stories and themes do not delve that deep- he has the potential to get better, though.  Acts that concentrate away from the voice- like Royal Blood- are too limited- one wonders how long public fascination will last.  Perhaps I am over-simplifying, but the public yearns for that next great voice- someone who can buckle the knees; and has the songwriting quality in there too.  Into next year, I hope to work closely with a terrific young singer (and her band); someone who has an incredible songwriting talent- an exciting prospect to witness.

https://www.youtube.com/watch?v=fJ9rUzIMcZQ

Whilst I plan my musical ideas and endeavours, I have been focusing my attentions to another realm: animation and comedy.  Although music is my main goal; the thing I will focus on the most- comedy and animation has been obsessing my mind.  In the U.K. we do not really have an animation industry- aside from the odd commercial or children’s show.  When it comes to comedy, we are somewhat limited- in more ways than.  Aside from the odd hal-decent comedy, we are not exactly consistent- most of the finest comedies are American-born.  Whether we lack the talent, the money or imagination, it is the U.S. that has always led the way- stamped out the finest animated shows of all-time.  From the classic days of Looney Tunes and Disney; the terrific shows like The Simpsons, South Park and Family Guy- they are showing how it should be done.  I have always hated the influx of animated films- there seems to be a new one every week.  Once Toy Story passed, I got bored of the medium- with every coming week comes a new animated film featuring talking animals or some flimsy plotline.  It is comedies such as The Simpsons that grip my hardest- fascinate my mind and excites me hugely.  I have always been obsessed with the voice; what you can do with it- how far you can stretch it.  Fantastic actors like Hank Azaria and Harry Shearer provide dozens of voices (between them)- amaze you with their talent and versatility.  Look at legends such as Mel Blanc and June Foray- two of the greatest voice actors who have ever lived.  When it comes to extraordinary ability, few can top Frank Welker- an actor few would have heard of.  He is the most bankable actor of all-time- no other actor has pulled in the bucks he has; nobody else has his pulling power.  From the throat-shredding vocals of Dr. Claw (from Inspector Gadget) to Slimer (from Ghostbusters) he can do it all- his range of animal voices/noises is mind-boggling.  Nobody alive has his ability and talent- he is one of the reasons I want to get into the craft.  Mel Blanc is probably the name we all think of (when it comes to voice acting), but modern artists like Dan Castellaneta (Homer Simpson himself) are wonders of the craft- defying belief with their abilities and vocal turns.  In Britain, we are not over-stocked with vocal legends- nobody actually comes to mind.  Impressionists like Jon Culshaw and Alistair McGowan are undeniably skilled, yet none match the heights (of the U.S.) legends- we just don’t have the same talent.  One of the biggest problems is the entertainment industry itself- we do not have the same opportunities America offers.

[youtube https://www.youtube.com/watch?v=0vz1Ni35QlY&w=420&h=315]

The voice is a wonderful thing, and should not be confined to music- there are vast possibilities out there.  Every time I watch an episode of The Simpsons or South Park, I wonder the same thing: why are we not producing similar gens?  In the past (the U.K. has dabbled) with animated comedy- one or two average shows have emerged.  Thinking about it, we have not really come up with anything memorable or long-lasting- we are much better (when it comes to longevity and prolificy) when it comes to live-action comedy.  There are quite a few animation studios (in this country) but they tend to specialise in adverts, children’s shows and promotion pieces.  One of my secret ambitions is to be a voice actor- combine it with music if I can.  There are so many accents, voices and sounds in my head- anywehere up to a couple of thousand- they need somewhere to go- I risk being one of those crazy people that talks to themselves.  Rather than being put into a home, it would be great to get the voice out- have somewhere for them to go.  I have conceptualised and synopsised an animated comedy- that I hope to parlay into a fully-fledged series.  I have mentioned it in previous blog posts, but I have some trepidation- will it ever get made?  Even of the ordained (to get a commission), are there studios that can accommodate my demands- anyone out there that can do the words justice?  I know this country has some great voiceover talents- they are being reduced to hocking lousy goods and voicing idiotic cartoon characters.  We have some great comedy writers- a paucity compared to the U.S.- that would love the chance to branch into animation.  Animation is so much better and more freeing than live-action- it allows the imagination to run wild; realise your most ambitious ideas without spending millions doing so.

[youtube https://www.youtube.com/watch?v=Mgi3LADYTME&w=420&h=315]

Voice acting is not something (most of you) will think about- not in the same depth as me.  We all watch great animated comedies like The Simpsons- given half a chance; we’d all love to appear in an episode!  In tandem with a music career, I would kill to do voice acting- release all of the odd characters and accents floating about my brain.  I have written an animated comedy, but fear no channel or studio would pick it up- maybe America is the only option?  Of course Kickstarter is out there- that afford the chance to get finances raised- so that a home-made endeavor is possible- you still need to make the animation and find someone to help.  I think America has the opportunities and facilities- moving there may be an answer.  I do not need much of an excuse to flee to somewhere like Burbank or Los Angeles- given the chance I would prefer to stick around London (and the U.K.).  In so much as great voices are important in music- they are just as needed in the entertainment industry.

Perhaps I will get back to music reviewing- when I am less anhedonic and tired.  If the quality goes up; if the desire is there- perhaps I will produce the odd review.  I just feel that a spark is lacking; a lot of new music is too safe and aimless- that the best we have had is the best we will ever get.  Too many bands and artists pack in noise and music; they negate the importance of terrific vocals- the voice is a beautiful thing to behold.  In a society that values looks and aesthetics (over personality)- the voice is an instrument that needs to stay tuned and loud.  My favourite current musicians and musical peeps possess tremendous voices- it is the reason I adore their music so.  It may be my particular tastes and bias- I just think the voice is a wonderful thing.  So much more fascinating and interesting than anything else, it makes music (and comedy) better and more fulfilling.  Whilst I (perhaps fruitlessly) hunt for U.K. animation studios; write music and imagine ideas- let me know if you hear of any truly captivating voice.  Reviewing may be what my blog represents (and is designed for) but the voice is my true passion- the reason I want to throw off the shackles of the ordinary; do something truly remarkable.  Whether my ambitions and dreams are a reality, I am not sure- I will keep pressing and searching.  If you have any idea and thoughts, let me know.  When it comes to wanting to find a great voice; unearth something truly extraordinary…

THAT is something we all have in common

Making Changes: Not Just For New Year

Making Changes: Not Just For New Year

 

I have been neglecting music reviewing some-what; for a number of different reasons: the energy and commitment (it demands) is one of the most pressing.  Working irregular and demanding hours, I am finding it (reviewing) a strain and tiring prospect- it is why I have put it firmly on the back burner.  In a way it is a shame, as music reviewing has been a part of my life for several years- it is the reason this blog exists.

This last week has been a rather trying and bizzare one- a silver lining has developed.  I find myself putting (myself first) and sacrificing my own happiness- too concerned with what other people are feeling.  Very recently, a rather upsetting and heartbreaking event has occurred- something that has caused me sleeplessness and upset.  Having hurt a valuable friend and caused some upset (for them), I have decided to change my ways.  I am too keen to get involved with people; ask if they are okay- pay compliments.  Not dragging the details into the light, an harmless and good-natured gesture (on my part) has back-fired- and will continue to do so.  In the wake of it, I have probably lost a valuable and close friend- possibly forever.  Not just that, but have hurt them hugely- this angers me enormously.

In addition to having upset and hurt a wonderful person, I am fearful that I will never hear (from them again)- it has caused me to reassess me way of thinking; the way I prioritise myself.  I am always too keen to be seen as ‘the good guy’; the person that goes out of their way- do something kind or thoughtful.  When it backfires- and innocent people get hurt- it gets to me (more than they will ever know); and I am tired of being a burden- things need to change.

Being close to my 300th (blog post), I am keen to get back on track: reorganise my mind and start putting dreams first.  For too many years I have neglected recording; put a relationship in the shadows- made sure most of my money went to other people.  It is not the case I am going to completely change- become a harsh and selfish human.  The fact is, I am getting too upset and affected (when things go bad).  Thoughtfulness and consideration will always be high on the agenda- I just need to limit my ‘kindness’; stay out of other people’s lives.  Be like everyone else, essentially.

New Year is the time for resolutions; it is stupid to dedicate an arbitrary (time of the year) to resolutions you will not keep.  When things go bad; when life starts to crumble- THAT is action needs to be taken; things need to change….

I have decided to make sure I record some music- before this time next year- and find a relationship- think about personal fulfillment and happiness.  It is important to keep friends; be faithful to your better nature- it is even more important to not lose focus of your own well-being.  When it comes to recent events, I doubt they will resolve themselves- I think too much damage has been done (and that cause me more pain than anything else).  Baffled, angry and deeply upset, I have to make changes and start putting myself first- take myself out of other people’s lives.  In addition to recording music, I hope to write a comedy (pilot); find love; move closer to London- as well as dozens of others things.

Not so much a Bucket List: it is a list of things I (should have done years ago) and have neglected- at the top of the list is ‘Be Happy’- how many of us aim for that (and fail)?  I should be back to reviewing music- in limited capacity- next year; making plans to get a band together- becoming a different person.  Too many of us make bad decisions and make mistakes- and do nothing about it.  Having chatted with a  treasured and loyal friend, she has opened my eyes- urged me to start thinking about me; putting myself first.  She is right, and I am glad she (said it)- it is something we all need to do.

I am not suggesting we all need to abandon our finer nature, but you definitely need to balance priorities- stop being so involved with (making other people happy); getting involved in other people’s lives- and making things (for yourself) worse.  As horrible as I feel- for having made someone I care about hate me- it has made me realise what I need to do: make myself happier.  Only then will I be able to live a better and more fulfilled life.  I have charity ambitions; music plans and things to sort out- distraction from recent embarrassments.  If you are in a similar position (and feel too burdened) it is okay to let things go- and think about yourself.  When it is all said and done…

THAT’s not a bad thing at all.

Time Out of Mind: My Second Entry

The Equality State

 

Pilot episode

(29 minutes):

“Wyoming, London

(Why I’m In London)

Notes and ideas:

Because there have been so few- good or successful- U.K. animated comedies, it is high time there was an attempt.  At the moment, there are few comedies- from Britain- I watch- there is a bit of a dip at present.  I want to write something with a U.S. sensibility; inspired by the likes of The Simpsons, Family Guy and South Park, it will a very modern look to it- the same style of animation as The Simpsons (without the yellow people), and feature a great and varied cast.  I have an idea for the main cast- two boys, two girls- and hopefully they will be in.  The pilot will hopefully wet appetites for a full series.  With cliffhangers and plot twists, the idea is to leave people wanting more- both A-story arcs have huge longevity and potential for growth.  The series will see the girls with the power- transposing gender roles and making them the dominant duo.  Parodying and (with) affection referencing Breaking Bad, the girls go all across London- and the U.K.- and get in all sort of adventures and scrapes.  The boys go all across the world and bond; experiencing and achieving huge things.  The reality of home life and reality never is far from the door; each couple comes together and keeps their other lives separate.

In time, I hope to employ celebrity voices for episodes, but want to make sure the pilot gets made and received.  If there is not an animation company in the U.K., it may be a case of going to the U.S. - or raising a Kickstarter campaign and getting it made privately.

Desired Soundtrack:

Figure It Out- Royal Blood

The National Anthem- Radiohead

Metal & Dust- London Grammar

Synopsis:

The pilot focuses on two different couples in their 20s, who come together; during Hallowe’en of 2014.  Their coming together will have a huge effect on each other; that will change their lives and cause huge waves.

Alice Yorke is a Jehovah’s Witness; she is down on her luck and a mother-to-be.  She has just learned she is pregnant and tries to balance her daily life, coping with it.  She goes door-to-door in east London; trying to spread ‘the good word’.  The local citizens are not so accepting, and as she meets some weird and wonderful people, she starts to doubt herself.  As the sun rises over east London, Alice and her ‘colleagues’ try to change people’s minds; before a huge song-and-dance number- mixing Thriller and Billie Jean together with classic musical elements- breaks out: D.E.N.I.A.L.  As a hard morning drags on, Alice returns to her Canary Wharf apartment she shares with her boyfriend.

The boyfriend in question is a one Stefan Buckley.  He has recently been fired as a teacher, and spends his days obsessed with Radiohead; smoking, drinking and preparing for an upcoming court case: a harassment charge made by Thom Yorke.  The two sit down and discuss the future possibility of becoming parents; both knowing that they do not have the money or security- or stability- to be able to handle it.  They weight up their lives, and recollect how and why Stefan got fired: both aware that they need to change their lives.

Over in Camden, P.C. Natalie Mercury is on the beat- and on a crime scene.  She is a controversial and ‘bent’ police officer, and has been in trouble constantly.  From drag racing The Red Cross; wrongful arrests, parking in disabled spaces and tampering with murder scenes, her boss is fuming.  Natalie arrests some ‘freedom-hating terrorists'; lays down the law and not strictly playing by the rules- not realising they are Hasidic Jews.  When they complain, she tells them to ‘tell someone who cares'; as there is a smash cut to her Chief Inspector’s office; as a stack of complaints and written warnings are piled on the desk.  She is given one last chance, and told she is on very thin ice.  In her spare time, she models for Crimson Electric: a London model agency that is filled with the most disreputable opportunists and odd assignments you could imagine.

In a local hospital, her high-flying and dashing boyfriend Dan Bush is experiencing a typical day.  In the clinic he is dealing with some strange and depraved patients, whilst dealing with the advances of a gorgeous co-worker; as well as fending off a tyrannical boss- who is rather violent and angry.  In his spare time, he manages a successful band (Famous Atheists)- as well as looking after his sick and cantankerous parents (two 80 year olds).  After a rough month, he catches a quick break at his flat; located opposite a kebab shop in Camden- Madonna’s Kebabs (run by Madonna herself; although she tells everyone she is a look-alike).  He meets Natalie there, as the two discuss a recent event: Dan proposing the previous night.  With Natalie’s job at risk and pressures in Dan’s life; Dan starts to feel the strain; as Natalie makes lavish- and very unusual plans!  As they prepare for the evening’s Hallowe’en party, the day ticks on…

Alice deals with the effects of morning sickness; choosing inconvenient and embarrassing places to fall ill.  The day continues, and the four prepare for the evening.  As the guests arrive in various costumes, Alice’s niece is round as they have to babysit her.  She is a very ‘mature’ and strange 4-year-old and causes all ends of issues; not helped by Stefan teaching her how to smoke.  The party swings on, as each of the couples confide in each other; and their various doubts.

As the morning arrives, the four go separate ways.  Alice is left to clear up the mess and carnage of the night before; before having to go onto the streets, in a desperate attempt to bring the word of Jehovah to Elephant and Castle and Hackney.  Dan has a nightmare morning as his colleague makes a pass, and his fellow doctors tease him about settling down.  Natalie is fired for letting a drunk meth-head drive her home after the party- in a police car.  Natalie has her badge, car and clothes stolen, and is now out of a job, being pursued by angry criminals, with the Met. Police angrily demanding the return of the stolen assets.  Stefan spends his morning trying to invent the perfect hangover cure; looking for a new job, as well as being embroiled in a battle with a neighbour- with disastrous consequences.

The two boys meet up at a local bar- Homme’s; they discuss their situations and both feel trapped.  They are making plans for the future when Stefan gets a phone call with terrible news- he may only have 8 months to live.  The two girls meet at an Australian bar in Soho.  With Natalie fired and Alice dislocated and lost, they both feel a change is needed.  After both drinking a well-known cocktail; Natalie still has drugs- taken from a local gang.  After dropping them in the cocktail; she accidentally takes a sip.  The effects start to take a hold; leaving her sedate and ecstatic- a bizzare and brilliant animated sequence takes place (mixing Fantasia, stop motion, The Beatles and live action).  As the girls make their way home on the tube, they see the depression of London life; the inequality as well as the beauty and fascination.  As Alice finishes her day, arriving at the door of a chavy couple, Natalie calls.  Suddenly a master plan is struck, and the girls strike upon a way out of their problems.

Stefan and Dan have a heart-to-heart and asses the news.  Stefan decides that he has been a disappointment to Alice, and decides to make a list; a sort of Bucket List, where he will do as much as possible- as well as achieve as many goals as possible.  The girls realise that Natalie has stumbled upon an addictive and potent invention.  The two set up premises in the empty basement of the kebab shop (opposite Natalie and Dan’s flat), and come up with a name: The Equality State.  They recruit a group of followers who are all socially different.  It refers to the effect the cocktail has where everyone- rich or poor- is levelled and equaled: everyone feels the same.  It also refers to Wyoming, a U.S. state which is mountainous and sparsely-populated- the first state of America to give women the vote.  It seems like a metaphor for their business, and how they customers will blend into London life.

As the police close in on Natalie and Dan’s flat and the walls close in, Natalie still uses her pull and power as a police officer to round up customers and make money and connections.  Stefan and Dan begin a list of 30 ‘to-dos’ or tasks; starting with number 1- with the help of Dan’s band, Famous Atheists.  The two forget about work and life.  Dan does not mention that his colleague made a pass, as well as his doubts about the wedding; Stefan does not let Alice know about his illness.  Meanwhile neither girls mention their business venture, as well as Natalie’s firing, and Alice’s doubts about motherhood.

In the closing scenes, Alice and Stefan talk about the future, and possible abortion.  Outside an inappropriately-named abortion clinic, as the rain lashes; the two realises that they want to stay together and need a future to hold onto.  Knowing that each of their lives will be very different and turbulent, they continue as they are: making sure neither knows of each other’s fate.  Natalie and Dan spend the night together; neither revealing truths, but promising to stick together.  When the following night comes around, Natalie and Alice are in the basement, surrounded by acolytes.  In a homage to Fight Club, Alice gives a speech; the mantra of the club and society:

The vile men that take the head of the world,

Break the mind and kill our kind

The women who break the mould will never ask

For an even mind

In spite of light the sun goes down

The world’s true nature is revealed

The poor are blinder, the rich control

The average are crushed under foot

The right to vote, the equality state

Every human on a level plain

In the openness of the midnight hour

We are all the same

Whilst mere mortals tell us they see some

And only remember a few

We feel everything

When eyes of the fools are closed and their idle dreams dance

We will rule- and they will hear us call

As the conclusion plays out, the girls find that they are being pursued.  Alice has her colleagues, as well as some of her ‘faithful’ chasing her; angry at her betrayal and revaluation; as Natalie finds that her flat is taken over by the police; keen to find her, as some disgruntled criminals also close in.  Stefan has a court case; illness and fatherhood to think about, as Dan’s colleague announces her intentions- leaving each pair with much to ponder.  The screen splits as each of the couples go separate ways.  Stefan and Dan head to the U.S. to fulfill the next ‘task’- both trying to escape from life; unaware what ramifications could be in store.  They are involved in an epic fight and car chase; escaping with cuts, the duo pledge friendship and the promise of making things better.  Natalie and Alice have a huge queue of customers, as word spreads.  As the siren’s flash across the street and the flat is turned over, the girls both join hands and smile; realising that London will be changed, and that their lives will never be the same again.  Mirroring the first scene- in tribute of Memento- Stefan pulls his car outside a local tattoo parlour (just before heading to America).  There is mystery to why he is there; what is going to happen- setting up another cliffhanger, there is narration (from Stefan), as he delivers the line: “Now… where were we?” as there is an instant cut to the closing credits.

Time Out of Mind- Press Release

Time Out of Mind

 

Over the coming weeks and months, I want to raise awareness, money and attention for Mind- a charity that helps those affected by mental illness.  Being someone who is afflicted (by the illness), I am keen to raise focus and prominence- ensure depression and mental illness is not stigmatised and margalised.  Most of the people I know, know someone (who suffers mental illness)- a majority of the public do, too.  My proposal looks at changing attitudes and getting people involved- much in the same way the Ice Bucket Challenge (did for A.L.S.).  Unlike the Ice Bucket Challenge, there is a creative edge and proposal- the individual is encouraged to think of something unique and special- so no two people offer the same thing.  All I ask is (for each participant/nominee) to spend 15 minutes of out their day- and post it on social media.  It can be a video message or a poem; a recorded song or photo  (a good deed for someone; a walk in the park for instance)- I wrote a song from scratch!  Having launched the idea, I have had people contribute and get ‘the ball rolling’.  Below are videos from three of my Facebook friends- Diane Sherwood, Jen Armstong and Georgia Jakubiak:

https://www.facebook.com/video.php?v=960946843930864&set=vb.100000466725465&type=2&theater

http://www.patreon.com/creation?hid=1040669&rf=115256

https://www.facebook.com/video.php?v=10154611985545207&set=vb.561780206&type=2&theater

This is what I am looking for: something fresh and fun; something personal and creative- all it takes is 15 minutes (or less).  Once this ‘entry’ has been posted, the person must nominate three people; they in turn have 48 hours to respond/complete the challenge- they in turn nominate three others etc.   I hope to take the idea globally (and turn it viral)- get it talked about and promoted.  The most important thing is to donate to Mind- everyone must ensure they do this.  This can be done in a number of ways:

Just Giving:

https://www.justgiving.com/Sam-Liddicott3

By text

There are two ways to donate to Mind via text

  • Text SUPPORT to 70660 to give £3
  • Text GIVE to 82772 to give £5

By post

For one off gifts, please send a cheque, rather than cash, payable to Mind Fundraising, 15-19 Broadway, Stratford, London, E15 4BQ. Please download and complete the Mind donation form to send in with your donation.

If you'd like to set up a regular gift by post, please download and complete the direct debit form (PDF format) and post it to us.

By phone

Call us on 0300 999 1946 and make a donation with your debit or credit card. Calls charged at your normal rate. Mobile and other providers' charges may vary.

 

Time Out of Mind is a fun and creative way to raise awareness for Mind and the issues of mental illness- something that can be done by everyone.  It only takes 15 minutes- and you!  Let us all work together and do everything we can- so many suffer the effects of mental illness; many do so alone.  I myself often feel lost, lonely and disconnected- in need of a helping hand and friendly voice.  With community togetherness; a common goal and focus- we can make a difference.  Thank you.

For further details please see The Problem: An Invisible Illness; A Way Through: Time Out of Mind:

http://musicmusingsandsuch.wordpress.com/2014/09/28/the-problem-an-invisible-illness-a-way-through-time-out-of-mind/

Time Out of Mind: My Entry

Time Out of Mind:

My Entry

_________________________________________

Following on from...

 http://musicmusingsandsuch.wordpress.com/2014/09/28/the-problem-an-invisible-illness-a-way-through-time-out-of-mind/

....I shall get the ball rolling...

______________________________________

Okay peeps.  If you have read my previous blog post- proposing an Ice Bucket Challenge-esque endeavor- then you may be thinking: what am I going to do?!  Well, in the spirit of getting things going, I am posting my ‘thing’- my Time Out of Mind entry- it took a staggering 14:31 to complete.  Disclaimer: I am counting the time publishing this blog as a business expense- no technicalities here!  The song itself took under 15 minutes to think of/type/complete- here are some more details.

Before I go on, I have donated a tenner to Mind- put a little message in and mentioned what I am doing.  This song was written between 10:00-10:14 at a coffee shop in Guildford (all glamour me- you can keep Paris!).  Surrounded by screaming kids and babies (my least favourite sensation on earth), it perhaps inspired a lot of the process (in a good way too).  The track is influenced by the likes of Royal Blood- their fusions of Hip-Hop and classic Rock.  The song has that feel and draws in the likes of Queens of the Stone Age, Soundgarden, Led Zeppelin (and Royal Blood themselves).  Most of the song is an assault of guitar/bass/drum riffs and signatures; with some exceptions...

The Classical Break will consist of two violins; cello; oboe and viola- it will be romantic and quite sweeping.  Containing some passion and tenderness it has some irony to it.  The verse that starts “Breathe out and suck it all up” is presented as an Electro-Swing passage.  Backed with skiffling and dancing electronics; some ‘20s and ‘30s sounds- it is a distinct and unique passage- the vocal will have that classic and almost ‘elegant’ sound.  The second Musical Break will see all the instruments come together in a flurry of fury and trippy diversions.  It is the most electrifying and swaggering part of the song.  By the end, the instruments die one by one to be left with guitar, bass and drum- each in turn dies to be left with a vocal snatch.  At the very end, there is a nod to Queens of the Stone Age- and their song Feelgood Hit of the Summer.  Whereas they listed a cocktail of drugs; I list one of illnesses and ailments.

I hope it makes sense and tracks to a point, but it took less than 15 minutes- go easy on me (and that is part of the challenge!).  I am very proud of it at least, and it will be the first song I record- the lead-off track from the album Marriage: The Beautiful Revenge (hopefully will drop in the next couple of years).  This endeavor has compelled me to get a band and lay this track down- I am excited by it, and by setting myself a limit, I have ended my writer’s block- it does work.  In order to get over and conquer stage fright, it has been good to focus on music- take a step for a great charity that means a lot to me.  Whether you connect with what they do in an edifying sense; or just want to do something different and fun (to help a lot of people)- hope come up with something yourselves!

 _______________________________________________

Black Majesty Blues (Citizen Arrest)  (8:27)

Intro.

Hard to be a gentleman when manners are bleeding

Throw away the atom bomb

And use your mouth instead

It you’re "sure-as-hell not listening"

You better know that I’m still speaking

Don’t let my bad mood let you down

_______________

I got the kind of face only a mother could love

And luckily she was yours

In the night we confused science and religion

With the ceiling and the floor

_______________

Hold open the door just to slam it in my face

Make an unwise statement on behalf of the human race

You don’t have to scream to make your voice heard

Take care of your health and don’t give a shit about anyone else

These Black Majesty Blues, yeah

Going to get to you

Going to get to you…soon

 ____________________

Stripped bare like an animal in the wilderness

I write my most romantic for the right to impress

You say that you’re in love, girl

But you kiss me with barbed wire

And don’t stick around to hear me weep

If they call that politeness then don’t hang around

I got the kind of body research science would love

And they’re researching a stone-cold gentleman

If my bones don’t make it right down to hell

My soul sure as hell will be heaven-sent

 _______________

Hold open the door just to slam it in my face

Make an unwise statement on behalf of the human race

You don’t have to scream to make your voice heard

Take care of your health and don’t give a shit about anyone else

These Black Majesty Blues, yeah

Going to get to you

Going to get to you…soon

_______________________

Vocal and Instrumental Break

________________________

Breathe out and suck it all up

Let go and don’t take it in

Push away and don’t pull your weight

Loose tongue to communicate

Stand up but don’t walk away

Drop the ball and never pick it up

I’m blind but I hear you've seen it all

Alone in crowds and pushed away

_______________________________

I walk through the city and the masses walk by

Technology more important than the look in my eye

When a poor men begs here you walk away and laugh

A drunken generation with a hurricane for a heart

You say I’ve got a face perfect for radio?

A radioactive missile to blow you away

Your songs buy you diamonds; mine earn me respect

Well I cried when I wrote this line

What the hell did you expect?!

 _______________________________

Classic Break

 __________________________________

You think you’re Florence Nightingale and Mother Teresa in one

Stuck inside your vanity suckling on smoking guns

She was just Hey Nineteen

You know what I mean?

Would you rather be the fool in a love story?

Or a hero in the war?

I'd talk to God but he stopped believing in me

I'm no bigger than my sin so what's a boy to do?

Sing a ring of roses and a pocket full of poses

You got nothing on me, that much is true

 ________________________________

Hold open the door just to slam it in my face

Make an unwise statement on behalf of the human race

You don’t have to scream to make your voice heard

Take care of your health and don’t give a shit about anyone else

These Black Majesty Blues, huh

Going to get to you

Going to get to you…soon (real soon, sugar)

 _____________________________________

Musical Break 2

 ____________________________________

How you feeling now?!

Pink eye, diabetes, hemorrhoids, syphilis, peptic ulcers, genocide

Pink eye, diabetes, hemorrhoids, syphilis, peptic ulcers, genocide

Oh…

Pink eye, diabetes, hemorrhoids, syphilis, peptic ulcers, genocide

S-s-s-s-syphilis.

Pink eye, diabetes, hemorrhoids, syphilis, peptic ulcers, genocide

Pink eye, diabetes, hemorrhoids, syphilis, peptic ulcers, genocide

Repeat to fade.

_____________________________

Whether it's a song, a walk; a poem- maybe a short film or video message, the idea is to get involved and keep the word going.  Donating is the most important thing, so as long as that is done as well- hopefully we can raise a lot.  If you are in a similar boat to me, the process can be cathartic and releasing- I have had a much better day today (than I have for a long time) x

 ____________________________________________________

11:35

To: saml889@hotmail.com

Dear Sam 

Thank you for deciding to support Mind with your kind gift of £10.

Mental health problems can affect anyone - rich or poor, young or old, shattering the lives of those affected and the lives of people close to them. 

Your contribution will help us continue to offer vital services for those experiencing mental health problems as well as to their friends and family.

On behalf of all those whose lives your gift will help, thank you so much.

Thanks again for your support.

Mind

----------------------------------------------------------- Email: contact@mind.org.uk Tel: 020 8519 2122 Web: http://www.mind.org.uk/ Address: Mind 15-19 Broadway, London E15 4BQ

 

The Problem: An Invisible Illness; A Way Through: Time Out of Mind

The Problem:

 An Invisible Illness:

 

A Way Through:

Time Out of Mind.

 

I am not going to depress everyone too much- although I will be mentioning the ‘d-word’.  Over the last few days, human beings (and them being themselves) has made me put things into focus; consider life and people in general.  I have been thinking about manners and etiquette- gentlemanly behaviour and plain decency.  When I look around, I see very little hope for redemption- too many humans selfishly look at their own lives.  Just today, a rather embarrassing incident occurred- for a man; not me- where someone had an ‘accident’- I shall not fill in all the needless details.  Suffice it to say, a couple of men nearby snickered and made ‘jokes’.  Aside from the fact the person concerned had an unfortunate occurrence; the reaction (by the men) was wholly inappropriate and unnecessary.  Appalled by the lack of sympathy and humanity, I have been left feeling somewhat ashamed.  Over the course of today, I have gone about business in the usual manner- done my thing and been out.  Throughout my day, I have seen unacceptable lack of humanity and cohabitation- people being insular and rather detached.  I am not using this blog as a rant and platform for my own ideals- I am just quite shocked by how selfish people are.  I am not suggesting everyone needs to hold doors open all the time; give money to Big Issue sellers- it can be seen as overkill.  Maybe it is just where I am living (that has enforced this perception), but I am left astounded by how selfish and self-absorbed people can be.  I love being called ‘a gentleman’- the reception I receive when doing something as simple as letting someone get off a bus (before me)- it is these minor actions that makes me smile.  As much as those sort of interactions fulfil me, they also leave me angry and cold- too many humans negate the importance of looking out for others.  Friday was a particularly bad day for me- I shall touch on it more below- but I visited London.  The capital was pretty grey and dull (on that day), yet it was then I decided I would never live there- for years I have always yearned to be part of the London scene.  It is great going to London for the odd trip- the reality of living there is just too insane.  London is the epitome of closed-off and poor manners.  A wonderful and diverse city, it is one of my favourite places on earth- yet there is no human connection and interaction.  When walking down Oxford Street, I see thousands of people- maybe a tiny percentage of them will make eye contact or look up from the pavement.  Aside from the hordes of people who walk with their eyes glued to their phones- and expect people like me to get out of their way- people pass you by without acknowledging you.  On the tube, I saw an elderly couple struggle with a suitcase (trying to get it up the stairs at Leicester Square).  By the time I got there, they were at the top- suffice it to say, nobody bothered to help them or offer any assistance.  Too often, I walk past and see others struggle- maybe I am old-fashioned and expect too much.  The point of manners and etiquette is not my main point- it is a slight diversion from my main issue- but it does neatly lead into what I want to bring up.  Following on from the death of Robin Williams- which is still causing shock waves and heartache- I thought I would add my two cents to the agenda.

I am not the most elegant or intelligent person who will write about this subject, yet I want to share a very common human experience.  My blog has been provoked and inspired by people telling me to ‘get over it’; thinking my low mood is moodiness and pouting- if my limbs aren’t hanging off, then how can I be ill?  Statistically, I am not the most depressed person on earth- yet people always remind me how ‘there are people worse off than you’.  Aside from being the most catastrophically moronic and insulting thing you can say, I know that- it is an irrelevant detail that does not help matters.  Too many people are still too ignorant when it comes to depression.  Being someone who has been living with clinical depression for the past fourteen years, my day-to-day life is a tiring.  I have not felt truly awake for since I was 16; I have not been ‘happy’ since I was a child.  It is always awkward to tell folks I am not happy- not even close.  I am not going into graphic details- I have an actual point to make- yet want to fill in some blanks.  The worst part of depression is not the fatigue and constant fear- it is the loneliness.  Social media sites do not really help; a lot of the people I know on Facebook and Twitter I have never met- and probably never will.  To be honest, I can’t really say I have a ‘real’ friend at all- someone I see regularly.  I have a lot of colleagues and former colleagues; friends of friends, but to be truthful, it does not equate to friendship.  This reality is hard to swallow; the jealousy that comes with this is quite heartbreaking- seeing happy couples and happy people makes me feel incredibly hollow and sad.  The human connection- or lack thereof- is quite crippling.  Most people take love, sex and passion for granted- if you’re getting it, then why would you think about it?  Being someone whom developed depression quite severely (from a school age), my experiences have been limited- actually non-existence.  Rather than spell things out, a ticket to a monastery would not be out of the question- I am a newborn baby of sexual experiences.  I have not had a good night’s sleep for months; I am scared all the time; the physical symptoms of the illness are horrifying- that can range from migraines to barely being able to walk.  Throw in hallucinations and suicidality, and this is the reality of my life- yet people still say I should count my blessings and don’t seem that bad.  Surface appearances and book covers are depictive things- that you should never judge. I know I will go down in a lot of people’s estimations, yet I am not a closeted and home-bound bespectacled oddity- someone who probably defines what I am saying.  People’s preconceptions and judgments are almost as upsetting as the loneliness (of depression).  Robin Williams’ death was a wake-up call to the naïve and narrow-minded- it should not take a treasure like Williams for people to think.

Diseases and illnesses like cancer are understandably big concerns- charities that help to eradicate cancer are promoted and highlighted with regularity and huge importance.  Mental illness is a stigma and taboo that is still struggling underneath the rug- something that will never be truly recognised or understood.  Maybe people are scared by depression (and other mental illnesses) but a lot of it stems down to this- depression won’t kill you and you can cheer up, after all.  You know what?  Depression has almost killed my half a dozen times; it is not something that will ever go from my life.  When you wake up every day not sure if you will live to see the end of it, it is not something that should be ignored or diminished.  Social situations can lead to embarrassment.  Being a tall and not-too-bad-looking chap, I get smiles and furtive glances tossed my way- songwriters are sexy, after all!  The trouble is, I am almost physically incapable of reciprocating.  As attracted and touched I am by flirtatious attention, I have almost flat effect a masked appearance that is more commonly associated with Parkinson’s.  Maybe I have Parkinson’s- I fucking hope not- but I can come across as brooding and rude- when all I want to do is smile and be a human being.  That is what depression does to the individual- it isolates you from others and turns you numb.  Because of my fastidious work ethic and alpha male attitude, I am often (jokingly) called a ‘machine’- there is an upsetting truth to that.  Normal people can cry- it is a healthy thing to do.  I have not cried in seventeen years.  Everyone feels pain to an extent; physical hurt that slows you down- I do not really ever encounter that.  I am not going to list my patheticness and list of symptoms- there is dozens- but it is all leading to a point- awareness.

As much as I rallied against the pointlessness of the dreaded Ice Bucket Challenge, I recognised my indifference and anger- so long as money is raised, then what is the harm?  The trouble is, when the fad and fundraising wave has passed, people forget about things- how many people have donated to A.L.S. since then?  If you are going to get angry with people who critisise pointless challenges and stunts, then you need to back it up- keep the awareness going for longer than a few weeks.  It is impossible to make people aware of every charity every day- too few get caught up in fads and only donate when Internet crazes and social media dominoes start rolling.  Seeing others suffer makes me want to get up and do something about it- the world is becoming more unsure and scary by the day.  Having got the ball rolling on a music fundraiser- that so many people have said ‘yes’ to- I need to get some money together.  It will cost upwards of five grand for one day/night’s worth of music- in addition to getting everything organised.  It is proving Herculean, yet I feel I must take up my own challenge- the fact that so many musicians will be playing (for so many charities) is compelling and motivating.  None of us choose our births; none of us choose what illnesses we are afflicted by- at some stage of life everyone will suffer some unpleasant illness.  Coming from a family line with a predisposition to cancer, I am quite nervous about my future- it seems unfair I am 31 and have to shoulder too much.  Things- in that respect- will not change at all- that is the way society and people are.  What I wanted to get across was the ignorance and blindness that afflicts so many.  The people who will read this- one or two- and my most loyal social media clan understand everything I am getting across- too many prefer to ignore issues and brush people aside.  There are people worse off than me- which in itself is upsetting- yet there are far too many that are better off (than me)- that take their lot for granted.  I will wrap things up with a couple of points…

If you are in a similar boat to me, then I share your pain and you have my sympathies.  Music has been a therapeutic and redemptive source of nourishment.  One of my greatest pains is stage fright and nerves.  I know how well I can sing- people won’t believe me but you better take my word for it- yet the voice/voices are stuck in my mind- when presented with a microphone, I dry and succumb to huge anxiety.  Few will appreciate how painful that is- for someone who writes and wants to record an album, I am genuinely terrified I will not make it happen.  Listening to music is one of the most affirming and uplifting parts of my life- an ergonomic and inanimate force that is as human and real as anything in the world.  If you have that emptiness and hardship; if you think about ending things and getting that low- turn to music in the first case.  It is not an S.R.I. or lifeline, yet it provides a huge escape and sense of relief.  Above all, let people know how you feel.  I am not talking about family and friends- they are not always as understanding as you would imagine- but a wider audience.  Too many people are too scared to voice things like depression- that should change.  Social media is synonymous with compartmentalization and selfishness to an extent- if people are unwilling to share great music, then what hope to people like me have?  The thing is, it only takes a small step to make big changes- get people raising money for a remarkable cause.  I am trying to think of a way for people to get involved with mental health charities- a singular action that will unite people.  Like an Ice Bucket Challenge but something a little more connective and long-lasting.  I will keep you abreast next week, but I wanted people to change their attitudes- depression and mental illness is as serious as any cancer or disease; every minute you are reading this, depression will claim another life.

I hope I have not depressed too many people.  It is true my sex life is a blank card; my daily existence is a struggle against my own instincts.  I fear my lifespan will not be that long, as I may never achieve what I want in life- a music career; marriage and a chance at happiness.  In spite of all of this, it is other people who keep me alive and sane- the need to help them and connect.  I circle back to my original point; the issue of manners and looking up.  Too many eyes are cast to the ground; too few let the elderly struggle with shopping- too many ignore minor needs (and chances to be a better person).  If you have a love life and happiness, you should be compelled to help others; if you do not, then there is a necessity to do so- nobody has an excuse to overlook those in need.  Perhaps this blog is a chance to vent and let things out- the last few days have been very hard and unforgiving for me.  I want to encourage anyone reading to do some small things; make tiny changes and become more conscious of others.  If departed and recent pioneers such as Stephen Sutton have taught us anything, it is that helping others can bring everyone together.  I know a few social media friends that go through depression; one or two date depressed people- asking me how to deal with it or telling me how hard it can be.  It is not something that is easy to answer and explain- if you do not go through it, it seems impossible to put things into words.   The point is, it can be scary to live with- if you on the outside looking in, the experience can be terrifying.

My heart goes out to anyone that struggles more than I do; my anger goes to those who do not give a crap- people like that do not deserve to be more fulfilled and happier than me.  Things need to change and get better.  I am not suggesting everyone needs to do anything physical- attitudes and perceptions need an overhaul.  If you do nothing else, then hold a door open for a woman; give your seat up on a train- ask someone how they are doing (and do not ignore the answer).  As I figure out a way to get more people talking, I want to offer a genuine hand to people.   I email and converse online with a lot of my social media peers- I shall never see most of them as long as I live.  If that is the case, then get in touch- if you need to talk; get ignored- let me (and everyone else) know.  Keeping things private augment the loneliness and sorrow- social media takes away the human connection and forces insularity and selfish behavior.  If this trend changes then so can people in general- only then can so-called ‘invisible’ illnesses be recognised and given their rightful attention.  Until things start to turn-about; narrowness starts to expand, remember the sane words of Radiohead (and the song Optimistic): “You can try the best you can/If you try the best you can…the best you can is good enough.”

To that end…

Words and sentiments can only go a certain distance.  Actions are the most important thing- when it comes to making a change.  I know I have developed into a bit of a charity bore- I hope it has not become too tiresome.  In addition to raising the money to stage the music fundraiser- it may take longer than expected- and doing my half-marathon events, it occurred to me: there is an easier and faster way of involving everyone to a common cause.  The Ice Bucket Challenge may have had its detractors and cynics, yet it seems to have captured the imagination- raised a lot of money in the process.  The problem with this proposition may be at the grass roots- getting the message and idea spread beyond my circles and spheres of influence.  In the same way the I.B.C. was shared and involved thousands of people; I would like to jettison a similar idea- raising awareness for Mind.  Called Time out of Mind- I hope Steely Dan do not sue for copyright infringement- it would work in much the same way.  Whereas the A.L.S. awareness was about getting soaked, I thought something more personal and meaningful is in order- hence the title.  There is no need to run the idea past the charity- of course they will be informed- but I do not want the momentum to die and fizzle- within a few days.  I can get things kicked off, but the concept is to take 15 minutes out of the day for Mind-  do something different; a new thing that has never been done.  It can either be writing a new song; telling someone how you feel about them; a personal challenge or stunt- it must not take longer than 15 minutes.  Whether a video is being posted- with a song, message or film piece- it can encourage artistic creativity.  It can be a photo or writing; a personal challenge- crossing something off of your Bucket List- or something you have always wanted to do.  Whatever the individual does, three things must occur: it must follow guidelines (no rudeness or anything inappropriate); you must nominate three other people to follow suit (who in turn must comply; then pass it along...) and most importantly: YOU MUST DONATE.  This final point is the most important; even if it is a one pound donation- there is no way you can shirk this hurdle.  There will be a text number for Mind- one where you can donate three pounds; one five- a link to the website- where you can donate a one-off payment; or set a monthly debit up.   Anything can be involved- with the challenge- from sharing a song through to coming up with a film idea- there are no limits.  The point is not only to raise awareness for a charity- and keep it in the mind- but to challenge and push the donator- not just get wet and leave it at that.  I do not intend for it to be a gimmicky and fad-driven craze- it is a way to get the masses involved and donating; do something creative and put some thought and time into an idea.  I am aware that the idea may not even start; if it does, it may only attract a few people- I want to make it bigger than that; get through the barriers of social media!

I hope it makes sense and makes good common sense- if it does, then get back to me.  I only have a smattering of friends across the social media channels, so I am going to need a helping hand- get the idea pushed as far and wide as possible.  Not looking to steal any A.L.S. thunder- or market myself as a Stephen Sutton figure- I could never be that tremendous a human; just feel it is a cool and involving way to highlight a silent disease- ensure that some funds and recognition goes to some very vulnerable and hard-off people.  If it does happen, then I hope it could be big.  I am not keen in recruiting a few people- I want to get across to thousands (possibly more).  Because the act- the thing that each person will do- is not the same, then there is potential to circulate the idea (for many months)- have people come back to it months down the line.  Perhaps not.  All I do know is there are thousands like me- many worse off- that go through a daily struggle; tired of having to wear scars- to let people know what is happening inside.  Nearly all of us have, or will, be affected by mental illness at some stage in our life- if you fall victim to cancer or any illness, you will be depressed.  In the order cognoscenti; the bigger picture- mental illness is the fastest-growing and most common affliction on the planet.  Money will not cure the problem fast; it will not necessarily cure a single person’s depression (or other mental illness)- it will help and make a difference.  Whereas cancer research is the most important step (to help beat cancer); mental illness relies on other avenues- shelters, housing, councilors and many other things.  Both causes are equally worthy- television and the media tends to overlook the mentally ill.  It doesn't have to- people don’t have to.  I want to know what you think; whether anyone will come join in- essentially whether they can help make the idea a huge thing.  Pie-in-the-sky or whatever, I will not give up on it (and myself).  I only need to know this…

WHO’S with me?

E.P. Review: The Indos- 50 Shades of Blue

E.P. REVIEW:

The Indos

 

50 Shades of Blue

9.4/10.0

50 Shades of Blue is available from 3rd November, 2014

TRACK LISTING:

3 Sticks of Dynamite- 9.4/10.0

Falling In and Out of Space- 9.4

Lovin’ You Was Easy- 9.4

She Drives My Gun Insane- 9.5

STANDOUT CUT:

She Drives My Gun Insane

GENRES:

Alternative, Indie-Rock

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Scotland is producing some of new music's finest acts.  The Indos are a band that do things differently; their music is that which lodges in the mind- and will not shift.  With upbeat melodies and everyman themes, 50 Shades of Blue has plenty of reflective heart- yet the abiding sense is of fun and hypnotic jams

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I was going to steer away from my diatribes regarding bands and band music…

But then a certain act has drawn me back in.  I shall introduce them soon, yet have been compelled to dive back into modern music’s band market- investigate the hot and the not-so-hot of the moment.  Royal Blood (technically a duo rather than a band) have been leading a charge; a few newcomer Indie groups have been sneaking in- mainly it is the solo artists that have been making the biggest impressions.  I am not sure why it is- I have postulated many times- the solo acts tend to do better than bands; strike the hardest and provide the biggest range- and resonate longest in the memory.  This is true of the mainstream, particularly- if you survey the last few months, think of all the lone stars that have amazed.  Aside from one or two interesting-ish groups, there has been a huge discrepancy and unbalance- I am not sure why this is.  One settling and soothing thought comes when you look towards new music- there are no shortage of tremendous bands and fervent acts.  From all-girl Electro acts through to bearded Grunge warriors, there is not exactly a quality shortage- you can find exactly what you are looking for.  One of the fastest-growing genres is Indie-Rock- possibly the two most prevalent and synonymous words you can find in new music.  I am not sure what the overall percentage is- probably 50-60%- but a lot of new acts play in this particular field- the genre is one of the most elastic and least rigid in all of music.  The Indos have arrived at a particularly busy time.  In 2014, the world has been treated (or forced to witness) a huge raft of new Indie (and Indie-Rock) bands- all shapes and sizes have come through.  One of the most unsettling and disappointing things about the ascendency and proliferation (of Indie-Rock bands) is the lack of precise quality- most of the new breed are hardly world-beating.  There are a few reasons why my theory carries some weight: the sounds stick too rigidly to other bands (usually Arctic Monkeys) and lack personality; the range- across albums and E.P.s- is brief; other points comes to mind.  When I have investigated recent Indie-Rock bands, I am always left a little ambivalent- I would love one band to stick their hands down my trousers and give it a good rummage.  The likes of Royal Blood may be a tad derivative- too many Zeppelin/Queens of the Stones Age-esque riffs and moments- and a little overrated- you cannot deny how immediate, pummeling and gripping they are.  Too many fresh Indie bands are negating the importance of gravity and force- tending to come off as too weedy, sanitary and banal.  Before I continue on my point, let me introduce my featured act:

Born and bred in North Edinburgh, The Indos are an alternative rock band who take influence from the mod, pop and heavier rock that emerged from British rock bands of the 1960's.  Mixing a blend of heavy guitar driven tracks with more melodic songs the Indos have created a unique sound.  The current line up came together in late 2013 and have gone on to cement a reputation as a quality band on the Edinburgh live music circuit in 2014.”

Greg Atkinson - Drums/Jamie Gilchrist - Guitar/Backing Vocals Treadfast Johnson - Bass Guitar/Michael Knowles - Guitar/Lead Vocals/Dando Myrillas - Guitar

I am not saying every Indie-Rock band needs to start copying Royal Blood- it would make a change from all of them parodying Arctic Monkeys- but they could learn some lessons.  Currently in the grip of a White Stripes, Supergrass and Muse listening frenzy, I have been hooked and addicted by one thing- that element of fun and electricity.  Whilst Jack White may not strike you as the most jovial and clownish leader in music- albums like Elephant are masterpieces of substance, style and sheer wonder.  Supergrass’ early career dynasty is rife with hypnotic and fun-time brilliance- similarly, Muse have summoned up their fair share of divine smashes.  Too many sapling Indie-Rock bands are overly concerned with being inventive and emotional- the latter only comes off if you have genuine talent; the latter is a risky avenue to walk too heavily.  I am all for balance and emotional levity in music, but I fear the spark, sex and swagger is fast fading- there are acts that are making sure the light does not extinguish for good.  The Indos are one of the bands that are keeping the sweat and tongue-poking adventurousness where it should be- firmly in the cheek(s).  Their debut offering has been stunning and seducing critics- over a month before its official release.  A band that gives few tells and insights- their social media output is still growing and developing- they are letting their music speak.  Having been conversing with their manager- a good friend of mine- I know what a wave the boys are creating- the good word is being proffered far and wide.  It is not hard to see why the lads are salivating slacked jaws- their slices of primal and gritty Rock marries seamlessly with their own brand of introverted and nuanced emotion.  Our heroes are not merely contended to lazily knock-off the in vogue acts- replicate some third-rate Arctic chill; they are a bona fide band of unique insight.  They may be starting out into the big bad music world, yet their early profferings indicate serious intent- that could well parlay into long-term glory.  Their ingeniously-titled debut E.P. contains over four dozen shades of blue- a colour that is deeply suited to the Scottish clan.  Not only can they pull off inner emotion and sensitive reflection; they can lace smut and sexual longing into wonderfully choreographed and realised jams- that mutate into Blues-Rock shades.  Although their quartet of songs has been enflaming and exciting reviewers and fans alike; they are a bit of an unknown quantity further south.  When new bands come along, it can be a tremendous task (making sure they get due recognition)- promotion, publicity and the like can be an exhausting endeavor.  While social media can help a lot- and local word-of-mouth is a useful tool- it is down to listeners and new fans to help get the word out.  I hope The Indos see their stock rise and explode- they are one of few new bands that are instilling and reintroducing the almost-forgotten flair of Rock.  Time will tell just how far the fellas will go- I am sure they will be festival headliners before you can blink.  There are not many musicians that come out of the blocks with as much fire, passion and distinction- ensure you become acquainted with a band that have no intention of remaining local and clandestine.

The Indos boys are starting out in the music world- taking those first steps into the arena.  For that reason, it is hard to see how they have developed- look at their past work.  On YouTube, you can hear some rough demos and snippets- indications of evolution and progression.  If you have been fortunate enough to track the lads since their inception; witness them as they take their songs on the road- it is hard to see just how much they have improved.  From reading live reviews; fan comments and the like, it is evident The Indos have made some strides- grown in confidence and passion.  The songs- on 50 Shades of Blue- highlight just how intuitive and natural the boys are- their recorded cuts have a great live sound without coming off as bare and unprofessional.  It will be fascinating to see how the band grow and mutate- if they will launch an album; retreat maybe and hone their live sound.  From what I hear, they are a pretty reputable name on the road- deftly able to seduce and entrance all sorts of crowds.  What I would expect is for more music to be on their mind; they will be planning future singles- maybe an E.P. for some time next year.  Over the course of a quartet of songs, Edinburgh’s Indos are sure to get tongues wagging.  Even though their E.P. is not unveiled under November, I know there is a lot of demand- the early buzz has been positive and universally positive.  Personally, it would be great to see the band develop a full L.P.- expand their sound as much as they can.  At the moment, it is best to keep grounded and realistic- concentrate on the band’s current work.  Unlike a lot of their peers, our boys do not suffer from lack of invention and quality- they have enough potential to suggest some very endeavoring future movements.  It is clear 2015 will provide multitudinous possibilities and chances; the lads will be getting gig requests and some great demands- I am sure the group will be coming out of Scotland and taking their sound on the road.  One of the most frequent things I hear is from various acts and artists- claiming their fan base do not extend to the southerly regions (and cities like London).  This conundrum and aliment may be because (the acts in question) do not have a varied and popular sound; perhaps they are not putting themselves out there- London and the like are waiting to witness special and striking music.  I feel The Indos will not have to wait too long until they are called down here- the crowds of London are likely to eat up The Indos’ brand of stirring music.

The Indos themselves are pretty coy- when it comes to listing their influences.  Every band and act is compelled by others- some obviously so; other less.  The Scottish five-piece are pretty hard to tie with any others- nothing glaring presents itself.  There are embers of other acts here and there; shades of the odd familiar sound- by-and-large the boys keep things fresh and original.  What you find with the band is their need to distinguish themselves- come across as their own men.  Plenty of energy and innovation comes out in their music; muscle and energy is all evident.  Rather than lob other bands and artists their way; try and find out which acts make them tick- it is best to look at the components that go into their music.  The rampant and youthful sense of swagger has hallmarks of the current Indie-Rock explosion, in addition to hallmarks of the Britpop uprising- the bands and masters from that time have made an impact.  The Indos draw in elements and sounds of their local streets; the local bands to them- combining those sounds with some classic elements.  Energy and passion are as evident as nuance and consideration- the quintet have a keen ear and eye for balance and pace.  Their music does not stick rigidly to a particular sound or direction; it does not cling to predefined models and expectations- there is elasticity, surprise and huge mobility.  What The Indos’ E.P. offers forth is a brilliant mix of contemporary, classic and personal- few modern acts take the effort to blend these considerations.  The darlings and champions of the current scene lean too heavily on obvious avenues; narrow their ambitions and come across as too obvious and predictable- The Indos are not going to settle for any of that.  If you are looking around for similar acts and artists- that could have inspired the boys- then it is best to listen to the bands of Edinburgh- the young and established attists that dominate the hearts of the city.  While most contemporaries are inspired by the Artic Monkeys and Oasis’ of the world; our five-piece are less predictable and stifle- there is a concerted effort to stick in the imagination and present music that is hard to compare (with anything else).

