Track Review: Lauren Housley- Ghost Town Blues

TRACK REVIEW:

Lauren Housley

  

Ghost Town Blues

9.5/10.0

Ghost Town Blues is available at:

https://laurenhousley.bandcamp.com/album/ghost-town-blues-single

https://itunes.apple.com/gb/album/ghost-town-blues-single/id1003856261

GENRES: Soul; Blues; Americana

ORIGIN:

Manchester, U.K.

Written by LAUREN HOUSLEY (copyright control) and THOMAS DIBB (copyright control)

LAUREN HOUSLEY - Lead and backing vocals CRAIG HANSON - Drums MARK LEWIS - Bass/Backing Vocals/Percussion THOMAS DIBB - Electric Guitars/Piano/Tambourine/Backing Vocals LAUREN HOUSLEY - Claps and Foot stomps STEVE PARRY - Organ Ghost Town Blues Choir - TOM BARBER-REDMORE, JON KENZIE, PENNY NICHOLLS, HAYLEY WILLIAMS

Produced by MARK LEWIS and THOMAS DIBB Executive Producer LAUREN HOUSLEY Engineered and Mixed by MARK LEWIS Mastered by PETE MAHER Assistant mixing by ADAM STOKEL at SPIRIT STUDIO (Manchester) Assistant engineering by MARK WAGSTAFF and GREG CHICHE Album photography by SVEN ESELGROTH Album artwork by JULIA LOWE Makeup by JOY ONONOKPONO BIG BAD RECORDINGS

The album Sweet Surrender is available from August 28^th.

The album is available to pre-order at:

http://laurenhousley.co.uk/shop

TRACK LISTING:

Nice to See Ya- 9.4

The Waiting Game- 9.4

If You Were Mine- 9.4

Face the World Alone- 9.3

Ghost Town Blues- 9.5

When Autumn Came- 9.3

Sweet Surrender- 9.3

Show Me What Love Is- 9.4

It Ain’t About You- 9.4

All You Need is a Friend- 9.3

DOWNLOAD:

Nice To See Ya; Ghost Town Blues; Show Me What Love Is; It Ain’t About You

STANDOUT TRACK:

Ghost Town Blues

All tracks written by LAUREN HOUSLEY and THOMAS DIBB All tracks produced by MARK LEWIS and THOMAS DIBB Executive Producer LAUREN HOUSLEY All tracks Engineered and Mixed by MARK LEWIS All tracks mastered by PETE MAHER

Assistant mixing by ADAM STOKEL on tracks 2, 3, 4 and 5 at SPIRIT STUDIO (Manchester) Assistant engineering by MARK WAGSTAFF and GREG CHICHE on tracks 5 and 9

Lead and backing vocals on all tracks by LAUREN HOUSLEY.

‘Nice To See Ya’ CRAIG HANSON - Drums, ALAN KEARY - Bass, THOMAS DIBB- Electric Guitar/Acoustic Guitar/Resonator/Backing Vocals, SCOTT POLEY - Dobro, STEVE PARRY- Organ, Rhythm Section and Vocals Engineered by DAVE KEARY at RED DOOR STUDIO (Limerick)

‘The Waiting Game’ CRAIG HANSON - Drums, ALAN KEARY - Bass, THOMAS DIBB - Electric Guitar/Guitar Solo/Piano/Backing Vocals/Claps, JACK MCCARTHY - Congas and Percussion, Mark Lewis - Backing Vocals/Claps, STEVE PARRY - Trumpet/Sax/Trombone/Organ/Wurlitzer, Rhythm Section and Vocals Engineered by DAVE KEARY at RED DOOR STUDIO (Limerick)

‘If You Were Mine’ JOHN HIRST - Drums, ALAN KEARY- Bass, THOMAS DIBB - Electric Guitar/Acoustic Guitar/Banjo, EWAN GUILFORD - Piano, SCOTT POLEY - Pedal Steel/Acoustic Guitar/Percussion, TOM BARBER-REDMORE - Backing Vocals

‘Face The World Alone’ JOHN HIRST - Drums, MARK LEWIS - Bass/Percussion/Backing vocals/Friction Fingers, THOMAS DIBB - Electric Guitar/Acoustic Guitar/Backing Vocals, LIVIU GHEORGHE - Piano/Electric Piano/Prepared Piano, SCOTT POLEY - Pedal Steel

‘Ghost Town Blues’ CRAIG HANSON - Drums, MARK LEWIS - Bass/Backing Vocals/Percussion, THOMAS DIBB - Electric Guitars/Piano/Tambourine/Backing Vocals, STEVE PARRY - Organ, LAUREN HOUSLEY - Claps and Foot stomps, Ghost Town Blues Choir - TOM BARBER-REDMORE, JON KENZIE, PENNY NICHOLLS, HAYLEY WILLIAMS

‘When Autumn Came’ THOMAS DIBB - Piano, CHRIS HILLMAN - Pedal Steel, ANDY CRICK - Cello, SIMMY SINGH - Violin

‘Sweet Surrender’ CLIVE MELLOR - Harmonica, JOHN HIRST - Drums, JOHN POPE - Double Bass, THOMAS DIBB - Electric Guitar/Acoustic Guitar/Piano/Backing Vocals, STEVE PARRY- Organ/Production/Engineering, SCOTT POLEY - Pedal Steel, RACHEL LASHAM - Percussion, MARK LEWIS - Backing Vocals

‘Show Me What Love Is’ STEVE PYCROFT - Drums, JOHN POPE - Double Bass, ALEX DEE - Electric Guitar, THOMAS DIBB - Acoustic Guitar/Piano/Backing Vocals/Banjo/String Arrangement, SCOTT POLEY - Pedal Steel/Electric Guitar, STEVE PARRY - Organ/Production/ Engineering, MARK LEWIS - Backing Vocals, String Quartet - Leos Strings: RACHEL SHAKESPEARE - Cello, CAROLINE PETHER- Violin 1, ROSEMARY ATTREE - Violin 2, ALEX MITCHELL - Viola

‘It Ain’t About You’ STEVE PYCROFT - Drums, JOHN POPE - Double Bass, THOMAS DIBB - Electric Guitars/Acoustic Guitar, STEVE PARRY - Wurlitzer, RACHEL LASHAM - Congas and Percussion, Backing Vocals - PENNY NICHOLLS and HAYLEY WILLIAMS

‘All You Need Is A Friend’ CRAIG HANSON - Drums, MARK LEWIS - Bass/Backing Vocals/Percussion, THOMAS DIBB - Piano/Acoustic Guitars/Backing Vocals, PHIL ROGERSON - Backing Vocals, RACHEL LASHAM - Percussion, STEVE PARRY- Organ

