Girls Aloud! The Best (New Female) Acts

Girls Aloud!

 

The Best (New Female) Acts.

NORMALLY when I do a feature (on my website), there are some…

familiar faces.  It is true- those faces are coming back here- to be joined with new ones: celebrating (the great women) of new music.  A lot of new music (seems to balance male and female-led music) yet in the mainstream- there still seems to be a male majority.  When it comes to bands (and the band market) is is very much male-dominated: there are relatively few female-led bands.  In terms of (society as a whole) there is gender inequality- with regards pay and opportunities.  Music seems to be more open-armed: it is encouraging to see so many (new female acts) coming through.  To celebrate that, I caught up (with some special people); keen to see how they were progressing- and what they thought (with regards to equality in the music industry)…

 

Lydia Baylis

 

 You had an itinerant and fascinating childhood/upbringing: what kind/type of music featured (in your formative years); any all-time favourite artists/albums?

Van Morrison’s Astral Weeks album!   (As well as lots of David Bowie).  My father was a big fan

A lot of songs/idea stem from heartbreak/personal crisis- you have always struck me as stronger and braver (than most contemporaries). How is life treating you at the moment? What themes/events are inspiring (you right now)?

I think songwriting is a way for me to exorcise heart-ache so I don't have to live it- that is why my songs are full of it - so my life doesn't have to be!  I am, by nature, a very happy person.

The (modern music scene) is seeing a rise in artists- solo and band-based. In tandem (with the growth of social media) do you see this as a good thing; have you experienced any problems/draw-backs?

I think obviously it makes it harder to be heard- to get the same platform - but overall art (and making it) should be for as many people as possible, by as many people as possible- so a widening can never overall be a bad thing.

What is next for you Lydia: is there new music forthcoming; album/E.P. plans?

Yes!  A new E.P. in July (which I am really excited about)

Having participated in Coffee House Sessions- performing in some unique and intimate coffee houses/cafes- how was those experiences? How does it differ (from bigger venues/events)?

More intimate surroundings can be more intimating, but more rewarding.  Certainly doing so many gigs in so few days was good for honing my live performance stills!

 Which female artists/albums- past or present- have inspired you?

Laura Marling, Florence Welch, Daughter; Joni Mitchell, Amie Mann

Any new female artists you would recommend?

Yes! Certainly Kaledia are amazing

There is (gender inequality) in society; do you think there (is the same issue) in music? If so, what (do we need to) do to change this?

I think overall gender equality has not been reached - but the music industry is probably fairer than most... It seems there are as many successful female artists as there are male.  I think probably age is more of a barrier to entry for the music industry than gender

What would you say defines you as a woman (and female musician); what qualities do you desire from others- what are the most attractive qualities in people?

Humour and kindness are the most attractive qualities in others

Finally: if you can offer some words to your fans; you get to pick any song (either your favourite or the one that suits your current mood) - name it…

Caught (on the new Florence + the Machine album)

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

Follow:

Official: http://www.lydiabaylis.com/

Facebook: https://www.facebook.com/lydiabaylis?fref=ts

[soundcloud url="https://api.soundcloud.com/tracks/86926808" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Sarah Collins

 You have faced some hard times- including recovering from a brain tumour. What does the coming year hold for you?

I believe everyone has to deal with hard times at some point in their lives and it's those hard times that make you a stronger person.  I now take every day as it comes, enjoy everything to the maximum (and never turn down opportunities that arise).  I go for it!  I've found that since I've started to think this way, great things come and happen so every day is a good day!

With some great gig requests coming up, are you looking to recruit a band? What qualities/players are you looking for?

The Northern Soul followers have been really supportive and amazing in accepting me (and complimenting me on my voice) and songs- and I love being introduced to new music and singing requests.  I have received a lot of gig enquiries for the U.K. and abroad and love singing with live musicians as it's the best!  It's great to share such a fantastic experience as singing and making music (that you love with friends and people) that are in it for the same reasons....the love of music! So yes, I'm in the process of putting together a N.S. band and have already received a lot of interest.

I love your cover versions- the range and amazing performances. Could you see a Sarah Collins album (covers or originals) in the pipeline?

I would love to put together a Sarah Collins album; probably of covers first (as I've received massive interest from my followers and subscribers who all want a copy)- so it will definitely happen at some point soon! I wouldn't rule out originals either as that is what I would love to do also; obviously keeping the old skool N.S./Motown vibe.

Your musical tastes- and songs you tackle- span decades (and genres). What was your music upbringing like?

Since being a very small child, I have been surrounded by music.  Vinyls were always continually played in our house and music was a massive part of my upbringing.  Mainly Motown/Soul/Northern Soul as my dad was a Mod and owned a scooter. He grew up in pubs so managed to keep all of the records from the jukeboxes to add to his personal collection.  I have now inherited all of the vinyls from Mum and Dad which is awesome! I have performed as a youngster in musical theatre productions working with professional casts and performing at some of the best theatres.  As a child, you pick everything up so quickly so even though I haven't had any lessons as such: I believe that having worked with professionals at such a young age was an excellent platform.  As I grew up I found myself in bands and being head hunted by other bands-therefore meeting and working with some excellent musicians and people, covering an array of genres of music.

Given your (tough last couple of years) you seem motivated and hungry: where do you see that (fire and ambition) taking you?

After giving birth to my beautiful little girl and feeling the happiest and healthiest ever and then, totally out of the blue (finding out the awful news about the huge brain tumour was such a trauma-, but whenever anything happens like that, you have to deal with it as you have no other option. I feel very lucky in lots of ways: yes I'm still not 100% yet (as the scarring from the removal of the tumour left me with epilepsy)- but I'm getting there now as it's being controlled with medication. I'm still alive to see my beautiful children grow (and enjoy happy times with my friends and family).  I can talk, I'm not paralysed or blind- so many things to be grateful for.  A trauma like that makes you live your life totally differently.  I was never shy of going for things before but I would often go along with things (or go with the flow), and now if I feel I should do something, I go for it!  I've always sung from the heart but even more so now.  Music is my therapy and makes me feel so good!  If great things happen, then even better but I'm in a really great place at the moment.  I have my health which is a massive thing!

Which female artists/albums- past or present- have inspired you?

Wow, so many female artists as I love an array of vocal styles (although mainly soulful and strong female artists) with so much emotion, so Gladys Knight, Randy Crawford, Diana Ross, Lulu, Tina Turner; Ella Fitzgerald and Ann Peebles (are up there), but I also love old country artists like Patsy Cline's vocal- so a real span of various artists.

Any new female artists you would recommend?

For a really chilled-out pure vocal, I love Billie Marten....mesmerising!  I also enjoy Lucy Spraggen (for her unique sound and quirky lyrics).  I love her track Tea and Toast! I cannot have my morning toast with a cuppa without thinking of her song now! ;0)

There is (gender inequality) in society; do you think there (is the same issue) in music? If so, what (do we need to) do to change this?

I really don't think there is inequality really as we have so many strong women and whether you're a woman or a man, if you work hard enough and have the drive to succeed, it will happen!

What would you say defines you as a woman (and female musician); what qualities do you desire from others- what are the most attractive qualities in people?

I'm a very down-to-earth character and proper Yorkshire lass!  I now live every day as if it is my last so really go for it in life and feel the need to help, care and do good things for others.  That's why it makes me feel so great (to hear that people are enjoying) me sharing my videos and voice.  I always sing from my heart and soul (as it is a way of me expressing my emotions and has really got me through some tough times!)  Soul music allows you to do that as the lyrics of some of the old songs are fabulous.  A lot of my followers have commented on how old skool my voice sounds- saying it's like hearing the vocal styles from their NS.. and Soul days, and therefore, bringing back great memories.  I admire people who make the most of their lives, people who are caring, not selfish; people who treat people the same (whether from poorer or richer backgrounds).

Finally: if you can offer some words to your fans; you get to pick any song (either your favourite or the one that suits your current mood) - name it…

The song I would choose would be You're The Best Thing That Ever Happened To Me by the fabulous Gladys Knight. Love the lyrics in that song! One of the lines is: "I guess you could say that I've been lucky"-  pretty much sums it up really!

 [youtube https://www.youtube.com/watch?v=XsNzC6tOFrI&w=420&h=315]

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https://www.facebook.com/sallycollinsmusic?fref=ts

Twitter:

https://twitter.com/SazzleCollins

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

Cherie Gears

You are based in Yorkshire- home to many great music acts.  What is it (about the county and people) that produces such fine (and diverse music)?

I was attracted to Leeds because of the Jazz course at Leeds College of Music.  I instantly fell in love with the city (and its passion for live music). Venues such as H.I.F.I. and The Wardrobe were where I spent most of my evenings (performing or listening to other acts).  I think live music is addictive and when you watch it, you get an urge to do it yourself.  I have never felt like I have to fit a mould (and I think that has been helped by the fact Yorkshire welcomes diversity).  From the West Indian festival in Chapeltown to the arts festival in Chapel Allerton- there is always something going on which suites all music-lovers.

I have followed your work- both Scarlet Street and Little Violet.  Both acts play ‘older’ styles of music (with a modern twist).  What compelled you to play Electro.-Swing/Barbershop-style music, as opposed to Pop or Rock?

I have always been fascinated with retro. music, fashion and way of life: the 1920s to 1950s always appeared so glamorous and stylish to me, so I think it was only natural I would carry aspects of it (into my own musical career and song writing).  I went to Leeds College of Music (to study Jazz), and whilst I was there I performed in all kinds of bands (from Reggae to Funk)- soon the lines between the genres started to merge for me.  I think it’s important to keep music fresh and not regurgitate the same sound over and over.  Although I love Jazz and Barbershop, I want to keep the styles developing.  Mixing old with new is so much more exciting for me as an artist and performer.

When I reviewed you (as Little Violet) I was bowled-over by your talent: can we expect some new Little Violet material (soon)?

Thank you very much.  I am constantly writing new material and I am very excited about how our music is developing.  It’s really hard as a singer to be patient and wait for things to fall into place (in regards to labels releasing new material) but I have to be just that.  I do honestly believe it will be worth the wait though.

 In addition to your projects (including Func on the Rocks) you seem to never stop working.  How important is music- and connecting with fans- to you?

Invaluable.  I honestly think I’d go crazy if I didn’t preform at least twice a week.   Sometimes I’ll have 6 gigs in a row and be totally wiped out- but as soon as I have a day off I get restless and I’m itching to be performing again.  I would class myself as quite a shy girl, but when I am on stage something changes inside me (and all I want to do is make the audience love the music as much as I do).  Hearing a crowd sing my lyrics (or watching them dance to my tunes) is an incredibly overwhelming feeling.  It really makes all the long hours writing, rehearsing and recording all worthwhile.

You are one of the most unique artists I know (your voice, sense of style; compositions and such) - a breath of fresh air.  What advice would you give to newcomers: those looking to separate themselves from the crowd?

Don’t try to please everyone, you can’t! As soon as you start creating music from passion and love you’ll feel liberated and write music much more exciting than if your just trying to ‘fit in’.  I think it’s important to listen to all kinds of music and be influenced from a range of styles (so you can pick different bits and pieces that you like and fuse them together to make something new).  I have never followed fashion, trends (or tried to become something other than myself).  Maybe that’s because I’m lazy; but I’d like to think it’s because I know what I like (and don’t need to be told what I like by the media).

Which female artists/albums- past or present- have inspired you?

I was brought up with all kinds of music from Frank Sinatra to Alice Cooper.  I went to bed listening to my cassette Walkman and obsessed over Judy Garland and Dusty Springfield.  At uni. I fell in love with Imogen Heap: her music and her style, and every time I watch her perform live I feel inspired.  Jazz vocalist Rachelle Ferrell’s improvisational skills helped me see there are no boundaries (or limits to what you can do with your voice).  Once you get rid of any inhibitions and just let yourself go, you will be amazed at your potential.  I found a mixed tape with a track called Could You Believe when I was 15 (and instantly fell in love with the voice I heard); I didn’t know if it was a man or a woman (and I didn’t care).  Sabina Scuibba’s voice will always make me melt and her album Meet Me in London is always on standby in my car.

Any new female artists you would recommend?

All of the above!  Iconic voices such as Nina Simone and Ella Fitzgerald will always have a place in my heart. The haunting sounds of Beth Rowley are definitely worth indulging in- and Lianne La Havas, who seems to be getting her foot in the door of mainstream listeners (is a fantastic song-writer).

There is (gender inequality) in society; do you think there (is the same issue) in music?  If so, what (do we need to) do to change this?

Unfortunately I think is a constant battle for equality in all aspects of society and the music industry.  Female artists are sold as ‘the whole package’.  We are encouraged to look a certain way in order to sell more record.  I think it’s important we keep it about the music and not about what gender we are.  Empowering woman have been challenging (the music industry for decades).  Nina Simone, Janice Joplin, Patti Smith to Adele and Amy Winehouse: to name a few have all showed the world that it’s not just about having a pretty face- raw talent and good music will always stand the test of time.

What would you say defines you as a woman (and female musician); what qualities do you desire from others- what are the most attractive qualities in people?

Oww this is a hard one: I am a very sensitive and emotional woman, which probably helps me write songs (as I am always analysing how I feel).  I would say I am a woman driven by empathy for others; I love to take a look into other peoples worlds (and imagine how I would feel in their situation).  Being a lyricist is all about telling stories (and I like to use my personal experiences along) with my crazy imagination and what I observe from the outside world.  I love strong woman- unlike myself who is riddled with insecurities.  I have also lacked self-assurance (which has in someways always held me back from pursuing my dreams) whatever they may be.  I think most musicians or artists are their own worst enemy, always looking for reassurance.  I think the most attractive qualities in people are passion and contentment,-I know they are in some ways polar opposites but I find being in the presence of someone who is genially happy with their lives (but is still driven and excited by what they are doing) is very inspiring.

Finally: if you can offer some words to your fans; you get to pick any song (either your favourite or the one that suits your current mood) - name it…

My dad always used to sing this to me when I was little: unfortunately we lost him a few years back, so when I feel upset or need his advice, I sing this (and it makes me see things ain’t so bad after all)- 

“Life is just a bowl of cherries Don't take it serious,  Life's too mysterious You work,  You save, You worry so But you can't take your dough  When you go”

 [youtube https://www.youtube.com/watch?v=0x4U1NiJ7PI&w=420&h=315]

Follow (Little Violet):

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https://www.facebook.com/littlevioletmusic?fref=ts

Twitter:

https://twitter.com/_Littleviolet

[youtube https://www.youtube.com/watch?v=vrwzvuZ0s-k&w=560&h=315]

Jen Armstrong

You are enjoying (the many wonders) of Nashville right now: how are the people treating you; how does it differ (to the U.K.)?

Nashville people are so welcoming and friendly, at least that’s my impression so far!  You know when you catch someone’s eye and they look away awkwardly and pretend it never happened? Well here you actually get a smile back.  A smile!  Fancy that!  I mean Nashville and the U.K. are worlds apart.  Having said that, it reminds me so much more of home than L.A.  It’s a small little city, smaller roads, lots of trees - lots of green.  Yeah I like it here :)

In addition to Nashville, you have been playing L.A. (and not for the first time): could you see yourself residing (in the U.S.) full-time?

Maybe.  I need to be rich enough to fly my family over whenever I want if I were to live here full time.  No I’m not joking.

You have a wonderfully warm and unique voice- and talent- which you bring to every song. Your cover versions (and originals) are hugely impressive: do you think (the fact they are so memorable) stems from your uniqueness and distinct personality?

Well thank you very much!  Gosh I don’t know - I just do what I do.  If they are memorable it’s just good luck I guess - I just do what comes naturally, and I’m so happy people enjoy what I do.

If you could change anything about life- music, personal or otherwise- what would it be?

Hmm, tricky one.  I guess I’d be a whole lot more successful than I am right now!  That would be a good start at least…

There have been many originals (from you) too: will we be seeing a new Jen Armstrong E.P. /L.P. in 2015/’16? Could you see yourself being a band-leader very soon (are you currently looking to put together a group)?

Yes, yes and yes. My dream is to tour the world with a band, with a kick-ass album and merchandise.  I hope it becomes a reality- and sooner rather than later!

Which female artists/albums- past or present- have inspired you?

Nerina Pallot.  Sara Bareilles.  Eva Cassidy.  Chaka.  Alicia Keys.  Avril Lavigne.

Any new female artists you would recommend?

I’m terribly un-on the ball (with new artists). (But one) lady I recently heard was Trishes (from L.A.). That lady is talented indeed.

There is (gender inequality) in society; do you think there (is the same issue) in music? If so, what (do we need to) do to change this?

Who knows - to be honest, I feel like I’m constantly struggling trying to reach a near impossible goal - maybe gender inequality adds to the mix but there’s so many things wrong with the industry; it’s hard to know where to start!

What would you say defines you as a woman (and female musician); what qualities do you desire from others- what are the most attractive qualities in people?

I feel like I bring a lot of passionate, drive and determination to the table.  Qualities that I believe to be important in everyone, not just women.  I like to make people laugh.  I try to be fair, common-sensical.  They’re all things I count as good qualities.

Finally: if you can offer some words to your fans; you get to pick any song (either your favourite or the one that suits your current mood) - name it…

Chariots of Fire.  Because I heard it twice today.  It’s epic.  It’s my soundtrack.  It’s your sound track. Be epic.

[youtube https://www.youtube.com/watch?v=RY3XiM7oGj0&w=420&h=315]

Follow:

Facebook:

https://www.facebook.com/jenarmstrongmusic?fref=ts

Twitter:

https://twitter.com/JAMusicUK

[youtube https://www.youtube.com/watch?v=a6EaQgQ4iwM&w=560&h=315]

Mel Lampro

(Front-woman of Braver than Fiction)

I know you have had (an incredibly tough year) - Mel was diagnosed with cancer- and faced obstacles: how are you feeling at the moment?

A lot has been learned in the last twelve months, Sam. As a band, we have found ourselves pitched from the spotlight glare to semi-darkness and near-obscurity. Nothing has been concrete and everything has been overshadowed with some kind of stifling veil that we have done our best to tear through. Mel is getting there, we are getting there; obstacles, as they say, are there to be overcome.

Your alma mater (Braver than Fiction) are back in your life (following a brief hiatus): any plans for new music (from you guys)?

Musically, the rest of the band combined have been my rock and all the long while they have been working away; with or without their lead singer in situ. On the days that I could not make rehearsals then they practiced without me and, if they ran out of things to review then they created more things. Beautiful, musical things to which I later added word things and we are honing them right now, ready to take to the studio so yes – a revamped set with new music awaits.

You are one of the finest lyricist/singers I have ever encountered: what advice would you give to new songwriters/talent coming through?

Why thank you, Sam! It is a fine feeling for any artist to know that they have reached anyone at all. I am not quite sure I am wholly qualified to advise anyone on such a subjective area but, I would say that I have learned not to be fearful of any subject. My personal viewpoint on writing is that trying to structure creativity is nonsense; there are no rules except your own rules and, if someone gave you a rule book, burn it, then write a song about it.

Upon now reading this, jobbing songwriters (and pretty much anyone who makes a living out of any type of creative undertaking) will be throwing their aprons over their heads at this effrontery and pointing out that they make a generous subsistence out of such configurations (which I do not).  Granted, there are many articles written by thriving songwriters on what makes a ‘hit’ song and how one should be structured but I am not convinced that any pattern is a perfect, universal magic recipe for success.

That said, there is a kind of a pattern to the way Braver than Fiction works as a band but it is more organic than organized; we tend to sense our way through ideas and forms until we know it feels right. That is my second small piece of advice; sometimes, you know when something is wrong – be prepared to stop, erase and start over. Not all songwriting is the blessed, instantaneous flow of inspiration straight from your burning soul to your awaiting lips and fingers. In fact, very little of it is and you will ultimately write a lot of crap between ‘good’ songs. Just don’t give up – never, ever give up.

As far as singing itself is concerned, all I can do is repeat (in increasingly higher octaves) the advice of others that is given often and often ignored. Look after your voice; get a vocal coach and/or find exercises online and train your instrument well. Then you will hold the confidence to vocalize every emotion you have written for as long as you possibly can.

As a woman- in a band of men- do you think there needs to (be more diversity/mixed gender bands); are there too many male-led/all-male bands about

No, I think it is what it is and the notion of paying lip service to "l'art pour l'art" so that every conceivable diverse need is met seems diluting and pointless to me.

However, it is irritating when perceived female musicians are viewed as a novelty and/or a less-capable artist. Just like my peers, regardless of their gender variations, I am a musician so personally, it doesn’t matter to me if we have breasts, beards or both (or indeed, neither). Nevertheless, I have faced discrimination for being female but to be objective, I have faced discrimination for my social status, heritage, age, sexuality, appearance, spiritual beliefs and even for being a parent - all (but not exclusively) from the music industry. It isn’t just the music industry which needs to change, it is our wider societies in general but there is no reason why one of the pebbles that make the ripples on that pool cannot be from the music industry. The potential power and influence of music and the artists who perform it should not be dismissed.

 In addition to music, you are very socially conscious (and altruistic): is it important musicians set a good example; do people in general need to be less selfish?

It is important that everyone sets a good example (or at least the best that they can – goodness knows, I am not perfect) for themselves as well as others. We are becoming such a scattered society that the fundamentals are becoming lost in a sea of social snapshots and media titbits. Family is becoming shattered and community a wasteland.

The world does seem a selfish place to me, much of the time with the less-privileged being judged for their lack of assets and the more advantaged expected to bail them out by default. We should all be paying it forward if and where we can; if any of us are in a position to help one another then it does not matter on what scale that help manifests as it is all relative. What we are doing is creating tiny blessings for others because we can and trust me, there may be a time when we need such a kindness ourselves.

Which female artists/albums- past or present- have inspired you?

If only you could see my music collection; Streisand to Amos, Holiday to Pink – its range spans maybe eighty years of recording history and almost every genre. I will always remain just a little in love with Stevie Nicks and in utter awe of Nina Simone, whilst Joan Jett and Patti Smith may very well have had quite a lot to do with the musician I am now. I still sometimes wallow in the nineties’ angst of Alanis Morissette’s Jagged Little Pill and occasionally throw myself about the place (although not so much recently, for obvious reasons) to a giant shot of Heart (especially "Crazy on You").

At the moment, I am particularly enjoying the work of the multi-talented Charlotte Eriksson AKA The Glass Child; not only is she eloquent but she has the most excellent taste in hats. I am also a huge admirer of Gin Wigmore and I am ecstatic to witness some new material emerging from her recently.

All of these artists have had an impact on me for sure but that is just a snapshot; in reality, the list is too long and the reach too vast. Tomorrow I will have thought of many more artists I could add to that list and wish I had.

Any new female artists you would recommend?

It depends what you mean by new; new to me or you? New as in emerged in the last six months or established three years ago and working like a daemon ever since but only now coming to recognition? I’ll take a stab at couple of possibilities.

If anyone is not watching Wolf Alice very closely right now then they need their brain poking. Ellie Rowsell is amazing and any band with a strong Angela Carter reference has to be alright in my book!

http://wolfalice.co.uk/

There is a band here in Sheffield called Desert Motel Club who are not so ‘new’ (they formed in 2012) but they are probably new to many of your readers. Alice Davis, their lead vocalist is incredible and takes you on quite the retro adventure; check them out:

https://youtu.be/rQWSWs-tDrw

There is (gender inequality) in society; do you think there (is the same issue) in music? If so, what (do we need to) do to change this?

There is discrimination in general across all society; I do not think we will see that addressed in our lifetimes. What pervades the music industry is the same inability to accept others as equals regardless of [insert any list of sensed differences here] and as much as it confounds me, I am truly at a loss to offer neither explanation nor solution. I do think that if more people looked for fewer reasons to cite any difference in a negative light it might be a start.

Gender bias is definitely a recognised occurrence everywhere, not just within the music industry and, as illustrated in this article from The Guardian a couple of years back – alive and kicking, even the apparently cultivated echelons of our orchestral ranks.

http://www.theguardian.com/women-in-leadership/2013/oct/14/blind-auditions-orchestras-gender-bias

Inequality needs a good kick in the pants.

What would you say defines you as a woman (and female musician); what qualities do you desire from others- what are the most attractive qualities in people?

Biologically, nothing defines me as a woman more than being a mother (others may have different definitions, of course but to me, this is the most important and will never change). I am certain that the role has had a significant impact on the way that I write/play and what I write/sing about but I do not think that the two share a fully-symbiotic relationship.

I do not distinguish myself as a ‘female musician’ in a way that being female and a musician are in some way disparate. I am a musician; that is my vocation. I am a female; that is my sex. That is it.

Human beings are amazing and I neither desire not demand anything in nor from others. There are traits that are important to me, such as loyalty, serenity, compassion, tolerance, humour and honesty. They rarely co-exist immaculately within one creature so I tend not to socialise with as many unicorns as I would like; instead I am inclined to hang around with people equally as defective as myself.

Finally: if you can offer some words to your fans; you get to pick any song (either your favourite or the one that suits your current mood) - name it…

My mood at this time is bordering on chaotic and it has been for some considerable time. I have moments of the blackest despair and soaring hope but mainly - chaos. This has spilled over into everything I do and so of course, the band has been affected by this chaos, staining us all like the blood on Bluebeard’s key. But, every day I am getting stronger and every day we are closer to announcing our return so, one of the songs I have actually been playing over and over just recently is Hozier’s “Work Song” (for which the music video is breath-taking, by the way) because it sustains my belief that with the right support we can face anything.

[youtube https://www.youtube.com/watch?v=nH7bjV0Q_44&w=560&h=315]

Follow:

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Twitter:

https://twitter.com/braverthan

[youtube https://www.youtube.com/watch?v=a7n7Er4MUZI&w=560&h=315]

Chess

 

You are working on (the) Great Gig in the Sky campaign (https://www.indiegogo.com/projects/chess-the-great-gig#/story) at the moment. How has the response been so far?

The response to the live video has been great. Lots of people have seen it and commented on it. I am truly grateful for those who have contributed and those who have shared the video.

I caught (your video for) The Great Gig in the Sky (Pink Floyd cover). The vocal (and closeness) to the original was staggering- a truly spine-tingling performance. Does your love of (artists like Freddie Mercury and Lady Gaga) go into your vocals (and contribute to your immense vocal range)?

Yes of course. I guess having those influences makes me perform that way.  Although for that song, I went through the process of the meaning of the song (i.e., the process of death):  1) don't want to die; 2) coming to terms with death; 3) succumbing to death, and ultimately, peace.

Two-part question: if you could name a fantasy band, who would (be in it)?  If you could only own three albums, which would you (opt for)?

- This is a hard question!!!! Too many great musicians to choose from: Brian May, Santana, Slash, Phil Collins......

- Stripped, Prince: Greatest Hits, Queen (any!)

I have known you for a few years; you are always working: any plans for some down-time and rest; or plans for a new E.P./album?

No rest, no!! I haven't even scraped the surface. I really want to make an album.  That's the next thing.

There are very few great venues/opportunities (for musicians in Surrey). Could you see yourself relocating in the future- maybe London or the U.S. (or further afield)?

Yes definitely, I am not one to stay in one place.  U.S.A., London ... wherever music takes me I will go.

Which female artists/albums- past or present- have inspired you?

Britney spears, Lady Gaga... Christina Aguilera in Stripped (as mentioned before); Stacie Orrico.

Any new female artists you would recommend?

I recommend checking out Kelly Erez There is (gender inequality) in society; do you think there (is the same issue) in music? If so, what (do we need to) do to change this?

I think music is a great way of showing what you represent and who you are.  Lots of women have brought their concerns of gender inequality though music and have had an impact.  Ultimately I think we should all work towards a more equal world where we let go of our ego and give away a little of what we have.  Be it opening our minds to new ideas, new people, helping the less fortunate…  I just think the problem lies within our reasoning.  If we all change a little bit, the world will change a lot.

What would you say defines you as a woman (and female musician); what qualities do you desire from others- what are the most attractive qualities in people? I am independent and I have always known what I want.  I believe anyone, man or woman, can do what they dream of doing (with the right dose of determination and perseverance). I admire people who are honest and driven.

Finally: if you can offer some words to your fans; you get to pick any song (either your favourite or the one that suits your current mood) - name it…

Keep Your Head Up - Andy Grammer.

Always makes me feel better!

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

Follow:

Facebook:

https://www.facebook.com/chessofficial?fref=ts

Twitter:

https://twitter.com/chess_galea

[youtube https://www.youtube.com/watch?v=VEg2qprhCeg&w=560&h=315]

Sophia

You are still in your teens (Sophia is 18) and have achieved so much; songs like I’m Yours show such maturity:   is your upbringing/musical tastes the reason why?  

Haha… I’m such a serious soul! Well I guess I have grown up being surrounded by very diverse tastes in music and I like to listen to everything from classical to soul music.  So yes, this does influence my music I tend to write what I feel.  For me, the process of writing at the piano, usually in a darkened room- just creates the mood for this style and sound.

Based out of Liverpool, the city (obviously has a great) musical heritage: what is the music scene like in the city (in 2015)? 

Liverpool is alive with music: there always appears to be a major music festival or gig every week.  It is a great time to be making music in Liverpool.  There are also so many quality Open Mics to-  that encourage and support unsigned artists.  Liverpool truly is music city.

Your music mixes dark and deep beats; great Electro. Pop shades.  Can we expect a (new Sophia) album/E.P. soon? 

I think I am still working on my sound and really experimenting all the time.  As for a new E.P.?  Well I am writing and hoping to get back in the studio over the summer, so we’ll see how it all comes together.  I have also a few collaborations due to be out soon, so I am also looking forward to that.

A lot of young women/men will be looking up to you; inspired by your progression: what advice would you offer them? 

Be prepared to work hard.   It’s a really difficult profession to go into and break through and usually with very little financial support.  However, it is like all art, it takes time to develop your craft.   You have to enjoy what you are doing, and make the most of any opportunities you get.  Sometimes you can be performing in front of hundred (even thousands) of people- and other times just 10 or 20 in a bar.  It’s not how many people are there, it’s who is there.

 In a modern age- where social media is huge; competition is high- do you ever feel overwhelmed by (pressure to succeed)?   How do you cope with that? 

Coping with other people’s expectations can be a challenge, but I just focus on being me.  I’m not really into the whole social media side of things, not really into selfies and all of that, for me it’s just about the music.  As long as people keep listening and enjoying my music that is what's important.  At the moment I am just in the middle of my A -Levels, and I am trying so much to focus on those until the end of June.

Which female artists/albums- past or present- have inspired you? 

From as young as I can remember I have always been inspired by Nina Simone, how unique her voice is and her sings often put to simple melodies carry such deep meanings.  As a female pianist/singer I love listening to Alicia Keys:  how her vocals compliment her piano arrangement is something I aspire to do.

Any new female artists you would recommend. 

I recently found a girl called Alessa Cara and her song Here has been stuck in my head for days.  She's very R&B and chilled (with a great voice).

There is (gender inequality) in society; do you think there (is the same issue) in music?   If so, what (do we need to) do to change this?  

Yes, there is some inequality in the music industry, but I think that is just a reflection of society as a whole.  What do we do about it?  Just keep pushing the bar upwards and don't let it hold you back.

 Finally: if you can offer some words to your fans; you get to pick any song (either your favourite or the one that suits your current mood) - name it… 

Just keep listening to new music, songwriters depend on you the listener, you have the power to raise the profile of new artists, so if you hear something you like… don’t keep it to yourself J  Song: Sinnerman- Nina Simone.

[youtube https://www.youtube.com/watch?v=Bn5tiuZU4JI&w=420&h=315]

(Being a new artist to many- here's a bit about Sophia, in her own words):

“Sophia Ben-Yousef has firmly established herself as one of the North West’s breakthrough artists and has already been hotly tipped by critics and industry figures alike. Performing with many established artists, such as KOF, JP Cooper, Matthew Perryman Jones, Bill Ryder Jones and MOBO award winners Esco Williams and Jahaziel. Summer 2014, she performed on all 4 days of Liverpool international Music Festival (LIMF) on different stages, including the ‘itsliverpool’ stage and was named as the ‘One to Watch’ 2014 LIMF and Getintothis – Liverpool Echo 2015. She has had many London performances, including Kensington Roof Gardens, Proud Camden, The Water Rats, The Bedford Live, and many more. Sophia has regular airplay and live sessions on BBC Introducing Merseyside and BBC Radio Lancashire, and a variety of radio stations in Europe and the US.  Sophia was invited to support JP Cooper on his Liverpool leg of his UK tour and Tentrehook in Manchester on his UK tour. She will be supporting Akala at STAR Festival at Preston Guild Hall in September.  Sophia is also very excited to be part of the LIMF Commission – ‘The Revolution will be live’ performing alongside Mos Def, The Christians, Azwad, Malik and the O.G.’s in August this year at St. Georges Hall, Liverpool.  Sophia’s song ‘I’m Yours’ listed in the Top 30 Tracks in Merseyside 2014.”

http://www.getintothis.co.uk/2014/10/merseyside-musics-top-30-tracks-of-2014-so-far/

Follow:

Facebook:

https://www.facebook.com/sophiamusicuk?fref=ts

Twitter:

https://twitter.com/sophiamusicuk

[youtube https://www.youtube.com/watch?v=iUp8yFhONjY&w=560&h=315]

Nina Schofield

 

You have performed some amazing gigs lately- from Rotterdam to London.  Which venues/cities have been most memorable?