3 Sticks of Dynamite begins less with a triple bang- but a slinking and sensual Blues lick.  A lascivious and too-cool-for-school swagger greets the track.  The riff is infectious and finger-clicking; bubbling and sizzling- remaining Blues-infused and ice-cool.  Joining the fray is percussion which crackles and snaps- the twin pillars give the opening moments a huge weight and glorious architecture.   In fact, the entire band combine wonderfully in the introduction- you can hear each player and element come together to create something rousing and uplifting.  When our hero walks to the microphone, his voice is firm and determined.  It would only take three sticks of dynamite to wish his life away- blow apart everything he is.  The lines and thoughts are not delivered with overt sadness and anger- there is a relaxed and matter-of-fact sound to the vocals.  Having lived a hellaciously busy and fun two decades- playing “broken records” and playing in a band- our man is going to end it all with a bang.  The song grips you from the off.  Not only can you detect a very clear accent come through- few Scottish bands actually sound Scottish; they tend to turn to England or the U.S. for vocal inspiration.  The other striking point is the words themselves- what they mean and what has inspired them.  It is clear our hero has worked hard and seen a lot- struggled and battled in the music world to make things happen.  There has been strain and repetition; some hardships and pains- you know just how much it all means (to him).  The dynamite fuses are lit- but burning low- and (old records are sounding the same)- there is some fatigue and dissatisfaction lurking in the midst.  Perhaps the past has seen our hero (and his band) not get their recognition- perhaps they have felt isolated and balkanised.  There is a determination to make things right; claim glory and change things up- get the just rewards (that he has been working hard to obtain).  The band combines seamlessly to summon up quite a mood; the festival of sound is entrancing.  Our hero is playing and not complaining- he needs to make some plans.  Life is going well; not quite as good as it could be- that essential bang is needed.  The frontman is putting an end to games and shenanigans; the dynamite is lined up and the potential is all there- this song is the declaration of what is to come.  As the song comes to its end, you start to sing along and become caught up- the chorus especially is addictive and highly memorable.  Although the track is a relatively short and concise one, it manages to pack in a lot of punch- without throwing too much into the composition.  The words and refrains are those everyone- in the music world- can relate to- that needs and desire to change things and follow dreams.  Following on from this empathic track is Falling In and Out of Space.  Twanging and low-down bass notes get the song underway- there is a slight Grunge sound to the initial notes (sounding a bit like Nirvana’s Stay Away).  From the opening track’s buoyant and compelling highs, here we have something more inward and dangerous- a sound that keeps the mind primed and ready.  Crackling percussion, spinning guitars; dizzying embers all combine (soon enough)- another stonewall gem is forthcoming.  Few bands manage to make their introductions stirring and memorable- The Indos have crafted a pretty awesome one here.  The boys tangle and merge to come up with something both melodic and hard-hitting- a line that gets inside your head and tantalises the senses.  Driving and pushing, our hero comes to the fore- alarm bells are ringing around his head.  Our man does not want to go to work; look at anyone’s face (you and me both)- that sense of fatigue and dissatisfaction are back.  From the opening salvo’s tales of ambition and musical imbalance; here we see that subject broach once more- the boredom of the humdrum; the need to do something more meaningful and passionate.  Like its predecessor, the track is sprite and catchy; it bubbles and dances- a sense of fun always shines.  When vocals are layered and combined, the atmosphere rises and swells- our hero is not coming to work; instead he is packing his bags- heading for a new land and place.  Running from the world, he is falling (in and out of space).  A song to move your feet, inspire the tongue- get the fists lifted- it is a compelling and seductive jam.  Sick of the same old routines and day-to-day, that unrest and annoyance is clear- who wants to be stuck in that rut?  Motivated and inspired by bigger ambitions, our hero is escaping his job; fleeing and hitting the road- you can hear that relief in the vocal performance.  The entire band are magnificent and magnanimous throughout- the playing is exemplary; the support just right.  No player wanders or hits too hard; there is a real sense of balance and unity- the composition is a busy and catchy diamond.  Cutting and slicing; upbeat and introspective, there are contradictions and mixed emotions- a full-bodied track that catches you off guard.  Not expecting such consistency and quality- from a new band- Falling In and Out of Space is one of the most true and relevant songs (the band has penned)- a track that resonates with almost all of us.  Past the half-way marker, Lovin’ You Was Easy promises something less work-focused- taking us into avenues of relations and love.  A typically impressive introduction kicks things off- that marries The Kinks’ You Really Got Me with embers of The Libertines.  Both light and sexualised, the guitar work is particularly impressive- when mixed with leading and driving bass, it is a stunning and exciting sound.  Displaying some sounds of ‘60s Pop, The Indos take their minds back to a better time (for music)- a song that is sure to draw in fans of this generation.  Our frontman recollects past times: when making plans and kissing (his girl); it seems that those times are still on his mind- the good times it seems.  In his dreams, our man adored his sweetheart- things have now changed.  The walls have caved in; the situation has changed- our man is imploring his girl to go; to get out of his thoughts.  Although it was easy loving his girlfriend- you can imagine why- there has been a fall-out and seismic shift- whether a rift has separated them (or boredom has set in)- you cannot relive the past.  Once more, the Scottish quintet keep the atmosphere tight and upbeat- the vocal performance is engaging and stunning- the composition mixes shades of ‘60s Pop, ‘00s Indie and modern-day Alternative sounds.  The band themselves sound like no one but themselves- you would be hard-pushed to think of other groups (when listening to the song).  Dragged under by the waves of pressure, our hero is fighting the tide- trying to get some freedom and emancipation- for good reason.  His girl made his laugh and happy- and turned-on it seems- but never provoked and spiked his mind.  Perhaps a rudimentary and one-dimensional love, our man needs something deeper and more complete- maybe music can provide the necessary heal.  A short and staggering burst, the band grows with confidence and meaning-as each track unfolds.  Once more, the bass leads from the front- She Drives My Gun Insane has a clambering and sweaty early promise- something tongue-licking and charged comes out.  Although the mood is quite levelled and composed- you know something dirtier and sexual is pressing (underneath).  With a ‘60s head, the song has all the charm and captivation of the Power-Pop revolution.  Our hero lets his voice calm and soothe- recalling his girl and her healing spirit.  Our frontman is on his knees; buckled and hooked by his seductive lover- someone who is causing him all sorts of pleasures.  With a chorus that is as gripping and memorable as any, the song is a lofty and heady brew- one of the most positive and uplifting tracks (the band has produced).  Gone are the regrets and anxieties of modern life- here is something more contrite and impassioned.  The vocal is particularly stunning to hear- instilled with ample passion and pure conviction.  The composition is urgent and pressing- the band is at their peak here.  Hooked and gripped by the mellifluousness and calm of the song- you cannot help but picture the heroine.  An alluring and Siren figure, she has caused quite a ripple- our hero seems to be lost in the thought of her.  A song that is sure to be a sing-along festival favourite- it is the perfect way to end the E.P.  Not only does the track capture the imagination- it leaves you wanting more.  The band manage to leave mouths wet and waiting- there will be huge demand for new music.  Across four brilliant tracks, you get a great assessment of a very unique and impressive band- boys that have a big future ahead.  Having mined a sound and vein of music- that few other acts have stumbled upon)- I cannot wait to hear more from there.  50 Shades of Blue is certainly one of the most immediate and fully-rounded E.P.s I have heard all year- a scintillating and staggering debut.

Across the four tracks of 50 Shades’, the boys of The Indos manage to pack in a hell of a lot of effort and memorability.  I mentioned how original the guys sound; how few other acts come to mind- there is a true and endless sense that they are indebted to nobody.  Of course, there are some tiny shimmers of other groups (in some moments) but it is the distinct and unique voice that (makes the E.P.) such a winner.  No two songs (on the E.P.) cover the same ground- not in an obvious way- so the listener is always treated to something new- the band manage to retain their core and key sound without compromising anything.  Whereas a lot of Indie and Rock bands possess limited flexibility and surprise, The Indos are relentlessly fresh and innovative.  Buoyancy, fun and energy goes into the E.P.  Each of the songs manages to get you up to your feet; there is danceable and merriment to be found- enough introspection and emotion nestles beneath the notes.  Before I recommend and congratulate the players (involved), it is worth summarizing 50 Shades of Blue.  It is an E.P. not quite as saucy as its title suggests; not as dark and depressed- there are ample shades of red, yellow and…well, every other colour you can think of.  Being a Scottish band, there is grit and fight to be heard; brave attacks and natural spirit- an incredible musicianship that never relents.  The songs have the potential to translate into the festival circuit; enflame and rouse legions of fans- there is a catchiness and addictiveness that never lets go.  Greg Atkinson leads a percussive assault that adds vibrancy and hard emotion.  Tuneful and composed the one moment; determined and swaggering the next- he adds an elementary and firm backbone.  Never allowing his performances to become too intense or needlessly reckless, the drumming is sturdy, impassioned and playful- matching whatever is being projected in the foreground.  When songs are fun and charming, Atkinson is up to the task- when more inward and angered, he is capable of summoning up the mood.  A lot of drummers- in other bands- tend to get pushed into the back; left to keep time and do their thing- never really allowed to shine and come up front.  The Indos have a democracy that means Atkinson is on a level par; he is given an equal vote and allowed to flourish.  Because of this, there is an effortless and breeziness- that results in some consistently stunning and powerful performances.  Jamie Gilchrist provides backing vocals and guitars- blending in perfectly and inputting an enormous amount of weight and authority.  His guitar work has all the sensibilities and trademarks the modern music listener demands: power and pace; surprise and unpredictability; unique ideas and ideals; passion and flair aplenty.  Hypnotic and gripping when required, the strings bleed and echo- when the emotions are more settled, it is tender and softer.  The entire band are tight and impressive throughout; Gilchrist is one of the most natural-sounding and assured guitarists on the scene- his inimitable vocals blend perfectly with the hero.  Treadfast Johnson is the bass king and guider- the one responsible for leading the songs and keeping everything focused and controlled.  Lyrical and melodic; fervent and spiraling- Johnson has his own personality and way of doing things.  A great percentage of bands are not noted for their bass work- it seems to be a minor facet that is overlooked.  If you look at all the great and most varied bass players- everyone from Kim Deal to Paul McCartney- they are synonymous with their personal approach and styles.  The Indos are lucky enough to have a player that does not put in the bare-minimum- he puts in a solid shift.  Possessing a lot of different shades, layers and approaches, Johnson is the consistent and reliable heartbeat of the band.  Dando Myrillas adds to the guitar army- leveeing in his strings and ensuring the force and majesty never drops.  A captivating and intuitive performer, Myrillas is responsible for a lot of the E.P.’s most uplifting and memorable moments.  50 Shades’ contains a great amount of spoil and tussle; the energy and swing never lets (its grip go)- the stunning and authoritative guitar work is synonymous and radiant.  Adept at conjoining with his cohorts, or else going out alone, the guitar work is endlessly nuanced and fascinating- retaining a unique voice and original intent.  Too many Indie and Pop/Rock bands throw guitars in the mix to make noise and commotion- there is little consideration toward rhythm, style and diversification.  The Indos’ sound is one built around movement and addictiveness; potency and pride- they are a band that have few equals.  Michael Knowles is the voice behind the songs- the man that gives life to the lyrics.  Playing guitar- as well as singing- the hero has a very particular voice- you can hear the native accent come out.  Not willing to Americanize the tones; mimic any other singer- Knowles retains his natural voice; making the sounds and sensations that extra bit special.  Filled with energy and passion; hard intent and sexuality- with every other emotion nestled in- he is one of the most mobile and wide-ranging singers about.  Never succumbing to overt wailing or whining, every note and vocal is assured and controlled.  Not a preening and copycat singer, Knowles puts his all into the performances- a leader that is led by his own instincts and ideas.  The lyrics (throughout the E.P.) do not keep their mind in one particular area- there is plenty for everyone.  Most bands- who play in the same genre- over-personalise things and tend to put too much of themselves into tracks- that revolves around broken love and fractious break-ups.  The Indos have a greater depth which means songs go to the streets; they go behind closed doors- there is story and filmic quality in their rhymes and couplets.  The abiding take-away (from the E.P. and band in general) is fun and catchiness- anthemic luster and glorious tunes.  The E.P. is going to be one that will see the boys in greater demand- there are plenty south of Scotland that would be clambering to hear The Indos.

I have probably expended and exhausted every adjective (to describe The Indos).  In the music scene, the avid- and short-sighted- listener is always looking for something new and fresh- damned by any samey and predictable act.  Music is about as gender-blind as any industry out there.  I am finding myself more impressed by female solo acts more than any (style and form of music/genre).  It is the invention, individuality and personality that compel me- that vocal balance of sweet and powerful.  Male bands are more widespread and common (than female ones) and as such, are in my thoughts- I find that too many bands are stale and lack necessary invention.  As I type, I am listening to Royal Blood’s south coast blend of primal riffs- there is something troubling about their rise to prominence.  Although I was one of the first reviewers to feature them, I think they have room for improvement.  From the opening riff of the lead-off track, there is a sense of disappointment.  Whereas some bands have a unique and distinct voice, Royal Blood seem too much a conglomeration of other acts.  The voice and riffs of Jack White come out; the anger and staccato beats/guitars of Rage Against the Machine are evident.  Throw in some Beastie Boys attitude, Artic Monkeys swagger; Queens of the Stone Age sensations- with a dash of Led Zeppelin into the mix- and that is Royal Blood.  It is impressive that they instill the memories of some of music’s greatest ever artists, but you have to wonder: how hard is it to do; where is the originality?  When their second album arrives, the public- and reviewers like me- will want to hear something that is THEIRS- sounds that break away from copycatting and mimicry.  Regardless, there is a desperate need for originality and difference- acts that possess huge quality, yet do so in their own inimitable style.  The mainstream throws up few worthy examples- new music is where the quality is being found.  The Indos are one of a small group of acts that manage to pack an immense amount of wallop (into their songs) and never really lose focus and momentum.  Their 50 Shades of Blue may be the first step (of many), but it is clear the boys are not in it for the short haul- you know that they want to be owning festival stages very soon.  Without succumbing to histrionics and over-exaggeration, I am confident the quintet has a great future ahead of them.  The debut cut is the most important (for any musician)- the early chance to see just how good they are.  Whereas a sizeable chunk of new music is dominated by vague and homogenized Indie artists, there are bands that want to be different- keep shades of the genre without coming across as just like everyone else.  Slippery, sensual, sexy and salacious; hard, hormonal, hectic and huge- the guys manage to put you in the mood.  Their sounds are not merely point-and-shoot toss-offs- they have a flair and sense of intelligence few of their peers possess.  Nuance and credibility comes through in every moment; there is ample melody and layering- enough solid musicianship to please the snootiest of fans.  What the band’s E.P. provides is a glimpse into a hungry and eager clan- what is currently going through their mind.  It will be great to see where they go from here; whether 2015 will see another E.P. developed- or an album.  What I do know is the five-piece will be embarking on touring and gigs- getting their sounds out to the masses.  Based rather far north of London, I hope the lads get themselves down here- their music will find masses of loyal ears down my way.  Employing some of the magic (of music’s finest acts), I have been left deeply impressed (by The Indos).  If the group comes play London I will be sure to come and see them- reviews suggest they are a formidable live proposition.  I will end the review with a final point- something that will always bother me.  With the mainstream producing mixed results and fly-by-night heroes, eyes are naturally cast towards the new- and underground—generation of musicians.  From the fire and fuel of expectation come some rather limp and lukewarm embers- artists that lack necessary attack, memorability and talent.  The flipside to this issue is the ability to locate the truly great acts- sift through masses of acts and discover the best out there.  Perhaps these quandaries will never been eradicated and resolved; there will always be discrepancy and problems- so long as bold and distinct acts come through, we need not worry (too much at least).  When 50 Shades of Blue drops- in November- ensure you investigate it in full; follow the band now- on Twitter and Facebook- and immerse yourself in their striking brand of sounds.  They may be taking their first small steps into the wide music world, but they will be making big strides too- expect to hear a lot more from the Edinburgh brotherhood.  Across a quartet of tight and stunning tracks, the band has laid down a marker- a challenge to their contemporaries and colleagues.  With originality and distinction fading from music, it is pleasing to see a band that owes little debt to others.  As was said- about Royal Blood’s debut- that debt can be written off when there is plenty of fun (to be found).  The Indos manage to keep the fun and frivolity afloat; they tussle and hustle with determination- catch you off your guard on several occasions.  If you want an anecdote to the endless parade of faceless acts; those new artists that provide little tantalisaton- check out The Indos.  Their best days may be in the future, yet all the evidence and potential is here.  Their train has left the station with furious speed and steam-spewing pace.  Make sure you do the smart thing and…

JUMP on board.

[youtube https://www.youtube.com/watch?v=xCgJtVSibL4&w=560&h=315]

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow The Indos:

 

Facebook:

https://www.facebook.com/TheIndos

Twitter:

https://twitter.com/the_indos

SoundCloud:

https://soundcloud.com/the-indos

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The Indos’ videos available at:

http://www.youtube.com/channel/UCUI5nTaecJ3NsEXtJyvD-eg

Album Review: Blackburn Hall- Self Titled

ALBUM REVIEW:

 

Blackburn Hall

 

Self Tilled

9.4/10.0

Self Titled is available via:

http://blackburnhall.bandcamp.com/

TRACK LISTING:

49- 9.4/10.0

Ghosts In The Walls- 9.2

Steel & Wire- 9.3

Echoes Beat Louder Than Drums- 9.3

Black’s Forest- 9.4

North American- 9.3

Stop Singing- 9.4

Common Man- 9.5

Highways- 9.4

The Attic- 9.4

Walk Into The Sun- 9.4

STANDOUT CUT:

Common Man

DOWNLOAD:

49, Black’s Forest, Stop Singing, Common Man, The Attic

Recorded at The Gas Station by Dale Morningstar Additional Recording by Mitch Bowden and Graham Walsh Mixed by Graham Walsh Mastered by Andy Magoffin at The House Of Miracles

Pete Hall - Vocals, Guitars, Lap Steel, Keys, Banjo Adam Melnick - Bass, Keys Dan Empringham - Drums Alex McMaster - Cello Graham Walsh - Keys, Soundscapes Julie Fader - Vocals Terra Lightfoot - Vocals

RELEASED:

30 September 2014

GENRES:

Pop, Indie-Rock

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The Canadian trio have amazed critics and blown away listeners.  Drawing in different musicians and sounds, the band have produced a stunning Self Titled effort.  If you are not familiar with Ontario’s Blackburn Hall, be sure to pay a visit- and keep coming back for more

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IT is not going to be long until...

I give up reviewing and put it to bed.  It is not to say my featured artist is not fantastic- they very much are- it is the fact its interest and fascination has decreased.  It may seem like an odd thing to announce, but in the next month I will be closing the blog down- reviewing only from 2015; maybe doing the odd review here and then.  It is not down to the fact that the quality of music is decreasing- there are some less-than-impressive moments but it is the same as it ever was- the fact is that bigger things await.  Having recently announced a forthcoming charity fundraiser- I am starting to focus my attention outwards.  Not too much good can be achieved from certain endeavours; the only way you can do well is to think of others- less fortunate and make a stand.  Too few current acts look towards others and help the general community- there is a consensus towards inner ambition and personal campaigns.  My general point is that life is throwing things in front of my.  My home life can only be described as horrendous- stuck in an atmosphere I detest and drains every ounce of me.  Lack of finance and extreme fatigue is sapping the life from me- music and escapism is my only form of comfort and positivity.  Aside from my better and bigger plans; the movements away from day-to-day predictability- great new acts are still surprising me.  In spite of the fact some recent review subjects have not shared my work- something that makes walking away so much easier- the sounds and variations are deeply impressive.  One of the biggest woes- when looking at new music- is the homogenization and lack of originality.  With every new band or act, you can always predict what is coming; you are never blown away and the mind is rarely nurtured- when a great act does come along, it always makes the week more bearable.  Over the last few months, few artists have genuinely resonated in the imagination- the pressure really does seem to be on.  In the modern scene, you need to offer a lot more (than what you think); step aside from derivative tendencies and come up with something unique and fresh- so few musicians come across as different and striking.  For every wonderful and genuinely great act, there is a hopelessly tedious and banal band; a stunningly awful Pop artist- it is not the way to inspire the new generation of musicians.  Stepping away from the negatives of reality, there are some acts that get the point- know how important it is to stand out from the crowd; not just plod out the same woeful standards.  Luckily, my featured act has something about them; combinations and sounds that have entertained and compelled my mind.

Blackburn Hall is a Canadian collective that are a little sparse (at the moment).  In terms of social media output, it is a little lacking- In need of some proper biography and back story; a bit more flesh and body to their Internet spread.  It is hard to dig up too much information about the band; where they are heading- how they have come into existence.  Hopefully this will be rectified as soon as possible, because the Ontario band is one of the most distinct out there.  I have received hordes of review requests from Ontario musicians- no idea why the hell the rest of Canada is so quiet and dull; it seems this part of the country are awake and genuinely ambitious.  Blackburn Hall does not need to stress too much about their visibility and brevity- the reviews coming in (for their debut L.P.) have been hugely positive and impressive.  Peter Hall’s new crew has turned in an album filled with crunchy and hard riffs; compelling moments and diversions- consistency that is not to be overlooked.  Too many modern acts negate every necessary consideration- they do not produce solid albums; their sounds are not varied; they seem to lazily string together riffs and ideas.  Blackburn Hall has shown just how flawed pragmatism is- there is so much gold to be found in idealism and rebellion.  Their Self Titled (missing as it is a hyphen) cut is rife with packed and busy tunes; orchestral sways and grand moments- plenty of mesmeric riffs and dizzying choruses.  Canada is one of the most fervent and stunning musical nations of earth- producing some of the most brilliant and joyous bands of the moment.  It would be nice for acts outside of Ontario to get their arses in gear, but geographical stubbornness is outweighed by overall quality.  One of my biggest regrets- about my current predicament and tiredness- is the sacrifices I have to make.  As a musician and writer, I am limiting my ideas and output; having to put plans of the backburner.  As a campaigner and organiser, I find my time lacking and precious- real life tends to get in the way of everything.  It is great being a functional member of the workforce; having a regular job and earning money- reviewing has never earned me a penny.  The thing is, the daily commute is taking so much energy away from me- my great ideas and plans are being marginalised and reduced.  I guess that is the price you have to pay; there is never a good moment to get the best of both worlds- music is the outlet and sanctuary that everyone clings onto.  When new music is unsurprising and mediocre, the listener needs to look elsewhere- rely on the dependable charms of the best of music’s history vault.  When sapling acts get the blood rushing, then something great can happen- all those off-putting others seem less relevant and grating.  Blackburn Hall has taken the time to craft music that provides nuance and quality.  They are not the product of a marketing campaign and copycat instincts- the ensemble are among the most talented musicians about.  The former A Northern Soul pioneer has amassed a sturdy and scintillating conglomeration; a clutch of musicians that provide classical minimalism; Rock glory and multilayered variegation- sounds that you can never see coming or predict.  It will be great to imagine Blackburn Hall arriving in the U.K.; introducing their particular brand of song to our waiting ears- we have few comparable acts over here.  In a heaving sea of generic riffs and posing band pretenders, it is nice to hear a shake-up; unconventional wisdom that has maturity, youth and passion- embers and realities that far supersedes the watered-down soup of the majority of contemporaries.  I shall not rant and moan on, suffice it say, it is refreshing to hear an act that does not take the easy way out- there is craft and intelligence to their music; a mixture of simplicity and complexity.

When looking into previous work, it is hard to draw up too much backstory.  Blackburn Hall is a relatively new and fresh endeavour.  Hot off of the blocks, their current album is their most completed and fully-fledged work- the real chance for the public to witness an incredible and stunning band.  The tracks on offer- within the L.P. - are rife with difference and diversity.  It is hard to really pigeon-hole and label the music- putting it into genes- the best way we can look at Blackburn Hall is through the complete picture- the sort of sounds and songs that are being offered up.  Many reviewers and critics have pointed out how varied and different the work is; how many different strands and avenues are crammed together- without it sounding forced or scattershot.  What Blackburn Hall do is to convincingly master every genre they play- the experimentation and authority is hard to ignore.  When listening to their album, I was taken aback by how mesmerising it was.  With each new song comes new ground and fascination- it bodes well for the future.  It will be hard to see where the band will go from here- whether they produce another album; an E.P. or single- what they will choose to do.  I would love to hear another come forth; see if the guys stick with their varied sound- or hone it slightly.  What you can guarantee is that (whatever comes) it will be packed with huge quality and surprise.  Few bands have an overall sound that takes in so many different possibilities; that which can entertain and seduce a wide range of listeners- make everything sound completely natural and complete.  Blackburn Hall has plenty of ammunition and longevity appeal- they will be on the scene for a fair few years.  Most bands and acts start out quite timidity; lack bravery and instant charm- choosing to put out a single or E.P. to get things going.  If you do decide to pull together an L.P., you have dangers present- is it going to appeal to listeners that are encountering you for the first time?  Not only does it have to hold the attention- which is remarkably short today- but result in repeated demands and fevered praise.  Being a (music) market filled with disposability and short-term lust, it is harder than ever to make your mark.  Blackburn Hall has enough confidence to go in all guns blazing- put out an album that is going to leave everyone (that hears it) satisfied and won over.

When it comes to like-minded acts- one could compare with Blackburn Hall- there are few to choose from.  The band has such a distinct style, yet has been influenced by a few select bands and acts.  Death Cab for Cutie is an act that has had a bearing on the Canadian act.   If you look at an album like The Photo Album- the band’s 2001 work- it shows a lot of inspiration and drive.  The infectiousness of the music is only matched by the catchiness and sheer energy- the amazing range of moods and stories is enough to win over the steeliest of hearts.  Stream-of-consciousness vocals mix with confessional verses and aching performances- the vocals are heart-aching and uplifting throughout.  The melancholic piano and guitar moments are some of the most emotive and tender (of the time)- you can hear some of this come through in Blackburn Hall’s album.  The observational lyrics and cutting riffs add electricity and vibrancy to surroundings- something the Canadian collective have taken into their work.  Upward trajectories and optimism lurks alongside some downward arches and draining emotions- the mixture and balance is pretty perfect.  The Photo Album contained perfectly crafted songs and wonderful moments- it inspired new legions of fans and compelled contemporary acts to follow suit.  Daydreaming music was a soundtrack to pocket-size epics; slice-of-life dramas that hooked you and amazed the mind- the brains and emotions on display were of the highest caliber.  Listening to the album and you get a glimpse into a remarkable act- one that understands the importance of quality and keeping things fascinating.  Blackburn Hall have taken this to their chest and presented their own version of events- distilled all of their multiple charms and possibilities into a stunningly cohesive and nuanced record.  The Weakerthans are an act that many would not have heard of.  The Canadian Indie-Rock band may be well known in their native country- perhaps few of us here are aware of their work.   Left and Leaving remains one of their essential masterpieces; one of the greatest Canadian albums of all time.  From the striking and perfect album cover, what you get within is a political message in one- a statement that has its heart within political considerations; the brain and body with more melodic and traditional elements.  The staggering wordplay throughout caught many listeners agog- the literacy and intelligence throughout is of the highest order.  With stunning production values and atmospheric grandeur, the album is as true and distinct as any- a guiding light into another way of life; a way to live without having to apologise.  The truisms and insights have compelled a lot of current acts; including Blackburn Hall- there are similar and familiar edges within Self TitledAttack in Black is an act that has made a mark on Blackburn Hall.  A fellow Ontario Rock act that take in influences like Neil Young and The Ramones to create Folk-Punk gems.  Although Attack in Black pack in fewer instruments and sounds (than Blackburn Hall) the quality and wonder.  Attack’ has shown themselves as a tight and militaristic unit that has amazed critics and followers.  Albums like Marriage remain balanced and deep- merging ballads and soft numbers with upbeat stadium-sized themes and epics.  The band remains original and truly distinct.  Limiting themselves to traditional components- bass, guitars and drums- they manage to supersede expectation and hone songs that are sharp and stand-out- they have teeth as well as passion.  The final acts I want to bring in are Julie Fader, Huron and Terra Lightfoot.  On Facebook and social media, Blackburn Hall has called these acts influences- looked to them when creating their album.  Fader is a Canadian songstress that is a celebrated and adored artist.  Her album Outside In featured none other than Peter Hall- our hero and front man.  The gorgeous Canadian crafted an album of exquisite music; songs that touched the heart and enflamed the mind.  Whilst relatively quiet for the last few years, her 2009 L.P. remains a huge accomplishment- an L.P. that has compelled a lot of her country mates and musicians.  Although Blackburn Hall are a core trio, the musicians and sounds they bring in gives the impression of something larger and grander- they whip up huge atmosphere and epicness.  Huron and Terra Lightfoot represent two very different sides of the music world.  When thinking of Lightfoot, it is hard to overlook her beautiful talent and amazing appeal.  Not only a wonderful musician, she remains hugely influential and gripping.  These acts have all have an impact on Blackburn Hall- enforced their sound and inspired their direction.  Our intrepid trio has managed to push away from convention and write music that is very much their own- you are loathed to compare them with anyone else.  It is best to judge the boys on their own endeavours and what they have come up with- an album filled with treasure and stun.  In a placid and plastic music scene, it is great to hear an act that has their own voice and direction- they are not second-par and copycat pretenders.  Not only is Self Titled a brave and bold statement, it is a record that keeps on giving and offering- not easing from your brain for a very long time.  For any bands that are uninspired and stuck in a rut- they could do with taking a leaf from Blackburn Hall’s book and providing something unique.  Plenty of passion and Rock spars with tenderness and catchy riffs- a boiling pot of magic and variegated pleasures.  The band are shaping up to be one of my best discoveries from 2014.

49 begins hard and intently.  A catchy and passionate riff welcomes events in- the Rock feel is cemented straight away.  After an infectious coda, our hero steps up to the microphone.  As the story unfolds and images are laid in, that constant energy and impassioned mood keeps strong- little flecks and electricity jolts add and augment the layered sound.  Our hero keeps his voice levelled and firm- never allowing it to burst and explode at all.  Shotguns, stark characters and vivid landscapes are all laid in; the atmosphere builds and the scenic drive grows in expectation and meaning.  A central character is described and followed- someone who was never seen again.  With infectious and repeated codas, the track has that festival feel- the sort of song that could be chanted from the fields.  One of the biggest and most rounded compositions; it is a stunning way to kick the album off.  Our hero asks dera mothers to “hold on”- his voice straining and romanticised.  Without warning, the track builds and becomes jagged; stuttered and fragmented riffs blend with a fuzzed-out guitar sound; our man lets his voice pervade and campaign- imploring hearts to keep alive.  It is strange how quickly the song completes its assessments- it has such a relentless pace and quality, it seems to end before (the listener is ready).  Ghosts In The Wall begins with demented, contorted and snarling electronics; sounds that mesh and mingle- a car crash inside a nuclear holocaust.  With flavours of Muse and Queens of the Stone Age, it is another triumphant start that has the listener hooked in- quite a startling and stunning introduction.  Primal and galloping, the track shows its teeth- before opening up into something lighter and catchy.  The boys keep things tight and focused in the early stages; never allowing themselves to wander or lose attention.  The song’s subject is haunting and fearful; at night the secrets are lodged in the walls- spectral visions and weird scenes fill the mind.  Melodious and warm, there is a sense of comfort to the song.  As our frontman looks at small victories and tired ghosts, it is another vivid and original track- one where the words are almost as encapsulating as the music.  The band unite splendidly throughout; enver missing a step or beat, they summon a hugely impressive composition- one that has as much heart and pride as it does lust and barbed wire.  Echoed and wailing strings parabond with hard-hitting percussion and driving bass- the song never lets its grip go.  Switching between memorable and light-hearted verses and tight and edgy rhythms, the song has a terrific dynamic- one that is emotional and urgent.  Nobody can deny the charms and qualities of the song; it is an addictive song that is quotable and alive- energy and momentum lodge inside your brain.  As it comes to an end, you have heard two different sides to the band.  Hard to compare with any other acts, Steel & Wire is another new step- a song that starts off impressively.  Rambunctious and delirious, the swirl of electronics, percussions and keys is a terrific blend.  A soft and swaying song, our hero is at his most tender and passionate here.  The vocal performance is filled with life and intention- his words look at fevered babies and fires burning.  Trust and unity are subjects that are explored; darkness and lighter moments are investigated- it is a song that gets you thinking and imagining.  Chorused vocals and choral affects add beauty and serenity to the number; the steel and wire (of the lead figure) eyes is as sharp and striking as the song itself.  Possessing a distinct kick and constant movement, a huge and emphatic 1-2-3 is completed- few bands go in so hard and meaningful.  With a title like Echoes Beat Louder Than Drums, you might be expecting something epic and huge.  The opening moments have a calm and sense of demure.  Romantic and lush guitar edges blend with serene and smooth vocals- the cavalry is building and eyes are dead-set.  One of the album’s shorter numbers- it is still nearly three-and-a-half minutes- it is no slouch at all.  Whilst not as bombastic and memorable as the likes of 49, it is another track that showcases Blackburn Hall’s myriad sides and talents.  It is perhaps the vocal turn that impresses the most.  The band is certainly up to the task at hand- making sure the composition is as vital as possible.  Shivering and shimmering strings are set with wave-crash percussion work; the bass bounces and tumbles- the track certainly never relents when it comes to passion.  Behind windows, the echoes are speaking loudly- you can picture loneliness and frayed emotions; doubts and regrets.  The band never allows their lyrics to be dumbed-down and too direct.  There are oblique suggestions and open interpretations aplenty- on each number the listener can decide their own conclusions and meanings.  Black’s Forest starts with some echoed and ethereal build; aching and natural world strings that get to the heart- a perfect and still way to bring the song to life.  With Country and Indie tones, our hero’s voice is reflective- he looks back at his childhood and the forest.  Memories are recalled and brighter days brought in; the song’s subject is being looked at and investigated- ashes and dirt meet with mother and earth.  Looking at childhood pictures, the earliest recollections- you picture the story unfolding.  Farmhouses and infantile beginnings mix with current-day anxieties and concerns- it seems our hero has some burden on his shoulder.  Just as I was settling into some relaxed and nourishing waters of calm, North American takes your mind elsewhere- the opening notes are a cacophony of metal and mental.  Rampant and spiraling strings are backed up with punchy and determined drum beats- the bass guides the lads forward.  One of the most addictive and stand-out introductions, the song is a classic Indie-Rock example.  Few other bands capture you so quickly; there is intrigue and fascination from the opening moments.  Between the hard-hitting notes and smashes, there is plenty of calm and measure- the song has a great quiet-loud feel to it.  Like Pixies and Nirvana, Blackburn Hall are deftly able to go from tied-down and reflective to explosive and sky-scarping.  Jubilant and wordless vocals get inside your head; the ever-changing composition is one of the most impressive things here.  Buzzing and psychedelic rapture unites with smashing percussion- the band is hard to predict and anticipate.  With a drive-time feel and upbeat nature, it is a song that is perfect for warmer evenings and long drives- the kind of song you can become immersed in.  Stop Singing has some tip-toe and nervy beginnings; our hero looks at a heroine- the men she has been seen with and involved with.  Our man implores (his girl) to stop singing out loud; get a grip and focus.  Maybe the words hide different meanings; it is a song that contains multiple layers and possibilities- you are gripped by the grace and catchiness of proceedings.  Looking at song structure- and applying it to relations and life in general- it is a clever and original composition that could apply to contemporary bands or certain people.  The chorus is one of the most infectious and stunning on the album; a coda that cannot be helped but sung-along and chanted- again, it will translate well with regards festival crowds.  Common Man has anything but a common sound.  Although it has Indie flavours, it is a song that is hard to compare with any others- it is very much the work of Blackburn Hall.  An epic and grandstanding song, it is imbued with energy and utter conviction.  The decibel level raises as the band come together with force- trophy wives and good times are explored.  Looking at common people and real lives, you get the sense (the band is) rebelling against certain people- those that are not in touch with the everyday struggle.  With bills to pay, the common man is in the spotlight- the plight and life that is faced.  The emphasis on good times keep coming back; the servants are on their knees and the oppressed are kept down- it is a song with a social conscious as well as a feel for atmosphere and memorability.  A track that could well define their live sets, it is intended to get crowds singing and enflamed.  A busy and packed composition, there are no loose edges or missteps- you get that symphonic and orchestral feel to things.  Like Muse and their ilk, Blackburn Hall is able to crank up the drama without stepping into the realms of implausibility.  Highways is another soft and tender start.  Grace and passion unify emotion and intent- it is a gorgeous introduction.  Our hero looks at steady flows and engines turning- promises are also put under the microscope.  Our man never lets his voice do anything other than captivate and intrigue.  A philosophical and deep-thinking number, Hall is joined on vocals- ethereal contributions add to the majesty and sense of beauty.  The two voices- between Hall and his female cohort- blend perfectly; it is like a lover’s call.  Indefatigable lust and passion comes out; you cannot escape the purity and intent of the song; it is a wonderful example of Blackburn Hall’s calling card- that diversity and unpredictability.  The Attic gets things back on a springier footing; tumbling and hopping into view.  Our hero found a notebook in the attic; songs are contained- numbers that were never recorded.  Like a diary, our man looks back at his earlier work- Hall does not care for blue skies; preferring rain clouds instead.  Upbeat rather than melancholy, there is truth and honesty here- the best and most brilliant songs contain heartache.  Every love song has an element of negativity and doubt; each musician has had to face inner demons- that does not mean songs have to be morbid.  Here there is a celebratory and joyous mood; the band is at their most elliptical and joyous.  Combining their instruments, the trio ensures the song keeps packing in punches and surprises; the attention to detail is phenomenal.  Having begun Self Titled with a bang and sense of drama, our finale sees us Walk Into The Sun.  A bookend of sorts, we get events under way straight away- go in with the same force and grit as 49.  Here, the vocal is in straight away; the band do not spare time with an introduction.  The song has a familiar sound and presentation- sounding very much the work of the band- yet manages to distinguish itself from the herd.  Packed with plenty of emotion, detail and urgency, it is another incredible number- one that closes the album with a determination.  Not content to simply leave the listener satisfied and assured, the band manage to leave you wanting more- maybe squeeze is another track or two.  After witnessing having digested so many different and wonderful tracks, it is hard to pick a favourite- so many are close in terms of quality and consistence- and it is clear there are no weak or filler tracks.  I was left amazed at the professionalism, songwriting quality and amazing performances- after you have finished the album, you revisit particular moments and tracks.  An album that is sure to grace many people’s stereos and thoughts, Self Titled is one of the most assured and stunning debut albums by any new act.  It is clear the Canadians will make their name known much farther abroad- they have a sound that would be welcomes and adored in Europe and Australia.  I hope the trio make a date to come to the U.K.- it will be great to hear them in the live environment and see just how brilliant they are up close.

Across 11 multifarious numbers, the members of Blackburn Hall have created something stately, memorable and very distinct- an album that is very much true to their own inimitable talents and creations.  The Canadian band remind me of an outfit like Massive Attack or The Cinematic Orchestra.  There are core members and a tightly focus group at work- they allow other sounds and musicians add to their wonder and music.  Too many acts seem far too rigid when it comes to their creations; seemingly intent on allowing no external force have an effect.  If you can effectively wield guitar, bass and drums; make the best noise possible with them- good luck to you.  The trouble is, so few modern acts manage to achieve anything spectacular.  Modern artists like Royal Blood- having been nominated for a Mercury- have been gaining mixed review and some close scrutiny.  Although Blackburn Hall do not throw too many other instruments into their mix, the sounds and effects are stunning- there is enough depth and talent to suggest huge things.  Past bands like The Libertines and Supergrass could be heard (in certain moments); that youthfulness and abandon; at other times things are more restrained and focused- their album packs in so much difference and interest- few can ignore its potential and urgency.   Before I comment on the players, it is worth overviewing Self Titled.  I have highlighted at the additional musicians and collective feel of the band- there are not a huge amount of other players; the sound just feels orchestral and vast.  At the most intimate avenues, the band are able to summon up something quite grand and swaying.  The essential focus is on the three men themselves- the boys that make up the band.  Their efforts, contributions and personalities ooze out of every pore; mesmerise the senses and captivate the mind- they should have a big future ahead of them.  When new bands put out an album; go into the market with something full and complete- the results can often by underwhelming.  One of the biggest issues- when stamping an album- is filler tracks and the weaker moments.  Aside from some originality being lost- during L.P.s- there is that quality problem.  I can appreciate the necessity of making your voice heard- if that voice is not interesting or consistent, then it can damage a career irrevocably.  As I type I am listening to Supergrass’ sophomore album, In It for the Money.  Not only is it one of the most spectacular albums of any time period, it staggers me with its consistency and quality.  So much energy and pizazz crackles through; tenderness and romance is allowed- the songs are infectious and utterly delirious.  Few bands have managed to meet the benchmark of that phenomenal album- present something that has so many different colours, ideas and qualities.  In a way, the Blackburn Hall record seems to be a challenger- there are certainly some serious credentials at work.  Our hero and frontman has a distinct voice that laces each track with shades, contours and nuance.  Not just another boring and faceless singer, Hall is capable of injecting momentum, emotion and force into anything he sings- a captivating guider that gives the songs essence and vitality.  His guitar work moves in directions; it snakes and weaves; contorts and cries out- matching the diversification and possibilities thrown in.  There is never a lack of energy and meaning (by Hall)- throughout, he summons up passion and soul.  Few frontmen (and women) are as talented and original- often you get the impression they are not putting their all into music.  Hall is an artist that understands the importance of conviction and promise; the need to get inside the listeners’ heads- ingrain yourself into the consciousness.   Adam Melnick is the bass man with a huge personality and sense of self- his movements and contributions are stunning throughout.  Melody, rhythm and emotion is uttered forth- he is a musician that does not follow any other example.  When the bass work is strong and unique, it makes the songs all the stronger and more fascinating- that is certainly the case here.  Not allowing himself to slip into a comfort zone, the innovativeness and restlessness is hard to overlook- with each song comes a huge amount of effort and urgency.  Acting as a backbone and heartbeat, Melnick ensures the listener is aware of his presence- he never retreats to the background.  Splendidly combining with his brotherly duo, he whips up quite a sstorm- ranging from taut and tight muscle work to melodic and composed tenderness.  Dan Empringham allows his sticks to conjure up a festival of sound- pummel and determination spar with coolness and stunning rhythms.  Not overtly overpowering and forceful, the percussionist keeps time and composure; keeps the band in check- whilst making sure each song has a hell of a lot of vibrancy and determination.  Overall, the band combine effortless and naturally- the tight performances are what make the album such a treat.  As though they have been playing for decades, they are relaxed in each other’s company.  What you get from Self Titled is an exploration into their minds and thoughts; the personal insights and stories are there- plenty of mystery and mystique lingers.  Making sure no song comes across as minor and underdeveloped, the trio has clearly spent a long time perfecting their music.  The production values are exceptional throughout; crisp and clean- not too polished and needlessly gleaming.  An album that is sure to inspire a lot of new bands- not just in Canada- I hope the boys bring the 11 tracks over here- come and show London a real good time.  I could use them in my fundraiser- although the distance is going to be an issue; regardless, they are one of the most intent and memorable acts I have surveyed (for a long time).  Let us hope there is more music on the horizon- more chances to hear the trio do what they do best.

Music can be pretty capricious and unpredictable as a whole.  There are weeks and months where you get influxes of great music and different sounds- others it can be slim pickings indeed.  New music is much more vast and unfettered- there are no limits are restraints put in place.  For that reason, it can be incredibly difficult searching out the best and most fertile- getting past that inevitable wave of boring and below-par rubbish.  At the moment, there are few websites that limit the choices; tailor their site to reflect an individual’s tastes and discretions- maybe it is an impossible feat.  I have harked on about this a few times: wondering why there isn’t a music website like this.  Surely something can be put in place that unites ALL new music- something more interactive, descriptive and user-friendly than SoundCloud.  Sites like this are perfect if you know what you are looking for; if you want to uncover new wonder, they are not helpful or instructive at all.  I yearn for the day something arrives that dispels my stresses and woes- a website that has every new song and act on it.  From there, you could search by genre, style- a ‘sounds like’ section- and anything in-between.  That way, all listeners and music fans could go here and make it easier to proffer and celebrate the best out there- dispense with those that are pretenders and fakers.  One of the major problems with new music is that so much is buried deep and tucked away- a lot more is shoved in your face and gets in the way.  Regulations, order and organisation needs to be brought in- I fear a lot of wonderful acts are being lost amidst the clan of doubtful and meagre.  I shouldn’t focus too heavily on this particular point, because it may be an unsolvable conundrum- a situation that is irreversible and indelible.  What it all boils down to is whether acts like Blackburn Hall are getting their just rewards.  Assessing so many Canadian acts- mostly from Ontario- I can tell there is a huge amount of quality here; it is a region that is fostering some of music’s most exciting talent.  How many people know about this bedside me (and some native dwellers)?  It is not a known fact.  We all are aware of the likes of L.A. and New York; London and Manchester are obvious hotspots, too- how many of you are aware of the growing and vibrant Canadian music scene?  That may be another issue with the social media age- commentators, users and patrons rarely promote acts and nations beyond their own- they tend to keep their focus fairly local.  The media do not help too much- keen to keep their minds and pens trained on their own country.  There are a few blogs and sites that push beyond boundaries and go that extra mile- their combined influence is not enough to make a dent on the public consciousness.  How long can you yell in the dark before the lights are turned on?  Having waded through a sea of indeterminate music quality; sacrificed intellectual integrity (in order not to offend some acts)- I have been dreading reviewing lately.  Having decided to call it quits (pretty soon), I am glad there are some acts that genuinely do not disappoint.  Blackburn Hall have created a Self Titled album that may be a little short on grammatical correctness- it overcompensates with its musical innovativeness and wonderment.  The band is not really a band; they are a collective- a shared brotherhood and wonderful group of musicians.  The songs and sensations throughout the L.P. reflect a multitude of different genres, emotions and thoughts- they do not merely hone themselves and phone it in.  When guitar riffs come and play, they do so to maximum effect- not to plug holes and fill the air with noise.  When more romantic and symphonic segments are unfurled, they do so with mixes of grandeur and scintillation- never going on for longer than is needed.  There is that banquet of sounds and segments; something for every listener- an album that is packed to the seams with probability, motivation, style and substance.  The intriguing song titles only tell half of the story- dive inside the music and let it work its magic.  The variations and depth is there to entice, hook and seduce as many as possible- this is not niche music restricted to certain factions.  I shall leave you with another take on the issues of new music (and quality control) and getting the word out there.  One of my biggest regrets and angers is that I do not have more leverage and power- my influence is restricted to the walls and confines of my social media followers.  When reviews go out into the ether, they are often not shared and spread- if they are, few others take the trouble to get the word further.  That is one of the issues of our age- sites like Facebook and Twitter promote laziness and selfishness.  I have seen too many great musicians and bands stifled and defeated by the general public- the lack of benevolence and community is glaring.  They may not be solely responsible for the issues and problems within music- the people that use these sites are certainly not helping things.  There should be a way music like Blackburn Hall’s get appropriate love and following- I guess life is not as fair and just as it should be.  It may be the case there is no solution other than to keep trying- promoting as much as possible and hope that things starts to happen.  A lot of people in the U.K. are unaware of the massive bands and acts that dwell elsewhere- nations like Canada are proving particularly prosperous and scene-stealing.  If you do one thing this year, make sure you get off your bottoms and look further afield- take a risk and explore new lands and possibilities.  The best moments and situations arise when you step outside of your comfort zone- explore and take a leap.  When it comes to music, so many of us are sticking with the tried-and-tested- not willing to taste new cuisines and unexpected flavours.  Being a reviewer and songwriter, I actively seek out difference and geographical diversity- look for as much originality and newness as I can handle.  I do not expect everyone to be like me, but the point is you can unveil something wonderful- if you are willing to push yourself.  Of course Canada possess as many dodgy and unwieldy acts as we do here- the thing is, artists like Blackburn Hall show just what is out there.  With such a rife conviction, a sense of authority- something unique and engaging- they will find their demand go up and up.  If you have not dug their latest creation- make sure that you do.  Whether you like your music loud and impassioned; introspective and tender- classical and developed- then you will find what you are looking for.  I will be spinning Self Tiled- or S/T- one more time- investigating and picking apart its layers and elements.  I hope Blackburn Hall spread themselves a little further; get some more social media coverage sorted; make their name and voices heard loud- they should be developing and expanding as they make more music.  When they get a fully-fledged Twitter, YouTube, BandCamp, ReverbNation and Facebook assault sorted out- with some serious biography and photos- then they will get more listeners and fans into their camp.  They may have established a name in their native North America, yet Europe is a market that is a little underdeveloped and slight- it is territory they could conquer and own.  I shall do my best to get the word out, as a band like this are deserving of wider acclaim and appreciation.  Their new album has made me more relaxed and calmed; put woes and stressed on the back burner- it has made me less cynical and more appreciative…

THAT is what music can do.

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Where Words Fail...: Getting the Bands (Duos and Solo Acts) Together

Where Words Fail…

 

Getting the Bands (Duos and Solo Acts) Together.

I’m not sure if this will be a pie-in-the-sky thing; whether I should like a demented bride planning her wedding- an idea occurred that I could not get over.  To distract my mind from the horrible stress and anger of my home life; the rising tide of financial uncertainty (this month)- a wealth of other oddities and annoyances- something occurred to me.  I am always being asked (by acts I have reviewed and keep in touch with) to come see them.  From the Scottish warriors Universal Thee, London lovelies like Lisa Marini and Los and the Deadlines; Lincoln folk The Moth Lantern- Yorkshire wonders such as ISSIMO.  I have a huge love and respect for all of them (and the acts yet to invite me up for a beer) and one thing always holds me back- exorbitant train fares.  Having roughly bugger-all to survive on (for the rest of the month), I am finding I am home-bound and limited- unable to come up and say ‘hi’ to my music darlings.  As I type this, another journalist has been beheaded- religion kills again, it seems.  The sheer evil and scariness of life continues to fart in the Devil’s face; the lice and rats of human society are being given air time- shown in newspaper headlines and seeing themselves as martyrs and heroes.  As cowardly and pathetic as they are, you cannot how unpleasant and awful the outside world is- the world is a horrible and nasty place.  I am not saying it as a fatalist or to throw in the towel- there seems to be meagre glimmers of light among hailstorms of fire.  Two of the constants- that have kept me ticking and busy- are music and charity.  The former has seen me consecrate and solidify my music writing; start to- finally- recruit a band; get things going.  I am taking on managing a new band- local to me- and looking into managing a second- keeping myself nice and busy.  In addition, I am still reviewing and keeping my hand in- you can imagine how wonderfully rich my social life is at the moment (he says, ironically).  Charity is something I have not often- in the past- spent a lot of time (and money) on- mainly because the ‘charity muggers’ where I live are the most irritating humans on the planet.  Following family tragedies and a need to take (some form of) action, I have been involving myself in half-marathons- planning on completing one every three months (for a new charity).  This sort of brings me to my main point…

There are a good 30 or 40 acts (I have reviewed) I would love to meet; see in the flesh and share a drink (with)- I have been getting requests through thick and fast.  Whilst it is not economical or realistic to get all of me to all of them- it may be doable to get them all to me.  I am pretty determined- nay, psychotically determined- to pull together a charity fundraiser/event.  I have a list of my review subjects in front of me- there are 36 different examples listed.  I wanted to get all of them together (several will be reading this right now) and put them under the same roof.  I am looking at February next year- the night(s) of the 14th (and possibly 15th- depending on feedback and recruitment).  The event will take place in London, and aim to get all the tremendous bands, duos and solo acts to the capital- for one night (or two) of charitable debauchery; music festivities and a Valentine’s Day massacre of sound.  From Yorkshire stunners like Jen Armstrong, Allusondrugs and ISSIMO; Scots Universal Thee, London/Surrey-ites Los and the Deadlines, Lisa Marini, Nina Schofield and Chess- I want to do this.  Let me explain a bit further…

The Name:

Where Words Fail…

Dates:

I had originally intended to have this set for Christmas time- or around the 23rd December.  It is still a possibility, but what with raising funds and booking the venue- it seems like a bit of stretch.  February seems to give me enough time to get those things sorted; send out the invites and plan the gig.  The aim of having it on Feb. 14th was to do something useful on Valentine’s Day- give love to people that are not used to it; bring lovers, sweethearts and new faces together for one big blind date.  I am sure my venue may be booked then (see below), but a boy can try, right?  If there is enough demand- and lots of people want to get involved- it may have to extend into a following night.

The Aim Behind the Gig:

The show(s) will be a chance for a lot of acts- who until now do not know one another; or only connect on social media- to play together.  A lot of acts will be unsigned and seeking representation.  The aim is not for a record label boss to come scout, but the possibility is all there- hopefully word-of-mouth can get can them in.  The main point is to raise funds for charity.  Each act would nominate their chosen charity- play on behalf of them- it can be local, national or international- there will be no profit to be had.  When the ticket sales are accrued and calculated, the total (that does not go to the venue) will be divided among the artists- they then would take that back to their nominated cause.  Having been appalled by events in other countries; the growing tensions of the world stage- a lot of concerns and issues are being neglected on our doorstep.  Working in a job where I get to read of some pretty serious cases- I work in adult social care- it is disheartening and painful to read of such woe and horror.  This is no cynical spur-of-the-moment thing; not a plan I will abandon- something that should happen and would do a lot of good.

The Venue:

At the moment, there is only one that stands in my mind: Under the Bridge.  The Chelsea-based music venue is situated under Stamford Bridge (hence the name)- it is one of the most reputable and wonderful venues in London.  Take a look at the website- http://underthebridge.co.uk/- and you can see how glorious it is.  Situated near Fulham and Broadway Tube- with easy public transport accessibility- it is in one of the most prosperous and nice parts of the capital.  The venue is renowned for its beauty, cleanliness; quality and atmosphere- there are few others that match it.  I understand there are bigger venues, yet U.T.B. holds 550 people- standing room only.  The state-of-the-art sound and lighting seems perfect; the décor and setting is immaculate- just the sort of place to host a musical repas du soir.  Acting as an impresario and organiser, I want to get all of my wonderful musical pals together- put them in this venue; let the capital see what they are capable of.  Under the Bridge seems just the place to host this.  Whether the cost of staging the event will be too exorbitant (I am not sure) - but I am going to enquire and get some quotes.

The Financing:

Unfortunately this is not the sort of endeavour that can be funded via a Kickstarter campaign- as it is a charity event.  I appreciate that it is going to cost a bit for the acts to get down- train fare; accommodation and the like- yet I will plan to make some allowances and try and organise something.  The idea is to pay the venue based on ticket sales- a certain percentage of the door will go to them.  I am hoping- provided we can get full capacity crowds on the night(s)- there will be plenty of money left over- ticket prices will run at about 15.00 GBP for the night.  As it is a 550 capacity venue, it seems likely there will be a healthy profit- meaning each act will have a fair amount for their charity.  It is hoped I can parlay this into a second night- meaning more money can be raised.  I am going to get quotes and ideas- from the venue- but hoping that bugaboo money does not stand in my way (as it is at the moment).

In the Lead-Up:

There is a long way to go, so it seems like a lot of things need to happen.  Near the bottom, I have listed acts I hope can make it; others can add their name and let me know.  It is important I get rough estimates of numbers- so I can go forward.  Towards the end of the year I hope to raise some finances- through other sources- make some plans and get everything sorted.

On the Night (and Before):

It is going to be important- assuming this thing happens- to get all the acts together prior- rather than shove them all on stage and expect it all to click.  There will need to be planning meetings, itinerary and rehearsals.  This first stage- the timetable- does not need all the acts to be together- I can do this via email and social media.  When it comes to run-throughs, this will need all of the acts- so they are attuned and confident on the night.  I will put together a rudimentary running order prior to the get-together, but it vital everything gels and runs smoothly- it will not be an arduous or elongated practice/rehearsal.  I am aiming for it to take a day to do; the acts get a chance to meet for the first time- and see each other perform.

What I Need From Each Act:

As (I hope) there will be a lot of ‘yes’ votes- it is unlikely each act will have a chance to play too many tracks.  The way I see it- depending on how many are in, each artist will play a 20-25 minutes set.  One of their songs will be an older/established number- the other will be a new song or cover.  I am hoping each act can bring a new song to the evening- give it its first airing.  That not only gives the audience something fresh, it is a chance for the acts in question to premiere their latest offering.  If there is a huge demand- and a second night is feasible, then it is likely a third song can be added- split things so half the acts play the first night; the second (half) the next night.  What I require in the short-term is some feedback and ideas- whether this is something anyone would be interested in doing.  I will have hugs, kisses, beer and pressies waiting for any acts that are in- ensure that it is a night(s) not to forget.  Being an Arsenal fan, I am skeptical heading Under the Bridge, yet it is a magical venue- there is no doubt people will get in.  The venue does not have a huge waiting list, so I am hoping my intended dates are free- they are fungible at this point.

Intended Acts:

Forgive me if I have missed out any acts- literally anyone else interested is going to be included.  I know so many U.S. and Canadian acts I want- I have excluded them assuming they will not be able to make it.  If there are any international acts- reading this- that can make it and get to London- hell, yeah!  Here is a rough list of peeps that I hope will throw their support my way:

ISSIMO

Allusondrugs

Gypsyfingers

Bianca Bazin

The Moth Lantern

Broken3ways

Chess

Boom Tales

Eloise Lovell Anderson

Marisa Rodriguez

Jingo

El Born

Jen Armstrong

Emily Kay

Alison Levi

The Bedroom Hour

Los and the Deadlines

The Verideals

Dana McKeon

Kobadelta

Sarah Collins

Calgaris

Lightknife

Ivy and Gold

Braver Than Fiction

Emma Nadine Stevens

The State of Georgia

Universal Thee

Lisa Marini

Sophie Sweet and Her November Criminals

Nina Schofield

Crystal Seagulls

Lydia Baylis

Little Violet

Chenai Zinyuku

Second Hand Poet

CryBabyCry

Play Record Erase

RKZUK

Steve Heron

Annie Drury

Sire

Rosie Bones (and band)

Shiftin’ Shade- with Adam Hume

Gorilla Punch Radio

Bi:Lingual

Little Sparrow

The Indigos

International:

Moons of Jupiter

The Updraft Imperative

Vanessa Soto

The Open Feel

Black Lady Soul

Quinn Archer

Ellene Masri

Little Dove

Surprises and Possibilities:

I know it is going to be a feat getting this all sorted; making sure everything is realistic and workable.  If it CAN happen, I am hoping to throw some surprise guests in there- if social media can spread it far enough, who knows who (the event) will attract?  I am not suggesting Paul McCartney will pop by to end the night with a rousing rendition of Hey Jude- it is not unreasonable to get a few fairly well-known acts to come by.  On my wish list, people like Gaz Coombes, Jessie Ware, Anna Calvi, Ben Howard, Plan B and Kate Tempest lurk; a boy can aim at least?  It is not out of the question- to rope in some big draws.  That will be a tertiary concern, but would certainly add some spice and surprise to a (hopefully wonderful) night.  Another surprise.  IF it can be put together I will put my procrastinated ideals to one side and perform- either solo or part of a band- yup!  To punctuate the music; hopefully something interactive can play- Under the Bridge is known for its interactivity and facilities.  Either a pre-recorded piece/comedy or snippets can play between acts.  This gives chance for my actor friends; me and others to formulate something cool- add another layer to proceedings.  I hope some of my actor, model and director friends can pitch in; do and provide something- make the event a fully-rounded and unforgettable thing.