Album photography by SVEN ESELGROTH Album artwork by JULIA LOWE

THE past few days have provided…

a chance to investigate some terrific artists.  From U.S. Americana to British Folk it has been an interesting last few days: the arrival of my next review subject causes me much pleasure.  When reviewing Little Sparrow last week- British-based artist Katie Ware- I was staggered by her work (I reviewed her song Wishing Tree) and the talent behind it- and how far she has come.  I love reviewing band, but for my money, the solo market provides bigger promise- the effort needed (to succeed on your own) is immense.  Solo acts have managers and support, yet there is a huge task ahead: they have to forge their own career; take on all the creative duties- it can be quite a lonely life.  If that were not bad enough, there is still that (public tendency) to air towards the band market: the public purse usually favours this type of music; sole acts tend to play second fiddle.  Because of the constraints of lone performing- the amount of sound/variety you can produce is already limited (compared to bands) - it is harder to find popularity; there are definite constraints.  When a great solo artist comes along, it makes it all the more impressive.  After reviewing Manchester-based (Cambridgeshire-born) Little Sparrow, here is another Manchester singer-songwriter: an artist with a tremendous future ahead.  When speaking (via email) with Lauren Housley, I was amazed by how accommodating she was: all the information/photos/links I required were provided- and a lot more.  Keen and enthusiastic, it was a pleasure to see- few acts have so much passion and an incredible personality.  When looking into Housley’s music- and her biography- I was struck by the immense quality and unique bent.  Someone who is very much separate from the crowd, you will not hear another like her- the music on offer is among some of the most captivating and memorable.  Utilising the classic sounds of Americana and Country, Housley ties this to Blues and Soul motifs; adds some Blues-Rock swagger together with some Pop sweetness- the resultant creation is something few listeners can/should resist.  Aside from a stunning sound, Housley boats two other weapons: a tremendous voice and wonderful songbook.  Before I continue (on this point) let me introduce Housley to you- in her own words:

 “A woman walks into a bar and asks: “Do you want some live music?” In no time, the place is ringing to the vibrant and original sound of one of the most notable new voices in Britain.

The artist in question is English chanteuse Lauren Housley, who’s been tirelessly honing her stage and song craft, playing regular gigs for her ever-expanding fan base as well as some of those impromptu ones, and winning widespread acclaim for all of them.

All of that groundwork by the native of Rotherham in South Yorkshire, now based in Manchester, will soon culminate in ‘Sweet Surrender,’ the excellent debut album she is ready to unveil. Housley’s songs, all written with longtime creative partner Thomas Dibb, evoke the same ambience as some of her forerunners among strong, empowered female artists, such as Janis Joplin, Eva Cassidy and Lauryn Hill.

After the promise of her ‘Rather Be There’ single and the earlier ‘One Step Closer’ EP, the album confirms the arrival of a vocal and songwriting presence with tinges of blues, Americana-style country, old-school soul, pop and rock in her locker, but a warm, intense and engaging style that’s all her own.

To name just two examples, the slow-burning intensity of the ballad ‘Show Me What Love Is’ turns heads every time she sings it. Meanwhile, the upcoming single ‘Ghost Town Blues’ moves stylishly among its soul influences from Massive Attack to Motown. And they’re just a taste.

“I think I’ve always had an ability to connect with certain emotions,” says Lauren of her emotive style. “I’ve been writing songs since I was about 13, but back then, I probably didn’t know that I was. It was just a form of expression at the time.”

Around a packed datebook of gig engagements, such is her popularity, Housley made ‘Sweet Surrender’ in three different locations, with some of the best up-and-coming young musicians Britain has to offer. Sessions included time in Ireland at the studio owned by Dave Keary, guitarist with Van Morrison, and featured his son Alan playing bass.

Further recording took place in Wallasey, on Merseyside, with multi-instrumentalist and producer Steve Parry, whose extensive credits include being musical arranger on ‘The Voice.’ Producer Mark Lewis then recorded some tracks and ultimately oversaw the whole set. “He’s ended up developing the whole album,” says Lauren, “which is really nice, because it’s given it an all-round feel.”

Housley grew up in a household where her parents were “massive music fans,” and although there’s no professional lineage, her dad loves to sing and does a great Elvis. In her pre-teens, Lauren was a British aerobics champion, travelling the country and practising every day. Then came her formative songwriting, and when her mum came home with an Eva Cassidy album, a creative light really went on.”

The solo market- and especially the female solo realm- is producing some interesting artists.  In the mainstream there are some rather bland examples (the likes of Lucy Rose leap to mind) but some terrific acts (the likes of FKA twigs for one) - in the new music sector, there is more choice and quality.  Lauren Housley rises above her peers due to her confidence and natural ability- there are few voices as potent and attention-grabbing.  With her album around the corner (Sweet Surrender) tongues and mouths are salivating: it will be a chance to see the young artist in full flight.  Having received the album as a private link- the perks of being a reviewer- nah nah! - I can attest to its potential: it is one of the most scintillating and diverse albums I have heard (this year).  Housley’s unique perspectives and touching tales bring her songs to life; her compositions are rich and filled with detail- that immense voice is one to behold.  The solo artist has a lot of hurdles to face; the stress of getting attention and gigs- the endless work to ensure their careers can flourish.  Housley has little to worry about: her early work is filled with wonderful moments; there are no weak links or lesser tracks- the entire listening experience is phenomenal.

Lauren Housley’s album is the first fully fledged account of the young star: an opportunity to see her songwriting in full force; that voice let loose.  To my mind, she has grown in confidence; her music has developed greatly.  Rather Be There was released last April and was hotly received.  Filled with passion and energy, the song is alert and packed with romantic implore.  Housley’s vocals are striking and bold throughout- reaching fever-pitch at times.  A bracing and staggering deceleration, it remains a superb song.  Her E.P. (One Step Closer) contains the same urgency and confidence: the songs are uplifting and vibrant; it is a wonderful set.  That said, Housley has improved and developed (since then): a songwriter, her lyrics are stronger and deeper- filled with more detail and insight; her new confidence and inspiration is to be applauded.  The compositions are fuller and more nuanced; as a singer her voice has come on bounds- it is more electrifying and bracing; stronger and more rounded; bigger highs and more delicate lows. Whether live experience/touring- or perhaps a natural development- Lauren Housley has built on her early promise; improved her craft and vocals- the future will be very exciting indeed.