I recently had a wonderfully hectic few days performing in Holland and then rushing back to play a show at The Bedford in London – they were my favourite two gigs of recent.  In Holland I was supporting Dutch boyband Romeo, who are making a comeback- so it was really exciting to be part of something that meant so much to so many people (the band and fans over there included) and also to get to play to a brand new audience.  Then coming back to London and playing to a packed home crowd was an ace way to finish a few mental days’ worth of shows!

With so (many solo acts) coming through, what challenges do you face as an artist?  Are the growing numbers (of artists) good or bad (for the music scene)?

Everyone has something different to offer so I don’t think artists should see other artists as competition in that sense – If you have great music then someone out there is going to like it – I think the challenges lie in actually getting those people to hear your music.  So the right marketing and P.R. remains routed to ‘success’ in that respect.  I guess you have to look at it like any business and know that there will always be people coming up with bigger and better ideas (and you should use that as inspiration and motivation to keep bettering yourself and moving forward).

Your music is synonymous with upbeat and uplifting melodies/vocals (and is hugely effective).  Is your music tastes/personal happiness that has enforced this- or something else altogether?

Definitely my music tastes have had a huge impact on what I write.  I only want to write music that I would want to listen to myself, so when I write something I look for those chords and melodies that hit me in some way ( and grab me emotionally).

I know a lot of people (who are inspired by your music/artistry).  For those looking up to you; wanting to follow you: what advice/words could you offer?

That’s nice to hear!  Something that I try to live by with my life is ‘if it doesn’t make you happy, don’t do it’ – obviously you have to apply this sensibly, but I think essentially, everyone just wants to be happy.  Choosing happiness in even mundane everyday tasks can have a significant impact on your life as a whole.  So choose happiness if you can, and don’t let age define you!

A musician’s life can be challenging/full-on:  what typifies a Nina Schofield day/week?

It’s so different from day to day and week to week, but I can take you through a recent few days that I had.  During the last week of May I had a writing session for another female artist, flew to Amsterdam and did a sound check (and show supporting Romeo along with Swedish artist Alex Alexander); went to Fun X Radio early the next morning (with them) and then flew back later that day- and went on to London to play The Bedford!  That was quite an exciting time but some weeks are much less interesting :)

Which female artists/albums- past or present- have inspired you?

Imogen Heap Speak for Yourself is one of my favourite ever albums (and I urge everyone to go and buy it)!  I also love anything by Delta Goodrem; Cornflake Girl by Tori Amos; Breathe Me by Sia- and Regina Spektor.

There is (gender inequality) in society; do you think there (is the same issue) in music? If so, what (do we need to) do to change this?

Absolutely there is – its predominately a male run industry but you still see a lot of female business women making it big – look at people like Madonna and Beyoncé (who have built empires out of their music).  The problem is that sex sells and females are still feeling the pressure to succumb to showing skin in order to ‘make it’.  I think there’s a massive difference between celebrating the female figure and some of the crazy sex imagery (that is out there at the moment).  I’ve heard so many stories of women being told that they won’t be signed- unless they sex up their image as well- which is really sad. Unfortunately I think it’s a big issue in society in general rather than just being limited to music; but if the artists can take the power back( by remaining true to themselves and building a fan base) that way- then perhaps we can start to shift people’s perspectives back to talent and not just image.  I’m actually seeing how a lot of people on social media are tired of it already which is encouraging.

What would you say defines you as a woman (and female musician); what qualities do you desire from others- what are the most attractive qualities in people?

Apart from the obvious (funny, kind and generous folk) …People who work hard for what they want, motivated and optimistic people- and those who aren’t afraid to admit when they’ve made a mistake.  I also admire people who are open to all kinds of belief systems – those who are not completely rigid with their way of thinking and willing to listen to all opinions without judgement.

Finally: if you can offer some words to your fans; you get to pick any song (either your favourite or the one that suits your current mood) - name it…

I am in love with Carly Rae Jepson’s new song- so  I Really Like You would be my choice!  Puts me in a great mood and I hope it will for anyone reading!

[youtube https://www.youtube.com/watch?v=qV5lzRHrGeg&w=560&h=315]

Follow:

Facebook:

https://www.facebook.com/ninaschofieldmusic?fref=ts

Twitter:

https://twitter.com/nina_schofield

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

Track Review: Crooked House Road- Mountain

TRACK REVIEW:

Crooked House Road

 

Mountain

9.6/10.0

Mountain is available at:

https://soundcloud.com/crooked-house-road/mountain

RELEASED: 20^th May, 2015

GENRES: Bluegrass/Pop/Folk

COUNTRY OF ORIGIN:

Canada

The album Crooked House Road is available at:

http://crookedhouseroad.bandcamp.com/

THERE has been a lot rattling around my mind…

when it comes to the music industry.  I have been seeing a lot of (disappointing music): a lot of it stemming from the band market.  Muse releases their new album (Drones) on Monday: an album that by all accounts, is receiving tepid reviews.  Too much pretentious; little direction; weak lyrics- Muse not really taking things forward.  I worry about ‘mainstream bands’: acts who have been around the block; know what they are doing- know what their fans want.  Away from them, the (likes of) The Libertines and Radiohead (have albums ahead): I hope that these two acts- who are among my all-time favourites- do not disappoint.  I wonder whether ‘personal issues’/stresses cause qualitative issues: Matt Bellamy (having separated from wife Kate Hudson) has channeled his anger into the music- it seems flailing and directionless.  Others bands- around the mainstream- have experienced similar woes: letting their personal issues cloud their talent.  You can find much more quality (and dependability) among solo acts: no band-mates to squabble with; more focus on the actual music process- fewer relationship quibbles.  That may be a black-and-white overstatement- and not entirely true- but there is something in it: music (from solo acts) seems more electrifying and interesting; more promise and nuance- less disappointment, at least.  When we look at ‘new music’- bands and acts starting to peek through- there is more maturity: how often do you see new acts go through relationship heartache; have meltdowns and tantrums- the eye is clearly trained towards success/quality.  That said, issues like money (finding funds to launch music/continue a career), promotional stresses (and the amount of work that is needed) causes frictions: I have seen some great bands hit the rocks.  Diversity helps; solid friendships are vital; a single voice is crucial- each member working towards the same ideal.  Crooked House Road are different it seems: they have a boy-girl formation; close-knit bonds; no sense of unease or anger- they are a free-spirited and uplifting act (from Toronto).  Being in my position- and veritable cat-nip for Canadian musicians- I see a lot of the country (I seem especially popular around Ontario- for whatever mystical reason).  Before I go into more detail- give you the run-down on the band- let me (let them) introduce them:

Shaina Silver-Baird  Mirian Kay Tom Mifflin Derek Gray Darren Eedens Josh Engel  Gram Whitty

“Crooked House Road is a Toronto-based indie-folk band that sets simple storytelling against lush harmonies and a bluesy backdrop to create an intimate live experience not to be missed.  Vocalist/violinist Shaina Silver-Baird formed Crooked House Road in 2013 as a vehicle to bring her lyrics and music to life. Mirian Kay (vocalist/guitarist) has been right by Shaina's side onstage and through the songwriting process, and together they have collaborated with contributing artists including Tom Mifflin, Darren Eedens, Derek Gray, Gram Whitty and Josh Engel, among others.  Recently they have played alongside The Lovely Feathers (EMI) and Juno nominee Annabelle Chvostek. They are currently recording their first full length album with Grammy nominee and Juno winning producer Ken Whiteley.”

Shaina Silver-Baird (is C.H.R.’s) stunning lead: an immensely captivating woman; a stunning beauty- a wonderful musician.  Joining with her (musical brothers and sisters) Crooked House Road are a rare treat: their mix of Bluegrass-cum-Indie magic is insatiable.  With their debut (self-titled) album on the market- a phenomenal achievement; I shall touch more on it in the final stages of this review- the band are on the rise.  Silver-Baird’s (stunningly evocative and scenic) words lead the charge: her talented crew lends their colour and candour- the resultant music is breath-taking to behold.  The Toronto band- unlike most of their contemporaries- has a talent for cross-pollination: mixing genres and styles; fusing cultures and time periods.  From Bluegrass and Indie, the band traverses R ‘n’ B through African music: all propelled by soaring harmonies and ethereal sighs.  This year has been productive and fruitful (for the fledgling act): since they formed (back in 2013) the band have honed their sound; expanded their ambitions- their debut album is the summation of their promise and individuality.  One of the most arresting and stunning acts about; the guys are a serious force- the future will be very bright indeed.

For those of you (trying to compare Crooked House Road) with another: you have a hard time ahead.  Playing such unique music- and having a distinct projection- there are few that equal them.  In terms of country-man acts, you could check out The Be Good Tanyas- a Vancouver-based act (making Bluegrass music) of supreme confidence.  Both uplifting and divine, Crooked’ match their splendor and urgency.  Although not as ethereal (as Crooked House Road), The Be Good’ have some comparable threads: the superb harmonies; the personal-cum-everyman lyrics; the emotional compositions.  Elliott Brood- based out of Toronto- is a faster (and more frenetic) Bluegrass equivalent- who offers a mixture of Pop, Indie and Folk (into the bargain).  The Wailin’ Jennys (are probably the best) ‘sound-alike’ act: those who come closest to distilling Crooked House Road’s ethics and sounds.  The Winnipeg wonders are female-only songsters; brimming with insatiable harmonies- sparring Bluegrass traditions with modern Pop sounds.  Crooked House Road is part of (Canada’s growing) Bluegrass sect: a genre that is synonymous with beauty, power and potential.  Separating from the pack, Crooked’ outrank their peers: better harmonies (more stirring and striking); keener insights (more cutting and nuanced lyrics); stronger songs- that beg you to keep coming back for more.  It is not just Silver-Baird’s personality and strengths (many of them) that define the band: they are strongest when united and in-step; each member brings their own talents to the show.  To my mind, Fleet Foxes are the best comparisons: in terms of strength and quality.  The Washington Folk band- who has produced two phenomenal L.P.s- comes to my thoughts.  Their vocal harmonies- otherworldly and heaven-sent- sit with evocative lyrics (that look at nature, retreat; introspection and the larger world) - backed with some tremendous compositions.  Crooked House Road should be proud; I can see them producing their own Helplessness Blues (Fleet Foxes 2011 masterpiece).  Satisfying, self-assured (and hysterically beautiful), Fleet’ marry Bluegrass with Folk- music of the highest order.  Crooked House Road is in their infancy: putting their initial steps together; growing by the year- it will not be long until they challenge (the regent heights of Fleet Foxes).

The here and now is…well, here.  Mountain is causing a lot of commotion: reviewers (and press alike) are salivating with delights- fans love what they hear.  Having just completed (a stop-me-if-you-can rotation of Mykonos- Fleet Foxes at their best) I was captivated by Mountain- a song that boasts similar etherealness and divinity.  Starting life with languid and aching vocals- Silver-Baird stretches her voice; her healingly scent climbs into the atmosphere- “I scream to the mountain” she sings with pride.  Semi-operatic and huge; intimate and tender: the opening moments are a mixture of sensitivity and declaration.  Our heroine is in the open; giving her voice to the mountain- her thoughts leading the charge.  Past the 0:30 mark, her comrades come into the fray: blending their tones, the shivers begin- a delicious cocktail of male-female voices; a sweet harmony of bliss.  Filled with energetic rush- and a heady cognation of Folk/Bluegrass strings- the song kicks up a gear.   With our lead in pensive mood (“Can’t see no heaven’s gate”), the song comes back down- there is a terrific blend of fast and beautiful; refrained and focused- for some investigation.  Words paint pictures of spoke-grabbing, wind-blowin’ drama: our heroine has a way with words (few of her stablemates possess); painting images of yearning love and letting go- lyrics that can be interpreted differently (depending on your psyche).  Propelled with finger-picking guitar (an authentic representation of ‘traditional Bluegrass’ tones), the song breathes and runs- the momentum and passion never relents.  Amidst the soothing (and uplifting) vocals- that have some Doo-Wop/Swing qualities to them- the words start to resonate: both oblique and direct; poetic and personal- you start to imagine scenarios.  Silver-Baird looks at mortality and meaning; affirmation and redemption- “The sky laughed a mortal joke” and “The water creeps higher” are two of the most immediate (and memorable) lyrical images.  With her mind cast- and her soul being discarded and overlooked- our heroine changes her voice: it has a sense of sneer and dismissal; a go-with-the-flow feel- there is never an overly-anxious tone; nothing insincere or forced.  When delivering (latter-moment verses)- “The sea, the sun, the rock, the moon/I’m too young, it’s all too soon…”- Silver-Baird adds accent and urgency- you can tell these words resonate with her.  Just as you start to settle in, that rush comes back: the vocals climb (and elongate); the composition tangles and dances- our heroine lets her voice hit (a pin-sharp) high; the song’s most healingly moment.  When the chorus is repeated- what creeping; flames of fire; pushing back home- the band lead in unison: voices combine; the words are teed-up and vibrant.  Both catchy and impassioned, it is a terrific (and terrifically memorable) chorus: designed to get one singing along; moving their feet to the rhythm.  As the song concludes, the fervency never desists: the moment is over too soon- the song ends its campaign.

   Congratulations go to the entire band: each member is expert and intuitive; focused and passionate- which gives Mountain such strength and wonder.  Silver-Baird leads terrifically; the vocal is sensational and gripping- her words whip up all kinds of images (few songwriters can wield the pen in quite the same way).  With violin in hand, her colleagues add their own weight: the harmonies are electric and unforgettable; the strings (and beats) ready and ripe- the composition is filed with Bluegrass ache; Pop passion- with Folk romance thrown in.  Spectral and special, the band is tight and close: they clearly have a great respect for one another.  Mountain is a song that implores (the feet to move) and lifts the spirit: inventive and original, here is a unique band- that supersedes expectations and (the homogenised sounds of the scene).  The lead-off track from Crooked House Road- and a perfect introduction to their craft and sound- the song is a huge triumph.  Ken Whiteley- a Juno-winning, Grammy-nominated producer- helms the album: ensuring each song bristles with energy and light; gets straight into the pre-frontal cortex (and seduces every ear).  With Silver-Baird up top, the band is on a mission: one of the strongest (and most insatiable) acts about- they will be (relatively) anonymous no longer.  Mountain is a testament of collective will: that desire to have fun and inspire; motivate and compel listeners- whilst showing (their peers) what is possible.

I have been skeptical about (reviewing Canadian music): about 90% of all requests emanate her- being London-based I want to focus on homegrown/different music (not just that which hails from Canada).  Having imposed an embargo- or some rules at least- I am surveying a Canadian act (every 2-3 months).  I am glad Crooked House Road did not pass me by: it would have been a huge error to overlook them.  From Silver-Baird’s otherworldly beauty (her lyrics, instrumentation and vocals) to Mirian Kay’s intuitive support and talent- not overlooking the rest of the band who are stunning musicians/vocalists- and you have a serious proposition.  In the U.K. - when it comes to new bands at least- we do not have Our Very Own Crooked House Road: a mixed-gender group who play Bluegrass/Indie sounds; have stirring harmonies- do things the same way.  Sure, there are similar acts: yet none who are quite as mesmeric and memorable.  Perhaps it is our (different and particular) culture; maybe we are more predictable: I hope musicians (over here) look at a wonderful act- take their merits on board.  On that point, I want the band to come play here: London would love to house them; how could they resist their psychotropic spine-shiver?  Whether they (require some financing and fan demand) or prefer Canadian audiences, we shall see: their debut album is gathering some pace.  Their (self-titled) album is bound with wisdom, sensuality and storytelling: a concoction of true-to-life honesty; romantic desire; stunning highs.  Across the ten tracks- my highlights are Tell Me A Story, Racin’ and Mountain- you get a lot of diversity: new stories and scenes; plenty of wonder- the band amaze (across every track).  The band- and their leading heroine- seem at ease and relaxed: their music comes across effortless and instinctive- although tight and well-rehearsed.  Silver-Baird would feel at home in London: the mix of cultures (our capitlal is famed for) comes out in her words; the bustle and cosmopolitanism (of London’s clans and streets) reflects in the sounds: variegated and multi-national.  It is the strength and vitality that strikes hardest: that empowered kick that is impossible to ignore- a pavement-pounding slam that gets into your heart; into the brain (and never lets go).  Maybe I am being overly-romantic, but (Silver-Baird) has a way of speaking to the masses: writing words that represent the city-dwelling dreamer; the woods-loving naturalist- the honest and earnest lovers.  The entire band has a close bond (that defines their music); a real knowing and understanding- they blend with supreme confidence; that natural kinship- every note produces something quite amazing.  I shall end this review- alas I ramble once more- returning to my (original point): concerning band break-ups/stresses; that uncertain sense of quality and control- the capricious nature of the music-lover.  Canadian musicians are among the most fertile and distinct: refusing to settle with one sound; each city/town produces something particular- fair fewer homogenised acts roam here.  In tandem, there is greater ease and purposes: there are not the stresses and dramas (some of Britain’s elite suffer).  With all that considered, it is no surprise (Crooked House Road) sound like they are here for the long-stay: that is exactly what is going to happen.  La Muse malade are on their deathbed; their like-minded artists showing the strains: eyes and ears are looking elsewhere- to acts that can focus and surprise; have stronger thoughts and ideas for sure.  If you like Bluegrass music, then check out Crooked House Road: for those not initiated, then do not be afraid- there is so much more at work here.  From African sounds- through to swelling harmonies- the boys (and girls) cast their new wide- take everyone along with them.  I renew my plea to them: come over to London; play some of our best venues- take their music to the British public.  Canada has a great music scene, yet bigger opportunities lie further afield: the likes of the U.K. and U.S. house vast markets; new fan-bases- a whole world of potential.  With the music scene (over here at least) in need of a shake-up, the scene is set: the likes of Crooked House Road are much-needed.  Seek out their album; fall in love with Mountain- see (what all the hype) is really about.   With other acts/’real life’ occupying my time- for the next couple of months- I am departing Canada (putting their music at the back of my thoughts) but what a way to do it.  If new music displays this kind of adventure and difference, then one thing is for sure…

MANY upcoming acts will feel a lot less anxious; free to create something quite sensational.

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

________________________________________________________________________________

Follow Crooked House Road:

 

Official:

http://www.crookedhouseroad.com/home

Facebook:

https://www.facebook.com/CrookedHouseRoad

Twitter:

https://twitter.com/CrookedHouseRd

BandCamp:

http://crookedhouseroad.bandcamp.com/

Instagram:

https://instagram.com/Shainasb/

Music:

http://www.crookedhouseroad.com/music

 

______________________________________________________________________________

Videos:

https://www.youtube.com/channel/UCFW0S56W4-ghsuCL0UUDo0A

Tour:

http://www.crookedhouseroad.com/shows

Track Review: The Super Fuzz- Hooked

TRACK REVIEWS:

The Super Fuzz

Hooked

9.2/10.0

Hooked is available at:

https://www.youtube.com/user/TheSuperFuzzBand

 

The album Super Famous is available at:

https://itunes.apple.com/us/album/super-famous/id996763025

Released: 19^st May, 2015

GENRES: Power-Pop, Rock.

COUNTRY OF ORIGIN:

U.S.A.

WHEREAS a lot of my time is spent (in particular musical areas)...

including Canada; Indie music; some predictable stuff (when it comes to Rock music), today at least, there is something new- and genuinely curious.  There is scant fun- when it comes to new music- as everything seems to be serious.  I am not suggesting there should be a party-party (or PART-AY) atmosphere: what is wrong with lifting the mood; brining in some bonhomie- and creating smiles?  Puvlic expectation enforces sounds/moods: they look for something gripping and nuanced- a lot of times, this involves serious subjects; a more downward sound.  New bands- particular Rock/Pop acts- focus on traditional issues- love and heartache; personal introspection- which can be quite somber (or at best, not particular uplifting).  Bands that do things differently- and have a sense of adventure and cheer- go a bit further: inject some colour and swagger; uplift the listener.  I am not ‘down’ on most music: a great deal of bands/acts (I have reviewed) are very upbeat and cheery- and infuse plenty of humour (into their songs).  From the U.K. (to Canada), I have heard a lot: I have experienced nothing like The Super Fuzz.  Their name alone elicits smirks of insinuation: your mind theorises images and scenes- few are anything less than X-rated.  Yesterday- and today to be far- I am in a bad mood: remembering the legacy of Jeff Buckley (who died on 29^th May, 1997) I have been rather upset- remembering his music has made me reflect.  My all-time music idol, I have been listening to his music: wondering just how he can be gone.  In need of redemeption- and some essential energy- The Super Fuzz are up the challenge- one of the most immediate acts I have encountered.  Based out of Miami, the guys- mature gentleman if they’ll excuse the tip-toe side-step are as follows:

Chris Alvy : Guitar, Lead Vox Darrell Killingsworth : Bass, Vox Todd Taulbee : Drums, Vox Eric Sanchez : Guitar : Vox

“Described by one morning TV show host as “Scooby-Doo meets The Blues Brothers”, The Super Fuzz makes no apologies about wearing their classic rock sensibilities on their sleeve while infusing 70’s-style production reminiscent of the post-punk movement. With influences from Jellyfish and Redd Kross to The Beatles and The Beach Boys, the group’s debut CD, Art Noise, is a 12-song reflection of the their unabashed love of guitar rock and indie pop.  These Miami natives have relentlessly toured their home state of Florida since their inception last year. They have performed at the Sunfest Music Festival, International Pop Overthrow, and supported touring nationals like Soul Asylum, The Smithereens, Sister Hazel, Green Jello, and a bunch of others...”

The comparison to The Blues Brothers is quite apt: the band (in photos) have that ‘look’- cool and ‘80s-inspired; Jazz-cum-Soul brothers- in search of a good time.  With cigarettes hanging (from mouths); facial hair sitting proud; hats perched atop heads- they are a traditional act; good ol’-fashioned boys- guys who know how to make (good music).  New names to my mind, I have been keen to check them out: see exactly why they are so good; how their pasts have progressed.  In terms of Florida-based music, I am in the dark: with the exception of ‘N Sync (who was based in Orlando), who else is there?  If you are American, you are more familiar: we in the U.K. get drip-fed U.S. music; great acts tend to pass us by- a lot of great music is being hidden away.  Building a great reputation, the lads have a fun and crowd-uniting sound: that is not to say they are not serious contenders.  Influenced by everyone from The Black Keys to The Beatles- you can hear a little (of both acts) in their songs.  Few people can resist their charm and potency: The Super Fuzz is a band on a mission; crafting songs that marry vintage with brand-new; contemporary with older- thus ensuring they attract a wide array of followers.  Knowing of/having reviewed Fernando Perdomo- another south Florida musical hero- I am not shocked (The Super Fuzz) are so good- this area is spawning some awesome musicians (that we all should be aware of).

Mixing Beach Boys and The Beatles- that fun, ‘60s vibe- The Super Fuzz look back at the past: make sure their music has beach-set bliss; plenty of Power-Pop grace- mixes in a modern-day centrifuge.  Inspired by the early-days (The) Beatles; the Florida band put your mind (somewhere bygone and wonderful).  In terms of (more modern) influences, the likes of (Ohio’s) Black Keys come through: essences of their El Camino period (shows itself across Super Famous).  Sparring Blues-Rock guitars with uplifting harmonies; tying them around memorable lyrics- the Super Fuzz boys are every bit as equal (when it comes to potential and potency).  Inspired by- perhaps half-jokingly; stylistically in a sense- by The Blues Brothers, there are influences of ‘50s/’60s Blues: that swing, swagger (and dance-ability) comes out in their music. Essentially, The Super Fuzz is their own band: they are one of the most distinct I have come across.  They take (little shards) from the local scene- fellow musicians Fernando Perdomo count as influences (Perdomo used to be in the group- before embarking on his solo career)

When looking at their current album, it is worth looking back: to see how far the boys have come.  Art Noise (their debut L.P.) was a terrific start: the 12-track collection is filled with contours, shades and emotions- packed with different themes and dreams.  The title track is a perfect kick-off: heavier guitars sit with determined vocals; the song is focused and direct.  This Summer’s Day is more alacritous: it has melody and relaxation- together with Rock sounds- that tempts this listener in.  Songs like Something’s Missing and Born have sensitivity and introspection; Inside Job is perhaps (the album’s) finest moment.  Having released A Super Fuzzy X-Mas, the band arrives with Super Famous: their second L.P.  Their new material retains their core personality: all the same themes and sounds; influences and styles- yet expands upon the theme.  Having developed and augmented- since their debut- the band bring in new subjects (the writing and production values are improved and at their peak); the performances are tighter too.  Having upped their game- the lyrics are more addictive and memorable- the boys have fresh confidence: each track radiates and shines; there is greater depth and diversity.  Whilst retaining their core- and not compromising their ethics and unique sound- the band sound stronger and more electrifying- which is guaranteed to recruit new supporters and fans.  Too many bands do not make big leaps- or really make improvements from release to release- yet The Super Fuzz have grown and solidified- their music gets stronger with each passing record.  If you are a fan of the aforementioned- the likes of The Beatles and Beach Boys- you will find much to love.  Plenty of modernity lies in their music: from U.S. Blues-Rock to current-day Pop (the band has a kaleidoscope of sounds).  Essentially, the boys mix fun and romance; drama and Rock- plenty of sunshine is in there too.  Super Famous is a perfect representation of the band: an album intended to be loved by all (which it will be).

Beginning with a fuzz of guitars- a brief and blissed-out coda- the (album’s lead song) gets underway.  With Alvy at the microphone, the morning routine is afoot: “I wake up in the morning/and I check that my computer’s on…”  Letting his words tumble and spiral, there is a great sense of pace and urgency: in the initial stages, the band do not let the listener reflect- consequently (the album as a whole) makes an instant impression.  Having a youthful vibe (to the vocals) - reminding me of Fountains of Wayne-via-Blink-182- our hero is “feeling fine.”  A subject- and routine- that is close to us all; it is a song we can all relate to: how long from the time we wake, to checking emails/social media?  That idea of being ‘hooked’- stuck on social media; powerless to resists its inane charm- is explored: all of us (in our own way) rely too heavily (on Facebook and social media).  Not often explored (by other acts), there is that sense of Stockholm Syndrome: being hooked, but feeling at ease and unbothered.  The infectious delivery is bested (only by) the vocal: Alvy delivers his words with spirit and upbeat chirp.  Backed by the band- who supply a tight and delirious swirl- the song becomes seriously addictive.  As it progresses, the subjects is (expanded upon): sharing his photos online, our hero is doing what he does- a life with little human contact.  Having a slight edge of The Offspring- that Dexter Holland-esque sound- the band mix together ‘80s-‘90s U.S. sounds; infuse 1960s Beach Boys- top it off with modern vibes and superb production.  A terrific blend of humour and pathos, the song is designed to be remembered- its simplicity and directness burrows into the brain.  Our hero- after sharing his photos online- seems destined to (repeat the process) - there is that sense of necessity and dependency.  Fusing together Sunshine-Pop and Punk; a little bit of Rock and you have a hypnotic smoothie- a multifarious blend of flavours and sensations.  Insatiably upbeat, Hooked does what it sets out to do: have the listener hooked in; make sure you repeat (the song) over and over.  Wanting to walk away and surrender- the chorus is that which is not only memorable; it is a calling-out for help- our hero is powerless: the likes (of Facebook) has him drugged.  Dispensing its message in an economical manner- the song is 2:11; the link (for the track) includes the song Surprised Your Boyfriend’s Still Around- it is impressively impactful.  Both fun-filled and meaningful, it is not a disposable and throw-away track: here is a song that is hugely impressive and purposeful.  A personal confession- and warning sign to social media addicts- you will find yourself hitting ‘repeat’- going back and listening to the track.  Pairing a catchy chorus with a nuanced composition, Hooked is apt (in every sense).

Praise must be given (to the entire band).  Alvy’s vocals are light and breezy; soulful and distinct: you are hard-pushed to compare him with another.  Containing shades of Power-Pop/U.S. Rock singers- without being too heavy-handed- and you have a unique sound- that does a great service to the track.  The delivery is consistently impressive: filled with urgency and spirit, it adds conviction to every line.  His guitar work is impressive throughout: never overpowering or encroaching, it adds great weight to proceedings- at times light and summer-like; at others heavy and squalling.  Todd Taulbee’s percussion drives the song; leads from the back and keeps the spine steady: always focused and sharp, it is the heartbeat of Hooked (he also contributes backing vocals).  Daniel Killingsworth lets his bass snake and strike; groove and dance: it is both authoritative and unifying.  Showing himself to be an incredible player, the bass player features heavily in Hooked- and the album as a whole- making memorable impressions.

Having spoken with the band’s manager (Roman); listened to their music- and sought out their biography and influences- I am a dedicated fan.  With their Power-Pop mandates- reminding me of The Beatles and The Beach Boys- together with some Blues-Rock swing (The Black Keys at their peak), you can’t go wrong- investigate the boys now.  I have been busy in the U.K./Canada- and reviewing musicians here- it is nice to be back in the U.S.  One of my favourite (countries for music); and exploring a new region (I hope more Florida acts step forth- not TOO many, mind).  Being overly-familiar with music’s (more introverted) sounds: it is wonderful to experience sunshine and wit- something very much here-and-now.  Mixing their vintage influences; together with some modern vibes- The Super Fuzz boys are on a mission.  Celebrated (in their native U.S.), the band has a unique artistry: one that more should follow.  I will leave with a brief thought: that which concerns new music in general.  Too many bands- especially in this country- are too concerned with force (and heaviness) - there is little regard given to sunshine, humour- and something altogether lighter.  Few acts manage to lighten the mood; get the people dancing- without resorting to same-same subjects; love and heartbreak etc.  Employing original subject matters; going that extra mile- the Florida sun is much-welcomed here.  Disintermediating their influences- by only nodding to their idols- the band whip up a summer-time feel.  With (predominantly) U.K.-based acts- that play Rock and Pop- tending to play it safe (bar a special few), we need a shake-up: look towards U.S. shores; take some of their potential- and use it here.    It would be good- if The Super Fuzz played here- as London would welcome them in: they are guaranteed to blow away homogenised scenes; bring their magic to the capital.  Super Famous is accessible and nuanced: filled with fascinating tales; sensational scintillation- maker sure you investigate its wonders.  With few weak moments; plenty of fun and glory: this is an album (we should all here).  Perhaps ironically-titled, the boys are keen to keep going: play like they always have; enjoy their relative anonymity- that will not last long.  When the L.P. travels abroad- and reaches us here- the band will find new faces (and great support).  In a weekend that provides intermediate sunshine- and uncertain weather- I am clinging to The Super Fuzz- capable of banishing the British blues.  When you consider that it is…

A very refreshing change of pace.

[youtube https://www.youtube.com/watch?v=0dMCpU22Wxk&w=420&h=315]

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Follow The Super Fuzz:

Official:

http://thesuperfuzzmusic.com/music

Facebook:

https://www.facebook.com/thesuperfuzzmusic

Twitter:

https://twitter.com/superfuzzband

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Videos:

http://thesuperfuzzmusic.com/videos

 

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Music:

http://thesuperfuzzmusic.com/music

Feature: Making Your Voice Heard

FEATURE:

 

Making Your Voice Heard

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With a need for change- and do something meaningful with life- I have had a hard think; what matters most to me: music, charity and helping others.  I look at a new idea- a charity concept- and the musicians (I hope can be involved)

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ONE of the most common themes (when it comes to others)…

is the issue of self-fulfillment: getting everything they can from life.  I am in that same boat: a month from losing my current job; I (find myself) looking around: having to take a long look at things.  Hating the town/area I live in- I could rant for hours about how awful (a hell of a lot of) the people are- there is definite stress: that need to go somewhere good; do a job with meaning- stop living in a rut.  I think it is a common theme: not wanting to waste life; starting achieving things- and make a real difference.  The simple question is this: how easy is it to really make a difference?  Whether you are a writer, musician or scientist: is it simple to change the world?  Many of us have lofty ambitions; desire to fulfil huge ambitions: the stress (of that not happening instantly) can lead to a lot of woe and depression.  I am publishing this blog for two reasons: to introduce a new charity idea/scheme; to highlight some great musicians (I hope can promote the cause).

The Charity: The Single Voice.

The inspiration:

Having thrown a few ideas around (using The Single Voice name), it seems the most logical choice: turning it into a charity.  The ‘social media/charity’ idea- https://musicmusingsandsuch.wordpress.com/2015/03/08/the-single-voice-one-language-for-all/- is still very much a-go- and will be used (to promote the charity).  Having mailed a friend of mine; she clarified things- simplifying is best; doing a charity-based idea is more feasible/obtainable.  In addition to being ‘disappointed’ by people- their lack of humanity/charity; pure selfishness and over-entitlement- it seems apt: get up and do something about it.  You cannot really rely on other people (for a lot of things); so being proactive is the solution- The Single Voice has a different wrinkle…

The idea:

Whereas most charities focus on one cause (illness or social aspect) The Single Voice raises money for multiple causes- unites all charities (under one umbrella).  In addition to promoting/publishing great causes (and their associative charities), there are some unique/personalized objects: promotion/awareness of mental health issues (and tackling those affected); highlighting ‘under-exposed’ causes- equal rights; gender equality; animal welfare; tackling racism etc.- that will come into the light.