So…

I have probably left something fundamental out; negated a key chunk and element- I hope not, at least!  I am pretty ambitious and can usually pull things together- I really do hope this is one of them.  The mystique, magic and mayhem come from the musicians- you guys listening and reading.  Initially I am keen to hear thoughts- whether this is something that appeals- and what the general consensus is.  Granted people reply, I will post updated and statuses to Facebook and Twitter- earmarking the next months and outlining the future steps.  Thanks for reading, get thinking and let me know.  If there is a weight of popularity and approval, I can get things moving.

[youtube https://www.youtube.com/watch?v=EqnocOlAe7A&w=420&h=315]

Track Review: Princess Nyah- Champion

TRACK REVIEW:

 

Princess Nyah

 

Champion

 

8.8/10.0

 

 

Champion is available via:

https://soundcloud.com/princessnyah/champion

GENRES:

Dance/Hip-Hop

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In a music scene with few original players and intentions, Princess Nyah is a bold and stunning artist.  Mixing confident and evocative shades of Destiny’s Child with Foxy Brown and FKA twigs- she is an artist that demands respect.  Champion is a stunning cut that hints at a very bright future indeed.

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MUSIC seems not to get any fairer or easier to…

Deal with.  Just as I type, I am haunted by the weight music (puts on shoulders); how dreams can be crushed and unrealized- how the finest and brightest musical talents struggle to meet their expectations and ambitions.  It is always sad and upsetting when superbly bright and eager musicians decide to call things quits- lambasted by expectation and reality, they hang up their microphone (for good).  I can understand the reason behind these trends: why some musicians feel they cannot keep pushing and striving.  With so many humans being crammed into the world; so many new acts emerging (by the week)- there is precious little room for maneuver.  I love music and all the possibilities it provides- I feel not enough is done to encourage those that deserve kudos and true success.  Give these facts; one wonders how the successful succeed- what makes them stand apart (from the masses of young hopefuls).  Perhaps it is down to some luck and soft positional bargaining- maybe the public are kinder to some musicians.  Whatever the reason behind this phenomenon, I know this much- it isn’t fair.  Not even close.  It is worrying that so many acts are buried and overwhelmed.  I suppose there is nothing much that can be done; when the numbers keep rising- as they do- what is one to do (in order to ensure equality and fair community)?  One of the great things (about music) is the acts that come through and evolve- keep going between releases and see their stock rise.  In addition to having a distinct and popular sound (the successful elite) has a never-say-die attitude- the spirit to keep going through the tough times.  So many great bands are starting to emanate (from new music’s circles)- the solo act always has a tougher time of things.  There are no band members to help shoulder the workload- I know I have covered this subject a number of times- and no way around the realities of the task at hand.  I am filled with admiration for the lone star- those that go out into the music world by themselves.  It takes a hell of a lot of fortitude and guts (to even take the first steps); a bag-load of nerves and determination- a thick skin and a fungible calendar.  My featured artist is one of a few that has managed to keep growing in stature- having faced some (slow early days), she is among one of the most promising Hip-Hop/Dance artists in the U.K.  I have another point to raise, but for now, shall introduce Princess Nyah:

Talented. Ambitious. Driven. These are just some of the words that spring to  mind when seeking to describe UK musicʼs brightest new star, Princess Nyah. Whether sheʼs laying down the vocals on a club anthem, rapping over a Hip Hop beat, being the boss of her own clothing label or cutting deals with industry execs, Princess Nyah is an artist and a businesswoman who is destined for big things. After the phenomenal success of her smash hit, Frontline Nyah is ready to take on the world with her new single ʻCrazyʼ, her new EP Destroy & Rebuild, and an even greater determination to make her music dreams a reality.  Nyahʼs desire to perform manifested itself at an early age. After winning a local dance competition when she was just six years old, Nyahʼs mother recognised her daughterʼs natural talent and encouraged her to develop it. ʻI think thatʼs the first time my Mum noticed that I was really into music. After I won the dance competition, I started going to classes at Sylvia Young Theatre School on the weekend. At school, I starred in every cabaret there was.ʼ As Nyah grew older, her passion for music developed alongside her other great love in life: fashion. ʻIn school, I did art and textiles, because I wanted to be a fashion designer.ʼ But, eager to pursue a career path that would enable her to provide financial support her single mother, Nyah put aside her creative ambitions at college and chose to study media. ʻI wanted to do performing arts, but my mum didnʼt think Iʼd be able to get a job. So I half-heartedly started a media course.ʼ But Princess Nyah is not a woman who does ʻhalfhearted ʼ very well. With characteristic boldness, she soon made the decision to drop out of college and started working full-time. Ironically, it was at this point that her creative streak re-emerged and she began to embrace music once again. With the help of UK producer Def1, Nyah ventured down the path of songwriting for the first time. ʻDef1 was rapping and making Hip Hop music and he helped me to get started.ʼ At the same time, Nyah also rediscovered her natural gift for performing and became Def1ʼs on-stage hype girl.  Like any true music-lover, Nyahʼs passion was never limited to just one genre. A life-long fan of Hip Hop, Nyah soon developed a real love for dance and house music and began taking regular summer holidays to the Mediterranean party islands. ʻI went to Ayia Napa one year with one of my best friends and I heard ʻTell Me What It Isʼ by DJ NG ft. Baby Katy (now known to the world as Katy B). As soon as we got off the plane, we just threw our stuff down and went to straight to a club and we could just hear this bassline. It was the first time I heard the song and I fell in love.ʼ  Nyah returned to the UK determined to start making the kind of hypnotic club music that she had danced to in Ayia Napa. ʻWhen I came back, I knew I wanted to try something different. I was driving home from work one day and I just started singing this hook in my car. So I called Def1 straight away and said ʻIʼve got any idea.ʼ   That idea was Frontline, a track that would become one of the biggest club hits of 2009. A relative novice to the ins and outs of the music industry, Nyah drew upon her innate business intuition to ensure that the track was played by the right DJs, in the right clubs, and on the right radio stations. ʻInitially, I burnt just five CDs. There was a big rave coming up where I knew Marcus Nasty from Rinse FM would be playing, so I went down there with my CDs and gave him one. It just had ʻPrincessʼ written on there with my telephone number. The next day he rang and told me he loved it. Thanks to Marcus, a lot of people started calling me for the track. He basically pioneered the record through hammering it in the clubs and on Rinse FM. I ended up recording over 100 specials for DJs on stations across the UK, and it went on the 1Xtra playlist.ʼ Buoyant from the success of Frontline, Princess Nyah wasted no time in throwing herself into her music, and released her self-funded debut E.P. Diary Of A Princess, which included the follow up club smash Hooligans, with Ghettz and Griminal on the remix, and Butterflies. Besides working with notable MCs such as Wretch 32 and Wiley, Nyah worked with one of the UKʼs most prolific producers, Donaeo to help incite the clubs once again with the remix of Party Hard, another UK club anthem. Fast forward just a year and Nyah has not only recorded an explosive official remix of Major Lazerʼs party anthem Pon De Floor but is also adding the final touches to her first album, the aptly titled Patience and Persistence. Diverse, vibrant and bursting with energy, the album showcases the best of Princess Nyahʼs music, as well as herself. ʻI grew up on Hip Hop so thatʼs been a really strong influence, due to my Jamaican heritage there are lots of dancehall influences on there, too.ʼ   As well as working with long-time collaborators Ill Blu, Princess Nyah has teamed up with legendary UK producer DJ Wonder, True Tiger & Terror Danjah to create an album that ultimately ʻ…reflects my love of house and dance. I wouldnʼt describe it as dance music per se, itʼs a more a reflection of my influences, the English club experience, which varies depending on where you come from.ʼ  At the same time, Nyah has continued to develop her clothing store Binghiʼs Boutique, as well as launching her label RoyleTease Records, , and mentoring young women interested in entering the music industry. Itʼs a lifestyle that many would find exhausting, but Princess Nyah sees it all as part of the bigger picture. ʻI think that itʼs really important, not just as a female but as an artist, to understand what it is youʼre doing and your main objective. You need to be in control of your own direction and destiny, it is very easy to get lost. I know where Iʼm going, I know where Iʼm headed. Patience and Persistence are the keys to success.ʼ

Like contemporaries RKZ, Princess Nyah has an entrepreneurial spirit- that restlessness that means she insinuates herself in multiple realms of life; takes the effort to benefit (as many as she can).  She knows how much patience can pay off- what it takes to achieve your goals and ambitions.  Having started from humble backgrounds, the young heroine has come on leaps and bounds- growing and evolving with every new release (and year).  Complete and armed with music that is original and distinct- Princess Nyah is going to be a serious name to watch.  Stations and venues around the capital have attuned themselves to her dizzying arrays and multitude sounds- the sort of music that does not come around that often.  As much as the God Particle could wipe out the universe- according to Professor Stephen Hawking- apathy and ill-education can destroy the music universe.  Too many terrific acts are being marginalised and sublimated- pushed into the mire in order to foster space for undeserving acts.  The anger and depression evoked- from this queasy and proclivious paradigm- is not a detriment to deserving and superb musicians- it is always wonderful to see them succeed.  In a way, any resentment and disgust is transformed into an osmosis of positivity and support- the mind and heart roots for the indefatigable and thirsty hopefuls.  Princess Nyah has gained some huge momentum and fandom- her numbers rise; the amount of (positive feedback) she has garnered- it is the catalyst that sees her galvanise and augment her presence.  A businesswoman; a campaigner and role model- Princess Nyah understands the vitality and importance of control and dreams.  Being a new convert to her music and ideals, I have been back-peddling and catching-up- sifting through her bounteous treasure chest and discovering a wealth of wonder and range.  Champion is a necessary and expected step forward- one of her most assured and stunning cuts, it showcases how naturally the young heroine can up her game and surprise the audience.  With her vast love (of multitudes of different genres) she incorporates these multifarious threads into her latest testament- a stone-cold gospel that is primed to get the summer-fatigued feet rejuvenated and ready.  Too few musicians go out of the way to give the public something different and genuinely fresh- supersedes expectations and traditions to subvert critical predictions.  In a country where the genres of Dance, Hip-Hop and Rap are among the most thriving and startling arenas for creative brilliance- this is where more eyes should be trained and strained (towards).  It is good to distance yourself from the vast swathes of guitar-led music- those bands and acts that tend to tamper with the same three chords.  Embrace the beat and the sound of the concrete jam; twist your head around something elliptical and upbeat- dangerous and low-down.  The equation and maths is quite simple, see: discard electronic twangs; throw in some head-spinning sounds; divide and conquer- multiply the fun and fever- to create a total that cannot be refuted (or improved upon).  Princess Nyah has many years ahead of her- and is not quite at the top of her game- but shows incredible promise and strengths.  Accountable and second-par to nobody, her distinct motifs are rife with original intent, personal input and nuance.   It is hardly a shock (that) Champion has been gathering such impassioned praise and paen- a slice of life that is as affirmative as it is sexy; hard and raw as it is smooth- a stunningly cocktail concoction of sound.  I am wholly confident the young star will be making some serious impressions through the next year.

BigBoys

It is worth looking back to some of Princess Nyah’s earliest works.  London to Ibiza is a rousing and spirited club beat.  Befitting of its name and itinerary, the song does not go to sleep- neither does out heroine.  Constantly moving and upbeat, our star does not settle and rest.  Driving a Bentley and living the life, there is a sense of wealth and glamour- bling and jewels gleam in every note.  With hard edges and a primal tongue, the song swirls to the sounds of ‘90s clubland- there is a great nod to the better days of Dance.  That is not to say London to Ibiza is pale by comparison- it has plenty of modern grit and braggadocio stride.  Our heroine treads the line between boastful and restrained; human and celebrity- the images of evocative sounds melt wonderfully together.  Perhaps suffering from some weak production values, some of the song sounds rushed and too packed- a little too busy to truly capture.  What you do get is a great glimpse into the songbook of the young heroine- the unique sound (that defines her later work).  Crazy showcased itself as a more subtle and modern number.  Slinking and nuanced, the song sees Princess Nyah being driven crazy- by her insatiable and addictive lover.  The beats crackle and bubble; slam and sizzle- they are not as hard and pummeling as in her embryonic moments.  The sound here is of the modern club floors; the sweat and Pop sounds that compel 2014 revelers- it has its heart set in the grime and heat of the late-night avenues.  A bit of a step forward- a leap in the right direction- it is an early sign of Princess Nyah’s sexual prowess and scintillating lust.  Butterflies possessed and showed its romantic side.  Big beats do arrive and patter—they are not as full-on and swelling as expected.  Instead, what you get is something with some R ‘n’ B edges and soothe- temptation and sensuality.  The sounds rolls and trickle; flow with energy and soul.  Sounding quite familiar to (some of London to Ibiza’s layers) our heroine ensures her identity is kept intact- but that quality and ambition grows.  Our heroine’s heart has been sent a-flutter- there is some tease and coquettishness afoot.  Big Boys starts urgently and determined.  Not a hardcore and relentless beat, here there is more melody and punctuated intention.  Before you know it, the mood expands and grows; the intentions get bigger and harder- it is a banging swathe that has serious ambitions.  The vocal is addictive and urgent; impassioned and bold throughout.  The production values are more assured and polished- allowing the song to shine and flourish.  The crispness and clarity means the beats and vocals are up front and clear.  The entire performance is a push forward and development- Princess Nyah comes across as intent and meaningful as possible; nobody can stop her.  Sticky is as evocative and striking as its name; that big club flair and sound reigns- the hard beat and swagger punches forth.  Our heroine is bonded together by love and romance; things are getting real and sticky- there is that mixture of hardship and adulthood.  Maturity and fear mingles with possibility and love; that whirling combinations of emotions.  Princess Nyah does not let things get to her; she remains levelled and in control- determined to get through and make sure things work out.  The lyrical shift- away from sexuality and youthful naivety- has blossomed into something more rounded and deep- a song that has some grown-up centres and a shift in perspectives.  As great as Princess Nyah’s rambunctious and sweaty side is, here we hear something more earnest and real.  Heartbeat is a more recent track; something that has led to Champion’s fighting spirit.  Her best track-to this point- that quality jump continues; the directness and fascination is at its peak.  Fast and rapped vocals mix scattershot speed with dizzying beats and full-bodied electronics.  Bills are piling up; tabloid newspapers come to the fore- our anonymous heroine is seeing her face put out into the world.  Her growing name and stature are being investigated; when she walks the street people stare and recognise her- celebrity culture is investigated.  A more interesting cut than on previous numbers, our heroine provides her most impressive set of lyrics- a scenic and episodic tale that is evocative and detailed.  The emphasis on words and vocals takes control over force and beats- the production values are as crisp and polished than ever before.  The entire track has a gleam and shine; a combinative rawness and street-level dirt- grime and smoke fuses with sweetness and heartache.  The myriad themes and diversions are more melodic and layered; our heroine’s heart keeps beating on- she is going through trials and the results of popularity and acclaim.  From the dizzying and assault of Heartbeat, arrives Champion- a track that returns to earlier agendas.  That raw and hardness has returned- our heroine has her mind set on hip-flexing considerations.  Distorted vocals and sexualised intent comes in; a confident and ego-boosted boy is looked at- the street vibes and edges are sharp and stinging.  The developments are clear to see.  Although strong and assured on her debut seconds; Princess Nyah has evolved and strengthened her sound- become more rounded and confident.  Our heroine’s vocals have become more unique and personal; the star has grown in ability and direction- she is very much her own woman and artist.  From early tracks of love and urgent passion, themes of celebrity and spotlight have been traded with sweetness and romance.  Champion marries early shades and subjects with that new and inspired sense of freedom- some of the strongest lyrics and most unexpected sonic shifts (are to be witnessed here).  This means that future movements and songs are likely to be as assured and stunning- mixing in new aspects and tones.  Having cemented and perfected her streetwise persona; Princess Nyah has plenty of attitude and directness; ample barrage of sensuality and tenderness- such a huge range of possibilities and potentials.  That core and galvanized central identity (is what sticks in the mind).  With every song comes another layer of confidence and surprise; something new and unexpected- plenty for the public to enjoy and appreciate.  With such a strong and authoritative set of songs (to her name), we are likely to see a lot more Princess Nyah material- who knows what will come out way!

When comparing Princess Nyah with other acts, it is pretty hard (to draw others to mind).  Her fusions of Dance, Hip-Hop and Pop have few comparables- the young star does not try to be anyone else.  In terms of her darker tones and mixture of Dance and Hip-Hop elements (recent eye-catcher) FKA twigs can be levied in.  The Mercury Prize-nominated solo artist can be heard in other artists- including Princess Nyah.  Both shares a high priestess personality that brings so much force and conviction to their music- few can ignore their urgency and prowess.  Ethereal sensuality and sheer authority (that both artists possess) mingles with unconventional and drug-like mixes- strange sounds mingle with hard and pummeling moments; softer and layered beats- a cornucopia of sound.  Sometimes fragile; always singular- FKA twigs’ debut is seen as one of the finest creations of this year.  Princess Nyah has her own blend and brand of this consideration- a unique and insatiable cocktail that enriches the ears and takes the breath.  Princess Nyah’s urban beats and street flavours are a hypnotic proposition that seamlessly fuse with sweeter and more melodic Pop strands- an artist that has the innovation, intrigue and potential of FKA twigs.  If the potential Mercury Prize-winning artist has shown anything, it is that expanding the palette; subverting expectations; going beyond what is normal- that is what the audience is looking for.  Two other acts that have made a mark on Princess Nyah are Estelle and Neneh Cherry.  The former is a London superstar that has been influencing waves of Soul, Hip-Hop and Urban artists.  If we look at Estelle’s 2012 album All of Me- it remains one of her strongest and more assured efforts.  Critics noted how the feel-good factor (of the songs) was balanced with powerful mandates and lush love songs- gruff and edgy moments nestled in the mix.  Princess Nyah instills all of her work with contrasting emotions and strong statements; catchy melodies and effervescent grooves.  Our heroine presents smart, evolving and head-smart jams that have plenty of tongue and bite.  What All of Me contained was music with transatlantic appeal; sounds that could appeal to the U.S. (as much as the U.K.)- songs with plenty of potential to win over legions of different listeners and fans- Princess Nyah has that same talent.  Songs like Champion have an American voice; they are not just confined to London clubs and our shores- there is a distinct possibility Princess Nyah could well be a future fixture in the U.S.  Neneh Cherry is an idol (of our heroine’s).  Cherry’s latest album- Blank Project- was lauded for its stark sound and big ideas- bracing and emotionally vulnerable (at every turn); confessional and honest.  The scuzziness and fuzziness- Cherry throws in- is met with startling results; her Beat-style poetry and unconventional melodies are rare indeed- the high assault of rhythms and percussions does most of the talking.  Demons, confrontations and lovelorn confessions have seen Cherry gain new respect and pan- her inimitable soft vocals have broken many new hearts.  Princess Nyah mixes koans and ruminations with rebellious treaties and sharp proclamations.  Princess Nyah shares Cherry’s usage of baleful and agitated words with angst-ridden beats and electronic whirlpools- to elicit the sound of rousing and immerse sounds.  Both put anxiety themes and broken dreams near the front; the songs that look at ill-suited boys and losers- the mixture of subjects and layers is incredible.  Neneh Cherry’s riveting and spellbinding music has had an effect on our young heroine- she has managed to distill (Cherry’s) magic and mystique into her own original and enlivening songs.  The final comparable act- I will draw alongside Princess Nyah- is Foxy Brown.  The New York Rap star may not be the first name one would think of (when listening to our star), yet she has had an impact- the two have some similar shades.  Whilst Foxy Brown has not released material for many years- and has received mixed reviews throughout her career- her album Ill Na Na (released in 1996) remains her high-point.  The sexy and assured deliveries (throughout the album) were granted a distinct edge- thanks to some incredible production values.  The charisma Foxy Brown gave the album; her sleek and contemporary stylings captivated many critics- impressed by her sheer vitality and alluring attraction.  Princess Nyah has more quality in her locker; she instills Foxy Brown’s sprinklings of sass, sexiness and scintillation- whilst injecting the mixture with her own British voice and identity.  There are few artists that come to mind- when listening to Princess Nyah- so it makes it hard to bring names to the party.  If you are a fan of any of the above, you will find some familiar and similar sounds;  recognisable and classic edges- look beyond.  Whilst our heroine has her best days ahead (and still has not really hit her peak) her growing reputation and confidence will see her go far- she is getting stronger with every new release.  In a music industry that is overcrowded and tightly packed, there are few that stand out; try to distinguish themselves apart- Princess Nyah has signs of huge potential.  Able to engage with listeners; throw together multiple genres and avenues- wrap it around her stunning voice- and you get something quite special.  It is a sound that is likely to expand and galvanise over the years- on her current evidence, she is likely to inspire a host of up-and-coming female singers and artists.

Hard, distorted and low-down vocals open up Champion.  Lasting only a few seconds, they give way to some brief and brutal beats- it tees the song up and welcomes in the mood.  Sounding a little like Rockafella Skank, the vocal-beat combination is an urgent and pressing sensation- making sure the audience is suitably knocked back.  Scratched electronics and a female vocal- stuttered and jumping- mixes with the foreground to provide some lightness and sense of relief.  It is an introduction that differs from most Dance/Hip-Hop tracks- there is a definite sense of primacy and mixed emotion; that unexpectedness means the song is an instant catch- before Princess Nyah has stepped up, you are hooked in.  Presenting a vocal that has a Reggae vibe and laid-back chill, our heroine can see the fear “in his eyes”- speaking to an unnamed hero, the words are presented with a sense of detachment and aloofness; there seems to be no sense of accusation, sympathy or support.  Our heroine lets her voice slink, seduce and conspire- she lays in her story and builds up the sense of intrigue and promise.  Juicy hips and lips are wound in; swaggering electronics (and beats) slither forth- Princess Nyah is never seen when she perspires.  Backed by that infectious composition, our heroine sounds confident and wholly in control- her soulful and impassioned delivery lets her words hit the mark.  Aiming at her subject- and the audience in general- her name is (already inside him); she wants her name chanted and screamed- there is a mixture of sexualised allure and musical ambition.  Nobody is immune from the swaggering and tempting rhythms; the sensuality and beauty of the heroine- that dangerous and indelible concoction is a hard potion to refute.  Champion lays out its stall quite early; getting down to business and riding the crest of a wave.  Her mandate is being sent out- she asks why (he) couldn’t hear her coming.  Such is the potency and projection of her music; the boldness and strength of her personality- it is hard to ignore the heroine.  Princess Nyah mingles simplicity alongside complexity- the words have a straightforward and direct approach; the music is more layered and intricate.  The beats and electronics may seem one-dimensional and forcedful, yet have layered and nuanced qualities- you can hear a lot of work has been expended to ensure they hit with as much resonance as is possible.  The listener pictures scenes and images- that endless mix of sweat-inducing sexuality and music directness tangle with one another.  Laying down her factory of majestic sounds, Nyah has a sense of cockiness and stunning self-assuredness.  Her music, beauty and name are those that cannot be overlooked or forgotten- speaking to her boy, the huge trip and stagger is that which aims for the bones and soul.  Presenting the same sort of feminine strength and confidence the likes of Beyoncé would be proud of, our heroine is the champion- she always wins the fight, whether it is in the studio or in love.  As one half of your brain is mesmerised by the tribal beats; the Dance-cum-Hip-Hop electronics; the other half is grabbed by the stylish and even-flow of the delivery- the striking images and confident proclamations.  As the song progresses, there seems to be a battle forming- a showdown and personal game of cat-and-mouse.  Nyah (can hear her subject’s) heart beat; that rushed flow of blood- as the scenes take us to the club floor.  Trying to take on and better our heroine, one false move and that will be that- she is ready to strike.  The double-meaning nature of the song always keeps it compelling and open.  One part of you imagines a seduction and chase; the heroine on top and getting her man- owning the night and calling the shots.  The passion, sweat and allure (of the vocals) puts those thoughts in your brain.  The hardcore and effusive sounds being laid down engage your brain towards themes of music-making; the fact no one will match the potency and quality of Princess Nyah- pretenders and fools step up; only to be swiftly dispatched.  The vocal delivery is one of the most stunning facets of the song.  That delivery- mixing Reggae temperament and coolness with Urban-inspired bruise and force- is a gleaming and shining jewel; a distinct and confident sound that adds meaning and urgency to all of the lyrics.  Few other artists have quite that same style and sound; that ease to cross and splice genres- whilst retaining a very focused and stunning central sound.  Backing vocals- by our heroine- look at “reservoir dogs” and those without love; Nyah has no time for the fakers, posers and players- she has her mind set and knows exactly what she wants.  The champion of the music scene; the fighting spoils of romance; whatever she damn well pleases- try and stop her if you can!  Mixing in sounds of classic-day Beyoncé/Destiny’s Child with modern-day Hip-Hop beats- that blend is sure to draw in a host of new fans.  Having a lot of respect for the best Destiny’s Child had to offer- that confidence, quality and unending sense of pride and focus.  The band did not just focus on aimless Pop and self-absorbed subjects- they spoke to a generation of women and listeners; provided solace, inspiration and motivation.  Although Princes Nyah has a more inward and personal drive (on this track), she has an equally potent voice- Champion is a statement that is intended to inspire as well as catch the imagination.  Among the braggadocio and lustful swagger, there is plenty of thought-provoking lines- images and words listeners can vicariously take on.  The central message and theme is “say my name”- our heroine wants it chanted by the masses; screamed and cried out (as a lover would).  Perhaps my interpretation- about the boudoir and lust may be off the mark- but it is hard to overlook that libidinous and sexualised punch- the stunningly pressing beats do little to quell these thoughts and interpretations.    Towards the closing moments, those initial stuttered vocals blend with staccato beats and punctuated slams- the lead vocal subsides and that central mandate interjects (with new meaning and unending confidence).  When the final moments start to die down, the listener is overawed by the weight of determination and drive- the pace and consistency never drops at all.  Marrying the luster and quality of the Estelles, Beyoncés and Neneh Cherrys of the world- our heroine proves herself to be one of the most vital and engaging voices on the music scene.  Champion shows just what a future she has: it is her strongest cut and could lead to some wonderful possibilities.  Growing with every new release, I would love to hear more Champion-esque jams; those songs that are rife with self-direction and confident.  Nyah has also showed she has a tender side; can master social commentary and wit- her palette is vibrant, diverse and endless.  This means 2015 could well see (this sense of range) parlay into an L.P.- a dizzying cut that could match the like of LP1 (from FKA twigs); bag a Mercury nomination, no less.

Having assessed a fair share of Urban/Hip-Hop artists; Rap stars and Dance idols- they always provide something different and unique.  Indie bands have evolved from Monkeys; devolved into flunkies of the Arctic warriors- the original intentions and unique riffs seem to be left at the door; everybody wants to be Alex Turner.  That is fine if you are Alex Turner; if you aren’t then it sounds desperate and devoid (of uniqueness).  Practically every new Rock or Indie band has too much the whiff of copycat- the boys and girls do not offer anything new or truly distinct.  When you go underground and dig deeper, you can find something wonderfully different and bold.  After reviewing the likes of RKZ, Kate Tempest (a Mercury nominee); The Emsee and the like- for every new experience comes something stunning and compelling.  The greatest potential (for music) lies in Hip-Hop, Rap and Dance endeavours- the artist here seem to be more pioneering and impressive.  Not relying on guitar riffs and woe-is-me tales, they are free to expand their mind and do things differently.  Princess Nyah- having been inspired by some wonderful musicians- caught onto this from a young age.  Her earliest cuts pushed away from convention and expectation- the flavours and sounds caught critics and listeners by surprise.  Having amassed a wealth of social media followers; it is clear her music is making impressions- not hard to see why.  Champion has elements of some of her past work- the stories of personal drive and ambition; the feminine confidence; the ability to own anything she wants.  Inspired by her idols and musical heroines, Nyah has ensured she throws her hat into the ring- marking her out as an empowered and inspirational figure.  Although the strongest songs detach themselves from arenas of the personal and bold- Princess Nyah manages to make (these ideals) sound gripping and original.  Her latest slice is an authoritative and stunning blend of sounds, lyrics and vocals- a song that is as complex as it is simplistic.  Making sure her words can be understood, quoted and chanted- that directness and confidence are easily extrapolated and absorbed.  The music is a more complex and layered beast; the sounds mix vibrant and hardcore with melodic and sweet-natured- ensuring the track stands up to repeated listens.  From the very first moments, you are hooked-in and compelled- few listeners will be immune to the charms and mesmeric grip of Champion.  It is Princess Nyah’s voice that shouts the loudest.  Able to blend concoctions of island vibes; Reggae seduction with Pop-inspired sweetness- it can then transform into an explosion of Urban grit and Hip-Hop trip.  Few singers tend to mutate and stretch their voice; bring in and unite multiple genres- meaning their songs can sound too flat and predictable.  Nyah manages to whip up a frenzy of emotion and styles- a singer that understands the importance of range and projection.  I was seduced by the calmed and laid-back moments; struck by the bold and stabbed drives- the vocals twist and turns like a suburban viper.  All of Champion’s winning fight is achieved by some exceptional production values.  Too many Dance songs tend to be too cluttered and busy; notes and vocals get buried under one another- meaning clarity and decipherability is seriously lacking.  Here, there is none of that occurring- all of the notes and utterances are crisp and polished.  The shining and gleaming production allows Princess Nyah free reign- her effective words are sharp; the vocals clear and direct- nothing gets lost or passed-by.  If you are a fan of Hip-Hop and Dance, you will find a lot to recommend (within Champion) - it is a song that melts the ‘90s legends with modern-day examples.  Pop fans will appreciate the softer and more melodic elements; there are Reggae-flavoured vocal vibes happening- some elements of ‘90s Trip-Hop too.  Rock and Indie acolytes will appreciate the hard and hitting beats; the confident and emphatic deliveries- same goes for lovers of Punk, Grunge and Alternative.  Able to unite and temp followers of multiple genres, it means Princess Nyah will gain some new followers for sure- if she keeps this pace up, awards and acclaim will coming to her.  Perfect for sunny days when you are driving down an open highway; the late-night dancefloors and clubs- Champion is the queen (and king) of every location it dares to adorn.

Around and inside of the masses of same-sounding bands; the heaps of disappointing and generic solo acts- few linger within the gaps.  Over the past few months, I have been fortunate enough to discover some terrific distinct acts- artists that have something different to their sound.  Too many musicians come into music with little regard for distinguishing themselves; overall projections that do not stick in the memory- those that aim high are the ones that should be preserved.  I have seen too many great artists- in music and film- that have abandoned their dreams- found the pressure of expectations too much to bear.  Every heartbreaking story (like this) makes me sad and angry- it is unfair that so many terrific humans are forced to relinquish their focus and highest thought.  Being ‘normal’ and ‘human’ is very boring and irritating- what’s the point of being like everyone else?  Working routine and average jobs; workaday thoughts and hopes- it is a horrible waste of existence I have no intention of becoming embroiled in.   I fear these people- that have to give up on their dreams- may slip into beige trousers; breed and brood- becoming that must horrible and predictable sort of human.  In so much as I try to reassess their mindset- assuage my own guilt and annoyance- I am keen on promoting the most fervent and dedicated musicians.  Prince Nyah has some growing and developing to do- she shows signs that she will be a huge future star.  The way she has grown and developed- between releases- hints at mesmerising and exciting future trajectory-2015 Is sure to see the young talent do big business.  Champion is a big statement from one of the nation’s boldest and most impressive Dance/Hip-Hop artists.  Her vocals and deliveries are fresh and alive; the lyrics and scenes stunning and evocative- her passion and urgency are endlessly gripping.  In the current climate, it is vital- as much as any time- to ensure we give breathing space to the different and promising- eliminate those that aimlessly wander and soullessly chatter.  Princess Nyah is likely to be a festival stalwart of the future; set her sights abroad- rock the likes of the U.S. and Canada.  Having her mind set in multiple arenas; charitable endeavours and business realms- it is clear there are few as ambitious and hard-working as her.  Champion points at a tantalising next few months- maybe an E.P. or album will be on the horizon?  Give her previous output- her E.P.s and singles- it will not be too long until something full and authoritative is dropped- another insight into the mind of the young heroine.  Before I sign off another review, it is worth looking at the solo market- the hardest of all the music arenas.  I get how difficult it is to succeed and grow- most (solo acts) have such big aims, it can be hard to realise them.  It sucks that a lot of terrific artists have to bow out- accept that they may never get to where they want to go.  Music is an impossibly hard industry to crack- like most in the entertainment industry.  Being on your own means having to assimilate huge responsibility and burden- having nobody to help lighten the load.  It is worth sticking around; making plans and taking things as they come- the rewards can be phenomenal.  If I have learnt anything, it is that there are too many fakes and posers (in music); few that offer substance and inspiration- the small percentage that do are deserve to go a long way.  Princess Nyah has an edge over her contemporaries and genre peers- her original blends and concoctions are a refreshing sea change (to the usual miasma and greyness).  Hip-Hop and Dance are styles of music coming back in vogue- starting to see some wonderfully inventive examples come to the fore.  The way (the very finest) mix beats, sounds and emotions is tremendous; that passion and flair can result in big bangs- seismic shifts that stick in the mind and resonate in the heart.  Prince Nyah is the case study of a young woman who has realised her dreams and goals- raised from hard beginnings to achieve something spectacular.  Not some pissing nauseating X-Factor sob story; a whiney cretin wailing about some relative popping their clogs- she is a real artist doing things honestly with no motives of fame and crass fortunes.  That reality and honesty is reflected in her music; the way she evolves and develops her craft- a striking voice that is always growing and developing.  Champion is a stunning slice that should see more fans and ears come in; a tight and memorable number that puts you in a better frame of mind- the public will want to hear more (from her).  Whether this (forthcoming) success translates into an L.P., E.P. or additional single, I am not sure- it is clear 2015 will see a lot of movement and mobility (from Princess Nyah).  With this year starting to fade and die out, we all are looking towards the future- what sort of music will be celebrated and promoted.  If Princess Nyah continues on her assault course, it is likely she will be a big fixture throughout 2015.  If her colleagues and fellow musicians decide to follow this example; aim high and provide (the eager public) with something different and unique, then the overall music landscape will improve and flourish.  Let us hope this sensation and evolution does happen.  Because if it does…

THAT is likely to be a great year indeed.

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About the Author:

http://musicmusingsandsuch.wordpress.com/about/

 

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Follow Princess Nyah:

 

Official:

http://www.princessnyah.com/

Facebook:

https://www.facebook.com/princessnyahofficial

Twitter:

https://twitter.com/princessnyah

SoundCloud:

https://soundcloud.com/princessnyah

Last F.M.:

http://www.last.fm/music/Princess+Nyah

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For gig dates visit:

http://www.reverbnation.com/page_object/page_object_bio/artist_1038678

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Princess Nyah’s music available at:

https://itunes.apple.com/gb/artist/princess-nyah/id411620181

Princess Nyah - Do What I Want

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Princess Nyah videos can be seen here:

https://www.youtube.com/channel/UCKBfEjtsFFBMlM8VlNEyMjQ

E.P. Review: Bear VS. Rhino- Vulture Song

E.P. REVIEW:

Bear VS. Rhino

 

Vulture Song 

9.0/10.0

 

Vulture Song is available via:

http://bearvsrhino.bandcamp.com/

TRACK LISTING:

Beck up, Back up- 8.8/10.0

Milli80seconds:publicist- 9.2

A letter to my brother and sister, fuck him, he doesn’t know what paracetmol is- 9.2

If it looks dead and it smells dead, it’s probably fucking dead- 9.1

Daisychain- 9.0

STANDOUT CUT:

Milli80seconds:publicist

DOWNLOAD:

Milli80seconds:publicist; A letter to my brother and sister, fuck him, he doesn’t know what paracetmol is; If it looks dead and it smells dead, it’s probably fucking dead

RELEASED:

13 July, 2014 

VULTURE SONG WAS WRITTEN AND PERFORMED BY:

 Bear VS. Rhino 

BEAR VS. RHINO ARE:

 Carlo

Bass + Vox

Dan

Drums

Markus

Guitar + Vox 

MIXED AND MASTERED BY:

 Daniel Mills

ARTWORK BY:

 NJX

GENRES:

Alternative, Hardcore

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Ensuring London’s music remains some of the U.K.’s finest, Bear VS. Rhino provide a scintillating and memorable E.P.  Vulture Song is an attacking bird of prey- it picks at the bones and hovers with menacing intent.  For those bridling at the thought of ‘just another Hardcore/Alternative band’, have faith- these boys provide plenty of wit, heart and composure.  Capable of exciting future festival stages, they are a band who do not linger in the shadows; they rule in the spotlight

_____________________________________________________________________________________

 HAVING experienced a technological comeback worthy of Lazarus…

I am unexpectedly back reviewing- much sooner than I would have predicted.  This eventuality has trained my mind to the issue of benevolence and kindness.  In the coming weeks I am working with a stunning singer: an artist putting a band together that is a serious name to watch.  Having approached said singer- I will not reveal her name as to jinx any future movements- complimenting her voice and artistry, she approached me with an intriguing possibility: the chance to manage her career and help her with her first steps.  It is always great to see eager young musicians come through; inspired and rallied by support and patronage- reaching out and embracing.  Embarking on new possibilities and excitement, I am looking forward to getting stuck in- putting together plans and ideas for a wonderful new talent.  This may all sound ineloquent and off-topic, but it brings me around to music itself.  The artists that reach out and unite with fans- and potential supporters- are those that will merit the greatest acclaim and long-term respect.  In my capacity as reviewer- at the moment guerilla, part-time reviewer- it is terrific hearing bands and artists come to me- take the chance to write and promote their music.  Not sensing an easy chance for acclaim and ego-boosts, the musicians are keen for their music to be given an in-depth analysis and study.  For me, it provides opportunity to delve into new music and sensational sounds; discover acts that I would otherwise not hear of- help passionate and striking youngsters get their sounds heard by a wider audience.  This passion and reciprocity has inspired the music on show- the very best and most fervent are those that genuinely want to bring in the audience; take the trouble to get ears and eyes focused.  My featured act is throwing their hats into a pretty busy and colourful ring- one populated by a huge amount of competitors and performers.  Bear VS. Rhino promise all the battles, conflict and energy (their moniker suggests).  Critics have been setting their sights on their terrific endeavours; seeking out as much (of their) music as possible- the feedback and praise has been sensational.  Being a fairly new and sapling act, they are not getting too comfortable and assured- their latest E.P. suggests a band that are vital and endlessly passionate- the inventiveness and energy (they whip up) is as urgent and raw as any out there.  Before I introduce the band, it is worth looking back at the band market; looking at the variation and contrasts that are on offer- what the hungry and open-minded listener has to choose from.  Being in a unique position- where I have the chance to help promote and proffer a wonderful new act- I am looking out at the competition; the other newbies making their voices heard.  There are few genres unaccounted for: whatever your tastes, loves and proclivities- there is a musician out there for you.  Variations of shades of themes are recontoured and revised; the core sound tweaked and fiddled with- how much originality and surprise are we being given?  It is an interesting point that has no easy answer- the word ‘original’ is a fungible and ill-defined term.  To be truly original- and retain unimpeachable quality- is next-to-impossible- that does not mean you cannot be distinct and unique.  The bands and acts that stay with me the longest; resonate in the imagination- they are the ones that do not lazily cling onto predictable expectations.  Bear VS. Rhino are a vital group of lads that hit the jugular and provide immense force and style- music that strikes the heart and head.  Before I continue, let me introduced our featured act:

"Hello we’re Bear VS Rhino. We’re an alternative hardcore rock band from London, a noisy 3 piece, with Markus and Carlo up front on bass, guitar and vocals, and Daniel behind on drums. We’ve being going for about 18 months, cultivating our own sound, an interesting blend of sound which we love, for fans of Rueben, Deftones, Biffy Clyro, Code Orange Kids, mayors of Miyazaki and the Melvins. But how did all this come to be, I hear you ask.  Bear VS Rhino started after Markus decided he’d had enough of being a solo folk artist. Markus met Nico, Markus and Nico clicked, Nico introduced Carlo, who is awesome, if not a Japanese bass playing lesbian. Nico decided London sucked and moved away to become a farmer. Before Nico left, Bear VS Rhino recorded their first EP, Fake, Fake, Fake, and the single Goddamn Motherfucking Panda Bear and perform their first and last show with Nico at Nambucca on Holloway Road which is now gone.  Bear VS Rhino needed a drummer, so we borrowed Ed for Johnny can’t dance (RIP) and Dom from Boston Departure Lounge ( now back up and running) before Daniel joined and played the Miller in London bridge, the first gig in this current line-up of Bear VS Rhino and now we reside in a shipping container in Aldgate East where we rehearse, write and sweat, mainly sweat. The band are taking their noisy brand of alternative rock metal ruckus around London, playing everywhere from The Finsbury to the 12 bar to the New Cross Inn to O2 Academy, playing their cotton socks off and becoming the best gosh darn band they can. All of which has lead to this, Vulture song, the next EP to be released by Bear VS Rhino. We hope you dig you lucky motherfuckers."

Not too many acts are presenting Hardcore and Alternative hardness- going out on a limb and trying to take the breath away.  It is a hard mixture to cement; not obviously the most melodic blend of sounds, many can be put off from the start- that is not to say every act (who play this type of music) are divisive.  Bear VS. Rhino may have bonkers and pretty silly song titles, but it is part of their charm and humour- if you want traditional and normal, then you may have to go elsewhere.  They are pretty down-to-earth and likeable- a group that want to connect with as many people as they can.  In an industry where there is too much safety and expected movements, it is nice to hear a band break away from the mould- offer music that is distinctly theirs; hard to compare with anyone else.  Their E.P. Vulture Song is one of the most scintillating and electrifying of the moment; it has resonated hard with reviewers and fans- all entranced by the strange beauty and vitriolic potency.  The next few months will see us end 2014: looks ahead to the next year and what it has in store.  It is hard to predict the bands and acts that will be embraced- there seems to be so much diversity and inconsistency (I am stumped really).  In my opinion, the best music of 2015 will be that which breaks away from the mainstream mediocrity- showcases inventiveness and personality of the highest distinction.  Bear VS. Rhino certainly have their own voice; songs that will stick in the memory- projections that are hard to ignore and shake off.  They are gathering great pace and praise at the moment; their E.P. is garnering some tremendous respect and feedback- it is not hard to see why.  Even if you are not a fan of the Hardcore genre, you will find much to recommend- the boys provide ample passion melody and depth.  Given all of this- and my conversations with the band- I was eager to investigate Vulture Song- see just what the intrepid.  The results are certainly impressive; the songs sit inside your brain and cling on- they are a young act that has serious intentions indeed.

It is worth looking back at Bear VS. Rhino’s early movements.  Their E.P. Fake Fake Fake dropped in May 2013- the first chance for the public to witness the band’s studio cuts.  More restrained and less ambitious than current works, they marked impressive beginning.  Useless possesses soft beginnings; it is quite funky and seductive.  The vocal performance is louche and sexualized- mixing in some Jim Morrison mixed with Ian Drury.  As the composition builds and builds (bit by bit), the track gains momentum and energy- the percussion is heavy and rumbling.   Electric scream comes in (and starts to become more demented).  The song is a bit of a tease in that it never explodes or catches fire- the lines and elements are all kept in check.  The track remains a concrete and gripping number that showcases a unique and distinct band.  Linseed Oil is a smooth and gentle thing.  Distinct accents and evocative lyrics stand the track to attention.  With the bass coming in to steal some of the honours, the song has humour and cutting-edge remarks.  Matching slurred and masculine vocals into their palette, the boys present another take on their distinct artistry.  GDMF Panda Bear came along in August 2013- it saw the boys notch up the volume and crank up the offensive.  Whereas their debut E.P. seems a little safe; not willing to let the lungs reach out and rapture- here there was development for sure.  Harder and more biting; the necessary edge and grit is all present.  Compositional tones are more Punk-edged and ecstatic; the London trio started to make a real mark.  I would say their current offerings are their strongest yet.  While their early material has promise and potential, their full Hardcore potential was not realised- on a few numbers they sounded too limited and honed-in.  Although Vulture Song has some berserk and peculiar moments, it is honed and focused- the lads have ensured every song remains tight and sensible.  Whereas a lot of Hardcore bands are as predictable and ambitious as crap, Bear VS. Rhino inject something unique into the genre- it is much-needed given the slew of banal and pointless examples.  Not all of their moments are feral and carnivorous- in fact they present more passion and composure (into the E.P.) than anything else.  The band has not compromised any of their ethics and reputations- they have simply improved their music and developed with necessary (and pleasing) aplomb.  Given their rate of growth and mutation, it is clear they will be making some serious moves in the future.  Vulture Song is a hugely impressive work- yet I feel Bear VS. Rhino have not hit their peak yet.  Among the stunning mandates are some rough edges and loose moments- things that can be tightened and improved on their next release.  Saying that, they do not need be to tell them how good they are- the wave of adulation that has come in (for Vulture Song) has been staggering.  There is plenty in their armoury to set them aside from their peers- ensure that few listeners will ignore their freshest movements.  With elements and hints of their heroes- including Biffy Clyro- the London boys are on a charge- determined to nestle with the finest musicians of 2015.  It is clear the trio have a very distinct way of working; a sound and sense of direction that incorporates a number of different bands- very much based around their ideals and styles.  It will be great to see what Bear VS. Rhino have to offer in the coming year- whether they keep improving the quality; stick with the sounds of Vulture Song; ramp up the volume and intensity even further.  Who knows, hey?  It is great to hear them sound more alive and vital (than their tender days); the confidence has increased and multiplied- the performances are tighter and more fascinating; layered and nuanced.

When it comes to finding like-minded acts- that have inspired Bear VS. Rhino- there are a few that come to mind.  Rueben are a band that has compelled the London trio.  In Nothing We Trust (is the best album comparison). The band has not garnered a lot of critical praise and reviews- their early work was largely overlooked by larger publications.  Their 2007 work was seen as a damning rebuke- a glorious swansong.  The music- on the album- broke new ground for the band; they ensure song structure and proficiency is as high as possible- considerations that were missed from their early work.  Whilst sapling work stuck with rigid formats and simplistic arrangements, it was on In Nothing We Trust the band started to experiment and expand- lengthening tracks and becoming more musically ambitious.  The trademark aggressive remained intact and firm; the band augmented the force and rabble with some excellent and captivating vocal harmonies- offering something softer and more melodic.  Anger and loss sat with themes of sadness and dislocation- quite new ground for Rueben.  Bear VS. Rhino instill these contradictions and qualities into their music- they have managed to ensure Vulture Song is rife with emotional balance and surprises; plenty of structure and surprise- that sense of engagement and drama.  In Nothing We Trust saw lyrically maturity come into effect: the band sounded more responsible and grown up; aware of the need to step up their game- whilst keeping their solid and pulverising foundations complete.  Moving on from their Hardcore one-dimensional releases of old, the U.K. kings provided something more experimental and refreshing- it was an album critics could not really overlook.  Each band member came into their own- the percussion and bass really stood out.  Fuzzy and compelling bass notes were only matched by primal and ecstatic drumming- the band never sounded tighter or more determined.  Like the lads of Rueben, our boys have some similar qualities.  The lyrics (from both bands) ae tongue-in-cheek and humorous; dealing with drunken nights and youthful endeavours.  The words hit the mark and do not deviate; they are to-the-point and direct- lodging in your mind.  Backed by vocal screams- that are enlivening and hugely atmospheric- full-bodied during attacking moments; quiet and reserved during more emotional codas.  Deftones are a band that has propelled Bear VS. Rhino- and with good reason.  The first Deftones album I will introduce- as a comparable piece- is Around the Fur.  That album was lauded for its incredible drive and hardened assaults.  Rawer and more demented (than their debut), the album saw insatiable drum work marry with metallic guitars.  It was a sophomore album that suggested the band has phenomenal potential- even if they lacked necessary hooks and a fully-fledged sound.  The music and lyrics- from that album- looked and inner depression and personal doubts.  Quite heavy and hard themes were explored; the performances were raw and upfront- that redemptive spirit always managed to break through.  Following on from their triumphant effort, The Deftones developed and galvanised- their self-titled album marks one of their career high-points.  The 2003 album saw the boys become more experimental and abstract.  The lyrics were particularly abstract and unusual; the musicianship of the highest order- few were expecting such a stunning album.  The heaviness was all back and (stronger than ever)- Metal was flagging in this period; the band ensured their new material was original and groundbreaking.  Their self-titled cut opened with huge strikes and a determined sense of purpose- that endless grip and heaviness was hard to ignore.  Over the course of tracks the album built in more depth and diversity- coming across as more fully-rounded (than earlier cuts).  The American Alt.-Rock outfit is still around and inspiring young bands- it is their sheer passion and unparalleled destruction that excited and invigorates new musicians.  Bear VS. Rhino have been captured by this; their music ties in those mixtures of quiet and loud; the music they pen has that same stylistic flair and sound- you can definitely hear embers of the U.S. legends.  Biffy Clyro are a band that have intrigued and inspired Bear VS. Rhino.  If comparing a couple (of Biffy’s albums) to our boys, Only Revolutions is the first (that comes to mind).  That album signaled a high-point for the Scottish band- one of their late-career gems.  Commercial accessibility mingled with earnestness and huge anthemics- the band upped their game and drew in a lot of new fans.  Primed for radio- but possessed of seriousness- the band turned in a massive and bold L.P.  Sinister Biffy’ threw orchestral grandeur with hard screams and unabated noise- there was not a huge amount of cohesiveness.  Tracks did not always join together well; there was plenty of sloppiness- it did not seem to put off critics and fans.  The wide net was cast to appeal to populist demands; the band mixed ebb-and-flow with balls-to-the-wall bombast- a lot of reviewers praised the album as an all-out classic.  The short and concise songs looked at progressive elements and developments- the boys threw in catchy hooks and plenty of memorable tunes.  Ear-pleasing choruses, juddering guitars and scintillating guitars sat with sharp dynamics and plenty of risk- resulting in an album that remains their finest.  Opposites was released last year- the last Biffy Clyro album- and was seen as a natural development from Only Revolutions.  Serenity and huge intentions sat with one another; jagged edges and beautiful luster- the album shifted styles and sensations (as it progressed).  Expansive and mood-twisting it remains a hugely impressive work- something that has pushed Bear VS. Rhino.  Our boys have a concision and tightness; they match moods and themes- shifting between primal rushes to more composed introspections.  Opposites saw Metal-infused arrangements take in elements of ‘70s masters; dichotomous moments mixed with anthemic staggers- the boys sparred complex hooks with intricate melodies.  Our London trio have that sense of adventurousness and ambitions; they take in the finest elements of Biffy- expanding it in another direction; something more byzantine, hard and unique.  Code Orange Kids have made a mark on the Bear’ boys.  The U.S. Metalcore newbies made huge strides with their debut album- Love Is Love/Return to Dust.  The thunderous Hardcore insanity of the album had little chance for softness and light- yet some of its final moments resonated in the mind.  Calm/Breathe was a relaxed and soothing diamond that marked a great relief and necessity- it was the rest bite and light after primal darkness.  Tar-thick rebellious guitars screamed macho ambitions- on their latest album the American kids are trying to sound all grown up.  Colourful shades and variegated diversions come out (through I Am King); there was a sense of difference and ambition.  In a scene and genre that is ruled by convention and predictability, Code Orange (as they were renamed) went beyond the envelope- did something different and introduced new sounds and maneuvers.  Bear VS. Rhino instill the same sort of cave-dwelling tribal bursts; the neophyte raggedness and lust- unbearable tension and pressure.  At the end of their E.P., you get the same reaction (you do when listening to Agent Orange)- the breath has been clean taken away.  Mayors of Miyazaki and The Melvins are acts that have had an impression on Bear VS. Rhino.  The former’s vital blends of Math-Rock and Hardcore and melodic.  The male-female vocals and combinations have airs of Blood Red Shoes- indeed the London three-piece have remarkable similarities with Bear’.  Openness and honesty rules the sounds (of Mayors’); they ensure every guitar line shimmers and captivates- those incredible vocal performances stick in the imagination.  The Melvins’ have had a long and illustrious career- their vital sounds have helped to mold the London trio.  The bizarre and wonderful song titles (from The Melvins)- Sesame Street Meat and Exact Paperbacks- were only topped by the exhilarating and scintillating music.  Herky-jerky flails and epic fun (go into The Melvins’ best moments)- the band are synonymous with head-pounding and bone-shifting smashes.  Our Bear VS. Rhino trio have that same flair- for odd riffs and wonderful energy- and offer their own take.  It is the wonderfully odd/stupid song titles- The Melvins have made an art form out of- that our London boys share- they seem constitutionally incapable of offering a title with personal pronouns and subtlety.  Perhaps that stands the band aside; means they are more intriguing and interesting- it certainly does not make them boring.  All of these bands have played their part; molded the lads- you will find a little of each (with Vulture Song).  For the best results; the most complete and reliable overview- take other acts from your mind; assess the band on their own merits and personalities.  In spite of my reflexive pronoun usage- tut, tut- influence and inspiration is important- too many critics focus heavily on it.  Our trio is one of the most innovative and original around- meaning they cannot easily be compared with other artists.