After a few seconds of ethereal echo- adding in the spectral ghost feel in from the start- the track pounds in to life.  A rifling beat is delineated: possessing (strangely) Hip-Hop-style kick, it is rushing and gripping- making you wonder just what is coming next.  When Housley steps up, her voice is instantly bracing: both urgent and soulful, it is an arresting sound.  Before you can take it all in, your mind focuses on the early sentiments:  “So black was the night /Not a soul to be seen under the streetlight /Heaven’s been shut, it’s closing down/So what were you thinking?”  Alone in the ghost town (the song’s subject) is addresses with a lustful voice.  From the off, my mind was looking in different directions.  When it comes to the ‘who’ behind the lyrics, perhaps a sweetheart or former partner?  There is ambiguity and obliqueness to the early exchange: the listener is left conspiring and imagining- just who is being addressed.  The lyrics certainly paint vivid images: your thoughts race and tumble; the scenes and sights come fast- every person will have their own interpretation.  In the verse, Housley’s voice is fairly dark and husky: a serious and world-to-rights delivery, there are signs of Amy Winehouse to the delivery- yet Housley ‘s voice is a lot more powerful than the late Winehouse.  By the time the chorus arrives, the composition lightens; the song becomes more upbeat and sprite.  I wouldn’t go as far to say ‘jubilant’, fierce.  Rebelling and fighting, the chorus is an electrifying testament.  The lyrics- of the chorus- have less ambiguity; by this stage there is a little less mystery- it is not so much the ‘who’ but the ‘what’ that is evident.  Maybe not an attack/rally against a particular subject, there seems to be (and I may be off here) a push against life; bad luck and dark forces.  Whether directed at a group of people; the way some think only of themselves- or the troubles in the music industry- it seems Housley has had some heartache.  With its strong and intriguing lyrics (“So I said… Come on, ready when you want me, No fear/keep the karma coming/I’m here, standing on my own two feet /Just keep on looking at me /You ain’t got nothing on me.”)  There is that endless sense of defiance; Housley’s voice and spirit is mesmerically charged- backed by the Ghost Town Blues Choir- she is on fire; the composition crackles and dances; the instruments fizz and spark- the entire mood drags you in; you’re powerless to resist.  Throughout the song I am caught between romance and community: the song looks at broken hearts and disreputable sorts; there is a wider sense of discontent and anger- that mystery keeps presenting itself in every line.  By the next verse, Housley is directing her words to a subject; someone who is going to be hurt; you sense heartache is just around the corner- “Darkness fell, in the blink of an eye/So what were you doing?/All alone with the bad guy that night.”  Seemingly foolish and naïve (the subject) you get a sense of repeated patterns- perhaps this person has been here before; not listened to advice and reason.  Housley’s vocal remains strong and sturdy; filled with panache and caution, it is an intoxicating blend- seamlessly uniting Soul prowess with Pop undertones.  Where contemporaries of the mainstream tend to falter in one aspect- usually the lyrics or the originality of the vocal- Housley shows herself to be a wonderful talent- succeeding where (most) fail.  The vocal work is an exercise is emotion and nuance; the lyrics constantly engaging and fascinating- the composition is rich and variable; never slowing or relenting.  At the heart of Ghost Town Blues is a sense of personal reflection; in the midst of it all Housley questions her own self- the latter lyrics are the most intruiging.  When our heroine announces “All I hear are little voices say/Go back (go back, go back, go back)/Go back (go back go back go back)”, you start to wonder again- go back to a former life?  A town/hometown?  Maybe an old profession/way of life?  A relationship or single life?  There is that caught-in-two-minds mystique- each line is fascinating and gripping.  Hoping it was a dream, Housley opens her eyes- the nightmare/pain is real- there is that longing to get away; break from a way of life- shake the voices in her head.  By the closing moments, the defiance rating has reached boiling point: in spite of everything, Housley stands on her feet; battling against the tide, she is not going to be broken- not one to be defeated or overcome.  It is the rush of the composition that keeps proceedings ‘light’ and level- against the introspection and investigation of the lyrics.  That commingle of emotive lyrics and rushing notes blend perfectly; the fusion is a perfect blend of classic Soul via modern-day vibes.  Backed by a wonderful band- and terrific backing vocals- Ghost Town Blues is a cacophony of emotion, intelligence and vibrancy.  It is impossible not to move the feet; compel your body to move- at the very least a huge smile is on the face.  That takes care of the emotional centre of the brain.  When it comes to reasoning and processing, the words delve deep: yu feel sympathy and empathy (at the struggle and sadness); support at the sense of rebellion and strength- it is a song that grabs different parts of the brain.  At the very heart is heart itself: a track that speaks directly to the listen; can be appreciated by all- it resonates at a personal level, whilst retaining a very distinct voice and personality.  Ghost Town Blues is a perfect slice of Lauren Housley: it showcases her voice in full flight; a sensational weapon that cannot be beaten- few modern vocalists have such a range and passion- it is a tremendous thing.  Backed by solid production- which sounds polished and fresh- the song comes fully to life; each instrument and note is clear and concise; allowed full room to breathe- nothing seems overly polished or false.  The composition is packed with passion and soul; heart and bite- it is a myriad of colours and shades.  At the very core is Housley’s vision: her story is one that grips the imagination; her voice seduces and overpowers- the entire ensemble is sensation- and a perfect introduction to Sweet Surrender.

Having listened to Ghost Town Blues, I was blown away by the talent on display: it is a song that begs repeated spins; Housley’s natural ability is laced in every note and expression.  Speaking with her, you get a sense that this (music) means the world to her: few artists have such passion and determination.  It is not just the music (where this passion comes through) but in the way she speaks/interacts.  Having grown up in a musical household- where her formative years were awash with terrific artists and sounds- this has translated into a wonderful beginning: it is only a matter of time before the young heroine is gracing festival stages.  I would love to see Housley in the flesh- if she ever performs in London I will be front-centre- as I adore her music: Sweet Surrender is a bold and nuanced statement; an artist with a brave and original voice- a sound that is impossible to ignore.  With regards to Sweet Surrender- and the background/run-in- here is all you need to know:

“The album follows the promise of her ‘Rather Be There’ single and the earlier ‘One Step Closer’ EP. To name just two highlights from ‘Sweet Surrender,’ the slow-burning intensity of the ballad ‘Show Me What Love Is’ turns heads every time she sings it, while the upcoming single ‘Ghost Town Blues’ moves stylishly among its soul influences from Massive Attack to Motown. And they’re just a taste.  ‘Sweet Surrender’ was recorded in various sessions in Ireland, and in Wallasey, on Merseyside, overseen by producer Mark Lewis. Contributors include some of the best up-and-coming young musicians Britain has to offer, such as multi-instrumentalist and producer Steve Parry, whose extensive credits include being musical arranger on ‘The Voice.’  The versatile singer has also formed a country band, the Chorlton Country Club, as a fun side project, and is a member of the Manchester dubstep and drum ‘n’ bass collective, the Kaleidoscope Orchestra. Now she’s coming to a live venue near you, armed with a debut album that will turn heads and win hearts.”

After being blown away by Ghost Town Blues, Sweet Surrender promises jewels a-plenty.  Opener Nice to See Ya begins with a Country-inspired kick; it is a pure Americana treat: our heroine opens her arms and hearts; offers her services and support- backed by a swinging and kick-ass composition.  Constantly energised and moving, the track is a perfecting opening statement- one that is impossible to forget (and will have you singing along for ages).  Away from the charm and humanity of the opener, come The Waiting Game and If You Were Mine.  Completing a dazzling trio, The Waiting Game is more introverted and restrained.  Romantic and investigative, there are more Jazz/Soul tinges: the vocal is softer and more alluring; the composition supportive and calm.  Looking at love and heartache, our heroine is in reflective mood: realising love is hard/the road is long, she is looking at her man (finally she seems to have found ‘the one’).  A tonic of sunshine, there is clear desire and relief- the composition is one of the most compelling and rich; brimming with gorgeous brass and funky guitar notes.  With her voice at its most impassioned, Housley changes down a gear- to stunning effect.  If You Were Mine capitalises on this: the song begins with elegant piano; the vocal is even more tender and shivering.  One of the album’s highlights, our heroine is both soft and arresting: her voice is shimmering and sensual; the composition remains pure and touching- a break-away from the likes of Ghost Town Blues.  Face The World Alone carries on the parable: another tender track, our heroine looks at a friend/special connection; she is saying goodbye- they will “face the world alone.”  Having been connected since a young age, there is that sense of bond and pride: Housley has seen this person grow; proud of how strong they are- she is seeing them into the world.  When Autumn Came- following on from Ghost Town Blues- is another tender number: Housley is at her sensual best; shivering and spine-tingling, it is a Blues-Soul blend.  Backed by Country strings- wailing and echoing guitar- she looks at loneliness and waiting; it is both sad and inspiring- our heroine’s plight is both moving and affecting.