Website/Launch:

The initiative will have a homepage: which will be where each person goes to register.  The campaign will be shared and spread to social media, but at the first point of contact, each person would start here.  Like Facebook and Twitter, registration is painless and quick: and a great way to connect with other users and like-minded people.  The homepage will be well-designed and eye-catching.  The top half will have various links: A-Z of Charities; Contact Details; Discussion Board; Events/Fundraisers; Latest Members; Links; Generated Profit (so far).  The bottom half will be fun and interactive.  It will depict a variety of locations: a comedy club; recording studio; film set; bar etc.  The sign will be the only constant- saying The Single Voice.  Whether attached to a studio (or comedy club) the figures (that interact will be from that world).  Musicians- past and present- will interact; comedy and film icons (too) - it will be constantly changing and moving.  Each figure will be animated- giving the homepage a great two-tone look/feel.

As part of the website, there will be a social media aspect: similar to Facebook/Twitter, but focusing on charity (rather than the usual things/posts).  The homepage will connect/promote other charities: there will be news feeds/updates that highlight worthy causes (both local and international); covering a range of issues.  The homepage will encourage others (to start their own charities); be a one-stop portal- that allows people to become more charity-minded; learn about important issues- do good in their community.

Location:

The main office (for the charity) would be (hopefully) based out of London- around the Shoreditch/Hackney area.  A lot of charities- such as Mind- are based in East London; it is a thriving area; there is a greater sense of community- it is up-and-coming.  In terms of rent/office space, it makes sense (locating out of the very centre of London); situating in a reputable area- somewhere that is close enough to the centre.  I mention this, because there will be a lot of promotional events- to launch the charity- that will take place around (the centre of London).

How it Differs:

The charity is very hands-on: employees/representative will get out into the community; spearhead initiatives- make a difference.  In addition to promoting causes (and raising funds) the emphasis is on involvement: getting into the towns/cities; seeing people first-hand- offering help.   As I mention, there is a leaning towards mental health (primarily raising funds/support to help the mentally ill), yet with (The Single Voice’s) ideals- uniting all causes/charities- recruiting as many people as possible.  The charity will have employees- representatives and patrons- but will look to the public: enroll the community; get them out (into the communities)- spreading the good word.  Some weeks there may be an emphasis on homelessness- raising funds; setting up events; visiting the homeless; one week a local hospice- getting fundraisers organised etc.

Going forward:

As I type, it is very much in the infancy: putting the initial stages together; gathering interest/feedback.  I will be registering the charity this year: next year, I will look to getting it going- organising an office/employees; setting up promotion/publicity.   A lot of charity work/social motivation seems compartmentalised- not everyone is aware of REALLY important causes; it gets buried in social media/the Internet.  The idea is to make everything more visible: get people involved directly.  Rather than have them solely donating/promoting, they would be physically part- helping with events; getting out into the world.

How (the charity) raises funds:

I have to mention music/entertainment I guess.  When I published my last ‘big’ blog- about The Single Voice- I mentioned Google: getting them on board to help raise funds.  Expanding on this idea- and using Google to help with funds- the way funds are raised is two-fold.  The ‘traditional’ method is still there: promoting charities and causes; organizing events; donating to Justgiving etc.  In addition, promotional ideas will be introduced.  Aside from the this- https://musicmusingsandsuch.wordpress.com/2015/03/08/the-single-voice-one-language-for-all/- there will be local events; novelty ideas: ways for big organisations/Google to help give.  Musicians- actors and creative people- are going to play a big part: one of the main parts of the idea.  The charity looks to raise funds/awareness through the arts: utilsling the creative arts; giving musicians an extra voice- actors, models and directors too.  Below, I have included some great musicians (I hope can be involved in promotional events/concerts/launch campaigns) yet there is another aspect: using music as a curative tool.  Music- performance and acting- can act as therapeutic aid; help people in times of woe- this is what I want to emphasise.  The homepage (for the charity) will promote new musicians; introduce older music- we may have forgotten about- and tie it all together.  The charity will help (to raise funds and awareness) for new musicians: help them to continue their craft/careers.  In turn, there is a reciprocity clause: creative folks helping to raise funds; splitting profits- and putting it into the charity.  It all sounds very ambitious- and some tangled knots- but it will all become clearer (future blogs and posts will clarify a lot).

What Now?

The charity works like a political party- it takes on a whole wealth of issues and considerations.  Putting money (people and support) in as many areas as possible, here is a way to unite music (and the arts) together with the people: get multitudes of issues/illnesses eradicated- try to make society better (and more conscientious).

How People Can Help:

From models to musicians (actors and business owners) I know a lot of (quite different people): a lot who are charity-minded and good-hearted.  Possessing ambition and impetus, it is key to have them involved: help with promotional videos; get their feedback- gauge their opinions.  We all want different things- when it comes to charity and making society better- and the idea is to include ALL of this.  The Single Voice is not a single-minded idea (focusing on one cause or subject): we are looking at helping as many possible- raising as much money (as is possible).  By getting Google involved; organising multiple fundraising events- looking to some wonderful people…

The Musicians: The Multiple Voices.

Through various promotional events/ideas: musicians will play a large part- existing ones; new ones I am discovering.  Supporting new music is essential; I adore all the bands (and acts) I have reviewed- they are all fantastic.  When The Single Voice gets ‘moving’ I want to call on (the below) to lend their voices: help the charity raise funds, and in turn, get their music promoted/highlighted.

Adi Ulmansky:

The Israel-born star has a talent hard to fault: a fresh and vibrant sound- not often heard in the current climate.  Currently on tour, her music is made for the people; it taps into heartache and life- reflects what we all feel.  An artist to cherish.

Why is she great?

A tremendous writer and vocalist; someone with an intoxicating and incredible personality- hope to see her in London, soon.

Follow: http://adiulmansky.com/

Scarlet Street:

Vintage ‘40s/’50s sounds; Doo-Wop and Swing: genres and time periods not often explored (many acts ignore the potential to be found).  A newly-formed act, the girls bring sunshine wherever they go- incredible singers that (breathe new life) to every song they touch.  Check out their Barbershop E.P.

Why are they great?

Insatiably optimistic; beaming smiles; adoring of their fans: a group who are impossible to dislike.  Their vocal harmonies- and good-time swing- is enough to melt everyone’s hearts.

Follow: http://www.scarletst.com/Scarlet_Street/Home_new.html

Goldbirds:

In their infancy (still) the Goldbirds crew have (just released) their debut single: the incredible Silver & Gold.  Packed with incredible riffs; cutting lyrics; terrific vocals: an act that is destined for festival glory.  Keep your eyes trained to their shore.

Why are they great?

The chemistry is instantaneous and unflinching: the guys are brand-new yet have a wonderful future.  From the evidence of one song, there is already a huge (buzz surrounding them).

Follow: http://www.goldbirdsband.com/

Nightwolf:

The creation of Ryan Wilcox, here is a daring and original artist- with a prodigious output.  Mixing genres and emotions, his (mainly instrumental) compositions are glorious to behold- his past work is packed with inspiration, genius and innovation.

Why is he great?

One of the most distinct artists around; his music begs for collaborators: his epic (and spine-tingling) music is rife with melody, wonder and potential.

Follow: https://soundcloud.com/nightwolfuk

Toni-Amanda Coe:

Having performed mostly cover versions, Surrey-based Toni-Amanda Coe has an impeccable voice: able to sooth with smoky allure; seduce with breathless beauty- an artist capable of owning any song.  I hope 2016 sees her record (an original/cover-based mix) E.P.; join together with a band- an artist with enormous potential.

Why is she great?

Working at a music venue- and a great supporter of musicians- she knows the industry (and what makes a great act).  With influences ranging from Hardcore to Rock, her (potential future) songwriting could be incredible- the early signs are incredibly promising.

Follow:  https://www.facebook.com/pages/Toni-Amanda-Coe/44186417431?fref=ts

Rosie and the Goldbug:

Having known Rosie Vanier (as part of Lightknife) the stunning singer (brings her talents to) Rosie and the Goldbug: a band with no signs of slowing; backed by incredible music- these guys will be a big act to watch.  Seek out their debut album- and latest single Running in the Dark- to see what all the fuss is about.

Why are they great?

An incredible (and incredibly beautiful) singer; a terrific Synth.-led band; the chemistry is electrifying (and gripping): their forthcoming material deserves a gigantic audience.

Follow: https://www.facebook.com/WEAREROSIEANDTHEGOLDBUG?_rdr

The Glass Child:

A sensational writer, poet; singer, musician- and all-round wonderful human.  Charlotte Eriksson- and her stunning alter ego- is adored the world round.  With her inspiring lyrics and heart-winning songs, the young artist is influencing a legion (of new songwriters)- the years will see her getting stronger and better.

Why is she great?

Always inspiring; constantly working: few other musicians contain as much passion and purpose.  You can tell (music is everything) to her; her fans means the world- in turn, they adore her.

Follow: http://www.charlotteeriksson.com/

The Updraft Imperative:

One of Australia’s finest (new bands) the Christian-Rock collective are on a rise: their album Chair is taking them all around the world.  Music for the devout (and non-devout alike) their music is addictive and spellbinding- ignore them at your peril.

Why are they great?

Uplifting and rousing; universal and soul-enriching, the guys tap into your soul’s (deepest recess) - bring something special out of you.  Gaining notoriety in the U.K., the boys are conquering the world- one nation at a time.

Follow: http://www.theupdraftimperative.com/

Bi:Lingual:

Fusing Rap and Hip-Hop; Metal and Rock, the lads know how to captivate: their music is among the most enlivening and instant (in the music world).  Original- and quotable- lyrics are backed by phenomenal vocals: the band is among the most tight and urgent around- their live performances are the thing of legends.

Why are they great?

Few bands tackle (and put together) Rap and Metal: none do it better than Bi:Lingual.  They tackle subjects originally; speak for the general public- a rebellious mouthpiece of the people.  The music world needs acts with attitude and leadership: line up behind these boys…

Follow: https://www.facebook.com/bilingualband

Braver than Fiction:

Having had a turbulent year- with their vocalist Mel Lampro being diagnosed with cancer- the band are coming back: their determination and focus is faultless.  Having reviewed their King of Crows (E.P.) I am anxious to see (what comes next): the band are among the most stellar around; the songwriting incredible- their kinship is unbreakable.

Why are they great?

Led by an incredible singer-songwriter (one of the finest this country has to offer), the band are Yorkshire gold- the coming year will see them (go on to great things).

Follow: https://www.facebook.com/braverthanfiction?fref=ts

The Moth Lantern:

This Lincolnshire act has everything at their disposal: Beatle-esque songwriting; stunning musicianship- heart-warming vocals.  Having had a terrific 2014- where they released their debut L.P.- the band are planning Light Waves’ follow-up.

Why are they great?

Their bond (and natural friendship) comes through in the music: every track sounds effortless and affirmative.  Seducing (their native Lincolnshire) the group are preparing new music- that will see win new fans.

Follow: https://www.facebook.com/themothlantern?fref=ts

Little Sparrow:

Katie Ware’s bird-like charm is bested by her insatiable beauty: a voice that can drop jaws.  Her Folk-orientated music contains wonderful characters, stories and insights- personal revelations and lovelorn tales.  Always bringing her music to the people, Ware has enthralled (towns and venues throughout the U.K.).

Why is she great?

A lovely lady; an unbelievable voice, Little Sparrow is taking flight: in a scene (filled with) solo artists; she ranks among the very finest.  Catch her live (if you can): it is here where (the biggest shivers) will be elicited.

Follow: http://www.littlesparrow.org/

Chenai Zinyuku:

With jaw-dropping looks; a rich (and soulful voice), Zinyuku is preparing her debut E.P.: a chance for the world to hear (her current ambitions and ideas).  A masterful interpreter, the London heroine should be on everyone’s mind.

Why is she great?

Living (her upcoming E.P.) is gathering excited whispers: she is a terrific songwriter; a humanitarian- a peace-loving soul.  This grace and beauty come out in her music: make sure you grab a copy (when the E.P. lands).

Follow: https://www.facebook.com/chenaimusic?fref=ts

Allusondrugs:

One of the fastest-rising bands of the moment; this Yorkshire-born troupe are wonderful: their touring schedule (this year) is pretty hectic.  With a front-man- with a stunning resemblance to Kurt Cobain- the boys have Nirvana’s Grunge spirit: they bring plenty of youth, personality (and cheek) to their music.

Why are they great?

Their social media ranks are rising: the boys earn nothing but (effusive) praise.  Epic tunes; memorable live performances- just the tip of (the Allusondrugs) iceberg.  Few bands (are as) made for the big-time.

Follow: https://www.facebook.com/Allusondrugs?fref=ts

Ivy & Gold:

With London Grammar being a little ‘dormant’- they have a new album out next year- Ivy & Gold fill a void: Electro.-Pop/Synth.-led majesty; alluring, sensuous vocals- detailed, kaleidoscopic compositions.  The London duo have a clear bond and affection: they are one of the most underrated acts around.

Why are they great?

Aside from their close kinship, Davies and Wilkinson are staggering talents: they have just played (the) Great Escape Festival- world domination is not far away?

Follow:  http://ivyandgoldmusic.co.uk/

Boom Tales:

Together with Eloise Lovell Anderson- their stunning Siren/honorary band member- this group have a truly original sound: Boho chic; dreamy vocals; stunning (and vivid) songs- few acts can ever compare.  Having had a (busy last year), the group are assessing their options- planning their next move.

Why are they great?

Their music must be heard: it has beauty and tranquility; operatic and harmonies- every emotion/colour you could imagine.  Calming and soothing; rousing and emotional- the group can soothe (the weariest of souls).

Follow: https://www.facebook.com/BoomTales?fref=ts

Gypsyfingers:

After (last year’s) Circus Life, I was blown away by this duo: their music/talent is hard to believe.  Tremendous writers and performers, Luke Oldfield and Victoria Frances are soulmates; a tremendous proposition- able to mix Rap-fast lyrics with Fleetwood Mac-esque Folk.

Why are they great?

Few acts (or duos) have as much potential (as Gypsyfingers): their last album was met with a sea of praise (including yours truly).

Follow: https://www.facebook.com/gypsyfingersmusic?fref=ts

Emily Kay:

With THAT distinct voice- with its charm and gravel; soul and potency- Kay is a startling proposition.  Her music is divine.  The Birmingham-based stunner is one of this country’s most arresting solo artists.

Why is she great?

Stunning to behold; a voice of pure wonder: there are not many (who would be) immune to her charms.  A constant performer/live act, Kay has admiration for her fans- a valuable asset (to the music world).

Follow: https://www.facebook.com/msemilykay?fref=ts

Los & The Deadlines:

I have reviewed this act a lot: at every turn, they compel and amaze.  Hard-hitting and hard-rocking; the guys are the complete package.  With their distinct looks- and acres of facial hair- the boys have an incredible sound- make sure you investigate these lads.

Why are they great?

They have a very original sound; that said, no two songs sound alike: they are keen to stay mobile and unpredictable- shifting themes and styles.  Each member displays clear passion and dedication; their tracks are tight and focused- the end results are scintillating.

Follow: http://www.losandthedeadlines.com/

Issimo:

One of my favourite acts, Abi and Marc never stop working.  Between new songs, cover versions; planning a big music video- the guys never seem to rest.  Brimming with charm, smile and passion, the duo are masterful songwriters- everything from wit (and comical by-play) and Pop mingles with Soul and Swing.

Why are they great?

Issimo is a hugely original and special act: a great sound and sensation; Marc and Abi have a special friendship- their (individual) talents blend wonderfully.  Another act with an incredible future ahead.

Follow: http://www.issimomusic.net/

Jen Armstrong:

An unbelievable young lady- currently planning a move to Nashville- here is an amazing talent.  Covering covers; owning originals- Armstrong is one of the finest singers in the world.  A terrific songwriter- who can do quirky and witty; passionate and emotional- few can match her talents.  Endlessly hard working, the music world needs her (and more like her).

Why is she great?

The music world is a tough bitch: Armstrong never seems to falter; her determination is unflinching.  With her natural talent, few should ignore her: I wish nothing but happiness for her.  There are too many untalented/vague artists kicking about: Armstrong is a breath of fresh air (we all need)

Follow: http://jenarmstrong.tv/official/Home.html

Marisa Rodriguez:

Rodriguez is an eye-watering beauty; a cheeky (and loveable personality): one of the brightest songwriters on the block.  Tackling covers (and her own songs) everything she touches glistens- backed by that wonderful voice.  One of this country’s most ambitious talents, Rodriguez promises great things- possible band collaboration; new material- the future is very much hers.

Why is she great?

Someone who never stops working: always promoting other acts, she has a clear affection (for her fellow musicians).  Her songs are packed with confessions and emotions; defiance and guts- intellect and beauty.  With a voice that could melt the sun, she is an immense talent.

Follow: https://www.facebook.com/marisarodriguezmusic?fref=ts

Ellene Masri:

A wonderful human, French-born (with Lebanese roots) Masri combines beauty and sensuality; Jazz and Soul- her voice is captivating and arresting.  A startling songwriter- who seems endless in her inspiration- her sense of feel is topped (only by) her wonderful voice- that can range from a romantic coo; climbs to a fevered explosion.

Why is she great?

One of the most passionate musicians around, the (music word) means everything to her.  Few other people have such dedication and focus- the coming year is going to be hers alone.

Follow: http://www.ellenemasri.com/

Julia Jensen (Moons of Jupiter):

An untapped talent, Jensen is a future star: a composer/musician with bags of talent.  With Danish (and Irish heritage), he songs/soundscapes whip up a myriad of visions: they are evocative and scenic; dreamy and gripping- dark and dangerous.  Like Nightwolf, Moons of Jupiter is that rarest of things: an act that can do anything; attract any singer; fit any mood- and win EVERY ear.

Why is she great?

Jensen is busy with studies- and music is in the background- yet I can see it coming (to the forefront): her inspiration seems endless; her (small collection) of songs are amazing and nuanced- an original and daring talent.

Follow:  https://www.facebook.com/MoonsOfJupiterMusic?fref=ts

Elena Ramona:

A bright and exceptional talent: Elena Ramona is a young artist with a lot to say.  Having reviewed her work- and interviewed her- she is a star-in-the-making.  Able to pen upbeat/catchy tunes; introspective personal reflection- she can pretty much do anything.

Why is she great?

A talent who never stops working, Elena is not a one-note artist: her songs range in themes and styles; her voice is nimble and expansive- she is capable of owning anything (she writes).  Few other artists have her confidence: fewer have her talent.

Follow:  https://www.facebook.com/pages/Elena-Ramona/323928237668916?fref=ts

Winter Knight:

When Darren Pereira formed Shiftin’ Shade- his Electro.-Swing alter-ego- I was blown away by the sounds: Pereira’s innovation and compositional genius.  Deftly able (to evoke the past), together with Adam Hume (his vocal collaborator) he was an exceptional force.  Bringing this momentum to his latest creation, Winter Knight possesses the same sense of adventure and wonder- only the rush and jive is replaced with something more tranquil.  Winter Knight (is Pereira's) launch for going solo- a big time ahead!

Why is he great?

Not a solo artist (per se), Winter Knight has massive potential: whether instrumental-only (or an act that draws in vocalists), who knows what is to come?  With Pereira’s songwriting talent, one thing is fir sure; you definitely need to investigate (this act).

Follow: https://www.facebook.com/pages/Winter-Knight/618469391572346?pnref=lhc

Sarah Collins:

A wonderful artist- and lovely human being- Collins is an endless talent: her work-rate is beyond belief.  Always singing and performing; touring extensively, she never seems to exhaust- having just recruited a band; her music is getting a wide audience.  Cutting her teeth with cover versions, Collins is a masterful singer- able to conquer any song (that comes into her path).

Why is she great?

A masterful talent, Collins’ voice is a peerless thing: stacked with power and panache; her beauty and soulfulness is captivating.  Having endured a tough road-to-glory, she is on the climb: her future is going to be incredibly bright.

Follow: https://www.facebook.com/sallycollinsmusic?fref=ts

Universal Thee:

The Scottish band has been on the scene a while: they are making plans for a new L.P.  With shades of Pavement and Pixies- drawing in flavours of Weezer too- the husband-and-wife-led act have a unique talent- they are an exceptional live act.  Incredible songwriting, wonderful melodies; stunning songbooks: if you seek these (in your music) then look no further.

Why are they great?

I have heard their new material (that could feature on their new album): it is truly amazing- they will be on the scene for years to come.

Follow: https://www.facebook.com/universalthee

Bianca Bazin:

A vibrant and exceptional talent- with the most intoxicating smile on earth- Bazin is putting together her debut cuts- having toured locally, she is ready to showcase her music.  Stunning of voice, Bazin has spades of charm and potential- her songwriting is truly awesome.  Performing (under the name Bee), few can ignore her charms- you are powerless to resist.

Why is she great?

An artist with plenty of experience, Bazin is no ingénue artist: she is a huge talent with a confident voice.  A lot of solo acts tend to falter early- balked by the pressures of music.  Bazin has no such qualms: her natural talent will see her rise to prominence.

Follow: https://www.facebook.com/BeeBazin?fref=ts

Chess:

Fran Galea has been on my radar (for a few years now).  Having reviewed her music- on a number of occasions- there is no stopping her: one of the biggest talents in this country.  She knows London holds big opportunities: I can see her moving there; being a permanent fixture (in some of the capital’s finest venues).  A phenomenal songwriter, she is influenced by the likes of Michael Jackson, Prince and Christina Agurilera- she brings each artist (in some form) into her music.

Why is she great?

Each E.P. offers something new: with every release she gets stronger (and more confident).  Still young and hungry, Chess is a stunning talent- an artist to be truly proud of.

Follow: http://www.chessgalea.com/

Nina Schofield:

Another artist (with spades of talent) the divine Schofield is a heartbreaker: a stunning artist with a tremendous artistry.  Her voice is impassioned and vivacious; her songs are filled with wonderful promise- her music is incredible.

Why is she great?

With her E.P. Colours, Schofield displayed her full range: songs bristling with invention and energy; passion and pride- all wrapped around that sensational voice.

Follow: http://www.ninaschofield.com/

Little Violet:

Another Cherie Gears outfit- she is part of Scarlet Street- Little Violet is a Swing wonder: full of vitality and swagger; smile and sass.  Her songs put you in mind (of classic-era Swing); her Electro.-Pop updates give life and breath- every song (of hers) burrows into the brain.  A tremendous talent- who can do no wrong- this year will see more L.V. activity.

Why is she great?

A prodigious singer/songwriter, Gears is a restless artist: someone deeply in love with music.  Choosing an under-trod path- tackling Swing and Doo-Wop- she is striking gold (from an under-tapped source) and reaping rewards- how long before she is a household name?

Follow: https://www.facebook.com/littlevioletmusic

Lydia Baylis:

A tremendous solo artist, Baylis has a rare talent: it is hard to compare her with anyone else.  Hugely original, she is a tantilising artist; someone with endless potential, keep your eyes peeled Baylis’ way.

Why is she great?

Few songwriters have such an ear for melody; a talent for songwriting- Baylis has exceptional insight and intelligence.  Designing songs for the masses, here is a wondrous talent- and someone we all need (in our lives).

Follow: http://www.lydiabaylis.com/

Gold Phoenix:

A new incarnation, this band mean business: they are both instant and fresh; alive and alert- making music to get crowds dancing (and chanting).  With golden riffs- and some wonderfully inventive sounds- the band are here to stay: a stunning act.

Why are they great?

Their debut (self-tiled) E.P. is packed with power and riffs; plenty of Blues and scuzz- the boys are a wild whirlwind.  Electric and bracing, urgent and memorable- natural world-beating sounds.

Follow: http://www.goldphoenixband.com/

Dana McKeon:

The Maltese-born artist can Beatbox like no other; a tremendous voice- someone with talent abound.  A stunning beauty, a natural influencer- someone who is unlike anyone else.  With each song comes new surprises: a variegated songwriter with immense talent.

Why is she great?

Plain originality and talent.  There is nothing fake and manufactured: she is just an unbelievable artist.  An original songwriter, her stories are inspiring and motivating; her voice (seemingly) endless- someone with a long future ahead.

Follow: http://www.danamckeon.com/

RKZ:

Another genius talent, RKZ mixes Rap and Hip-Hop; his artistry has few boundaries: his arsenal of work displays wonder and wit; romance and sensitivity.  Effortless as a collaborator- or on his own- RKZ is hugely influential- someone who will inspire a new generation.

Why is he great?

Being a champion (when it comes to fighting mental illness) this passion comes through in the music: RKZ is a man who feels compassion and empathy.  His music is just one side of him: a human who strives to make things better; always looking out for others- a U.K. treasure.

Follow: https://twitter.com/rkzuk

Gorilla Punch Radio:

A tremendous and unique band; a stunning outfit- their music is of the highest order.  With new music forthcoming, this is very much their time- mixing Foo Fighters and Coldplay they are a stunning troupe.

Why are they great?

In spite of having influcnes, the band are very much their own thing: the songs burnish with energy and uplift; the codas are addictive and intoxicating- this is music that warms the heart; and uplifts the soul.

Follow: http://www.gorillapunchradio.com/

Jingo:

A band that keeps getting better: Jingo are celebrating new success.  With new material on the market, the band is gathering huge plaudits: with each song they seem stronger and more assured.  A new album is in the pipeline; the group are preparing themselves- Jingo are one of the finest bands in this country.  With limitless potential- tremendous vocals and performances; varied and brilliant songs- they are a sensational proposition.

Why are they great?

In addition to their talent, each song reveals something new- they cover issues other bands do not.  Stunningly original, the band have a flair for environment and atmosphere- their particular blend is a fascinating thing.

Follow: https://soundcloud.com/jingomusic

Alison Levi:

Another artist (who has had a busy year), Levi is hardworking and tenacious: the next year will see her (come more into the fore).  With a stunning voice- and a cheeky personality- Levi is a sensational artist.  Mainly covers-based, I can see great things ahead: she has endless determination; boundless ambitious- a desire to seduce (and plenty at her disposal to achieve this).

Why are they great?

She is sassy and funny; beautiful and bright: a personality the music world needs.  I am sure 2016 will be a busy year for her, with plenty of options: maybe an album or E.P.; a lot more tour dates- something else?  Whatever happens, keep your thought primed her way.

Follow: http://www.alisonlevi.com/

Little Dove:

This U.S.-based act has elements of Queens of the Stone Age; plenty of awe and wonder: a duo with power and potential.  With Vanja James up front- her vocal-and-guitar assault is phenomenal- and you have a stunning act.  With intriguing songs- and lyrics that demand closer investigation- you have to hear these guys.  There are plans afoot (for new music): follow them and keep abreast.

Why are they great?

We do not herald a lot (of new U.S. acts) over here: this Californian act are in-demand here.  Propulsive and crowd-uniting; catchy and hypnotic- they are one of my favourite acts.

Follow: http://www.littledoveband.com/

Jonnythefirth:

Currently conjugating his second album- and looking to crowd-funding to get it happening- this Yorkshire legend is keeping busy: in addition he is working/recording with Crybabycry and Knuckle.  The tireless frontman is a U.K.-based Jack White: he can bring his talents to other bands (yet is strongest when going solo).  His previous L.P. was packed with Blues-Rock gems; headaches and heartache- absolute staggering moments.  With greater confidence (and gaining fresh inspiration) his second album could be a world-beater

Why is he great?

One of the best songwriters in the U.K., Jonny is an incredible guitarist (and singer).  Yorkshire is packed with musical genius: he ranks among the very finest.  An incredibly unique talent; a cheeky everyman- an ego-free master (of any music he touches)

Follow: https://www.facebook.com/jonnythefirth?fref=ts

Hannah Dorman:

Dorman mixes Pop/Country strands around electrifying Blues: her mixture of force and passion (together with something more settled) is a wonderful concoction.  Her songwriting is sharp and studied; her stories well-observed and inspirational- the effect, spellbinding.

Why is she great?

My final act: and one of the very best.  In the studio (at the moment), Dorman is preparing her future: she is a blissful star; someone with immense ability- one of the finest young singer-songwriters around.

Follow: http://www.hannahdorman.com/

It is still early days: just getting things onto paper is a big thing- crystalising ambitions is essential.  Things that are necessary for me (and others in a similar people) get away from a place/people that are not worth the trouble (no offence to the minority of people where I live who are genuinely nice); find a job/role that is purposeful/important; if you have goals/ambitions in life- go for them.  Essentially, taking action is vital: leaving things to other people will usually go wrong.  I have loved the support of (my musician) contacts: in turn, I have loved all their music; their ambition has definitely fuelled me.  When it all comes together, I hope they still have high hopes- I have seen a couple of great band split this year.  I shall leave you be- this has been quite a LONG one- with a final thought.  Music can help to change things- or at the least make them better- and put things into focus.  That desire to help others/general betterment should never fade: the world always needs good people.  No matter what people say (the imbeciles who plague the planet) and how you feel: never give up on that.  I have had enough of every aspect of annoyance- the constantly ill people I spend (my workday) with; my un-peaceful home-life; the selfish/hostile people where I live; those that don’t give a crap (too many out there)- there is better out there.  To the musicians and (anyone else) fed up with things: just go for it; to hell with what others think/say.  When it all comes down to it…

BABY steps  can leave huge impressions.

Track Review: Triaxis- Victorious

TRACK REVIEW:

Triaxis

 

Victorious

9.5/10.0

Victorious is available at:

https://soundcloud.com/rocksector/triaxis-victorius

RELEASED: 25th March, 2015

GENRES: Metal

COUNTRY OF ORIGIN:

Wales

The album Zero Hour is available from:

http://www.triaxis.info/discography-zerohour.html

Release date: 18th May 2015

Label: Rocksector Records

Drums recorded at Grindhouse Studios, engineering and produced by Scott Atkins. Guitars, Bass and Vocals engineered and produced by Glyn Wiliams. Produced by Glyn Williams, Scott Atkins, James Stephenson and Triaxis.

Mixed and Mastered by James Stephenson at Stymphalian Productions .

All tracks written by Triaxis. Except 'Death Machine' and 'End of Time' written by Triaxis and Owen Crawford.

Published by Scarlet Songs.

Cover Art and photography by Colin Marks: Rain Song Design.

Band Photography by Luke Padfield.

Artworking by Gavin Kirby and CJ Wilson.

Ossein ‘Oz’ created by Tom at Razorstorm.

AFTER assessing a Birmingham-based Alternative/Grunge act, thinks are getting heavier…

and more… Welsh.  In addition to (this being my first Welsh act) it is my first Metal review: surprising it has taken me this long (over three years essentially).  The genre is one that can be quite divisive: people either (passionately) love it or (violently) hate it.  Strangely, I am sort of in-between: I am a huge fan of Judas Priest and Metallica; a little virginal when it comes to other acts- I need to investigate the genre more closely.  A lot of Metal acts- particularly ‘90s-originated ones- were fairly hit-and-miss: a lot of knuckle-dragging noise was being produced.  Metal is at its finest (when the act making the music) is intelligent and nuanced- not just people who turn up; make a hell of a noise- with no regard for quality and inspiration.  Unless you listen to Daniel P. Carter (Radio One D.J.) or his ilk, Metal is not often heard (in the mainstream): it is a genre that is primarily exists in the underground.  The public still has a very narrow/cliché perception: many associate (the genre) with screaming and thrashing- and not a lot else.  It is a shame (this is the assumption) as Metal musicians are among the smartest out there: capable of producing some truly incredible music.  Sure, there is a lot of noise; a tonne or force and riffage (sic.)- a firestorm of fury and passion.  These are qualities associated with (a lot of genres) yet Metal gods (and goddesses) turn it up to 11: take that passion and crank up the volume.  Triaxis hail from Wales: a country synonymous (with great) Metal bands.  Bullet for My Valentine, Funeral for a Friend and Skindred (are among the country’s best).  Expunging the likes of Lostprophets (and their depraved lead singer) and you have quite a roster-Triaxis can rank among (Wales’) very finest.  Having been recommended by a friend (Haris); I am glad I have discovered them- the band are among the most impressive new acts coming through.  Before I go into more detail, let me (via their own words) introduce them:

Vocals - Krissie.  Drums - Giles. Rhythm guitar - CJ.  Lead Guitar - Glyn.  Bass Guitar - Becky.