Beck up, Back Up kicks off Vulture Song.  A combination of swaggering riff and punchy percussive beat swing the song in; it has a cool and leather-clad introduction.  Propelled by a louche and bristling start, the issues of vegetarianism and murder are brought in- the vocal presses and scrambles among the notes.  When the chorus comes into effect- first time- there is a “line in the sand”- our hero seems at his angriest and most fueled.  While quite a few of the choruses words lack complete decipherability and clarity- making it hard to extrapolate and understand lyrics- the chorus has more intelligibility.  Emphasis is on the mood and vocals; the combinations between the band members- that crunching and beast-like build-up.  This song- and these words- are “all about you”- a subject that is under close scrutiny; being given a good going-over.  There is a looseness and sense of rambunctiousness that puts me in mind of The Libertines- the same sort of sound and delivery that appeared on Up the Bracket.  In the same way Pete Doherty perfected that mix of drawl and sharpness, our hero lets his voice weave and stagger- idiosyncrasies and tics are added in to give the performance a sense of flair and individuality.  The contrast you get- between the chorus and verse- is quite stark.  The chorus is a darker rumble; a beastly growl that mixes concrete with chanted vocals- emphasizing the sense of danger and judgment.  The percussion and guitars spar and duel; caught in a mesh of heated emotions- they tangle and fight for glory.  Temporised and restrained- after a few seconds- the composition changes pace once more.  Bored thoughts, elongated vocals and “bubblegum” are levelled in and repeated- you can hear our frontman is building up for another assault.  Letting the vocal reach fever-pitch it screams and stretches- eliciting the most wracked moments so far.  The final moments of the song are a concoction of stumbling and rifled beats; driving and determined bass- backed with strong-armed guitar.  With a final throw of the dice, the band calm things down- ensures the closing notes are softer and calmed.  Wrapping things up elegantly and beautifully, Bear VS. Rhino ensure they kick off the E.P. with a triumphant cut.  Milli80seconds:publicist is one of the E.P.’s most bizarre and odd song titles- among several.  Not expecting what is to come, it is the bass which plucks and pushes from the front.  Mood and slow build lead the song into the spotlight.  You imagine scenes of Westerns or maybe a tense Indie flick- with the hero loading his gun and walking into the sun.  Rather than go for ballistic and instant strike, the band emphasise melody and emotion- allowing you to picture scenes and possibilities.  Sounding like a cross between Radiohead (Amnesiac-period) and Leonard Cohen, the boys start the offensive.  When our hero steps to the microphone, his voice is mixes between a controlled and low-down groan- before exploding into a feral and insane bellow.  Again, clarity is an issue for the track- it is hard to pick up a lot of the words and sentences.  As with the opening number, there is more attention to the sound and pace- that mixture of threads and detours.  The vocals swing between polarized emotions and band unity- backing vocals are introduced to add weight and tension.  Hard truths are investigated; our hero seems like he has a burden (on his mind)- paranoia and unease linger in the song.  Casting his eye to a particular subject, it seems (they) are on the brink and edge.  With vocals looking at “righteousness”; tripping and shouting; straight and loose- our man ensures his tones keep things fascinating and unpredictable.  Whilst the song’s subject falls to their knees blinded, the band increase the pace and volume.  The compositional elements are not as attacking and bellicose (as one would imagine); meaning you are given greater opportunity to decipher the lyrics; appreciate the core performance and hear the band in a new light- the track has a Punk-inspired sound.  Scratchy and frantic guitar strings give way to bouncing and taut bass- that blend of rushing and funk-laden is a heady brew.  Stepping into more restrained territory, our hero lets his voice skip and dance- it jumps and hops with energy and soul.  With (the song’s subject) “obscuring the view”, the delivery and pace puts me in mind of Once in a Lifetime (Talking Heads)- you expect to hear David Byrne pop up any minute.  Towards the final seconds, the boys do not let the mood and intrigue slip- that sense of grip and fascination remains until the very end.  After Vulture Song’s finest cut, the lads need to keep the grip tight- A letter to my brother and sister, fuck him, he doesn’t know what paracetmol is possesses one of the most unwieldy and long titles ever.  Capturing you with its oddities and byzantine edges, it sounds almost like a lyric- the remnants of a verse or chorus.  Preparing your mind for something equally strange, the band go in fighting- the tense and focused guitar introduction stands you to attention.  Not hard and violent, it has a superb riff; a danceable and catchy sound.  The wolves are after (the little girl); circling her and coming close- the world is a big and scary place.  Getting things off to the races, the pace and drive is infectious- the boys unite instantly.  Tight and focused, the compositional coda is a throws in so many colours and twists- going from straight and direct; it weaves and snakes its pace without warning.  Catchy, uptight and graceful, the guitar notes get inside your head; the bass burrows in and keeps things level- the percussion splatters, smatters and punches forth.  The vocal performance has that inimitable quality- that drunken swagger the masculine growls; that sense of authority.  Coming off like an Ian Drury-cum-Tom Waits performance, the berserk and repeated mingle.  With walls closing in and coming into the fray, our hero lets his voice rap and spit; his repeated codas hit the mark- that infectious blend of Punk, Rap and Hardcore flourishes and explodes.  Without any warning shots, the vocal scratches and yelps; feasts and leaps- the shift is quite a dramatic one.  The band is up to the task as the overall sound tightens and becomes more dangerous.  Angular guitars mutate into assault weapons; the percussion is more defined and rampant; the bass sharpens its teeth marvelously.  Elements of groups like Sonic Youth appear briefly; the machine wreckage and breakdown is a sound that lingers and grows- ensuring the song builds in stature and meaning.  Keeping the listener, the boys ensure they do not miss a beat or step- notching up the offensive with borderline-arrogance.  The song’s subject is being given a talking-to; eviscerated and smacked-down- our hero’s voice is as urgent and insistent (than it has ever been).  Completing a glorious one-two, the Bear’ lads take the E.P. past the half-way mark- and leave the listener salivated and hooked.  If you thought the previous song has an odd title, then If it looks dead and it smells dead, it’s probably fucking dead is not far behind.  Making you smile- before a single note is laid-in- we have a short and violent burst.  The most overt Hardcore song on the set, it treads into Thrash-Metal territory- the vocal is as growled, graveled and animalistic as any I have heard.  Matching the seriousness and disturbed possibilities (of the title), you would not expect a Jazz-Rock swooner- the boys are in no mood for a vanilla latte (with soya milk and a dash of cinnamon).  The vocal attacks are not a consistent and merciless ting- they are uttered in short bursts; compositional punctuation then comes through.  Decipherability- once more- is a bit of an issue; hardly shocking given the sheer force and satanic rituals of the vocal.  I’m guessing scenes of hand-holding and carpet shopping are not being presented- you imagine something more morbid and interesting is afoot.  When the composition does take charge it sets up our frontman- who allows his voice to return to the land of the living; lighten slightly and regress to its previous state.  Presenting as much diversity, shift and change- as in any number- the band keep you on the edge of your seat- they pack a hell of a lot of rollercoaster into the ride.  Grotesque and macabre visions lead into wretched and rapturous vocals- perhaps not the song I would choose to have at my wedding.  Whilst a lot of Hardcore bands offer nothing but demented and blood-curdling screams, Bear VS. Rhino go deeper- making sure they provide melody, contrast and lyrical intrigue.  Not contented to slash your throat with a razor blade, the boys provide ample musicianship and depth- ensuring the song appeals to multiple listeners.  Perfect for stress-ridden times, the track is the perfect thing to thrash to- the mosh pit anthem that gets you moving and motivated.  Containing a strangely catchy and appealing chorus, the song almost makes you sing-along- how many Hardcore songs/bands do that so easily?  The sound of the rhino, bear and vulture feasting on one another, it is a trippy, intoxicating and drugged smoke that seeps into your brain- a lightning storm of biblical proportions.  Giving me plenty of inspiration for my own music, the trio has crafted a concise and memorable slam- a song that lasts a little over two minutes.  Taking Vulture Song to its conclusion- Daisychain has more positive and upbeat potential.  The grumbling and swaggering opening notes take your mind out of fields and arable scenes- we are back in the avenues of the violent and direct.  Lo-fi and raw, the song has plenty of menace and meat.  The percussion is particularly impressive- avalanching and rollicking with determination and grit.  Weaving and spiraling guitars blend with pulsing and rhythmic bass- the combination gives flair and potency to proceedings.  Our hero wants vengeance and blood- his voice is sharp and out for justice.  Propelled by his comrades, he is casting accusation and vitriol at a particular heroine- a “bitch” that seems to have caused a lot of strife and pain.  Whilst not as fascinating and developed as previous numbers, Daisychain acts as a marvelous and appropriate swansong- a track that leaves you wanting more.  Containing one of the most authoritative and urgent deliveries; our hero is at his most pissed-off and annoyed- in no mood to talk things through.  The final seconds (of the song) are as insistent and hypnotic as the first- meaning you are left intrigued and hooked.  The entire E.P. packs so much in; covers a lot of ground- surprises and inspires.  While some moments lack necessary intelligibility and focus, they are minor detractions- the abiding sensations is one of pleasant surprise.  That is not a bad thing: the boys have managed to supersede and subvert expectation- craft an E.P. that delivers at every turn; will appeal to masses of different music lovers.

It is great bands like Bear VS. Rhino exist.  Having progressed since their debut days, the trio has laid down a huge statement of intent- an E.P. that offers so much wealth and diversity.  If you read the term ‘Hardcore’- you may balk and assume the music will be awful.  It is true- a lot of the genre’s players- are sheer awfulness; the type that can make the ears bleed- that is not the case with our heroes.  Perhaps not quite at their very peak, Vulture Song is a packed, promising and passionate quintet of songs- nothing outstays its welcome; there are myriad incredible moments.  If you are captured by the imagination and the originality of the song titles- or are somewhat amused by their length and oddity- that may define your listening experience- the boys present wit, humour, directness and hard-hitting honesty.  There is profanity and accusation; enough aim and missile hit- nestling within genuine emotion and some reflectiveness.  I am not sure what the next year (will hold for the boys): whether they choose to release an E.P.; maybe put out a full-length album- may just present a couple of singles instead.  Their confidence and sense of togetherness has never been stronger- they are as assured and tight as they have ever been.  This passion and urgency means all of their tracks- on Vulture Song- will appear to multitudes of listeners- the tracks do not simply linger and shuffle awkwardly.  Classic albums- that have been celebrated as masterpieces- have never really hit me.  Having been listening (again) to Oasis’ album Definitely Maybe- I am finding myself bemused by its ‘legendary’ status.  Critics and fans have salivated over the L.P. (for twenty years now)- proclaiming it one of music’s finest albums.  Whilst I would be foolish to overlook the genius and staggering anthemic lift of Live Forever- none (of the album’s tracks) come close.  Laziness, boredom, uninspired lyrics are matched with samey compositions and whining vocals.  Plagiarism is another issue with Definitely Maybe- T-Rex are suitably ripped-off during Cigarettes and Alcohol- Noel Gallagher didn’t even bother to disguise his theft of Get It On (Bang a Gong).  In addition, The Beatles are stolen from- Noel Gallagher imagining himself as a reincarnated John Lennon figure- there is little original talent or ideas.  Critics are too eager to overblow and overhype mediocre and undeserving albums; hold aloft some truly terrible records- too many great bands and artists get overlooked.  Music in 2014 still suffers plagiaristic intentions and overinflated egos- too few musicians have a genuine uniqueness; few still have any sense of modesty and focus.  I am not suggesting we are in a desperate state- it is the fact music has suffered a dip in quality.  Beleaguered new acts are falling by the wayside; established artists are finding it hard to remain consistent- discovering something different and promising can be a very hard task.  Bear VS. Rhino have entered a genre that is defined by its limitations and weaknesses- adding something exciting and superb (to Hardcore’s annals).  The bearded infantry is one of the most vibrant and focused acts around.  The vocal work throughout Vulture Song is inspired and varied.  Our hero’s voice can go from a settled and contented croon to a full-bloodied scream- the sound of a fox roaming and screeching in the night’s cold climate.  Virile and staggering; composed and romantic- few other singers have such an immense amount of ammunition.  It is not just the range (of the vocal) that impresses- the way the voice mutates and shifts can be instantaneous and unpredictable.  Possessed of its own particular sound- few singers can claim to be original and incomparable- the listener is not reminded of other vocalists- giving them the chance to appreciate an incredible and honest talent.  The guitar work is consistently engaging and scintillating- at its most raptured it is an unabated weapon of destruction.  Nuanced and melodic (the one moment); riff-heavy and juddering the next- it then climbs and evolves into a blood-baying monster.  Most bands do not let their bass work shine and stand out- in fact, few acts are notable for their bass innovation and experimentation.  In Bear VS. Rhino, they have a superbly confident and invigorating player- someone with his own personality and way of working.  Capable of stealing focus, the bass strings have plenty of melody and passion, rhythm and fluidity- able to punch and swagger with fighting spoil.  Combining a range of sensations and personality traits, the bass acts as a strong pair of lungs- something about to shout support and make is voice known.  Not capable of fading into the background it drives the songs; keeps the heartbeat strong and alive- ensures there is plenty of contours and layers.  Percussion work manages to summon up a hell of a riot.  When more calmed and fastidious, the drum is able to intrigue and grip; when rising and building it is teasing and promising- when it explodes and erupts, few are immune from its stunning graces.  Primal and fierce; defined and structured- Bear’s percussion king is one of the most adept and mobile artists around; a stick smasher with a big future.  When the band unite and combine, they are at their strongest- the passion and understanding they share ensures all of their songs resonate and effect.  Constantly tight performances elevate the witty, angered and detailed songs- ensure those oblique song titles are not in-jokes, juvenile thoughts and angst-laden half-thoughts.  Each track is sharp and direct; never lingering and bloated- the music is sharp and chiseled.  The production values combine polish with raw meat- the songs sound live and first-hand whilst being clearly audible and defined.  No notes and vocals are buried deep or overly-gleaming- the mixture is perfect.  The boys have no intention of slowing or restricting themselves- they will be making music for many years to come.  With music capable of being festival favourites- not niche Metal festivals- the lads could be mixing it up with some modern-day legends (before too long).  Building and honing their sound- with each new release- they are on an upward trajectory- a projectile that is going to see them go from strength-to-strength.

The next few weeks will see me embark upon managerial preparations; plotting and planning; music video imagining- a whole host of different musical possibilities.  Reviewing bands and acts less frequently than normal- about one new artist a week- it has been good to step back a bit- my daily life is not so busy and rushed; I am able to step back and fully appreciate music.  One of the great things about new music- and my reviewing life- is the sheer range of sounds around.  Different acts have different personalities; no two are exactly the same- there is always something a little unique and individual.  Bear VS. Rhino have the band make-up and E.P. designs of the likes of Them Crooked Vultures and Queens of the Stone Age- in addition to some Grunge legends of the ‘80s and ‘90s.  In a way the boys share similar D.N.A.- they have the same gutsy and rampant primacy and overt passion.  Whereas the likes of Homme and Cobain have their own distinct styles- they share hypnotic personalities and potent songwriting.  Our heroes are making impressive strides; attempting to put their stamp on the music world. Perhaps their song titles are a bit long-winded and byzantine- that may put off some listeners.  It is clear their projections and force could knock the enamel from teeth- there is ample melody and restraint to be found.  It is never a great idea to judge any act on surface values and appearances- you have to investigate the music and draw conclusions from that.  Vulture Song is testament to the vibrant ambition and determination of our young stars- the ammunition and potential they have at their disposal. With a tongue and vocabulary- your mother might not approve of- the rambunctious and ragged London boys have a swaggering sense of pride and longing.  You can hear they want to achieve big things; their music speaks volumes- their sounds are direct and utterly gripping.  In a city that is growing in reputation; providing as much diversity and fascination as (any other location); it is not shocking to see another tremendous band come through- I am sure we will hear a lot more from the Bear VS. Rhino boys.  If we did pit these two terrifying and unsociable beats into battle, I am not sure which one would win- probably the Rhino by a shade- but there would be bloodshed and horror.  The noise, pandemonium and carnage would be eye-watering and memorable- that is the kind of festival and riot the London trio offer up.  Vulture Song has oblique and striking titles; plenty of oomph, panache and ruckus- a selection of songs that lodge inside your brain (and settle in for a long residency).  The music world needs more noise, pummel and fight- although not too much- so it is great to hear from the Bear’ lads.  Whatever the future holds for them, they are sure to tackle it with an unabashed and hardcore bite- I am sure the lads will be festival favourites in years to come.  Their rousing and primeval myriad concoctions are the sort to dispel fatigue and dishevelment- they can blow the cobwebs from a cloudy and confused mind.  The sheer infectiousness and memorability (of the music) is what lingers and compels- they are the sort of tracks that cannot be digested after a single listen.  This instance sense of nuance will stand the group in good stead- future cuts are likely to be just as addictive and layered.  I will leave with a thought about bands in general- what makes them tick; who we should be supporting.  I am sick and tired of hearing swathes of bands that seem naturally born to score teen dramas- the weepy and saccharine acoustic guitar-wielders that put the ‘I’ in ‘I’m tempted to commit suicide’- that kind of wainscot-rotting crap we can all do without.  I guess every musical animal has a place on the ark- bizarre and un-temporised market forces will always give certain acts a place and relevance.  I am a man and fan of heavier music; that which reaches down the trousers and has a good rummage- there are limits that must be put in place.  If the band- that offers this type of music- is vague and aimless- they can jog on.  Similarly, we do not need hordes of these groups coming through- at times we need some control, quiet and difference.  Bear VS. Rhino look to be making- their best moves- at just about the right times- laying down their philosophies at a juncture where there is a dip in overall quality.  New music is bubbling away nicely; throwing up plenty of distinction and range- the mainstream has let the hairline recede and the waistline expand.  For that reason, many ears and eyes are casting their attentions to newborn flavours- seeking out the best new music is popping out.  If you like your sounds and stylings a little bit on the rampant side, then check out Bear VS. Rhino.  If you like music that provides compendiums of lust, grace, emotion, humour and quality- attune yourself to the wealth of the London lads.  As much as anything, the trio provides a necessary escape through the Looking Glass- a way down a rabbit hole of unending fascination and multifarious trips.  You might find it- their music- a little bit off the realms of normality; a little disjointed and angered- you cannot deny the sheet vitality and purposefulness coming through.  Vulture Song is a brave and bold missive from one of London’s most compelling new bands.  In a landscape where the likes of Allusondrugs are making some great strides- their motifs of Nirvana-cum-Pearl Jam are exhilarating- it seems Bear VS. Rhino have definite leverage- they could well scoop the rusty crowns of Biffy Clyro.  With so many formerly- reputable bands starting to wane and fatigue, we need some new kings and queens- fresh blood to come along and kick the dust away.  A lot of Vulture Song was recorded in a basement- of a local wine and spirits gaff- and has that natural and sparse quality.  Back to basics; to the bone- the boys have that youthful rebellion comes out.  This passionate and unusual paradigm resulted in the lads recording vocals in a shipping container (in Aldgate, no less)!  This freewheelin’ and D.I.Y. musical approach has created a golden nugget- an E.P. that is clear to send intent shockwaves through music.  As I type, I am vibrating, singing (along in unison to) and swaggering to Supergrass- Going Out to be precise- completely intoxicated by its merriment, anthemic joys and sheer beauty- songs (and bands like this) come along seldom.  Bear VS. Bear may have transposed and reinterpreted Supergrass’ sense of bonhomie and vitality- the levels of intention and force are comparable- that unending electioneering and sense of campaign.  Give our London boys a trial; extend your thoughts and considerations to them- allow their brand of brilliance do its job.  When it all comes down to it…

 

BEING boring is a fucking awful fate.

 

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Album Review: Jingo- The Art of Loving

ALBUM REVIEW:

Jingo

The Art of Loving

9.7/10.0

The Art of Loving is available from 1st September. Pre-order the album at:

https://jingomusic.bandcamp.com/

TRACKLISTING: Black Flowers- 9.6/10 Sky Punch- 9.7 When You Want Me- 9.7 Belong To You- 9.6 The Art of Loving- 9.7 Home- 9.5 Blue Wail- 9.6 Before You Were Born- 9.6 Jacyln- 9.9 Same Without You- 9.8 IQ84- 9.5 Don't Call It Love- 9.8

STANDOUT CUT: Jacyln

DOWNLOAD: When You Want Me, The Art of Loving, Jacyln, Same Without You, Don't Call It Love

RELEASED: 1st September, 2014

ALL SONGS WRITTEN AND PERFORMED BY: Jack Buckett, Katie Buckett , Joe Reeves and Chris Smith

ADDITIONAL INSTRUMENTATION AND VIBES: Sahil ‘Saladin Hacksaw’ Batra

RECORDED AT: Strongroom Studios and Snowman Studios, London UK

MIXED BY: Jingo and Ganesh Singaram

MASTERED AT: Soup Studios

ARTWORK BY: Katie Buckett

GENRES: Alternative-Rock _______________________________________________________________

Having reviewed Jingo on several occasions, I was excited to hear what The Art of Loving would offer. Fascinating stories, heady vocals and insatiable compositions hypnotise with ease. With such a huge amount of range, wonder and genre-splicing; the incredible quartet have unveiled one of 2014's finest albums- few can deny its incredible spell

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AS I arrive at my final trio of reviews...

(before becoming a functional member of society), it is with a slightly heavy heart. It is great to discover new bands and promote terrific work- experience something first-hand (that few others will). While I ponder the future and the balance of work, I return to survey a band that have been with me since the start- one of the first bands I reviewed (all those long months ago). Having assessed a few of the group's singles, it is terrific to see the arrival of their debut L.P.- a dozen tracks that showcases the full range and potential of Jingo. I shall dive into them in a second, but (they have reminded me) of a point: unexpectedness in music. It was only a few days ago I was expounded the virtues of Go Wolf- a Belfast trio who inject female and male vocals inside their myriad threads of electronic gold. Having tied them with Fleetwood Mac- another band are in front of me- that have spooky embers of the U.S./U.K. greats. I mention the legendary group, because I am falling in love with their music- especially the genius of Rumours. After hearing some plastic and facile 'singer' murder Don't Stop- for some ungodly and horrible advert- it is sad that people (discover certain bands) through advertising- I despise all commercials and find them nauseating and horrendous. In addition to it being commercial and sell-out (flogging tunes to advertising companies is something even Queens of the Stone Age have reverted to), the young should be discovering music the honest way- connecting with people and going to their local record store. Spinning the likes of Rumours (on vinyl) redefines the perfections and seduction music can offer. Jingo has American and British leads- a husband-and-wife duo that incorporate essences of the legendary 'Mac. Their music is as diverse and authoritative for sure- they mix genres and styles to create songs of the highest order. In modern music, you are not shocked that often- pleased to find an act or band that you do not expect. Aside from the same old male-only quartets and twee Folk singers, how many acts come along- those that stand out from the crowd? In 2014, it is still rare to find bands that mix male and female performers- fewer than 10% of all acts contain both genders. Not being a statistician of music, maybe that figure is a little artless- regardless, few acts mingle different genders and nationality. Like genetics, music is at its strongest and most vivid when you incorporate diversity and difference. Being in the process of recruiting four members for my band- they don't know it yet- I hope to draw in a northern lass, Portuguese chap- one American and a guitarist. A jinx-filled caper and bit of persuasion will be in order, but my point is this: not only are the personalities and talents phenomenal; it will (not be a band) that is homogenised and predictable. My jingoism towards diversification is well-founded- so few acts take the trouble to ensure their ranks are distinct and stand-out. When you have different personalities and perspectives coming together- the music becomes richer and more full. No matter how good a male or female singer is- when leading a band- the sounds are undeniably fuller and more intriguing (when adding in the opposite sex)- a different accent and point of view. Bands like Fleetwood Mac and The Magic Numbers compel because of these mixtures- it enforces their creativity and opportunities. Although albums like Rumours occurred among turmoil and hell-fire relationship break-ups, it should not act as a warning sign- bands who contain lovers and spouses are not going to (necessarily) break up and squabble. Katie and Jack Buckett combine their transatlantic genetics together and bond it around their unified and rock-solid relationship- the intuition and sympatico goes into their startling music. Were Jingo and all-male band, they would not sound as passionate, beautiful and scintillating- it is Katie's distinct voice that adds so much richness and multitudinous. Having inflamed and amazed reviewers- including me- with their stunning and assured music, the quartet have worked their socks off. Their L.P. The Art of Loving has a cover that defines their sound- a sense of angst and force; strange and odd beauty; plenty of vivid and unforgettable scenes- things you will not easily ignore. With critics comparing the band to the likes of Portishead, The Kills and The Magic Numbers; it is clear the four-piece have a tremendous name- a natural quality and excellence that makes these comparisons just and fair. Before I raise another point, let me introduce Jingo to you:

KATIE BUCKETT - VOCALS/KEYS JACK BUCKETT - GUITARS/ BACKING VOCALS JOSEPH REEVES - DRUMS SAHIL BATRA - BASS/KEYS/BACKING VOCALS

"JINGO IS A DYNAMIC AND CURIOUS FOUR-PIECE AFFAIR. THEY ARE, CONSEQUENTLY, JACK BUCKETT, HIS WIFE, KATIE, JOSEPH REEVES AND LATEST ADDITION, SAHIL BATRA DISCOVERED FROM THEIR OWN WAREHOUSE OPEN MIC NIGHT. THE FOUR HAVE BEEN MAKING MUSIC WITH OTHER BANDS IN BROOKLYN, NEW YORK AND LONDON FOR A FAIR FEW YEARS BUT HAVE NOW EMBARKED UPON A SHARED VENTURE AND HAVE A LOYAL AND DEVOUT GROUP OF CO-PATRIOTS IN THE UK AND US. SUPPORTING GRAHAM COXON OF BLUR AS THEIR FIRST GIG IN MARCH 2013, THEY WERE OUT OF THE BLOCKS AND RUNNING. SINCE THEN THEY HAVE BEEN KEEPING BUSY IN THE STUDIO, WHILST TOURING ACROSS THE COUNTRY RECIEVING WIDESPREAD ATTENTION FROM ONLINE BLOGGERS (INCLUDING A FEATURE IN FHM). IN NOVEMBER THEY WON THE MADE IN SHOREDITCH MUSIC FACTORY COMPETITION ALONG WITH 2 DAYS RECORDING AT THE LEGENDARY STRONGROOM STUDIOS. JINGO IS A UNIQUE GENETIC COMPOSITE, AND ONE THAT HAS NOT BEEN SEEN TOO OFTEN ON THE MUSIC SCENE. WE HAD A SIMILAR NATIONALITY CR OSS-BREEDING WITH FLEETWOOD MAC, THE MAGIC NUMBERS, AND A FEW OTHER ACTS, BUT THEY ARE FEW AND FAR BETWEEN. THEY ARE SET TO RELEASE THEIR DEBUT ALBUM IN SUMMER 2014."

Jingo is among a small number of new acts that have their eyes and ears on all avenues of the Internet- their music is available on various sites. In addition to possessing an authoritative and detailed official site, the band make sure that few faces can ignore their sounds. Whilst lead Katie Buckett is a skilled artist, you can see her work on a lot of the band's covers- including their album. Her incredible artistic talents have had an effect on their music videos- each are stunningly eye-catching and wonderfully conceived. From Same Without You's animated capers to Belong To You's black-and-white live jam, the group excel in multiple arenas- they do not solely focus on their sound. Taking the trouble to consider their videos and website is something few artists do- you know just how much music means to Jingo. Dedicated to it and gripped by its awe, the quartet funnel that energy and passion into their music- hardly shocking it received such universal acclaim. Hard-hitting, festival-winning and atmospheric, the London band marry the rawness and vitality of Brooklyn with the artiness and diversity of East London- drawing their separate experiences into multifarious and layered music. The Art of Loving has been a while in the making; up until now, the band has been producing a series of singles- tempting the listener into their world; presenting different sides to them. Having set the scene and come onto the stage, the band are preparing the release of their 12-track L.P.- a record that will get many critics excited and awe-struck. In the way that no two snowflakes and fingerprints- or Justin Bieber felonies- are the same; the U.S./U.K. coalition ensures no two Jingo tunes sound alike- they retain their identity but never come across as predictable. I adore bands and what they offer, but feel there are a few too many- sounds odd, but the quality level is not exactly sky-high. Were all the bands brilliant and original then we would welcome newcomers forth- the fact that they are so hit-and-miss leads to trepidation and caution. As we speak, there are mutilated waves of below-average bands; the sort that have little regard for standing out and galvanising their music- so many acts are spat out and forgotten. Craft and honing is as important as originality and potency- to Jingo- who go to great lengths to infuse so much life, urgency and colour into their music. Providing a welcome relief- from the quagmire of beige Indie groups- I have high hopes for the quartet. With their unequivocal and fastidious work ethic, they are not going to slow any time soon- they have plenty of songs and albums in them. The incredible friendships- and love they have for one another- should not be ignored; they will not implode and explode like Fleetwood Mac- that is not to say they cannot aim that high. With the early signs being incredibly positive and prosperous, who knows what 2015 holds for them? Their mesmerising and eargasmic (sic.) album is a compulsive purchase- something everyone should snap up. Before I get down to assessing each (of the 12) numbers, it is worth taking a look at the band's previous work.

It is hard to compare Jingo's sound directly to too many others- the band are one of the most unusual and striking I have ever heard. The only way one can compare Jingo with another, is when looking at their cross-pollination and band formation. Having an American heroine and British hero; distinct and startling singers; incredibly mobile and multiplicitous performers- their style and sensations can be tied to other acts. A band that have meant a lot to Jingo- and I am familiar with- are Not Blood Paint. Whilst the two bands share little musical D.N.A.- in terms of their identities- they do have some similarities. The Brooklyn-based rockers are near-neighbours of Katie Buckett- a band that she probably is very familiar with. Not Blood Paint have released a series of records- Calm Down is probably their finest hour. The 26-minute opus packed more oomph, wallop and weight- than any other record of 2013. Stripped-down arrangements and emotional nakedness sat with rushing and fever-dream panache- the band performances and progressive tendencies made the E.P. such a triumph. Squelches, tribal climbs and repeated codas- sat within the E.P.- and made songs stick in the mind- turned them into addictive and potent beasts. The band's ideologies investigate conspiracies and stranger elements; they have a rare voice and songbook. Jingo has similarly evocative and striking song themes; they are as accessible and immediate- the other thing (the two bands share) is the gorgeous vocals and stunning compositions. On some songs- from Not Blood Paint- masochistic and vengeful lines sit within beautiful and tender compositions. As early as 2010, critics in the U.S. have been gripped by their music. The Brooklyn band differ from their borough-mates: their love songs come through in obtuse and feral angles- they are nontraditional and dark. Filled with staggering imagery and plenty of bite, the boys have established their reputation- they are one of New York's most urgent and memorable acts. Jingo has a similar unexpected and oblique set of lyrics; they look at love and relationships (but subvert expectations)- their special and original slant makes the songs so much more fascinating and gripping. Bird Courage are an act that have influenced Jingo. Presenting music that treads along the lines of Folk and Experimental, the Brooklyn boys are masters of soft and gripping acoustic notes; the songs across their records have left-turns and gloriously unexpected moments. Huge vocal harmonies can be found with rippling guitars- in the middle of a calm and revered Folk song. Although the band are still finding their true sound- and haven't unleashed their masterpiece yet- they possess plenty of quality and inspirational mandates. Their aching and alluring harmonies; delicate and impassioned Folk moments beautifully blend with heady emotions. Before I mention a quintet (of other acts) I will bring in my musical idol- Jeff Buckley. Having only produced one album- the masterpiece that is Grace- I can see some parallels with Jingo's most wondrous and tender moments. The vocals and voice is something Buckley was synonymous with- able to pair his divine pipes with sensational and scenic love stories. The sadly-departed Californian mesmerised critics back in 1994- Grace is one of the greatest debut albums ever created. The audacity and lack of humbleness (that went into Grace) meant that there was bombastic ambition and startling confidence- the young master knew exactly what he was doing. Being a devotee of Buckley, I know how much of a perfectionist he was- never happy unless a song was as good as it could be. The grasp Buckley showed- across his career- was startling and phenomenal- able to mingle the soaring and mournful within the space of a song. A divine and heavenly voice- had Buckley- this rich and inspirational sound made his music so compelling and urgent- Jingo share strands of Buckley's genius. Their reach is no less staggering and ambitious; their vocal harmonies and turns scintillating and gripping- the range of motions and sounds quite extraordinary. Whereas Buckley was synonymous more for his voice, he remains a truly underrated songwriter. Not just devoted to love and longing, his songs mingled byzantine and oblique dreamscapes with cinematic scenes and funeral parades- he was inspired by the likes of Leonard Cohen and Joni Mitchell. Jingo has a Buckley-esque packed songbook; those incredible and distinct vocals- tirelessly graceful codas. Interpol are a band that have made impressions on Jingo. If I were to compare The Art of Loving- to any Interpol album- it would be their self-titled mid-career gem. Critics noted how gripping Paul Banks's vocals were; the dark shades were underpinned with plenty of light- subtle textures came through across the L.P. Their sense of story and atmosphere was evident- on Interpol- the rich narratives and brilliantly paced tracks made the album epic, melancholic and redemptive. Deeper ideals were on Interpol's mind; their intricacies, orchestrations and nuance stood them in critical regard- many noted the atmospheric darkness gave it a spine-tingling layer. Submerged and deep moments were as a result of abstract and complex inputs- the band found new wrinkles in their well-defined sound. Jingo does so likewise: they uncover new glories and sounds within their defined and solid foundations. They exchange darkened and moodier shadows with elliptical and positive rushes- they have the potential to reach Interpol's heights. On Interpol, the band shored up their weaknesses and united players; their muscular attacks were as a result of tight and focused performances. Mixing minor and major notes with tempestuous mood shifts- love songs ranged from honest and pure to attacking and pained- the band could achieve anything. Jingo has a similarly vast amount of possibilities and commendations- it will be exciting to see how this flourishes on future releases. When thinking of Katie Buckett's vocals- in addition to the atmospheric and cinematic compositions- Portishead come to mind. Perhaps their Third album is the most apt comparison piece- an album that showed a fierce and incredible amount of attack. With Beth Gibbons' voice at its most urgent and gripping, the album was a huge triumph. Endlessly absorbing and riveting performances backed her startling voice- which had grown into something unbeatable and unmatched. If we take vocal comparisons out of the equations, just think of Portishead's hallmarks: looped rhythms and dark corners; vintage elements and spellbinding songs. Third required effort from the listener: the cold and stark uniqueness bloomed into something magisterial and epic. The tenet that defined Third was the originality and jarring juxtapositions: a ukulele-led snippet stuffed between two hell-fire assaults was one such surprise. The tonal shifts and experimental untidiness resulted in a phenomenal album; absorbing and fascinating with every listen. Perfectionist tendencies resulted in music that was not processed and canned- instead free and natural. Jingo marries all of this into their work: the styles and compartmentalisations; the quality assault and sensational consistency- the juxtaposed moods and art works. When Katie Buckett lets her voice haunt and cool, you catch hints of Gibbons at her most entrancing- our heroine is just as capable at gripping the soul and portraying darkness (in addition to love and hopefulness). Before I conclude with a duo of bands, I shall mention Bad for Lazarus- a group that have had bearing on Jingo. Although the band is a combination of Heavy-Metal gods and '60s East Coast Garage elements, some of its flair has transitioned into Jingo's mandates. The 25 E.P. saw psychobilly and dark humour pair with macabre themes. The incredible playing mixed some of Matchbox B-Line Disaster with Red Hot Chili Peppers; double-tracked vocals and insatiable rushes. The E.P. also harked back at the past; looked at vintage and traditional recording techniques- before digitalisation. Tight and clinical, the production allowed the vocals to sound characterful and unconfined. The legendary band upped the innovation on Burnt! Vibrating and spontaneous energy lingered in attacking and innovative assaults; slow strung-out burners nestled with ragged and jagged loose cuts- 'beautiful' and 'challenging' are words that can be applied to the record. The Brighton band continue to amaze and impress- on Burnt! they dispensed with guitars to rustle up explosions sans electric strings. Jingo does not share the same feral and maniacal vocals, yet there are similar components- their innovativeness and expectation-subversion are among them. Before I end with a British influence, I will mention one of my favourite bands- Fleetwood Mac. When trying to compare a Fleetwood' album (with Jingo's work), I plump for two: Rumours and Tusk. The 1977-1979 regency saw Fleetwood Mac craft two of their most spectacular and timeless works. The former is defined by its moral ambiguity; that sensational consistency- the sheer thrill-ride that lasted from start to finish. The songs jumped out of the speakers; the insistency and consistency meant eccentricity and stunning honest seemed elemental and unforced- it was an album that defied the odds. The raw emotional power of each note made (Rumours) a blockbuster- the contradistinctions between anguished and passionate defined the album. A cut-diamond a tsunami of angel kisses, the album remains a sonic god- something few bands have matched. The permissive and unspooled hedonism put Fleetwood Mac at rarefied heights- inspiring waves of young and eager bands. Jingo unites that sense of ambition and concision; their songs range from radio-friendly nuggets to harmony-laden shivers- there is darkness and pained confessions. Although Fleetwood' started as a psychadelised Blues-Rock band, they developed their sound- hitting their peak here. The U.S./U.K. combinations find equals with Jingo; although far less fractured and spoiling- the two bands share some unique distinctions. The Bucketts match the vocal qualities of Rumours. Stevie Nicks was at her husky and impassioned best; Chrissie McVie introspective and tender (with her offerings). Katie Buckett has that sexy husk and gorgeous stillness- the embodiment and spiritual incarnation of the Fleetwood Mac heroines. Jack has some of Lyndsey Buckingham's Garage-Rock drive and riveting tones. Tusk was a sprawling and messy masterpiece: by the time the album came out, the band were shattered and broken. Ethereal moments and twisted immersions could be found; band-driven paranoia and bracingly weird moments did not impress critics (upon its release)- it has aged into a genuinely fascinating work. Jingo match that eclectic and scattershot approach; keep everything solid and uniform- throw a lot of Tusk's diversity and wild range. The last band I want to include are The Magic Numbers. Their latest album- Alias- sees bittersweet ruminations spar alongside gorgeous harmonies and swells- it is their finest disc to date. Tragic strains and plaintive vocals score heart-breaking tableaus. It is the mix of their traditional blissfulness and newly-found Rock rawness that makes Alias such a delight. Majestic and shimmering melodies- Roy Orbison particularly- are topped only by the consistently brilliant Rock moments- when the band are plugged in they are switched on. Adventurouness and direction is going to see the band accrue legions of new fans. Jingo mix the same contrasts and styles; their harmonies and vocals are as emotive and stunning- they have a greater quality control and sense of authority. What they share with The Magic Numbers is that spellbinding vocal force and terrific range of sounds. Jingo is very much their own force and only incorporate the most subtle hint of other bands- take them on their own word. That combination of Fleetwood Mac and Not Blood Paint is unexpected- the fact the band have such a love for all sorts of genres results in their phenomenal sounds. Unencumbered and transcendent, the quartet have shades of '70s masters; the urgency of U.S. Rock bands- I am hard-pressed to compare them directly with anyone. This individuality and distinction is defined within The Art of Loving. With so many bands being rudderless and predictable, Jingo are entrepreneurs of a very prosperous business ideal.

When looking back at Jingo's past work, you can see the developments. The majority of the band's previous offerings see their way onto their album- a collection that bonds all of their music together. The earlier cuts like Black Flowers differ from more recent examples like Sky Punch- there is difference and diversity. While tracks like IQ84 and Same Without You are copacetic and exquisite- they established and cemented the band's reputation and quality. I am fascinating by cuts like Jaclyn and Blue Wail- tracks I have not encountered before. Having set the bar pretty high on their first releases, it would be unfair to say there has been a big leap- it would suggest that there is inconsistency and weaker (album tracks). The quality is as high now as it ever was; that distinct and unmistakable sound is very much theirs- the only thing that has changed is the songs' themes. New ideas and considerations have come into effect- perhaps the focus and determination has been upped slightly. What I do notice- from the most recent recordings- is a sense of unity and focus- it has grown and augmented. Songs like IQ84 remains (one of my recent favourites) and I was worried- when reviewing the track- whether the band could equal and top it. Unflappable and headstrong, the quartet do not try to top themselves and reinvent the wheel- they have a natural mobility and range; it means every new idea they proffer is as excellent and shining (as the one that came before). I would advise everyone to listen to the songs on YouTube and SoundCloud- hear the developments and change of sounds. The best judgement and starting-point is The Art of Loving- the melting pot where all of their stunning songs bubble. What I found- from listening to the album- is the seamlessness and uniformity. When bands put various tracks together- some from way back; mingled with new nuggets- you can sense some loose edges and rough edges. The album does not always come together as strongly and focused as it should. It is amazing how the dozen numbers (on The Art of Loving) come together. Because of Jingo's expansive palette and wonderful songwriting, they manage to make each cut seem both equal and related, but distant and unique. Such a variation of sounds and performances makes their L.P. such a deep and layered treat- one that should be heard time and time again. The true test will be seeing how Jingo's second wave of songs stack up- whether there will be transitions and mutations or a continuation of their current ideals. I suspect the quartet will not radicalise and transmogrify their sound too much; add too many new components in- they will keep it pretty true and loyal. What Jingo offer is consistent quality and variation; it means whatever comes next is likely to rank alongside The Art of Loving's best cuts. Whether the band have already formulated some potential singles or tasters- or are going to take brief recess between recordings- I am not sure- the next year is going to see more music from them, for sure.

Black Flowers does not exactly begin with acquiescence. After a brief grumbling and fuzzy guitar line, the vocal comes fully into effect- our heroine is on the mic. With her voice firm and insistent, shadowy words are elicited. Human beings- when they die- turn into "black ribbons"- the scenes are set and the atmosphere becomes tense and nervy. In spite of everything that is happened- earth being dug up etc.- black flowers keep pushing up and pressing. Our heroine's voice is gripping and urgent as she lets her words come forth. Although the flowers are pushing up and trying to grow, (she is happy) pushing them back down. An insatiable and feverish compositional rush unfolds; the mood swells and the sense of fascination grows. You wonder what the flowers are a metaphor for; with my mind cast around purity; the clash of good and bad- possibly awfulness and pain will overrule and defeat good. Whatever you try to do- whether it is chasing a dream- it will always be forced down and quelled. Backed by the hero, the vocals unite and pervade; the heroine is happy to push black flowers down- rebel against these forces and not let them get to her. The composition is sparse but effective; mixing striking and attacking strings with impassioned and driving percussion- the song's constant sense of fascination never lets up. Wordless chorusing and scintillating vocal passion augments and defines the words- brings the images directly to life. With such a unique sound and original intent, it is hard to categorise the song into genres. There is a great mix of Pop-Rock and Indie lightness in places; darker and more brooding swathes in other areas. That incredibly direct and gripping central vocal is matched by some fascinating compositional changes and inclusions. Percussion notes mutate and develop; joining with bass and guitar swerves (and emotional curve balls) are thrown in- towards the two-thirds mark an intricate and unexpected sea change occurs that kicks the song towards its finale. That endless determination rules; the need to push black forces (and flowers) back down- you get sucked up in the ideology and mandate. Delivered with bellicose potency, you are helpless to resist the force and charm- by the final moments you find yourself singing along and on our heroine's side. After such an impressive opening salvo, Sky Punch arrives. Having been premiered on Facebook (and social media) it is another brand-new and unheard-of Jingo track. Soft and romantic piano notes beckon the track forth; elegant and spiraling; flowing and firm- it is a stunningly suave and svelte early life. Space-age and razor-wire guitars add cosmic glisten and lust to proceedings; perfectly bonding with piano (and percussion)- a stunning sound is elicited. The words and lines are delivered with more restraint and passion here- than on Black Flowers- our heroine displaying her sweeter and more elliptical range. If she wants to see the brightest star, then (her) telescope is pointed at "the darkest sky." Darkness and blackness is presented once more; here there is a more refined and mellifluous edge- a breeziness and soulfulness. Sky Punch "is no robot" ("Must I remind you?" asks the heroine) as the song notches up a gear- the central figure seems evocative and fascinating. As the words are teased and tempted, strains of Portishead, Pixies and Adele are married in: the vocal has that powerful and semi-operatic quality; the composition fuses '80s Indie/Grunge (with stranger and contorted electronics). "Answers make questions" is a coda that is repeated and re-introduced; functionality and robotics are themes that come to play- Sky Punch is not a machine or Autobot. As your mind thinks the song is settled in its groove and sound, it suddenly shifts and explodes. The vocal is more direct and insistent; the strings and percussion grumble and quicken- the composition rushes and patters. Subverting expectations, the listener is sucked into an impassioned and wracked plea- our heroine seems more pained and anxious. When her man- the unnamed subject- says "it is inappropriate" when (she) is the person she wants to be- you feel that entrapped and fought-against soul rebel and shout out. The bragging man is causing annoyance and inflamed outpouring- the song keeps growing in intensity. As the chorus expands and volumises, our heroine's voice grows more powerful and emphatic- Sky Punch is leaving and that tangible sense of pain and loss is evident. By the final stages, buzzing and haunting electronics crackle and pervade- reminding me slightly of the end to The Libertines' Road to Ruin. Completing a biblically proportioned 1-2, the listener's heart and mind is overcome and overwhelmed. When You Want Me starts with eerie and malevolent strains. The ghostly and elongated strings are haunting and demented- a sense of danger and unexpectedness lurks. That singular thread is weaved with additional etherealness; a burbled and wobbling vocal (singing the song's title) mixes with stately and urgent piano- the witches' brew concoction is one of the most startling on the album. Swaggering and howling guitars- a little of Queens of the Stone Age's Desert-Rock magic can be detected- comes to play; the song grows more psychotropic and insatiable. Our leads combine on vocal duties during this number. Initially, our heroine's voice is a low-down and distorted line; it grips and shakes the soul. When uniting with our hero, it is sharper and more emphatic- our heroine wants to be taken out and see the world. Perhaps feeling left out and excluded, you feel that yearning and sense of relegation. Spinning and stuttering guitar tumbles have a flair of The Dead Weather and The Kills; combined with the incredible vocal passion and you are hooked in- wondering whether that rare and bizarre introduction will come into effect. Upbeat and emphatic performances give the song a huge energy and catchiness. The guitars become delirious and snaking; the keys and bass drive and push the song forward- the percussion is the sound of the heartbeat growing ever more racing. The chorus does indeed come back in- that stunningly unique presentation is back for a bit- before our heroine comes returns. Cocky and strutting, the projection is filled with spit, determination and fire-power. She is pointing the finger (at her man)- someone who will "never be happy." That strife and romantic imbalance leads to a staggeringly assured and standout track- one that wins you over with its twists and turns. The vocals are reliably powerful and stunning- especially with Katie Buckett- whereas the bonding (between the leads) is phenomenally emotive and spine-tingling. That genre-hopping composition keeps the track mobile and unpredictable- the lingering elements of The Kills and The Dead Weather add gravitas and grit into proceedings. The final notes are grumbling, concrete and slinking. Shaking hips and casting aspersions, we reach the climax- a breathless number that says all it needs to say. Following a diverse and varied trio of songs, Belong To You is up next. Pattered and Trip-Hop percussion skiffle gives the intro. an edgy and evocative start; that sound grows with a guitars, bass, percussion (and electronics)- the introduction turns into an Indie-Rock-cum-Alternative symphony. Bombastic and confident, the vocal matches the mood and sound. Our heroine wants to scream and shout out; she knows (she will) "always belong to you." If she had a thorn between her teeth, she could say this is me- that "wouldn't be true." When the chorus comes in- and the twin vocals unite- there is a sense of upbeat and redemption. Possessing one of the most impassioned and striking vocal performances- from both leads- the song wins you over for a number of reasons. The lyrics are gripping and emotive; the composition tumbles and mutates- shades of Garage, Indie and Psychedelia combine to give the song a restless energy. Our heroine's voice shifts from rapturous and phenomenally powerful- during the chorus- to more delicate and soft in the verses. The band present one of their fullest and most interesting compositions. Cosmic and intergalactic guitar notes sit with pummeling and rifled percussion; populist and redemptive parables proceed spoiling and whirling dervish rushes- the pace and sound matches the interchangeable and flexible nature of the vocal. Crackling and bonfire riffs lead to issues of life and death- the former is a white blanket; the latter black. You wonder whether our heroine is truly contented and assured; I guess in spite of everything she has that relationship and bond- even if there are doubts and niggles on her mind. The album's title track catches you with its embryonic vocal- it comes straight in and is seductive and captivating. Backed by finger-clicks and a spacey sound, the track is a short mandate- it comes in at 55 seconds. In the way Portishead- on Third- put the beautiful and short (1:31) track Deep Water between two stunning behemoths- here Jingo pull off the same trick. Allowing a chance for reflection; a new direction and a unique punctuation- it is a phenomenal and impressive move. The art of loving with your heart "is not as hard as you thought." That idea is repeated as a universal truth- the words get into your brain and stay there. With very little backing sound- except for when our heroine presents a second vocal line- it is an echoed and sparse scene- allowing the meaning and beauty of the song to fully take a hold. Spectral and gripping in its minimalism, the vocal dueling is hypnotic- there is nothing complicated about love; loving with your heart is not that hard. Home is a common song- and album title- done by a multitude of bands. Unlike the wave of contemporaries, Jingo open their Home up with distinct and trademark intrigue. Pitter-patter and urgent percussion mixes with imploring and yearning guitar strings- the two combine to kick up quite a catchy and heady sound. Home- it is a safe and reliable place- that is central to the story. Casting her thoughts outwards- to her love- the song's hero cannot "have it all"- his friends laugh and whisper; he is needed back home. Speaking to her sweetheart, he is wanted to quench her soul; make music for (her) "and my bed." Stating "anything's better than what you said" there is a sense of mystery and curiosity. Wondering what the background is, you can hear the urgency in our heroine's vocal- taking her pipes to Bjork-esque levels of intensity and amaze. Backed by spaced-out and mixed emotion electronics, that struggle and conflict keeps coming through- the need to mend fences and return to a former state. Able to provide what (the hero) needs; be there and loyal- everything is made elemental by that phenomenal central vocal. Rapturous and overcome; calmed and measured- it is one of the finest performances on the album. Gripped by that mesmeric and variegated vocal assault, there seems to be some regret coming through. Leaving the listener to extrapolate their own version of events- and back-story- the layered mystique and interpretations add weight and potency to the track. Funky and stuttering strings open up Blue Wail. Our heroine wants to "swim in the wind"; her soul freed and unshackled- that light and graceful flow opens up the track. The heart of a blue wail (sic.) is heavy and burdensome; that sense of fatigue and emotional drain takes it out of you- it is the largest animal in the ocean (of emotion). The clever wordplay and fascinating images keep you hooked and conspiring- imagining what our heroine sees and feels. Searching for love and meaning, she wants to castigate her heartache- that magic and spark is needed. Boasting one of the most rushing and full-bodied choruses, the combination of serenity and passion is hugely effective- the track is a lot more honest and simpler (than previous numbers). Sparks, grumbles and diversions (in the composition) are traded; yet the emphasis is on the central performance- making sure the words hit home. The two leads combine naturally and splendidly here; their commingling creates huge rush and sense of excitement- spine-tingling and wholly immersive at its peak. Soulful funk and spunk is laden in the guitar work; our heroine was born without her animal heart and pride- her wings are folded. That sense of being weighed down keeps coming back; the need to shake away the darkness- the need to fly and soar is paramount. Shifting her voice and keeping the energy constant, our heroine is seeking answers and satisfaction; her soul is in need of galvanisation and redemption.

Before You Were Born is a track I have surveyed before- in addition to IQ84 and Same Without You. Having left it aside for a few months, its charm and appeal comes flooding back- right from the off. Moaned and wordless vocals sit with romantic piano. Spiraled and scintillating guitar parabond and conspire; the sensuality and sexiness- of the vocal and composition- comes to the fore. Our heroine projects outwards; save the planet while we can- important messages are laced within the tender vocal. Moonlit and twilight, the captivating vocal swoon sees a subject pinned "like a dog"- our heroine wants him (to make his) intentions known and sure. With the hero adding vocal prowess- in the chorus- the song keeps climbing and layering; that drama and drive builds up. The heroine's voice is at its sweetest and highest here- during the chorus it swells to the heavens with its transcendence. That range and changeable nature make the song so insistent and gripping: the vocal(s) mutate from soft and tingling to impassioned and full-bloodied- the composition has a similar consideration for mood and sonic shift. Dramatic and uplifting; fascinating and emotive- it is a perfect mid-album treasure. Catchy and memorable; swelling and gripping- the band turn in one of their best numbers. Capable of uniting festival crowds in rounds of sing-alongs; cure darkened hearts- it is a stunning and fascinating gem. Jacyln is a curious beast; a song that opens with haunting and eerie intent. Our heroine lets her darker and more shadowy side come through- a bit of Beth Gibbons and Alison Mosshart unite. Ghostly and tribal, the sapling moments are tense and gripping. The song's subject has her name delivered with blood-curdling lust- our heroine shows the full extend of her histrionic range. Pulsating and anthemic, the band unite in a frenzied and determined movement; the song's disreputable heroine is being given a throughout going-over. Her future was too stained "for her past to come clean"- instantly your imagination begins to speculate and dream. Jacyln keeps her eyes closed; she can see through (our heroine's) eyes- backed by a staggeringly assured and heady composition, the vocal reaches its most intense. Having impressed hugely on previous numbers, it is here that our heroine lets her voice truly stagger and expand- the incredible shifts and shades are all uncovered and highlighted. Graveled and growled moments transform into tidal wave of electricity and bracing drama- few other vocalists possess such a startling range and diversity. Crackling and striking, the vocal is a potent and stinging reptile; an animalistic thing baying for blood- who can escape the terror? With the song's key player being undressed and denounced; she is someone who thinks she has people figured out- her head in the stars, you start to add pieces to the puzzle. The song never relinquishes its attack and earthquake. Past the 3-minute marker, a delirious and trippy keys swagger come in- augmenting that sense of drama and headiness. Matching Muse for potent bombast- with none of the ridiculousness and circus- Jingo mutate and evolve once more. Our heroine's voice becomes more Spoken Word. Employing hints of Alison Mosshart and Stevie Nicks, the low and gravelled projection has some distortion and echo to it- a steel stiletto kick that hits its target. The anti-heroine has been chasing bad love; filling her mind with false ideas- our heroine is keen to not go down that path. The perfect combination of sonic assault and hypnotic vocals, the band hit their peak here- showcasing just how phenomenal their new material is. Same Without You is a track that impressed me back in April, 2013. One of the band's earliest tracks, it lines up seamlessly with Jacyln. Showing just how good they were- back in their early days- the song begins with graceful and moody piano. Jazz-flavoured and seductive vocals open up the track; our heroine is in the shine of a '50s spotlight- an insatiable femme fatale with an alluring and scintillating intent. The words are accusatory and direct; the cards are on the table and laid bare- she does not want (her man) to lie to her; she will call his bluff. Fueled by desire and intent, the ombudsmen for truth and transparency is backed by suitable atmospheric support. Vibrating strings fuse with punching and kicking bass; the percussion keeps events level and tight- the gripping drama does not demure or restrict. The song's central figure has not changed; he has the same (bad) heart- he made our heroine feel foolish and stupid. Letting her operatic belt speak volumes, the performance is an arresting and divine sound. She is the same (without him); his lack of presence has not changed circumstance and life- it seems he has been an anchor (on our heroine). The tricolour of audio innovation has a Baroque/Pop sensibility. In the same way Rufus Wainwright is able to expertly tie in Blues, jazz, Pop and Classical influences- and create an intriguing symphonic punch- Jingo does the same- albeit it more brooding. The passage continues for a fair few seconds, creating its own gravity and momentum; it takes its time to capture you. There is no need to fill every second with lyrics- the band know that it is just as important to project beautiful music in order to create a stunning effect. When it subsides, we are told our heroine “never made you feel sad”. The voice becomes harder and stronger, showing all of its lungs- as a crescendo is unleashed. Our heroine possesses a similar belt and force (as Adele); you can practically sense the hordes of record label bosses running towards the band- with a wardrobe, hair scissors and cosmetics in hands; perhaps thinking they have a U.S. Adele on their hands. Unlike our countrywoman, Jingo’s feminine tones posses a subtlety and consequential soul (that has been sadly lacking from a lot of Adele’s recent numbers). In spite of all the pertinent and heartfelt words; imploring questions and contorted emotions- whether it is a good or a bad thing- our heroine is “the same without you”. Past the 1:30 mark, there comes a clattering dance of guitars and percussion- with bits of Muse in there (before they started phoning it in). It is at once foreboding and heavy, but also melodic and planted firmly on Earth. It is another shape-shift that takes your consciousness to another place, once more. Lesser acts may plump for a steady and rigid composition- that conveys the emotion through a linear mood and doctrine- that seems a little too anxious to change course or be adventurous. It is the pioneering and playfulness that the band readily posses- that also does wonders where their music is concerned. This transferable quality adds emphasis and credence to an already gripping song. The track mutates into a skiffling and shuffling Jazz/Swing number- the vocal is still powerful and impassioned.  When the piano punctuates sternly; around it, a motivating and searching juggernaut is unleashed. As our heroine says “I am trying to stay true”, the accompanying composition- tied in to the audio of the previous 10 seconds or so- reminded me of the adventurousness and bending philosophy of Bjork. The Icelandic princess is constantly capable of dragging you to dark and magical woods- where fairies and monsters cohabit with little qualm. She also- sometimes with David Arnold- creates sweeping and emphatic soundscapes- that bristled with introverted passion and Brothers Grimm scares. In a similar and prudent way, our heroine's voice has a touches of Debut and Vespertine Bjork: youthful and sweet, yet capable of ripping your head clean off- if you push her too far. It is quite electrifying. As the chorus ends again, there is an echoed vocal- as though we have reached the rooftop and (through a bullhorn), our heroine is shouting her message. Not just directed to her disgraced beau- to anyone else who is within an ear’s reach too. The hero is not within sight; with amplification and nary a second thought, the operatic and full-bodied passion is back. The voice crackles, rips and tears asunder- as we witness a trickling and flailing guitar weave.  To my ear, it has some traces of Jack White. Think his solo albums, mixed with the majesty unveiled during the Get Behind Me Satan-Icky Thump regency. I smelt a flavour of Steely Dan in there as well- circa-Can’t Buy a Thrill. It is a most unexpected sonic diversion, and again adds a layer of U.S. influence to the melting pot. Bits of Santana, Slash and Clapton are heard in the D.N.A. as the sound of piano comes out. Instead of being romantic, a hand is run across the keys with verve- ghostly and unstoppable snowballs hurdle towards the village. Holmes and Watson can stop looking for a strange beast, as it seems the hurtling ball of impending doom is going to cause instant catastrophe. The guitar gives out cries and anguished yelps as the drum beats with vermilion fury- never out of control, it keeps a very sharp and mythologised spine. The heroine comes in to restore some semblance, as she lets it be known (that she is) the same without her man (not Jack, obviously). The chaos abates; a lilting and romantic piano ends the track- bringing sunshine to the stormy and harsh night, previous. Almost matching Jacyln in terms of genius, it is amazing how natural the two tracks sit together- seeing how they were recorded so far apart. Jingo show just how impressively consistent they are. IQ84 is a track I have reviewed previously. There is a little oriental flavour and spice to be heard within the introduction. Armoured with chopstick percussion- and guitar work disinclined to rest its feet- it is a rousing and tight start (and multifaceted too). As well as a nod to the Far East, there is a sense of electronic acts (like Tricky or Massive Attack) in the spirit and voyeurism of the start. There is no clue or inclination as to where the track will go- or what the vocals have in store. Perhaps not imbued with a laudatory smile, the lyrics have a little pessimism in their early stages. Our American siren is exclaiming how the world is not a fair place, explaining: “It won’t be make-believe/If you believe in me”. As you settle into your seat- ready to delve deeper into their subconscious- a marauding and rampant drumbeat strikes up; whipping fear into the heart. The beat staggers and struts- perhaps arrhythmical- to the foreground; it is a rush of blood to a monochrome canvas. The vocal has a pleasing restraint and uniqueness to it. There are perhaps little hints of early-career Beth Gibbons, but aside from that, our heroine's voice is its own woman. For the initial eighth of the track, the lyrical theme remains unabated- pertaining to the subjects of the realities of life and the redemptive truths of love. The percussion and guitar remain impressively propulsive- keeping strong and unabashed throughout. There is a sonic and dramatic shift soon after. The guitar becomes less karate chop, and more scratchy. It sounds- at first- like a more melodic, restrained cousin to Nirvana’s Smells Like Teen Spirit. It is an impressive sea-change; the modulation from syncopated and Asiatic- to a London-via-Washington indie-grunge mutation- is impressive. The vocal is lighter and more wistful; the lyrics still have a sensitive side: “but you’ll always have my heart”. The drums again wallop like a adrenalin-filled heart, pulsating when needed- to elevate and punctuate the mood. The Indie twang and strum (of the guitar) is a little bit The Kooks; a tiny bit early-Bird Courage and Arctic Monkeys. After a successful ascent of the mountain and slight snowstorm, there is a 30ft fall ahead. The electricity of the music is replicated in the vocals, as our heroine is a woman overwhelmed. She is overcome and exacerbated: “Baby please/You’ve got me on my knees”, is evocatively pronounced- portraying dramatic tension and rain-swept romantic tableau. Our heroine implores (to her paramour) to not leave her- to take her with him. One can draw comparisons with female contemporaries such as P!nk, The Pretty Reckless and Adele, but there is a credibility and intelligence (the first two do not posses)- and unlike Adele, the emphasis is not on vocal alone. The backing is by no means subterfuge- it is right there holding our protagonist’s hand. The changing moods and story-line twists; they infuse the song with such mystery and electricity. Very few modern bands can credibly pull off so many dips and switches- and remain gripping. Jingo does it in style. There is a real sense of story and parable in the lyrical arc-this is sublimated by the nervy and fractious bait-and-switch. Around 1:51 there is a palpable rise in blood pressure. As the vocal is held; guitar and instrumentation peaks- the refrained “Baby please…” is with us, once more. It is an emotional coda- which far from being too morose- has a redemptive sensibility. The message is effective, and towards 3:00 the guitar contracts and bungees (with elasticity)- it weaves and forges new paths. There are elements of U.S. acts such as The Eagles, Steely Dan and Queens of the Stone Age- this creates a heady and exciting bubble. The synthesised blends and notes give way to the chorus (as we come to a close). Don't Call It Love starts with a terrific mix of Jeff Buckley and Radiohead. Displaying some Live at Sin-e live majesty; bits of The Bends-era potency, the guitar opening leads to a serene and focused vocal. Colours you cannot see; troubled mothers and hungry children are introduced. At her most graceful and stunningly pure, our heroine has "heard enough." The chorus is one of the most scintillating and stunning (on the album). Childhood possessions and recollections are recounted; false ideals are being held onto (by the song's subject)- the track builds pace and potency (past the 2-minute point). Asking her man- and hero- to take a trip (with her) to places they've never seen (or been), that mingling of romance-cum-accusation comes through. Compositional elements have touches of Radiohead (Bishop's Robe especially) and unifies '90s Indie-Rock with U.S. bands (like Not Blood Paint). Sighing and ethereal vocals unite towards the 3:30 mark to give a haunting and impassioned sound- it could easily fit onto a Rumours track like The Chain. Evocative and tingling, a huge amount of force is summoned up. The two leads combine wonderfully to get the hairs standing to attention. A particularly tight and primal band performance makes every word and sentiment stand out in bold face- it is a packed and incredible band turn. Our heroine's vocal once more stretches and climbs to wracked and fierce heights- that delirious crackle that gets straight into your soul. During the chorus (past the 4-minute mark) it climbs and hunts; scales to dizzying climbs- intoxicating every listener. Squalling and psychedelic guitar wailings are riffs of the highest order- trippy and strung-out wonders that add spice and alcohol into the bloodstream. Leaving the song with entrancing and swaggering lust, the band ensure Don't Call It Love is not easily forgotten. After a firestorm of strings- that ends with feedback- you think the song is going to conclude. The final moments are left to our heroine: her voice is soft and solo; without accompaniment, the full beauty and power comes out- equaling the most spine-tingling moments of Buckley and Bjork. Having heard the final of 12 tracks, you have a lot to take in and absorb- the phenomenal The Art of Loving is one of the best albums you will hear all year.