Sweet Surrender is one of the most ‘pure’ Country numbers- what one would think when looking at the genre.  With aching harmonica and sun-kissed percussion, the introduction is a perfect swoon- Housley’s voice is at its most relaxed and investigative.  Chasing dreams “into the dark” she looks at life and realisations: there is that need to break the silence; a desire to get away- she retreats to the river, her head to the sky.  With her head held high, it is a rally against the odds; colours are fading- it is one of the most vivid and thought-provoking numbers. Hot off its heels is Show Me What Love Is: another personal song; one that looks at struggles and love.  Housley sees the years “go by so fast”; there is that need for love and completion- our heroine looks out at the world.  Scanning the landscape, she looks for her love/ideal: someone who will hold her and keep her comfort.  Aching and desirous, the song draws you in: the vocal is both entrancing and sweet; the composition gentle and pure- the lyrics are stirring and emotive.  It Ain’t About You kicks the mood back up: like Ghost Town Blues it is a high-octane rush.  Beginning with a twirling and Soul-infused opening- the strings twirl and hop; the percussion is snappy and tight- Housley is back in full voice.  Looking at a familial/tense sense, it is a flip-side of previous numbers- looking at desire and love- and looks at disappointment and lies.  The focal point (the anti-hero) comes home reeking; showing up late to the home, Housley (cast in the role as long-suffering wife/mother perhaps) is coming up with excuses- disappointed once more.  The song looks at what’s “going to be best”- it is not about either party.  Her man has been out every night; flirting and playing around- that sense things are hitting the rock.  Vocals switch between fast-talking and controlled; the backing vocals have elements of ‘60s Soul- the composition marries Soul and Pop; some ‘60s/’70s elements.  Sounding wonderfully vintage- that is to say, the glory days of Soul and Pop- the song crackles with life and energy.  The lyrics mix pathos and humour; the song changes course and projection- it is one of the most mobile and transformative cuts (on the album).  Looking at compromise and reason, the song looks for settlement and middle ground- all presented in a rhapsody of insatiable vocals; a song impossible to forget.  All You Need is a Friend is a perfect closer: it takes the mood down and ends the album on a reflective note.  Casting her eye to a friend/subject, there is the need for salvation: someone who is rolling around aimlessly; in need of a shoulder- somebody caught up in the tide.  Casting her hand out, there is a universal message: when things are at rock-bottom (and seem impossible) all you need is a friend.  A positive message and stunning number, it is a beautiful swansong- ending Sweet Surrender on a triumph.

The entire album showcases what a star Housley is: packed with diversity and style; mood and magic, it is a sensational album- one that will appeal to all music fans.  Switching between Americana, Blues and Soul (with some Country and Pop in there) the album never misses a heartbeat- there are no weak or ineffectual numbers to be found.  At the centre is that insatiable voice: it can go from a delicious whisper to entranced rapture within a line- without losing integrity or genuine personality.  Both original and classic-sounding, Housley has an incredible voice; one that gives light and power to every thought- able to knock you off your feet and steal the breath.  The compositions vary between romantic (and light) and go to insatiable (and jam-packed).  Employing a range of guitars, pianos and sounds, each composition is rife with emotion and nuance- you find yourself coming back to certain songs.  Demonstrating a wonderful lyrical voice- her writing is both mature and intelligence; switching to humorous and oblique- Housley is a wonderful writer.  Not one to be bogged in clichés and insipid tedium, each song has a very personal stamp- something that will inspire up-and-coming songwriters.  When all is said and done, Sweet Surrender is a staggering debut L.P. - something that builds from early promise and puts Housley square in the spotlight.  An album that begs repeated investigation, you should not be without it- make sure you snap it up; or regret missing the opportunity…

Lauren Housley is a young talent with a bright talent: one that is not only going to flourish for years; it will inspire ranks of up-and-coming singer-songwriters.  One of the U.K.’s most vibrant vocalists, every song (on Sweet Surrender) gets inside your head; it rattles around the brain- and lingers long in the mind.  Ghost Town Blues- one of the album’s standouts- is just the beginning: it is the perfect starting point; if you want a taste of what Lauren Housley is about- then you should start here.  It is only left for me to wrap up- I’m sure you’ll be delighted- to wish Housley good luck (not that she’ll need it) and hope I get to see her play: I know she plays London in September (at the Sebright Arms on the 22^nd); I hope I have enough money to get up there.  I would recommend everyone check her out: whether you are a fan of Soul/Americana/Blues fusings or not, there are no limitations or restrictions- this is music with universal appeal and inclusion.    Sweet Surrender is out next month; an album that nobody should be without.  You may be sitting there and saying: “How can I trust it is fantastic; given there are only a few songs available online?”  Well, first of all, because I said so (and have no bias and sense of subjectiveness).   Most of all, the reception and feedback- fans and followers of Housley have provided- has been effusive and filled with praise.  No arguments; no hesitations, investigate Lauren Housley and her craft…

YOU have no excuses.

[youtube https://www.youtube.com/watch?v=_ARLf5yYNtI&w=560&h=315]

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Follow Lauren Housley:

 

Official:

http://laurenhousley.co.uk/

Facebook:

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

Twitter:

https://twitter.com/laurenhousley

Instagram:

https://instagram.com/laurenhousley/

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Music:

https://soundcloud.com/laurenhousley/tracks

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Videos:

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

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Gigs:

http://laurenhousley.co.uk/shows

E.P. Review: The Moth Lantern- Barricade

E.P. REVIEW:

 

The Moth Lantern

 

Barricade

9.4/10.0

The E.P. Barricade is available at:

https://itunes.apple.com/gb/album/barricade-single/id1010907713

RELEASED: 24^th July, 2015

GENRES: Alternative

ORIGIN:

Lincolnshire, U.K.