“Triaxis are a heavy metal band from South Wales. Formed in 2006, Triaxis self-released their debut full-length album 'Key To The Kingdom' in 2009 to critical acclaim, including plaudits from Metal Hammer, Terrorizer, Zero Tolerance as well as coverage and praise from many leading music websites. They have also made numerous radio appearances, including airplay on Bruce Dickinson's BBC Rock Show. After headline grabbing sets at Hammerfest (2011 & 2013) and Bloodstock Open Air (2009 & 2012), the band signed to Rocksector Records in 2012 to release their second album, 'Rage and Retribution' (recorded at Foel Studios and engineered by James Stephenson of Stymphalian Productions) once again to critical acclaim. Triaxis have continued to perform extensively across the UK and Europe. Their first promotional video, for the single 'Black Trinity' (Dir: Adam Stevenson, ASAV), was released in 2013 and has since been nominated for a Pure Rawk Award, alongside a growing number of award nominations for the band members themselves. 2015 sees Triaxis release their third studio album 'Zero Hour' (produced by Glyn Williams, James Stephenson of Stympahlian Productions and Scott Atkins of Grindhouse Studios), funded through a PledgeMusic campaign, which achieved 100% of its target in nine hours via unprecedented support from Triaxis fans. With the first single 'Victorious' available for free download, Triaxis continue to expand their fan base and cement their place in the metal genre.”

Unlike a lot of Metal acts- especially ‘mainstream’ examples- Traixis have a boy-girl line-up: most Metal acts tend to be all-male.  This ‘diversity’ has made a big difference; added to their music- the bond between the musicians is clearly evident.  Arriving with their third album (Zero Hour) the band have no plans of slowing: through a (hugely successful) Pledgemusic campaign they were able to fund the L.P.- the support from their fans has been overwhelming.  The five-piece have big ambitions; plans for the future- a prestigious spot at Bloodlines awaits them.  It is not hard to see (why the band is so favoured) as their music draws in their influences- including Iron Maiden and Judas Priest- and adds their distinct personalities: Traixis sound very much like themselves (when it is all said and done).  I hope the band manage to conquer the U.K.: their latest album is taking large steps towards this goal.  Playing all across the country, they are recruiting acolytes (at a rate of knots): it cannot be long before the U.S. comes a-calling- their music has the potential to transcend barriers and nations.

Zero Hour (is the Welsh band’s) third album- and fourth release in total.  Having gone through a line-up change (Becky joined the band in 2014; the band’s newest sister), the group sound more gilded and galvanised- they have never sounded more assured.  Keys to the Kingdom- championed by the fine minds of Metal Hammer Magazine- was a masterful debut (they released an E.P. before; this was their debut album).  Confident and instant; ranged and stunning: here is an album with nary a weary song.  Bolstered (and ably led) by Krissie’s Heart-of-gold-cum-Judas’ vocals- that displays huge confident, intelligence, soul and fight- and you have an exceptional lead-in.  The band are together and in-step- right from the very first- track; the pace never relents (over 11 numbers); the themes explore mythology and strange characters- lords, geishas and phoenixes are all covered.  Still (relatively obscure)- the band still do not command the attention they deserve- Rage and Retribution was an exceptional sophomore effort- an album that expanded upon their early promise.  Following some passion-led write-ups- from Metal magazines and blogs- the band took that confidence; crafted an exceptional follow-up.  Gathering masses of critical acclaim- publications were filled with effusive dedication and love- the album stands (as an exceptional creation).  Inspired by the likes of Judas Priest and Metallica, there was no second-rate work here: the album stands among the finest (either of the aforementioned bands) created.  Rage’ was delivered in 2012: since then, there has been an eager wait- critics and fans have been salivating and speculating.  With a new member- and new influence abound- the band delivers their finest album yet: hard to believe given the quality on their last record.  Defined by exceptional songwriting- the lyrics and compositions are among the most detailed and inspiring to date- and tight performances, the band are on fire: Zero Hour is their masterpiece.  Packed with crowd-pleasing epics; instantly memorable songs (Stand Your Ground ranks among their finest songs so far) and you have a phenomenal record.  Among the jewels of Zero Hour lies Victorious: a song that (more than) lives up to its name.

The sound of “bloodshot eyes” opens the track: propelled by a frantic riff, the song spares no time (in drilling into the listener’s mind).  Frantic and frenetic, the band explodes to life: there is no time for a soft build-up; the song is an instant ball-kick.  With the heroine prepared to march “through the gates of Hell” there are declarations afoot: never has Krissie sounded so confident and strong-willed.  Riding the riptide- her band whip up a firestorm of sound and dark magic- and you are gripped.  Not just dedicated to the mosh pits and sweat-filled arenas, the song has enough melody (and restraint) to appeal to all listeners- including newcomers to the (Metal) genre.  If images of a “single victor” tearing (a poor unfortunate/situation) “limb from limb” (put you in mind of Game of Thrones), then you’d be right: the track is an epic warlord; a calling card to the masses- a rally-cry to the armies (and legions of Traixis fans).  Epic and statuesque; commanding and sword-wielding, our heroine stands proud: delivering her messages with heart and determination.  The band do not overcrowd ad flood the vocals- unlike a lot of Metal acts- which allows the lyrics to shine and pervade.  Pummeling percussion blends with guiding bass; stuttering (and fist-aloft) guitars build up the tension- the band project a myriad of images within the first stages of the song.  Never screamed or demented, the track mixes melody with potency: it is a track that wants to unite people- in an army of chorusing and chanting.  Hollow victories and final breaths are unfurled; electrifying guitars do reign- the song gets faster (and more furious) with each second.  As the band unify in voice- ensuring the messages and codas hit the mark- you are powerless to resist- it is a track that lodges into your brain; it never loses its power.  Before the 1:20 mark, the bass line comes to the fore: empowering and forceful, it is an extremely impressive performance.  Leading in the vocal, the song refrains slightly- our heroine leads the gods of war; her testament will be witnessed.  Allowing the spotlight (to focus on the words) the band step back slightly: it is a pause that is brief and essential.  Teasing the listener; allowing the imagination to conspire- the band are soon back in the fray.  Whether you imagine armies of dragons (ridden by axe-wielding warriors) or a modern equivalency, it is impossible (not to) imagine: the song is so vivid and imaginative; filled with action-packed scenes and powerful statements.  Most bands- that play outside of Metal- focus on love and relationships (*yawn*)- Traixis’ voyage into mystical realms (and armies coming together) is hugely admirable.  With riffs (and primal urges) that put me in mind (of Judas Priest’s finest work) and you have a terrific song: a crowd pleaser-in-waiting king.  By the half-way mark (of Victorious) you are fully invested: the chorus comes back in; you find yourself singing along- it is inevitable there will be some air guitar (bit of air drumming too, no less).  Whilst our heroine examines “the traitor in me” she is backed by (gurgling, male-led) backing vocals- it adds some roar and fist-aloft growl into the mix.  Where evil “sows the seeds of deceit”, the band seem like the Forces of Good: the cavalcade determined to rule the day; expel the spirits of hatred.  Packing atomic bomb-sized power, the track hits the heavens: the clans are balkanised; the scene is set- the fight is truly on (who would bet against Traixis?).  At the 3:00 mark, there (is unleashed) a squalling guitar coda: a viper stings with alacrity; fire and spark crackle (the audible sensation of swords slashing).  Guitars multiply and duel; the percussion tees and slams; the bass slithers and stings (among the enraptured arpeggio) - a delicious solo (that is a perfect punctuation point).  The final moments are dedicated to rapture and musicianship: the band come together supremely; linking their instruments in a testament of warfare- it seems the bodies are slain; the fires are burning (and the victor has been crowned).  Not forgetting some (much-needed) chant- in the final seconds- the band take the song to land- the head-nodding swagger never relents; the listener is gripped until the final second.

Kudos must be given to every band member: Victorious is a song that perfectly introduces Zero Hour.  With fantastic production values- that allows the vocal to shine; it perfectly mixes the instruments together without sounding over-produced- it is a superb-sounding song.  The lyrics are direct and picturesque: filled with imagination and imagery, it is impossible not to be drawn in.  Fight scenes and evil; spirits and dark overtones- the track has everything you can possibly want.  A crowd-pleading anthem it is designed to be quoted and chanted: few bands create something as immediate and memorable.  It is the band (and their performances) that bring Victorious to life: each member is at the very top of their game.  Krissie’s vocals are consistently inspiring and engaging: passionate and melodic; direct and warrior-like, it is a stunning performance.  For a song- and band- to inspire, you need a phenomenal singer: in Krissie, Trixis have this (in spades).  Bringing the lyrics to life (and displaying plenty of range and soul) the lead turns in a wonderful display.  Glyn’s (lead) guitar is an attacking beast: a spellbinding thing; a huge force of nature.  Going from grunting and wolf-like; mutating to a cosmic, fire-breathing thing- you cannot resist its charm.  An exceptional player, Glynn gives Victorious plenty of power and potency.  With C.J. (on rhythm guitar) you have a perfect 1-2: a guitar-wielding duo who perfectly understands one another.  The two blend effortlessly; they weave in and out (of one another) - they give the song an enormous weight of conviction and fire.  Becky’s bass sits perfectly in the mix: featuring on her first Triaxis album, there are no signs of nerves or shyness.  Sounding like- she has been a member since day one- you have a terrific performer: at times, her bass almost steals the show.  Both leading and authoritative, rebellious and domineering, she is one to watch.  Giles clearly has a passion for Metal: his percussion work ranks with some of his idols (Lars Ulrich would be proud of his work).  Almost octopus-like in its breadth; Giles unleashes enormous power and pummel- leading the band and keeping everything in-check.

Zero Hour is the band’s finest work (to date): it updates their existing sound and adds extra layers of awesomeness- they have never sounded more urgent and inspired.  With exceptional songwriting- and consistently impressive performances- few peers have their confidents and bombast.  Tracks like Death Machine and Queen of the Iceni (are as vivid as their title suggests); Liberty is the perfect opener- the title track is one of the finest (of the dozen songs on the album).  Krissie’s ‘varied background’- having sung in Soul and Swing bands- adds to the music: her vocals can go from soulful and seductive to eruptive and blood-lusting.  A natural leader, the songs would have sounded weaker (with a male lead).  Glynn and Giles (Triaxis’ male duo) add huge weight to proceedings: their guitar-and-drum courtship defines (the album’s pummel and lust) - few other musicians have their talent and urgency.  With Becky’s (prodigious) bass work- which guides and directs each number- and C.J.’s (rhythm guitar) skills- that perfectly pair (with Glyn’s axe) and you have an extraordinary band- each member knows their role; each does it perfectly.  Their new L.P. is gaining fervent praise- I hope my review does them justice- and gigs are pouring forth: the group is here to stay.  The band take good care of their fans; their official website is detailed and eye-catching: few other acts take as much trouble (to ensure their online portfolio is as impressive).  Growing in stature- with each new release and album- the quintet is bigger and bolder (than a few years ago) - keep your eyes open for them.  Traixis give Metal a great name- not that the genre should ever be doubted- with their professionalism and passion.  For those (who think Metal) is a niche genre- and is merely noise and thrash- then think again: there is plenty to love (with Traixis).  The bastard love-child of Iron Maiden and Judas Priest (having had an affair with Firewind on the side) the boy-slash-girl-slash-awesomeness should not be underestimated.  In a music scene- that is synonymised by a lot of bland and uninspired acts- needs an overhaul: Triaxis deserve wider acclaim and patronage.  Throughout the spring (and summer), the band embarks on more tour dates: taking their new album across the nation.  With their exceptional musicians- who have a clear respect and understanding of one another- and top-notch tunes (that stand up to repeated listens) and you have a bona fide stars.  One of the great things about reviewing- and there are quite a few- is discovering new acts: artists you’d never usually come across.  Zero Hour is an album that shows clear passion- the fact it was funded (by their fans) so quickly shows what faith people have- and dedication: the songwriter is consistently brilliant; the range and diversity is wonderful- there is not a weak link on the disc.  Metal is that black sheep (that always divides opinion): you are either going to be impassioned (to its wonder) or balked by its front (and sheer force of nature swagger).  Being a fan of Painkiller-era Judas’; a follower of Metallica (their self-titled album contains more riffage and tuneage (both, sic.) than any other album.  Triaxis have qualities of both: the instantaneousness and anthems; heritage and authority- few of their Metal contemporaries are as stunning (as them).  If you are a Metal virgin (it is a genre that will take your virginity roughly and with little foreplay) then do not fear: Traixis are a band of the people; they want to draw you in- and keep your attention focused.  Intelligent and nuanced; variegated and epic- the five-piece are stadium-ready stunners (I could see them being a Glastonbury/Isle of Wight fixture years from now).  Victorious is a track (that lives up to its name); make sure you submit to it…

AND discover a band at the peak of their powers.

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________________________________________________________________________________

Follow Triaxis:

Official:

 http://www.triaxis.info/

Facebook:

https://www.facebook.com/Triaxis

Twitter:

https://twitter.com/triaxis

 ______________________________________________________________________________

Music:

http://www.triaxis.info/discography.html

 _____________________________________________________________________________

Video:

http://www.triaxis.info/video-home.html

 

__________________________________________________________________________

Gigs:

http://www.triaxis.info/gigs.html

___________________________________________________________________________

Merchandise:

http://triaxis.bigcartel.com/product/rage-and-retribution

 

Track Review: MUTT- Etching

TRACK REVIEW:

MUTT

 

Etching

9.0/10.0

Etching is available at:

https://soundcloud.com/mutttheband/etching

The band’s E.P. (MUTT) is available at:

http://thebandmutt.bandcamp.com/

TRACK LISTING:

Saplings

Etching

Hammerheart

Silver

RELEASED: 9th^th May, 2015

GENRES: Alternative, Rock, Grunge, Dream-Pop

ORIGIN:

Birmingham, U.K.

Lottie Spencer - Vocals, Guitar (Track 3) Ollie Bennett - Guitar Tom Murray - Drums Liam Nevitt/Bob - Bass (Tracks 1 & 2) Sam Bicknell - Bass (Tracks 3 & 4)

All tracks written by Lottie Spencer and MUTT

All tracks recorded, mixed and mastered by Dave McCabe at Muthers Studio

Cover Artwork by Chris Beckett

Photography by David Buckingham

IT is nice to step away from something ‘predictable’ and…

discover music with a bit of edge- that is unusual and foreign.  The issue of change is large in my thoughts: at the moment, I am going through a lot of it (change); making new plans for life- aiming to be/do something different.  In addition to a job ending (in 6 weeks), I want to relocate (London to begin; further north as the years progress); start doing what I want to do in life- working in music and charity; not sitting at a desk all day.  Change can occur through circumstance; sometimes through luck and misfortune- a lot of time, it happens because of necessity.  It is okay to live a particular way of life: if it makes you miserable, then you need to get out.  From home-life to work: I hate every minute of every day.  That is not a life at all: it is the rock-bottom moment- a serious wake-up call to make change.  (I am doing this) as we speak; but whilst I ‘figure it all out’, music is providing a great distraction/compromise- and allowing me some escapism and inspiration.  Over the past few months, I have assessed some great music: a lot of it can be grouped into the same genres- there seems to be little shock-and-awe.  Whilst my soul belongs to ‘softer’ and tenderer music- Grace and Graceland (with their brotherly love and namesake identities are two of my all-time favourite albums) - my heart (and loins) will always lust for the primal- something that always does something wonderful.  I hope MUTT will not mind (me going off on a tangential direction) but it has struck my mind: what is it about music that makes it so special?  If I had to choose my ‘greatest ever’ albums, I would put The Bends, Grace, Graceland; Superunknown, Rubber Soul and Elephant among them.  In that list- and across my favourite songs- there is diversity and a split: half spirited and soulful; half raw and passionate.  At the moment, I am getting back to Beastie Boys: rediscovering Paul’s Boutique and all its wonders.  Sampling and experimental music is rare these days- perhaps because of the huge license costs of sampling others- and new musicians are on a tight budget.  If your money is low; if you are starting out: what does a new act do (to gain attention)?  MUTT are an act that fulfil all of my points: they experiment with genres and sounds; have a terrific lo-fi sound- whilst mingling impassioned swagger with more introverted moments.  Too many acts (I have reviewed lately) have sounded a little samey: portraying the same sound and themes; not really breaking away from that mould- it is good to hear something a little different.  Lottie Spencer, Ollie Bennett, Liam Nevitt and Tom Murray form the hound’s legs (of the dog’s bollocks).  The canine attack was formatted in 2013: since then, the group have been putting together (their self-titled) E.P. - building a reputation around their native Birmingham.  It is rare to hear bands come out of Birmingham- I have probably reviewed as many in Birmingham, Alabama as I have in the Midlands.  The Midlands have a great music scene, yet the big cities still grab the headlines: London is coming through and stealing a lot of current focus.  Away from the bright lights and capital gains, eyes should be trained further afield- discover musicians doing something great.  MUTT are in their infancy, and are still testing the water: seeing what the future holds; how fans/the press are going to take to them.

When it comes to comparing the band (to other acts) you would be slightly difficult.  A lot of new acts (on the scene) tend to stick to familiar sounds- replicate other bands and lack originality.  MUTT have a great Punk/Alternative sound- you could see them fitting into the scene of 1970s New York (playing CBGB and The Ding Dong Longue (on the Upper West Side).  Saying that, MUTT have some ‘modern vibes’- and sounds of current acts- like Royal Blood and Green Day.  Their raw and sparse production puts me in mind of Pixies and early-day Nirvana- around the time of Bleach.  With Spencer up top, I am put in mind of icons like Patti Smith, Joan Jett and Alison Mosshart- with shades of Debbie Harry in there.  It would be remiss to (say the band is the sum of) their parts, yet you can hear some others: great bands and acts (of past and present) come through in their music.  Defined by tight-knit and enlivened performances, the quartet invoke the spirits of (Punk and Grunge greats); unifying U.S. and U.K. sounds- flavours of London, Birmingham and Manchester into the bargain.  If you are new the band- and most people will be to be fair- you may be a little cautious: am I really going to like them?  What I would say is, that if you are a fan of most genres- and not picky and particular- then investigate MUTT- they do not push away anyone; they make music for the masses.  With a sound made for festivals (and small, sweaty bars) the band have a ubiquitous and mobile sound- I could well see them supporting all manner of other acts.  What impresses me most is the production values: it is lo-fi and raw; live-sounding and primal- whilst having professional and assured qualities.  Sharp and rushing; instant and memorable: the band are not disposable and expendable (instead primed for some long-term regard).  Whether you are a fan of Alternative music- including ‘genre sisters’ Grunge, Hard-Rock and Dream-Pop- or something more Pop-based, you will appreciate MUTT: a group that aim to galvanise and inspire fans; rather than balkanise and divide.

Following on from Sapling’s- the E.P.’s lead-off track- comes Etching: the E.P.’s most direct and memorable offering.  The band is keen to emphasise economy and concision (every track on their E.P. is a one-worded offering).  Starting with a bold and chest-beating introduction, Ethcing gets off to the races: it is a hot and heavy combination; a swaggering mixture of U.S. Punk and Alternative sounds.  Our heroine approaches the mic. with an alluring and pin-pricking vocal: an intoxicating sound that emphasises every word.  With fingers tangled- and souls being plucked- our heroine sounds aghast and angered: there is a sense of urgency and passion to hear delivery.  “My future follows the etching on your back…” sings Spencer: enraptured in her own words, you can hear that urgency and sweat.  The boys in the band make sure (they aid their comrade ably) with a full force of noise: the performances in the early stages perfectly blend Grunge grit with melodic overtones.  Images of future tense (and soul-burning possibility) are enflamed by fuzzed-out guitars; dead-eyed bass drive- rampantly flailing percussion.  In the midst of some loose and swinging moments is plenty of focus- every note is tight and assured.  Mixing the vocal stewardship of Parallel Lines-era Blondie (Spencer has hints of Debbie Harry at her peak); MUTT change through the gears: their passion and performances are unwavering; they never lose pace and power- there is a huge emphasis on the overall sound and sensation.  With some Black Sabbath riffs; Nirvana-esque stab- bonded to Dookie/Minority Green Day- you can hear some familiar sounds- the band update these influences with their own stamp and personality.  The chorus is (perhaps the song’s) most defining stamp: a simple and memorable coda that is built for chants and chorusing- the festival crowds and mosh pit-stalking fans.  Never losing its grip and prowess- the song is a shade under 5 minutes- the band keep Etching mobile and shape-shifting: incorporating different riffs and diversions; the track never seems wayward or overlong.  Each member steps up to the plate: before the 3-minute stage, a fuzzed-out riff starts things; it mutates with bass and percussion- developing into something dangerous and savage.  Our heroine seems malevolent and witch-like: slurring and teasing, the vocals crawl and swagger like a beast (feasting for blood).  Just as you feel like the song is coming to land, the band let loose: the volume rises; the vocal intensifies- the composition hits its peak.  As Etching comes to a close, you get a sense of exhaustion: having wrung the emotions; played with such force and passion- the listener needs a chance to relax/reflect.

A sharp and potent track (from a terrific E.P.) it is great to arrive upon MUTT: a band with a great sense of confidence and authority.  Etching is a song, very much in the mould of Royal Blood: designed to rule the festival scenes; put the authenticity back into music.  With their incredible bond- and expert performances- the song benefits hugely.  The bare and raw production values allow the band to come across as live-sounding- as though you were in the studio with them- which adds to the track.  Too much polish would dent its potential; strip away its true sound- and disvalue the lyrics.  One of the things- the band may want to think about in the future- is decipherability and intelligibility (some of the words and notes get lost in the mix; some of the lyrics are a little hard to fathom).  Spencer is a terrific singer- and one of the best new voices I have heard- who has a unique sense of projection and delivery.  Making sure her words slither and spiral; tease and tense- it is great to hear such a refreshing and urgent voice.  Backing Bennett (on guitar) the duo manages to whip up a storm of strings: fusing genres and emotions, the duo is compelling throughout.  Nevitt’s bass- Sam Bicknell plays bass on Hammerheart and Silver- is direct and driving throughout: guiding the song forward, it is a compelling force.  With Murray providing pummel and (percussive anger) and you have a solid backbone: a drummer who is by no means in the background.  Some minor detractions aside, Etching is a solid track (from a terrific band) and should see them go far- I can see them coming out with future E.P.s (and albums too).

MUTT’s (self-titled debut) is an impressive start: the group has a great deal of potential and class.  Backed by assured (and original) songwriting, the band has a close and gilded bond- every song is defined by a tight and urgent performance.  Most bands- when it comes to their infant days- seem a little nervy and shaky: this is not the case with MUTT.  From the streets of Birmingham, the four-piece have eyes for bigger things: when their name is fully recognized, they have the potential to travel far and wide- across the U.K. and U.S.  With music that is both familiar and different, the group is making a great start- and showcases their full abilities and qualities.  Their E.P. - and its four tracks- covers a lot of ground: various emotions and subjects are touched-upon.  There is not a weak track there; no real need for improvement: what I would say is for the band to look at clarity- a few of the lines and verses seem a little muted/indecipherable (either overcome by the composition are too low in the mix).  It is a minor ‘quibble’ among a sea of plaudits: the group should be very proud.  It would be good to see them expand upon this E.P.: think about taking a mini-tour; working on a new music video- getting their name and image out there.  The group’s E.P. is a four-track collection perfectly arranged/programmed: each track is fairly long; they manage to drop every ounce of possibility from every song.  Saplings is a perfect opener: a vibrant and rollicking track that is kick-ass and vivacious- a brain-rattling testament of MUTT’s ideals.  Hammerheart’s foreboding basslines; its savage attack-and-feast mentality is insatiable- propelled by a vocal that is both shivering and romantic (strangely enough).  Silver sees the band teasing and tempting: a perfect closer (and one of the E.P.’s most compelling tracks).  Never overcrowded or formulaic, the group shifts their sound: tracks modulate emotions and sensations; there is never a dull moment- MUTT is a bitttccchinnn’ (sic.) proposition.  I shall conclude- as I have been rambling on a bit- by looking to their future: just what the rest of the year has in store.  I would suggest the band augment their social media output.  Although it is early days, an official website would be great: it not only gives fans a clearer glimpse into the group- it puts all their information and links into a handy source.  The group has caught the ear of reviewers and the press: it would be awesome to see more interviews and personal information- who influences the group; where they hope to go.  The music speaks volumes, yet it would be good to know (the people behind the music) - get their names out there.  What is most important (I guess) for now, is the music: whether their fledgling offering is worth seeking-out.  The short answer is: hell-yeah!  Whilst not as instantaneous and monolithic (as the likes of Royal Blood and The Ramones for instance) the band are a step above (most of their) peers- more direct and hot-bloodied than most acts out there.  Forged by their close bond- and clear intuition- the four-piece have a definite future: where they go from here is their own choice.  Their self-titled record is a confident slice of music: an E.P. that deserves wider acclaim; gain a big following.  In a time of change- for myself and other musicians- it is great to hear a band with some guts: doing things their own way.  That is something...

EVERYONE should be inspired by.

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________________________________________________________________________________

Follow MUTT:

 

Facebook:

https://www.facebook.com/mutttheband

Twitter:

https://twitter.com/MUTTtheband

 __________________________________________________________________________

Music:

https://soundcloud.com/mutttheband

Track Review: This Modern Hope- Home

TRACK REVIEW:

This Modern Hope

 

Home

9.4/10.0

Home is available at:

https://soundcloud.com/thismodernhope/home

RELEASED: April, 2015

GENRES: Indie, Alternative

COUNTRY OF ORIGIN:

U.K.

BREAKING away- when it comes to releasing solo material …

can be tricky- especially when used to the comforts of a band.  When I first started speaking with Rob Payne- one of This Modern Hope’s heroes- he was part of a stunning band: the mighty (The) Bedroom Hour.  That group- fuelled by their Elbow-Meets-The-London-Streets poetry- struck the public consciousness: their music contained anthemic uplift; stunning performances- tender emotions into the mix.  Describing them in the past tense is quite tough: they were among my favourite acts (of the last few years).  With consistently tight-knit performances- leveed to songwriting that surpassed their peers- it seemed they had an enormous future- king of the festival circuit, no less.  Unfortunately- and it is the way of music- the band called it quits: decided to part company and go off (on their own).  Whether creative differences- or the pressures of financing their own music- The Bedroom Hour are no more.  Mr. Payne now steps away from the band: This Modern Hope is his latest incarnation.  With a moniker that is appropriately apt- the music already produced is capable of uniting festival crowds (and exciting critics far and wide).  A stunning group- with a clear direction and confidence- that is sure to go a long way: there is a definitely a gap for them in (this rather busy) market.  I shall circle back to the band, but for now, there is a point to raise: the life of the new band.  I have seen (too many) acts capitulate and collapse: the strains of gaining a foothold should not be underestimated.  Some terrific acts- from The Bedroom Hour to Crystal Seagulls- have departed.  It is hard to pinpoint a reason- as to why this is happening- and look at a solution.  I guess there will always be creative differences- for bands that are together for a while.  Personalities (and differing opinions) get in the way; the members have different ideals- invariably this can lead to break-up.  Finance is another issue: the cost of funding a music career can be astronomical.  It is always heartbreaking- when looking at great bands call it quits- and something that is happening quite a lot- the best bands survive (sometimes it seems) by sheer luck.  It sounds rather cynical, yet music is a lottery: sometimes the best do not survive; some need a lot of luck.  When it comes to music- and the band market in particular- the current crop is (largely) male-led: the sounds being put out can be quite similar.  If you look at the mainstream- and the bands currently working away- and you will find similarities: few established acts really stand out clearly.  There is a hell of a lot of Indie acts; some interesting Rock acts- artists with Electro.-Pop avenues.  The music’s best and brightest (bands) are well-established and veterans- having been on the scene for quite a few years- and there are few (truly unique) new (mainstream) artists.  To my mind- and not that I am an expert- the solo artists (of the mainstream) are impressing the most- and providing the most fascinating new releases.  The artists of the underground are always more tanitlising: there seems to be greater invention and diversity; better mobility and passion.  This Modern Hope have a certain something about them: they employ shades of (established acts) whilst retaining a clear personality- their music is very much inspired by their own lives/experiences.  Having crafted a number of tracks- the band are in their infancy still- there is a lot of promise: a new album is in the works; it is only a matter of time before good things shape up.  Payne is no stranger to great reviews: as part of The Bedroom Hour, critics salivated (when it came to their songs and records).  A stunning and original guitarist, his talents resonated with me: he brings his charm, intelligence and talents to This Modern Hope- a three-worded band to rival the best of them.

Tear Me Down- one of This Modern Hope’s new works- is orchestral and sweeping: the introduction has grandeur and passion; plenty of chilling emotion.  Lush and proud, bracing and embracing, there are shades of Elbow-meets-Oasis.  With his voice showcasing parts (of Noel Gallagher’s) northern burr, Payne has hints of (the Oasis front-man’s) voice- whilst injecting plenty of his own passion and personality.  Building from a stunning- and richly symphonic- introduction, the track never lets go: tender vocals meet with southern pride- there is a love story on the rocks.  Our hero (looks back at) mistakes and errors: he is letting his heart pour out.  Yearning for his love- a sweetheart he is pining for- it seems (that she) completes him.  It is a short and sweet song (that lingers long in the imagination).  By contrast- and a track that is only five days old- FlashBack is more intimate and soft.  Washes of Folk beauty overcome (the listener); legends like Nick Drake and Neil Young (can be detected at times) - it is a song that looks at hazy memories; a romance that is blossoming.  With spring vibes- the warmth and tenderness of the finger-picking- and winter chill- the affecting and romantic lyrics- there is plenty to admire.  The song’s lyrics look at remembrance and recollection: our hero never wants (to let go of his girl); their romance is just beginning- the sighed and haunting backing vocals add shivers to the lyrics.  Pastoral acoustic guitar- tied with direct and impassioned vocals- give the track a consistent momentum- it is a track that counterbalances the force and rush of Tear Me Down.  Having a trio of tracks in the bag- and these being the embryonic steps of This Modern Hope- it is hard to compare and examine- these are the raw and early steps; the first chance to witness the band.  In terms of quality, you cannot hint at any criticisms: the tracks are both different and stunning; each has their own idea and voice- both will demand the listener to repeat (until the full majesty and force comes to the fore).  Slow-burning- yet immediate and instant- the songs are fully-rounded and professional.  Payne knows his way around a great song- having been in the forefront of the Bedroom Hour mix- and it shows here: the singer/guitarist turns in a duo of terrific efforts.  Stepping away from his band work- whilst keeping some of The Bedroom Hour’s lovelorn-cum-hopeful strength in tact- Payne has crafted something quite special.  Home sits into the fold seamlessly: different from FlashBack and Tear Me Down- it is a track that is a natural playmate- and something distinctly wonderful.

When Home begins, so do the shivers: the introduction builds and swells (much like Tear Me Down).  Walls are closing in; our man is starting to feel a strain- he has to get away from (this place).  With his voice fully in command- both aching and controlled- the initial moments are affecting and urgent.  After that graceful introduction- which is a mini-opera in itself- there is no rush and over-insistence (Payne makes sure he lets the song breath and expand naturally).  Taking his “last-ever gasp”, our hero seems disaffected and in turmoil: looking to escape from here, he wants to start again.  It is his pride- in his own words- that carries him home.  When it comes to (these initial moments), Payne is in reflective mood: his words are those everyone can relate to.  What is terrific about the track- among other things it has to be said- is the composition.   Not your usual throw-something-vague-into-the-mix-and-hope-for-the-best, Payne takes care and consideration- the notes and beats are disseminated to eek the maximum emotional pay-off.  Not overly-earnest and forceful, there is a naturalness and intuition: a man who is used to crafting top-notch tracks; someone with experience in these matters.  There are no nerves or unsure utterances: everything on display is delivered with the utmost conviction and passion.  Those Noel Gallagher comparisons made start to come in: at times Payne sounds like Gallagher (circa. What’s The Story (Morning Glory)?).  That- mixed with a bit of Elbow’s early work- and you have something that is at once familiar (in a good way) and original.  Being influenced by the northern masters- Elbow and Oasis- and employing tales of his current (being based around the outskirts of London) there is a great coming-together- the sounds of the north with the stories of the south.  Too many bands- and solo acts, in fact- come across as boring and underwhelming.  Through a song- that is not your workaday explosion of guitars and histrionics- and you get a stunning piece.  Able to draw in their listener- by the power and pride of the words; the grip and potency of the composition- and you are hooked.  The story at work- our hero and his girl- with its romance and yearning; it is something we can all relate to- a familiar tale.  The way the words are employed- and the choice of words to begin with- is original and memorable.  You can build images and possibilities; picture the scenes as they unfold- become involved with every note and line.  Kudos must go to the composition itself: a soundscape that is never-ending in its potential.  A man (and band) that looks out for the affected- and represents their struggle- Home is a song for the every-man: a tale that is designed to unite (and inspire the listener).  Backed by exceptional production values- that allow the vocal to sit up top; whilst letting the composition chance to breathe and affect- the track is crystal-clear and unfettered- as natural and open as any I have heard.  Shimmering and anthemic, here is a song for the masses: something (maybe consciously) designed for the crowds- to my mind it would be the perfect album opener (if Payne is looking at track listing; which track fits where).  If you are looking for a new song (and a great new band), you should definitely begin here.