If you have stuck with me so far- thank you- then it is fitting I sum up the album as best I can. Jingo is an outfit that favour egalitarianism; the equality (the band employ) results in organic sounds and tight performances. The production through The Art of Loving is superb and concise- polished enough to make every note recognisable and clear; atmospheric and bare to allow the right amount of primacy and nakedness to come out- the vocal performances are suitably live-sounding and emotive (because of this). I was impressed by the sequencing and track listing. Most bands- when putting out a debut L.P.- tend to front-load the record; make it top-heavy- meaning the second half drags and drones. The secret to a perfect running order- and balanced album- is to have one of your best tracks up top; ensure the four finest songs are equally spread- two in each half.  You should aim to finish with your strongest numbers. Jingo has pulled this off. The finest tracks occur near the end of the album; the six tracks (of the first half) have equal distribution of quality- as does the second. This leads to an album that is balanced, poised and constantly surprising- you discover gems and one-upmanship in places you do not expect. Meaning your interest and fascination is not peaked too soon, the band brilliantly keep the momentum going- ensuring no listener ends (the experience) disappointed or short-changed. The dozen tracks simply fly by; there are no long or bloated moments- each number sounds urgent, direct and economical. Numbers like the title track make the album such a wonder. Not only is it addictive, effective and defining mantra (of the album's intentions and messages)- it is a short and brief number that packs a huge amount of weight. Most bands would have lengthened such a song; stretched it out and made it too aimless- Jingo not only unleash a perfect punctuation mark; it is a song that stands among the top three. The range of genres and moods covered is outstanding. Most Alternative-Rock and Indie bands are too narrow and ritualistic- they do not innovate and experiment; few unexpected treats are offered up. Jingo amaze with the wealth of their sounds and colours; the performances, time signatures and songbooks alter and variate- no two songs sound alike. The entire album has a superb amount of professionalism, focus and perfectionism- together with loose and ragged edges; an at-ease sound shows phenomenal naturalness. It is worth applauding the band themselves. Sahil Batra is the band's new boy- the bass player that has some big shoes to feel. Unlike bands like Pixies- who would bully and marginalise a wannabe-Kim Deal- the benevolent and communal band grant Batra plenty of room- their natural friendships mean he perfectly and seamlessly fits into the fold. Showing no nerves and hesitation, his performances are consistently enlivening and uplifting. The most diverse musician of the band, Batra is as effective on keys duties as he is on bass- his contributions almost steal the top honours. The bass guides and leads; drives songs forward and amazes- it has plenty of rhythm and personality. Like Kim Deal or Paul McCartney, the bass is more than a guiding tool- it has its own personality and projection. Imbued with a hungry power and myriad contrasts, it adds shades of light and dark when needed; playful and funky at times- able to match the mood of the song. His keys contributions add swathes of spaciness and cosmic oddity; interplanetary weirdness sits with emotive and lush romanticism- upbeat and pomp circumstance nestles alongside primal urges. Chris Smith- who wrote and played on the numbers; replaced by Batra- should be commended and applauded.  Whilst a former member of the band, his notations and elements all appear within The Art of Loving.  A incredibly authoritative and compelling player, his essence and talent shines (throughout the album).  In addition to co-writing the album, Smith's touches and personality defines (some of the album') best and most astute moments.  An exceptional and natural performer, he is tight and focused throughout.  Having reviewed Jingo last year- when Smith was with the band- I commented on his drive and multiple talents; the way he lifts songs and injects something unexpected and urgent- he is one of the unsung heroes of the L.P.  Were it not for his input and influence, most of the songs would be weaker and less effective.  Congratulations and plaudits should be paid to him- and rightful credit given.  Joseph Reeves provides the punch and pummel. Levying so much authority and prowess, the stunning drummer adds elemental potency to so many numbers. Like Batra, Reeves has a distinct sound and personality- his drumming is not cliché and rank-and-file. A lot of drummers exist to fill gaps and mould into traditional and expected confines- Reeves is allowed full room to manoeuvre and impress. His mighty and evocative presence makes every song sound fully focused and unpredictable- his sticks are able to add unexpected and delightful notes; twist the track in unexpected directions- I have been a fan of his work for a long time now. Influenced by the drumming giants of old- the Grohls of the world- you can hear that similar power, skill and intuition pioneer hard.  Reeves' performances- along the album- are tightly crammed with emotion and insatiable appetites. The final plaudits go to the husband-and-wife duo of Jack and Katie Buckett. Jack's guitars are stunningly powerful and intriguing; so much colour and life is contained within. When songs go astral and stratospheric, you catch glimmers of Pink Floyd and Radiohead- Jonny Greenwood's fretwork on OK Computer particularly. Not confined to a single sound, he summons up raw power and Desert-Rock swagger; braggadocio and masculine sexuality- matching the bad-ass axemen Josh Homme and Jack White. Having a huge and rounded knowledge of music, Buckett incorporates cross-pollination of various genres- masterful at uniting Blues and Rock alongside Garage and Pop. Melodic and honest the one moment; overt and explosive the next. Across the dozen tracks, the amount of emotion and ground covered (by the guitar) is sensational- I cannot wait to see how this is developed across future releases. His vocals blend perfectly with Katie's- the two have a natural bond that comes through. Adding essential force, beauty and diversity, Buckett's voice is distinct and urgent. If you look at an album like Rumours, it is stronger and more evocative (because of the different vocal sounds). Songs like Go Your Own Way are amazing because Christine McVie and Stevie Nicks joined Lyndsey Buckingham- were it just Buckigham alone, the song would not be as amazing. Unlike Fleetwood Mac's tug-of-war tussle, Jingo's male vocalist is stress-free and without anxiety- allowing his voice to sound effortless and unforced. Last recommendation and commendation goes to the group's American leader, Katie Buckett. Her keyboard work is sensational and incredible throughout- an essential aspect of the album. As a player she is assured and deeply impressive; showcasing her natural abilities and intuitive feel. As a singer, she is in a league of her own. The lyrics and music are uniformly inspiring and compelling; the way she scores (the words) is sensational. Inspired by the likes of Alison Mosshart and Adele (to an extent), Buckett surpasses both- few other modern vocalists have such a staggering range. As natural and spellbinding when roaring and belting out her words- as she is seducing and softly teasing- that elasticity and flexibility enforce's Jingo's creative process. Most bands- with limited singers- and confined by what they can write; have to work around the realities of life. Due to Buckett's planet-straddling range, it means The Art of Loving can do whatever it wants- knowing Buckett will knock it out of the park. Drawing in some embers of her Brooklyn home sounds; elements of Blues-Rock icons- together with some modern-day British influences- and you get a cornucopia and variegated spectrum- one that amazes and mutates on each number. Almost wild and dangerous in its untamable moments, it is amazing how astutely Buckett can contrast and constrict- she can bring her voice down to a whisper without showing camber or fatigue. All of this- each band performance- results in an album that is tight, nuanced and hugely impressive- one of the most immediate and stunning albums of 2014. Throw in poetic, deep, oblique and quote-worthy lyrics; deep and stunningly striking compositions- you have a critic-proof album that demands long and impassioned appreciation. Jingo's debut album may have been many months in the planning- the final result is well worth the wait.

It's kinda sad that I am returning to the land of the employed (and useful) in a week- solely because my reviewing days are restricted to Saturdays-only. Jingo is a band that I have been following closely for many months- having assessed a string of their songs, I am so glad to see them at their peak. There is no bias, subjectiveness and hyperbole in my review- if they sucked I would (kindly) phrase it on the page. I hope I get to review them in the future; follow them still and see where they can go- it is clear the quartet are on an exciting and prosperous course. Great and illustrious gigs have come; paen and tribute has been paid- media sources are celebrating and elevating the band. They may have gone through a minor band member substitution- Sahil Batra is a relatively new addition- yet it seems to have worked for the best- I have never heard Jingo sound stronger and more natural. This solid and unbreakable formation comes out in their music; it will lead to great things- ensure the guys go on for many years. The male-female, British-American vocalisations add so much candid depth and directness to all of their music; the combinations of notes and vocals is intoxicating and hypnotic- one of the band's most potent weapons. Each song- on their album- contains an incredibly tight and compelling performance; the music is brought vividly to life- few other acts play with such conviction and purpose. Intelligent, stylish and stunning songwriting has resulted in a masterclass debut album- one that contemporaries and peers should take note of. Not so much the long goodbye; more like the proud supporter- Jingo are going to be a big prospect for the future. I hope Katie takes the chaps across to the U.S.; get gigs lined up- the hemorrhagic sounds should not be confined to our shores. I can see the band translating well across L.A. and California- I have reviewed acts here that would nobly support their quest. Able to tantilise and grip the boroughs of New York; buckle the knees of the Midwest- they have the potential to take their stall globally. After the U.S., then who knows? The quartet have a world out there awaiting- it is only a matter of time (before it is theirs). Of course, the group are keen to focus on the release of The Art of Loving- see how it resonates and is received. Among a sea of indeterminate and ho-hum bands, it is always great uncovering an oyster- an aphrodisiac with an eye-catching and heartbreaking pearl. Before I depart- and set my view on another act- I will arrive back at my original thesis. Unexpectedness is not something you encounter much in the rubble of stampeding musicians- something that catches you off guard. Whether it is a flamboyant and vivacious sound; a head-spinning concoction of instruments and variations- it is always a great pleasure. Jingo manages to side-step expectation on a number of different fronts- the first is their music. Across a dozen songs, the quartet display a huge amount of talent and potency- incredible songwriting and tremendous performances. Synonymous with their vocal prowess and nuanced sounds, Jingo have an artistic eye for design- making sure they put detail into their music as well as their website. In essence, the band are a fun and likeable troupe; artists that want to draw in listeners and new fans- few are as eager and passionate as them. When The Art of Loving is released next week, ensure you get a hold of it- see what you take away from the music. Having almost a brotherly bond (with the band), I am going to follow their careers with great interest. Saying goodbye for now, the Jingo juggernaut is powering on- gaining momentum and fresh fuel. Let us hope I get the chance to investigate the band in the future; knowing how hard they work...

I am sure it will not be too long!

 

[youtube https://www.youtube.com/watch?v=cXbzGQaxzZc&w=560&h=315]

 

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Official:

http://jingomusic.com/

Facebook:

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Track Review: Antriksh Bali- Daze Blue

TRACK REVIEW: Antriksh Bali

Daze Blue

9.4/10.0

Daze Blue is available at:

http://antrikshbali.bandcamp.com/

RELEASED: 1st August, 2014

VOCALS BY: Nikita Sailesh

SYNTH. AND PROGRAMMING BY: Antriksh Bali

PHOTOGRAPHY BY: Sulzhan Bali

GENRES: Electronic, Ambient, Trip-Hop _____________________________________________________

The Indian pioneer is a fan of the likes of Hans Zimmer, Massive Attack and Morcheeba. Antriksh Bali's inimitable blend of soft and serene; cinematic and epic works wonderful- he has produced some of music's most fascinating cuts. Daze Blue is another filmic and evocative number- one that looks at creative woes and blocks. Tense, emotive and nervy, the song is a stunning assault that will draw in a host of new fans

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THIS will be the final review I will pen...

for a couple of weeks at least. Having already written up Jingo's review- for their album The Art of Loving- it is exciting to witness a genuinely fascinating artist- from the subcontinent of India no less. Having been honed into three continents with my reviewing- Australia, Europe and North America- I can add a fourth (with Asia). After searching for a fiery Chilean Pop band; a cool-ass African Soul artist- Antarctica is a bit of a stretch- it is terrific to be in Asia- a continent that is overlooked with regards to music. Most people tend to train their thoughts to the U.S. and U.K.- when it comes to music- and overlook valuable and untapped markets. It has been a while since I have investigated acts from Australia and New Zealand- southern hemisphere locations that provide some terrific Rock and Indie examples. South America is a less fervent and fertile market- there are plenty of original and stunning musicians playing here. Asia is a curious and fascinating continent- most people have cliché ideals and expectations. Far beyond the notions most hold, the continent boasts a great range of music and bands- transitioning these artists to the U.K. has been a slow process. India is a nation that has produced a lot of fine musicians and artists- a lot of them reside in Britain. My featured artist is someone who calls New Dehli home- keen to keep his sounds based in his homeland- an impressive move in the modern climb. His reputation is built around consistency and quality; Antriksh Bali is ensuring critical eyes are focused on India- seeing just what the country is offering the world of music. I will investigate Bali in more depth, yet am compelled to raise one issue: the Electronic and Ambient genres. Those whom hold a rudimentary knowledge of each are aware of the qualities (both genres) possess: that mixture of pure gracefulness and scintillating energy. Being a massive fan of Massive Attack; a devotee of Poritshead and their ilk- their finest moments mix Electronic trippiness with ambient lust and grooves. In a music industry where there is still too much emphasis on guitar-led assaults; pure Pop and something more 'traditional'; few are taking the time to proffer acts that go deeper- blending dissonant with wildly experimental. It is a hard trick to get right: fuse wide genres and shades to create something variegated and exhilarating. I am disappointed by how limited (a lot of musicians are); so few dip into a treasure chest of sounds and stir them together- get their mind spiked and tantalised. It is great if you can stagger an audience with a few notes and heady riffs; take the mind somewhere fantastic- in an age where quality is defined by imagination; it is hard to achieve this. The key to originality and success is going to be mandated by those that innovate and subsume the bare minimum. The U.K. is more impressive- when it comes to experimenting- and leads the U.S. Europe is probably the most radiant and fertile continent (for mixing a raft of varying sounds). Whether their agendas are enforced by fastidious perfectionism or a freewheelin' approach to sounds, it is staggering to see the results- some of the new music coming through is phenomenally unexpected. Trip-Hop, Hip-Hop and Electronic artists- from around Europe- are providing some of the most colourful and immediate musicians in the world- those that go beyond normal barriers and restrictions. From the early days of Beck; through to the '90s Trip-Hop movements- along to the modern-day kings and queens- music needs more scientists- the bold that infuse chemicals, flavours and ingredients( to form something heady and intoxicating). Bali is an artist with a huge reputation and incredible work ethic- having been producing music for years, he is one of the rising stars on the scene. I have a couple of points to raise; but let me first introduce my featured artist:

"Antriksh Bali is an Alternative/Electronic musician based in New Delhi, India. His music is influenced by a wide plethora of artistic elements that range from Ambient music to unpredictable sonic experiments that constantly evolve over time. Raised and brought up in an environment where there were no restrictions on genre or styles, Antriksh boasts of a sound that is an amalgamation of urban, dissonant and atmospheric music superimposed on top of epic and over-the-top orchestral scores that sway and move to inspire, yet awe. Learning classical piano since the age of 11, He has roots in classical music which he skilfully combines with elements of modern music that encapsulate everything from soundtrack and spoken word to Glitch and Trip-Hop."

Bali may have been raised in a country that is more overpopulated and crowded than ever; where there are more road accidents- per person- than anywhere; a nation that is crowded- it does not seem to have tarnished his ambitions and creative process. The huge population and range of people has instead compelled and inspired his mind; that incredible mixture of cultures has defined his music upbringing- led him to create sounds that are pioneering and wide-ranging. In a lot of western cultures; there is homogenisation and restrictions- a lot of communities and countries are limited and narrow. England houses a lot of nationalities and types of people; I wonder why this ethnic diversity and community does not translate musically- a lot of new acts are rigid and unadventurous right from the off. Bali's lack of restrictions- when growing up- have been poured into his music; he ensures his music has as many different turns and movements as possible- the amount of emotion, energy and wonder he pours in is hugely inspired. When you are unconfined and free; live in an area where all forms of music are proffered- this compels your processes and ambitions. Being brought up on music from a young age, I experienced (at an early stage) the likes of T-Rex and The Rolling Stones; Glen Miller and Kate Bush; Steely Dan and Joni Mitchell- there was never a single day where I would hear the same music. Those disparate and legendary artists have inspired my music ambitions; the way I write and dream takes those wide and compelling sounds into effect- I am so glad that I had that sort of upbringing. Bali has enjoyed a similarly liberating and nourishing musical youth- soaking in the sounds and sensations of the street; the myriad genres and styles of music (from the neighbourhoods). Able to marshal concentration and focus, he has funneled his cornucopia influences and loves into his own distinct sounds- creations that are stuffed with spice, sweetness, ice-cool and sharp kicks. Before I investigate his music in-depth, I want to look at discretion and bravery. When applied to music listening, these are words that are rare and unheard-of. So many listeners refute the necessity to expand their horizons; stick to confines- they lack the ability to cherish music from other parts of the globe. If you are fascinated by Pop or Grunge- why limit your attention to this alone? Even if I didn't review, I would seek out as many different artists and styles as I can- perhaps it is because of my upbringing or sense of curiosity. So much great music- and artists- is being passed up; snooty and stuffy music 'lovers' keep to themselves- happy enough to let some terrific sounds slip through their fingers. After discovering British-based acts like RKZ and Calgaris; Canadian Rap masters like The Emsee- those raw and vibrant sounds are seducing my with ease. Having been introduced to one of India's finest musicians, I am going to explore the continent in more depth- seek out his local contemporaries; dip into a flavoursome and nuanced cuisine. The public needs to get out of their concrete-weighed boots; stop balakansing their intuition and peripheral vision- take the shades off an open their damn eyes. For every snot-nosed and pretentious kid; to the adults that diminish anything fresh and innovative, I say this: get your heads out of the sand. It is true that there's a lot of crap and ridiculous music floating about; on the flip side there is a multitude of wonder- sounds that most are ignoring. Bali has managed to touch a lot of people; transcend geographical borders and get his name out there- there are still too many that are ignorant of his abilities. Improving and galvanising with every new release, the Indian maverick is one of the most ambitious and startling musicians around- ensure you investigate his wonderful sounds.

If you are a new listener to Antriksh Bali, then it may be worth bringing in other acts- artists that have influenced the young musician. When thinking about Bali's hardest (and more primal side), Massive Attack spring to mind. When thinking about album comparisons- that could have compelled Bali- Protection and Mezzanine spring to mind. Protection was noted for its range of sound and technical excellence. The band's sophomore effort- the follow-up from their emphatic debut Blues Lines- the band threw acid lines, fragmented beats and melancholic keyboards into their music. Opening the album with an emphatic duo of songs, the group spared no times in making their voices heard- it is an album that gets off to a flying start. A mixture of blunted and transcendent vocals (added myriad emotions to various numbers)- the introduction of Tracey Thorn was an inspired move; her intimate vocals brought light and vivid life (to the numbers she featured on). Instrumentals were stretched and elongated; clean-etched and thick-textured contradictions sat with one another. When Mezzanine arrived- the follow on from Protection- the reception was a lot more positive- Protection gained some mixed reviews; some noted that there were too many weak tracks. Mezzanine benefited from eerie atmospherics, fuzzed-up guitars; wealth of effects- cuts like Inertia Creeps were stone-cold classics. The team of producers that were brought in introduced fresh sounds and a sense of vibrancy. Pointed beats and stark sounds resonated; listeners were gripped by the blend of ethereal and earthy. Genius collaborations and staggering production values led to a modern-day classic- an album that has inspired legions of new acts. Bali mixes that concoction of earthy and spectral; the atmospherics and ethereal edges he fuses are wonderful- seamlessly blending without sounding forced or unnatural. Showcasing a comparable talent for welding hard and tribal beats (with jagged riffs); warm atmospherics and heady anthemics- this all comes out in his back catalogue. When the hero goes for softer and more dreamy scenarios, I hear embers of Morcheeba. The British Trip-Hop/Electronica act have had a big baring on Bali's sound and direction- shades of Who Can You Trust?- Morcheeba's debut album- are extrapolatable in some of his earlier work. Thoughtful soulfulness dictated the album; that mingling of technology and honest emotion sparred beautifully- the laid-back beats and smoky seduction was a riot of wonder. Occasional strings, wah-wah funk; Hammond organ and evocative vocals united- the resultant album was lauded and celebrated. Languid and looping grooves took the sound across the Indian Ocean; a strange and bizarre brew that worked- the vocals from Skye Edwards (and her sensual purr) sounded like Sade paired with Portishead. The album acted as an emissary of slow, smooth and dark tantilisation- an accessible collection of songs that sounded foreign and murky; ominous and creeping. Hauntingly atmospheric and nuanced, it stands as a remarkable debut disc. On Big Calm- the trio's sophomore release- the Trip-Hop and Dance beats remains intact. Pop, Longue, film soundtracks and Reggae commingled and spiraled; Electronica peacefully coexists- it is a stylistic triumph that remains their finest hour. The sophisticated maturity was augmented by Edwards' incredible and skyscraping voice- an instrument that can make anything sound compelling and gripping. When looking at lesser-known acts- that have inspired Bali- The Algorithm remain a key force. The musical project of French artist Rémi Gallego, his 2012 album Polymorphic Code impressed critical ears. Each song's obfuscating blend of sounds created a stunning assault on the senses. The Algorithm threw in Mathcore, Trance, Drum and Bass; Djent and Dub-step into his sounds- Gallego remains one of the most innovative and daring musicians in the world. That borderless and innovative ambition has enforced Bali's sounds and machinations. The Glitch Mob are another act that has spiked Bali's mind- The U.S. Electronic trio stunned with their debut Drink the Sea. That album saw driven and overwhelming synth. sounds and multiple layers- that balance of layers is struck just right. Phasing and cycling through sounds and different moods; the album uses syths. as an assault weapon- tangling and threatening when needed; calm and authoritative the next moment. Ensuring songs change conjecture and style, no two numbers sound alike- the album goes from airy and flowing to heady and carnivorous. Perhaps the second half suffers from poor sequencing and the death of natural flow- that is down to some poor production decisions; the quality of the songs does not dip. Composers like Zack Hemsey and Hans Zimmer have inspired Bali. The former is an American film composer whose works have featured on Game of Thrones, Inception and Lincoln. His albums, E.P.s and singles have seen orchestral snippets fuse with Trip-Hop samples and World instrumentations- Indie and Rock lines are injected into the fold. Zimmer remains one of the most influential modern composers. Having composed the scores for Gladiator, The Lion King, and The Dark Knight- among many, many more- he is one of the most varied and stunning composers of all-time. Dramatic and magisterial sweeps integrates traditional orchestration with modern Electronica. The Dark Knight's score was brooding and dark; shadowy and intense. The Lion King was more light-hearted and redemptive; graceful and uplifting. Gladiator was ready for battle and fighting; pulsating and grand. Bali has been compelled by both composers- Zimmer more so. Able to contrast epic and tender- within his music- the Indian pioneer's work could easily fit in a multitude of films and flicks- from huge blockbusters to charming and quirky Indie endeavours. Showing a love of multiple genres; eager to mix sounds together- to elicit maximum emotional resonance- Bali has the work ethic and talent of the great modern-day composers. He ensures his music is filmic, scenic and orchestral- presenting stunning moves and contrasting sounds. The last name I will bring in is The Prodigy. Music for the Jilted Generation was a dark and menacing album- from the band. Covering more ground- than their debut effort- it slammed harder and more brutally- sonic terrorism was grubby and biting. Catapulting and propulsive, the L.P. sounded like a greatest hits collection- each track seemed more stunning than the last. The scoring of vernal rave and big city ambitions, the sensationalism fireworks crackled, exploded and scolded- leaving the listener dazzled and forewarned. The Fat of the Land remains The Prodigy's masterpiece- their defining and finest hour. Intense Hip-Hop-derived rhythms bustled with imaginatively constructed samples; shouted lyrics and depth are synonymous across the board. The phenomenal production- from Liam Howlett- joined mind-bending Neo-Psychedelia with blood-curdling assaults; funky Hip-Hop with visceral vocals. Introductions and guest spots saw performances exhort cod-mystically and inspiring hypnotisms. The album launched Electronica to the U.S.- it was a hugely influential and revolutionary piece. Bali has presented darker and raved-up moments; bellicose beats and psychosis neurosis- he tends to tone down his Prodigy visceral rage. Showing the same inventiveness, dominance and sheer authority- his songs are rife with multicoloured sounds and electioneering passion. It is worth taking the acts (above) as references- as opposed to sound-alike guides. Bali is an artist that incorporates other acts like he does sounds- they rush by and come to the fore now and then; never become too pressing, obvious and attention-seeking. Our hero is one of the most innovative cross-splicing and cross-pollinating genre-fusers out there; he has that stunning attention to detail- as fervent and stirring as any of the musicians mentioned above. If you are a fan of any of them, you will find a lot to recommend in Bali's music- a young name that means serious business.

Bali has produced acres and multitudes of past work- expanding his horizons and experimenting with sounds. If we look back at Scoundrels of Egypt- that song was released a couple of years back; it is one of our hero's earliest works. Starting dark and heavy, there is a definite cinematic edge. The electronics come out demented and rushing; swirling around one another- you sense danger is afoot. Scratched and stuttered electronics soon bond and fuse; they trip and fall inside one another. Skiffling and shuffling beats rush and build; there is grandeur and hard intentions- the song is alive and urgent. When orchestral strings sway and seduce, the mood intensifies- it is as though the listener is being chased by a villain. A confident and hugely impressive cut, it has the terrific sound of a film soundtrack score- something that could theme a nervy and tense thriller. Dreamscape Nightmare was as evocative as its title suggests. Eerie and haunted beginnings get the listener hooked- the piano notes are singular and punctuated; heavy and hard. When sweeter notes infuse and mingle, that mixture of sour and light blend- the resultant sound is an exciting and tantalising one. Lullaby intentions sit with spectral and groaning howls. Strings come back to play and conspire- there is a stop-start projection that keeps the song unpredictable and tense. The to-and-fro rhythm and sound is hypnotic and exciting; gripping and tender. Shades of The Cinematic Orchestra and Morcheeba sit with one another- quite a languid and sizzling commingle. Bureaucracy- released a couple of years back- has teasing and stuttering opening beats. Massive Attack and Hans Zimmer come to my mind- that hard and heavy force punches in. Slinking and cool lines weave with firm cymbal percussion- that mutates into crunches and stark judders. Soulful and mechanical sensations sound like Prince mixed inside an Electronica blender. Hypnotic and swinging swagger bursts alive- in a concise and short gem. The Truth, Denied was released a year ago- it is a track that showcases natural development and progression. Whereas the early tracks looked at a lot of dark elements, the layering effect hadn't been fully developed- the sounds were more focused and honed. On this number, Bali started to overlap threads and different beats; pushed his experimental mindset and created a stronger and more innovative set of numbers. The Truth' starts slow and ghostly; dark and bubbling undercurrents glisten and burble- the rush soon becomes grand and urgent. Momentum builds and augments; the layers start to stack and weigh down. I would imagine this track could score The Bourne Identity- an early chase scene perhaps; it has that paranoia and cat-and-mouse danger to it. Perfectly able to fit around the opening credits, it is a masterclass in subtle and evocative cinematic drive. Sparks and flickers crackle; electronic rifles and staggers sparkle- the swagger and swing is at its peak here. Learn To Fly began with more soaring and epic openings. Dreaminess and serenity brought some of Morcheeba's early work to mind. Colours crackle and burst; again there is that filmic and cinematic feel- a Breaking Bad opener that packs so much emotion and vividity into its measures. The track stops and builds; backs off and strikes again- it is frantic and insistent. Intense and visceral attacks bite and bleed; they force in- Zimmer-esque and primal, it is a stunning track. Bali's more recent numbers are more evocative and picturesque- instilled with confidence and greater depth, they inspire the mind to dream and imagine. Scenes and sights play out; you project your own film and moments- the music is hugely gripping and atmospheric. Control (The Infinite Button) was released late last year- it is a spacey and cosmic thing. One of Bali's longest tracks, the robots and machines are in orbit. Squelches mix with delicate tip-toe notes- they blend to create something heady and astonishing. Nice and dizzy rhythms repeat and catch the imagination- it is an addictive coda. The core sound does not deviate too much- the layers build on and the mood becomes more packed and colourful. Harsh and soft beats spoil with one another; the track breathes and expands- becoming more urgent and hard towards the end. Drawing in Massive Attack's dreamy and insatiable epics, the serenity and semi-dangerous mood turns into a feral animal. Hard and violent Dub-step attacks are rage-filled and high on crystal meth. Chaos and Armageddon remind me of The Prodigy's most vitriolic and visceral elements- it is the sound of carnage and explosion. The development and progression made- over the last couple of years- has led to Daze Blue. Sparring softer and more pressing elements, it has a lot in common with his later work. Over the years, Bali has developed and galvanised his music; incorporates more sounds, emotions and genres into his art- he has become more daring and unrestricted. This means his next sounds are likely to become more dramatic; filled and exhilarating- marking himself out as a potential film composing legend. Injected the same flair and wonder as the likes of Zimmer, Bali has the potential to make his way into huge films and T.V. dramas.

One of Bali's long and epic tracks, Daze Blue promises epic proportions- before a single note has been presented. Tinny and hollow percussion sounds reverberate to begin- mixing Asian sounds with Trip-Hop elements (of the '90s). Bubbling and dazed, the sound has an intimacy and relatable edge- there is smoothness and serenity afoot. Sublimation and passion melt into one another; the percussive smacks and primal beats start to glisten and campaign. Controlled and perambulating, the song is a travelator of sound- it moves at a brisk pace but does not get out of hand; it keeps pressing and driving forward. Showcasing elements of Massive Attack's Mezzanine highs, that underlying tension and scintillating drama works away in the undergrowth- it once more puts me in mind of a film soundtrack. Coming across as the perfect opening scene from a thriller or anxious Indie flick, you start to conspire and imagine- scenes, chases and weather fills my mind. I imagine a Russian night: the hero is stepping off a train- into the chill and rain. Bathed in odd neon lights, he urgently walks the streets- looking into the shadows (of nearby bars and all-night stores). As the credits start to appear, strangers and taxis stop and stare; the nerves build and the rain becomes heavier. Making his way into a doorway, the muscular agent loads his gun; wipes his brow clean and makes his next move. Looking at some scrawled papers, he elicits a smile- running down an alleyway the sense of imminent atmosphere is close. Crackling and crunching beats- mixing in Kid A sounds with Massive Attack- conspire in a melange of shady and street-leveled sounds. Hip-Hop and Trip-Hop menace flexes its chest and presents a steely gaze- the night is becoming more fraught and alive. The legitimate urgency never gets out of your head; the junkie violence of the Russian streets are drenched in water and vagrants; the hero is back under the street lights- so much atmosphere and potential is presented (without a single word being sung). When the heroine comes to the fold, she is an alluring and seductive Siren- the lady in the black dress; red-lipped and come-hither, she beckons the hero forth- from the arresting glow of a vodka bar doorway. Her words see "Empty faces/Vacant stares." In haunted places, is there anyone there? If I detach myself- briefly- from the cinematic lure of the soundtrack- I will interpret the lyrics. It seems like the heroine is caught in a miasma and heartache avenue- the emotional grip and burdenous heaviness is weighing her down. Our author explains the song is representative of a creative block- that 'daze' one gets when trying to climb out of the turmoil of stifled and dried-up imagination. You can hear that anxiety and hopelessness come out in the voice- the heroine floats and sighs; lost in her own pain, the performance is a stunning one. Mixed fairly low in the mix, the composition and beats are more defined and pressing- adding that sense of urgency and conviction. The mood and score become more insistent and bolstering; the layers build once more- our heroine admits that  the "flame's losing the flare." Defining emotional hurt and a stressful lack of ideas, you root for her- wonder whether she can climb out of the hole. Back to the movie parable; the restless and heady electronics (and beats) mix with warped and spacey notes- adding desperation and free-fall arrest. Massive Attack and The Prodigy mingle alongside one another; Bali presents his own version and interpretations (of their bellicose and prodigious mandates)- Daze Blue grows in stature as the track progresses. Our film hero has made his way to the doorway; entranced by the glare of the scarlet femme fatale; the smoky and Teutonic sensations draw the assassin forth. Our song's heroine never loses her momentum and intentions- the vocals entwine and tangle inside one another. Surrounded by "Melancholic sounds" and "a dying drumbeat", her soul and heart are starting to slow and die- she is floating and back in a daze. Enraptured by the stuttering and forceful beats, the heroine seems delirious and overcome- the full force of emotions are taking their hold. Not as packed and busy as numbers like Control (The Infinite Button), Daze Blue is more level-headed and focus- that depressive and aching pain is perfectly summed-up and defined. Tripping primacy see-saws with sizzling electronics (and an unending sense of pummel and spectral grip)- classic edges start to creep into the soundtrack. Tender piano notes tease with masculine beats and electronics; creating a beautiful and fascinating concoction. The tension starts to subside a little to allow the heroine's voice to come back in- only for a moment, as stringent and rousing strings bring the song back to its peak. Our heroine asks- the world- to "Inhale me now"; lost in a "Twisted reality", she is spiraling away from the world- desperate to gain that creative spark and sense of purpose. From the Russian bar, gunfire breaks out- screams are heard- as the camera remains on the street- framing the piece without budging and moving. With our hero making his way out of the bar, a black car makes off after him- the daylight starts to break and bathe the city. As the chorus comes into life, the vocal is more defined and clear- her daze blue is haunting the soul. Enmeshed in a myriad of shuffling beats and tense shifts, the song gets inside of your head- Bali makes sure the tension and atmosphere does not relent. Not overtly bombastic or too calmed (and revered), Daze Blue is an assault on the senses- able to tantilise and entrance; stand to attention and get under the skin. Addictive, catchy and nuanced, the song is a dazzling display of musical rhetoric- made golden by Sailesh's sensual and demanding voice. Filled with conviction, emotion and potency, you are caught up in her plight- rooting for her. Spiked guitar stabs come into the fold towards the final moments- that insistent beat keeps pressing and pulsating. The dizzying sounds weave inside one another; the layers and components flair and sizzle- the final moments are dedicated to conclusionary electronic sweeps and darkened swathes. Back in the film piece, the hero reads his note once more- he is outside a building- it is near lunchtime now. Heading into an embassy building- gun loaded- the scene fades and the intrigue is laced. Daze Blue is a song that gets the mind working and imagining- you are hooked by the lyrics and sounds but project your own scenes and ideas. Having so much to take in, it is a track that results in repeated listens- each new encounter sees new beauties being revealed; you try to get to grips with all the different sounds, vocals and words.

Daze Blue is another stunning cut from Bali. Showing his restless and endless creativity, it is unlike anything he has produced- uniting his early day work with his more innovative later sounds. His latest testament is a symphony of dazzling sounds, fraught emotions and a feeling of dislocation- quite a heady and flavoursome brew. Before I pass plaudits to the main players, it is worth mentioning the song itself. The production allows the composition to reign and pervade- the vocal is a little lower in the mix. This does not create an imbalance and sense of disjointment- the voice is intended to be haunting and spectral. The composition itself is packed with life and different edges. Massive Attack and Prodigy's attack and stylisations sit with Morcheeba swoon and calm. Bali injects his propriety talent and secrets into the song; those staggeringly evocative and alert sounds- that haunting-cum-hard resonance. Marrying qualitative touches of '90s Trip-Hop with Urban elements, the song is one of his most evocative and nuanced to date- he is at the peak of his creative powers. With lyrics that look inside the mind of creativity and desert dry; it is an original and ever-relevant theme. Most of us- who write and create- have been in that position- where the mind is not as fervent and inspired as it should be. Bali represents this with some scintillatingly heady words and representations- the language is simple and economical; he manages to whip up the maximum amount of acuity with few lines. Bali himself highlights his innovative and genre-splicing qualities; Daze Blue is a riot of variable sounds and genres- the song never sounds too compacted and unfocused. Ensuring evocation and urgency dictate events, the track is capable of unifying lovers of Trip-Hop and Electronica; draw in new fans and supporters- it has a serene and passionate edge (that will appeal to Pop and Electro.-Pop devotees). Nikita Sailesh is a voice I want to hear more of- on Daze Blue she entrances and captivates. Not too overpowering and full-on, her voice is arresting and beautiful. Able to conjure up dazed and overwhelmed fatigue; striking and impassioned pleas, it is a fantastic performance. Seamlessly mixing her vocals into the heady mix- I hope the two work together in the future. Overall, you get a fantastic track that is unique as it is familiar. The likes of Massive Attack and Morcheeba would snap it up for sure- it possess shades of each; that contrast of beauty and force. As much as anything, it is Bali's distinct voice and unparalleled ingenuity and talent (that shine). So few songs and artists resonate in the modern scene. Having investigated Bali's cannon of work- and Daze Blue- I am compelled to keep up-to-date- watch out for new offerings and cuts. I am predicting a big 2015 (for the artist); a bumper year that will see his name be spread far and wide.

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Blending elements of Morcheeba with Massive Attack is a trick few have pulled off- even fewer have attempted it. Antriksh Bali is an artist that has no limitations and boundaries- he pours his childhood and heroes into his own stunning centrifuge. What is produced are songs of the highest degree- the magnitude and excellence of the most alarming order. Daze Blue is a typically adventurous and agile cut; a song that displays the young artist's creative ingenuity and vibrancy. In Britain there is no excuse for complacency and laziness- we are one of the most multicultural and cosmopolitan nations on earth. Our human economy not only draws diverse cultures together harmoniously- for the most part anyway- that in turn is compelling our wisest and most worthy musicians. Having such a gigantic musical history (in the annals waiting to be reappraised); combined with some pretty impressive new artists, nobody has an excuse for limiting their ambitions and music- being predictable and safe is such a boring way of life. Bali is an artist that is entrancing and captivating his native India; his music is translating across the continent- many reviewers and listeners in Europe have been tuning into his unique blend of sounds. On the evidence of his current single, it will not be too long until more nations and continents are aware and amazed- the wave of reputation and word-of-mouth is augmenting. I am not going as far to exculpate the music industry- those that do not pioneer should be scolded to an extent. With acts like Bali showing new sides and possibilities, his songs should act as references and guides- inspire newcomers to be a bit more daring and vivacious. I will leave with a thought on India and experimentation. Before you read this review- and up until a few weeks ago- you may have been unfamiliar with Asian music- I was a little naive to its charms and possibilities. The hegemony and dominance of the U.K. and U.S. needs some challenge and competition; other nations are deserving of spoils and riches- the next few years will see some transformation and diversification. I am a huge supporter of Australian music; I wonder whether its location and position- on the globe- is putting people off- whether is a little too far away from the beaten track. The same may be true of Asia and South America- the only reason North American music is appreciated is because of a rich history. Social media, the music press and journalists should be playing their part- get their mindset away from the familiar and towards far-off locations. Bali is the embodiment of the flair and bravery shown among some new musicians- the type of person not content to just stamp out the same old stuff. Sceptics and the doubting Thomases may claim there have always been ambitious and innovative musicians (around the world)- I agree; their numbers are in the minority. There are still too many boring and bland guitar bands; the heavy dose of saccharine and nauseating Pop clowns- aimless music that has no sense of longevity and inspiration. Daze Blue is a track that should inspire fresh minds and musicians (wanting to try something different). It is a slab of brilliance that highlights the purposefulness of one of the music world's most innovative musicians. At the very least, Bali should be used as a case study: someone who is not willing to be labelled and confined. As I type my final words- for a couple of weeks at least- it is great to be able to assess an Indian musician- my mind has been stuck in Europe and North America for too long. And who knows- maybe I will get the chance to review more Indian acts; some African bands; I just need to find them. Daze Blue is unlike anything I have heard- a song that reminds me of the Trip-Hop greats; the masters of the Ambient smooth- a phenomenal parabond that has influenced an incredible track. I hope Bali comes to London to play; it is likely there are crowds and hungry fans waiting- I am certainly going to get the word out. It seems the young master is a fervent and busy creative mind; 2015 may see an E.P. or album from him- that will surely bring his name and reputation to a wider audience. If you are mired in the quicksand of spineless Indie bands; the honey-sickly gloopings of Pop muppets- you surely yearn for something more daring, fascinating and deep?! With this in mind, you will find Daze Blue a hard treat to beat. It is a song that raises the spirits; rouses the soul; raises the excitement levels. In its distilled essences it's...

A colourful trip that is likely to lead you to addiction.

 

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E.P. Review: Calgaris- I

E.P. REVIEW:

Calgaris

I

9.7/10.0

I is available at (this link does not include the track Knots):

https://soundcloud.com/calgaris

(The Bandcamp (official release) link is available soon- giving you the option to pay what you want)

TRACKLISTING: Knots (Intro.)- 9.6/10.0 APLT- 9.7 Sugar- 9.8 Holy Books- 9.8

STANDOUT CUT: Holy Books

RELEASED: 22nd September, 2014

GENRES: Indie-Rock ______________________________________________________

One of the most immediate and impressive young bands (I have heard)- Calgaris are an act with a big future.  Their E.P. I has been gaining some incredible early press.  Make sure you investigate the wonders of this staggering Yorkshire quartet

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THIS review will mark a bit of a milestone...

as it will be my final band review. I have already written the review for Jingo's album The Art of Loving- it will be published on Sunday. The writing process- of both reviews- is like a late-career Beatles move- not that I am bigger than The Beatles! Jingo's review was an exceptional treat but its 11,000 words seemed like a Let It Be process- trying my hardest to sum up their magnificent music- without repeating myself. Calgaris are the Abbey Road band- released first but a lot more care-free. As such, the word count and content is a bit reduced. My featured act is a new band out the blocks- they are putting their first moves together. Before I introduce them, I want to raise one point: northern bands. As Jingo are a London band- and my next review subject is an Indian solo act- I am back up north. I am sure I will some more reviews in; for now, it is great to hear a fine and noble northern act- a group that have some serious credentials. Having been contacted by band member Matt McGoldrick, I am lucky enough to have uncovered a fervent and ambitious young band- one that want to make a big name for themselves. I have a bit of an eidetic memory- when it comes to bands- and can always remember the sounds and sights- distinguish the good from the band. Over the last few months, I have assessed a lot of variation and difference. No two bands tend to sound the same; you get a slight difference with each- the Indie-Rock genre is one of the most hotly-contested and crowded. When an act comes along- that plays in this genre- that stands out from their contemporaries, it is always impressive to behold their music. This year is seeing a huge influx of young bands come through; new acts that want to make their stamp- it is hard to take it all in. I have witnessed a lot of new bands fail at the first hurdle- fall without an inkling for quality and originality. Most of the fantastic new bands are originating from London and the north- Yorkshire has proved particularly fertile. The huge festivals- and their stages for newcomers- are seeing a lot of the county's bands gain exposure and rising acclaim- the likes of CryBabyCry have just played Leeds (an act I have reviewed recently). Although Calgaris are a sapling group- and have a lot more in them- they have a distinct and original sound (that stands them in good stead). It seems they will be making some waves in the future; climbing their way up the ladder- their debut E.P., I is an exciting and action-packed record. When thinking about new acts and artists, I am always looking at those initial movements; the first signs and sensations- they are the most vital. Plenty of eagerness and determination comes through in the music- (Matt) speaks fondly and passionately about music and the future- the band are intent on a long stay. This year has been a busy and creative one for the quartet; the next year will see them take their songs on the road and plan new movements- on the evidence of their debut E.P., the demand will rise and augment. Before I get down to another point, let me introduce you to the band:

Matt / Richard / Craig / Simone

"Previously known as 'One Stop Railway', Calgaris is a brand new identity, which was born at the start of 2014. A young band from Huddersfield and Bradford, Calgaris combine impassioned vocals with pounding beats, driving guitars and electronic touches."

Sound combinations and blends are essential and much-needed- too many bands seem too linear and honed. If the best of the mainstream have proven anything, it is elementary to expand your palette- draw out some unexpected sounds (and stretch your ambitions). Calgaris are the embodiment of the new wave of thoughtful bands- those that are going beyond the norm. I still hear so many acts that have a very predictable and boring guitar sound; are not taking the trouble to offer the listener anything fresh and unexpected. I am not saying you need to unleash something so bizarre and scattershot- that it alienates and confuses- so much can be achieved just by tweaking strings; infusing electronic elements- taking the trouble to put some imagination into your songs. It is hard to strike a necessary balance: make sure your sounds are concentrated and focused- remaining fully diverse and itinerant. Calgaris's forthcoming E.P. will show how it should be done- striking that necessary balance, and unveiling sounds that few other groups are playing. The band market is never going to stop drawing in and inspiring- the numbers will swell and grow as the years go on. I am in the process of putting together an act and making sure (my songs) are as original and stirring as they can be- not just your run-of-the-mill clichés. The only way to propel the creative process; solidify and grow my own music, is take inspiration from the best of the new breed- the likes of Calgaris are providing fuel and ammunition. Before I get down to investigating their music, I will finish on one point- the dedication of musicians. A lot of times- when contacting artists about music or receiving requests- there is not a lot of personability and communication. Too many acts and artists seem aloof and distance; I have to chase them up for information- their own self-interest and motives seem paramount. In the maelstrom of variable quality and mixed personalities, Calgaris are among the most passionate and dedicated out there- nothing means more than getting their music out; connecting with listeners and reviewers. Too few out there have this regard and consideration; happy to float songs in the ether and assume good words will come- it is very naive and foolhardy. Of course, the music needs to back up the friendliness and thoughtfulness- if the tunes are weak then the whole endeavour is flawed and lacking. Calgaris back their words with some seriously memorable and nuanced tracks; songs that are perfect for all weathers and occassions- they put you in mind of some classic acts (but have their own inimitable flavour). It is about time I get down to investigating the act of the hour.

If you are looking for comparable bands- acts that have inspired Calgaris- then there are a few that can be mentioned. The band is pretty distinct and incomparable, but some acts have had a bearing on their sound- the way they go about doing things. A group I have mentioned a few times recently- when assessing new acts- is Bloc Party. This is an collective that continue to influence and inspire upcoming acts; their bracing and compelling sound is hard to refute. Intimacy is an album- from Bloc Party- that can be heard on Calgaris's debut cut. Critics responded well to Bloc Party's 2008 album. Noting its sweatiness and circularity; savagery and submission- a boiling pot of lust and sexuality was unleashed. The album possessed vivid honesty and earnestness- that was missing from early cuts- and saw the band dispense with their overt and one-dimensional cool. Intimacy was a masterclass of rhythmic intensity and Rock hardness; it was brave, heartfelt and emotive. A Weekend in the City was a Bloc Party album that brought intimacy and nervous energy out. Rampant and jagged edges sat with emotive outpouring and reflection- some saw it is as quite an awkward and mixed album. Critics noted how the anger and confusion resulted in terrific music; how the paranoia and dirty dishevel arced to present unity and togetherness- the album revealed its charms as the songs progressed. Wrecked, nervous, wild and graceful- the album seemed to possess every emotion. The immediacy and impact (the songs had) was impossible to overlook- it was seen as a modern-day diamond. Genuine contentment came through among angry and rage-filled moments. Calgaris infuse the same mixtures and mood swings in their music. The quality is high and endless; they trade anger and sweat with some graceful beauty and delicate touches- the same qualities that defined Bloc Party's best moments. The anthemic and cold-as-ice jams- that showed up on Silent Alarm- find their way onto I- the band manage to appropriate Bloc Party's finest qualities; sprinkling it into their boiling and trippy cauldron. When listening to I's tracks, you get that same feeling of confidence and ambition- the fact they cram so much into their music- the sense of nuance defines their music. The 1975 are a band making some serious strides- inspiring a lot of new bands (and gaining critical acclaim). The Mancunian boys unveiled their debut a year ago- it was an album that solidified and underlined their intentions. Seen as one of the finest Indie L.P.s of 2013, it showcased great Pop moments with plenty of depth. The L.P. The 1975 shared a love of Michael Jackson's '80s work- as do Calgaris. The band infused Jacko-esque synths. and elements of his early-career work. This is a sound that is being seen on a lot of current Electro.-Pop albums. On their self-titled debut, the band managed to make 16 songs sound fresh and urgent- keeping your attention held. Being a writer (who intends on having 15 tracks on a debut album), I wonder whether critics respond to long and ambitious albums- or whether they write it off as over-ambitious and tedious. A great deal of Indie bands are formulaic and derivative; The 1975 crammed hooks and stunning melodies onto their L.P. Taking inspiration from the likes of The Thompson Twins and China Crisis, the boys genre-jilted (and sounded gloriously off-kilter). Hugely unique and distinct, The 1975 was an album that resonated with critics- topping their 'end-of-year' accolades lists. Whilst some reviewers were ambivalent and less laudable, the main focus lay with the compelling (tenor) vocals and swooning songs. Drawing in the likes of Temper Trap, INXS, Peter Gabriel and Passion Pit; the songs reflected sophistication and endless experimentation. Soulful Pop songs mutated into uniquely phrased jams and narrative moment. Genre-melting experiments sparred with anthemic stadium rock- each song sounded like a film cut; a classic soundtrack staple. Timeless and compelling, The 1975 created a gem. Calgaris take inspiration from the boys and infuse the same blends of sophistication, grace, power and unexpectdeness- they melt Pop melodies with driving anthems; stunningly detailed filmic scenes and raw passionate drives. It is likely the band will carve a 1975-esque album in the future. Whether it will have as many tracks- or will be shorter- is yet to be seen- they have the ammunition and potential. Feeder are the final act I will mention. If I had to draw in a couple of their albums- that could have influenced Calgaris- it would be Echo Park and Renegades. Two of the band's best works, Echo Park saw fast Rock instrumentation sizzle and snap; sampled guitar riffs (and experimental sounds) fused together- delicate Britpop melodies mingled with Foo Fighters-esque pummel and anthems. Bridging U.K. and U.S. music, the delicate vocals made ballads easy on the ear; the harder numbers were infused with plenty of panache and stir. Snappy songs and bristling scenery backed very British messages- the super-confident and expansive lyrics saw the band at their most meaningful and direct. Renegades showed tightness and focus come into the music- few of the tracks exceeded the 3-minute mark. The invigorated surges and power chords made their songs stand to attention; the life and zest that mandates the sound- the album provide their best efforts since Echo Park. Although the band (Feeder) have come to the point of diminishing returns, you cannot ignore their legacy and influence- they have inspired a legion of current bands. Calgaris present elements of Feeder in their heyday- those incredible riffs and blends of British and American sounds. Bits of Foo Fighters-cum-Blur unite their Pop melodies with Hard-Rock anthems.

It is hard to compare I with any previous (band) work- this is their first foray into the music world. Having been performing live- before the E.P.'s inception- the guys have been growing in confidence and stature. Their first offerings signals an act with plenty to say- masses of emotion and potency goes into the E.P. It will be interesting to see if they modify their sound on future releases, or stick with their stunning formula- it is a rare sound that means their songs stand out. When investigating I, it hard to not be impressed by the confidence and intuition- it runs right the way across the E.P. They have elements of Feeder and The 1975, yet provide their own presentations and sense of directions. Incorporating the former's flair and passion with the latter's anthemics and calmer moments- the resultant blend is a scintillating and crackling dish. There is no weakness or fatigue across the E.P.; each song offers something new and fresh- moments go from bracing and invigorating to imploring and alluring. It is always pertinent to judge a band on the here and now- never look back and try to compare. One of the greatest critical follies is when a reviewer holds an album in high regard- uses it as a benchmark. Subsequently, if later albums do not hit that particular standard- they probably won't- the efforts are adjudged a failure. This happens a lot with new music. Reviewers often compare bands (with others) too stringently- expect them to be as good and wonderful. If they create a cracking debut, they expect the next album to be even better- unrealistic expectations are put on the shoulders. As stunning as Calgaris are out of the blocks, they will be keeping their sounds and songs fresh and different- not trying to replicate the mandates and templates on I. It is amazing just how tight and assured they are early on- you can tell the songs have been perfected and honed. There is not too much fastidiousness and perfectionism- there is plenty of raw energy and improvisations. The songwriting and lyrics are consistently focused and impressive; plenty of stunning detail goes into them- the deadly strikes are severely impressive. No two of their songs sound alike; they take the trouble to create distinct and unique songs- this will open up future possibilities. Whether they choose to produce a new E.P. or album- or a string of singles- you can be sure that same unimpeachable quality control and sense of mesmerisation remains firm. The band are fans of a myriad of genres and bands; they are mad for music and present multifarious threads into their own sound- you can hear that passion and authority come through boldly.