TRACK LISTING:

Barricade (All of This is Everything) - 9.3

Bring out the Claws- 9.4

Air- 9.4

STANDOUT TRACK:

Bring out the Claws

ONE of the reasons for my rather ‘boisterous’ rate of output…

is due to a (the need for a) distraction.  What with the horrors of job-searching- fruitlessly trying to get my arse out of Surrey (and the worst it has to offer) and to London- I need something to keep me ‘upbeat.’  It is terrific discovering a new act- that I have not surveyed before- yet coming back to a band/artist; that does else: it gives me causes for celebration; a chance to see how they have grown/developed.  In the music scene, you go one of two ways: start out strongly and collapse under the weight of financial/creative pressure or you keep going.  It may be black-and-white but there are few exceptions: I have seen too many great acts go down the first road.  When a (truly great) act makes headway; keeps producing records, it sends out a positive message: newcomers need not be afraid; there is a chance for them to succeed.  It is not just luck and hard woirk that creates this longevity: the music being produced has to be original and striking; penetrate the public ear- essentially, it has to appeal.  This year has seen some great acts come through; there have also been some dreadful ones to boot.  It is the female solo acts that are impressing most; the band market is flourishing- the male singer-songwriting realm is somewhat dirge-producing.  James Bay is perhaps the epitome of the point: something so bland, generic and wasteful, I have no idea why anyone buys his music.  The most interesting thing about him is his head-wear, and to be fair, Pharrell Williams has him licked- and can produce a few good tunes to boot.  The band market is starting to inspire (acts of the underground), which is where my thoughts have turned.  Having reviewed Tennessee’s Daphne & the Mystery Machines this morning- with their uplifting and spine-tingling Americana- I am not back at home- and welcome back some old friends.  Last year, I was lucky enough to assess Light Waves: the debut album from Lincolnshire’s (The) Moth Lantern.  What impressed me about the album- in addition to many other factors- was the consistent songwriting.  When it comes to music- and especially new music- the lyrics are a let-down: usually it is the music and vocals that resonate most.  In Dan Clark- the group’s principle songwriter- they have a stunning pen-smith: someone who can not only effortless taps into the common heart; he can write oblique and obtuse themes- a songwriter who is both agile and inspiring.  Before I continue on, let me introduce the band.

Dan Clark- Guitars, Lyrics and Music.

Jason Rungapadiachy- Bass, Lead Vocals; Lyrics on Bring out the Claws

Joanne Clark- Keys, Backing Vocals

Eddie George- Backing Vocals, Percussion

“The Moth Lantern are a four piece indie rock band from the UK whose funky ballads, catchy choruses and colourful jams encompass the spirit of timeless bands such as Fleetwood Mac and Beck. The Moth Lantern offer a concoction of powerful, gritty lead male vocals harmonised with soft, folkish female backing amongst crunching riffs, tight rhythm sections and psychedelic keys to create an edgy and enticing sound. Having been selected to play the Emerging Icons stage at The London 2012 Olympics and having featured on BBC Introducing East Midlands several times, The Moth Lantern’s mix of gentle acoustic ballads and harmonious rock songs present impossibly catchy choruses and immaculately layered production which makes their music impossible to forget.”

The four-piece band (in general) may be as common as Katie Price- and as manufactured and fake a lot of the time- yet there are those peeking through.  The Moth Lantern are not your run-of-the-mill Indie/Alternative act: each player contributes to the sound; the music is not dominated by one voice- it is a group effort and communal sound.  Although Clark’s words are at the forefront, it is the compositions that resonate in the mind- the result of each band member.  Backed by Jo Clark- Dan and Jo are a husband-and-wife- the vocals switch from tough and pervasive, to lush and ethereal.  This time around- unlike Light Waves- Dan steps back from vocal duties; drummer Eddie George provides backing vocals.   Taking on lead vocals is Jason Rungapadiachy: his inimitable tones add weight and texture to each track.  Compositions move from psychedelic swagger to introspective tenderness- all within the space of a few moments.  Light Waves was met with acclaim and plaudit: I still listen to that L.P. now; the critical feedback was effusive and congratulatory.  Having retreated to focus on new material, the band is back: Barricade is as striking and focused as its title.  What differentiates the music- from their earliest work- is the confidence and growth.  Their L.P. was rife was stunning tunes and terrific band interplay- although there were one or two rough edges; the odd song that was not quite as inspired as you’d expect (no fault of anyone within the band).  The new, three-track E.P. is faultlessly focused as tight: there are no loose notes or wasted moments- every minute has been well thought-out and performed; this has all been achieved whilst retaining a great, live-sounding core- that makes it such a triumph.  I will go into more depth below, but I am impressed by the band’s development: it not only bodes well for future released, but serves as guidance to others- how you can progress/inspire if you have a great line-up.

Barricade (All of This is Everything) is first out the blocks: the title itself is intriguing and open to interpretation.  Any die-hard fans (of the band) may be in for a surprise: the springing and scratchy introduction notes signal a move towards more Rock-infused avenues.  The initial seconds- building off a fast and frantic guitar- joins with percussion: the resultant coming-together kicks the song up a gear; gets the E.P. to the races.  Reminding me of early-days Manic Street Preachers (The Holy Bible) and The Libertines (Up the Bracket) there is a mix of ‘90s Indie and ‘00s Rock- the early words mix trips “into the unknown” and uncertainty.  Whether speaking to a friend or lover- based in fiction or fact- the lines look at protection and danger: the hero is trying to keep the wolves at bay; barricade the doors shut- to prevent any harm befalling (his subject).  The vocal itself- stronger and more determined than previous Moth Lantern outings- is determined and impassioned.  Backed by a rushing composition, you are caught up in the story: that struggle-against-the-tide story unfolds and progresses- the sense of nerve and danger ever-present.  Barricade’ is a song that showcases just what the band defines: that effortless and natural sound; the fantastic relations the members’ have- each player adds to the overall mood.  Between verses the band unleashes some hurried and harried strings; clattering propulsion- that emphasises that sense of claustrophobia and struggle.    Our lead turns the spotlight on himself- focusing on his struggle and sense of strain- as the song becomes more heated and defiant (the Manic Street Preachers comparisons came back to mind).  With the walls closing in; the haters/forces gathering, our hero sends out a plea:  “Stay with me/ ‘cause we got history.”   The song wins stripes because of the blend of simplicity and universality.  The lyrics share common themes and ideals- yet have a personal perspective to them- whereas the composition is both classic and current- it is straight-ahead and simple; direct and strong.  The Moth Lantern always does well with sing-along choruses; here they reach new peaks: the chorus here is one of their most effective and chant-worthy.  When Clark (Jo) combines vocals, the song changes up a gear: it becomes more effective and real- that sense of interplay and comradery gives it that extra something.  At the closing stages, the chorus is reuttered and deployed: not only leaving the song on a high but ramping up the emotions and sense of strain.  My mind was racing (when listening to the song) as to what inspired it; what is behind the story- that mystery may die with (Dan) Clark.  A great opening salvo, it sets out the band’s ‘new’ sound- their more Rock-infused direction- and welcomes them back into the public bosom.  Showcasing a great band performance (although not the strongest cut on the E.P.) it is an impressively memorable track- one that is designed for the venue floors and arena crowds.