There are a lot of Indie/Alternative acts kicking about: a lot of my reviews tend to feature quite same-same bands.  The band market itself is synonymous with (these particular genres) and it can be hard distinguishing the very best (from the distinctly average).   For every Elbow you get a lot of arse- I can tell the difference between the two.  The former- and why that act are lauded and celebrated- comes down to three things: stunning and everyman lyrics (Guy Garvey is a master of the suburban lovelorn); tremendous consistency (the band craft stunning albums without losing their stride) and flexibility- Elbow started to write ‘happier’ songs when Garvey confessed he was “too happy” to write (woe-is-me tales of disconnectedness).  Bad/average bands do not abide by (these rules): they are placid and flaccid; immobile and generic- crafting the most beige and aimless of songs.  This Modern Hope are inspired by (in their own words) “bravado, passion and carelessness”.  It is these ingredients of grit, youthfulness and uplift that make the music what it is: sounds of the public; songs that resonate with everyone; truly memorable tales.  Knowing Payne- and his talents as a songwriter- it is clear (when a debut album drops) there will be plenty of range and colour- lots of diversions and side-streets; songbooks crammed with fascinating themes and dreams.  Home is just the start of things.  In spite of the tried-and-tested title (it is one of the most common song/album titles of all-time) there is nothing ordinary at work here: the track is at once personal and comforting; it is exhilarating and fresh- like nothing I have heard lately.  Excelsior to his music and dreams: let us hope the band take off; get the recognition truly deserved.  This Modern Hope plan on dropping an album: through crowd-funding and sourcing, there will be a chance (for the public to make it a reality).  If you do see that notification- I will be sure to share it around social media- make sure you donate- and get on the ground floor of an awesome endeavor.  Home is where the heart is; FlashBack and Tear Me Down are free to investigate- make sure you head on over (to the SoundCloud page for the band).  I will leave this review- relived, I am sure many of you are- with a brief note: concerning new acts.  The promotion/publicity circuit is brutal and exhausting: getting your name recongised/augmented can be a grueling reality- something that leads to heartache and anxiety.  Even the greatest acts struggle to get acclaim and attention- finding public ears disgracefully ill-informed.  Not to dampen This Modern Hope- and this point is meant to inspire them- but it is worth sticking with- great music deserves greater exposure and acclaim.  What with there being (a huge mass of music) on the market; it can be hard discovering the best out there- wading through oceans of sounds can be a head-spinning experience.  If you are looking for some great new acts- artists that are worth repeated patronage- then This Modern Hope should be included (in your regular rotation).  The talent and originality is all there; the ambition is clearly formed- the urgency and passion all in place.  Take some time out and jump into something new: an act with clear potential and aims for the future.  When an album does arrive- whether it is this year (or next) - it will be fascinating to behold: see what This Modern Hope is all about.  With a trio of songs on the market, the initial signs are deeply impressive- plenty to suggest long-term regard.  Sit back; listen to the tunes- let your imagination swim.  Mr. Payne (and his act) is going to be around for a while- the debut album is starting to take shape.  When it is released, I am confident bigger things will arrive: festival dates, great gigs; terrific music and good times.  When it all comes down to it…

THAT will be something to look forward to.

[soundcloud url="https://api.soundcloud.com/tracks/201727191" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow This Modern Hope:

 

Offcial:

                http://www.thismodernhope.com/

Twitter:

https://twitter.com/thismodernhope

Facebook:

https://www.facebook.com/ThisModernHopeMusic/info?tab=page_info

YouTube:

https://www.youtube.com/channel/UCoezfwi011FeoW9kzzAqDaA

SoundCloud:

https://soundcloud.com/thismodernhope/home

Instagram:

https://instagram.com/thismodernhope/

Google+:

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A Time for Change: Nobody Excluded

A Time for Change:

 

Nobody Excluded.

AS I get closer to another birthday (and an opportunity to feel bad…

about aging)- I have had time to reflect (and think ahead).  With The Single Voice (my charity idea) still pending- I am patiently waiting for Google to pen a reply; I will keep on them until they do- I have been looking around- seeing dislocation and heartache.  With an election coming up- I will be glad when it’s over so it isn't mentioned every few seconds- there is a time to affect change: elect a government that can make a difference.   In as much as that is the ‘aim’, I know the likely result: David Cameron will still be in No. 10 (when the results are announced).  I am glad (I live in a country) where I am not homeless: I have a lifestyle that is (whilst not comfortable) is certainly not desperate- I have a roof under my head.  It is great we have a national health service- a free health system for our citizens.  I wonder- with regards that last point- how long?

My main passion- when it comes to election promises/things this country needs- is our N.H.S.  If it were to be privatised, it would mean disaster: so many people would be excluded; many more would not be able to afford (to visit hospital; they would be selective about when they attend).  We have women’s rights- to a small extend- and something needs to be done: in 2015, we face (an almost Stone Age) system- where there a pay disparity; the rights of men supersede (that of women).  Mental health- and the stigma surrounding it- gets short shrift: no major party is pledging time/money into any real change (with regards this issue).  These are not just issues that matter to me: these are concerns we ALL share.  I am aware a government cannot address every concern: with a limit budget- and the country become overcrowded and overpopulated at a disturbing rate- we cannot all blame our current administration.  With the ‘average family’ growing- people selfishly shoving new life (into a small nation) with little concern for the future- you have to blame the public (to an extent).  It seems that something needs to be done: a new movement; something that can make (some small changes) - gain influence in years to come.

When Sandi Toksvig (help to found) Women’s Equality Party, I was relieved: someone (a group of women in fact) doing something great- forming a party that fights for a great cause.  In this day and age- where there is discrimination, racism and inequality at a socking rate- it is great to see (the issue of women’s inequality) addressed.  The party is in its infancy; it has the potential to affect some real change: the party wants to bring men into the fold; make it a non-exclusionary body- and get everyone working together.  Whether the party will ever gain seats in the Houses of Commons if to be seen- it seems very likely they can achieve this.  I have been thinking about something (along these lines) lately: trying to put something together; a body or movement that speaks to the minorities- addresses subjects/issues (the big parties overlook).  As I said a bit earlier: it is impossible to address every issue and problem.  There is plenty of room for (someone/something to come along) and challenge the established order: shake things up for the good; fill the gaps left by the main three parties.

Whether it will be a political party- starting small and getting people talking- or something else, I have been thinking hard: I want to start an organization that looks at mental health; aims for equality; puts money where it is needed- works at improving the plight of our musicians and talent; proffers charities and charitable organization.  Not just a niche party/body, it is a chance to answer some outcry: I know many people- who are voting and going to the polls- that want (a party or voice) that addresses THEIR concerns.  Part of the (thing with) The Single Voice, was to get charities augmented: have hundreds of causes- both local and worldwide- funded and highlighted- get people working in the community; inspiring others to go out and make a difference.  Whether it comes to fruition- and all the time I can walk and type it will- it will take some time to develop: seducing a beast like Google is going to take a lot of persuading/stalking.  In the meantime/in tandem, there is an opportunity (to unite people and get them involved): form a movement that listens to people- and formulates policies THEY suggest (not just sticking to a rigid party-formed agenda).

With Twitter and Facebook- being the oligarchs of social media- the pockets (of Zuckerberg) are getting wider; the bank balance is looking healthy.  I cannot critisise Facebook (too much) as I use it- and consider it a valuable tool and forum.  The thing is this: where is all the money (being raised through advertising) being spent?  In addition- to more pool tables being fitted at Facebook H.Q. - you have to wonder: that money is not going into improving the site.  In all the years Facebook has existed- however long it is now- there have been very minor changes (it has been redesigned and tweaked; some weird features- ‘poke’ for instance- have been removed).  When it comes to meaningful changes- harnessing a huge multi-million social media platform- there have been opportunities begging: get the young involved in politics; use the site to address social issues- add something meaningful to Facebook.  I love the fact I can post anything- usually inane shit and vague moaning- onto the site- as few people will listen to that kind of rubbish in the flesh.  I love the fact I can share music; promote musicians- and charities too- and ‘make a difference’- there is a chance to do so much more.

My mind/opinion is divided 50/50: between forming a ‘new’ social media/improved site; putting together a (minor) political party- each to be based in- and run out of- London.  The U.S. dominates the social media market- the richest and most influential people originate from here- and the most ‘charitable celebrities’ (by-and-large) are American.  This struck my mind hard: let’s get the U.K. back into the limelight (it was British man who invented the Internet (and the computer), remember.  What I want to do is create a platform that keeps the best features of Twitter/Facebook- the easy communication; simplicity of promoting/sharing important information- and take that further.  In addition to the ‘social’ side of things, the site would be divided into sections: health and charity; travel; music; film, T.V. and comedy; education etc. - it would read like a party manifesto.  With an eye-catching homepage- and making it easy to join/take part- the site aims to educate and motivate: get people in touch with the world; get them involved with charity; give the less well-of a chance to see the world- without being stuck in front of a screen.  Many musicians- and new acts coming through- feel the financial pinch: their music ambitions are turning into a nightmare; they struggle to make a living.  The site would aim to raise money- through huge sites like Google- and raiser funds for musicians; promote them effectively- in addition to making it easier to share/find great new music.  I will publish a full-length blog soon, yet an opportunity is out there: a way of creating something- almost political in nature- that not only can appeal to the Social Media Generation- it has a chance to make changes; speak to the minorities.

My idea- The Single Voice- is bubbling and boiling; my (much-storied/promised) concert will take place: these ideas take money and others.  When I can acquire the necessary funds/people- those ideas will be created.  I was wondering what people thought: would you buy into this idea?  If a site- or party indeed- were created (that made social media more relevant/much-improved) would people use it?  I am not trying to encourage people to use their laptops/P.C.s MORE- simply divide their time (between Facebook/Twitter and this site).  There are lot of different sites- that concentrate on music, politics, charity and so forth- yet none that unites them all- and puts them all under one roof.  A site/concept that would respond to feedback- and address the needs of all- it would be an online party, no less (a political movement online).

If I were to whip up a ‘manifesto’ would you vote (for me)?  Whereas the charity idea is reliant on Google- them fellas better come through- this is less dependent: it can work without their input/need.  Let me know what you think; if you have any ideas for the site- I want to get this put together (to help make some real changes).  Later today I will be starting an online petition; getting something put together- I am always looking to make change.  I know many of you are, too.  This is a chance to do something (about the issues we all face).

Remember to vote (on Thursday): let your voice be heard.  Whoever is P.M. on Thursday (hopefully not Mr. C.), there will be questions unanswered; gaps left gaping- holes that need to be filed.  When it comes down to it…

WE can help to fill them.

Q. and A.: New Musicians in 2015

Q. and A.:

New Musicians in 2015.

 _______________________________________________________________________________

As we head through 2015; I have been catching up (with some of my favourite music acts): keen to probe and uncover, I ask them about their influences and ambitions- and what music means to them...

_______________________________________________________________________________

The Questions…

1. What have been the highlights of your music career? Which memories stick out to you?
2. If you had to choose your favourite album and song what would they be (and why?)
3. If you could choose your major influences- with regards past music and present- who would you select?
4. You have had a lot of people supporting you- fans from around the world (willing you on). What would you say to them?
5. What do the coming months hold for you? What plans are ahead?
6. Finally, and in a sentence: What does music mean to you? How important is it in your life?

The Acts…

The Updraft Imperative

1. Josh: Personally, I was in Nepal in 2011 and performed as part of an outdoor concert to about 8-10,000 local Nepali people - not knowing what to make of it all. It was pretty awesome! As part of The Updraft Imperative, the last year has been a constant buzz. Really not knowing from one day to the next what exciting news might pop up. A couple of specifics… Just after Di started do some promotion work for us, we were reviewed by a guy we didn’t know (you might know him) and he gave us a great review. Something none of us really expected. I felt like that gave me confirmation that we were on the right track with our music. The other was getting to no.1 on the Sunset Island Music world unsigned band chart. I don’t even know if that’s a big deal or not, but it certainly felt like it! Murray: One of the major highlights would be recording our 1st studio album! It was awesome to take 10 songs, pull them apart, record & layer and do everything else to them, and then listen and share the finished product with the world!! Another was when a group of friends I was in a band with toured around Australia over the course of 2 weeks! Some of the venues we played at were amazing, like an old WWII hanger in the middle of no-where, and in someone's underground house in an outback mining town. Plenty of others but those 'stick out'. Pete: Probably not one single moment that sticks out. Recording for the first time was a memorable experience - as is the international attention our band is getting.

2. Josh: I think I have to say a self-titled album from ‘Downhere’. A somewhat well known Christian band. I wouldn’t say it was because of music genius. Although I think I appreciate their creativity and great voices. But more than that, I was listening to that album in a time of my life that was somewhat tumultuous, and so, it’s harbours memories of comfort. One song off that album called ‘Calmer of the Storm’ was/is a reminder to me that God is in control. Murray: MAN!!!! How hard's this question....ummmmm 'White Rice' by Magdalen off the album 'Revolutions'. It was my first foray into to the world of heavy groove/funk, and with Ken Tamplin shredding his way all over the place, it is my go-to song if I want to get amped!! Album? Well I would have to say 'Grace' by Jeff Buckley. An open, honest, raw yet intensely emotional album. The dynamics across the album are ridiculous, from his haunting gothic rework of an Elizabethan poem, to a no-holes-bared drop-D scream-fest!! Of course that's to go with the hundreds of my other 'favourites'. Pete: This is a hard one! Currently I'll say my favourite album is Asgeir's "In the silence" because just about every song is a winner. If I had to pick one, it would probably be "King and Cross" though.

3. Josh: Here’s a few….Abba, Petra, Queen, Rob Thomas, Josh Groban, Jason Mraz, Downhere, Jeff Buckley. Murray: Early would be Cat Stevens, Bread, America, Michael Card, Petra, Russ Taff (appearing also with The Imperials), and Barry Manilow (if I were to be completely honest). Later would come the likes of Led Zeppelin, Bach, Red Hot Chilli Peppers, Jeff Buckley, Jeff Beck, RATM. Pete: Argh! Right... RATM, Chilli Peppers, P.O.D., Daft punk, Asgeir, DC Talk... the list goes on!

4. One massive, sincere and heartfelt THANK YOU! Thanks for your best wishes, your messages, your interactions, your support for our music and album, and belief in what we are doing as band members and artists. We spend time constructing songs so that others may hear and enjoy them, and when that happens, it's a truly fulfilling and humbling experience. We are so fortunate to have some great people that support us and our music. We would also say don't be backwards in coming forwards. We know we only know a small percentage of you all, so we would love you to make yourself known. Send us a message and engage with us and we will do our best to be equally engaging with you!

5. Coming months… Murray, his wife and 4 kids, are currently relocating to a new property. It's on a big spread of land, and it also has a great space for him to set his studio up in again. Some song writing there with Pete and Josh is on the cards , as well as support band for a tour that helps fight human trafficking, a few other gigs and recording new music. We're all very much looking forward to mashing some tunes out in the studio again!! (and as everyone else forgot to mention, I'll point out that their 'hardworking, dedicated, loyal' promo manager is travelling half way round the world to see them next year and promote a 'new recording'! - Di x
6. Josh: Music is a part of life and I love so many aspects of it. It’s an encouragement, a release, a way to the soul, a joy, an excuse to dance, and a way of expression. What a gift! Murray: Music, I believe, is a gift from God. As I am able (to the best of my ability) to write songs I know it's especially important that others hear these songs and that their live's would be the better for hearing!! Pete: Music is a form of expression - a language that communicates the messages of the heart, regardless of your native tongue.

Follow The Updraft Imperative:

Official:

http://www.theupdraftimperative.com/

Facebook:

https://www.facebook.com/theupdraftimperative?fref=ts

Twitter:

https://twitter.com/TUI_Official

[youtube https://www.youtube.com/watch?v=9_sT5vsePLI&w=560&h=315]

Allusondrugs

1. There's been a few, mostly some of the awesome gigs and tours we've been able to do. Over past year we've had the opportunity to play at Leeds and Reading Festival and do tours with Enter Shikari, Marmozets and Lonely The Brave. It's all very awesome.

2. Faaaaar too many to choose from. You should definitely check out All The Best Tapes' album RIGHT NOW! I don't want to tell you what to do, but you're doing yourself a massive injustice if you don't listen to some All The Best Tapes before you float away into the great abyss. Here is a great track from the album: https://www.youtube.com/watch?v=ABQz3k1au64 Here is the album: https://fxdrecords.bandcamp.com/album/all-the-best-tapes Here is their Facebook page: https://www.facebook.com/allthebesttapes

GO!!!

3. Again, far too much music to mention. We're all Deftones fans...

4. Be nice to each other so we can carry on loving you.

5. Lot's of gigs! This year we get to play some ace festivals like Great Escape, Download, Long Division, NASS and Y-Not. There's going to be some new music coming out soon too, WATCH THIS SPACE!

6. Music is the glue that binds us, Confucius once said, "If one should desire to know whether a kingdom is well-governed, if its morals are good or bad, the quality of its music will furnish the answer"

 Follow Allusondrugs:

Official:

http://www.allusondrugs.com/

Facebook:

https://www.facebook.com/Allusondrugs?fref=ts&ref=br_tf

Twitter:

https://twitter.com/allusondrugs

[youtube https://www.youtube.com/watch?v=fSJ7Zvo54_U&w=560&h=315]

Nina Schofield

 

1. So many fun things stick out! I feel lucky to say that – playing at packed festivals, releasing my last single ‘Over it Under it’ and getting such a great response on the radio and online. Having the song I wrote with Aurosonic (“Lift You Up”) played by Armin Van Buuren on his radio show…Being nominated for Best Female Vocal at The HMMA’s and Best Female Artist at the BOB Awards and so many other things. And I hope the best is yet to come..

2. My favourite album is without a doubt A Rush of Blood to The Head by Coldplay – I’m going to make it easy on myself and choose my favourite song from that album too which is God Put A Smile Upon My Face. Every song on that album takes me somewhere – I think that’s the sign of amazing music – I don’t even have to listen to the lyrics and I can feel the energy and passion behind the music. It’s inspiring!

3. Coldplay (!) Imogen Heap Michael Jackson Ocean Lab Taylor Swift Ellie Goulding There’s so many more, but we’d be here forever!

4. Thank you, and bear with me! I’m working hard behind the scenes to get everything as perfect as it can be for my next release and I’m grateful for everyone sticking with me so far. I can’t wait to get new music to everyone! I appreciate every tweet, message, instagram like…everything I get is noticed and appreciated. I hope my fans can see me as a friend too!

5.  The coming months are full of studio sessions for my own releases as well as for some records I’m featuring on which I’m really excited about! I’m hard at work on some other artists’ projects too which is great fun. I’m in the middle of planning my next trip out to L.A. and organising everything for my next release. I’ll be playing a free show at The Bedford in London on 2nd June for anyone who fancies hearing a sneak peek of my new tunes before their release!

6. Music is my motivation, my passion and my future; it connects everything I love in a special way

Follow Nina Schofield:

Official:

http://www.ninaschofield.com/

Facebook:

https://www.facebook.com/ninaschofieldmusic?fref=ts

Twitter:

https://twitter.com/nina_schofield

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

Los & The Deadlines

1. It's always hard to pick specific highlights, but I'd have to say going into the studio to record is always a very exciting time. Bringing in the songs you've worked at for so long, to hear them slowly come together track by track in the studio is an amazing feeling. Another highlight (more of a funny one) would be when we played a set at The Islington.. our song 'Standing In The Bank' is usually the ending of our set, a big wall of noise and sound where we all go crazy. After the song finished the sound engineer ran on the stage and frantically started checking the mics and equipment on stage, upon realising nothing was broken by our antics he turned around and said "wow.. you guys trashed the stage in the most professional way!".
2. At this very moment I would say Led Zeppelin IV - When The Levee Breaks (although that answer might be different tomorrow).. It's got it all, massive drums, hypnotic larger-than-life guitar riffs, a tasty harp-solo.. from the moment Bonham starts the intro it just commands your attention.
3. Queens of the Stone Age, Primus, Battles, The Mars Volta, De Staat, Soundgarden, Frank Zappa and many, many more..
4. Avoiding the expected soppy thank-yous.. we obviously are grateful for every single person that has supported us in any shape or form over the years.. the main thing we'd say is: we hope to play a show near you as soon as possible!
5. The coming months will be mainly centered around the release of the new 'Perfect Holiday' E.P. and promoting the hell out of it so as many people as possible get to hear it. Besides that the usual band-life continues, so more shows, much more writing and a healthy dose of band-banter.
6. Music is the noise that connects us all.

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[youtube https://www.youtube.com/watch?v=VpuyKBL4Z6k&w=560&h=315]

Universal Thee

1. (Robin):The highlight so far has been the recent recording session that we've done. I really feel we've stepped it up to a whole new level. Last year I really enjoyed playing on the main stage at the audio soup festival. It's the loudest I've ever played through an amp and it was exciting to play on a huge stage.

2. My favorite album changes all the time. I am currently listening to a guided by voices album I created from all there mini albums, E.P.s (and B-Sides) during their first classic line up era. Bossanova by the Pixies. I hadn't listened to this for ages but have recently gone back to it. I'll always be a big Beatles and Nirvana fan as that's what I spent my youth listening too. Really love Big Star. Favorite song ever? Probably I See A Darkness by Bonnie Prince Billy

3.Biggest influences for me: Pixies, Big Star, Weezer; My Bloody Valentine, The Nerves, The Byrds; Gram Parsons, Teenage Fanclub, Jesus Lizard; early Metallica/Megadeth, Flaming Lips, Blur, Everly Brothers- Interpol's first album (Wire); early Dinosaur Jr,; Part Chimp, Mink Stoles.  Recently I like First Aid Kit. I liked person Pitch by Panda Bear and the first couple of Perfume Genius albums- particularly Mr. Peterson

4. I would like to say thanks to all our fans around the world. Your support is really appreciated and I hope you like the new album when it comes out.

5. We've recorded about half of the next album so will spend the next few months writing and recording the second half. We are playing at a few festivals this summer.

6. Music means everything to me and is mostly what I think about in my head. I love playing and writing. Highlight so far has been the recent recording session that we've done. I really feel we've stepped it up to a whole new level. Last year I really enjoyed playing on the main stage at the audio soup festival. It's the loudest I've ever played through an amp. and it was exciting to play on a huge stage.

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SoundCloud:

https://soundcloud.com/universal-thee

[youtube https://www.youtube.com/watch?v=sjUzaqV8iyw&w=560&h=315]

Jen Armstrong

1. Winning the Make It Break It Award at LIPA when I was 16. That kind of kicked it all off for me! It was a great start to my career. I also loved opening for Nerina Pallot at Shepherds Bush Empire, and for Billy Ocean and The Proclaimers at a local festival.

2. I guess it has to be Ben Folds, Rocking The Suburbs. I could listen to it all day, every day. He’s one of my favourite, if not my favourite, artists. There are a handful of other albums and artists that mean a great deal to me too though.. picking one is too hard! Same goes with the song. I hold certain songs very close to my heart for different reasons. Love Song by Sara Bareilles, such a strong solid piano driven pop song that, again, I could listen to over and over and over. Video Killed The Radio Star- not only an amazing pop song, but so iconic and has itself lodged firmly as an important piece of pop music culture. Apres Un Reve, Faure. There are just too many. I could give you 100 of ‘my favourite songs that I couldn’t live without.’

3. Classical music. Various composers. I grew up with it, I played it, I listened to it, it was my life from 7-18 years old. It had a tremendous impact on who I am today as a musician, performer and writer. Hanson were the band who got me and my sister inspired to write music ourselves and form our own sibling band! I played the drums! Because of Hanson! And then bands like Savage Garden, Muse, Orson, The Feeling, Ben Folds Five.. massively influential bands for me as a teenager. Now? I’ll be honest, I need to expand my musical library. But Ben Folds, Gavin Degraw, Sara Bareilles.. massive inspirations. And people like Adele, Jessie J, Ed Sheeran - English folk putting an almighty stamp on the world with their music, wow I absolutely aspire to, and am inspired by that.

4. Thank you for believing in me. Every year that passes, I find myself faltering and questioning myself a little more. Without you, I would have given up a long time ago.

5. I’m in the States until August. Trying to ‘make it.’ My future plans all ride on the next 3 months.

6. I’m in a strange place right now. Music is my life. Always has been. But taking something so beautiful and forcing it in to a means of making money and creating fame, absolutely tarnishes the magic. Part of me wishes I had never embarked on this journey, and I had kept music as something special that I could run to when the world was closing in on me. It was my recess. It was my escape. It made me feel better. More and more it becomes the reason I can’t sleep at night. The reason I now question my life and my choices. I’m not blaming music, of course, music is wonderful. And it is so sad that I may have turned the music, the magic, in to a catalyst toward my self destruction.

Follow Jen Armstrong:

Official:

http://www.jenarmstrong.tv/official/Home.html

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https://twitter.com/jamusicuk

[youtube https://www.youtube.com/watch?v=mMN5nPjslpw&w=560&h=315]

Ellene Masri

1. Memories is what I hope to give people. I’m looking ahead for greater things and constantly trying to improve myself!

2. Rapture (Anita Baker) produced by Dean Gant (A.k.A. Sir Gant). The arrangements are wonderful and the musicians are some of my all-time favorite. (The late) Ricky Lawson on drums, Freddie Washington on bass, Paulinho Da Costa on percussion and of course Sir. Gant on keys. Song:  The Secret Life of Plants (Stevie Wonder)

3. Bob Marley, Stevie Wonder, Richard Bona, George Benson, the stunning India Arie... there are so many (artists I love).

4. Thank You. I Love You!
5. We shot a live video performance last Sunday in Los Angeles with Sir. Gant as the musical director, the Legendary Bennie Maupin on Saxophone, the coolest drummer Michael White; James Manning on Bass, David Leach on percussion (and myself on vocals and guitar). Its editing is in process. We have upcoming shows in Europe and the Middle East.

6. Music is my way of expression. Being able to express yourself as thoroughly as possible is a necessity in life

Follow Ellene Masri:

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http://www.ellenemasri.com/

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[youtube https://www.youtube.com/watch?v=OR_VFMGSlt0&w=420&h=315]

Track Review: The Bandicoots- Mind Your Manors

TRACK REVIEW:

The Bandicoots

 

Mind Your Manors

9.2/10.0

 

Mind Your Manors is available at:

https://soundcloud.com/thebandicoots/mind-your-manors/

RELEASED: 25^th March, 2015

GENRES: Rock

COUNTRY OF ORIGIN:

Canada

 

The E.P. This Is Why We Can’t Have Nice Things is available at:

https://soundcloud.com/thebandicoots/sets/this-is-why-we-cant-have-nice

I’M going to embrace my inner naivety; accept that …

I am just ‘well known’ among the streets of Hamilton, Ontario.  Every other day, I receive a new email: usually from an Ontarian band; proffering the same sort of music- I wonder why this is.  Not wanting to think the worse- that a huge record label is just sending (slightly edited) spam emails to me- I think it is just ‘luck’- maybe a previous review (being published by a fellow Canadian) has caught the imagination.  Regardless, this will be the last Ontario/Canadian review (for a long time): there comes a time when you have to employ some rationale- concentrate on homegrown bands; focus on diversity and difference.  Canadian music has always struck my ear- with its energy and sense of innovation- yet there has been some stagnation: the masses (that get in touch from Ontario) have started to clump and blend (into one).  Being slightly world-weary, I was surprised to come across The Bandicoots: a band that has that distinct edge; are a cut above the similar-sounding conveyor belts (of bands I have been receiving mail from).  As I train my mind back to London- and help some of my favourite U.K. acts get some recognition- I can at least (bid Canada farewell) with a lighter heart- relieved there is a positive (end) note.  Hamilton is a gorgeous city: an area with ethnic diversity (a lot of English live in this locality); wonderful cityscapes; stunning views- a wonderfully thriving economy.  It seems the citizens are not police-orientated- the amount of police-levelled hate crimes is pretty high- but you cannot fault the place: it is one of the most evocative and stunning areas of Canada (check out: http://en.wikipedia.org/wiki/Hamilton,_Ontario).  The likes of Caribou (and Nicole Appleton) call Hamilton home:  the port city is a safe haven for many musicians.  In terms of new music, there is activity a-plenty: many of Canada’s finest new acts are plying their trade in Hamilton.  The Bandicoots are one of the best (the city) has to offer: a hungry act who are aiming big.  With their latest E.P. - This Is Why We Can’t Have Nice Things- being dropped; it seems they are on the rise: early reviews have been glowing and positive.  Before I come back to the band (and Hamilton indeed) it seems pertinent to raise one issue: the plight of new musicians in this country (the U.K.).  I know a lot of great musicians- across twitter and Facebook- who are in real trouble: their finances are dwindling; their fate is waning.  I feel real sympathy and heartache: so many great acts are struggling; it is one of the saddest parts of music.  This country is producing a heap of new musicians: by the week, we are seeing clans of new bands/acts/artists- they are cramming into a small isle.  For the ‘established’ acts, what are they to do?  Many musicians (that I know) are finding life difficult: trying to get their voices heard is a real struggle- it is a sad sign of the times.  I hope something can be done: finding a way of gifting every musician an equal voice.  Maybe it is overly-optimistic; it seems fair the best should get (their fair) shout: have their music proffered and promoted (and witnessed by as many people as possible).  I’m not too sure with regards Canada: whether musicians there have that same struggle; have the same issues?  Canada has a population of (fewer than) 36 million- some 27 million fewer than the U.K.  The country (Canada) has a 50/50 split- of men and women- with their nation, wide and wonderful- a lot of open space and room.  It seems things are more ‘cramped’ here: the big cities and towns are compacted and suffocated.  Aside from moving to Canada- a drastic ‘Plan B’ potential- what are we to do?  It seems Canadian music is ripe and receptive: the new acts coming out are less stressed and angst-ridden; have a slightly ‘easier’ time of things.  That said; the possibilities (and opportunities) for Canadian acts are limited- compared with here in the U.K.  U.S. acts have the routes and contacts- and the major music cities- yet Canada seems self-sufficient: the musicians have a harder task than their U.S. counterparts.  Aside from the ‘tasks’ that face Canadian musicians, they seem- and Hamilton residents at least- to be less overwhelmed: their music is freer and more effortless.  The Bandicoots are showcasing this sense of alacrity: their debut E.P. is swimming in energy and youthfulness; acres of passion and swagger- that is sure to see them well-received here.

When it comes to (The Bandicoots’ current disc) it is worth looking back: to see how far they have come; how they have developed.  Their last release- appearing in December of last year- was No Turn on Red: one of (the quartet) of tracks from the E.P.  Swooning and shimmering in the introduction, the song is focused and fuzzy- the vocal is passionate and tempered.  One of the most direct tracks (from the E.P.), the boys are in-step: the performance is tight and electric.  Graceful and kicking; biting and honest, the song looks at leaving town: getting away and trying to find a way out.  A romantic suicide (almost), the song is a farewell: the hero is bidding goodbye; trying to get away from things.  Being the first foray- for the band and their music- the E.P. is purest (testament of what they are capable of).  Just After Dark- with its bounce and youthful vigour- is a gut-punch.  You cannot help but think of Arctic Monkeys: the band’s E.P. has the sound of early-career ‘Monkeys.  Just After Dark shares skin with Balaclava and D is for Dangerous: that same stop-start energy; the spy-theme-cum-shout-out sound- the swing and swagger arrives by the bucket load.  The vocal passion- the band’s committed and enflamed parabond- and delivery cannot be faulted- signs of Favourite Worst Nightmare’s (best moments) come to the fore. That is not to say anything negative: the band is not replicons of the Sheffield legends.  The E.P. is chocked full of personality and uniqueness: the Canadians have taken their own lives- the street scenes and romantic woes- and funneled it into distinct and personal songs.  Employing a pinch- of Turner-esque saltiness and Yorkshire pepperiness- and you get The Bandicoots: an act with their very own sound.  It is great to hear Arctic Monkeys come through in any form: for a while, most new U.K. bands were indebted to them.  As of late, that ‘trend’ has subsided: there is a tendency to think wider (and err away from their doors).  Being (that this is) a first effort- from the Canadian newbies- This Is Why We Can’t Have Nice Things is a stunning statement.  Four tracks of tight, focused- and variably emotional- numbers; it’s an E.P. sure to sell well over here- the sound is just what we favour over here.  The question is- when their sophomore effort arrives- how do they top/alter at all?  Do they stick with the same sound; widen their scope- or bring in different influences?  The boys are pretty unequivocal; their flair and passion is unwavering: their songs are packed with determination and nuance- qualities that will stand them in good stead.