Opening up I is an intriguing and fascinating scene entitled Knots. A brief and truncated introductory lead-in, the track is swooping and sweeping; it is moody and shimmering- tripped-out and weird slacker notes are a collage of cosmic considerations. Mingling shades of Sigur Rós, Joanna Newsom and Pink Floyd- with some of Muse's intergalactic oddities- it grabs you. Wordless vocals intertwine and tangle- the knots are not restricted to compositional elements- projected ghostly and strained sounds haunt away. Delirious and spacey oeuvres float into the stratosphere; the guitar notes twist and contort with ecstasy and rapturous passion- against more jarring electronics- the resultant concoction is phenomenal. Quite a brave and unusual opener, the quartet circumvent your predictions and expectations. Most bands would launch straight in with a heavy number- get things ignited as quick as possible. Knowing how strong their material is, Calgaris offer something more detailed and unexpected- a snippet of sound that hints at possible potential. Following the fascinating, dreamy and strange introduction- you wonder what the first track (fully-fledged) will sound like. The cosmic and space-orbiting beauty of Knots leads to a glistening and stampeding Pop intro. The percussion gallops and crackles; the guitars glisten in the sun- a little bit of The Smiths comes out. APLT hooks you from the very first notes; it grows and begins to stomp. The percussion grows in fever and intensity; stamping and stomping its mark, the vocal comes into effect- the performance has an energy and sense of purpose that makes the words stand out. Inside a danceable and engaging sonic whirlpool (a house lingers); one that has so many doors and rooms- "so much history." You begin to piece together the home and occupants; the walls and colour schemes- everything starts to come to life. Painting a vivid and detailed picture, our hero lets his tones swoop and guide. Ensconced with his spouse (and her mum), there is a familial charm and wittiness to proceedings- the themes and storyline is highly original and impressively narrated. Displaying the northern humour and scenic unfoldings of The Smiths and their acolytes, you are hooked into the song.  Parts of Jamie T's Kings & Queens' charm and voice presents itself in the spirited and twisted take- on the vagaries (of modern life). That same expressiveness and vitality; the way he perfectly highlights the sterile atmosphere of the city streets- this all comes through in APLT. The house sees the sun set; the smells and olfactory images are projected- the first consideration is getting into "your mum's best wine." Bonhomie and grace are uttered by the strings; it leads to a rapturous blitz of electronics- mixing with guitar, bass and percussion- the Electro.-Pop element blends with Indie-Rock to create a perfect partnership- like the two lovers dancing with one another. Down in the basement the pair unite and twirl; the joy and sense of freedom is tangible. Like a surveyance of modern life- Calgaris's take on Parklife- all sorts of characters and neighbour dramas are unveiled. One of the neighbours has blood on his hand- inside his house lies the victim. That drama and searing tension is not dumbed-down or overlooked; the vocal projects a sense of seriousness while managing to remain someone buoyant and energised- ensuring the words do not come across as too depressing and mordant. The drama and sense of pace keeps running and charging; hoodlums and violent gangs lurk on the street. From the perfect homely warmth- of that charming house- comes the reality of the street- the vicissitudes and dangers that lurk around every corner. The generations are offering villains and violent thugs; our hero fears for his life- it seems everything outside his four walls provides malice and blood-shed. With an urban warfare unfolding, our frontman is left "shaking" and "scared (for my) life." The only way to survive (the anxieties and hazards of the streets) is to decamp to the basement- shut the doors and hide away. The vocals and atmosphere layers and climbs; the urgency and weight grows and expands- there is still a huge emphasis on energy and elliptical presentation. Mixing some elements of You Me at Six- with a very unique take- it is a riot of wonderful sounds and blends. It is a shame the streets and neighbourhoods offer nothing but rage and heartache. The idioms of the concrete jungle are taking their toll. Although the sweethearts are making "calls to the police", the band never let go of their rainbow assault- the electronics fizz with intent; the vocal powers and projects with immense force and passion. Captured by the lyrical intricacies and progressing story-line, I was struck by how original a song it is- few bands take their minds away from love and themes of relationship heartache. Not only is APLT such a brilliantly fascinating mini-opera; it is a bristling étude into the ever-present horrors of modern Britain. Able to get the body moving, the crowds chanting- it is a song that seduces in so many different ways. Most people- at the biggest festivals- would not usually chant lines of neighbourhood murders and gang violence- they will be soon! That contrast of intimate wine-drinking contentment- and dark and seedy underbelly- fuses magnificently- in a song that steals the breath. Sugar swings out the blocks with industrial clatter and combobulation- the sound of waste being dumped on a concrete floor. The smash and breakage leads to a howling execration riff- one that stings, wails and swaggers. After the intrigue opening few seconds, the band spare no time in getting things going- pulling out a top-drawer riff that lifts the bones from the body. Recently, a list of the top 100 guitar riffs was conducted (by the BBC)- Led Zeppelin's Whole Lotta Love won. Looking down the list, there are some pretty ineffectual and weak riffs. Calgaris make their claim for the top leagues; pulling out a hell of a lot of firepower and vitality- a rambunctious and sweaty clammer the likes of Bloc Party would have killed for. Meaty, intense and rampaging; the instability grabs onto your brain- it has a great mix of U.S. Grunge and Garage in addition to Britpop majesty. Letting the listener imagine, guess and speculate- what is to come- the initial phases of Sugar do not rot the teeth- they kick them clean out of the head. Not sweet and saccharine, it summons the kind of fist-moving fury methotrexate could not cure. When our hero arrives at the microphone, his voice is intent and clear- his thoughts laid bare and his determination unbeatable. Containing some echo and reverb, the vocal combines strong clarity with atmospheric heady fuzz- a concoction that ensures the lyrics have that additional measure of invigoration and spellbind. Speaking to his sweetheart- or former love- he wants her to say the words he longs to hear- the urgency and projection (of the vocal) gets the prefrontal cortex working overtime. Having undertones of singers like Jack White, Rob Thomas and Thom Yorke; the electrifying and gripping delivery has some edge, vulnerability and feral attack- a concoction that is defined by its passion and persistence. Keen to be fed "lies and pleasantries"; that option is better than facing fears- you start to speculate what is being referenced. In my thoughts, maybe the relationship is on the rocks; reaching its dying days- that revelation may be too bitter to swallow. Preferring deceit and soul-soothing words, our frontman is tripping around the truth; keen to avoid the axe falling- that openness and sensitivity is rare to find. A lot of songs reverse gender roles and situations: go on the attack or show their lead a bit arrogant and aloof. By having a song that presents genuine fear and hurt, it makes it stand out- combined with the attacking and primal guitar work, it is a psychotropic and scintillating flirtation. The delivery of the words remains controlled and measured; the lines are delineated with a strict pace- meaning every word is understood (and gets inside of your head). Instead of tumbling lyrics and needlessly spitting, our hero shows consideration for clarity, atmosphere and posterity. That insanely pressing and rollicking battle- between strings, percussion and bass- makes the lyrics vivid and dripping (with sweat and emotion). When the love breaks down and dies- that is being accepted now- our hero wants to be remembered- have his girl hold his name and not forget what they have been through. Never succumbing to tearfulness or weakness, our man keeps his spine firm- showing some emotion but not letting it overwhelm the senses. Blending together the best elements of '90s Garage/Grunge- The White Stripes, The Von Bondies, Soundgarden etc.- into the fray; together with lacing of personality and individual intent- you have a song that burnishes with a splendid commingle of grit, passion and sensitivity. The chorus is met with a round of unified vocals; chanted and belted, the song's title becomes a call-out to the world- a cry that rings with masculine force and emotional candour. What is being offered- the harsh truth- is a poison of jagged pills; sugar is easier to swallow- a panacea for the pain. Carried away on the grumbling and rumbling riff, our hero unites with his cohorts- the chorus contains an incredibly tight and focused assault. Perhaps not as down-turned and beaten as once feared, our hero begins life- after the chorus ends- in renewed spirit. Perhaps the relationship (ending) has been a good thing; our man seems intent to escape confinement and limitations. Being trapped by the nefarious aspects of love- the power games, head messing and need to be controlling- the heroine is being stripped and humbled- our hero is a man with a message. The riff matches morose and smirking swing with an endlessly compelling bite and machete kick- a stone-cold pendulum that could easily fit on a Jack White record. That fuzzy and strung-out delirium does not get out of hand (or drunkenly stumble)- it is a crystalline and determined rifle. Our frontman's vocal remains impressively resolute and strong; the confidence and self-assurance increases as he inculpates his lover. You wonder whether this lease of independence (is as a result of emotional clarity) or the consequence of a messy break-up- I wonder whether the hero is starting to spiral a little. When it is said there are "genuine concerns" and (the fact he'll) "never learn"; maybe alarm bells ring- perhaps there is a downward emotional trajectory unfolding. The chorus's reintroduction brings back that sweet-sour contrast- the truth of reality is a bitter and sharp taste; his mouth is filled with copper tang, blood-taste regrets and alcoholic linger. Something more soothing and medicinal is required. That recriminated and angered core begins to crown and bludgeon- his sweetheart damn sure better not forget his name! The movie hero astride a motorcycle, that cocksure and rebellious attitude is crackling and intense- the cool and composed delivery ensures you are rooting for him. In the swirls and unsalable grasp of the composition, you cannot help but to move your feet and sing along- even break out the air guitar! It is a chunky and sexy tongue-licking bite- that demands the amps be turned up to 11 (a sure-fire festival monster of the future). Designed to get the crowds jumping; the tired tongues singing aloud- it is unashamedly memorable and anthemic. Betraying a debt to no-one, the guys harmonise with menacing intent- their notes and weaves are designed to mess with the senses. That chorus is one of the most striking facets- it is both catchy and pummeling; uplifting and accusatory- a heady brew indeed. Cramming as much confidence and attack into one track- as a lot of acts do in an E.P. or album-it is an incredibly strong continuation of intent.

If Sugar's title had some irony and misleading possibilities, you wonder what Holy Books will provide- if there is irreligious and atheistic prophecy (or something purer and more divine). The swelling and elongated organ hum- of the introduction's early moments- makes me think of both possibilities. There is a purity and gracefulness to it; a sense of danger and possible explosion- once more the band subvert expectation; keep you guessing and prime the imagination. Fragmented, reverse-sounding and experimental, the sounds rush and swell- like ocean waves pulling you in; recollections of Prog. masters and Psychedelic wonders come through. Following the opening salvo's dirty Rock luster, here there is something more temporised and focused. Following from the head-spinning choral mantra, piano notes come in- struck initially...an ellipsis is unfolded, before another note is firmly uttered. It gives the song a combination of stern romance-cum-urgency that gets you intrigued and hooked- just how will the track unfold? The graceful and immaculately swooning vocal (that enters) is an unexpected sound. From the Rock god grime and gravel (of the opener); we now hear the tender and chorister hero- with a heartbreaking vocal delivery. Mixing R 'n' B soulfulness with stunningly pure falsetto, the song goes into romantic territory. Bathed by the moonlight and the twilight glow, there is a bit of an edge to the profferings. At first, promises are investigated; being treated right- staying pure and righteous. As the story and background is unveiled, it seems the song's hero has been mislead- "She swore to you that she was 17." Perhaps a juvenile and deceitful heroine has been leading the man astray- instantly your mind bonds to avenues of mis-matched love and something a little seedy. Under the graceful and exceptional spine-tingle of the vocal tremulousness, there is a great juxtaposition- the words become darker and slightly perverted; the presentation nothing but ethereal and transcendent. Pouring as much chocolate, silk and sexuality into a voice (as I have heard), our hero acts as a pastor and guiding light- someone who is casting blame and looking down (at the scene). It seems the hero knew the truth all along- with regards the real age of the girl- but tried to fool himself. Maybe knowing- that the bond is perhaps ill-judged and unwise- the ingenue heroine is a bit surprised- her man wants to be friends; pushing her aside. Backing the frontman's smooth and purifying vocal are sparse and evocative clicks; slinky R 'n' B beats- it is minimalist but hugely evocative. Biblical messages are the synonym for judgement- they seem irrelevant in the modern age. When situations like this arise- a young woman falls for an older man- fingers are pointed and naysayers get moralistic and preachy. Immune to the irony and irrelevance of holy scripture, they need to open their mind (and get in the real world). There is righteousness and universal truth in Holy Books- we all need love and closeness; the sense of not being alone. Every person wants to find someone who makes them feel less hollow and lonely- age gaps and cultural differences are not barriers; they are merely numbers and differences. In a world where there is too much sermonising and judgmental attack; embrace what life offers- the song's heroine is wise beyond her years. Unsurprised by continued and endless judgement, there is a need to break free and escape- the modern life Romeo and Juliet are being pilloried and divided (by narrow-minded forces). You root for the heroine and want her to be happy; she is being pushed away for no good reason- that tangible sense of sorrow and regret comes through. It is the heartbreaking and spellbinding vocal that makes the song such a naked and stunning gem- such a contradiction to the events of Sugar. Calgaris have effortlessly evolved from low-down sweaty strut- where monster riffs feast on the bones- to something gorgeous, wise and hugely evocative. The beats crackle and conspire with haunted piano; our hero's voice rises towards the end. He provides words of solace and hope- the heroine will find light in "the darkest times." Someone worthy and good will win her heart. As our frontman lets his voice soar and rapture, the words are underlined and intensified- hold out for the right person and they will come along. Displaying the same sort of knee-buckling potential (as the likes of) Sam Smith, the vocal is a stunningly entrancing thing- you are sucked into the song's beauty. Not only does it mean the E.P. ends with a gorgeous and powerful ending- it concludes with the finest track. From the trippy and odd beauty of Knots; through Pop majesty and swaggering sweat- the E.P. comes full-circle. It ends with as much brilliance as it begun; has seen so much passion and mesmerise- the band manage to whip up a huge amount of wonderment (across four tracks).  Having accrued some fevered and awed press, the E.P. will be picking up a lot more- giving the vibrant quartet plenty of impetus and patronage.

Before I get down to congratulating the band's players, it is worth investigating the album (some more). The production is incredible and atmospheric throughout. Polished and clear, all of the myriad notes and diversities are given full room to shine- nothing is mixed too low and buried. Most new bands- when unveiling an E.P.- tend to put the vocals too far down the mix. This leads to incomprehensible and muffled offerings; the intelligibility of the lyrics gets lost. All of the vocals, compositions and words come through crisply and concisely (on I). With full consideration towards nuance, emotion and resonance; the production ensures every note and sound glimmers and gleams (with intent). The track listing is perfect, too. Knots is an obvious opener- although it would have worked as a outro. track. APLT is a perfect follow-on (from Knots). It has a wonderful blend of humour, charm, catchiness and darkness- going in too hard or soft would have been an unwise move. From that heaviness-cum-passion arrives Sugar- a song that marries stunning riffs with some accusations and disjointed love. Needing something redemptive and spectral, Holy Books offers just that. A gorgeous swan-song; the band manage to run a full gamut of emotions- ending with uplifting and sensational beauty is the perfect move. Leaving the E.P. on the finest track, the quality increases song-by-song. Far surpassing their contemporaries and peers, Calgaris have crafted a wondrous and sensational E.P. With only three tracks (four if you include Knots) it leaves the listener wanting more- you end the record needing more of their creamy goodness. Most other acts would artlessly shove half a dozen tracks together; pack too much into their records- meaning the quality would dip. On I, Calgaris ensure the quality never dips; there is a constant momentum and sense of fascination- the public are definitely going to want to hear more. Although drops of Jack White, You Me at Six, Thom Yorke and Led Zeppelin may come through (on certain numbers), you are going to struggle to find any sound-alikes- the band are very much in control of their own unique personalities. Fusing multiple genres and decades (through their music) the E.P. is a triumph of style and substance- over copycatting and limited ambitions. It is worth congratulating the incredible drum work that occurs (throughout the E.P.). On numbers like Sugar it is a beastly and primal thing; not only does it wail and unleash its potent power- it manages to keep things controlled (and drive the song forward). Through I, the percussion work guides and drives the songs; keeps the back firm (and offers up so much passion), urgency and soul. Determined and stout; swaggering and pulsating, the performances are consistently gripping. The bass work is brilliant and authoritative. Melodic, tight and muscular, there are so many shades and variations- on each song, new sounds and deliveries come out. Like the greats of bass, Calgaris ensure they do not lazily slop together their bass notes- there is a clear sense of drama, lust and fervency throughout. Snaking and pulsating on Sugar; catchier and more Pop-inspired up top, it is impressive how many genres, lines and layers are worked (into the bass). With the guitars almost stealing focus and attention, plaudits must be paid to them. Together with keys and electronics, the instruments uncover so many different emotions and thoughts. When moods are bad-ass and rebellious, the riffs strut and punch their way through; when cosmic and astral moons swirl and circle- the keys and electronics are suitably evocative and dreamy. On Holy Books the piano is the standout; on Sugar the guitar riffs steal focus; on Knots both spar for focus. The vocal deliveries are stunning throughout. Within cuts like Sugar, that man-on-a-mission grit unites the Blues-Rock gods of the U.S. with the Britpop masters of the U.K.- it is an authoritative and hugely urgent performance. APLT has more Pop-flavoured elements- the vocal remains upbeat and is consistently gripping and emotive. On Holy Books the performance is a still and tremulous revelation- a stunningly pure thing (that showcases the full range on offer). Impressed by the wonderful vocals of our hero, it is an instrument that could achieve anything; sit comfortably within any type of song- it never yields to convention and predictability. The acuity and focus Calgaris put into I results in a sensational and wonderful debut- one of the most impressive sapling E.P.s (I have heard this year). If another E.P. (or album) were to come in 2015, it is going to be one of the most sought-after releases of the year- early feedback has been incredibly laudable and complimentary. It seems that no reviewer or listener will be immune to the wonders and staggering quality of the record- make sure you grab a copy.

Unbridled passion and urgency comes out in I- an E.P. that does Calgaris proud. The northern quartet has their sights trained and set to the coming year- look out for them. It is clear they have ambition and plenty of quality at their disposal. Unlike a lot of modern-day Indie acts, the trio have a unique edge and sense of identity- they are not a humdrum and regurgitated incarnation of Arctic Monkeys. The trio (of fully-fledged numbers) on I showcase plenty of intelligence, conviction and determination; there are layers of sounds and lots of unexpected moments- the force and scintillation is hard to ignore. Not too cocksure and swaggering; never too lightweight and unmemorable, the gang have struck upon a wonderful sound. Their E.P. is a tight, taut and stunning testament to their endeavours and ambitions- I am sure we will be hearing a lot more of them in the near-future. Imbuing their music with tight and compelling performances, incredible vocals- stunningly rich and mesmeric compositions- I am predicting some very good things. Too many up-and-coming acts have little in the way of true potential and uniqueness- even some mainstream artists seem to be bogged-down and stuck in a rut. Calgaris's mix of dirty Rock songs and sweeter Pop moments sits incredibly well together; they have a natural affinity for everything they play- that conviction and urgency comes through strikingly. Before I finish up, it is worth scanning around the U.K.; seeing what new music is offering up- what sort of sounds will be popularised and expounded. I have probably heard my fill of vague and limited Indie bands- it is always nice hearing one with huge potential and a variegated sound. New music's nomenclature rankings will see the best bands defined by originality and difference- not those that lazily play and ply (with little regard for sticking in the mind). Too many bands do not resonate and seduce; their sounds fail to hit at first- dissipating with little charming linger. Calgaris have restored faith and invigoration in me; they are among the hungriest and most pressing bands of today- it will be fascinating to see where they go from here. Already growing in stature- across their native towns- the quartet are gathering steam and propulsion. The Yorkshire-based band's apparel is as distinct, colourful and fashionable as any out there- that blend of cool-cum-classic is a valuable commodity. There are scant few (acts) that unify fascinating sounds and scenes together; ensure they linger in the imagination- Calgaris will be making big steps across 2015. I hope they come down to London so I can see them play; hear I in the flesh- get to witness the music in its natural setting. The guys should be proud of what they have achieved; reconcile this lust and potential into some great future cuts- I am sure they have songs and ideas percolating and circulating their brains. It is just left to me to offer recommendation: check out the intrepid Calgaris and all they have to offer. They are not an act that are going to be short-term and transitory. If you want your music Indie-flavoured; with edges of softer Pop and dirtier grooves- something exciting, anthemic and soft at once- then check them out. So many bands do the bare-minimum (and do not stay in the mind). Calgaris are an act that will definitely strike your brain and soul...

IT is about time, too.

 

https://www.youtube.com/watch?v=9YYmyUKshBw

 

About the Author:

http://musicmusingsandsuch.wordpress.com/about/ __________________________________________________

Follow Calgaris:

Official:

http://www.calgaris.com/

Facebook:

https://www.facebook.com/calgarismusic

Twitter:

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Instagram:

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Calgaris's music can be found at:

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Track Review: Go Wolf- Talk to You

TRACK REVIEW:

Go Wolf

 

Talk to You

9.5/10.0

Talk to You is available at:

https://soundcloud.com/lovegowolf/talk-to-you

RELEASED: 12th August, 2014

LABEL: Ooh La La Records

RECORDED BY: Rocky O' Reilly at Start Together Studios

MASTERED BY: Robin Schmidt at 24-96 Mastering

GENRES: Indie-Pop, Electro. ________________________________________________________

They met in a Belfast barber shop- during a poetry-reading night- and have gone onto support the likes of CSS and London Grammar. With a charming back-story and scintillating sense of momentum, Go Wolf will be future headline stars. Talk to You is an incredible mixture of beauty, electronic rush (optimism and infectious Synth.-Pop seductions)- a track that is 210 seconds of unadulterated and unabashed fun

______________________________________________________

WHEN considering my featured act...

band variation is at the precipice of my thoughts. I am starting to formulate my own band proposals- one of the reasons I am stepping aside from reviewing- and music's lure is too captivating (to refute). I have four people in mind- to complete the quintet- all of the songs mapped and formulated; the designs and inputs all sorted. Currently I am intoxicated and in awe of Fleetwood Mac's masterpiece Rumours- one of the finest albums in music history. That album has transformed my way of thinking- I will mention Go Wolf soon- and altered my creative projections. Having put the L.P. to one side- for a few years- and reintroduced it to myself; its nuance and passion is inspiring and utterly gripping. The three best tracks on the album- Go Your Own Way, The Chain and Dreams- are all defined by their spirit and energy. There is that mixture of pessimism and optimism; love strife and dreaming- the music across the trio (of songs) is uniformly spellbinding. Away from the top three, gems like Don't Stop and Never Going Back Again are not far behind- it is a majestic and magnetic album. In addition to there being diversity and a range of emotions, it is the band themselves that define the genius- given the turbulence (that defined the album's recording) it is stunning it got completed at all. Deceit and skullduggery came into the studio; the warring members recorded vocals behind each other's back; songs' true meanings were cloaked and sly- poor old Mick Fleetwood was caught in the middle; the peace (and time) keeper. Across the 11 tracks of Rumours, unparalleled wonder was acheived- I am surprised the songs have not affected other bands. Fleetwood Mac do inspire a lot of Folk and Pop acts, yet few modern-day artists (draw directly from them). One of the reasons behind this is the lack of diversity and originality. If you have a quartet or quintet, the members tend to be all-male or all-female- a minority consist of gender mix. Homogenised and culturally limited, a great deal of acts come off as predictable and cliché- artists that take risks are those that stick in the memory. An album like Rumours is so strong because of the male-female perspective shifts- the things McVie and Nicks brought to the table differs from that of Buckingham and Fleetwood. Although the best song on Rumours were written by Lindsey Buckingham- Go Your Own Way- the most compelling enigma variations are Christine McVie's- she covers the most creative ground. The blend of vocals made the songs stand alive; the distinct personalities all blended marvellously- an all-male (or female) band could not write Rumours. This album has compelled me to form my own band- it will have two females; two (other) males- one of whom will be from the U.S.; another from Europe. Songs will be more fully-rounded and fascinating; there are creative possibilities a-plenty- fewer restrictions and borders. I respect acts that stick to a sole sound or a lone gender- it is traditional and safe. When you broaden your band and make-up you open up new possibilities and avenues- Go Wolf have provided this. A relatively new band, their incredible mixture of sounds and genres have been enticing critics. Whereas a lot of modern-day acts are guitar-toting, muscle-flexing examples; Go Wolf are a slick, sophisticated and ambitious act- who prefer intelligence and fascination over force and samey riffs. The trio is a strong unit, but understand the importance of female collaboration- adding special and divine tones into their melting pot of Electro.-Synth wonder. Before I raise a couple more points- and touch more on the band themselves- let me introduce you to Go Wolf:

"Go Wolf met at a random poetry night in a Belfast barber shop, enjoyed each others’ poems and a similar dress sense, got talking, decided to form a band, and quickly became one of the most talked-about new names in the Belfast music scene. Having recently supported the likes of The 1975, CSS and London Grammar, and having been officially signed to … the band have finally decided to release their much-anticipated new single called Talk To You. Talk To You is an infectious artful synth-pop song, which resembles Wild Beasts, Phoenix and The Killers at their best. Catchy and sophisticated vocal lines, rhythmic drum patterns and straight to the point production make it a memorable and accessible blend of all the right ingredients that will stick in one’s mind and make for a perfect sing-along summer track. The pulsing and toothsome arrangement brings creativity, positivity and subtlety into the surface and produces a 3 minute 30 seconds experience of pure fun. Go Wolf peddle an unlikely variant of 80s synth-pop cut with 21st-century electro-indie edge resulting in a slick yet endearing new single Talk To You which is available for sale and download NOW."

Having been contacted by Liv Slania- a representative of the band- she explained how the guys came together; who gets their motors running- I was compelled to seek them out. The likes of Wild Beasts and Phoenix count as influences and idols- the former are a favourite band of mine. Wild Beasts are such an eclectic and stunning act; a singular group that offer electronic luster and literary references- tableaus of love-gone-wrong and sexual amore. Having supported the likes of London Grammar, The 1975 and CSS, it appears Go Wolf require no leg-up: they are already under the spotlight of the nation's most influential critics. The band's coming-together has all the hallmarks of a fascinating U.S. Indie flick- it would be great to see Go Wolf's back-story committed to screen. I can picture the Belfast scene and sights; the romantic air and convivial atmosphere- the mutual respect and fascinating seduction. A lot of bands come together through shared ritualistic pissing contests; gaudy and rowdy nights; chance happenings- there is little romance and individuality in the biographies. Go Wolf have the music to back up their illustrious and charming inception- the credentials and meaning is all cemented. There are touches of Wild Beasts' sophomore album- Two Dancers- in addition to their current album. That mixture of sophisticated compositions and arresting vocals are there; stunningly vivid and electrifying scenes- the changes in mood all present. Go Wolf have had a pretty prosperous career- their past endeavours have gained them a huge reputation and respect; they are starting to gain their rightful acclaim and adulation. The stunning performances and tight songwriting is matched by gorgeous and sensual swathes; urgent and direct electronics- a wonderful and heady variation. Electro.-Pop movements and fizzing Indie segments go into their music. Current single Talk to You is infectious and bouncing; pulsing and uplifting- sophisticated and complex. The beauty of range and diversity shows itself here; it is small wonder critics are in awe (of the band's) incredible machinations- no doubt they will be getting some festival headline requests. It is bands like Go Wolf- and Fleetwood Mac- that have inspired me to change my thinking- embrace a different way of working; look at strengthening my music and ideals. They met in an old-fashioned and vintage way- no cyber hook-ups and Facebook requests- and in a way they marry traditional and contemporary (in their songs). The music is cutting-edge and modern; it has some terrific shades of '80s Electro.-Pop and Disco- vibrations of CSS and Wild Beasts. It seems the Belfast-formed, two-year-old band are going to have a glistening future; they have achieved so much in a short time- with each new record they gain fresh momentum and plaudits.

When looking at acts that have inspired Go Wolf- and can be heard in their music- there are a few name that occur. Although Go Wolf have some unique and original overtones, I can detect some undercurrents of other acts. In terms of British influences, the like of Wild Beast come to mind. In terms of album comparisons, Two Dancers and Present Tense have made their mark. The former was released back in 2009 and marked a huge leap forward- Wild Beasts' debut gained mixed reception. Stepping aside from the eccentricities and divisiveness of their debut, Two Dancers was more focused and lush. Hugely portentous and galvanised, the album was polished, cohesive and inviting. Caressing and sighing, the album saw more romance and subtlety come into play- Hayden Thorpe's falsetto turned into something more restrained and arresting. The songs on Two Dancers were meant to relate to one another; a collection of scenes and dramas, it was an album fuelled by sensual desires and carnivorous lust- youthful carousing and flirtatiousness sparred with spookiness and grand dynamics. Whilst the album came off as dark and brooding- for the most part- the strength came with the overall sound: the gorgeous and varied compositions; striking vocals (of the band's two leads); the tantalising wordplay and images. Go Wolf incorporate some of Two Dancers' incredible injections and facets; the same thematic unity- the stories that revolve around similar themes. While the Kendall band erred towards drama and libidinous endeavours, Go Wolf play with more romantic and pure ideals; ventures of love and satisfaction- while presenting some darker and spicier undertones. What Two Dancers provided was lyrical and focused assault- the swoops and theatrics were in place; here they were more temporised and likeable. Tom Fleming's rich and velvety baritone mingled perfectly with Thorpe's wild and untamed countertenor- almost like two lovers uniting. Go Wolf marry similar striking and compatible voices- the soothing and sensuous feminine wonder; the masculine and sonorous tones. Wild Beasts achieved maturity and immersive organicness- their lyrical incongruities were all still in place. On Two Dancers, the boys created a flawless and cohesive album- one where there were no weak tracks or lesser moments. This consistency and solidity bellies the predictions of the current music scene- where bands have little regard for overall concision and glory. Go Wolf have their ears and eyes progressing forward; they have provided consistent quality and excellence- becoming strengthened and assured with each release. Mature and juvenile; otherworldly and realistic- Go Wolf throw in the heady spices and flavours of early-career Wild Beasts. The Yorkshire boys' latest effort- Present Tense- saw a more considered and sleek approach. Smother- the predecessor album- was more logical and softened- on Present Tense the band sounded more jaded than intent. Harsher truths and angered rebuttals provided the L.P.'s manifesto and hallmark- the sounds and atmospherics were no less stunning and mesmeric. Love and loss were investigated with poetic regard; the beautiful and intelligent lyrics count among the band's finest- the boys hit their peak. Go Wolf have a similar contrast and range of emotions (at their disposal). Adept as lustful and elliptical rushes; they investigate shadowy and tormented possibilities- a fertile ovum that has produced some scintillating progeny. Lyrically, Go Wolf have an exceptional pen and songbook- able to match Thorpe's drama, romance and stunning wordplay. The Killers are another band that have been drawn to Go Wolf. The U.S. legends produced their finest work with Hot Fuss- I can hear embers and shades in our trio's sounds. The catchy Pop hooks- of Hot Fuss- were partnered with infectious energy (and a dalliance with fresh romance and love). The charm and boyishness of Brandon Flowers' delivery made the album such a popular success story- the sparkling beats and alluring swathes recall the '80s giants like Duran Duran. Go Wolf have an affection and affiliation with '80s Synths. and beats- the sort the Durans and Depeche Modes conquered and perfected. The youthful energy and anthem-laden Hot Fuss brought The Killers into the public consciousness- inspiring legions of current bands. Go Wolf have taken some of their debut album quality on board- instilling that spirit and incredible passion. In addition to British and U.S.-born influence, French band Phoenix have enforced Go Wolf's direction. If we look at their 2013 album Bankrupt!, that excited critics and the public. Meticulous, danceable and intoxicating, the album mixes confusion with anti-Pop ambitions. The thrill-ride progressions and movements saw flashy and meaty synths. layered with guitars- to create an inventive and crowd-pleasing gem. Go Wolf draw in Synth.-Pop, '80s Electro. and New Wave- the same sounds Phoenix ladle into their boiling pot. Drawing a lot of influence from '80s music, Bankrupt! sounded strangely bracing and fresh- major-to-minor key changes (and galloping beats) are pervaded. Breakdowns and build-ups created endless potential and atmosphere; the winsome vocals and sentimentality ramped-up and exploded. What you get from Bankrupt! is utter coolness and deep layers- an album that reveals its full potential over time. Go Wolf inject these qualities as they do overlayed synths. and electronics- to bolster and augment elliptical and ebullient sunshine. Thomas Mars- lead singer of Phoenix- has made some impressions with Go Wolf's lead- his tones are equally stunning and evocative. The final band I will mention are the XX- an act that have made impacts on a lot of modern-day Electro. and Synth.-Pop acts. The band's self-titled debut has made some impressions on the Belfast three-piece. The sleek and fully-formed authority- on the XX- marked the band out as a compelling and fantastic group. Impeccably groomed arrangements mingled with uniqueness and mystery- evocative allure and vast maturity were album bywords. Radically simple Indie-Pop and fractured rhythms came out. Aloof sensuality created intriguing romantic conversations- elements Go Wolf instill into their work. Whilst more consistently upbeat and arresting, Go Wolf make their love duets and tender moments as arresting and startling. They fuse multiple genres and furtive endeavours; abstract elements make their sound so distinct- they match the XX's levels of interest and potency. Longing apologies and post-coital slithers made- and make- the XX such a phenomenal proposition; the combination of distinct vocals adds beauty and sensation to their music. Go Wolf have slightly less harsh male tones; more serene and rounded female ones- their music is more positive and less sexualised. What the two bands share is a common D.N.A.- that ability to take the listener's mind away; make your soul and brain float in an ocean of beauty- capture your sights with its startling craft. The xx- on their follow-up album Coexist- ramped-up the sonics and sounds; became more alive and alert- rather than somnambulistic and fatigued. This transformation parallels with Go Wolf. Whilst the Belfast-formed group were not exactly slow and weary (on their debut), they have shown a similar development and leap- become more arresting and enlivened. Fragile exultations and delicate abstract moments sat with eloquence and unabashed pleasure- the sort of strands Go Wolf have taken from Coexist. I feel Go Wolf have more muscle and determination- their twin vocals more natural and gratifying. While the XX have struggled to supersede the boundaries of reflection and heartbroken, Go Wolf are masterful (when it comes to juxtaposed moods)- as remarkable when introverted and questioning as they are vivacious and delirious. It is best to judge Go Wolf on their own merits- fans of any of the acts mentioned (above) will find much to enjoy. Go Wolf have a distinct approach and way of working- I am loathed to compare them readily with another act. It will be great to see how they develop and project in the future- whether they change styles and moods or build upon their current templates. They have a weight of support and dedication; a hugely confident and ambitious sense of discovery- they are a band that seem ready and primed for the big-time.

Go Wolf have only released an E.P. and single- prior to their current single. That in itself makes Talk to You so impressive. The song sounds like it has been produced by a band with twice their experience and age- you get an instant sense of authority and conviction. One More Night was released back in June and showed a leap forward- for Go Wolf. Insatiable and gleeful beginnings provide huge atmosphere and potential. The vocals strong and impassioned- uplifting and utterly gripping. Our hero asks how he got to this point; there is confusion and a myriad of thoughts- backed by pulsing and pressing drums, the insistency and passion is hard to shake off. Our man does not want to hold onto long-gone feelings; revisit a place that could cause harm- the male-female vocal dynamics adds depth, sensuality (and a tangible) gracefulness and conviction. Like a love song being played out, the band's vocalists give off embers of Bombay Bicycle Club and CSS- that same evocative and tremulous sound. The addictive and catchy chorus coda is designed to lodge in your brain; hypnotising and emotive vocal concoctions are nothing but upbeat and determined- designed to put the listener in a better frame of mind. Our duo do not want to be alone- that kinship and passion is still burning. The unity and love they shared is being sparked and rekindled- if only for one night. Sensuality and whispered promises are traded with beating hearts and shivering souls- that naturalness and intuition is intoxicating. Cheery and upbeat swathes wash over the landscape; your feet are motivated to get tapping; you find yourself singing along- it is an insatiable and sensational cut. Back in October 2012, Go Wolf unveiled their debut offering- the E.P. Voices. Possessed of a title track (and four remixes), the song- variations and versions- were celebrated and lauded. The song- radio mix- begins with harmonies and cohabitation vocals. Uplifted and ebullient electronics put me in mind of the XX- our band are more upbeat and elliptical. Our hero directs his messages- to the heroine- and wants her lips shut; he does not want to be controlled- the frontman is calling the shots. Shadows and visions are tormenting his mind; voices circulating the mind- torment and haunt are lingering. Voices come in the middle of the night; constant niggles and doubts are causing reflections and confessions- it seems like a love has broken down and left its scars. The vocals blend seamlessly and firm- the lead duo make sure the listener is seduced and gripped. A full and bold sound, it is perhaps less widespread and busy as current sounds- there is a focus and singularity here. Concentrating on the vocals and lyrics, less emphasise is put on expansive sounds and multifarious notes. Soloing and wordlessness is backed by a heartbeat and sturdy percussion sound- the band unite to turn in a thoroughly tight and concentrated performance. Less overt and full (than One More Night), Voices has a Killers/Wild Beasts vibe- that anthemic and cultured commingling. Gorgeous vocals- from our heroine- possess beauty and serenity; the counterpart contributions are strong and empowered- the blend is incredible. The modern Electro. sound- the likes of La Roux are interpreting- can be heard here; the spring and punch gets under your skin- and makes you smile. With a repeated chorus- that is unforgettable and indelible- the track- and E.P. is a triumph. Over the two years- from their E.P. to current single- Go Wolf have developed and evolved. Their lyrics sound more confident and honed; they have a greater sense of individuality and purpose- their ,music is fuller and more joyous. Whilst Voices remains a stone-cold diamond, the effusive and spellbinding moments (on Talk to You) see them change the game; up the ante and produce something wonderful- they have developed into a more authoritative and commanding act; one that takes risks and gambles- all of which pay off. The increased volume and body results in more intriguing and nuanced sounds- songs that entrance you with their positivity and uplifting potential. Talk to You  matches their finest moments; it is going to lead to some tantalising future releases. Bubbling, graceful and happy, the smiling evocativeness wins you over- the soothing and sweet vocals are wonderfully graceful and gripping. Upbeat and positive, the song is rich and packed- the composition is crammed with life and possibilities. The light and glistening shine glows with pride; it is driving and swelling- an assault designed to get your body moving. Summer-ready and sunny, the song is sure to seduce and adopt a wide range of hearts and minds- it sounds bracingly fresh and unique. Stepping away from the likes of Wild Beasts and CSS, the group have established their identity and true sound- one I hope to hear a lot more of. There is a sense of California and the U.S. here; the beach-calling beauty akin to The Beach Boys. Touches of  Prince and Fleetwood Mac come out- in the Electro.-Pop crackle and incredible duel vocals. Few modern bands have such a distinct and stunning sound at their disposal- it appears Go Wolf are more confident and ambitious (than they have ever been). This will translate into some exhilarating and brilliant future movements- I hope the band are thinking of a possible E.P. (in 2015).

Beginning with a delightfully charming and sweet-natured coda, Talk to You mixes '80s synth. sounds with choppy electronics. Drawing in the most elliptical and passionate sounds (of modern-day Pop-Synth.) with a unique and feel-good vibe. The sensation of love, summer and freedom- it wraps you up in its warm and inviting waters. The song looks at relationships- the revival of a special bond. As the stunning keyboard notes get the song off to a flyer, you are not looking for anything (or anyone else)- you're hooked and compelled by the drive and fervency. Swirling sounds and pressing vocals enforce the song's messages and necessity. The universal themes are those that can be extrapolated by all- the need to cling onto something precious; that which we cannot get rid of. With our hero determined and imploring, he asks his sweetheart "Can I stay right here?" Clearly, the bond and relationship is intoxicating and too good to fail. The vocal bounce and stutter adds force and gravity- the blending of male-female vocals gives the story extra relevance and tangibility. Guitar links have funk and insatiable swagger; white-hot and multifarious, they bond perfectly with the central vocal- it never lets its sense of impression and dedication slip. As our frontman watches the sun set; the scenes and people go past his window, you know what he is thinking- and who he is thinking of. Swathes of Wild Beasts' electronic luster and symphony comes into effect- touches of their Modern Tense evocative best- bits of Noah and the Whale's early-career optimism; smatters of '80s Electro.-Pop. When Go Wolf press and campaign, our hero gets his girl back- back to the start; the two hearts unite and commingle. You can almost picture the scenes; smell the scents and feel the rain fall down- the two sweethearts are rekindling an historical and treasured bond. It is the chorus that resonates the hardest- the coming-together of all the band's variegated and glistening notes; the distillation of pure sunshine. Backed and propelled by snapping and whip-sharp bass, the keys and electronics blend to unleash a heady smoke- able to intoxicate and overwhelm. The central message of the song is the need to talk things out; keep it simple and open the lines of communication- the thoughts do not needlessly race to the bedroom. The purity and child-like innocence is never cloying or effete- it works wonderfully among the scenes of pure and unfettered love; the necessity to reestablish a much-needed connection. Unable to let go and walk away, the sheer urgency and desire comes out in the vocal- never overstated or rampant; just perfectly balanced and controlled. Ensuring that the reality and purity of the emotions remain solid, the performances balance lightness and potency- the voice never needlessly stretches or overpowers. When our hero breathes in- having heard his name spoken (by his girl)- and out; it is just the same- the joy of the early romance is back and firm. In a scene where a lot of Electro.-Pop sounds play with darker and heavy sounds; introspective and emotion lyrics- it is terrific to hear something unashamedly upbeat and redemptive; a song that has no truck with unhappiness and relegation. Never does a sense of defeat come in; our hero is going to make things work (and last)- ensure nothing goes wrong. Throughout the song there is a sense of tease and intrigue- most of the song looks at instigating conversation and initial steps; you speculate whether the lovers obtained full disclosure and satisfaction- with the breezy and endlessly cheery sounds sparkling away, your mind is taken elsewhere. When the beats crackle and snap with the bass drive; the electronics and keys unite with guitar- a danceable and hypnotic sway is released; it implores the listener to move their feet and dance. Perfect for the summer (if we ever see it) moods and festival openness, Talk to You is an insistent and ubiquitous as any track- it wants everyone to fall under its spell. Castigating morbidity, the snaking and winding composition burrows into your brain- causing a sting (and casting its spell). Go Wolf present quite a vintage and filmic lyrical presentation. There are no sweaty clubs and bar room scenes- proceedings are a lot more civilised. Playing out like a Romeo and Juliet (night-time clandestine meeting), the sweethearts exchange words and proclamations- our hero is remembering the words his girl spoke. As the rain beats down, you wonder what was being said- whether the proferrings were positive or slightly more reserved. Judging by the optimism and ebullience of the vocal, one suspects things will work out and be rekindled. Gripped (still) by the kaleidoscopic soirée of tantalising rhymes, Go Wolf keep the mood rampant and incapable of fatigue. Talk to You wins you over with its economy and simplicity. Although the composition is a complex and layered thing, the lyrics and delineation has a clean accessibility. The chorus is repeated and revoked to provide maximum effect and resonance- those catchy and direct words are designed to make you sing-along and never forget. Between the choruses, the verses and offerings are not cluttered and crowded- there are few original lines; that only adds to the effectiveness of the song. It means the composition and vocals are allowed to breathe and improvise; space is given to allow every note and consideration to come into the light. Towards the final moments, the spiraling and dizzying composition builds and mutates. Unexpected synths. and keys are brought in: something darker, squelching and buzzing mixes with the springing and celebratory core. As the track ends, it is impossible not to feel better and more alive; the song is endlessly bracing and wondrous. Packing so much sunshine wallop into a few minutes, Go Wolf craft another solid and shining diamond.

The Belfast trio have turned in another wonderfully assured and mesmeric cut. Like debut album-era Noah and the Whale, the central members add luster and beauty by combining a female voice- Noah' had Laura Marling on board for Peaceful, the World Lays Me Down. Unlike Noah, Go Wolf are unable of crafting anything as twee and grating as 5 Years Time. Being familiar with their past work, the band seem to be growing in confidence and conviction- few other acts are as stunningly sure as Go Wolf. It will be great to see an album from the lads; see what they provide over the course of 10 or 11 tracks. It will be fascinating to see whether (an album) will be all-positive or have a mixture of emotions- I hope it will be the latter. In a music scene where negativity and broken hearts (still outweigh happy and optimistic figures), it is terrific to hear examples like Talk to You- songs that are defined by their bonhomie and scintillation. The production throughout is superb and wonderfully realised. The polished and gleaming sound gives the music a vitality and sense of clarity- the vocals and lyrics are not too low in the mix. Composition and vocals are balanced perfectly- to make sure the full and most effective presentation is unveiled. It is the boys themselves that stand out; their unimpeachable quality and sense of ambition cannot be faulted. Having unleashed their most immediate and effective song to date, it is a beauty that is befitting of the strangely cold and wet (summer) days- what we all need right now. With Electro.-Pop revivalists (like La Roux) making a name for herself, there is a need and desire (for similar music). Gaining fervent appreciation and positivity, Go Wolf's latest offering will see them gain momentum and new consideration. Reviewers and critics have highlighted the breeziness and sunshine of Talk to You- how it puts you in a better frame of mind. Its messages are those relevant and meaningful to all- we have all been in a position where we do not want to let go of love. Less personal and individualised, the song is intended for everyone- who among us cannot relate to the messages that come through? Perhaps Go Wolf's lead got his girl back; maybe they will last the distance- let us hope they do. It is the curiosity and build-up that captured me; the balcony conversations and rain-strewn promises. Most bands would go for the jugular- and present too much overt passion and sexuality- take little time to look at graceful and conversational avenues. Backed by sparkling and vibrant electronic colours, the combination of synths., keys and guitars unite- to whip up a fire of beauty and summer-ready glory. Driving and catchy bass lines perfectly melt in the mix; pushing the song forward (and ensuring no listener is left unaffected). The boys are incredibly tight and focused; there are no sloppy moments or aimless notes- everything is well-considered and perfectly presented. The vocal performance is never too full-on or overwhelming: it is as breezy as the composition but instilled with plenty of urgency and passion. His anonymous heroine clearly means a lot; someone who has had an effect on him- this comes through glaringly. With lyrics that look at desires and reigniting a meaningful bond, you cannot help but be won over by its intentions and desires. Altogether you get a cracking and stunning number; a song that marries '80s synths. with some modern-day Electro.-Pop urgency. This year has been busy and productive for the trio; they are on a projection that will see them grow in stature- it will not be long until festivals and huge gigs are a real possibility.

Being a new follower and fan of Go Wolf, I have been investigating their past movements; looking into their work and early days- seeing the developments and changes. Having established a solid and sensational sound from the start, the group are growing in stature- Talk to You is their strongest and most vibrant song to date. I hope an E.P. or album is on the horizon; it is likely to be filled with similarly exceptional tracks- which will mark Go Wolf out as one of the most vital bands of the moment. After their supportive gigs (alongside London Grammar and CSS), they are in danger of being given the limelight- scoring top gigs and illustrious tour dates. All the evidence suggest they are ready to go; strike out and seduce at large. Having mentioned Fleetwood Mac and Rumours- up top- I am reminded of it once more. It is true Go Wolf do not present the same sounds and lyrical themes- the similarities come when you look at diversity and mobility. I am not saying our heroes will be producing a Rumours-esque album any time soon- they may do in time- yet they have a similarly heady sense of aim and wonder. A lot of Electro./Electro.-Pop acts exist at the moment; it seems to be the fastest-growing style of music- the likes of La Roux and FKA twigs are compelling legions of fresh acts (to present similar music). There is a lot of pleasure to be found in Electro. avenues- Go Wolf go beyond these walls and expand their palette. Having a unique and original voice, the rising stars are marking themselves out as mainstream contenders- 2015 will be a very exciting year for them. With summer seemingly over- the three days of warmth we had- we look towards autumn and winter- and God help us, Christmas. Colder and shorter days beckon; the icy and rain-lashed grip will be upon us- preserving sunshine and optimism is the most important thing (we should all do). Sensual and vivacious components make Talk to You such a much-needed and appropriate song- that which can banish the pre-autumn blues. Whether the Go Wolf warriors are thinking ahead (to new releases or not), it is clear they will be gaining fresh waves of fans- their stock and value seems to augment with the passing of each new calendar month. It is all richly deserved, it seems. From their intriguing and charming inception, their infantile movements and words; through to their current day- the group are growing and evolving with meaning and potential. Of course, there is a lot of work to be done; a great deal of countries to overwhelm and seduce- the world is their oyster. I hope the band manage to play the U.S. and Canada- nations that would embrace and behold their sounds. A lot of Europe and Australia proffer and promote similar-sounding acts and music- there are large masses of land that would welcome in Go Wolf. The band have a terrific management behind them; a clear direction and sense of self- music that imbues optimism and hope (without an iota of irony or sarcasm). Before I leave, I want to circle back to my own ambitions and music- selfish I know! My excitement and renewed optimism comes from new discoveries and uncoverings- from Fleetwood Mac to Go Wolf; musicians and bands are compelling and exciting me. Without poetry venue comings-together and pristine elliptical music; the business would be far duller and less wondrous- we have seen far too many sob stories and boring histories. Go Wolf are an exciting and mesmeric proposition; an act that seamlessly fit alongside their contemporaries- such as the XX and Wild Beasts- but provide distinct and original music. I look forward to seeing the group in the flesh; up-close and personal- seeing how their music translates in the live arena. Our music industry is discarding with the weakest and less effective artists; proferring the most fervent and inspirational- the imbalance is still clear and glaring. Too many vague and insipid musicians gamble about and wander- without a sense of direction and purpose. Let us hope that Go Wolf are not bogged down by the mediocre crop; given the chance to shine and expand- bring their special music to larger realms and audiences. With Reading and Leeds housing some of the world's most important acts- the festivals are about to close- we turn our attentions to next year- who is going to be making headway and transitioning to the mainstream. If Go Wolf keep producing tracks like Talk to You, they are going to be very big- in next to no time. I will not pressure them (and offer up unrealistic proclamations and expectations)- they are going to want to focus on being grounded and level-headed. As the days get colder; the world a little harsher; people less reliable- embrace an act (and song) that wants to put you in a better mood; make you forget the woes and stresses of modern life. That is what we all need; this is what music is supposed to do. With that in mind, Go Wolf...

ARE leading a very impressive charge.

https://www.youtube.com/watch?v=Tt-UIGMlmHc

About the Author:

http://musicmusingsandsuch.wordpress.com/about/ ___________________________________________________

Follow Go Wolf:

Official:

http://www.lovegowolf.com/

Facebook:

https://www.facebook.com/LOVEGOWOLF

Twitter:

https://twitter.com/lovegowolf

SoundCloud:

https://soundcloud.com/lovegowolf

iTunes:

https://itunes.apple.com/us/artist/go-wolf/id564898662

Last F.M.:

http://www.last.fm/music/Go+Wolf

Google+:

https://plus.google.com/117654664973028795914 ____________________________________________________

Go Wolf's videos available via:

https://www.youtube.com/channel/UCnOZL_7qrHJcQfO-X_IeVZA

____________________________________________________

Go Wolf's music can be found at:

http://www.lovegowolf.com/music/

______________________________________________________

For all tour dates/gigs:

http://www.lovegowolf.com/live/

E.P. Review: The Exhibition- Carry to the End

E.P. REVIEW: The Exhibition

Carry to the End

9.2/10.0

Carry to the End is available (to pre-order) at:

https://itunes.apple.com/gb/album/carry-to-the-end-ep/id900503451

RELEASED: 1st September, 2014

TRACKLISTING: Artery- 9.4/10.0 Here I Begin- 9.0 Starting Over- 9.1 Carry to the End- 9.2

STANDOUT CUT: Artery

RECORDED BY: Dave Sanderson

MASTERED BY: Tom Woodhead at Hippocratic, Leeds

GENRES: Indie, Alternative, Pop _______________________________________________________

This stunning Yorkshire band have been intriguing critics since 2010. Carry to the End is the sound of The Exhibition at their height- filled with passion and utter conviction. Mixing shades of Elbow and The Jam, the genre-splicing band are a quartet (to keep your eyes on) ________________________________________________________

IT is back to Yorkshire I head...

(at least not Leeds this time). Back in a familiar county- I seem to tabulate between Canadian and Yorkshire-based reviews- another terrific band (have come to my attention). When assessing The Exhibition, I am reminded of the band market in general- a subject I have touched on many times. The Barnsley four-piece have a very different sound; they have been compared with the likes of The Dears and Bloc Party. In the band arena, there are a lot that have a very similar sound- they tend to stick to the Arctic Monkeys mould. Some ambitious bands stretch themselves a bit; by-and-large some familiar (historic) acts are referenced (and misappropriated). It is great being inspired by a band; referencing their work and taking them on board- too many new acts lack originality and distinct identity. Having assessed a fair few groups, I can always tell the good from the bad- I have heard too many acts that lazily carbon copy older music; briefly tweak it to make it some quasi-new. The faux pas is not being eradicated and cured: too many fresh bands seem intent on marking themselves out for premature death. The best way of avoiding any easy labeling; taking (the listener's mind) somewhere new, is to experiment with genres. Band such as Royal Blood have shown how muscular and invigorating you can sound (when playing around the Hard-Rock/Indie genres)- you must pick up their debut album on Monday. These noticeable and stunning examples aside, (in order to succeed) you need chutzpah and uniqueness- present sounds that have not been heard. There is so much music out there; so many genres and styles- why would acts ignore them? Being a fan of Electro.-Swing and Electro.-Pop, I love the fusion of sounds here- that combination of classical and contemporary; vibrant and melodic; edgy and soft. Bands that play in the arenas of Indie, Contemporary and Rock are a mixed bag: a few pioneering (acts) mingle sounds and sensations; a lot tend to slovenly put together something overly-familiar and vague. The Exhibition have been lauded due to their adventurousness and fresh sound. Although a few other bands- come under their radar- the abiding flavour is of a unique and distinct act. The Barnsley-based boys have been ratcheting up intrigue and acclaim; having produced a number of E.P.s and tracks, they are on a mission- intent on becoming big future names. I would not rule out that possibility; the consistency and quality (the band keep producing) is among the highest around- with each new movement they sound more assured and focused. The public has plenty of band choices; all sorts of sounds and themes are on offer- choosing the very finest can be a tough task, indeed. In so much as Yorkshire is producing some of music's best, it is a county that is synonymous with unexpected combination and lesser-heard music. The Exhibition unite traditional and vintage sounds with something cutting-edge and insistent; the passion and urgency is all there. Before I raise a couple of points- smaller ones- let me introduced my featured act:

Pete Dand (vocals/guitar) Joel Burrows (lead guitar) Andrew Murray (bass guitar) Lee Padgett (drums)

"The Exhibition is a Barnsley based progressive-pop band formed in the spring of 2008 and consisting of members: Joel Burrows (Guitar), Pete Dand (Vocals/Guitar), Andrew Murray (Bass) and Lee Padgett (Drums). The band releases ‘Carry to the End’ on the 1st of September, its third EP and sixth release proper. Shortly after forming, The Exhibition recorded an initial demo with Alan Smyth (Arctic Monkeys, The Long Blondes) before beginning a long-standing relationship with producer Dave Sanderson that initially resulted in 2009’s self-titled 4-track EP. Featuring longtime set-opener ‘The Boy and The Tearaway’ (“Executed brilliantly, and sounds natural rather than forced, a swirling maelstrom of shoegaze guitars and truly mammoth drums, propelled by some frenetic fills” 9/10 Whisperin and Hollerin) and anthemic pop song ‘Bright New Worlds’ (“This is one of the best things I’ve heard in a while” Indie-MP3) the EP was critically well received amongst the blogging community. The Exhibition went on to receive airplay from various international radio stations – including regular play from Tom Robinson and Ian Hodgson at the BBC – and garnered support slots with Hatcham Social, The Kabeedies and Roses, Kings, Castles. In 2010 the band recorded their debut single ‘The Crown/Coma’ for Of National Importance Records. Released as a limited edition 7″ vinyl, the single was brilliantly received, with critics noticing the rate at which the band had progressed (“A quite staggering leap forward. What we are witnessing is a band beginning to fire on all cylinders. God help us all” 8/10 Tasty Fanzine | “Unashamedly progressive, a startling indicator of how far the group have come in such a short while” 8/10 This Is Fake DIY). After an almost two-year long hiatus, the band returned to playing live in 2013 with a slightly altered line-up and released the EP ‘Man Proposes, God Disposes’ (“A step up in terms both production and song writing. The world is waiting for a band as good The Exhibition.” Alternative Barnsley) along with the track ‘Memento Mori’ (“Beautiful in its gentleness” 8/10 There Goes the Fear). Carry to the End marks The Exhibition’s sixth year as a band. The four tracks were again recorded by Dave Sanderson (65 Days Of Static, Hey Sholay) at 2fly Studios in Sheffield and mastered by Tom Woodhead (Hookworms, Post-War Glamour Girls). The track ‘Finis’ from the same recording sessions is available to download for free now at http://www.the-exhibition.co.uk."

The Exhibition are a bit of an old-fashioned band- gents without a Twitter account. Their online portfolio and spread is pretty thorough and precise- it would be great to see them on Twitter soon. I can understand (why people do not) join the site- it can be limited and not as inclusive as the likes of Facebook. On Facebook, you can include photos, videos and lots of information- Twitter is a little more restricted. The good thing about it (Twitter) is the ease of use and networks- there are scores of musicians waiting to be (hooked up with). The boys have a future ahead of them, so it seems they could score a lot of new fans and fellows- let's hope they jump on the bandwagon and get their name on Twitter. Before I get down to reviewing the guys- and looking at their past work- I will raise one point: the local markets and band competition. Having assessed so many different types of acts, I want all of them to succeed- there are few (I have heard) that do not deserve wide acclaim. When the mainstream opens its doors (to the best of the newly-bred), the spaces are going to be limited and restricted- who are the ones that will ascend to the highest peaks? I have mentioned cross-pollination and gene mixing; fusing different sound together gives the music a special originality- it is deeper and more appealing to listening ears. When it all comes down to it, the sheer quality and determination (will see the bravest succeed). So many mainstay bands have a timidity and sense of fatigue; looking like they are on their last legs- the young and eager will be the ones to steal their glory. The Exhibition instill passion and pride in all their work; their prolific outpourings show they often find ripe inspiration- their bond and unity is tight and unyielding. The way they talk about music- on social media- strike you: one can instantly tell how determined and solid they are. Nothing else means as much to them; that drive and foresight should see them reap rich rewards- their reputation is spreading; their name is being heralded. It is true their infectious energy and determination has gained them some of the acclaim- it is the sheer quality of the music that hits home hardest. More fertile, direct and memorable (than most music out there), the Yorkshire band are above most of their contemporaries. Comparisons have been levied to the likes of The Dears and Bloc Party- two bands that usually do not feature much (when compared with new musicians). It would be remiss to purely compare The Exhibition with others- they take the flavours of other bands and combine them into their bubbling cauldron of multicoloured smoke. Carry to the End is the latest testament from the dynamic quartet; their past work has outstanded critics and mesmerised legions of supporters- their current offerings are among their very best.