Bring out the Claws begins somewhat differently (compared to its predecessor) and possesses a softer heart- it fades in and starts more gently.  Given the song’s title, that sense of restraint does not last too long: the band comes to play and unfurl a pummeling introduction- one that rattles and runs; strikes and retreats.  The vocal here- low-down and crooning; dark and imploring- looks at something rather animalistic and dangerous (“It’s got teeth/and I know you saw them too.”)  In the midst of the unfolding images- blood on hand; beasts on the loose; being shred in two- there is humour and uplift (whether intentional or not)- the song makes you smile as much as it does think.  With a unique vocal- that sees Jason Rungapadiachy present his sonorous tones- the song is gripping and original.  Few bands have a great vocalist let alone three (Rungapadiachy comes into his own as a singer- performing on the E.P.- whereas Dan Clark steps back): their bass player joins with George to present a story with beasts and feasting; canine lust and blood-fest- another one of those songs you mull over.  Whereas the title track looked at fighting the forces, here there seems to be another dimension: a nightmarish vision; uncertainty and choices; fighting the darkness.  With Rungapadiachy's sharpened pen (he wrote lyrics to this track)- presenting a track filled with oblique edges and stunning images- the song causes smiles.  Complicated and intelligent, defiant and striking, the vocal work is at its peak: Jo Clark joins the fray, and when the trio unites, you get the biggest shivers and effect.  It is the deployment of the lyrics that is stunning to hear: the words are not lazily tossed-off and sung; there is a real ear for timing and emotion; the phrasing and projection beings the words to life.  Bring out the Claws is one of the busiest and most bustling tracks (on the E.P.): the composition is multi-part and multifarious; the song changes direction and skin- agile and nimble it ducks and dives; making sure the listener is kept on their toes.  The guitar work- at its most effective here- adds necessary bite and vitality; the bass is taut and strong- the percussion gallops and guides.  Whereas Barricade’ was more Indie-sounding and focused, here there is adventure and expansion: the band does not repeat themselves at any time; Bring out the Claws is the perfect mid-way point.  Once again looking at life’s adversity- battling demons and bad choices; holding out in the midst of uncertainty- the band sound essential and urgent- completing a superb one-two.

Closing the E.P, is Air: one would think we have a light and airy closer here.  The opening notes dispel any sense of calm and relax: the initial notes are bouncing and ducking; the song is the most instant and rushing (on the E.P.)- making sure Barricade closes with a belter.  It is here that the new ‘Rock sound’ really shows its testicles: The Moth Lantern have never sounded as heavy and menacing.  Air kicks and swaggers; if it were a human it would be a leather-clad biker- thumbing against authority and smoking endless nicotine.  With elements of Muse and Radiohead, the track keeps gripping grabbing- little dashes of Talking Heads sprinkled in for good measure.  Spacey and gritty; insistent and bracing, the song is the band’s most anthemic and festival-ready.  When the vocal comes in, the subject matter is as foreboding (as the composition).  Our lead is looking over the precipice- and very evident of the mortal drop below- buckled against the rush of gravity.  There is a sense of disillusionment and not ‘fitting in’: our man (once more) is fighting against pain and adversity- the lyrics mix personal doubts and fears.  It is the incredible keys-and-guitar combination that gives Air its infectious belt: the track keeps bouncing and springing (like an extended version of the outro to Knights of Cydonia).  The band unites again vocally; when the voices are blended, you get the biggest rush- and the song reaches its peak.  When it comes to interpretations- trying to dig to the song’s core- there is a little mystique and wiggle-room.  Lyrics switch between dreaming and driving; falling and fears- they rush by as fast as the composition- causing a dizzying effect.  Essentially, there is that core of demon-facing/overcoming fears- one of Barricade’s hallmarks.  The entire E.P. looks at a very common issue (we can all relate to): whether Dan Clark has been particularly affected- and faced some personal upheaval- I am not sure; yet it shows a great new direction- the new, Rock-influenced sound suits them fantastically.  Whilst not quite as strong as Bring out the Claws, Air is a superb closer- one that is a fitting swansong.  Towards the closing moments, the band unleashes their inner space demon: the intergalactic, Space Age electronics fuzz and vibrate- you can feel those little touches of Origins of Symmetry-era Muse.  Like a galloping horse, the band keep that epic-ness afoot: the riffs are relentless and fast-paced; the percussion and bass frantic and fist-aloft-against-the-tide- each note and thought adds to the boiling, psychotropic cauldron.  Before the E.P. is through, The Moth Lantern throw in another de-tour: the final moments mingle softer moments (among the rapturous kick).  The hypothesis- or rather, the losing chapter- wraps things up.  Our hero is “not coming up for air.”  He has been wronged (and let down) and you sense some submissiveness and defeat- that sense that his luck is done.  Trying to be strong, instead he’s sinking like a stone- when all’s said and done; he’s not coming up for air.

Congratulations to the band, who have produced a stunning E.P. - one that gets stronger (and more compelling) with every new listen.  Improving on Light Waves, Barricade is their strongest work: their new harder edge works wonderfully.  Complete with a trio of stunning songs- that are unique and diverse- and you have a band with huge ambition.  It is hard to impress with just a trio of tracks, yet here they have done that: come the end, you find yourself wanting more; hoping there is a hidden track (there isn’t).  Perhaps the vocals get muted/buried a little at times- the opening track is most culpable- and this happens during Air too- for the most part, the vocals and clear and decipherable; the production rich and clear.  Minor detraction aside, The Moth Lantern should be applauded: they have compiled an E.P. that is personal and universal; ready for festivals- yet something that seems quite intimate (at times).  The production itself allows the band full flight: each instrument and compositional element is given full breathing room- nothing is compressed or mixed low; each composition is allowed to breathe and strike- meaning every track hits full potential.  In terms of vocal, it is not needlessly high up the mix- at times it suffers; for the most part it doesn’t- making the E.P. sound like a genuine band effort- some bands put their lead up front and leave the other members behind.  The Moth Lantern are, first and foremost, a collective: every member is essential to the music; each comes into their own here.  Vocal duties are split between the Rungapadiachy, George and Clark: it is Rungapadiachy’s that provides lead vocals; Eddie George and Jo Clark backing- when all three unify, you get the biggest hit (Dan Clark has stepped back from vocals on this record).  Rungapadiachy's lead vocals are an impressive replacement; it is great to have the bassist up front- he graces the E.P. with some tremendous vocals turns.  The songwriting is impressive throughout- the lyrics are never cliché or run-of-the-mill- and are those that can be appreciated by everyone.  Sharp and incisive lines mix with sing-along broadness: Clark has ensured the E.P. can be extrapolated and appreciated by a wide sect.  Jo Clark’s keys and vocals are stunning and mood-changing.  Adding magic and vibrancy in spades, you cannot ignore its effect.  Rungapadiachy’s bass work is reliable as ever: his unique tones add weight and majesty to the music; his guiding bass keeps the songs taut and controlled.  In addition, his lyrics (to Bring out the Claws) are both humouress and fascinating- he is developing into a fantastic songwriter.  Dan Clark’s sturdy lead drives the E.P. forward: he is a guitar talent with a stunning (and original voice).  In spite of not providing vocals, Clark wrote the lyrics (to tracks one and three); penned the music for the entire disc- showing himself as a songwriter to be reckoned with  He is the band's leader and songwriter extraordinaire.  With Eddie George’s percussion hard and heavy; controlled and calm, and you have a superb backbone- his drum work adds primacy and danger to (the E.P.’s finest) moments.  His backing vocals are impressively strong throughout- the band have shown they have a range of incredible singers- his blend of emotion and heart help bring the songs to life.  Barricade shows The Moth Lantern in full flight: something I hope continues for years to come.