Starting with a sensual slink; a call-and-response hard punch: Mind Your Manors begins its life with plenty of aim and potential.  Sparing no time (for wasted notes and loose ambitions), the tight (and springing) introduction is gripping- enough to get the mind working.  When the vocals come in, some intriguing words are brought in.  With a fascinating opening verse- “Those daydreaming eyes could likely see you to the moon/sending you packing for the stars on a hot air balloon/For days/Stuck in a haze/You ever see a place like this?”- you start to conspire and imagine.  With its poetic-ness and imagery, the band does not go for the base and asinine- they ensure their earliest words are striking and memorable. Allowing his voice to dream and drift, out hero has a lot on his mind: the heroine of his focus has a ‘shady’ day-time life.  “Replace your midnight pining for a bill in her thong” leaves little to the imagination- you can almost smell the sweat and stains of the strip club scene.  That sense of release and escape- the subject yearns for a hide-away beyond the reach “of the (tip) jar”- is a trademark for The Bandicoots- the E.P. has plenty of escape-and-run ambitions; that need to get to a better life- run from that which holds you back (and punishes the soul).  With his comrades providing ample support, Mind Your Manors hits for the grit- the hero does not (want to stay here) “any more than you.”  With those stories in your mind- the pole-straddling muse tearing up and dying inside- you get caught up in the drama and tableau.  The track has a merry streak- whether ironic or genuine- that gives it energy and panache: a combination of ‘60s Pop and Arctic Monkeys cheek lodges the melody in your mind.  Distracting by the composition- that is both subtle and powerful- you drag your attention to the forefront: the tale continues; the players progress.  Building off the strip-club-and-its-desperately-naïve-clientele parable, you can see the images all too clearly- the way (the patrons) think they have a shot; the dancers have anything for them (bar dreams of their wallets and credit cards).  With ‘Miss. Mary’ (the dancer) and ‘Maya’ (having “taken a stab”) the protagonists are making their mark: the boys have to hit up the cash machine; the bouncers are getting rough- it seems things have gotten out of hand.  You cannot (but admire) the wordplay- the pen is as mighty as the Arctic sword- which tumbles and spirals.  Both literary- with wit and pathos- it is detailed and scenic- in few words, the band manages to project vivid scenes and wonderful byplay.  The song’s ‘customers’- whether the band themselves (based on real events?) or fictional wannabes- have drama ahead: they have scared up money (to pay the tab); are preparing to tighten their laces (in order to outrun the muscle).  With its heart rooted towards Arctic-esque avenues, the lads never try to ape or copycat: their words and themes were never explored by Turner’s crew- they take a common situation and give it a fresh spin.  Concocting spiraling notes- mood changes and subtle key changes- the band never loses momentum; the song constantly pines and prods- taking your mind somewhere else.  Imbued with some terrific moments- the 2:30 mark gives way to a beautiful harmony; the most fervent and ecstatic point- the composition is glistening and delirious- a cornucopia of styles, swagger; beauty and stomp.  When the final moments come into view- the outro. has a cheeky glint and wink in its smile- you cannot help but reflect: shoot a smile and hit ‘repeat.’

The entire band puts in a hard shift: the performance and commitment is fantastic and impressive.  The vocals throughout are superb: that mixture of northern drawl (and Canadian accent) gives the lyrics real intent and meaning- few other singers would add such weight and conviction.  The words are (perhaps the most) impressive thing on display: a song sheet with plenty of quotable lines; ounces of memorability and vivacity- poetry and drama.  You cannot fault anything in display: Mind Your Manors is a song that is no fluke- the band produce three like-minded gems (into their E.P. repertoire).  Having listened to their new single- a few times now- I am deeply impressed: the song reveals new tricks/magic with every spin.  It is that kind of nuance/strength that will see the band inspire- hopefully they can bring their music to Britain (a nation awaits, sirs).

As the Ontario band embark on tour dates- taking their debut E.P. on the road- you have to tip your hat: the lads have produced music designed to unify the masses; get the festival crowds moving.  Whether a cynical ploy, or a natural development, and it leaves them with this conundrum: do they stay in Canada or move to the U.S. /U.K.?  With a sound British-influenced (in small parts) they have a definite future here: many crowds and towns would welcome them in.  This Is Why We Can’t Have Nice Things has cynicism and sarcasm; passion and openness- colour and black-and-white shades.  The band is committed and tight throughout: each song is defined by a clear and concise performance.  Allowing ragged and raucous edges (to come in), the band impress throughout.  Aided by fantastic production values- that allows vocal clarity and a raw sound to reign- and you have a triumphant effort.  Too few bands (especially in this country) have their minds set to the future: I am hearing too much anxiety and fear come out (in the sounds of the new-born musicians).  Whether it is a Canadian thing- and there is a more open and less tense market there- I am not sure.  It is a sign of the times I guess- that every candidate has a hard task ahead- that stress and nerves will take a hold: if you can think positively; have ambitious plans in your locker- this reflects in the music.  The Bandicoots are a group with no signs of quitting; no quarter is being levelled towards demure and fear- the band is looking forward and dead ahead.  Make sure you check out their E.P. - and new single- and take time to investigate a band that means business: a group we may be seeing in the U.K. in the near-future.  I will finish with (my earlier point coming back around): wonder why Hamilton, Ontario is a big player; comes to my attention (on a tri-weekly basis).  God knows why I am popular there- and whether any other areas of Canada will contact me- but it is ‘interesting’ at the very least.  If the music is varied and high quality then fair play: I am finding too much sameness come out here.  From such a beautiful (and varied) city, you would expect a bit more variegation and diversity: I hope bands here start to widen their aim and ambitions.  The Bandicoots have plenty of potential about them:  Mind Your Manors- with its clever wordplay- is a fine example (of what the group is about).  With music’s issues- compartmentalisation and wide mass of musicians- it is hard (for new acts) to make their mark- harder still to resonate and remain.  I hope The Bandicoots keep strong; bring in some new sounds (for their next release) - as much as anything, come play their music in Europe.  With so many (of this nation’s) finest starting to feel the pinch: it is essential we are given some fresh impetus.   I guess it is flattering- that so many Canadian acts are coming to my attention- and it is encouraging to see such energy here- as I step away from the country for a number of weeks.  When it comes down to it (and having many Hamilton residents coming to you), you could say this:

THERE are worse things in life.

[soundcloud url="https://api.soundcloud.com/tracks/196273916" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

________________________________________________________________________________

Follow The Bandicoots:

Official:

http://www.thebandicootsmusic.com/

Facebook:

https://www.facebook.com/TheBandicootsMusic

Twitter:

https://twitter.com/TheeBandicoots

SoundCloud:

https://soundcloud.com/thebandicoots

BandCamp:

http://thebandicoots.bandcamp.com/

Instagram:

https://instagram.com/the.bandicoots/

___________________________________________________________________________

Music:

https://www.facebook.com/TheBandicootsMusic/app_204974879526524

 

______________________________________________________________________________

Videos:

https://www.youtube.com/channel/UCeb0c6Ey7BF-Kg8qGW_VfIQ

Track Review: Gelato- Room Service

TRACK REVIEW:

Gelato

 

Room Service

9.3/10.0

Room Service is available at:

https://www.youtube.com/watch?v=6elaGtN0A-U

RELEASED: 9^th March, 2015

GENRES: Alternative, Heavy Metal

COUNTRY OF ORIGIN:

U.K.

Gelato’s self-titled E.P. is available via:

http://gelatomusic.bandcamp.com/releases

Released: 10 March 2015

Drew - vocals & guitar

Phil - bass

Ben - drums

Recorded & mixed by: Tobin Jones at The Park Studios, London UK

Mastered by: Phil Joannides

IT has come to my attention the music industry is quite a…

cruel (and unflinching thing).  Actually, I sort of guessed that: over the last few weeks, I have noticed some great acts ‘call it time’- and close up shop forever.  A couple of my favourite (London) acts have disbanded; gone their separate ways- irked by the strains of music and its demands.   It is sad to see such a thing: a tremendous act have to quit; overcome by the pressures they face.  With so many acts coming through, you are going in (with no idea of where you will end up) - quite how things will work out.  I guess this is true of any industry/job: with music, there seems to be an edge of cruelty- an unpredictability that is unfair and harsh.  I have seen some fantastic acts dissolve; others who stress over their art- unsure whether they are doing the right thing.  A lot of the problem stems from money: not having enough to fund an entire career.  The cost of recording (even a single song) can be huge; parlaying that into an E.P. (more still) - it is asking huge demands of the musician.  Of course, creative difference can get in the way: it seems finance is the major bugaboo- and something that needs to be addressed.  Whether something can be done (and financing arranged for an act) is to be see; someone needs to take action- too much good music is dying needlessly.  The work is the main thing: being proud of what you are doing.  Whether there is a common solution (to avoid acts having to split/strain) is to be seen; for those playing (and starting up) such issues have to be put aside- and concentrate on the act of music-making.  When confidence is high (right from the start) that comes out: the public can embrace music (that is stunning).  Gelato have that confidence for sure: an act with a clear eye on the future.  Few bands possess quite the same sound, direction and urgency: their mix of quality and nuance is sure to see them be around (for years to come).  Before I continue, let me introduce you (to the band):

“The head-hitting, high-energy pace of GELATO brings a solid rock sound with pop undertones, reminiscent of the Foo's, Queens, and more.  After months of throat-shredding, string-snapping & stick-shedding, here is their debut EP, recorded with Tobin Jones (Bo Ningen, Twilight Sad, Cold Specks) and spearheaded by first single Room Service.  Join the party!”

There is nothing fake or false when it comes to Gelato: here is an act that is genuine; unconcerned with following anyone else.  Being familiar with groups like Los & The Deadlines and Allusondrugs, I know how good this country is (at producing hard-hitting bands with a real kick).  Throw in the likes of Bi:Lingual and there is a solid core coming through: acts that fuse genres into a boiling pot of noise, melody, wit, anger (and other varied, contrasting colours).  The boys have just arrived, yet the signs are all good: their debut E.P. is a trio of stunning slices; songs that bounce around the brain- a collection of rock-solid, soul-shaking tracks.  A lot of new acts coming out tend to play softer (that is to say less vivacious) sounds; concentrate on introspection and self-examination: if you come into a packed marketplace (with so many like-minded competitors) it is hard to distinguish and stand apart.  When things are shaked up; the volume is turned up- that is when something terrific occurs.  Gelato are already setting tongues wagging: their music is connecting with people; new audiences are switching onto their potential.  It is still early; it would be remiss to charge ahead: from what has come out, the guys have a lot of options- and chances to play some rather high-profile venues/dates.

If you have (not as yet) discovered the band, then there are two starting points: Foo Fighters and Queens of the Stone Age.  Both Dave Grohl—featured acts (Grohl was present during Queens’ Songs for the Deaf and Like Clockwise… albums) have made their mark- the lads have an essence of each.  To my mind, there is more Queens’ than Foo’- the vocals have that air of Josh Homme at his best (his braggadocio-cum-cool swing).  When Queens of the Stone Age launched Like Clockwise… I was astonished: I did not think the band would produce (something as wonderful) given what came before (Era Vulgaris).  When Like Clockwise… came out, my faith was renewed: the Californian boys were back at their best: an album solid with anthems and classics; a mixture of their glorious past (and renewed present).  Gelato have the force and prowess of Foo Fighters’ debut (their self-titled effort) - Punk elements came through; passionate performances abound; lunging urgency grip the imagination.  Don’t get caught up with other acts (when trying to assess Gelato): the band are their own beats; they simply borrow the odd bit (here and there).

Grumbling and moody vibes stir up Room Service: something dark is bubbling; the burbling bass notes kick the dust about- something dangerous is looking on.  Keeping the mood intense and unknowing the intro. begins to heighten and expand: the boys kick up the gears and expand their intentions- spiraling guitar fuses with hissing percussion; leading to a dizzying combination of sounds.  Keeping things focused and intense, Gelato tie in some wordlessness: a low-down hum reverberates; the chorus of sighs melts into the fray- the building blocks have been laid.  Just as you feel some explosion (is going to erupt) the vocal comes in: at first it is quite controlled and moody.  Emphasis is placed more on sound and feel- than clarity and decipherability- the grumble and sneer of the vocal means some of the lyrics are hard to pick up on.  This is no criticism or slight: the passion and intention of the song overcomes any slight minor.  Our front-man is missing out; his mind is casting out: his thoughts are spinning; his tongue lacerates and conspires- you start to build up your own interpretations.  Using the hotel/room service motif, one imagines something half-lit and flickering: a girl (or sweetheart) is on his mind- who he wants to keep by the phone- as the night draws in.  At its core- the song itself- has another interpretive possibility: a lonesome (or band-helmed) hero waiting for room service- impatiently treading the floor.  Whatever the listener imagines- and there is an open-ended quality to the lyrics- images do come flooding- ideas percolate thick and fast.  In the early stages, Room Service broods and prods: the low notes and insistent vocal has quite an overwhelming quality.  In spite of there being plenty of melodic nuance- the cooed backing vocals add relief and elliptical promise- there is a foreboding and harsh grip- something that adds to the track (and gets the listener on their toes).  Taking a little of Nevermind (Nirvana) with Foo Fighters’ early moments; pulsing in some Queens’ magic (especially their Songs for the Deaf-era work) and you get something quite special.  Room Service has plenty of punch and explosion: in the initial foray, these threats are kept mooted and demurred.  The boys have a wicked gleam in their eye; a seamless knack of mixing their talents together- incorporating elements of familiar sounds.  It is clear (listening to the lead do his thing) there is frustration and “missing out”- his mind is not calmed or settled; anxiety and anger are showing their skins.  Past the two-thirds mark, we get that sense of anger (come out to play) - the song expands and fizzes into life- those early introversions are dissipated; replaced with something vitriolic.  Never savage or reckless, the boys keep everything in order: ensure the song does not get lost in a swap of random notes- endless screaming and aimless pondering.  Catchy and addictive, you cannot help get lost in things: the chorus itself is an insatiable little thing (that begs for some sing-along chorusing).  Whether looking at a nervy hotel-based scene- or something disconnected and concerned with broken love- the band gets inside your head: each line seems to resonate and reverberate.  By the closing stages, the hypnotic swirl (grumbling vocals in the back; lighter vocals at the front- insatiable vibes around them) takes its toll- the group crank things to the max.  Just as you want a bit more, the song comes to its close: everything that has come before (still echoes in the head); the boys leave things with an evil glint.

You are hard-pressed to find detractions; have any criticisms at all- perhaps decipherability is an issue.  Some of the words are hard to understand- perhaps a lyrics sheet would be helpful- and get passed by: not a big issue when it comes to Room Service.  The vocals shine throughout: never overwrought and pretentious, there is genuine passion and personality- plenty of focus and force; light and optimism.  Drew’s vocal made have elements of Homme (and Grohl) without sounding sound-alike and forced- plenty of individuality and freshness come out.  When his guitar work comes into the light, you get the sense of a unique player- someone who has a real authority and understanding (and better than most of his contemporaries).  As a front-man he leads the music superbly: never stealing all focus, instead you get a real command and leadership- something that adds weight and wonder to the music on offer.  Phil’s bass almost steals the show: at the start it is viper-like and growling; as the song progresses, it expands and guides.  Never too lonesome and detached, it not only leads Room Service- making sure each word is giving plenty of stature and weight.  Ben’s percussion leads from the back; it is always statuesque and meaningful: marking himself out as a solid time-keeper, his sticks work keeps the song strong and intense- there is plenty of control and calm.  The entire band is tight and focused: they have a clear understanding and affection; each member knows their role- and plays it extremely well.  A band with a rich and varied sound, Room Service is just the start of things- their E.P. contains plenty of range and diversions whilst keeping their core sound loyal.

The E.P. Gelato is as varied (as the ice cream the band derives their name from): a packed and chocked arsenal of tastes, sensations and satisfaction- guaranteed to leave you wanting more.  Lead-off track (Get My Way) comes out of the gates snarling: a cutting and driving intro. leads the assault.  The sound of Queens of the Stone Age comes out: the glory days of Songs for the Deaf; that tremendous confidence and tremendous sound.  Hypnotic and swirling strings put me in mind of Homme (and his crew); the backing vocals (that coo with intimacy) have shades of Queens’ greatest moments- touching on their Lullabies to Paralyze work.  I adore both albums; the boys do not steal or mimic: instead incorporate (those albums’) best moments and finest assets- the result is wonderful.  With its U.S. vibes; the passion and urgency comes through in the delivery- swagger, energy and lust filters into every note.  I know Gelato are inspired by Foo Fighters- an act I have never liked at all- and they supersede the American masters- especially their latest L.P.  Being a huge fan of Dave Grohl (the drummer rather than a lead) I hear that coming out- the drumming is intense and tight; never overplayed or uncontrolled.  Ruffians closes the E.P.: a song that is brief and memorable; filled with the band’s core strengths.  A wonderful bookend- to Get My Way- here is a claustrophobic and suffocating number: one that comes with ragged edges; some lip-licking looseness- a vocal that is ice-cold and cigarette-smoking cool.

Gelato have shown (with their E.P.) they have the talent to remain: they are not one-trick wonders; they show a range of sounds (through the trio of songs).  The band remains tight and in-step throughout; each number seems well-rehearsed and authoritative- there is enough fun and frivolity to win over (the most stone-hearted listener).  The band manage to tease and tantilise: it would be great to hear some more tracks; expand on the three numbers- Gelato leaves you wanting (a lot) more.  With acts like Foo Fighters being past their best- they have been since their early days- and Queens’ slowing (although still immense), we need new kings: an act that have that Desert-Rock-cum-Californian cool to it; bits of mystique and dark magic- a concoction to please the senses.  What does the future hold?  Well, the band is going to playing and gigging: getting their music out there to the fans; getting people excited.  Whether the boys have album plans in their minds (or are thinking of touring the E.P.) I am not sure- their music would have some support across the U.S. (with its Queens of the Stone Age edges).  Returning to my opening point- that looks at why bands fault; the stresses that face musicians- I am pleased for Gelato: the band are concentrating on their work; the work is the main thing- hopefully financial issues are not going to come into play.  The band have a focused and tight sound; a clear affection- for each other and their songs- that is infectious and gripping: they will be capable of uniting fans of all genres- they are not out to exclude anyone.  With melody afoot; hard-rocking vibes being spat out- ample cool being wracked to 11- Gelato have a bright future.  Darlings like Royal Blood are getting (a lot of current) kudos: riding the crest of a wave; taking the bull by the horns.  I do not think this is a zeitgeist thing: the public have always embraced sounds that err on the side of heavy.  In conclusion, the band should be very proud: few acts have the ability to mix by-gone (and legendary) bands with their original and distinct personality- mixes them together to provide something both fresh and familiar.  With summer looming, we all need something upbeat and crowd-pleasing: sounds that unite crowds; get feet moving- and get the voices chanting loud.  Take the time to discover something special; an act that have ammunition to go far- and take the market by storm.  Whether you are fan of Foo Fighters and Queens of the Stone Age (or not) then do not despair: their music is designed to unite- and not divide.  Gelato is just the start of things- and the band will not get ahead of themselves- but the signs are all good…

THE boys are here to stay.

[youtube https://www.youtube.com/watch?v=6elaGtN0A-U&w=560&h=315]

________________________________________________________________________________

Follow Gelato:

 

Facebook:

https://www.facebook.com/GelatoMusic

BandCamp:

http://gelatomusic.bandcamp.com/releases

_________________________________________________________________________

Music:

https://www.facebook.com/GelatoMusic/app_204974879526524

 

______________________________________________________________________________

Videos:

https://www.youtube.com/channel/UCULLt9GxP5txTyf-ZwtSEFQ

 

 _________________________________________________________________________

Tour:

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

Track Review: Los & The Deadlines- Feel At Ease

TRACK REVIEW:

Los & The Deadlines

 

Feel At Ease

9.6/10.0

Feel At Ease is available at:

http://losandthedeadlines.bandcamp.com/

RELEASED: 17th April, 2015

GENRES: Rock, Alternative, Desert-Rock

COUNTRY OF ORIGIN:

U.K.

Lyrics by: Alex Losardo Music by: Los and the Deadlines

Recorded and Mixed by: Tobin Jones at The Park Studios  Produced by: Tobin Jones and Los and the Deadlines Mastered by: Phil Joannides

IT is good to be back on familiar turf…

and focus on a band (I have reviewed a few times now).  In 2013 (and last year) I was lucky enough to hear some new Los’ material- get a glimpse into their current mindset.  Every time I came away (from reviewing the lads) I was left with the same sensation: how different they are.  In terms of composition, the band is truly diverse- its members are sourced from various parts of the globe.  In a music scene that promotes homogenisation- how many bands have men AND women; different nationalities and races together?- it is great to have Los & The Deadlines add some diversity- this multicultural approach feeds into their (glistening) music.  I have a good point to raise (well, a POINT) at least, but for the moment, let me give you a short introduction (on the band):

Members: Alex LoSardo - lead vocals, guitar Niels Bakx - guitar and backing vocals Rotem Haguel - bass and backing vocals Alberto Voglino - drums and backing vocals

"The seedy underbelly of any major city spawns some of the most depraved and morally reprehensible bastards that even the dregs of civilization look down upon. These cretins walk amongst us, they ask you for money, they serve you drinks, they file your taxes, and in this case; they formed a band. In the their new EP, “Perfect Holiday”, the Deadlines have not only made the depiction of absurdities in modern-day’s western society their craft; they made it their mission. With their tongue-in-cheek lyrics, thrashing riffs and thumping rhythms, Los and the Deadlines are a prophet’s voice in a decaying civilisation. Much like the city that they hail from, the Deadlines are the establishment of anti-establishment. They make sound. They make noise."

This snapshot into the band makes me smile.  It may sound overblown and tongue-in-cheek- when phrases like “prophet’s voice in a decaying civilization” are expounded- yet there is some truth here: the band is a departure from their peers; they are an original and unique force- a group that makes sounds unlike any other.  With fellow acts- that I have reviewed- such as Bi:Lingual and Allusondrugs rocking the (new music) scene, there is a scarcity of genuine bands- those that make REAL sounds.  Yesterday, I reviewed Goldbirds- a new band who promise much- and was left relieved: another great band to get my teeth into.  London is a city coming back to the fore: a capital that has not always been over-stocked with terrific music.  Historically- when it comes to my reviews- the north has always provided (the finest acts) - the most diversity and most stunning flavours.  Perhaps (still) less homogenised than London, there is a revival occurring: the capital’s finest are starting to make their voices heard.  The mainstream has few impressive new bands- the likes of Drenge and Royal Blood (that name again) are few and far between.  I love softer sounds: Pop-infused electronics; soulful power; stunning hybrid music- there is not enough to lodge in the imagination.  New music provides the best chance (for future prosperity) and bands like Los & The Deadlines are in with a shout: a group with a festival-ready sound; a work ethic that feeds into every note and line (they perform).  A lot of acts get scared by the music scene: feel the need to rush material out; release anything fearing they will be ignored (if they are not overly-prolific).  Los & The Deadlines are less concerned: they have a style that is going to capture ears; they put time (and effort into their music) to ensure it is as good as possible- a trait that will set them up well for the future.  Knowing the band- and Niels Bakxs in particular- the lads are excited about (the coming year): just what is in store for their crew.  After their E.P. release- Part One: Bank was unveiled last year- they are preparing another (E.P.): something I am looking forward to.  After launching their new website (link is at the bottom of this review) they are priming themselves for new gigs: getting their music to fresh faces; making sure they recruit new followers- and thrilling London as much as they can.

 

Los & The Deadlines’ new track has elements of their past work: they have kept their core intact; their subject matter has changed.  Part One’ was released last year (in January) and looked at a range of subjects: banking; caffeine addiction; vanities and social media posturing among them.  Representing the voice of the office drone; the man stuck in the queue- or as the band explained: “…the shriveled homunculus of every Tom, Dick, and Harry standing in the musty queue under those ugly fluorescent lights that fry your nerve endings.”  The group tapped into modern malaise: channeled the frustrations of the everyday man; the nerve-shredding misery of life.  Not all bluster and force, the band produced melody and range: Reggae strands mingled with Grunge; hypnotic jams and rampant percussion was on display- a quintet of tracks designed to resonate.  Impressively cohesive and focused, the band displayed their close bond and tight-knit playing: each member is perfectly in-step and on board; the songs sound well-rehearsed (and a little loose) - a concoction that leaves you coming back for more.  London is a beautiful city, yet repressible humans reside: the faceless banker; the vain poseur; the ugly-minded businessman- their debut E.P. lacerated each of them; tore through the disreputable kin- sprinkled around magical sounds and myriad ideas.  Always strong songwriters, Feel At Ease is not a huge step forward: they have improved; they have always been hot and hard (out of the gate).  Forming the first taste (of their forthcoming E.P.) one presumes we have a Part Two’ approaching- the second part (of a trilogy?), which will explore new themes- faded dreams and creative frustration are at the forefront of Feel At Ease.  It will be great to see (what the new E.P. provides) but I suspect there will be new inspiration: the sound will be (as we expect from Los’) with some new stories on offer- fresh faces and new subjects being dissected.

For those looking for ‘sound-alike’ bands- for a start you’ll be struggling- then there are some jumping-off points- the likes of The Mars Volta and Queens of the Stone Age among them.  Like The Mars Volta, Los & The Deadlines inject psychedelic progressions and head-spinning noodling; gripping vocals and unpredictable compositions- that keep the listener guessing and on edge.  The Mars Volta- in most of their songs- are quite oblique and byzantine- their lyrics are open to interpretation.  Los & The Deadlines are more direct and decipherable- they like to get their message heard and understood from the off.  Queens of the Stone Age (one of my all-time favourite bands) give Desert-Rock grit and exceptional force- a band that is impossible to ignore.  Like Homme’s crew, Los’ have a terrific ear (for classic Rock sounds) - channeling the Californians (with flavours of Led Zeppelin).  The London-based band employ hints of others, whilst maintaining a distinct sound (very much of their own devising) - one of the most original groups on the current scene.

Feel At Ease springs straight into life- many of Los’ hallmarks come to the fore.  Building off a twisted and contorted few seconds, the mood starts to temporise.  Putting me in mind of early-career Nirvana, a bouncing (and springing) bass line replaces (the scrambled fury) - taking the listener in another direction.  Hypnotic and pulsating, you get sucked into the song- the band does not throw heavy vocals straight in; the Spoken Word-style opening is a terrific decision.  Dripping with sarcasm and tongue-in-cheek (although perhaps the song’s hero is being genuine) the idea of dream-seeking is explored.  The opening lines make me smile and reflect: “I've got an idea to make some money on the side. It shouldn't be too much work/Just an hour or 2 here and there. It'll give me plenty of down time.”  There is that tangible sense of debt and hardship: the song’s focal point is looking for some extra cash; a way to get out of debt- a friend of a friend (of a wheeler dealer-type figure).  The vocal delivery is wonderfully evocative: filled with character and urgency, you really root (for the hero) - the band back him with some chugging and marching sonics.  Like the intro. - and its shifting skin and style- the band notch up another gear: the vocal changes; the heaviness comes in- that sense of drama and unpredictability (is what makes the band so special).  In the early stages, there is a sense of mystery and mystique: what is this “dream” that is being touted?  Our hero is trying to live his dream; make a break and get to safety- is he referring to a music dream; the chance to be in the black (or something more sinister?).  At its roots, the song (and the band themselves) are looking out at society: the need to get a quick fix; reap finance and success- with the slightest of efforts.  In my mind, I think of the work shy and talent show contestants: people who want hand-outs and instant fame (without doing any work).  Feel At Ease’s (anti-) hero wants to dig himself out (of the hole he is in) - clear his debt.  The band have a devilish way of keeping the momentum going: the song builds and slows; it goes through stages- there is a real episodic and developing storyline.  Like a mini film (or drama) playing out, the track never loses its smile.  Backed by an incredible tight performance- the percussion sniggers and hisses; the bass twangs and contorts; the guitars steamroll and stutter- our man is back on the microphone.  Letting his distinct voice- which made me think of a 1940s film icon like James Stewart- the woe is not over.  In addition (to needing some money) life is getting more stressful- things are taking a turn for the worse.  His contact is strangely out of reach- “Does he have a new number?”- and the tension is rising: the subject is getting more frantic and bereft.  Whether speaking of a business plan- or a music-based pitch- the desperation comes out.  Determined to reach (the mystery figure) all sort of ideas are expounded- including getting a part-time job (to be near the man); do anything it takes.  Accepting reality, it seems a Plan-B is needed: a shot of sanity no less.  I love the duel layers on display: the vocal is quirky and charming; gripping and distinct- you always root for this underdog.  The band propel the lyrics with some wonderfully-realised performances: keeping tight and underplayed, the boys make sure there is always tension bubbling.  By the 1:35 mark, a crescendo is unleashed: the chorus swings back in; it seems more electrifying and wonderful the second time around.  When out lead takes a step back, it not only gives the music a chance to shine- it provides a chance to breathe too.  Swaggering guitars fuse with guiding bass; the percussion crackles and robes- it is a wonderful parable.  Throwing in some fuzzy (and scintillating) solos, the boys are clearly in their element: the confidence that comes through is hard to dismiss.  Perhaps their most assured song, there is a great sense of fun and purpose: the boys clearly had a ball recording the track.  Some Jack White-esque histrionics melt alongside some wordless vocals: the chorusing becomes augmented and domineering- before that chant-able chorus swings in.  As the final moments are elicited, the boys unite in voice: the song’s title becomes a desperation cry; that need to feel less stressed and anxious- the chance to return to a normal life.

Kudos goes to the entire band- it is very much a group performance.  The lyrics are filled with drama, wit and real-life reflection: we all know of someone who (is similar to the song’s hero).  Like all Los & The Deadlines songs, there is honesty and modern life snapshots in focus: songs that the listener can connect with in a very real way.  Presenting another twisting and stunning composition, Feel At Ease gains merit on many fronts.  LaSardo is a terrific singer- and someone who always impresses me- who shows his range here.  When the lyrics are spoken (or half-paced) he pronounces and projects with a real feel for the subject- the words are not lazily slung; they are perfectly acted and annunciated.  When things get hot and heavy, his voice is sharp and feral- you get a real sense of pain and anxiety (exactly what the band want to happen).  As a guitarist, he bonds supremely with his bandmate (Niels Bakx).  The duo share vocals- Bakx is on backing vocals- and guitar duties: they have a real understanding of each other; their byplay and linking is superb.  Not overthrowing the other, their twin fret work is exhilarating and tight.  Bakx has always impressed me (with his guitar work) and here he comes into his own- at times (when he steps into the spotlight) you can hear his progression.  In addition to working with other artists- including The Glass Child- he has had chance to increase his scope; grow in confidence and ability.  One thing I forget to mention was (that the band) has a new recruit- Rotem Haguel is on board.  When Soundgarden changed their rotation (around the time of Badmotorfinger) their new ally (bassist Ben Shepard) instantly gelled.  Not only joining with songwriting duties, he slotted effortlessly with the band.  Haguel sounds like an old mate and player: someone who was with the band from the embryonic moments.  This is a good thing, as it makes Feel At Ease that much stronger- a weaker musician may have slowed and dismissed the track.  Providfing some stunning bass work- that has elements of Krist Novoselic, Chris Wolstenholme and Flea- that provides oodles of melody, rhythm, sexuality, tension (and hypnotisation).  Voglino almost steals the show with his drumming: at once snake-like and viper-like; the next it becomes raptured and flailing.  Never unfocused or wandering, he guides and supports the band- keeping the song on the tracks and looking forward.  Powerful and skillful, the percussionist shows what a force he is; one of the key weapons in the band’s arsenal.  Overall, the band throws their all into their track- the result is another triumphant song.  This bodes VERY well (with regards their new E.P.).

The future is going to be bright (for Los & The Deadlines).  On April 29^th, the band plays Lock 17 Camden: a change to premiere their new single.  After that, there will be the E.P.: what it (will sound like) is anyone’s guess.  What I can be sure of is the boys’ plight: the next year will see them grow in stature; accrue more fans; become bigger and better.  Filled with confidence, assuredness and direction, the band is on fire: they have a new website; new visuals and promotional shots; fresh gigs on the horizon.  With their brother Crystal Seagulls- another band I have reviewed a few times- they are taking London by the testicles: showing how good music can be.  Feel At Ease is a tongue-teasing statement from a group in fine form: a group of lads who have a wide array of concerns; never content to stick with the samey subjects of their peers (my-heart-is-broken-poor me; vague and generic love songs).  I cannot wait for the new E.P.: it will be a chance to see what Los & The Deadlines have on their mind; what is enforcing their (current sounds) - the new single is a tempting and stunning slice.  The band impress in a number of different ways.  As ‘people’ (personalities) they embrace their fans: they are everymen who represent the voices of the majority- and have a fun-loving and cheeky joie de vire.  As much as anything, the guys know how to distinguish themselves: their music is not formulaic and processed; they have a sense of innovation you cannot fault.  It is good to be back (reviewing Los & The Deadlines) as they always deliver- offer something exciting and memorable.  As I said, the future will be a bright one: it can only be a matter of time until they are promoted to the big-time leagues- and win a headliner slot at a big festival.  After the finger nail-shredding tension (of yesterday’s F.A. Cup semi-final), I was in need of something calmer and secure: whilst the boys do not do calm, they certainly do secure.  Not in a boring and timid way: rather, they produce songs that alienate nobody; give you a glimpse into modern Britain- and reflect the voices of the many (and not just the few).  Couple this with some terrific sounds and captivating vocals, and you know what they are about: a group that shine in every department.  Feel At Ease- and its ironic title- is a teaser for what is ahead: another (I would presume) stunning E.P.; another step forward for Los’- make sure you check the band out.  As I venture into the Sunday sun (when the sodding thing comes out) I feel strangely ill at ease: the band has a great way of uncovering (a person’s deep-hidden insecurities).  That is the mark of a great act: when you force the listener to change their ways; thinking about their own lives…

THAT is always a good thing.