It is hard to look at like-minded acts- when thinking about The Exhibition's music. There are a few names that I could suggest that the band levy in- the smallest drops here and there. In several reviews, the boys have been compared with The Dears. The Canadian band seem to influence the lads- you can hear touches of Missles (the 2008 album from The Dears) in the current offerings. This album showed effective drama and grandstanding themes. The band showcased their rough and disjointed side; the majestic and refined- all played together on the L.P. Apocalyptic artistry and directness lurked within the terrific tracks- the band incorporated No Cities Left and Gang of Loser's shades. Missles demanded repeated listens; it is an album that is six years old- and is still revealing new gems and sides. Exploratory and sprawling, the ambition and passion is hard to ignore- there are fewer catchy hooks here (than previous albums). Missles looked at hopelessness and finding redemption; hard themes and struggling is documented- from financial woes through to personal anxieties. Across the album, the band summon up enough uplift to stop is from becoming too mordant. Whilst the darkest (of The Dears' albums), the finest numbers glistened and resonated- it is an album that is still affecting people at the moment. he Exhibition draw in similar shady themes and avenues; they match beauty and darkness alongside one another- their blend of disjointed and focused results in some terrific music. Unlike Missles, Carry to the End has greater hooks and nuance- there is more that can unite Indie and Rock lovers. More upbeat and celebratory- than Missles- the latest E.P. shows how strong The Exhibition are. Taking small strips from The Dears has led to this galvanisation and focus. When thinking about the urgent and gripping drama- Th Exhibition summon up- I am reminded of Bloc Party. Silent Alarm and Four are the best Bloc Party albums- and the best to compare with the Yorkshire four-piece. Silent Alarm was lauded for its maturity and expansiveness. The autonomy, elasticity and sprawling beauty made it an instant classic- an album that deserved full hype. Caffeinated Dance music tangled with more restrained and longing moments- the album possessed a great mixture of sounds and moments. Thrills and inspired ideas defined the L.P.; the suburban ennui words were backed with emphatic and compelling vocals- the songs had insane amounts of catchiness and memorability. Tight, wonderfully energetic and polished, Silent Alarm marked an emphatic and impressive debut. Compared to Manic Street Preachers' album The Holy Bible, Silent Alarm resonated with critics- an album that has compelled The Exhibition. They throw in the same exciting and head-spinning riffs; the deep and multilateral music- direct and impassioned vocals. Whilst Bloc Party performed fewer softer numbers, both bands share a love of hypnotic and arms-in-the-air Indie anthems. Stone-cold standouts like Helicopter and Banquet- from Bloc Party- can be heard in some of The Exhibition's most enthralling and enraptured numbers- that same heady sway and tsunami attack. When Bloc Party unveiled Four (in 2012), it marked a leap forward. An exciting guitar attack- noted for its urgency and purpose- the band rediscovered their lease on life- they appeared deflated on previous albums. The slower numbers were impressive and notable; the consistency and quality control made the album such a treasure- one of the band's finest discs. Adding more hard-edged elements into their songs, Bloc Party forsook the need to add electronics and synths.- Four saw greater directness and a pure Rock/Indie sound. Political overtones and angular riffs mingled with precise melodies and fighting guitars. Everything sounded poised and ready; churning and chugging riffs provided some sensational snatches- genres were spliced and mixed. Some songs went from Blues-inspired crawls to Heavy Metal clatter; the experimentation and daring (the band showed) excited critics. The vitality and impressiveness of the album cannot be denied- it is a record that appeals to a multitude of listeners. The Exhibition are equally pioneering and experimental. Some of their songs see those angular riffs mutate into full-blown dramas; they cross genres and fuse different sounds- their quieter moments are more effective (than Bloc Party's). As much as anything, the Barnsley quartet possess a similar urgency and vitality- all of their songs have been perfected and honed; ensuring the listener gets the finest listening experience possible. Before I finish with British influences- a trio of them- I will mention a U.S. one: The White Stripes. When riffs and guitar codas are scratchy and Blues-inspired, I am reminded of De Stijl. The band's sophomore release, it was noted for its new directions and styles- that differed from The White Stripes' debut. Bubblegum, Cabaret, Blues and Classic-Rock sat with one another; the stylisations and diverse avenues meant the music was an unpredictable treat- the production values are incredible. Jack White managed to tie so much diversity together seamlessly; with an innate understanding of music he perfectly blended so many disparate sounds. His authoritative and versatile guitar work went from fuzzy and buzzing to languid and pained- able to rustle a riot of emotion with a few notes. That muscle-cum-artiness has found its way onto The Exhibition's current E.P.- they instill the best facets and hallmarks of De Stijl. Feisty and clever, well-phrased and exceptional- the album possessed a great live sound. White's knack for phrasing- on tracks like Hello Operator- made songs sound improvised; that freshness means the music struck hard- catching the listener by surprise. The Exhibition allow a similar sense of improvisation to come into things- on some of the harder-hitting moments, the phrasing and presentation leaves that impression. The biggest influences I can draw- when thinking of the boys' music- is Elbow and The Jam. Two albums I will compare- from Elbow- would be Leader of the Free World and The Seldom Seen Kid. The former remains an outright classic and modern-day masterpiece. Having inspired legions of other acts, it is a terrific achievement. Elbow has always been noted for their gloominess and emotional sludginess; on Leaders' they focus more on the world- rather than relationships. Cynical and sombre dispositions fuse with melancholic pianos and emotional guitar work- qualities The Exhibition bring into their work. When Guy Garvey pointed his finger at the media and the world at large, the songs became similarly emphatic and swelling- tracks build and levitate into grand and majestic anthems. Guts and glory mandated the songs; layered guitars and busy compositions got inside of the brain- Elbow hit their peak here. The Exhibition are adept at those big anthems; layering sounds and instruments together- to elicit the biggest result. Gloominess and sombre moments- are shared by both bands- and the Yorkshire quartet have taken bits of Elbow's artistry on board. When The Seldom Seen Kid came along, the band mixed strange textures and middle grounds- mopey Art-Rock and radio-friendly diamonds. The warm piercing vocals of Garvey scored unexpected left-turns and immediate accessibility- the album remains a deep and compelling wonder. Pete Dand incorporates Garvey's warm and piercing vocals; that same sense of style and emotion- you can draw the two singers together. Although Dand has greater range and depth- he can go lower and deeper; present a wider emotional spectrum- the two leads are masters of rousing the troops; getting the music sparkling and alive- getting crowds to their feet. Sharp and wry lyrics were joined by clattering arrangements- on Leaders'- that meant the listener was always surprised and excited; nothing was predictable and stayed. Lovely melodies, layers of electronics; accessible directness mingled- the album remains an assured and enjoyable treat. The quixotic and diverse mingled with life-affirming and epic. The Exhibition make sure their music does not tread too similar ground; their songs marry the same diversities and considerations- presented in their own distinct and unique way. Adept at rustling up a barnstorming anthem; bringing the mood down to seduce and captivate- the boys seem likely to rise to Elbow-esque levels of acclaim and adulation (in the future). The last act I will mention is The Jam. Perhaps natural influencers of Elbow, The Jam are rightful legends and masters. In terms of album comparisons, All Mod Cons and Sound Affects are the most pertinent kissing cousins. Whilst considered The Jam's finest duo of albums, I can hear a bit of The Exhibition. The former suffered from a fractious and delayed writing process- Weller scrapped numbers and rewrote most of the album. What remains was an unexpected and purposeful album. The Jam sounded alive and rejoiced; a renewed and re-inspired band- youthful perspectives and impassioned deliveries (made the album such a wonder). The songs were not just aimed at the current generation (All Mod Cons was released in '77) but future ones- it is an album that can be freely extrapolated by my generation. Earnest and sincere, All Mod Cons united The Jam and spurred their future classics. The Exhibition show some of The Jam's generation-spanning majesty; they write songs that speak to the youth of today- messages that can be preserved and conserved (for the young of future years). Sound Affects is seen as The Jam's finest moment- by many critics and the likes of me. Although The Exhibition do not cover similar themes and stories; the vocal sound and delivery can be compared- the influence of Weller can be found on the quartet's latest sounds. Odd sounds and echoed vocals saw the band draw influence from the likes of The Beatles and poets Blake and Shelley. Themes investigated abstract dealings of spirituality and perception- sounds range from clever and tight to Pop melodicism. The Exhibition have changed course since their early days; introduced new ideas and inspirations- developed and evolved their sound. The Pop melodicism and intelligence- The Jam displayed- can be levied to the band; that same mixture of abstract and direct; oblique and deeply personal. The Jam mixed all of their songs around passionate and gripping performances; theatrics of sound- imbued with Punk energy and a vibrant lead vocal. The Exhibition have taken The Jam's essence to heart; incorporated small drops for influence- ensured their music has its distinctions and original intent.

To get a full impression of The Exhibition, it is pertinent to see where they came from- and how they have developed. If we consider their last work- Roma/Forward in Arms- that was unleashed back in May- it gained huge critical plaudit and respect. Forward In Arms is the first track up. Funky and scuffling riffs remind me of The Libertines and Red Hot Chili Peppers. Vivid and stark beginnings grip you with the intensity and catchiness. Scenes of personal decomposition and submission are offered up- the vocal delivery marries romantic and direct. Sighed and breathy one moment, urgent and emotional the next- it throws a lot of shades and contours into the mix. Distorted and contorted strings fit in myriad movements and motions. The sound unite sexy and exciting; the chorus is rushing and insistent- it can burrow into your head forever. Glistening electronic strings blend with firm percussion and authoritative bass work- there are suggestions of Elbow, The Jam and Bloc Party. A triumphant and memorable opening, Roma is next up. Spiky and scintillating opening electronic (strums) lead to White Stripes-esque pump and Blues-Rock sounds. Snarling swaggers combine in scratchy and bare-naked elements- the track packs a lot of wallop and passion. Among twisted strings and bouncing bass, the song keeps its head firm and direct. Anthemic and highly addictive, the song is wonderfully singalong and memorable. Maybe a love song to Rome; a love song to a lover or music, the words are passionate and heart-aching- the vocal has a masculine power (but contains softer swathes). The lyrics look at beds, shadows and twists- oblique sentiments sit with vivid and personal. Having several meanings and interpretations, the track is a compelling thing. Charm and innocence combine with strength and lustfulness. Beastly and psychotropic yowls grant heavy and dangerous potential- the prominent and impressive bass holds everything together. The band is tight and focused throughout; completely in-step and in line. Man Proposes, God Disposes arrived in August (2013). Beginning and Ending starts with a rampant and spoiling intro. The city is fragmented and divided; broken and lost, our hero drifts across the divide. The quiet-loud dynamics means explosive sights change to demure and reflective ones. Suffocation comes into play; our frontman wants to escape and get away- whether referring to personal strife or musical ambitions. Mixtures of The Jam's early sounds sit with current Indie passion- laden with heady atmosphere and catchiness abound. Compositional tones change and evolve; it gets under your skin and does its work. The vocal is impassioned and earnest- never losing focus or sight. You get caught up in the plight and story; the song grabs the listener and does not let go. Fall seems like a more vitriolic version of In My Life. Our hero goes home and sees how everything has changed; the green grass is grey- the pallid faces stare back at him. Broken and tortured landscapes have replaced the beauty and homeliness. The disappointment and annoyance come out in the vocal. Lights are going out; the disaffected frontman is stunned and amazed- things have changed for the worse. Urgent, pressing and insistent vocals hide a sound of resignation and deflation. The soul has been burst and the scales fallen from the eyes. Swirling and cacophonous electric guitars spar alongside tight and angular bass contradictions- the percussion is precise and punchy. Heavy and hard moments make the track a memorable and evocative number- one that demands repeated listens. Some Subaltern is one of the band's longer tracks- containing fewer words than usual. Acoustic openings give a Folk feel to proceedings- the vocal is atmospheric but downbeat. Letting his soul sing, our hero evokes stunning scenes and lines- he is preparing for a new world war; destruction and personal loss are afoot. Happiness has faded completely; there is more comfort in murder and broken hearts. With the voice shifting from safe and soft (to overwrought and strained), it is an incredible performance. Nothing gets out of hand or too intense. The acoustic-cum-electric guitar combinations provide balance and depth; the song shows another side to the band- introducing bits of Elbow and The Jam, we hear a mixture of vintage Punk and modern Indie. A Void is a song you will not avoid. Intent and catchy are the opening notes. The stunning intro. builds and grows. The percussion tees and kicks up the guitar; alert and ready, it mutates into a fiery parable- a stronger and more forceful sound. The vocal is looking at the heart: the emptiness and space that is left there- the voids between night and day; worlds and emotions is investigated. The track changes from composed and controlled through to swelling and magisterial. A fantastic way to end the E.P., we see the guys at their most meaningful and direct. Managing to draw all of their sounds together, it is one of their most complete and layered gems- a fittingly intense and mesmeric swan-song. When The Crown/Coma was released in 2010, The Crown set tongues wagging. A scratchy White Stripes-esque opening had a brooding and determined intention. That sense of danger and unexpectedness made its voice known- our frontman seems lost and alone (on the song). Feeling blue and on a higher hell, the sighing vocal offers wordless coos and impassioned outpouring. Maybe love and life is looked at; possibly ambition and music- there is a definite imbalance and sense of inequity. The song crackles and sparkles; sensations of Psychedelia and '60s legends comes into effect- the bass features prominently here. The gravity and pull that is displayed has Punk elements; the vocal goes from a rabble and drawl- to something less drunkening and ladish. Ever-changing and unexpected, the band unveil an unpredictable and mutating number- one that perfectly forages in the brain. Coma begins with a trippy and echoing line; the strings growl and stagger. Defined and rifled percussion pairs with twanging and trippy bass- the composition is curious and enlivening. Our hero finds solace in a coma- the new world order is looked at. The sort of apocalyptic themes (early Muse would salivate over), there is bombast and swagger- the track expands and explodes towards the middle. Growing and baying for blood, it vengefully crawls and campaigns. Looking at The Exhibition's earliest work- 4-Track Demo E.P.- and we can see the initial quality. The Boy & The Tearaway is a long track that looks at deep issues. Our hero began as a newborn and innocent boy- he developed into a tearaway. The elements of heaven and hell; the way a man can choose and define his own path (comes into play)- the story is captivating and cinematic. Rampant and determined percussion adds kick and force; the guitars rise and fall- they are strong and forceful throughout. Our hero seems innocent and tender; his tearaway and criminalistic side always lingers- from start to finish you get the sense of a man conflicted. Things That Hide in the Dark begins with grumble and darkness. The song rushes and slithers; the guitars are kiss-ass and cool. Shades of The Libertines and The Jam playfully mix; Bloc Party are in there too- backed by an impassioned vocal, it is a standout track. The determined and native (Yorkshire) accent comes out; te lyrics are scenic and atmospheric- oblique touches see our hero look out at the world. Everything he has lived for has passed away; there is a never-ending charm that keeps the song gripping. Reaction is a spright and fun affair. Youthful and vibrant kicks inject passion and excitement- our hero's voice is urgent and gripping throughout. The endless and pervading press does not relent- spiraling and stuttering guitars have some excellent Libertines touches. The mature and old mixes with young and rambunctious- the blend makes the song such a layered and full-voiced thing. Bright New Worlds ends (the first E.P.). Tables will turn at some point- so we are told- and there is a need to make changes (before things get worse). Life is being taken apart and dissembled; where are the up sides and benefits? God and religion are looked at and scrutinised- life is not desirable and prosperous; why are good things not occurring? Apologies are offered- by our man- for early transgressions and youthful errors. Lonely people are looked at (and highlighted); the intelligent lyrics make events gripping and prominent- perhaps the finest moment from the band's early days. It is best to judge the guys on their current work. What you get- from Carry to the End is a new and original E.P.- it keeps the band's sound but offers new sensations and stories. More confident and tight, the tracks pack a bigger punch- the mandates are more rounded and nuanced. I love their early work, but prefer their latest offerings- they are more intent and galvanised. Displaying that parabond of emotional depth and fist-pumping anthemics, the four tracks- across the E.P.- demand serious scrutiny and attention- it is a collection that will see the boys making some serious headway.

Artery is a blood-rushing song that has been gaining some heady press- a track that is causing speculation and intrigue. The lead-off song from Carry to the End, it begins with elastic and boinging strings; the taut and tense rhythm neatly flows into a tense and spy-themed parable. The percussion and guitar unite with bass to unleash something nervy, razor-edged and scintillating. The sound is not too heavy, yet it implores with its brimming drama and twilight danger. Gripped by the developing scenery, the band introduction evolves and expands; some of the most animalistic and carnivorous guitar work (reminds me of Muse)- that same determined and mesmeric sound. The layers and different strands come together splendidly; the song shifts and develops- retaining its muscular and focused core. Keeping the listener guessing, the coda keeps snaking and slinking; shifting its tail and making you sweat. When our frontman arrives at the microphone, his voice is direct and meaningful; looking at "closing in" and arterial rush, the words are projected with consideration of the mood- the lines are carefully paced and allow the maximum amount of potency and resonance to occur. The composition keeps busy and rushing; never relinquishing its heady drive, the juxtaposition works wonderfully. Speaking of death and closing walls, our man advises "open the door"- the pressing and urgent delivery is repeated like a mantra. Backed by hypnotising and strangling notes, the band unite to pull out a huge performance. Death "comes in colours"; lantern lights and a bare hallway are included- the band employ a terrific lyrical economy. That emphatic and repeated chorus is designed to do most of the work- with a greater amount of lyrics, the song would be less gripping and startling. Incredible evocative and striking instrumentations make the track an endlessly fascinating thing. The guitars twiddle and vibrate; swagger and haunt; tiptoe and run- such a myriad of different shades and sights. Catchy riffs mix with guiding and melodic bass; the percussion work is sturdy and powerful; pummeling and intense. Combine all of this together and you get a terrific opening salvo- one that sets up the E.P. wonderfully. That gravitational pull and grip is hard to get over; the deathly and stirring scenery is evocatively stunning and compelling. Kudos goes to the entire band who unite in a tight and scintillating firecracker. Each player adds a huge amount of measure, drama and weight to the composition- able to paint words and images with snatches of sounds and notation. Able to blend addictive and danceable riffs with crackling electricity; avalanche drums; pugnacious bass- it is a wonderfully ripe and ready battle statement. Our hero's vocal never drops below wonderful: his tones and emotions are kept focused; never succumbing to histrionics, it is an assured and authoritative performance. Here I Begin starts more tenderly and eerily. The rush and urgency have been replaced by something more haunted and atmospheric. Spectral and ghostly electronics welcome in our frontman. Early impressions such as "here I have seen" and "here I begin" gets the mind working- followed on with words of sinning; one speculates what is being referred to. Keeping focus distant and slow-building, there is an obliqueness to the initial words- the listener is left curious and hooked. The vocal has plenty of emotion and reverence to it; the passion is there but it seems like our frontman has regret and anguish inside- the moody and spellbound composition helps to increase the intrigue. Repeating words with the same mantra-like regard, it gives them meaning and fresh urgency- it appears our man is gripped and grabbed by the meanings of his lyrics; in the trance of heady emotion. Just as you investigate and comply with the words; try to get to their heart and soul- the composition rises and gallops. With our hero offering wordless coos, the bracing and funky riffs unfold; the music mixes emphatic drama with slinked and cool-as-hell riffage- mixings of Soul-cum-Funk-via-Blues is tempted together. Displaying their talent for dance-worthy upbeat, the band seamlessly mingle highs and lows; emotional and redemptive- into a palette of multifarious strands. Travelling past the underpass, sea of glass and fractured sights, our hero is beginning again- seemingly rebuilding himself and making moves. The lyrics can be interpreted two ways: on the one hand you feel that something more submissive is being presented. When in the midst of some harsh realities and tortured scenes, the words "here I begin" are uttered- making me feel like the frontman feels at home here; deserving of similar fate. On the other hand, there is redemption and rebirth; beginning again could mean starting afresh- shedding his old skin and embracing something more positive and elliptical. Juddering and shivering strings pair with punchy and supportive percussion. The bass leads and holds everything firm; the performance (from the band) is unequivocally tight and intense. Showing no loose edges and seams, the boys never let go. Our hero is in the sea of fire and destruction; comets tumble and hell-fire brims- it is here he begins. That curiosity and double-meaning mystique comes back to mind; I try to get my mind to focus and clarify things. Swelling and eerie notes come back through; that progressive nature defines the song- lesser bands would hopelessly throw together a series of notes with scant consideration for mood. The Exhibition inject spiked and cosmic guitar strikes with arpeggios and sexy swaggers- quite a blend of ingredients! With a gripping and urgent vocal, you are drawn into the song- the directness and emotion pours forth. Gracing the song with a sense of panache, leadership and heroics, our frontman is on top form- stirring up a myriad of details and layers. Towards the closing moments, a few more notes are thrown in- hard-hitting and stirring they are. Not content to leave things unanswered, the final flings punctuate and hit. I am thinking something mixed was being assessed: our hero seems to want redemption and development; his heart and soul is being tied down and weighted. Such a curious and fascinating proposition, Here I Begin completes an impressive 1-2. Staring Over opens with high-pitched and sunny strings. A flowing and fast arpeggio, there seems to be positive light and hope here- the initial seconds are filled with passion and uplifting potential. Instilled with a mixture of Pop and Indie sensibilities, the sound differs from the opening salvos- something more buoyant and spright is being unfurled. Crunching and precise percussion work acts like a heartbeat; it strikes and pumps with necessity and consistency. Our hero's vocal is more breathy and romantic here- letting his softer and sensitive side to shine, it is a calmed and honest beginning. Sounding like a live performance, the track impresses with its incredible sound and tangible production- it is as though you are hearing the band in the flesh. Early words are directed towards an unnamed figure. With urgency- and a slight sigh- our frontman tells (the hero to go where) "your heart tells you to go." Whether a friend or sweetheart is being spoken to (I am not sure), yet few can ignore the conviction and urgency of the words- they remind me of Morrissey and his unique delivery. Driven by some incredibly detailed musical moments, the song wins its election with a multifaceted assault. In addition to some incredibly emotive and stunning vocals, the lyrics intrigue and tempt. Maybe a relationship is being looked at; when the words "starting over again" come out, you feel like something has unfolded- maybe a bond is broken and beyond repair. The sigh and weight of the vocals makes me think it was not a happy occurrence- our hero warns their subject to go before they "lose control." Whether a love has been eradicated or a friend has suffered an unpleasant event, the necessity of starting over is obvious. Spiraling and repeated words add to the urgency and insistency; the composition never encroaches or overpowers- the combinations are incredible. Like Artery, economy and concision come to the fore- making a big impact with as few words as possible. Anthemic and addictive, the chorus is one that demands singalong tribes and enraptured festival crowds. Seemingly spellbound by the words at hand, our hero's voice is at its peak here- both strong and emphatic; introspective and emotional. Towards the close, the composition becomes more dizzying and defined- the percussion crackles; the bass trips and tumbles; the guitar intoxicates. As the song reaches its end, you are left a bit breathless by the rush and clammer of the song- it is a sure-fire festival favourite-in-waiting. The title track arrives last up. Taking the E.P. to its conclusion, the crackling and intriguing drum beats are an unexpected treat. Each track has led with a different sound; separate and distinct genres and flavour- here something more bare and seductive plays. Mingling embers of Soul and Pop, the delicate vocal delivery comes in quick- the tenderness of the performances grips from the start. Our man is in an "ocean of tears"; gripped by his darkest fears, he needs an island- to harbour his worst thoughts. Drawing in some of the moodiness and anxieties of Elbow- combined with a comparable vocal luster- the song is instant. Whereas Elbow's softer moments are not their very best, here there seems more authority and naturalness- the quartet are equally at home among emotive and self-reflective themes. Stark and vivid, you imagine our hero adrift at sea; looking for safe haven and security- his mind is lost and empty. Wanting to throw off the shackles, there is that need to get away and escape- the evocative and atmospheric composition punctuates and highlights the lyrics. Not liable to be won over easily, it seems the frontman's mind is pretty irreversible- that defeated and deflated soul needs pumping up. Drawing in essences of Leaders of the Free World Elbow; some shades of Joy Division, the track certainly has some meaty credentials- it is not a gloom-laden and black velvet number. Earnestness and honest reflections are glistened with some lighter and positive strings- there is rawness and vibrancy to be found. Thoughts collide; our hero loses control- the drama increases and the song becomes harder and more enlivened. Growling and blood-lust strings sit with chugging and locomotive notes; the bass guides and glides- a beautiful parable that perfectly punctuates the verses. Ensuring the E.P. ends with indelible impressions, the song certainly is hard to forget. Juxtaposing serene and emotive vocals with rousing and fighting compositional elements, the track is another live wonder- something that will grip and unify crowds across the U.K. Whilst largely saddened and hopeless, the song does not depress and divide- it is a solid and compelling. The chorus is repeated- as is traditional for the band- to reinforce the messages. There is hopefulness and potential- our man will carry on and not let go; life cannot bury him. The composition is one of the finest on the set; the band combine magnificently. The guitars are particularly memorable; displaying so much diversity and intent, so many different sounds and sights come into view. With the dying moments dedicated to evocative and spellbinding musical grip, the band leave the listener in no uncertain mind- they want to leave things with a bang. Having sympathised with our hero, he steps away from the mic.; the band summon the sound of the ocean waves and storms brewing- the gripping drama does not let go.

Before I mention the band members individually, it is worth summing the E.P. up. Carry to the End is a blistering four-track collection that is excellent from start to finish. There are strong shades of Elbow and The Jam, yet the band never stick too closely to their guns- instead redefine their emphatic and anthemic cores. Songs go from upbeat and down-turned to scintillating and reflective- the guys switch styles and genres without warning. Their songs are compelling and unpredictable; not content to do the bare minimum, the boys keep every moment imaginative and shifting- creating their own unique sound and style. Each track is tight and focused; nothing outstays its welcome or needlessly lingers- there is a great eye for concision and economy. The incredible songwriting puts the choruses up top- the insatiable codas are some of the most distinct and memorable I have heard. Lyrics do not always tread on ground of sorrow and depression; there is enough uplift and positivity to balance emotions out- few bands take the trouble to consider this. Production values are incredible throughout. Polished and gleaming, the E.P. has an assured and professional feel- yet the songs sound like they are live recordings. All of this leads to a terrific record that will unite Indie and Rock fans; pull in some new supporters- please existing fans. Showing a step forward and development, the boys have never sounded more confident and purposeful- this bodes well for their future. First kudos goes to Joel Burrows whose guitar work adds so much life and passion. Together with Dand, he manages to present so much story and evocativeness. Arpeggios range from rampantly intent to composed and melodic. Riffs go from Blues-soaked beauties to juggernaut assaults; plenty of rhythm and light is presented. Most bands do not show a similar range and sense of diversity; Burrows marks himself as one of the most fertile and ambitious guitarists around. Injecting so much urgency and weight to each song, he is an essential component. Andrew Murray (not the Scottish one) impressed me with his bass work. A lot of bands bury the bass down; relegate it to territory regard- make sure it solely drives songs forward. Murray adds melodicism, rhythm, power and personality- using his bass as an emotional weapon. When songs are finessed and demure, the bass is gentle but instructive; passionate and supportive. Heavier and anthemic moments are backed by stunningly evocative notes; those which not only create their own gravity- they steal the spotlight. Guiding his men forward, Murray makes sure he is one of the most distinct elements of the E.P. Lee Padgett is an incredibly fruitful and talented drummer. Powerful and primal, controlled and variegated, the performances (from Padgett) are consistently impressive and wonderful. Making sure he adds plenty of potency and gravitas to the music, the percussionist marks himself out as a serious talent- one with a big future. Pete Dand is the lead who manages to stand out as a great leader and central voice. His guitar work is consistently brilliant and evocative. Pairing with his axe-wielding brother, the duo splendidly unite and conspire- Dand shows a natural intuition and flair (for guitar). It is the vocals that stand out the most. Instilled with passion, potency and urgency, the performances are gripping and intense. Our hero is able to shift from a passionate and softer low to a rampant and euphoric high- the powerful moments are incredible. Although there are tones of Guy Garvey, Dand has his own individual sound and feel- a vocalist that makes every song come to life. Convincing and endlessly authoritative, the vocal performances resonate and linger in the mind- compel you to re-investigate tracks and moments. The entire band play tightly and with intuitive understanding; they are superbly bonded and assured- each player does a magnificent job.

I have spent a while looking back at The Exhibition- they are a band as evocative as their name. Their music has that eye-catching and attention-drawing quality- you just stand with others carefully studying the striking and gorgeous shades. There have been developments over the last few years; the boys have become more confident and assured- their music has retained its identity but become bigger and bolder. The band is not merely about power and electricity; when they allow their tones to calm and quell, they can be hugely effective- it seems they are possible of anything. Even as far back as 2010, critics noted how impressive the boys sounded- they were firing off all cylinders from the get-go. There are tonnes and depressive waves of 'guitar bands' playing out there- if they are to appeal to the general public, they need to offer something different. The Exhibition span genres and have serious intentions; their talent is irrefutable and crystallised- they plan on being around for years to come. With each new release comes new progressions and developments- the quartet are not content to trot out the same thing E.P. after E.P. The music runs from gorgeous tender to spine-achingly rushing; the lyrics introverted and dark- definitely instilled with heart and soul. It is the mixing of downbeat and uplifting (that makes the band so special). The Barnsley boys are restless and adventurous- keen to present as much deep emotion and engaging and hypnotic swagger. Commentators have noted how shape-shifting and unpredictable the boys are. One minute they are anthemic and fist-pumping- likely to inflame the mosh pit. The next, they take the lights down and draw you into their mind. All of this results in music of the highest calibre; that which implores you to listen again and pick songs apart- their new E.P. is a nuanced treasure that must be heard over and over. A tight four-track release means you are left wanting more- the band tease and entice the senses. Given their work ethic and rate, I would not be shocked if they released new material next year- we could certainly hear more from them. That gets me thinking about the band's full potential- just where they could be headed. The silky and deep baritone vocals; layered guitars and crackling percussion demand greater consideration- maybe festival organisers should be looking at the boys of The Exhibition. When listening to Carry to the End, I was struck by the strength of the songs- they have a great live feel in addition to professionalism. Each number has a nakedness and open sound; you imagine yourself sitting with the guys- listening to them up close and personal. The rushing and pulsating moments implore you to kick your feet and rouse your body- the kind of thing the festival crowds would eat up. A lot of festival bands tend to be point-and-squirt noise-makers- the sophisticated and detailed sound (of The Exhibition) is an anomalous distinction. With new album releases from the likes of Royal Blood and Dry the River (coming on Monday), the diversity and quality of mainstream bands is still impressive- I feel The Exhibition incorporate the best of both those bands. Possessed of Royal Blood's catchy and magic heaviness- the Brighton duo borrow from the likes of Led Zeppelin and The White Stripes- as The Guardian put it, that kind of debt can be written-off if the music is enjoyable. Dry the River are intelligent masters of swooning and orchestral beauty; tremulous vocals and anthemic grace. These two bands have huge reputations- it makes me wonder whether the Barnsley boys can rise to their heights? On the evidence of their E.P., they look like serious contenders. Pummel, weight and smash spars with tenderness, soulfulness and spine-tingle- just the qualities the modern consumer demands. With the proliferation of generic Indie bands failing to die down, we should be embracing the likes of The Exhibition- a group that offer something new and exciting. I shall leave you all with a small point: the music of northern England. Still ruling the roost and leading the way, it is profound how many tremendous musicians are coming through (from here)- every week a new gem is uncovered. With the Barnsley lads stamping out their finest work, the next few years will be very busy and prosperous- ensure you do not miss out on their music. Take a listen to Carry to the End (and see what all the fuss is about). There is a world waiting for them; thousands of new fans to seduce- a multitude of possible avenues. I know many bands and people who would unquestionable support The Exhibition and their desires...

LET'S hope they get onto Twitter soon.

https://www.youtube.com/watch?v=MZx3ubtGehU

About the Author:

http://musicmusingsandsuch.wordpress.com/about/ __________________________________________________

Follow The Exhibition:

Official:

http://www.the-exhibition.co.uk/

Facebook:

https://www.facebook.com/theexhibitionsounds

SoundCloud:

https://soundcloud.com/the-exhibition

iTunes:

https://itunes.apple.com/gb/artist/the-exhibition/id299071016

BandCamp:

http://ofnationalimportancerecords.bandcamp.com/

Last F.M.:

http://www.last.fm/music/The+Exhibition

ReverbNation:

https://www.reverbnation.com/playlist/view_playlist/-4?page_object=artist_1660005 _______________________________________________________

The Exhibition's videos available via:

http://www.the-exhibition.co.uk/video

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The Exhibition's music can be found at:

http://www.the-exhibition.co.uk/Music

_____________________________________________

For all tour dates/gigs:

http://www.the-exhibition.co.uk/Live

Track Review: The Emsee- Rap Squared

TRACK REVIEW: The Emsee

Rap Squared

9.8/10.0

Rap Squared is available at:

https://www.youtube.com/watch?v=cpULfKisk7Y&feature=youtu.be

RELEASED: 7th August, 2014

LYRICS WRITTEN AND PERFORMED BY: Mathew 'The Emsee' Cathcart

MUSIC PRODUCED BY: Vherbal

MIXED BY: Muneshine

GENRES: Rap, Hip-Hop ______________________________________________________

The Canadian Rap/Hip-Hop star is one of the fastest-rising talents (in his country). The Emsee is a whip-smart, witty, striking and homo novus force- Rap Squared packs an incredible amount of punch. Instilled with humour, harsh truths and sharp put-downs- it is a song that demands your attention

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IT is a well-hearalded belief that the bands and heavier-sounding music...

equates to glory and profitability. This type of music- and market- seems to be evolving into border-line monopolistic rulership- solo acts and rarer genres are getting pushed back a bit. I tend to find that the band market- Indie and Rock sounds- can be quite hit-and-miss. To be fair, the solo market provides no great quality control- the best moments tend to be more interesting and unique. Over the previous months, I have assessed everything from Little Sparrow's heartbreaking Folk movements; the Hip-Hop/Spoken Word parables of RKZ- plenty of North American talent too (such as Clara Engel). The bands- that are out there- are pretty adept at stirring the soul; whipping up some energetic and uplifting sounds- less competent when broadening their horizons into sharper and softer avenues. I want to raise a couple of points today: the first one revolves around solo artists (and their craft). I find a lot of the most intriguing and fascinating stories- with regards background- can be found in the solo market; the artists here have a great sense of range and innovation. Over the last weeks- U.K.-based artists- the likes of FKA twigs and La Roux have provided two distinct (and equally mesmeric) takes on the form- different and scintillating albums of Electro.-Pop brilliance. The former's Bjork-inspired vocals mix inside compositions that are far from obsequious: they rebel and tantilize; slither and hypnotise- LP1 is one of the most vibrant albums of the month. La Roux provides something less dark and heavy; her elliptical- yet punchy- songs are upbeat and catchy; instilled with heartache and confessions- Trouble in Paradise is a startling statement of intent. Aside from the Electro.-Pop queens, distinct and innovative artists like Imogen Heap are coming through strong- it is startling just how much variation and wonder is coming out. Being a huge devotee of bands, I am finding myself more entranced and hooked to the lone stars- the fervent and stunning acts trying to make their voices heard. What I do tend to find- when it comes to new solo artists- is that their personality shines more. It may be an over-generalisation; it seems bands are less adept at seducing (in quite the same way). One of the reasons (for my theory) is acts such as The Emsee- a Rap/Hip-Hop act hailing from Canada. That nation is once more showing just how imaginative and stunning (it is)- the diversity and quality being offered (by Canada) is beyond anything else. I am impressed by what the U.K. provides music- Canada seems to be on a different plain. Hip-Hop and Rap artists are offering up a lot of treasure and talent- having reviewed our own RKZ recently, the genres are wonderfully glistening. Edge, poetry, passion and anger can be found (in Hip-Hop and Rap); the voices and songbooks- the acts are showcasing- are more striking and sensational. Before I mention my second point, let me introduce my featured artist:

"Inch by inch, The Emsee is emerging from beneath the surface. Under heard, not underground, he’s only scratched the surface of his story to this point. And that’s why, even after reaching the final 12 of Canada’s Got Talent and a slot on City TV’s New Years Eve Bash, he’s looking at the days ahead as his biggest test – and opportunity. Spending long hours at his factory day job fuels his musical efforts financially and affords The Emsee endless time inside his own mind to explore his music’s meaning and direction. The Emsee fearlessly carries an all or nothing confidence in his art, one that doesn’t depend on co-signs or chart success. With little help or resources, he also has become his own in-house producer, which means he need not depend on any outside resources to fulfill his ambitions in rap. The Emsee first threw his hat in the ring with his first demo-experimental LP Reality Check in 2009. In 2010, he landed himself a Classified-produced single called “The Life I Love.” The #1 vote getter in a contest to see who could create the best remake of Classified’s song “Trouble,” he gained his first major moment of recognition. The song would go on to be his album’s title track with The Life I Love LP arriving late 2010. Riding the wave of the Classified-produced single, the album achieved local recognition with a nomination for the Hamilton Music Awards’ Best Hip Hop Album of the Year. It also marked The Emsee’s first full length project over original production and put him on a path to opening for D12, Royce Da 5’9, Danny Fernandez, The Envy, Jahvon Paris & Peter Jackson. At the heart of it, The Emsee is uniquely no-nonsense in his approach to music. His success rests on his own definitions and reflects an intense sense of self-worth. He almost prefers to be counted out, because he knows he’s got the goods to show any doubters he can really spit. It was this drive that landed The Emsee on Canada’s Got Talent and a coveted spot on CityTV’s New Year’s Eve Bash. Following these career milestones, The Emsee released “Cold Hearted,” a fierce ode to a seasonal lover. The self-produced song leads the way in a flurry of new singles that will lead the way to his next album. The Emsee is the humblest rapper that you can’t touch on the mic. He’s the unassuming figure in the corner who jumps on stage and drops jaws. Watch him drop yours."

Before I move into reviewing- the music of The Emsee- I will raise one point: the genres of Rap and Hip-Hop. When it comes to mainstream examples- the likes of Kanye West and Eminem- they get plenty of exposure and appreciation- the newcomers tend to be relegated to niche considerations. For every act (such as The Emsee), there seems to be a multitude of bands- it is the latter that gets the biggest acclaim and exposure. A lot of music listeners and fans turn their noses up (at Rap and Hip-Hop)- declaring it too angry, violent and non-musical. If you overcome any prejudice and shortsightedness, then you can uncover a lot. The genres possess such a rich amount of poetry and music innovation; spectacular intentions and wonderful moments- do not overlook them! The Emsee is gaining some heady praise and appreciation- his unique and special sounds are gaining headway. The fact that our hero works a factory job; produces music on the side almost- shows just how determined he is. It is always impressive when an act can mix a day job (with their dreams and ambitions)- do both and have true and high ambitions. That is what music is all about, really- mixing the workaday and extraordinary; making sure you never lose focus on your true love. I hope that The Emsee will pull in the big bucks (soon enough)- is able to dedicate his entire time to his cause- and pour all his energies into the pursuit of musical gold. Having produced such a huge body of past work- I shall investigate a few past tracks later- he is one of the most prolific and hard-working musicians around. With each new song and movement, the young Canadian grows in confidence and intention- Rap Squared shows just how exceptional (he is). The story of young-artist-works-hard-struggles-to-make-dreams-come-true has been played out on the silver screen (countless times)- rarely do the stories compel and grip you. In real life, there are plenty of acts that are in this predicament- they put their heart and body into making their names heard. The Emsee is going to have a big future for sure- the reviews coming in (for Rap Squared) show universal critical acclaim. Aside from appearing on Canada's version of Britain's Got Talent (perhaps a minus there; shan't hold it against), our hero is a truly credible and worthy artist- someone who wants to hit the big time. The amount of passion he puts into his music is only topped by his raw talent and individuality- his music combines witticisms, stunningly tight lyrics and exceptional vocal flair. If you are more inclined to fester your attentions (in the direction of Pop and Rock; its sub-genres too) then you miss out on so much- narrow-mindedness can rob you of so much pleasure. Up until a year ago, I had not heard of Kate Tempest, RKZ and Fola- some of the U.K.'s best and brightest Rap stars. Few critics and reviewers- based here- take the trouble to proffer and promote International Rap/Hip-Hop talent- that needs to change. Were it not for my role (as a music reviewer), then I may have missed out (on The Emsee). Without further ado, let me get down to business...

There are few acts one can directly reference (with regards The Emsee). Although the Canadian is a Rap artist, his voice and singular visions are tough to draw with any other act- there are a few that come to mind. Perhaps one of the most relevant like-minded acts is Eminem. There are two Eminem albums I can mention- that could have inspired The Emsee. Whilst not possessed of its horror and overt violence, The Marshall Mathers L.P. has embers in Rap Squared. If you look back at the Canadian's work, you can detect that comparable assault and directness- the passion and fervency (of the words). The intense visions of Rap's self-consciousness; the lyrical genius- all of Eminem's early-career highlights are all there. Our hero has the same talent for words; the innate ability to project vivid and startling stories- grip the listener with his candid and assault rifle vocals. The Emsee critiques malevolent aspects of contemporary culture- like Eminem- and shows emotional complexity and compositional depth. On his first L.P., Eminem lacked the depth and musical quality- that synonymised his latter works- on The Marshall Mathers L.P. he hit his peak. Like the U.S. legend, The Emsee has a mixture of personality traits: the good-hearted warmth, the dangerous vengeance; that thoughtfulness and wit- the bait-and-switch double-bluffs. The Emsee's current mandate is a pathology of the personal and sociological- he does not limit his attentions to self-absorption and restricted anger. Encompassing a wide range of concerns and topics, Rap Squared has all the cinematic and compelling qualities (seen through Eminem's 2000 work). Critic-proof and dangerous; startling and stunning; the transgressive humour and verbal badinage is breathtaking- Rap Squared is a giddy and undeniable slice of gold. Although homophobia and sexiest violence is de rigeur in the modern Rap environment- The Emsee steps aside from these tendencies to showcase something much smarter and less discriminating. The ruptured psyche glimpses and rampant humour stood side-by-side- on The Marshall Mathers L.P.- the mix of reality and surreal confounded critics. The Emsee blends similar considerations and aspects (together). Boasting tremendous production values, Rap Squared sees liquid notes, stuttering beats and stunning soundscapes (give the song) a heady and atmospheric quality. The way Eminem stood aside from his peers- on this album- has inspired The Emsee (he stands in his own world); one of the most truthful and relatable rappers around. The Eminem Show is another album (from the rapper) you can see in Rap Squared- in addition to The Emsee's previous body of work. Eminem's third album saw the star become bolder, bigger, funnier and more entertaining- the same distinctions one can apply to The Emsee's latest offering. Similarly stylish, dense, catchy and mature- our hero is on a similar upward climb. The Emsee's dizzying prowess and dazzling individuality confirms what a mixture of soul-wracked and ambitious fighter (we have in our midst)- he seems like a worthy successor to Eminem's fading crown. The Eminem Show rapped and flowed naturally and without restriction; it was a holding pattern (albeit a glorious one) where the MC skills were augmented and solidified- Eminem marked himself as one of the greatest MCs of our generation. The undercurrents of discontentment and political anger lingered (in The Eminem Show)- The Emsee injects a little of that; he directs his anger towards youth, his so-called 'peers' and the modern life state- delivered with the same impactful swagger and accusation. One more Rap name I will mention is Kanye West. While not displaying the same vocal sound and style (as West), The Emsee covers similar topics and ground. If you consider My Beautiful Dark Twisted Fantasy- that album looked at consumer culture, celebrity excess, self-aggrandisement and meditations on fame. Although West's career masterpiece was defined by its gaudiness and no-hold-barred bad taste- it remains a grandiose and spellbinding musical extravaganza. The Cubist projects- where form, colour and subject were reformed and rearranged to present new and daring visions- combined adept and diverse elements; all lavishly employed and presented. The maximalist takes on East Coast rap impressed critics; My Beautiful' was a work that pulled together all West's promise- the pathological allegiance to emotional bareness was one of the high-points. The Emsee has a similar nakedness and defined quality; he presents a comparably grand sense of occasion and potency- Rap Squared hints at a (future album that) could be as mesmeric as My Beautiful Dark Twisted Fantasy. Beastie Boys are an act that draw in Rap and Hip-Hop sounds (of the '70s, '80s and '90s)- a consistently inspiring act that have never produced a weak album. If I were to select one of their albums- to compare with The Emsee's work- that would be Paul's Boutique. This may seem a little over-the-top- as this album remains one of the finest ever- yet there are similar shades and colours. Beastie Boys are synonymous with their party atmospheres and celebration of life- the bragging bullcrap and clever-as-shit lines. The Emsee- in previous work- has produced literal-minded samples and stark beats- on his current offering he instills some of Paul's Boutique's most notable facets. Instead of criminalising and boasting (without limitations), The Emsee castrates the competition- casts himself as a truth-telling poet of the age; dispelling well-held truths (that many young and naive listeners hold firm). The high-speed volubility- Beastie Boys perfected- comes through on Rap Squared- it is a tornado of imagery and clever-clever middle-finger salutes. Beastie Boys alienated some critics- when their masterpiece was unveiled- as it is a dense and packed listen- so much information is thrown in. Gaining huge retrospective acclaim, the L.P. stands as a brash recontextualisaton of the familiar; a full-bodied representation of rich and startling characters- Schadenfreude and earnestness traded poker hands. The Emsee does not sample and cross-splice like the U.S. giants- he keeps his voice and style more linear and focused. That said, this focus and concentration means his words and voice are up top- less emphasis is put on soundscapes and musical collages. Fusing scintillating electronics (and beats) with staccato missives, his work is a thing of joy- incorporating plenty of incontrovertible truths and thoughts. It is difficult to draw The Emsee with anyone else- perhaps Eminem is the most relevant influence; the two differ in terms of their styles and lyrical themes. In that sense, the Canadian comes across as a natural breath of air- he is not committee-born (and a synthetic music hybrid). Perhaps his appearance on Canada's Got Talent was a little remiss, yet his ambitions and desires for success should be applauded- he is more concerned with respect and just-reward; as opposed to fame (the only reason most people would appear on talent shows). Rap Squared is stronger than any previous offerings; a stunning new slice (that promises a great future)- a song that everyone needs to hear.

When looking back at the work of The Emsee- that is quite a Herculean task. Having produced so much work, I am looking back at seven particular tracks- to show how much he has developed and evolved. When listening to his tracks, you find yourself writing lyrics and trying to rhyme along- I am more Vanilla Ice by comparison. Every track is so stunning and vibrant- it is hard selecting a choice few. Looking back at his album Empty Promises (released in September of last year) you will hear what I mean- it is an album packed with genius lines and incredible tracks. The Warning is a clarion call and shout to the world. The rumbling beginnings are shockwaves- that threaten a huge score on the Richter Scale. The song builds like a storm; buzzing and fast-flowing electronics beckon the song forward. Synths. and '80s-inspired sounds blend with sirens and dangerous promises- the scents of the street is distilled and collected in a jar. Our hero is watching from the outside; seeing the curious specimens within- the song is a big and atmospheric wonder. Fast-flowing and spat raps collide with intelligent and nuanced lines- The Emsee goes over the heads of most. Imbued with a natural-born and intuitive (flair for words), he supersedes his peers- there are bold proclamations (and a sense of cockiness). Not willing to dumb himself down- for Harry and Lloyd (of Dumb and Dumber)- the maverick Canadian is leading a rebellion- presenting sharper and smarter suits. The witticisms and sharp deliveries have an air of Eminem- you can hear a similar tone in the vocal projection. There is scant profanity and violence- our hero is endlessly urgent and smart throughout. The tables are turning; acclaim is coming his way- our man is rebelling against the lows and losers of Pop. He is no Shakira or Shania Twain- this cat has claws and teeth. Savaging the competition; the song introduces aliens and the supernatural- a myriad of images and scenes are thrown into the mix. Fifty Percent starts with backwards samples and female vocals. It is a slow presentation but one that is alert and alive-The Emsee has some thoughts to get out. With some terrifically assured and innovative sampling, the song is intent and adventurous- the vocals are haunting and gripping. Wordlessness and ethereal motions linger in the backdrop; our hero is bold up-front. Hip-Hop hardness and jagged edges enforce their authority- the raps come thick and fast. Bullet-pointing the scenery- like a high-calibre assault rifle- the Canadian is a rebellious general- striking against the mainstream. It is impossible to not get caught in the multisyllabic wordplay and poetry; The Emsee has a fervent mind- a bit cocky; but he has a right to be! Wondering how anyone could resist (his inalienable charms), The Emsee is stronger than most out there- even when his tank is half-full. That braggadocio and masculine swagger does not come on too strong- like a harsh cologne- it is perfumed and potent. Once more presenting a tight and gripping drama, the song resonates and strikes hard- it is one you find yourself repeating time and time again. Cold Hearted leads with delicate xylophone- or electric piano- notations. Spoken Word embers blend with lullaby softness- the infantile and mature mingle alongside one another. Stuttering and zombified beats soon up the ante- the track's tales of broken love start to come to the fore. Our hero has been left disappointed by his sweetheart; she has screwed him around (not in the good way) and left him angry and distant. Having bent over backwards for her (again, not in a good way) he is at the end of his tether; bereft and wracked- the words have urgent and passionate rage. Not over-played and yelled, The Emsee is showing his concerns and bruised soul- he has not been appreciated or respected. The child-like and razor-sharp weave inside one another (to create a deep and rich sound)- there is sensitivity among the harsh realities. Being clear of his disreputable beau, our hero has become a different man- someone untrusting and ravaged. Tensions rise and cracks form- his sweetheart is always late and unreliable; she is condescending and lacks empathy. Showing no romantic ethics, the parabond is beyond the point of reconciliation- the endless strife and burden keeps the song electrifying and insatiable. With so many other terrific tracks- on Empty Promises- his current L.P. is a career high-point. Perhaps getting the recognition he deserves, our hero has had to battle hard and long- The Life I Love showcased this overt annoyance and suffering. A dozen tracks of glistening gold, cuts such as This Is Me synonymised a young man (who has not gained due diligence and respect)- he wants to let the people know how much it irks him. Soothing and Electro. opening swathes- put me in mind of The Avalanches- there is a micro collage of sounds and kaleidoscopic sound fragments- they unify spectacularly to cook a rich and heady cuisine. The song crackles and builds; soft and punctuated beats show some restraint and level-headed consideration. The song looks at the love The Emsee has (for music)- he keeps his visions persistent and crisp. Determined to thrive and succeed, that emphatic energy comes through in the song- the words inspire the listener to pick up a pen. A myriad of startling lyrics are twisted and teases; split infinitives and vivid scenes sit with one another- it is a sharp and intelligent beauty. Our hero confesses he is an Mr. Average Joe- a normal guy trying to get his rightful acclaim. The stunningly tight rhythms and lines spiral out like gunfire- it is a determined and fast-flowing performance. Our man sits at home and perfects his style- his prefrontal cortex is freed in his menial day job- he may love it; I don't want to stereotype and offend. The earnest and open tone draws you in; you start to side with our hero- why have so few latched onto his brilliant talent? Here For a While has an atmospheric and cinematic start- gorgeous strings shine like fireflies. Seth Rogen and broken necks are mentioned close to one another- a recurring dream of mine. The kids out there want to talk all proper and refined; they are idolising the awkward-rapping half-wits of the world- southern accents and hillbilly dopes are being dressed-down and derided. The cheap and facile are being exposed and accused- The Emsee is so much better than them. Feeling aggrieved and discriminated against, he wonders where his acclaim is- he wants to progress and develop. The new generation is failing- due to bad parenting- and need true leaders- the braggadocio that inflames the words makes everything stick. Vitriolic and immaculately conceived, the song is a weaponised assault- the ironclad mandate is one of the artist's most compelling. Reality Check predates Empty Promises- you can see the development between albums. The lyrical themes change from incriminated and hard-done-by (here and on its successor) to confident and more fulfilled (on the latter). The early recordings are angry- they contain tales of injustice and heartbreak- our hero sounds more assured and safe in later works. Whilst the lyrics changed course and conjecture; the ambitions, compositional genius and lyrical brilliance did not change- they have been stunningly confident from the beginnings. Reality Check showed just what a terrific writer The Emsee is. Grand Entrance is as bold a proclamation (as its title). Electro.-Swing sway is sampled up top- grand and elegant, it is passionate and graceful. Hard and rushing; operatic and brash, the burnishing brass-infused waltz is a perfect starting-point. The raps blend magnificently (with the composition); both magnanimous and assured, the performance is electric. Our man doesn't need swagger or guns- he has the ability and power contained within. The experimental sound reminds me of Beastie Boys and Massive Attack- the former is particular evident and emphatic. Ornate and libidinous lustfulness defines the sound- a tale that is filled with anger. His fellows around Hamilton, Ontario excluded him- due to his lack of jewelry and cliché Rap accoutrements- the indignity and annoyance is clear to hear. Heart Break sees female vocal swagger come into force- a sweet and tender starting position. The vocals here are calmer and soft; measured and honest- our hero is getting thoughts off of his chest. He prefers to sit at home and write poetry; not the sort to get drunk and start trouble- the chaste and dedicated music life is the one for him. The Emsee had no income as a youth; he was bitched at (by his dad) and confined- now he is all-in and emancipated. He wakes up in a cold sweat- it is no arrhythmia or illness; just the anxieties of ambition. Settling his nerves with writing, our man needs a lover behind him- in order to survive. Star Wars-scale vengeance is planned; congeniality is not on the horizon- our man means business. Rap Squared carries on the traditions- seen in previous releases. The vocabulary and sparkling poetry is up to the high standard- seen in previous work- but seems even more assured. The lyrics are witty and tight; the vocals as pressing and tantalising as ever- the quality is (some how) high still. Being such a phenomenal and assured act- from the start- you cannot improve too much; Rap Squared finds new inspiration and topics- our hero is at his wittiest and most quotable. Given the rate of progression, prolificness and quality; we will not only see a new album soon- it could well surpass his previous endeavours. As wise and astute as Yoda; direct and memorable as a hurricane; talented as Eminem and Beastie Boys- the young Canadian is destined for the halcyon regions of the mainstream.