It is the bond of the quartet (that translates into terrific music).  Were the relationships collegial and insincere, you’d soon hear it- the music would be half-hearted and limp.  The Moth Lantern are friends and close-knit; they have a great understanding and mutual respect- this funnels into some wonderful music.  After Light Waves’ stunning example, I was expecting a new E.P.: to my mind, it would have been a natural run-on from the album.  What we have is something both new and familiar.  The band retains their key strengths and core sound, whilst expanding and developing their craft.  New themes and ideas are tossed into the pot- Clark has crafted three (musically)- two lyrically- of his most compelling tracks- whilst the band sound more essential and tight- you can hear the new confidence and passion.  Simple things impress me when it comes to Barricade: it is a three-track release, yet it seems just-so; the length is spot-on; the running time is neither too long nor too short.  That said, the E.P. begs for repeated listens and some teasing- the greedy listener begs for a fourth track; it means there will be some hungry/eager fans (looking for more music from the band).  The running order is great too: the title track perfectly opens things; Air is a brilliant closer- any other arrangement would mean a weaker release.  I hope the Lincolnshire band find some more support and reviewers: I know I am the first writer to tackle the E.P.; I hope more follow suit- the social media ranks deserve to be fuller and expansive.  Hopefully Barricade will go a long way (to getting more people to their shores) as the guys have worked tirelessly- making sure their E.P. is as strong as it could be.  Wonderful vocals- that mix of harmonies and strong lead- and incredible performances are rife; the production values are clear and concise- the songwriting is at its peak.  As 2015 runs down, The Moth Lantern will be hitting the road; bringing their new sounds to the people- hopefully they will have a chance to relax and reform.  When the new year emerges, they will look around (at their next E.P. or album) and where they go from here- that will be exciting to see.  The Moth Lantern have managed to remain very much them- whilst bringing in a harder, Rock-infused edge.  They have not compromised their ethics, instead they have evolved and grown- the same way all great bands have.  Radiohead started with Pablo Honey; their Rock-edge masterpiece The Bends (the greatest album ever produced) followed- they went on to introduce new sounds and aspects (into future releases).  Great acts understand the need to keep mobile and open-minded- will the next release be a ‘Moth Lantern version of OK Computer?  I doubt it, yet the quartet is growing in strength and innovation; they are bringing in new themes and sounds- all to the betterment of their overall sound.  Barricade is a perfect soundtrack for the ‘summer’ days: the breeziness and alacrity (of their softer moments); the hard rush and hooks (of the harder) seep into the mind; it gets you singing along- gripped by the natural chemistry the band produce.  My one hope is The Moth Lantern gain wider acclaim: are embraced beyond their base; demanded further afield- a chance for new faces to hear their music.  Social media is doing what it can, but more can be done- they are a group with a great future ahead; a lot more to say.  If you are unfamiliar with the band, rectify this immediately: once you have cottoned-on, be sure to share the word- and get others involved.  Barricade is the result of hard work and a lot of passion: make sure this is justly rewarded.  Whilst the band’s masterpiece is in their future, their current work is deeply impressive and nuanced; good enough to nestle with the best out there.  I look forward to seeing the four-piece in the flesh; bring them down to London- get venues/crowds here converted.  When all is said and done…

THAT will be great to see.

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Follow The Moth Lantern:

 

Official:

http://www.themothlantern.com/

Facebook:

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

Twitter:

https://twitter.com/TheMothLantern

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Music:

https://soundcloud.com/themothlantern

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Gigs:

http://themothlantern.com/gigs.html

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Videos:

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

Track Review: Daphne & the Mystery Machines- Learn to Fall

TRACK REVIEW:

 

Daphne & the Mystery Machines

 

Learn to Fall

9.5/10.0

Learn to Fall is available at:

https://www.reverbnation.com/daphnethemysterymachines

RELEASED: January, 2015

GENRES: Folk, Americana

ORIGIN:

Franklin, Tennessee, U.S.A.

FEW current acts manage to really grip the imagination…

with any real panache- impress you with their music and imagery; personality and projection (the whole package). With current music producing so many acts- there being a desperation to make an impression instantly; through fear of being forgotten- it is hard to stumble across real ‘characters.’ In the U.K. we have some pretty interesting musicians: those who win you over with their charm and personality; seduce you with their charm- it would be good to see it more often. To my mind, there is a lot of seriousness and po-faced acts: those that concentrate on the music alone- in person they come off as being rather humourless and business-like. It is not a big deal- and not the most important thing in music- but you want to connect with the human being- it makes everything a lot more effective and memorable. Whilst assessing some U.K.-based acts- including Los and the Deadlines and Jen Armstrong- I was not only amazed by the music- and its uniqueness and quality- but the people behind them. Witty, fun and friendly, it was great to see: musicians that feel very human and relatable; people you want to go out and see- those that give a lot to their fans. In the U.S., they do this a little better: produce musicians that captivate you on many fronts; have that vote-winning smile- fully-rounded musicians that know how to win fans. I know it is a small point- and as I said, not as vital as getting music right- but if you work on the image/personality, you can gain many more fans- ensure people keep coming back to you (and want others to discover you). When Daphne & the Mystery Machines were recommended to me- by an aforementioned Yorkshire stunner- I was hooked from the first moment: here is an act that intrigues you by looks/imagery alone. Delving into their social media, the band comes across as familial and warm-hearted: an Americana troupe that are built on a foundation of fun and warmth; kindness and community (complete with some stunning music). Before I go any further, let me introduce the band to you:

Josh Preston (beard of directors, lead guitar, happy feet) Courtney Kinzer Blackwell (cello, bg vox) Jenn Palmer (lead vox, guitar) Daphne Culver (lead vox, guitar, harmonium, piano, accordion) Jess Perkins (upright bass) Amanda Palmer (harmony vox)

“Daphne and the Mystery Machines was formed in July 2014. Daphne Culver (Missouri native), most locally known from her musical career with the Granny Whites, had met some amazing artists since she moved to Tennessee. First there was Jenn Palmer, (Sugar Dames and Anthony Adams & the Nite Owls) they became friends a few years ago, after, and always had a mutual respect and adoration of each other’s songwriting and vocal styles, so they started collaborating, not knowing if anything would ever come of it. Then Adam Taylor (originally from Iowa), was working as an engineer at the Sound Emporium at the time Daphne was working in the studio for The Granny Whites. He was so talented on the boards and in the studio, but soon Daphne would find out he was hiding an amazing talent, besides beard growing. He was a stellar guitarist and caught the attention of the Granny Whites, they started featuring him at live shows. Daphne became so enamored with his guitar playing alongside her own, she wanted him to join in on her sessions with Jenn. Soon after this trio was formed Maria Kowalski, violinist of Sage and the Saints and several other studio and touring projects got thrown in the mix (after Jenn worked with her in the studio for the Sugar Dames and was blown away by her emotional playing and creative stylings). Marias past remains a mystery, was she a dolphin trainer? Carnie? Escaped convict? Her mysteriousness is only matched by her insane skills on the violin. Courtney Kinzer Blackwell, (cellist from Honeyboy and Boots) was the last addition. Courtney (Washington native) came in the mix a little more by chance. She was playing at a CD release show in Franklin, TN at Kimbro's Picking Parlor, and her performance on stage got the attention of Daphne. She searched her out and befriended her inviting her to bonfire jams and such, until she agreed to join what is now known as Daphne & the Mystery Machines. Their much anticipated debut was at the Tennessee State Fair and they are all looking forward to recording their first album and performing on tour soon.