[soundcloud url="https://api.soundcloud.com/tracks/199862851" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

________________________________________________________________________________

Follow Los & The Deadlines:

 

Official:

http://www.losandthedeadlines.com/

Facebook:

https://www.facebook.com/losandthedeadlines

Twitter:

https://twitter.com/losdeadlines

Instagram:

https://instagram.com/losdeadlines/

_________________________________________________________________________

Music:

https://soundcloud.com/losandthedeadlines

 

_____________________________________________________________________________

Videos:

https://www.youtube.com/user/LosAndTheDeadlines

 _____________________________________________________________________________

Gigs:

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

An Apology: On Behalf of My Gender

An Apology: On Behalf of My Gender.

THIS one will be short and to the point…

Something has been annoying me recently: the potent toxicity of social media (and the Internet).  After hearing Sue Perkins- who has left Twitter as a result- experiencing such a tirade of abuse (when it was speculated she would take the reins of Jeremy Clarkson’s now-vacated seat on Top Gear).  The whole incident left me feeling shocked and sickened (read about it: http://www.theguardian.com/media/2015/apr/14/sue-perkins-twitter-top-gear-jeremy-clarkson)

One thing I hate about social media/the Internet- there aren’t too many of them- is the amount of hatred and bile (being spewed in all sorts of directions).  It all makes me ashamed of my gender: this issue is a male-dominated ill; something ‘us men’ are culpable of- and should be ashamed of.  It is true, women (and especially teenage girls) can be vindictive and hateful- just hear stories of online bullying to get a sense of how bad it can get.  When it comes to the majority of Internet-based hatred: it is the male race that is causing a black shadow.  I look at YouTube- various songs and comedy clips- and my jaw drops: the sort of homophobic/racist/offensive comments left- and exchanged between male users- beggars belief.  What has happened to people?  It seems to be an issue with my generation: what compels a person to drag their knuckles (so low); how could a so-called ‘human’ descend to animal-like behavior?  I feel sorry for Sue Perkins: not only (was the news of her presenting Top Gear) fabricated: she has not risen to the bait (dangled by my knuckle-dragging gender-mates).  If she had murdered whores of people; vomited racist abuse- you could understand the reaction.  She is not Nick Griffin; she is not a murderer; she is not a brainless monster: she is a charming (and talented) woman who does not deserve an iota of criticism.  The fact she has dealt with the issue with such dignity- and not gone on the offensive- shows ounces of class and respect: she is a Cambridge-educated woman and is far too smart to associate herself (with the jizz stains excuses for humans who perpetrated such poison).

Away from (the Sue Perkins incident) there is plenty to feel bad about: the amount of abuse, sexism and offensiveness (created my men) has left me feeling cold.  I understand there are some rather unpleasant women in the world- and when it comes to mealy-mouthed savagery, they are not blameless- yet there are in the minority.  I am an advocate and supporter of equal rights (when it comes to women and pay; their role in society) and I feel sorry for them: with (I must say, the minority) of men showing themselves to be cowardly scum, what hope do they have?  I am getting fed up with things: so many men creating such hatred and offense; abuse levelled at good and honest people.

Take social media out of the equation, and thing about other issues: animal cruelty and torture; religious prejudice and segregation- murder and hate crimes.  There is an undeniable sense of (ill-begotten) superiority: many men feel they are above the law; more still have little conscience and moral standing. Even small things highlight the plight: charity and goodwill seems to be waning (the most caring and charitable people I know are women).  I am not sure what can be done- with regards curing this issue.  With regards social media: we need to ban (offenders) and make genuine arrests (when hatred is created and threats are made).

There are plenty of good, decent men out there: I am concerned about the state of my generation.   We are supposed to be human beings, yet there seems to be a severe lack of humanity: what do the likes of Sue Perkins feel (when seeing threats and abuse on their twitter feed?).  Something needs to be done; the law needs to get tougher- above all, my gender needs to get its act together.  Those who feel justified- in trolling throughout the Internet; creating racial and sexiest abuse- deserve no place (in the modern world) - and should be swiftly punished.  It is a sad state we live in: with such inequality- when it comes to gender and race- I wonder about the state of things.  The minority (of the population) are leaving some black marks: the majority (of the offenders) are men.

Cases of trolling just make me angry and red-faced: I feel such sympathy towards those (that are on the receiving end).  Guess this is something I needed to get off of my chest: I am not sure if there is a (quick) answer at all.  I am speaking to a very small number (of men) when I write this; and to them I would offer this: get your act together and get yourself out of society.  There is no place (in the modern world) for the racist, sexiest, homophobic, offensive and degraded humans- lock yourself in a dark room and do not associate with others.  To the animal abuses- who are mostly male- the killers and kidnappers; those who belittle and abuse women: go castrate yourself and wait for death.  There is too much hate and awfulness in the world: the male-led disgrace is making this world a more retched and disgraceful place.  I can (on behalf of those who are incapable of doing so) apologise: I am sure the likes of Sue Perkins are not going to be one-offs.  With that in mind, it makes me think the same thing…

WHY is it women who should be fighting for equality (when we set such a disgraceful example)?

Track Review: Goldbirds- Silver & Gold

TRACK REVIEW:

Goldbirds

Silver & Gold

9.5/10.0

Silver & Gold is available at:

https://soundcloud.com/goldbirdsband

RELEASED:

4th May

GENRES: Rock and Roll, Blues-Rock

COUNTRY OF ORIGIN:

U.K.

IT has been a while since I have been genuinely…

excited (about a weekend’s reviewing activity).  The past few months have promised much (from the mainstream): the likes of Blur are back strong (their album The Magic Whip is gaining huge praise); bands such as Drenge (having produced a terrific L.P.) are earning kudos- it is a great spring of music.  In the new music field, there is quality to be found-   In addition to Electro.-Pop dreaminess, I have been lucky enough to review to varied (and stunning sounds)- that have left their impressions.  At the back of my mind has been this thought: where has all the (inventive Rock music) gone?  Sure, there are so interesting Rock bands out there- to my mind, few are genuinely innovative and distinct.  My featured act has restored some balance and optimism: here is an act that has stamped-out a glistening debut single.  I shall come to that in time, yet it brings up an interesting point: how to be unique when it comes to modern music.  With so much competition coming through (the new musician) has a task ahead of them: how to resonate in the mind.  Cementing your sound- and keeping the momentum going- is always a tough chore: many acts capitulated; deflated by the weight of expectation/pressure.  Goldbirds are an act (born from the ashes of another).  Having reviewed El Born (previously), I am familiar with Hils Granger and Si Connelly.  Their previous incarnation was a great act; having produced some terrific songs the band was disassembled- the couple (feeling they) should regroup (and re-launch).  After following El Born- and their wonderful sounds- I was curious what was coming next- how Goldbirds would differ; whether any (of El Bon’s) sound would be in there.  Having recruited Mike Brazier (on percussion; programming) and Earl Phillips (bass and vocals), we have a new creation- a “straight up Rock & Roll band.”  What we get (with their debut single) is something elementary and pure: a direct hit of Rock; something instant and long-lasting (whilst not compromising originality and personality).  Their social media pages are a little bare at the moment- they give little about their influences and thoughts/ambitions- but that only adds to the excitement and mystique- the group wants their songs to do the talking (shouting).  Before I get down to things (and review the song/band), it is worth thinking about this: the state of U.K. (new) music.  Most of my recent reviews have (focused upon) Canadian acts- and all they have to offer.  When it comes to homegrown sounds, I am seeing some patchiness: there are fantastic acts coming through; many more fail to linger (in the imagination).  What British musicians have always done so well is to make direct music: sounds free from tinsel; those which get straight down to things.  Goldbirds are an act that do not need effects and layers; they have a style that is urgent and classic- mixing together classic ‘60s-‘70s Rock sounds with modern-day Rock passion.  With the likes of Royal Blood making waves, it is a great time (for acts like Goldbirds).  The band mix melodic vocals with swirling sounds: catchiness and addictive codas nestle within stomping percussion (flaming guitar and solid bass work).  The may be in their sapling stages; it seems the act has plenty to offer- who knows what the coming few months will give?

Beginning with a stomping kick- that has some Country-Rock-cum-Blues swagger- Silver & Gold swings into view.  With its hell-yeah attitude, you are instantly gripped.  With that (indelible and kick-ass intro.) gaining momentum- the types modern paramours Royal Blood would snatch up- a clarion call (“Yeah yeah!”) is injected- a titanium call to the masses.  Lascivious slink- tied with some come-get-some high heel stomp- beckons in some sweaty (and blood).  With the hero at the microphone, there is talk of lipstick and sensuality: some direct intentions and the need (for the heroine) to “shake it.”  There is a real scenic nature to the lyrics: you can picture (the heroine) and story as it goes down.  With a raw and blood-lusting vocal, the track gets straight into your brain.  Backed by guiding bass and rollicking drums, Silver & Gold shoots to kill.  In spite of the fact- the song has aspects of ‘70s Blues-Rock and U.S. Garage-Rock acts- there’s a huge sense of individuality- it is hard to bring any other acts/songs to mind.  With Connelly about to explode (with lust and anticipation), you can feel the shiver and sweat- it drips from the speakers.  His girl is an intoxicating prospect; she is dressed to impress; capable of turning heads- you can sense an imminent coming-together.  Granger plays the role of a femme fatale: someone who has taken the wind from the sails.  Having fallen in love (with her) it seems disappointment (and heartache) has played their hand- you almost forget about the sense of fracture (when our two leads unite in a chorus of “ah, ah, ah, ahs.”  From an itinerant love story-with-heartbreak-imminent, the band throws in some catchy vocals- a simple coda that is chant-worthy and redemptive (a terrific injection of fever-pitched fuzzed-out swing).  Putting me in mind of the Blues-Rock glory boys- The White Stripes for one- the band are effortlessly captivating.  Knowing (each of their roles) the players are in-step and intuitive: there are no loose notes and unsure beats; everything hits the mark with stunning clarity and purpose.  When (Granger and Connelly) trade-off of one another, you get a new layer- the drama and passion is not over yet.  With the heroine’s “blood thicker than your…”, the hero is haunted (by her words)- the back-and-forth thrust-and-parry is superbly executed (in no small part due to some excellent production and wonderful performances).  It seems (both have a secret to tell) that they want to “whisper in your ear”- that tangible tension and lust is palpable.  In addition to some wonderful (and urgent) vocals, the instrumentation adds to the mood.  The percussion demure somewhat: creating a heartbeat (that judders and contracts); the bass and guitars slither and syphon- the ensuing concoction matches some sturdy keys, designed to enthrall and grip.  You can imagine (each vocalist) in the studio- on opposite sides at different microphones- looking into each other’s eyes- coquettish grins and twinkling eyes being exchanged.  The song rises and builds, the vocals get steamier and more claustrophobic- as the duo (calls the other to) “come a little closer.”  Just as you lean in- and wonder if an actual in-studio explosion will occur- the song kicks up a gear: the chorus comes into play, as the band whip up a flurry.  Having been captured (the first time the chorus came in) it is now even more insistent- you find yourself singing along with abandon.  The final stages do not go down with a whisper: the kaleidoscopic (and boiling cauldron) keys blaze and burnish.  Chugging up a head of steam, the band do not slow or desist- Connelly still seems wracked and tormented (deeply affected and overcome by the heroine’s spell).  The overall impression- Silver & Gold leaves in the imagination- one gets is of an assured and urgent track: the band have crafted something fast-paced, addictive and sing-along slice; something that mixes classic Rock and Roll with their distinct sound- a concoction sure to enliven and impress hungry fans.  It may be the (earliest of) days, yet the band should have no fear: Silver & Gold is a lead-off step that will yield future success: if they pen more tracks like this, they will be a sure-fire festival band (and an act capable of long-term potential).

The first steps are always the most difficult (and unpredictable).  Coming in fresh, (the new act) is left wondering how they will be received- and have to take a few chances.  It is important going in strong and hard- making sure the public want to hear more.  Goldbirds are not playing anything safe: they have unveiled a storming lead single- that sets the stage for some exciting times.  I hope an E.P. is in their mind: it would be great to hear some counterparts to Silver & Gold.  Not only is the track pure gold itself; it is a unique insight into the four-piece: what upcoming sounds may hold.  Not to get too ahead of things; the quarter have plenty of ammunition- they are capable of winning over legions of sounds.  Their debut single shows how hungry they are: exceptional songwriting mixes the simple and complex; impassioned and raw- the band sound tight and focused.  Not merely a side project or second chance, Goldbirds is a bona fide projectile: a British invasion that promises to spare no prisoners.  Dedicated to bringing fun, passion and heritage (back to Rock music); the band will have a good future.   On May 6^th, the band plays The Borderline: it will be their first live gig; a chance to wow the crowds of London.  The fearsome foursome is sure to go down a storm: it will be the start of something awesome.  Silver & Gold is a track ready-made for the spring: capable of lighting up the sun; getting feet and fists pumping.  El Bon may be gone; Goldbirds have risen: an act that demands your attention and respect.  Solid songwriting and terrific beats (are only the start of things) - there is plenty more to come.  It is exciting (seeing a band fresh-faced and newly-bred): what exactly will Goldbirds produce next?  Knowing Granger and Connelly- and already being a huge fan of their Goldbirds cohorts- there is sure to be quality and surprise: the duo are terrific songwriters; a natural bond- they are a real-life couple- and real flair for the nuanced music.  Stepping away from Canada- for a few weeks at least- I am pleased to promote some great homegrown magic: an act that has a lot to say; are sure to be headliners in years to come.  Full of hope and eagerness, I know how much (Granger particularly) wants the band to succeed- with tracks like Silver & Gold, success will be a foregone conclusion.  For now- and before the band start to expand and captivate- listen to where they are now: their embryonic offering is a terrific slice of Rock and Roll: sprinkled with Blues magic, it is hard to shake off (the addictive nature of the track).  Congratulations to the band, which have bonded incredibly quickly- it is this bond through in every note.  Aside from (their live debut performance), there is sure to be new material- some more gigs and performances perhaps.  For now, sit back and relax: listen to a glistening track; one filled with jewels and diamonds (of sound); silver nuggets of song, because…

ALL that glistens is Goldbirds.

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________________________________________________________________________________

Follow Goldbirds:

Official:

http://goldbirdsband.com/

Facebook:

https://www.facebook.com/goldbirdsband?fref=ts

Twitter:

https://twitter.com/goldbirdsband

Instagram:

https://instagram.com/goldbirdsband/

 _____________________________________________________________________

Music:

http://goldbirdsband.com/music--2

 ______________________________________________________________________

Gigs:

http://goldbirdsband.com/gigs

Interview: Ellene Masri

Interview:

Ellene Masri

 __________________________________________________________

Having had a busy (2015) so far- including a successful Kickstarter campaign- Ellene Masri is preparing for busy times: there is a lot of love (and support) for her music.  Having followed her career- and being familiar with her work- I was keen to catch up; see how this year has treated her (and what she has in store)

___________________________________________________________________

OVER the past months (and years) I have been deeply impressed- by the new music talent coming through.  This is especially true of Ellene Masri: one of the most striking and passionate (artists in the music world). 

https://twitter.com/ELLENEMASRI/status/582123509813551104

Having completed a successful Kickstarter campaign- the funding for her Lonely Girl: A Live Video Performance (https://www.kickstarter.com/projects/ellenemasri/lonelygirl)- Masri has a busy (rest of 2015) ahead: one filled with excitement, possibility and music.  Based in the U.S., the French-born artist is one of the most humble musicians I have known: she loves her fans and this enforces her tremendous music.  In addition (to her jaw-dropping beauty) comes an endless work rate- a huge passion for music (and reaching new fans).  Not contented to sit still, Masri always bowls me over: the way she talks about music has inspired me; propelled my creative mind (it would be great to collaborate with her soon).  Having communicated via Facebook- about mainly personal/Kickstarter-related issues- I was keen to go deeper: find out what drives her music; who has influenced her- and whether the music industry is male-driven (and unequal)

Hi Ellene. How are you today? It is very windy in the U.K.: how is it where you are?

Hi Sam I’m doing great thank you. It’s always a pleasure chatting with you. It is windy too here out West, but sunny!

Congratulations (on the successful funding) of your Kickstarter campaign- www.kickstarter.com/projects/ellenemasri/lonelygirl: have you been surprised (by the amount of people who got involved)?

Thank you! Of course and to tell you the truth, I had no idea of how much help I would receive. I’ve been extremely surprised by their generosity. It was amazing to get such great support from people all over the world. I knew it would come mainly from Europe and the U.S. but I discovered people were also enjoying my music in Latin America, Japan, Australia, Indonesia...

Now that you have (achieved your target on Kickstarter) what will are you doing over the next few weeks/months?

Not only did we reach the initial target but we also met the Stretch Goal which allowed us to book a second day in the studio, add two staff members and to arrange to shoot a Documentary that will be released a little bit later. We will be shooting the video on April 26. So right now I am organizing the video. I am working on putting the rewards together and will be shipping them very soon. I will release a Stevie Wonder cover recorded with Sir. Gant especially for the backers. So it’s going to be a busy month. Once the video is ready, it will be sent to my agents.

With regards (your recent ‘Live Video’/Kickstarter success): how important is social media to you (and other musicians)?

Social media is very important. A lot of professionals use it as a tool to discover new artists. But it is also crucial to build a real relationship with your fans that I consider as friends a lot of times. They support me and I’m really thankful for that. They give a meaning to my music. I see it as a chain. The artist, the journalists, the D.J.s and the fans. We are all essential to each other.

You are currently in the U.S. and originate from France.  Will you be coming to London/ Europe (over the next few months)?

Yes. I plan to come to London this summer. I will also go to France to visit my parents that I haven’t seen in almost a year now.

You have been working with Sir Gant (www.sirgant.com) a lot (on some wonderful collaboration pieces). How important (has he been) with regards your development/success?

We've just started, really. We haven’t released any original material yet. We did a few covers for the fun and now we’re working on this important project which is the video, a video that will be shared with the fans and spread all over the internet as an introductory taste of our collaboration. I think this will be more representative of our work than anything you've seen/heard us doing until now.

[soundcloud url="https://api.soundcloud.com/tracks/198688397" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Having reviewed your music last year- Music (the album) and Rain (song) was some of finest music I heard last year- are there plans for (some new music) in 2015?

I have to tell you again how deeply touched I felt by your fantastic review. You were first to review it and I remember saying to myself: anytime you doubt, go back to this review, someone out there is moved by your music. I like to think that the people who you’re speaking to through your music will recognize themselves. I believe that you attract a certain category of souls depending on what music you make. And I’m not just talking about a music style here, I’m talking about the kind of emotions that you let flow. It could be love, anger, ego; it could be a lot of things. I want my music to be loving. I’m not bitter so I don’t want it to be. It’s OK for it to be nostalgic but I think there’s no need for it to be sad. We get enough of this every day.

Your music is very unique in a culture with homogenised and predictable music.  Who has influenced your music? Has your itinerant background (and traveling to many countries) enforced your rich (and distinct) sound?

Thank you Sam. My influences are so many and diverse that it is hard to tell. But I have my favorites. Bob Marley, Third World and Steel Pulse, The Cure, Stevie Wonder, India Arie, Rachelle Ferrell, Jonathan Butler, Anita Baker, Richard Bona, Ella Fitzgerald... And of course I’m very influenced by my roots. My mother would listen to Nat King Cole and my father loved Classical music (European and Egyptian Classical music)... In fact when I was a kid he would set a timer on the boom box and I would wake up to the music. I also love to travel and then incorporate different sounds in my music: I think Hossam Ramzy’s Tabla (Egyptian Tabla master) on Secret Lover is giving the song its unique groove, halfway between Latin Jazz and Middle Eastern grooves. It’s also a way for me to pay tribute to my Egyptian roots!

On that note: I am very inspired by Jazz-Rock legends Steely Dan; great artists like Jeff Buckley and Radiohead. If you had to select (your most influential/favourite artists) who would you select?

I like Steely Dan too. But I would say Bob Marley and Stevie Wonder.

With London growing (as a music city): can you see yourself moving to/performing more (over here)?

Oh YES! I love London so much! I've always been attracted by and sensitive to the British Culture. It’s something about the energy of London city and its musical scene. I feel a deep connection. But I’ll go wherever the music takes me.

Does the U.S. provide greater opportunities/chances for musicians like you (with a very special style)?

It’s a little early for me to say as I haven’t started touring yet. I know how it is in the U.S., the U.K. and France, but there’s so much to discover. However, I think you create opportunities!

In addition to your original material you have recorded a wide range of covers. If you had to choose your top five songs/albums from music (that have meant the most to you) what would they be?

I am glad you let me choose between songs and albums. A lot of times I only listen to a couple of songs in an album. So, off the top of my head I would say...

> My One & Only Love (George Benson, Tribute to Nat King Cole)

> Heal Our Land (Jonathan Butler)

> Rocket Love (Stevie Wonder)

> Another Day (Buckshot LeFonque feat. Frank McComb)

 > Sweet Love (Anita Baker)

A lot of new musicians have to work tirelessly (to get their music heard/reviewed/ funded) and can often face disappointment/ despondency. What would you say to anyone (in that situation): what are the best ways to market/find success?

“Success is when preparation meets opportunity”. I like that saying. Opportunities will come up when you will reach a great level with your music. When you’re ripe and ready! You will find agents; you will find people who will want to get on the boat because they believe in you. You have to do your part first. (Four more questions left sorry to ramble, slightly).

It seems in music- like a lot of sectors- there are more men/male-led bands (taking a lot of media focus). With fantastic acts (such as yourself) coming through: do you think things need to change (in the industry).  Is it something that makes you angry/sad?

“This is a man’s world!” There’s no doubt about it. Yes it needs to change and yes it makes me terribly sad. What needs to change in the industry? More women in the key positions, maybe. If women were to make choices, I think it would be different. I’m not just blaming everything on men. A lot of women also have prejudices about women. And the more they work together, the more they will learn to listen to each other and respect each other’s opinion. Now in the media, I think our Western model h as hyper-sexualized women and not necessarily liberated them. I want to see my sisters as entrepreneurs, artists, proud mothers, not just as girls pimped by their producers. The new generation is hearing Rihanna sing “Pour it up; pour it up, that’s how we ball out.” Is this what we want to teach them? That a woman’s success depends on the amount of dollar bills filling her bra?

Having known you quite a few months and followed your progress what have been your highlights (of your music career thus far): any particular highs that stick out?

My album’s release.  A new Video coming up. It’s just the start, really. I’m eager to get on tour and create more “highs”

Odd question (had to throw one in). Looking at your ‘fan map’- location of people who have followed your music/donated to Kickstarter- Australia (and N.Z.) seems a little bare: are these areas you wish to conquer and play- it seems your music would go down there very well.

Of course! I want to go everywhere... The world is so full of amazing places! They’re already playing my music down there in Australia. I also have direct uncles, aunts and cousins that were born there and live in Sydney. So yes, I’m really eager to go there!

Thanks for your time, Ellene. You have worked tirelessly and will be doing so a lot and best of luck going forward. It seems like exciting times are ahead...

Thank you Sam. You are also working hard supporting independent artists and other causes and I am really grateful for that. You’re doing a great job reviewing emerging artists using your writing skills, great ear and sensibility. I look forward to meeting you very soon in London...

THAT will be something to look forward to for sure.

[youtube https://www.youtube.com/watch?v=ablYaElmvV0&w=420&h=315]

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Follow Ellene Masri:

Official:

http://www.ellenemasri.com/

Facebook:

https://www.facebook.com/masriellene?fref=ts

Twitter:

https://twitter.com/ellenemasri

YouTube:

https://www.youtube.com/user/ellenemasriOFFICIAL

SoundCloud:

https://soundcloud.com/ellenemasri

Ellene’s album (Music) is available at:

https://itunes.apple.com/us/album/music/id734815593

Ellene’s latest track (Lonely Girl) can be heard here:

https://soundcloud.com/ellenemasri/lonely-girl

Track Review: Jade The Moon- Broken Angels

TRACK REVIEW:

Jade The Moon

  

Broken Angels

9.5/10.0

Broken Angels is available at:

https://soundcloud.com/culvertmusic/jade-the-moon-broken-angels

RELEASED:

24^th March, 2015

GENRES: Pop

COUNTRY OF ORIGIN:

Canada

LABEL:

Culvert Music

THIS review is going to be quite to the point…

as it represents a (sapling act): one that is really starting out.  Before I offer some insight (and biography), I want to raise a subject: brand-new acts.  Jade The Moon is pretty much in their infancy: with few tracks (available online) it is good to witness an act- that is starting out; on the ground level.  Usually- when I survey an act- they have a string of tracks under their belt: maybe a few E.P.s; an album perhaps- a pretty defined back catalogue.  It is always great to see an artist JUST starting out: the initial movements are among the most exciting- the truest testament of the musician; their first steps into (the music world).  Although Jade The Moon have crafted an E.P.- Habits and Hindrance- their latest track is their most prominent: the most urgent and gripping (song they have produced so far).  Among the U.K.-based acts, many of us (do not see the sapling movements).  When a band (or act) comes to our attention- unless we know them through social media- they are usually pretty settled: have assurance and a number of tracks.  The music industry is a pretty darn tough one: with so many (new artists) flowing by the week; the chances of long-term success are undefined- artists have to work tirelessly just to get people listening to their music.  The way to ensure some longevity is to go in strong: create songs (and sounds) that differ from ‘the norm.’- something that is pretty special.  When I see new musicians (come through with their debut songs), I often get a familiar sensation: this type of music has been done to death; where is the originality?  At the moment, the likes of Mumford & Sons and James Bay (are on critical lips) - between them there is so much bland music, it is enough to bore you to death.  In fact, cast the net wider: you get the same sort of (depressing familiarity) and blandness among the current scene.  It is only when you dig deeper do you discover something fascinating: songs that pop and snap; intriguing compositions; gripping sounds- music that demands repeated investigation.  The music industry needs Pop/Folk-driven gentility: the fact is, there is so much of it about (we do not need any more).  The moodier- and darkly bracing sounds- of the Electro.-Pop goddesses are the rarity: a hard-to-fault sensation, guaranteed to tantilise the senses.  Being a fan of acts like London Grammar and FKA twigs- two very different acts- they are led by strong females: voices that come straight at you; get inside you head and heart- make you root for them.  I yearn to be seduced and affected; feel empathy (and sympathy) for a musician: share their burden through the wonderful medium of music.  A lot of acts attempt this- few ever succeed.

Jade The Moon is based out of Toronto (the producers of Broken Angels come from here): Jade herself hails from Vancouver.  Based around south/south-west Canada, Jade The Moon is a short step from the U.S.: a market they are starting to (make impressions in).  Having reviewed a lot of Canadian acts (mainly Ontario-based artists) it is nice to travel across the country: see the coming-together of reputable producers (Bad Cop // Mean Cop) and a stunning vocalist.  Before I raise (another point), let me introduce Jade The Moon:

“It’s spring 2014. The moon shines brightly in downtown Toronto and 27 year old Jade Moon leaves her apartment in Parkdale. It’s very early in the morning. She starts out on one of her routine late night/early morning walks down a seemingly abandoned street. She eventually arrives at her favourite bench in a quiet corner of a neighbourhood park shop where she routinely stops to collect herself/thoughts and talk to the stars. A small town girl living autonomously and alone in a new city where the streets have all the personality and the faces have no names. She begins writing in her note book. Written at the top of the page are the words U TAKE CARE (I guess you didn’t know). The words she would write next would eventually inspire a collection of songs about the habits (GOOD or BAD) and cycles we so often find ourselves repeating whether we like it or not. Stories of Love and Hate. Stories of Ecstasy and Empathy. U Take Care specifically talks about the relationship between a woman and a man (a fictitious and almost demon like character that only exists in the mind of our story-teller) This man can only take love and is incapable of returning it. A sarcastic and poetic take on a love song... Jade The Moon Habits & Hindrance is the debut EP release for this exciting new project comprised of Vancouver’s Jade Moon (Vocal/Guitar/Piano) and Toronto Based production duo Bad Cop / / Mean Cop. The sounds are edgy. One might say that within in the current realm of popular music this project is borderline punk. The majority of the EP was recorded over a two-week period in kitchens and living rooms. Raw one take vocals make up the majority of the vocal performances on the album... Jade The Moon was created as a passion project, nothing more (or less). Born from a craving to make music free of borders and limitations and certainly with no intention to cater to current radio format. “We wanted to create without any care for song structure or content ” says Jade. We were more concerned about putting a feeling into the recording and knew that going on instinct would be our strength. This trio of creative minds admit the project was entirely whimsical and happened almost accidentally.”

Whether the project was ‘accidental’ or not, it is clear it is a special thing: a collaboration that needs to continue.  The biography (and formation of Jade The Moon) sounds strangely romantic: there is heartache and pain; yet moonlight and stars are a saving grace.  Having gained a reputation in Canada- and caught the eye of reviewers and writers- Jade The Moon have an exciting future: it seems there is potential to grow and expand; play across Europe- gain legions of new fans.  Their upbringing (and rise) has been a Canada/U.S.-based treasure: they are starting to get some recognition further afield.  Daring to be different; presenting music that is both gripping and seductive- it is hardly a surprise they are getting serious plaudits.  Broken Angels is where they are now: their state of mind; Jade The Moon’s heroine lays her heart and mind out- to create something quite sensational.

When describing the track (Jade The Moon) assessed it thus:

"It was an attempt to represent musically, the feeling of fighting and F@%King and the sad truth that so many relationships are no more than that," said Moon in a statement about the song. "We wanted to create free of restrictions. Going on instinct would be our strength. There's no room for emotional barriers. Nothing to cover up.”

(Quote from http://exclaim.ca/Music/article/jade_moon-broken_angels_video)

Lush and delicate strings arrive (to beckon in Broken Angels).  Like contemporaries- such as Indiana and Florence + The Machine- there is something ethereal and otherworldly.  Gorgeous and serene, the listener is giving a gentle touch: they are welcomed in with delicacy and romance.  The production (helmed expertly and assuredly) mixes notes together- without compromising the overall sound.  Electronic nuance mingles with plinking strings; swaying aches settle alongside sharp notes- the overall effect is both natural and uplifting.  When Jade arrives at the microphone, she spoons out her words: they are paced with precision and pauses- to ensure the words are both understood and effective.  From the immediate stages you think about (Jade and The Moon’s) formation: looking up to the sky (from a park bench); thinking and reflecting on life.  The heroine look to the moon (and starts): lost in the night, you can practically picture the scene- the composition blends wonderfully with the vocals; giving the track an effective edge.  When the composition starts to swirl and rise, Jade’s voice stretches and aches.  Whether speaking to a (former sweetheart) or talking about herself, words like “you are falling so gently in the sky” are delivered with insistence and urgency- the voice is both rich and aching at the same time.  Building pace and momentum, the track kicks up a gear: talking of broken angels, the heroine yearns and implores- the line “help them feel love” is one of the most memorable and direct (of the song).  As the backing rouses and augments- electronics get harder and the beat increases- our heroine is enraptured and gripped.  The chorus is heart-pounding and anthemic- designed to unite festival crowds; get hands in the air and set the night on fire.  Having built from soft (and gentle) beginnings, the song reaches its high: the mantra comes to the fore; Jade is at her most direct and enraptured.  It is impossible to deny (the strength and passion) of the chorus: with quotable lyrics and fantastic production, our heroine lets her voice rise and power- building shivers and tingles a-plenty.  Building the fever and fervor, the track’s crescendo ignites and sparks- you get caught up in the myriad sounds; the rapture of pace and energy- awash in the momentum of the track.  As not to peak too soon, the mood settles slightly: Jade is back in reflective mood; speaking to her (former beau?) she implores: “Shiver in my arms.”  It is impressive, in the way the words are delineated.  Many artists would rush and power- get the words our quickly- but Jade The Moon are a different affair: the lyrics are carefully deployed; not only adding effectiveness, but ensuring the track has a great- and shifting- dynamic.   What you take away from the song, is that central message: repair broken angels to help them feel love.  It is a coda that is repeated (in the closing moments), imploring the listener- not only to sing along- but to remember that fact- those that are sad and heartbroken need rebuilding.  It is a unique spin on a common theme: the plight of the heartbroken is hard; yet there is a chance of redemption. As the closing moments press and pervade, you are fully invested in the track: it takes repeated listens to fully appreciate (its many possibilities and meanings).