A ghostly and pallid laugh opens up Rap Squared. (Sounding like it should have been delivered by Vincent Price- during Thriller) it sets up the curiosity and fascination. Spectral and distant electronic haunts melt with snatches of wordless vocals- the early mood is one of chill and atmosphere. Inside the creaking doors of the horror house, it leads to a Spoken Word sound. The vocal snatch sees a mathematician draw two columns (on a board). The left-hand column is marked 'x'- the numbers 1-10 will run down it. As this experiment and formulation is being expanded upon, a tender and emotive piano line merges into the mix; the Classical-cum-Hip-Hop combination puts me in mind of Kanye West and Beastie Boys. Our hero shows great consideration and restrain- he does not launch in from the start (and pulverise the listener). The fascinating and well-considered early moments define the song's title- a seminar and lecture that is meant to be instructive and educational. As the snippet comes to its end (the teacher/professor) states that the numbers will be "continuing indefinitely beyond 10." As you try to wrap your head around the images and mathematics, a rude awakening occurs- The Emsee is keen to get to the mic. Delivering his words with a determined and steely-eyed drive, we look at some disreputable dude- a man who is cussing and disrespecting (the Canadian). The unnamed protagonist feels aggrieved (by The Emsee's raps about Rap)- believing he "should scrap that." Standing aside from his peers, our hero dedicates Rap Squared to the "hearing-impaired." Its volumised and sonic intentions are expounded from the get-go; the delineation and projection is levied towards full emotional resonance- there are slight pauses and breaks between words; the pattern shifts and mutates to keep the song agile and confounding. The people want (our man) to rap about Rap; indeed, it is "Rap Squared"- a new form of song that is designed to mess with the brain. In the embryonic moments, a few things hit the ear. The underlying- and pugnacious beat- drives the song forward with intention and force- a tough and static punch that makes every word stand out. The lyrics have an air of sarcasm and humour to them; there is intention as well as discontent- the young master is defined by his original and true voice. Looking at lazy captains- that do not want to go to practise- our hero is satirising lazy and overpaid sports 'heroes'- bone-idle false idols that gain too much praise (for playing games, essentially). The Emsee would rather write and rap; spend his time pursuing something more meaningful and impressive- the spitting witticisms come thick and fast. Aiming his attentions out at the world, our hero says (an anonymous "you") preaches more than "the Roman Catholics"- you start to wonder whether the words are directed at the media, a friend; or else a sweetheart. In my mind, the messages are intended at the larger world- the media and large swathes of society. Our hyperactive-minded and busy-brained fighter is "in the same boat without a life jacket"- drifted in the Atlantic Ocean headed for an iceberg. The Emsee has heard they're trying to save the woolly mammoth; he would be pissed if he didn't get the chance to "body-slam it." That crazy humour and gleeful fun comes out in the words; there is a wackiness- that is not juvenile- meaning you are gripped by the words- they are upbeat and witty; deep and meaningful. By mixing metaphors with literal outpourings, the words have greater depth and relevance. Our hero is on a quest for success and regency- he wants to rise above the competition (and stake his claim). The unmatched and unstoppable raps are being knocked out the park; The Emsee may have slipped-up (in the past) but is back and unstoppable- rapping and rhyming his arse off. Having Moonwalk-ed off the ark- once more displaying his multifarious imaginative witticisms- there is a huge confidence coming in- a boastfulness that makes the words endlessly gripping and intent. Showcasing some of Eminem's vocal delivery and sounds, the Canadian ensures the song remains restless and evolving- the pace and speed changes and mutates; the beats expand and swell. The interchangeable and capricious minds are being slammed- the people who proclaim (The Emsee's) raps; only to denounce them a second later. Not liking self-referencing and concentrated raps, it seems he cannot please anyone- the kids and bone-headed rubes would probably rather hear Lady GaGa or One Direction. While a lot of rappers seems confined to areas of gun violence, misogyny and excess wealth (bragging about it), our hero remains more relatable and grounded- presenting songs that are more personal and universal. This originality and flavour is being spat out and pooh-poohed. The catchy and ballistic chorus goes out (to those that are half-brained and uneducated)- those that are more used to the worst music has to offer. A preacher and sermon-teller, the juxtaposition of divinity and sarcasm makes Rap Squared a conflicted beast- you feel no matter how good the rhymes are, they will never please anyone. Having wrestled with demons (of acclaim and rightful recognition)- since his early days- The Emsee is still trying to win undecided voters- he has gained ground but is still having to electioneer hard. The "wannabe artists" are being slammed and denounced- he is a man playing in an arena of boys. When he turned up at a pissing contest, our hero shat on them- the micro-lengthened penile juveniles are being given a heavenly man-sized dose of crap. Defecating over the so-called 'competition', the witty and ice-cool razor-sharp cuts hit the mark- matching the headiest and most memorable lines from The Marshall Mathers L.P. The music industry- and the rapping game- is a business- our hero is the megalomania chief executive and monopolistic owner; no time for posers and wanna-get-a-boners (might need to sharpen my rapping rhymes!). Music is a business, in fact- the weak get fired and passed off; the strongest promoted- The Emsee has no time for the effete and ingenue losers (and cry-baby genuflectors). Whilst they rap about whiny-ass problems and narcissistic concerns, our man has a noble truth- he is the one that is leading the way. The other rappers need to listen up and take note; our hero has them by the throat- they should be in awe but seem seriously bored. Having had reservations "since my first show", the disaffected star has some jaded edges- he is the king among a house of fools. The song's relentless assault and energy keeps the emotions and urgency high- the storm that threatens (to drown the ark of endangered animals). Supervillians, serial killers and mega robots are traded into the atmosphere; our hero crafts his rhymes with killer precision- he is a robot-cum-stalker on the prowl. The discontent and disaffectedness hits the witty peak- around the about the 3:20 marker. Our hero would "rather be Phil Collins/Singing my roof is leaking..."- perhaps the song's standout moment- and seems at his most angered. Previously, The Emsee has cast himself as a Megalodon and heretic- someone who does not back piousness and religion; a "vicious monster" that would rather go to dinner with Dorothy man-tooth. It seems our hero cannot win: speaking the truth will only "keep the youths sleeping." When he is honest and pure, it does not get an audience and attention- they would rather hear rampant violence and gun-themed lyrics. More adoring of the knuckle-dragging hoe-slapping, skank-shagging puerile; our intelligent star has had enough- his formative years have been spent trying to convert the mindless. The youths would like to leave The Emsee "in a hole to die"- like The Dark Knight, he will rise and conquer. Our man approves of feedback and reviews- his sheathed tongue pounces like a ninja. Not meek or demurred, The Emsee has been honest since his first days- not willing to flaunt ego and hollow words. The incandescent and striking words leave their mark- as the song comes to a close- and the listener is taken aback. There is no one-upmanship and hobnobbing intention; our hero wants to get his rightful respect. Slamming the competition and young rappers, the song is a ballistic missile that hits its target- and leaves the landscape in tatters.

It is incredible to see how promising and strong The Emsee sounds. With each song he becomes more confident and assured- growing in intention and force. Being inspired by early-career Eminem, the rapping and lyrical content is of the highest order. The wit and humour mix seamlessly with spiked words- that melting of emotions makes Rap Squared such a treat. In so much as you will be quoting lines from the song- there are a dozen or so that rank among the best this year- you find yourself repeating the song- it is such a quick and relentless rush, you need time to take it in. The production is clear and concise; it allows all the various components to shine and unite- everything comes through with stark concision and depth. The beats are crisp and fighting; driving the song forward they melt with fluid and flowing electronics- the composition is a rich and sparkling slam. Keeping the instrumental elements to a minimum, the emphasis is on the vocal itself- making sure the words do not get buried or overcrowded. Whereas the likes of Kanye West will throw horns, orchestras and sampling into his songs- making them ostentatious and slightly vulgar- The Emsee strips his song to its bare-breasted best; allowing its stunning body to mesmerise- the chintzy and gaudy bling has been thrown away; the jewels and ceremonial accoutrements dispensed of. Mathew Cathcart's alias and alter-ego is leading a brave and noble charge- standing himself aside from the lightweight peers. Only the likes of Eminem provide any real competition- I have not seen any other rapper that comes close. In a music industry- where there are too many Philistines and posers- it is refreshing to hear the likes of The Emsee- someone determined to play for years to come. Our hero is one of the finest lyricists in the world- there are few artists as consistent and detailed. His lyrics do not stick to the same themes and tired clichés; the Canadian stretches his imagination and thoughts- you can tell how much effort and time has been put into his work. Most artists lazily scribble lines (on the back of beer mats)- The Emsee is an act that dedicates evenings to note-taking and fervent scripture. A lot of rappers conjugate the form- and mangle its essence- whereas our hero has a pure and unique sound. He does not vacillate and loquaciously wander- his concise and detailed projections are stunningly direct. The vocal deliveries are weighed with emotion, urgency and anger- he never explodes or wails on the mic. The dedicated vocalisations mean songs like Rap Squared are nuanced and highly addictive opiates- that which should unite and galvanise the balkanised masses. Rap Squared rallies against the contemporaries- who offer little but erratic and infantile rhymes- and their ilk; the gentile whining of vagrant minds. Displaying an incredible blend of humour and intelligence, the lyrics are beautifully carved and detailed- each line is superbly realised and formulated. Not willing to placate critics and neigh-sayers, our hero is pissed at the unceremonious lack of respect (he has been given). Growing in critical regard, The Emsee still lacks necessary market share- the gods of music have cruelly overlooked his genius. All of this inequality and discrimination should change; the future will see our man rise to prominence- if more cuts like Rap Squared are produced, he will be a mainstream leader in no time. In no mood to pander to those who favour gun-loving, ghetto-minded rappers, our man stands apart- make sure you listen to every word he sings. I cannot wait for new music (from The Emsee): his past body of work has offered nothing but uniform excellence and prodigious intent. Rap Squared is one of the most direct and memorable songs of the year- the toniest gleam of a rough diamond. Imbued with intellect and off-kilter humour, few can ignore The Emsee- no-one compares..

I hope that the U.K.- and European- critics start to attune their sights to the likes of The Emsee. (In addition to Canada producing some of the world's best new music) it is offering some of the most distinct- so many different genres are being considered and augmented. The Rap-cum-Hip-Hop blends of The Emsee are some of the finest out there; Rap Squared has humour, wit, tightness and focus- an aural assault of the highest order. It is worth looking back at the young Canadian's past work- seeing how he has evolved and mutated. His direct and urgent songs are those that demand attention and closer regard- you know just how far our hero wants to go. He may be working in a factory at the moment; one suspects he will not have time to do so (in the next few years)- that call to the big leagues is sure to come (soon). North America is the most fertile and bold (music) continent in the world; leading the way with its plethora of stunning and brilliant artists. Rap and Hip-Hop is among the fast-growing and portentous market in all of music- providing a way to get away from bands and discover something different. The thing about new music, is that it is insanely competitive and tightly-packed- there is not much breathing room to be found. One of the ways- to separate the wheat from the chaff- is to go beyond your usual listening patterns- broaden your horizons and take chances. I love the wave of Indie and Rock bands coming through- among them waits the future kings and queens of music. The trouble is, there are multitudes of them: that doesn't mean (this is the) music future is headed. For full prosperity and potential, there needs to be a blend and range; solo acts (British and international) need to be embraced- so that there isn't homogenisation and narrowness. Taking this into consideration, you would be advised- all readers- to investigate The Emsee- at the very least, he provides something bracingly different and fresh. His lyrics and wordplay is tight and stunning; his vocal delivery is urgent and gripping- the music welcomes everyone in. A lot of Rap and Hip-Hop acts can come off as a bit impersonal and unfriendly- that is the same in every genre- but that is a generalisation- they are among the most friendly and open (of all musicians). Rap Squared made me smile and chuckle; its lyrics are vivacious and razor-sharp. With a flowing and insistent vocal projection (from The Emsee), it is a song that few should overlook. If you have cliché ideals of the Rap market- black guys spitting about hoes, guns, drugs, the 'hood and equity capital (okay, not the last one!)- then you are in for a surprise- the modern-day Wildean lyrics confound expectations. I love a good song about bitches, messiah complexes and sticking it to the man (as much as the next guy); but yearn for something deeper and more inspired- the likes of The Emsee provide just that. Look around Rap and Hip-Hop (there is plenty) of wit and personality. There may be fewer bitchin' guitar solos and rapturous drum beats- that can only be a good thing. The mind needs cleansing and enriching; something new in its diet- irrefutable spine-tingle and unexpected joy. Make sure you follow Rap Squared and its stunning equations; the math really adds up- tortured puns aside, it is a thrill-ride that begs for communal love. Our hero is surely planning E.P.s and albums- pulling ideas from his brain and setting his sights high. Capable of covering a spectrum of emotional and sonic ground, the startling Canadian is extolling the virtues of originality- he is one of the most distinct and passionate musicians about. I will leave you with a pithy bon mot: that which looks at 2015. This week- in the mainsteam- there has been a grab-bag of mixed offerings- from the dodgy and mediocre (Twin Atlantic and The Gaslight Anthem) to the incontrovertibly assured (The Magic Numbers). I have sighed somewhat- nothing has been released I would rush out to buy. Next week shows a complete about-face- both Royal Blood and Dry the River release new albums. From Brighton-based Rock swagger to East London-based Folk grace, I could not be more excited. New music has that same imbalance and unpredictability: some weeks stunning acts come out; the next there is bugger all. You can always rely on diversity- few acts are boring and flaccid. When looking around at new music- and who will be in the critical mindset- there is going to be a mixture: a few new bands; Electro.-Pop artists; Soul and Pop soloists- in addition to a couple of Rap acts. I am wholly confident The Emsee will gain some momentum and foothold- make his way into the mainstream's spotlight. It may take a few more years, but it is definitely coming- few musicians have such a determination and will to succeed. Let yourself get in touch with Rap Squared- and all of its gleaming moments- and keep your eyes trained on the Canadian. While he toils and works his arse off (in the factory)- as we speak actually- I am sure he is fantasising about music; dreaming lyrics and conspiring- the young man is on a roll; making songs summa cum laude. Put down your Arctic Monkeys and The 1975; pick up something new and different- that which inspires the mind. When it comes to inspiring...

FEW do it (quite the same way) as The Emsee.

https://www.youtube.com/watch?v=cpULfKisk7Y&feature=youtu.be

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow The Emsee:

Facebook:

https://www.facebook.com/TheEmseeMusic

Twitter:

https://twitter.com/theemsee

BandCamp:

http://the-emsee.bandcamp.com/

iTunes:

https://itunes.apple.com/ca/artist/the-emsee/id483324478

ReverbNation:

http://www.reverbnation.com/show/8234314

Last F.M.:

http://www.last.fm/music/The+Emsee

Google+:

https://plus.google.com/108370472262718280867 ______________________________________________________

The Emsee videos available via:

https://www.youtube.com/channel/UCzS-q9pq3_XG0s5zHl911Dw

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The Emsee's music can be found at:

https://soundcloud.com/the-emsee

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For all tour dates/gigs:

https://www.facebook.com/TheEmseeMusic/events

E.P. Review: Kobadelta- Remain Distracted

E.P. REVIEW: Kobadelta

Remain Distracted

9.7/10.0

Remain Distracted EP cover art

Remain Distracted is available at:

http://kobadelta.bandcamp.com/

TRACKLISTING: Siam- 9.6/10.0 Repetition- 9.6 They Can't Hurt Me- 9.7 The Heretic- 9.8

STANDOUT CUT: The Heretic

RELEASED: 26th September, 2014

RECORDED AT: First Avenue Studios, Newcastle by David Curle (August 2014)

LAUNCH GIG: The Star & Shadow Cinema in Newcastle (with support from Goy Boy McIlroy, Schultz and Wake)

GENRES: Blues-Rock, Experimental, Indie, Psychedelia

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Having been celebrated (for their past endeavours) the mesmeric Newcastle quintet return with Stay Distracted. Kobadelta employ colours of The Doors, Arctic Monkeys and Black Sabbath (into their bubbling cauldron). Staggeringly tight and divine; their latest work is something you will not forget in a hurry- do not miss out on it ________________________________________________________

AS work commitments and sapping energy takes a hold...

I am almost nearing the end of my reviewing lifespan. It is good appraising bands and artists, but 'real life' is beckoning and pulling me forth. Writing anywhere up to 35,000 words a week, I am getting a little fatigued- need a bit of time to go and record my own music; set up businesses and train my thoughts wider. One of the great things about reviewing new music is finding sounds that otherwise would not come to my ears- my featured band have offered me the chance to discover something bracing and truly memorable. Before I introduce them to you, I want to raise one point: sound and intention. When searching around (and documenting) sapling music, you get a mixed bag of sounds- some acts are vibrant and daring; a lot tend to vary in quality. It is not the case that heavy and hard rushes create the biggest results- far from it. Even though bands like Bi:Lingual and Allusondrugs have given me the chance (to survey two of the most scintillating acts in the U.K.), I always look for deep and diverse movements; acts that spend as much time as possible galvanising their music. The aforementioned groups achieved this; they did not just lazily throw some notes together- they are bands that take the time to create gold-dust. Whether it is an interesting riff; the employment of classical strings; something a little unexpected- making sure your songs are as full and intriguing as possible is a paramount concern. I see too many musicians- come out- that are far too flimsy and lacking- their music does not hit all the bases (and truly stick in the mind). The very best music of 2014 has been defined by adventurousness, intelligence and consideration- so many truly terrific moments have come through. From the likes of Little Sparrow's haunting and Kate Bush-esque etherealness (to Gypsyfinger's Folk tenderness), the softer and gentler side of music has revealed some glistening diamonds. When it comes to the middle of the range- that mix of quiet and loud- then plenty of greats have come through- warriors of sound like Allusondrugs and Knuckle have stuck in my imagination. It is impossible to document (and give tribute to all) of the great new music highs, yet the abiding point remains this: the most prosperous and challenging acts are those that dig deeper and pack a huge punch. Having spent a lot of time investigating Electro.-Pop and Pop moments- over the last few reviews- I have been exposed to some elliptical and uplifting swells; music that is designed to invigorate and make you think. My featured act is a band that present plenty of beauty and lighter moments; their force and power is what sticks in the mind- something that grips and intrigues the brain. Before I continue on- and raise another couple of points- I will introduce the band to you:

Dom Noble - Vocals Alex Malliris - Guitar Chris Malliris - Drums Jonathan Marley - Bass Jordan Robson - Synths

"Newcastle based five-piece dabbling in dark and heavy 'indie-psych-rock'... Having recently supported the likes of Temples, Splashh and Superfood, we've been described as "one of the finest live bands in the emerging psychedelic scene" (NARC. Magazine)"

Kobadelta have a huge reputation in the live arena- many have stated how incredible they really are. Containing some mystery and curiosity- they do not give much information about their influences and background- the listener is left to draw conclusions. Many musicians leave their social media pages sparse- thinking that transparency eradicates the mystery and purity of their music. It is true to a certain extent; it is always nice to learn as much about an act as possible- it gives the listener a complete picture and shows a personal touch; demonstrates how much that act want to connect with the listener. Full disclosure can come in more than one form- Kobadelta ensure they give plenty of eye-catching detail and information. Plenty of photos and images are free for the user- their social media spread is authoritative and detailed- you can hear and see a lot of the band across the Internet. Hailing from Newcastle, it is great to hear some music from the North East- an area of the U.K. I have not had a chance to explore too much. Being concentrated in Yorkshire and London- most of my reviews take my there- it is wonderful to head further north; explore an area I do not get to tread too much- Kobadelta are one of Newcastle's most urgent and memorable bands. With the likes of Manchester and Liverpool having such a historic reputation, it seems that the North West gets a lot of the credit- and rightfully so. Yorkshire bands- as competitive as the North West- like Arctic Monkeys are rubbing shoulders with some of the best out there- few eyes look up to the North East. From legendary acts as diverse as Prefab Sprout (calling this area home) more critics and listeners should focus their mind here. When you explore certain regions, you can find some terrific things- Kobadelta have struck my ear and are a compelling proposition. Marrying Blues-Rock, Desert-Rock and Psychedelic together, they whip up some of the majesty of Queens of the Stone Age and Arctic Monkeys- two of the most popular bands of the moment. If these bands' latest albums have shown anything, it is that these genres can be mixed to spellbinding effect. Queens' Like Clockwork... trades darkened crawls with epic riffs; tight and focused jams with sweeter introspection. Arctic' created one of their finest L.P.s in AM- an album that sees them augment their talent for riffs; sharpen their craft and hit their peak. Before I get down to reviewing their music- and seeing who inspires them- it is worth seeing where they fit in the band market. Having gained such a huge reputation among critics and fans, it seems the Newcastle quintet are going to have a very busy and packed next year. They develop and grow with each release; pack their E.P.s with focus and phenomenal moments; take the listener into their world- not every band is capable of this. With so many mainstream bands starting to wane and waver, it seems that the likes of Kobadelta have the potential to claim some ground- take their place and nestle among their heroes. With regards the likes of Queens of the Stone Age- our boys are no lightweight equivalent. Packing an equivocal punch and strut, the young replacements have more energy and inspiration (than Homme)- they instill his Rated R/Songs for the Deaf regency in their latest offering. Too many new bands are provided a pompous amount of acclaim and support; elevated to unrealistic and stupid heights- they never achieve that sense of anticipation and regard. Kobadelta are the slinking and hard-working act that live up to the hype and positivity; they are serious contenders. With that all said, it is worth investigating the boys in more depth.

To get some background on Kobadelta, I have been listening to their early sounds. Their latest E.P.- The Hidden Door- was released back in February. Showcasing plenty of flair, passion and emotion, the E.P. resonated hard (with listeners and critics). Electric Chair was as sizzling as its title. Jumping and nervy at the start, the buzzed and blissed-out guitars investigate some Queens of the Stone Age's Songs for the Deaf territory- bits of Arctic Monkeys' darkness is in there. French words and blurred verbs hide in lyrics (that are constantly impressive and well-considered). Showcasing an economy and tightness, the track packs so much in- biblical judgement and commandments sit with byzantine offerings. The song's heroine is cutting the wedding cake with "the hunting knife." The band performances are focused and tight; every note and offering is honed and perfected- they allow looseness and fun to come through. Supernatural Cause began with some intent and striking percussion. Haunting and swirling, embers of Nick Cave and The Doors are seen; the cool-ass swagger that enters the fray (takes the song another direction)- dark and burbling undercurrents keep the song brooding and interchangeable. The ghosts of Tom Waits and Jim Morrison lurk in the vocals; seductive lip-licking matches graveled throbs and pulsations. Another song that matches it title, you are washed up in the spectral nature of the song; it grabs onto you and chills the bones- not a mordant number; it is a stone-cold chill that is designed to shiver the spine. The Hidden Door takes another course. Tribal and Celtic openings blend seafaring and swaying motions together; the vocal that enters has a rich croon- Morrison and Johnny Cash have an influence here. The Country embers are a nice touch (and show another side to the band)- they are adept in whatever genre they want to play. Paced and projected with a sense of calm and control, the song's lyrics are scenic and vivid- the wordplay is deep, evocative and intelligent. Epic compositional developments augment the sense of occasion and build- graceful one moment; rushing the next. Love Stone Chic incorporated some touches of Kasabian, Black Rebel Motorcycle Club and Arctic Monkeys. What it provided was some razor-sharp and sizzling jams; slinking and snaking guitars- punchy and manful percussive utterances. The focus and determination are unequivocal; the stunningly teasing aspects make it one of the E.P.'s standout tracks- allure, sexiness and chic are hallmarks that few other bands can infuse. Not Above & Not Behind was a softer and gentler animal. An aching vocal turn gave the E.P. a rounded and full sound- the band do not just present harder and more Rock-influenced parables. Sensitive pride sparred with masculine urgency. Our hero's possessed and emotive vocal looked at love and dedication- the heroine is someone who has done a lot for him. Having moulded and shaped his life; left her impressions, it seems that there is a sadness and longing here- maybe the relationship has ended; things are beyond repair. The devaluation and depreciation are evident and apparent- the song spares no time in getting under your skin. The shortest track on the E.P., it is a beautiful and still beauty- those tender acoustic guitar notes are wonderful. Knowing just what a force the band are now, it is because of works like The Hidden Door- a record that reveals new light and quality across repeated listens. The band's first full work was Ritual (Time Flies). Unveiled back in 2013, it was the band's first strike in the music world- something that made big impressions on reviewers. The influence of The Doors and Kasabian gave proceedings a crackle and vibrant sexuality; a leather jacket-clan coolness and strut. Chunky and huge riffs were part of a full sound and heaving bosom of sound- Blues-Psychedelia and bass-heavy rhythms sparred with Indie slices and Rock jams. Some of Michael Stipes's Out of Time vocals- and songwriting nuance- showed itself here; the band came out with all guns blazing. Edgy and alert sounds hugged synths. and funky avenues. Time signatures switch and change- in the middle of tracks- with the listener kept alert and surprised; the cinematic and filmic grandeur struck critical ears. Many saw the release as a Tarantino soundtrack-in-waiting- something that would be perfect for one of his films. Sexy and fighting mixes with celebratory and partying- that ear and eye for atmosphere was established here. The quality and luster the band display impregnates the music- that set them up for their first E.P. Joining in unison some U.S. Blues-Rock flairs with classic acts- The Doors and Echo and the Bunnymen- the band were on form right from the start. I can see the development from their early work- the band have increased in stature and confidence. Although Ritual (Time Flies) was a stunning and incredible work, Kobadelta improved and flourished on its follow-up- the guys ratcheted the urgency and passion; made sure that few ears could ignore them. Over the last few months, the quintet have been working hard; putting together their movements and strategies- what Remain Distracted shows is that they get better with each new release. The new quartet of songs builds upon The Hidden Door and all it contained- those key elements and assured sounds remains. The band have gained fresh insight and influence; distilled this into their music and produced their finest work- a collection that will see bit results and profits. With this rate of progression and development, it means future releases are going to be staggering- few can match their evolution and potency.

Kobadelta themselves are influenced by a number of different acts and artists- whether directly or by name-check. In terms of the vocals, everyone from Al Jolson, Nas and Mark Lanegan (count as references). When surveying the overall sounds and style I am reminded of Queens of the Stone Age. If looking at a particular album- to reference with the band- I would say Songs for the Deaf is the most apt. In the same way that Songs for the Deaf was a genre-busting and startling Hard-Rock album; Kobadelta have a pioneering attitude and huge musical ambition- they can splice genres and create a wide range of sounds and movements. On Songs' the drumming is muscular and primal; the concept and production is innovative and a humourous. Kobadelta instill the same amount of imagination and power; they are musos that make music for the fondest music-lovers- detached from what is 'expected', they create songs that are the result of a deep passion (for their craft). There is a sense- with Kobadelta- you are listening to a 'dream team.' Like Queens of the Stone Age's career-high line-up, you have the best and most striking talent on board- that comes through in their music. Thrilling, dramatic and odd moments are shared by both bands; the Newcastle quintet create a riot of sound and imagination- the quality and consistency throughout the E.P. is phenomenal high. When Q.O.T.S.A. unleashed ...Like Clockwork, they presented something darker and more restrained. The album contained crunch and power; seduction was found in the darkness- making the songs such a treat. It is a focused and taut treat; an album that demands huge investigation- revealing charms and new surprises after several listens. There was a little desert sprawl and wandering; some of the hallmarks of their previous albums- new components came to play. Densely layered sounds, interwoven riffs and eerie sexiness sparred with one another; guitar fuzz and elastic soloing provided heady shades and heights- off of the back of a hard and struggling time for Josh Homme. Having been hospitalised- and subsequently bedridden- following complications from knee surgery, ...Like Clockwork was the sound he found in the darkness- the inspiration that kept him going (and saved him). Kobadelta incorporate the key highlights and synonyms of that album; their sound has that elasticity and focus- they do not betray their identity; instead offer something new and inspired. Another band that come out in Kobadelta's sound- one that is close to Queens of the Stone Age- is Arctic Monkeys. Looking around at an appropriate album- to draw in for comparison- would be AM. Imbued with elements of Queens of the Stone Age's sound- Homme featured on the album; having produced its predecessor, Humbug- this album marked a high-point for the Sheffield band. AM drew inspiration from Rock titans and greats: some of the riffs featured could be compared to Black Sabbath and Led Zeppelin. The album was built on portentous beats and dark thrills- the combination of fun and seriousness provided a great contrast. Kobadelta match wistful Pop (and light) moments with muscular riffs; paranoid and haunted snatches come out in their current work. Huge craft and confidence defines their work- the same qualities that went into AM. Kobadelta instill maturity and focus into their music; meatier and compelling tracks- they do not forgo the frivolity and youthfulness (that defined Arctic Monkeys' early work). Looking around at possible U.S. influences, The Doors (are a band that have compelled and enforced) Kobadelta. In terms of album comparisons, I would say The Doors is the most pertinent example. That disc launched the band's intention; remains one of their finest work- it inspired a legion of other acts. That combination of Jazz, Blues, poetry and knockout blows took critics and fans by surprise- it is a debut that has rarely been matched. Spidery guitars, hypnotic backdrops and alluringly powerful vocals ran throughout The Doors- the nonstop melodicism and dynamic tension was hard to top. Kobadelta ensure they pack as much punch and intrigue into their music (not quite on the same plain) and draw in some of The Door's early-career facets. The vocal performances from Dom Noble possess embers of Morrison's velvet and sexual croon- that comparable lustre, power and raw edge. The Morrisson-esque Dionysia persona matched with stoned and immaculate moments- few can forget or ignore their debut album. Our Newcastle five-piece provide their own take of The Doors' commingling of potency and seduction; this comes through evidently on Remain Distracted. Being a direct influence of the band, Black Sabbath are a name that came to mind (when listening to their latest offerings). If you look at a Sabbath album like Paranoid; that was one of the band's finest early cuts. Within, the Visigoth rhythms and blissed-out riffs inspired bands like Nirvana and Metallica. At times it is soothing and seductive; for the most part it's hypnotic and frightening- the album defined the Heavy-Metal revolution. Kobadelta rustle up incredible riffs, multi-sectioned songs and epic drama; the guitar vocabulary is incredible- the monolithic and steamroller power cannot be refuted. Whilst Kobadelta do not touch on the same depressive and dark themes of war, death and genocide; they employ some of the drugged and slowed-down hallucinations. The Stooges are another act that come out in Kobadelta's sounds. If you take an album like Fun House- that remains one of the band's finest works. The album contained raw and sweaty peaks; energetic and immediate songs; the vocal ferocity and potency sticks in the imagination. The guitar work that came out in that album- with the increased confidence and potential- is only topped by the captivating and scintillating vocals- the album remains one of their masterpieces. Kobadelta incorporate similar stab and sizzle; razor-sharp guitar work and electrifying vocal performances- that unite Punk, Rock and Blues together. The lyrics The Stooges penned displayed intensity and disquiet; the bass was played like a weapon of destruction- the focus and tightness of the entire band is startling. Kobadelta ensure their songs are possessed of vivid and evocative scenes; moments that draw you in (and stay in the mind). The Black Angels are a band that have made a mark on Kobadelta. The Directions to See a Ghost cemented The Black Angels' reputation as one of best bands on the scene. The knowledge of Pop hooks and melodicism meant their epic jams and buzzing attacks had catchiness and dance-along charm. Their album contained plenty of ideas and directions; sounds that appeal to a multitude of listeners. Kobadelta ensure that their music is as rich and deep (as The Black Angels'); filling every moment with the same sense of occasion and potency. Black Rebel Motorcycle Club threw in guts, dynamism and aggression into Take Them On, On Your Own. That album contained swagger, cool and endless authority: the percussion brought the trio together with its power; the maturity and potency defined that album. Kobadelta have their own version of swagger and ice-cool looks; their music has that same confidence and ambition. The final duo of names (I will include) are Echo & the Bunnymen and Nick Cave and the Bad Seeds. Porcupine was an album that brought Echo & the Bunnymen to a new audience: its brilliance and giddiness excited listeners and fans- impossibly exciting fusions of Rock and Pop were included. The intricate production touches; yearning and soaring vocals are qualities Kobadelta share- they possess similar driving bass and urgent drum work. Kobadelta share Echo & the Bunnymen's knack of delivering great songs with a fun-time and emotive vocal force. The psycho-sexual vocal yelps- and Bowie-esque tics (that came out in Echo's debut album, Crocodiles)- was backed by huge and swelling compositions. Spookily evocative gems sat with blinking hallucinations and primal vocal performances- taking inspiration from the likes of The Doors. The visceral and exciting moments of Nick Cave and the Bad Seeds' come out in Kobadelta's work. The operatics, theatrics and dark croon- that compares with Nick Cave's pipes- are mixed with overmodulations and near-explosion. To be fair, it is best to judge the band on their own merits. Usually- when writing this section- I can levy a band (or act) with others; write quite a hefty amount- not today, mind. Whether it is because of the bands listed- and the lack of critical feedback- I have struggled a bit. When reading reviews and feedback- on the artists mentioned above- there is so much brevity and scantness- it has been impossible to flesh it out and provide full clarity and conviction. It is true that the likes of The Doors and Queens the Stone Age have made big impressions; the U.K. greats like Echo & the Bunnymen have played a big part- Kobadelta do not come across as a re-appropriation or tribute band. You can sense birthmarks and skin grafts in their flesh; little hints and sensations- the sense of individuality (Kobadelta provide) marks them aside from their contemporaries. The best way to do the band justice; pay testament to their music is to get down to reviewing it...

When assessing the E.P., Kobadelta explained it in these terms:

"The tracks are from our forthcoming EP 'Remain Distracted', which we will be launching on Friday 26th September at the Star & Shadow Cinema in Newcastle. Support will come from some of our favourite local bands including Goy Boy McIlroy, Schultz and Wake. 'Repetition' from the EP will is already available at soundcloud.com/kobadelta as a free download. The CD version of the EP is available to pre-order at bandcamp.com/kobadelta and will also be available on the night of the gig. We feel that the EP is the best representation yet of what we consider to be Kobadelta's 'sound' after experimenting with a range of ideas on our last few releases. It comes on the back of what has been a great year for us so far, being chosen to play Newcastle's Evolution Emerging festival as well as Stockton Weekender (with Happy Mondays and Public Enemy headlining) and Split Festival (with Maximo Park, The Cribs and Dizzee Rascal), and a live session for BBC Introducing. In the lead up to the gig we will be playing The Boiler Shop in Newcastle with The Temperance Movement on Sunday 31st August, and supporting Allusondrugs at Newcastle's Think Tank on Sunday 14th September. The gig will also be used as the launch night for our singer Dominic Noble's clothing and design label The Greensleeve (www.thegreensleeve.co.uk), whose artwork has featured on Kobadelta's previous releases (including the new EP), as well as for other local bands such as Bernaccia. Described as 'Supernatural visions projected in new technicolour', Dominic creates collages from recycled vinyl record sleeves and will be making his work available as prints and a clothing range."

Siam is the first track off the blocks- a song that gets to the races instantly. After a snatch of feedback and feline yowl, the band elicit a rampant and galloping introduction. The guitar and drum dueling reminds me of Queens of the Stone Age mixed with Arctic Monkeys- there is that dark undertone that is contrasted with elastic and upbeat power. The insatiable and catchy mandate is one that lodges straight in your mind: teasing and slinking, it propelled by a solid bass performance. The percussion crackles and smashes; the weaving and snaking electronics allure the senses- preparing you for what is to come. Our hero steps to the mark and is remaining distracted- his gears "are grinding"; there is a sense of anxiety in his voice. Buoyed by the rush and insistence of the composition, the vocal keeps the momentum flowing and endless. Our frontman felt compelled (to write his sweetheart) a letter- write down his confession and get it off of his chest. Instantly you bond with intrigue and mystery; speculate what is being documented and stated- that oblique and fascinated side comes out straight away. Throwing in humour, cocksure declaration and a sexy swagger, our man is like chocolate in a child's pocket; the hottest thing "since records began"- that unbridled assurance and urgency is something Jim Morrison would be proud of. The next verse looks at footprints on the bonnet; the window is open and that curious nature augments- you picture scenes and wonder just what is happening. Unfolding like a dramatic mystery, the hero ensures his voice is endlessly arresting and compelling. Marshalled by a dizzying and tripping guitar weave; authoritative and composed bass drive and percussive tenderness- the song's composition adds weight and colour to the main focal point. Proclaiming that "we are not so different", our frontman seems to be speaking to a sweetheart- perhaps I am off the mark- due to the romantic nature of his delivery. Previously, words have looked as sonnets and requiems- how we put emotion and heart into these poetic realms. The following lines offer no ambiguity or room for misinterpretation. Words that implore (the girl) to get down on all-fours slither with lustful and hyper-sexual intent- the vocal drips with lust and lascivious chocolate. Our man is not short of confidence and pride: knowing how electrifying and gripping he is, you feel he is beckoning his woman into his web- the hunter is on the prowl and is crawling through the suburban streets. As he- and his gal- are the same behind closed doors, there is a sense of submission: maybe his sweetheart has been resisting; the elemental proclamations are designed to draw her in. As the listener becomes embroiled in the sensuality and raw edge of the delivery, the band elicit a fiery and sparkling coda. Unleashing a twisting and scintillating riff, the entire group unite in voice- each player is tight and fully focused. Incorporating buzz-saw Blues-Rock with Desert-Rock swagger, the line is intoxicating and gripping- a swirling mezzanine of colours and concrete. Languorous and reptilian, the snarling riff burrows into the brain. Towards the closing moments, our hero lets his voice climb and rise- repeating a mesmeric coda, it becomes more pressing with each delivery. Distracted with gears grinding, the desperation and feral rapture bursts through the speakers. Supported by a yowling and animalistic riff; a taut and menacing bass slink; that pummeling and insatiable drumming- you are gripped by the intensity and sweat-ridden passion of the finale. Leaving you breathless and fascinated, the sense assault is the perfect opening (on a wonderful E.P.). Repetition is a song that is a free download- subverts expectations from the very start. Primal and rampaging guitar determination gets the song off to a flyer- it is a Hard-Rock riff that ties in Black Sabbath and The Stooges. Gritty, violent and wide-eyed, it is filled with potential. Soon enough the percussion arrives to add catchiness and spring; when the instruments combine the song mutates into something springier and more bouncing- that hardness remains but the song gets fuller and gains swagger. Delirious and victus, our untamed hero is keen to get onto the microphone. Paying testament to the necessity of repetition, vivid and bayou-themed scenes are threaded forth. If you are gone swimming- a message directed at anonymous figures- then be weary of its moonlight dangers; the potential for fatality lingers. Our man apologies and offers demure- if he got "carried away"- words of self-destruction and reflection come to play- it seems a particular friend or love is being looked at. Someone that (our frontman) can always rely on, it seems like they are the leveled and measured head (our man needs). Like Siam, the track has a restless and incredible pace and potency- that never-ending kick and drive takes your mind away and wraps you up. With a vocal performance- that injects lustful passion with reverend tenderness- the band are in no mood to retreat in the shadows- infusing a myriad of multifairiousness and vibrancy. Dark and scorpion stings strike with roaring and lioness guitar swings- melting Q.O.T.S.A., Arctic Monkeys, The Stooges and Black Sabbath (into their boiling pot). With Brigitte Bardot and kaleidoscopes- being thrown into the lyrical mix- our hero spills his words with a breathless and unstoppable force- I am loathed to keep mentioning The Doors. As unique a snowflake (as the band are) it is impossible not to hear the gin-soaked ghost of The Lizard King. Not quite as overtly in flagrante as Morrison, our hero enthralls you with his bursting and sexualised lung power- you get lost in the tumble and gripping melodrama of the song. At times some of the words may get a little buried- some run into one another- but the emphasis is on mood and potency- the sheer passion and evocativeness that is summoned forth. The composition is an evolving and interchangeable beast. The time signature and pace shifts at one point; the song relents into exile- allowing something reflective and restrained to come into effect. From the animal instincts of before, there is a sense of measure and calm- that sound expands and cracks to allow fervency and pugnaciousness to swing in. As you are bedding-in and starting to predict, the band offer a brief pause- the song teases before bursting into life (once more). Evoking the shadiness, danger and beauty of the night-time streets, the band unify to kick the crap out of the senses; take your brain out of your head- strip the bones clean. The dying seconds go down fighting; the percussion rifles and avalanches; the guitar screams and bays for blood- the percussion hammers and staggers. Being entranced and sucked into the band's vortex; the vocals are not done talking- repetition is repeated once more. Cleverly giving the song new meaning- repeating the song's title gives the song essential life and memorability- were the song left on an aural close; you would not be as impressed and taken aback. Showcasing the necessity of lyrical economy and incredibly well-considered songwriting, it is a track that leaves with a big a bang (as it began). They Can't Hurt Me starts with some incredible bass work. Bouncing and ripe, it reminds me of some of Songs for the Deaf's most intriguing moments; a little of Echo & the Bunnymen's early work- it foreshadows a brief guitar rattle- displaying sounds of a Tarantino-directed Western-themed opera. The song's hero returned from France; his lover "moved abroad"- it seems like a game of cat-and-mouse is unfolding. Crime scenes and criminal avenues are explored- the Tarantino predicament is reinforced- as the scenes unfold. Keeping the composition tight and focused- not allowing histrionics or needless energy- everything is tense and edgy. The sweetheart said "no to a bullet-proof vest"; the hero has a wire on his collar- that espionage-cum-assassin blend fuses in the scenic lyrical delivery. Showing vocal dexterity, our hero makes his voice sound emotive and urgent; culpable and innocent- a divine blend. The song looks at cartel infiltration; an appointment with the oracle- gang-land scenes and edge-of-your-seat butt-clenching tableau keeps you gripped and hooked. Throughout the track, you project images and unfoldings- provide your own version of events. In my mind, the duo are in France- not the first place you'd expect cartels to linger- as the song has a romantic and strangely Parisian sound. Among the moonlight and boulevards of twisted lovers, plots and plans are being formulated- the chase is on and the danger increasing. Our hero is indefatigable and heroic; a James Bond figure, he is indestructible. Making sure his self-assurance and confidence never wanes, the vocal delivery is impassioned and cocksure- never allowing arrogance or glibness to rule the roost. Perhaps looking outward- and casting himself out of the picture- we look at a hero that sleeps in the back of his limousine- in his pajamas he seems like a Brianstorm-esque anti-hero. Having gone from Australia to the Caribbean, the plot-line twists and evolves- the lyrics are sharp and fascinating. Displaying the same intelligence, wit and sense of story (the likes of Alex Turner possess), you are enveloped in the drama and theatrics. The vocal is one of the most entrancing, here. Going from a sensual and deliriously sexual smoothness; it mutates into something sharp and acerbic- sounding a little like Morrissey. Our frontman is deftly able to transmogrify from a chest-beating alpha to a Mancunian legend (in the space of a few seconds)- keeping his rock-solid personality in tact and firm. When the song's heroine (or "bitch" as she's described) failed to predict "anything at all"; that judgmental and accusatory tone is laced in- there is love and passion underneath. Whereas- on previous outings- gorgeous and emotive synths. have traded with brutal guitar work, here things are more evocative and Blues-infused. The guitars are not as snarling (as before); instead sensually swinging and licking its lips- matching the lyrics perfectly. Cinematic and atmospheric, the guiding and hardened bass sting conjoins with the rattling and bullet-fire percussion- the band pull together one of their most impressive and stunning performances. There seems to be a ménage à trois in place- a triangle of passion and deceit that is the root of the story. The heroine is loved by the hero; our hero loves her and all of this means neither (of the men) can be hurt- whether there is a sexual component to each relation I am unsure. The film explodes and contorts. That Doors-cum-Queens of the Stone Age melting of octane-pumping drama and sexual is enforced in the coda of "I love her/they can't hurt me." As the song starts its long fade, the scene has been set; the intentions laid bare- you hope that a satisfactory resolution was (arrived at). Following the assassin consignment- and anxious razor-wire nerves- the song completes its course- leaving you exhilarated and primed (for what is to come). Taking Remain Distracted to its close is The Heretic. The song opens up with intent and meaning- the soft percussionary shimmers have grace and urgency; possibility and wealth. Differing from the heavy and hot openings (of the previous cuts), here something more restrained and melodic is presented. Smooth and slinking, there is a teasing and f***-me sensuality to the introduction- the red-dressed, top-heavy, scarlett-lipped femme fatale is blowing smoke from the side of her mouth- teasing her finger around the rim of a Cosmopolitan. In the bar room, darkness and low-lit sensuousness of the night, the listener is hooked into the Blues-inspired embryonic moments. When our frontman comes to the mic., he possess all of his trademark directness and vitality. "Satanic on a Tuesday"; a heretic the rest of the week, his calendar and diary is laid bare- coming across as (supernatural) ritual potion of Craig David's 7 Days and The Cure's Friday I'm in Love (making me wonder whether David is shagged-out from all his exploits). The devil-may-care preacher is expounding his (lack of) virtues and faithfulness- his libidinous and inflamed loins have no time for religion, God or anything so vanilla. Throwing French temptation, wordless coos and flavoursome ingredients (into his cauldron of boiling lust), our hero is at his most playful and free- that confidence and assuredness has never sounded as defined and meaningful. Appropriately enough, a kick-ass, apocalyptic guitar buzz is ratcheted in- like a chainsaw through an oil refinery- blazing with vermilion passion, it is a mind-blowing and bowel-shiftng earthquake. Tossing in- and off to- the likes of Queens of the Stone Age, Black Rebel Motorcycle Club and Jimi Hendrix, it is a primeval and staggering sound- our band is in their element. The hero is looking at so-called good girls and innocents- the sort that turn tricks for favours; sell themselves readily: what sort of purity is there out there? Girls "flirt to make tips": the vultures will circle in and take their chances. Employing a staccato and Hip-Hop-inspired delivery- the vocal trips and tumbles- you get mesmerised by the free-flow delivery; it gives the song a sexual nature- that tangible physicality is what makes the words stand out. Once more, the beauty and glory comes through in unity- the band performance is as tight and compelling as any. The loose and sybaritic hemisphere (of our hero's brain) is being left to guide and implore- he is in his wheelhouse here. It is not just the lyrics and vocals (that catch your attentions)- with their vivid images and hypnotising allure- the composition is an equal match. Aside from the crunching and Tokyo-destroying Godzilla attack, there are psychedelic and drug-addled vibrating swaggers; deluded and trepidatious anxiety stings; colours mingle. The percussion is raw and alert; keeping the tension and rawness high- the bass drives and guides the movement. The entire ensemble is a magnificent cornucopia of sensations and sizzling fireworks- so many genres, movements and ideas are crammed in. Packing huge emotional clout, the snarling reptile keeps on hunting; never easing or resting. Becoming fatigued and overwhelmed (by his own insatiability), our hero's voice loosens its grip- retreating into the shadows (briefly). Keeping the unpredictability and fascination levels high, the song returns to its sapling sound- that calmed and Western-flavoured twang. The strings twiddle and capture with unassailable desire. Teasing and muzzled, the parable is overthrown and obliterated (by a firestorm explosion of buzzing guitars); warfare of electricity- the satanic retribution reaches its heights. Topping anything- the likes of Kasabian and their ilk have produced- it is a stone-cold gem- the song is the band's masterpiece swan-song. Just as you are begging for more, the track begins to fade- the listener is left wanting more; feeling reprimanded and stifled. It is a beautiful trick to pull: leaving the listener hungry and jonesing for more; having witnessed so much...

Before I get down to complimenting the band members (themselves), it is worth giving the E.P. a summing-up. My least two favourite words in the English language are 'miracle' and 'journey'. The former is a tabloid-favourite word- that is installed into ever heart-bleeding cancer recoveries and against-the-odds conception. Every time a woman falls pregnant- when doctors said it was out of the question!- when a destructive and seemingly terminal cancer is overcome- that horribly over-used word is applied. It annoys me, because there are no such thing as miracles; people beat long odds all the time- there are thousands that die due to cancer; never able to have a child. Such an infantile and moronic word, the people (who use it) are ridiculously pretentious and arrogant humans- the assumption is that God is playing his hand. In addition to God not existing; if he did, you really think he would give a shit about someone's pregnancy or cancer? Forgetting wars and mass murder, he would much rather make sure a middle-aged woman does not succumb to bowel cancer- forget the millions that die each year; let's preserve this one unspecial and boring human. My rant aside, that word ignores the human elements; the role people play in (things like cancer recovery). I have seen the word 'miracle' applied to music before- using it in the pejorative sense; applying it in the context of Remain Distracted would be a huge injustice. God dislikes Rock and Blues; it is the Devil that jams to the best tunes (as we all know)- if there was an hell-bound synonym for 'miracle' then I would apply it here. Few bands come across with such a unabatable confidence and conviction- the E.P. is rampantly assured and urgent (from start to finish). The performances are uniformly tight and staggering; each player is at the top of their game- the songs are nuanced and hugely memorable. Possessing a quartet of tracks, the E.P. is a controlled and restrained animal; one that leaves you begging for more- whilst offering so much wonder and brilliance. Taking in the sexualised and spiritual mythology of The Doors; ramping in some feral Punk fuzz (of The Stooges); tie it to bone-shaking and pre-coital lust of Black Sabbath, and you have a phenomenal concoction. Kobadelta ensure that other bands take a back seat- are used as guides and jumping-off points- and ensure their voice and soul comes through- Remain Distracted is a distillation of their hard work, uniqueness and incomparable talent. My other least favourite word- in the whole wide world- is 'journey.' Fine when applied to a physical transversion; it infuriates me when applied to anything else- most commonly musical endeavours and relationships. It is nauseating and head-explodingly obnoxious when a an act claims an album (or record) is a 'journey'- it is as pious, pompous and pathetic as you can imagine. A journey is a physical thing; applying it to metaphysical and emotional areas is horrifyingly obnoxious. That word is over-used- in this context- a cliché that should be eradicated. Away from the brainless profferings of musicians, love-struck goons and leprous celebrities, I will apply the word in a more literal sense: the way something can move you; from one location to another. Kobadelta not only take your mind around the world- here we go Down Under and to the Caribbean; through various streets, scenes and locations- from dark bars to bedroom sheets. Your brain, mind and bones are shifted and thrown about- detached from the body; the music is capable of lifting you off the ground in a fit of levity. Few musicians take the trouble to ensure their lyrics (and music) has an itinerant desire and sense of depth- too many come across as one-dimensional and obsessed (with love and relations). By mixing personal emotions with scenic and filmic atmosphere, the E.P. is a mini epic. It is time I get to the band themselves. Through the E.P. there is friendly fire- each player fights and muscles for attention. In addition to being a well-oiled and tight unit, each performer showcases their impeccable chops- stepping into the spotlight to gain hegemony and attention. The synth. utterances from Jordan Robson are the documentation and alliteration of early-days (The) Doors: the representation of the sexual and primal lust. Melodic, impassioned, dizzying and evocative, it is a vital soldier- one that manages to summon up a festival of mood and wonder. Combing brilliantly with his cohorts, Robson manages to inject heart, soul, flair and danger into the music- the songs would be weaker without it. Jonathan Marley's bass has plenty of melody, rhythm and tautness- at times it stands alone and is left to overwhelm and impress. Tight, menacing and driving, it keeps the songs in-check and focused- never allowing the dam to break. Able to whip up a weight of sexual endeavour, exploitative anger- springing dance- it is a stunningly consistent and impressive performance. Ensuring every song resonates and sticks in the mind, the bass notes are relentlessly gripping and focused. Chris Malliris provides the whack, wallop and pummel (of an army of men)- at times he sounds like he has six arms! Able to calm and reflect, his sticks can burst into life with the drop of a hat- his range and professionalism is exquisite. Adept at seducing with ease; when rampant and enraged he is at his peak; down in the mix and guiding he is superb- you cannot fault the sheer passion and conviction throughout. Keeping the backbone straight and firm- at times bent over a kitchen table- the persuasion is one of the most striking facets (of the E.P.). Blending seamlessly with his cohorts, Malliris marks himself out as one of the most spellbinding drummers about. Alex ensures the name Malliris is synonymous with talent and genius- his guitar work is among the most staggering I have heard this year. It is hard to believe one man is making all that sound; his range and authority is evident. At times his fret work is enraptured and overcome- sounding biblical and apocalyptic. Plenty of melody, rhythm and composure comes to the fore- stunning and detailed riffs are as synonymous as calmed and emotive lines. Kudos goes to him and his craft- it will be great to hear more of it in the future. Comfortable and confident (when projecting a cocky and swaggering swing); elemental when riffing his nuts off; at ease in the smoky shadows of reflection- few guitarists have that mobility and sense of confidence. The final notes go to Dom Noble: the embodiment of the music itself. Were a lesser and weaker vocalist- that is most of them- put up front, you would get a weaker and less wondrous E.P. Comparisons have been levied towards the likes of Jim Morrison and Iggy Pop- I know that Noble is inspired by the likes of Al Jolson too. It is true that there is plenty of sexuality and primal urge throughout- you can detect that lustful spirit of Morrison. Iggy's dog-like and jagged execration howls are relevant to Noble- he is capable of embodying the Punk leader with ample ease. As much as the likes of Alex Turner, Josh Homme and Tom Meighan (show their skins), the performances are defined by their individuality and originality- it is unfair to compare Noble with anyone else. Leading with conviction and authority, his performances are scintillating and gripping- the songs are brought to life spectacularly. All of these elements- the band contributions and considerations- have led to one of this year's finest E.P.s. Having been staggered by the likes of Allusondrugs, Little Sparrow and Ellene Masri: I am always staggered by the range and breadth (of new music)- Kobadelta are one of the best new acts I have assessed all year. Let us all hope that they have plenty of ambitious plans ready for the future- the public will definitely crave more of their patented blend of song.

Kobadelta are a tight and mesmerising unit- determined to stamp their mark on the music world. It is the small things that impress me about the band. Their music is alive and gripping; endlessly mobile and surprising in its twisting moments- it creates a gravity of wallop (and lodges in your brain). Being familiar with their previous E.P.- and single- I can see how much the band have developed. Remain Distracted is an apt title- your thoughts and senses are taken and interrupted; the atmosphere and potency summoned forth is heady and compulsive- a collection that everyone should delve into. The band care a lot about fans and newcomers- their Facebook page has plenty of great photos and professional shots. One of my biggest gripes- when it comes the new acts- is the lack of information and photos. Kobadelta have ensured they have a wide range of outlets and pages- you have no excuse for missing out. Their snaps are not just candid and scrappy; there are lots of great portraits and images- it may sound like a minor point; few artists take the trouble to do this. Showing how much music means to them; how prepared and ready they are, all of this comes through in their songs- a mandate and gauntlet has been thrown down hard. I am sure they are already planning gigging ambitions and future songs; setting their sights high and making arrangements. Being heralded and celebrated throughout Newcastle and the North East, the five-piece have the potential to take their glory across the U.K. Being a fan of Psychedelia, Indie, Blues-Rock and these genres- any band that can add something new (to the forms) are canny and belta. The competition in music is high and endless; so many different artists are coming through- I feel Kobadelta will fare pretty well. The early days are vital quality barometers- they can hint at what the future holds. Make sure you investigate Remain Distracted and all it has to offer- catch the boys in the flesh and see just how good they are. When they come to London, I will be sure to grab a place in the audience; see whether their live reputation is well-founded- I have no doubt about that. Before I wrap up, I want to circle back to the North East. An area that seems to be secondary- in terms of acclaim- to Yorkshire, Manchester, London and Liverpool- it is high time more people start embracing the likes of Newcastle. Equality and fair division is the key to harmony and musical prosperity- getting a great mix of regions and artists together. The best way to seek out- and proffer- this is to keep your eyes on social media. It may be a bit useless when it comes to some people- unwilling to share music and connect with others- but is throwing out some terrific acts and newcomers. Kobadelta are going to keep grounded and leveled- not wanting to get ahead of things. If you are a fan of many of the bands mentioned in this review- and the genres- then you will find a lot to like; much to recommend- the band go deeper than this. Plenty of anthemtic and graceful touches sit in their music; they are confident when honing in on softer and more melodic emotions- they have a variegated and wide-ranging ammunition chest. As I start to prepare a valedictory statement- prefacing a sabbatical away from the day-to-day routine- I am looking towards my own endeavours; planning my first foray into music- excited but a little nervous. I know all too well just how unforgiving and capricious the music industry is- how it hails an artist the one week; spits them out the next. Our quintet should have no fears; I have been inspired by them- more determined to put my own sounds down and jump into the ball pit. The next few months will see autumn arrive; the chill come (and a subjugation of sunshine)- a lot of musicians are going to retreat to the studio (to find comfort through song). If you are thinking that way, I would offer this advice: make sure you have put as much thought into (your music) as possible. It is all very well putting covers up on YouTube etc., but when it comes to your own fully-realised output you have to start with a bang- there is no room for false starts and unsure mindsets. Kobadelta have had critics and reviewers go mad for their music; salivated outpourings have tried to sum up their essence and potential- some have gotten pretty close. Their sound is a Tarantino epic; it has all the sounds he would love- almost like he could write a move called Remain Distracted. The music plays like an itinerant movie; events unfold and stories paint some very vivid and excited swathes- that is just one side to them. Rampant and chest-beating moments of The Doors- in addition to their compositional majesty- fuses with some incredible bass work; the vocals are uniformly velvety and gripping- the band performances are tight and intuitive. Buzz has been surrounding the band like flies around a honey pot- there is no hyperbole or over-exaggerations. The quintet have a truly unique and unexpected sound- one that draws in some unexpected sources and moulds it around their own startling concoction of flavours. Hitting you like a spiked cocktail, the music is drunkening and head-spinning; it demands attention- quite a bitches brew. Perhaps other critics have assessed the band better- certainly more concisely- few would have taken as much away- the boys have managed to lift me a bit (and make me feel less crappy). Most music hits on a base level; it does not go skin-deep or penetrate too much. The band is synonymous with words like 'penetrate' and 'sex'- if their songs had arms, they would probably stick them down your underwear. It is a sizzling cohabitation of layered and nuanced sounds (and incredible performances)- each band members is at the very top of their game. Displaying a keen ear for dialogue and wordplay, the boys are incredible songwriters- injecting the poetic, oblique and witty together. Having so much affection for U.S. acts, I would not be shocked if they found themselves in demand there- they seem natural-born to the charming bars and cafes of New York's Lower East Side. As precise as a robotic hysterectomy; as mind-bending as Cheryl Fernandez-Versini speaking French (she needs to master English first)- exciting as Justin Bieber's funeral announcement- their E.P. is an Old Testament chapter of song. While I prepare my next review, I am delving back into Kobadelta- into their tremendous current slice. Thinking about it...

MAYBE I could keep this reviewing thing going...just a bit longer!?

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