Broken Angels is a song for lovers and losers: a track that seems to speak to everyone; we have all gone through similar things (as Jade).  Although the heroine has gone through tough times- and really dark places- the way that is channeled (through the track) is quite mesmerising.  As it stands, E.P. plans- and release- is imminent: a chance (for the rest of the world) to see what Jade The Moon is about.  In (Jade’s words), it will be something quite different:

“The lead off track 5 6 7 8 FIGHT AND FOUGHT (WE ONLY) reflects on a relationship and sets the tone for the EP, discussing the human capacity to “Love and War” with each other over and over again... Everyone involved in the recording of this album was going through major changes. A couple of us were going through extremely dark times. In fact 5 6 7 8 was created the one and only time we ever collectively wrote together. It was an attempt to represent musically, the feeling of fighting and F@%King and the sad truth that so many relationships are no more than that... The theme of cycles on this project continues with the lead-off single Broken Angels in which Jade sings an almost eerie lullaby. The distinct character of her voice is heard on this song as she sings about healing the broken hearted in hopes they may learn to love again.”

The future (for Jade The Moon) is going to be a mixture of easy and tough.  Jade has plenty of beauty and appeal; mountains of potential and talent- a sound that is urgent, impassioned and nuanced.  With regards (the album/record release), Jade comments:

“We based the whole album theme around the story of a girl who is unknowingly on dark and destructive path walking hand in hand with her own demons and worst enemy [herself]“. On this path she learns how to cope and heal herself yet never correcting the fact that life is a vicious cycle… Near the end of the record, she is back where she started and the only lesson she’s learned is that the definition of insanity is doing the same thing over and over and expecting different results.”

Jade’ differ from their peers greatly: the way instruments are combined (flutes, guitars, electronics) will spike the ear; the spectacular production brings each note (and vocal) to life.  Jade’s vocals have hints of Florence Welch; the power and prowess is all there: beauty, seduction and sensitivity can be witnessed too.  Broken Angels is a great starting-place (when listening to Jade The Moon) although it is clear- when their new record is out- there will be a lot of different shades- wonderful stories and soundscapes; a wonderful collection of moods and sensations.  It is Jade The Moon’s songwriting- the memorable lyrics and evocative stories- that captivated me: the way (the listener) is brought into the track; the music implores you to get involved- instead of creating alienation.  The social media numbers (for Jade’) may be meagre; that is something that is going to change: the act are in their early stages; making their early impressions.  When their (forthcoming release) is dropped, that is all going to change: the fans will flock in; the reviews will come- Jade The Moon will no longer be lonely and heartbroken.  Whether (increased fan numbers and adulation) will change Jade’s mindset- and the songwriting- is unsure (you suspect not), but I would love to see the live performance: hear those incredible vocals in their natural setting.  When looking to the future, the ‘band’ see it this way:

“Honestly we created this music thinking “who would like this crazy music, so moving forward… I guess we’ll let the listeners decide what we do next.”

(Quotes sourced from http://culvertmusic.com/artist/jade-the-moon/)

It is very much up to the listener: how long (the band/act lasts) depends on how many people latch on.  From the perspective of Broken Angels- the band are likely to get more fans- it seems quite bright: I think they will have a prosperous future.  The early days are always exciting: there are plenty of nerves (and questions) but it is always intriguing to see- Jade The Moon have a confidence and sense of belonging that comes through in the music.  In addition to performing in Canada, I hope the act troupes across (to the U.K.)- brings their music to the masses.  Keep your eyes peeled- to the pages of Jade The Moon- and watch them rise (in popularity and stature).  In a music world filled with bland (and dull music) it is always rewarding coming across songs like Broken Angels.  A track that not only gets inside your heart- and comes from a place we have all been- but lifts the spirit.  Through remarkable production; sharp songwriting- backed by tremendous vocals- it is hard to resist.  Quite frankly…

WHY would you ever want to?

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Follow Jade The Moon:

 

Facebook:

https://www.facebook.com/pages/Jade-The-Moon/662370513876637?fref=ts

Twitter:

https://twitter.com/JadeTheMoon

 ________________________________________________________________________

Music:

https://soundcloud.com/jade-the-moon

The Single Voice: The (New) Music Initiatives

The Single Voice: The (New) Music Initiatives

THIS will be a short one…

as not to bore the collective.  Tomorrow- I will back to reviewing duties- but for today, I am ‘on a mission’: getting out; doing as much as I can (to help out).  Today- when I get some time to sit and have a coffee- I will be reflecting on my current/continued passion: getting The Single Voice ‘going’.  I know it must be quite boring- hearing me rattle on about something consistently- yet it marks a great passion: something that means a lot to me.  At the moment, I am developing ideas (homepage web design; concepts and promotional ideas; logistical things) but, it occurred to me, there are things that could be done- whilst waiting for Google to respond (and get things moving).

Seeing as (The Single Voice) incorporates new music/original music components- where you can compile playlists around new/original music, there is an opportunity (to do something promotional): get some musicians together- to record an album.  In the past, my attempts to get people together have been mixed: I am determined to hold a concert (when I can get money together); other schemes have been a bit over-ambitious- this one seems simpler and more affordable.  It (the idea) would be launched next year- or sooner if I can get people together- and would bring new musicians together: ten-twelve in total.  I will be posting other blog posts- of a similar nature- based around similar ideas: that will incorporate comedy, film; online blogs- and a few other things (there will be five in total).

The music promotion/initiative (as-yet untitled) would bring together musicians of multiple genres- some based in the U.K.; some other parts of the globe.  I want to bring female artists together (including Jen Armstrong, Ellene Masri, Chess, Elena Stathaki; a couple of others); some gents (Los and the Deadlines, Bi:Lingual and others)- in addition to duos/groups such as Braver Than Fiction, Gypsyfingers, Issimo and Crystal Seagulls.  As I say (the idea will pull together a dozen acts all told) and would present a nice range of genres/sounds.  Each act would record an original song: it would be anything they like; maximum length of four minutes (a chance for them to break away from their usual duties; write something unique).  Once each act has recorded their song, I will get all the (digital) recordings together: and get them mixed and arranged.  Once the 10-12 tracks are compiled, they will then go onto BandCamp: where (if you want to buy the album) it would cost 250 English pence.

Initially, there would be a Kickstarter/Pledgemusic campaign: raising funds for the production and promotional duties- which will not be a large sum (and easily achievable).  Backers will get some good rewards- including vinyl/C.D. copies of the album; goodies from the musicians involved- and once the album is ‘live’: donations will go to charities- of the particular bands/acts involved.  There will be a limited number of C.D./vinyl copies- some of which will go to the musicians- but I hope the album (untitled at the moment) will raise lots of money- get some funds together for great causes.  The musicians- that are involved- have a chance to do what they want; bring something new to the table- get their music heard by new audiences.

What the incentive will do, is to promote The Single Voice: there will be a promotional video- including clips from the musicians- that will help launch the scheme; get people involved.  Over the next few weeks, I will be launching similar blogs/schemes- involving short films, comedy shorts- that help to do the same (as the music scheme).  I hope the bands involved- that I want to take part- will be on board; I hope the public buy the album (when it is released later this year/early next year): I hope it is a good idea (I am never sure when I let my imagination get away from me).

Keep your eyes out- I will be posting a few posts throughout the next month- and thanks for all the support so far.

LET’S make it happen

The Single Voice (post):

https://musicmusingsandsuch.wordpress.com/2015/03/08/the-single-voice-one-language-for-all/

The Time to (For)give... and Keep Going

The Time to (For)give… and Keep Going

 

THIS will be a short(ish) one …

For me at least.  Tomorrow- or next week anyway- I will be back to ‘regular’ duties: interviews, reviews etc.  Lately, I have become jaded somewhat: review subjects (acts I assess) have not really been showing enough gratitude- not that I review (to have my ego stroked), but it is quite hurtful (when you get the spam/bare-minimum reply).  Last year, I got some great feedback; reviewing meant a lot to acts- their praise really touched me.  From now on, I am going to be very selective with reviewing: ‘accept’ acts that (I know for sure) will appreciate my time and effort.  I guess it is one of the things about modern music: artists have to contact so many people; tick off so many boxes- they are endlessly busy and stressed.  It has made me think about things (in a wider sense)...

Social media is one of those odd things: you can connect with someone- find some terrific people- without ever meeting them; never seeing them face-to-face.  I have acquired/forged some terrific relations- with some wonderful people- the last few years- I am getting worried.  It applies more to musicians, but there is a lot of stress/anxiety going around: the pace and pressure of the industry is getting to them.  Seeing as I cannot (write a letter to each of them personally)- a few of them are in the U.S.; some even further away- I will do it here.

Easter is a great time to relax; a chance to escape (the pressures and boredom of work): enjoy some solace and peace.  For the musician, the clock never stops: they keep going on and on (and burn the candle at both ends).  This year (so far) I have been following some great musicians; pleased and proud of their progress- touched by their development and progress.

Ellene Masri:

Having just completed a (successful Kickstarter campaign) she is hard at work: video recording; planning and organization- a lot of busy times ahead.  Having been a Lonely Girl, I have been proud of her development and achievements: someone who never stops giving to fans; works tirelessly for her art- someone that wants to connect with people all around the world.  I know (over the next few weeks) she will be working non-stop: never really slowing down; music-planning, promotion and hard graft- someone who deserves things.  I hope (she will) get a chance to relax; to reflect- and see the effect she has had (on musicians, fans and followers around the world):

http://www.ellenemasri.com/

Jen Armstrong:

Currently based in the U.S., the Yorkshire-born artist has been working hard: having returned from New Zealand, she is performing across the U.S.; getting her music out there- some important dates and events await.  Like Ellene, she has been never-ending (with her music and promotion): nobody else is as passionate about her- music means everything to her.  Having had some doubts and stresses- and bravely traveling (to the U.S practically) by her self- she is achieving a lot; putting smiles on faces.  It may take a few years, yet I am in no doubt: the young star will fusil all of her dreams (and damned to the bad/hard times).

http://www.jenarmstrong.tv/official/Music.html

Diane Sherwood:

Manager- and biggest supporter of The Updraft Imperative, she never stops plugging: making sure the boys are happy; they are getting their name out there- she is planning a trip to Australia to see them (and is very excited about the fact).  A huge supporter of mine, she always looks out for people; supports great music- tirelessly works (to get her musicians the best deals/life possible).  Never someone to quit, she keeps plugging and pushing: few other people work as hard and (as passionately)- something that has inspired me greatly.

Dylan Cartlidge:

The Bi:Lingual man is a prodigious and tireless songwriter: I have been privy to some tantilising snap-shots and songs-in-waiting (the band have a serious talent in their midst).  Often doubting himself- in the way musicians are never 100% sure of their abilities- I love his songwriting; his incredible (shapeshifting and oscillating vocal ability) - the passion he brings to each song/performance.  Another tireless talent, I hope he gets to chill a bit: and realise the future is going to be prosperous (and very bright).

https://soundcloud.com/bi-lingual

Sarah Collins:

Someone who has had a tough (few years), her endless passion (and performances) are deeply impressive- she never stops recording music; always looking ahead (someone whose past has been fraught with heartache and illness).  Having been on a rise, it seems like 2015/16 will be wondrous and jam-packed: so many new fans are flocking to her door.  With such a break-neck pace (she is working at), let’s hope there are some ‘down days’- where she can sit and rest.

http://www.sarahcollinsmusic.co.uk/

I get worries about people (on social media).  On twitter, there is a girl I know (who I have not personally met), having a tough time: unhappy in the U.K. (or with life at the moment), I get stressed thinking about it- how the strain and fatigue of life affects her.  Desperate to do more (without appearing like an odd stalker/nutcase), I am wracking my brain: trying to ‘fix’ an issue (I may have no business trying to fix).  The same is true- with regards my music friends- of the people I know.  Not just directed at the music people; but everyone is doing so well: the people I know are the hardest-working and (most passionate) you could find- there seems to be some doubts.  In an age- where you need to work ruthlessly to get your voice heard- there is little time to relent/relax: it causes people to get depressed; start to burn out (and doubt themselves).

From my perspective- the way I want to try to help in a larger sense- is to ‘do good’: various acts and ideas (like The Single Voice) I hope can ease burdens.  In a realistic sense, it may not be possible (to eradicate issues like this; get the best people the success they need).  Whether resolution is truly possible, all I can do is say this: keep going exactly as you are; make time for yourself.  From ‘local peeps’ like Elena Ramona, Chess, Marisa Rodriguez (and many others); northern stars Issimo- international stars a-plenty.  To the musicians (and non-musician) alike: give yourself and break; you will get there in the end.  Everyone I know- who wants to make it big- is so young and talented: the progress they are making is inspiring (to me and many others), so take heart from that.

After the Easter debris subsides, allow yourself some days off: reflect on all you’ve achieved and put you first.  The anxiety, heartache and stress- that many are going through right now- will not last: do not let it overwhelm you.  There is an army out there- of people you may have never met- that want to support/help you all the way.  It is a message that applies to everyone- who may be reading this- but you’re doing great:

THE best is yet to come.

Track Review: Adi Ulmansky (Ft. BORGORE)- Was It You?

TRACK REVIEW:

Adi Ulmansky (Ft. BORGORE)

Was It You?

9.6/10.0

Was It You? is available at:

https://www.youtube.com/watch?v=_JlsP2kjH9E\

RELEASED: 19 July, 2014

GENRES: Electronic

COUNTRY OF ORIGIN:

Israel

TODAY’s review is marked by (some) confusion, happenstance and…

crossed-wires.  In spite of that, the discovery (of my featured artist) is a fortunate one: here is an act that is going to be a huge prospect.  Before I get to that, it is worth tracking back.  Today- and how I managed to lose an email from the band- I was due to assess Canadian music.  I am sure (and if they are reading this, get back in touch) I will be ‘back on track’ next week; but for now, I am looking across Asia.  My only review to date (in Asia) came last year- when assessing India’s Antriksh Bali- and since then, there has been quiet.  I often wonder why there is such a concentration (of music from certain places) and a scarcity elsewhere.  I know for a fact there is terrific music emanating from Asia, Africa, Australia (and Europe): when we think of new music, we often concentrate on North America and the U.K.  It is understandable (these two areas) are under such focus: traditionally the greatest music ever has come from here.  Over the last year, I have had my thoughts altered; discovered music (from different areas) and been quite surprised.  From French-raised/born Jazz to Australian Christian-Rock, there is a lot of great out there: too many of us concentrate our focus too narrowly.  The music coming from Australia is broad and exciting: it is not a huge market, yet the musicians here are fervent and fascinating.  Europe is providing (greater diversity) and choice- all manner of genres and sounds are being explored.  When I assessed Ellene Masri- an artist born In France; she not lives in the U.S. - it was a rare opportunity to travel away from the U.K. - discover European music of the highest order.  Asia is not to be forgotten, either: some fantastic artists are coming through; making their names heard.  Perhaps- in their native countries/continents- there is not the same chance to thrive; there is a tendency for artists to emanate (to the U.S. and U.K.).  Huge nations provide fans and venues: it is natural musicians make their way (to countries like the U.S.).  That said, it is important (these artists) do not lose their identity; remember where they came from- and ensure those discovering them realise that.  As much as I love (acts and bands based in the U.K. and North America), I thrive from diversity: musicians that offer some different, exotic, fascinating- away from the blandness that is so prescient.  This year- with regards new music- has uncovered some great artists; some terrific sounds- to my mind, there is still not enough originality.  Bands (by and large) tend to be predictable and underwhelming- not quite as electric and spine-tingling as they should- whereas solo acts are a little bland.  New music has always been the exception: all the acts I have featured are terrific and captivating.  The mainstream does throw up quality, yet there needs to be a change: welcome in (more new music) and inject some flavour and colour.  If we (the music-lovers) are going to be stay loyal, the mainstream needs a shake-up: blow away the boring and turgid; bring in the young and hungry.  What with the immense influx- and innumerable surge of fresh artists- it is impossible locating needles (in the haystack).

Adi Ulmansky is an artist with a difference.  She came to my attention- when looking at the website- of Brick London (a P.R./music promotions company based out of Shoreditch).  Having reviewed (some of their artists before), I was excited to uncover Ulmansky-see what she is about and what she can offer.  One of the first things that strike you- when it comes to Ulmansky- is her looks.  Stunningly beautiful- who has a terrific girl-next-door quality- she is a striking proposition.  Complete with green hair (and an infectious allure) she stands out from her peers- who tend to be rather unspectacular (in that sense).  It is clear she (Ulmansky) is no ordinary star: her style and looks break away from the crowd; she dares to be different and fresh.  Aside from her beauty and style, it is the music that hits you.  Ulmansky has just finished (an extensive tour of Europe) taking in the likes of Poland and Germany.  Her official website recalls her travels: the tour bus memories; the terrific crowds; the memorable festivals are all in there.  It is clear (that tour and experience) has been a fond one: she has been able to connect with new crowds; get to see her European fans- take in some wonderful sights.  Ulmansky is an artist that favours homemade beats (and comforts) - one of the D.I.Y. artists that prefers the comforts of home.  Her music has plenty of grandeur and heaviness; there is plenty of intimacy and personality in there.  A lot of (modern-day acts) still go for overproduction and studio luxuries: Ulmansky is someone who does things her own way; keeps the music pure and unfettered; does not clutter it with tinsel and processing.  Although she is based out of Tel Aviv, Ulmansky- to my mind at least- shares some parallels with Bjork.  Like the Icelandic legend, Ulmansky has a very distinct fashion sense- the striking hair; unique style; memorable looks- and way of working.  When the beasts and electronics (in her music) arrive, I am reminded of Bjork- particularly her earlier work.  Whether Bjork (is a direct influence for Ulmansky) I am not sure- it is an interesting comparison.  With that said, the Israeli heroine does things her own way: she is an original and stunning talent; someone with her own idiosyncrasies and direction.  Back in 2013, Ulmansky’s releases (her mixtape Shit Just Got Real and the Hurricane Girl E.P.) received huge acclaim: publications such as The Guardian featured them; heaped praise and support (her way).  Gaining the ear of the masses, it was not long (before Ulmansky’s music) was picked up by brands like Nike and American Express- who featured it for their campaigns.  2014 saw collaborations with BORGORE (a long-term collaborator; someone I shall mention later), and a spot at Glastonbury- quite a rise for the young artist.  Was It You? - my featured track today- featured (on her debut E.P.)- is a stunning and immediate track- a song that gets right inside your brain.  You can tell here is a girl that means business: her E.P. and mixtape have titles that portray a strong-willed and strong human.  Every note and vocal is instilled with passion and grit: Ulmansky is an artist that wants to be remembered; her music to be played long and loud.  In spite (of her flair and urgency) there is passion and tenderness: some fragility and vulnerability lingers under the surface.  This year is going to see quite a change: there is speculation of new material (from our heroine); some exciting gigs perhaps (speculation and excitement will build).  Having just completed (an exhausting and extensive tour) she will want to rest, yet there is a huge demand and intrigue: her online numbers are rising; fans are excited to see what will come next.  Having accrued an impressive army of fans- her numbers across Twitter and Facebook (combined) top 13,000- she is a fast-growing and beloved artist.  In addition to her distinct style, her warmth and personality wins you over: she is an artist that wants to connect with fans; reach as many people as possible- a commodity you do not see in everyone.

Shit Just Got Real- her mixtape released in 2013- features a compendium of sounds: fragmented vocals; diced beats; head-spinning electronics.  Hip-Hop influences come to the fore; Post-Dubstep styles: all wrapped up in Ulmansky’s Pop-tinged vocals.  The sound- that runs throughout the mixtape- is youthful and vibrant; urban and gripping- her lyrics are rapped, twisted and seductive.  Not content to stick with one course, vocals (and beats) contort and refract: Ulmansky switches course rapidly; her attentions change and charge- it is a heady and exhausting listen.  Being a mixtape, it plays out like a mini-opera: there are few gaps and chances to draw breath.  A daring and impressive release, Ulmansky (at her embryonic stage) marked herself out as an artist to watch: an incredible writer and vocalist; someone who understands music at its core.  Fearless and impossible-to-define; cross-pollinating and authoritative, Shit Just Got Real lives up to its title: the likes of M.I.A., James Blake (and FKA twigs) never produced anything this immediate.  Chillwave and Urban; Pop and Electronic: the Tel Aviv wonder is not content to sit still.  Shit Just Got Real proved how ‘together’ Ulmansky was: there are no loose edges and wasted notes; no sense of ambling and naivety.  Every beat, swathe and vocal seemed natural and perfected- counterbalanced with a loose and easy sound.  That mixture of looseness-cum-finesse showed its hand in Hurricane Girl- the E.P. that followed a few months later.  Back in 2011, Ulmansky was part of Lorena B- a short-lived act that produced a couple of wonderful released (over 2011-2012).  Since- the disintegration of her band- Ulmansky has been collaborating a lot: sparring with the likes of BORGORE and Lishkoah Meakol, she is hard to tire- not an artist that seems to slow or relax much.  Since her early days, Ulmansky has grown in confidence and direction.  Her latest track (well, released last year) is her most impressive and nuanced cut: the testament of her past work; the summation of her guile, force and innovativeness.  Tying together her previous glories- the stylish and variegated sounds- with her recent inspirations; Was It You? Is a stunning slice of music.

Delicate (and nursery rhyme soft) electronics welcome in Was It You? - putting me in mind of Bjork’s Vulnicura and Biophilia tenderness.  Sparse and tripping, the beat comes in.  Lurching and punchy; it parabonds with supreme intuition and ease.  Juxtaposing the graceful undertones, the (slightly dirty) percussion gives the track some danger and street vibes: you can imagine a late-night London sojourn; the song side-winds through elemental avenues and smoke-tinged (dingy) neighbourhoods.  Anyone expecting a Shit’-style rush- or an Urban warfare throw-down- will bridle (with a smile on their face).  Ulmansky’s first contribution is one of beauty and delicacy.  “Things are getting lost/Just like you and I” our heroine sings- with some oblique fascination and child-like enunciation.  With (maybe a touch of) modern-day Electronica and Pop, there is a mixture of mainstream quality and distinct Ulmansky: an infusion that instantly soothes the bones; inspires the imagination; compels the soul.  With its accompanying video (see the YouTube link) you start to conspire and project: Ulmansky seems heartbroken and lost; dislocated and adrift.  As the early stages progress- and the video unfolds- our heroine looks on: stuck in a “dark room of fog” that unfolds “right in front (of my) eye.”  Whereas most tracks- of this kin; by her peers- look at blame and break-up (and put the blame with the other party), here there is ambiguity and doubt- our heroine is unsure how things (got like they did) and who is the culpable one.  With her voice gliding and cooing- tripping and bathed in silk- BORGORE beats add weight and candor to proceedings.  Ulmansky seems emotional and fragile- yet her voice remains strong and together- lost in the haze of her own thoughts and recollections.  With anxiety and desperation- “Was it, was it, was it you?”- Ulmansky seems drugged and forlorn: trying to piece things together, that sense of confusion shines through.  The heroine is not sure what has happened; where things went wrong- even wondering: “Do you even remember me?”  Impossible to forget or leave (you would imagine) Ulmansky’s sweetheart has departed; shards have been left- she is trying to figure things out.  As the beats (and electronics) stutter and sparkle, our heroine’s voice pushes and presses: both breathy and open, it is an intoxicating performance.  Whilst the mood augments- and the composition becomes more frantic and layered- Ulmansky recollects: “I miss the feeling of being held/In your arms so tight…”  She is trying to fly/live her life- while her wings are number- trying to forget- although the same (bad) memories come to the forefront.  The video (for the track) is striking and compelling: strange images; artistic scenes; our heroine walking alone- is a perfect fit.  Propelled and supported- by the insatiable and stunning composition- Ulmansky is swimming in a centrifuge: her heart has been fragmented; her life changed forever.  You can sense that need for closure and satisfaction: she wants things to go back to how they were; be in the arms of her man- unsure why he went away; how things fell apart.  When BORGORE comes in to play the ‘anti-hero’: her man and former sweetheart is in apologetic voice.  Calling out to her, there is a fond desire- that his “so pretty” girl- to be with her; to have her in his arms- return things to their former state.  Adding Rap and Hip-Hop (into the Electronic mood), BORGORE adds some urgency and force- adding some dark shades into the light.  When BORGORE recollects, he is earsing (bad memories) and rewriting the romance- altering events and changing facts.  Remembering some find times- jumping from buildings; hot and heavy moments- it is clear (Ulmansky) had quite an effect- the heroine has left her mark; cast her spell, and caused some hurt.  Who is to blame, we are not sure- there is some confusion as to who left whom- but one thing is for sure: neither party seems happy (with their lot).  Ulmansky seems affected and yearning; BORGORE angered and lustful- the combination (of the twin voices and prohections) works wonderfully.  Both voices slot together perfectly- hardly surprising as they have worked together before- and neither one seems out of place.  Ulmansky’s sweet sensuality (and breathy sexuality) spars with BORGORE’s harder Rap- wrapped around the swirling electronics, Was It You? is a classic slice of Electro.-Pop.  As the final notes come into play- and the video comes to its conclusion- our heroine sits and ponders; burns old memories- leaves the listener rooting for her.  Whether (our heroine gained) answers is not clear: you really hope her hurt dissipated; her pain subsised.  With its incredible production and stunning composition; tied with the incredible vocal performances- the track is an instant success.  Pairing with original (and personal) lyrics, it is a track that gets inside your brain- and makes you sigh (and fall for Avi Ulmansky).

I have blathered on excessively: I hope Avi Ulmansky will forgive my loquaciousness and fevered passion.  I would love to see Ulmansky play London (I know she has played here before) and show the capital what she is about: I know many people who would flock to see her.  With the likes of FKA twigs, James Blake (and Electro. artists with clout) a minority: we need to see (and hear) more of this girl.  It would be understandable- were Ulmansky to recuperate and take some down-time- following such a whirlwind tour.  After the dust has settled, there will be plenty of options: does she opt for an all-out L.P.; an E.P. perhaps; some more collaborating?  Will the music be extemporaneous and sexy; hard-hitting and snarling; kaledopsic and shape-shifting?  Know Ulmansky, it will be all of the above!  Was It You? Is a tantilising glimpse into the future: a sign of her upcoming direction and a window into her psyche?  It would be great to hear an album in 2015/16- whether her freewheelin’ and mixtape-ready style would work in this arena- from the Israeli Siren: she is a fantastic songwriter with plenty of moods and ideas.  Whatever arrives will surely feature BORGORE; it will have elements of Shit Just Got Real- incorporate current influence and experiences.  When that moment arrives, it will be an exciting one: fans and followers are eager to see what comes next.  Being a new fan (of Ulmansky) I am catching up on lost time: looking back at her past; discovering everything I can.  Was It You? is bold and brave; exciting and rainbow-coloured- filled with drama, fascination and questions.  It is Ulmansky’s spirit and drive (that enforces her music) and I cannot wait to see where it takes her.  Before I wrap up, I want to circle back to my opening point: that which relates to cultural diversity and exploration.  Many of us- when it comes to music at least- will not be over-familiar with Tel Aviv: unaware that artists like Avi Ulmansky are around.  It is great to discover local talent, but it’s even more exciting finding something foreign: something unusual and new; international and unexpected.  The rest of 2015 will see the young artist weigh up her options; decide what she wants to do- she may already know and be keeping it close to her chest.  Having (just now) enthralled and entertained Europe, she is taking a much-needed breather- and is lamenting the end of (a wonderful experience).  When she regroups, magic will surely emerge: something new and different; a record that will excite her fans.  It will not be long until Ulmansky is a mainstream name; plays the biggest and more prestigious festivals- she played Glastonbury in 2014- and is a common name.  Until that day arrives (sooner rather than later) discover what the buzz is about: the girl has a desire to be heard and discovered.  Gorgeous and striking; talented and pioneering fresh and vibrant- here’s an artist we need to support.  Make sure you dig out her mixtape; her involved with her E.P. - take a listen to her latest song.  Once that is done, prepare yourself for what is to come- whatever form that takes.  Whatever she has in mind- whether it is a musical about-face or sweeping album- one thing is certain:

IT will be impossible to resist.

[youtube https://www.youtube.com/watch?v=_JlsP2kjH9E&w=560&h=315]

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Follow Adi Ulmansky:

Official:

http://adiulmansky.com/

Facebook:

https://www.facebook.com/AdiUlmansky?fref=ts

Twitter:

https://twitter.com/AdiUlmansky

Instagram:

https://instagram.com/adiulmansky/

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Music:

https://soundcloud.com/adiulmansky

 

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Videos:

https://www.youtube.com/channel/UCmvVZycqc8NhPCZb2yWQB6Q

 

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Brick London:

http://www.brick-london.com/

The Most Insulting Phrase You Could Ever Say

The Most Insulting Phrase You Could Ever Say

 

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With Easter upon us, I have been thinking a lot (about others; the world at large), and taking heart: it could be worse…

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“THERE are people (in the world) worse off than you…

Is- as this blog’s title suggests- the most insulting thing anyone can ever say (to any other human).  It is statistically true- with over 7 billion people on the planet, there are going to be quite a few- although it is completely irrelevant.   For one thing- when anyone has ever said that to me- they do not know (how difficult/bad things are) - so making a determination (as above) is, at best, ill-informed.  If people want to be empathetic/helpful (a rarity among the general populous) then they need to start giving a damn: it is one thing (there are quite a few) that annoys me greatly; when it comes to other people.  A sheer lack of empathy and social responsibly lingers like a bad smell- particularly prescient with my generation.  I am not the most altruistic or nicest person on earth, yet I feel well-placed to ‘judge’: give the collective a swift (metaphorical) boot.  Whereas a lot of people ‘have it worse than me’, this much is true: too many have it better off.

Over the last few weeks, the news has depressed me.  The recent plane tragedy (in the Alps) was particularly disturbing: something that hovered and poked around my brain.  Not omitting the terror and fear (the doomed passengers experienced in their final moments) the subject of depression came back to the fore- something that has come into sharp focus (over the last few months).  It seems that (the majority at least) the recent air tragedies- Air Asia’s two lost planes- have been caused by human error.  Whether- these crashes and tragedies- were caused by depression (or a sense of self-destruction) it is hugely distressing: why take hundreds of people with you (if you do not want to live on earth anymore?).   Mental illness will always be the deformed animal in the porch: the thing that people walk by (looking off-put and nauseated); the thing that is never petted- that animal that will always wait out in the cold.  Being depressed myself (quite severely at times) I know how hard others have it: just how bad mental illness can get.

I get affected by a lot of news stories (particularly true lately).  The massacre in Kenya (where scores of university students were slaughtered on the basis of their religion); every accidental death; each unnecessary death- I always picture everything; get upset and affected (I let it all get to me).  Perhaps it is the way I am hard-wired, yet it seems worrying (whether I will ever be able to cope with the ‘reality’ of the world).  I know I cannot stop things like this: I am incapable of messiah-like feats of salvation and protection, but I (always feel) compelled to get involved.

Over the next few days (I will be publishing a blog on Sunday) I am pressing hard (with my charity idea) and am still optimistic and resolute- I am finding few faults with the idea; sure masses will warm to the concept (when it goes live).  In as much as (there is a lot of needless waste/tragedy around) there is an even bigger problem: people turning their backs and not giving a damn.  I am not talking about the ‘wider scale’- in the community, I see too many humans doing the bare-minimum (on a good day).  Whether it is passing by the Big Issue Seller; not helping an elderly person open the door; not stopping when someone feints/has an accident- I wonder what the hell goes through (other people’s heads).  Reviewing music, I have become disaffected lately: bands and musicians are treating (the chance to get reviewed) as were it nothing.  I have in front of me, cards of thanks- touching and wonderful emails- from bands/managers/acts I have assessed- all thankful and grateful.  I never expected any of it, but (getting gifts like that) has compelled me to keep going with it- bands and musicians now seem less thankful; treat me like one (out of hundreds of reviewers); something they have to tick off the list.  I know how busy and hard it is (for musicians to get noticed) and they have a tough time- simple manners and appreciation goes a long way.

Maybe I am being (a premature) ‘old man’: what the hell is going on with people?  I know lots of wonderfully thoughtful people (who have it worse than me); many lovely humans (that are very good to me): I know too many (who have it all) give nothing bad.  More than anything in the world, I want to be less alone- I hate being single- and feel less ‘unloved’ (in that sense).  I want to live in London (timing a job and flat together will prove tough); I want to get a band together (and fulfil a lifelong dream) - I want to have a job I enjoy/can stand.  As much as anything, I want others to be ‘okay’- an attitude I never want to lose.  Whether this means (I spend less time on myself) I don’t mind.

Small changes and actions can make a big difference: changing attitudes and ways can lead to huge things.  Not wanting to sound like a preacher: too many people need to start thinking (about others).  This Easter I will be writing a lot; getting away from home (as much as humanely possible) and trying to relax.  I hope everyone has a great time (the next few days) and gives themselves some relaxation and space.  To those (who have not spent enough time thinking of others): make them feel less lonely; make some small changes- perform an act of kindness, just for the hell of it (and see the other person’s reaction).  Lots of people have it worse than me, and I realise how lucky I am.  For those that are (worse off), I will be eternally saddened- and sympathetic.  For those better off- that spend little thought on others- I will be endlessly angry.  Being more socially conscious- in addition to being a good thing- also makes you feel better about yourself.  When it comes down to it…

WHY would you not want that?