Daphne and the Mystery Machines plan to start releasing singles in support of their upcoming EP by early 2015.”

It would be interesting for the band to come to the U.K. - maybe support Florence and the Machine on stage. It would be good to get Daphne’s (Mystery) Machines together with Florence’s- although it may just be my odd fantasy/wish-list. The group are built from a base of emotion and heartache; passion and pain; desire and love- concoctions that go into their incredible music. With some tour dates coming up- the guys are travelling Tennessee ready to amaze the crowds- the rest of this year looks prosperous; they have an album out in September- something you will want to get your hands on.

Aching and teasing strings beckon Learn to Fall in. Beginning rather tranquil and haunting, it sound progresses into something precise and strong: twirling and dizzying acoustic strings lift the mind and intrigue the senses- make you wonder what is coming next. Underpinned by some electronic tones, the song starts to expand and mutate: pick its feet off the floor and stride onwards- there is a tangible sense of itinerary and travel. The initial words- when our heroine steps up the microphone- are rather innocent and compassionate (“When I hear you sing/the songs that I wrote/I get a little lump/Down in my throat”). The vocal has a quixotic blend of southern U.S. and modern-day U.K. It may be an odd partnership, yet there are traditional Country music sounds; a striking Tennessee accent- all the hallmarks of a solid Americana/Folk pairing. On top of that, you have a very modern and striking voice: little bits Amy Winehouse and Adele; something soulful and British- the combination is effective and seductive. When the verse develops, something more philosophical and ruminative comes to the fore: our heroine looks at choices and mistakes; regret and our own decisions- not only creating some mystery, but speaking to the listener more directly. Whether speaking to a sweetheart (or friend of hers) there seems to be some perplexity. Maybe a situation has arisen- or life has taken an unwanted turn- but there is that need to go back; change events of the past- to avoid the strains of the present. Our heroine (and her subject) is out on her own; going into the world alone- perhaps there is a feeling that time has been wasted; youthful ignorance has led to mistakes- and a price is being paid. After the first verse- that is very much placed in the centre of attention- the vocal retreats; the band comes to the forefront to whip up a swaying beat; a striking support- adding emotion in spades. The guitars rise and pervade; the percussion crashes and strikes; plaintive strings add shiver and somberness- as our heroine comes back to the fold. When the chorus arrives, images are built up: I imagine something quite every day and relatable; that sense of regret and walls-closing-in-against-the-odds fear we can all understand. Whether lies and indecision have come to take their toll; a relationship is on the rocks- because of mistakes by both parties- it is not too sure- the song has room for interpretation; there is some ambiguity among the lyrics. The song’s most arresting moments arrive when Culver unites with her cohorts- the female vocals weave in and out of one another. Laying down some hard truths- you don’t have to be by the phone “to get that call”- the vocals soar and tangle; creating a stunning harmony and heavenly blend. To my mind, there was a sound (oddly enough) of ‘90s Rhythm and Blues- the classic girl groups of the age- that inspired legions of modern-day acts. There is that same sense of shiver and nuance- you keep repeating the verse; unable to take it all in (upon first listen). After the captivating vocals are complete, the band unleashes an instrumental coda- one that sees shivering guitars come to play. Reminding me of (a combination of) 1995 Radiohead and modern Folk, it is a stirring parabond; one that raises the song even higher. Never predictable or one-dimensional, the band gets stronger and more assured; the track gets better by the second- something few other tracks promise. After witnessing the stirring guitar quiver- that builds up so many images and emotions- the vocal comes back. Our heroine is still in firm voice; not wanting to deviate- more thought-provoking messages are presented. Whether speaking to a wider community (a universal message that everyone should take in) or a shamed lover, there is some anger and judgement; they better watch what they say and do- “’Cause it’s all coming back to you.” Among the sense of disappointment, there is some honesty and openness- a sense of compassion too. In spite of all the mistakes and short-comings, all that has been given (“has always been enough”). By the time the chorus comes back around, the vocals become more electric and spiked; it seems more effective and striking- meaning the song finishes (on an incredibly high) point.

It is impossible not to fall in love with Daphne & the Mystery Machines. On paper (and in photos) they seem like a band you want to meet- striking and happy; fascinating and interesting. When it comes to the music, they are indebted to nobody. Whilst Learn to Fall has some familiar themes- that sense of backs-against-the-wall fight; learning from mistakes of the past- the way it’s presented is indeed unique. The group does not go for bare-minimum with their words: the way the images and scenes they conjure will stick in the mind; they are an act that has a very individual perspective. The instrumentation and composition is emotive and stunning. Mixing aching strings and tender percussion, the band throw in quivering electric guitar- the effect is quite spellbinding. Standing above it all are those incredible voices: the stunning lead and the insatiable combinations. When leading the verses, Culver’s native accent mingles with some British tones (although my ear may be off); her strong and wonderful voice gets inside your head- and does not let itself go. When the trio (of voices) comes together in the chorus, you get an immense sense of swoon and romance- that aching beauty and uplifting grace. No member of Daphne & the Mystery Machines falters of slacks: each member is focused and tight; each element essential and paramount- most bands have one or two faults. Keeping Learn to Fall tight and focused, it does not overrun and wander- a song that does what it needs to; without wasting any words. Traditional Americana and modern-day Pop (with some soulful elements) combine to create a song that cannot be ignored- something that will unite all music lovers. With some incredible production values- the track sounds both intimate and expansive all at once- and you have a tremendous achievement. It is hard to judge the future on one song, yet the signs are all positive: I cannot wait to see what Daphne & the Mystery Machines’ album contains. Whether you are unfamiliar with the Tennessee band (or not) then do yourself a favour and get involved- they have a stunning future ahead of them.

Social media can be a very handy thing indeed: when you put a plea out- looking for a great act to review- those in the know always come through. I mentioned it in my last post; it seems we need some sort of music-based social media site- there are a few out there, yet none really cuts the mustard. It is hard to patrol and filter fantastic music: compile a bespoke list/channel that the user will desire. That said, the basic steps would not be a challenge: with the burgeoning of social media, it would be easy enough to make a better site- something more effective and full than what is already out there. It may be one of those ‘to-do’ things for me, because I do worry a bit: so many great acts are being overlooked and going past- only coming to your attention if you are lucky/have a music contact. In a social media age, it is ironic that the ‘social’ aspect seems to be lacking: when it comes to music/promotion, there needs to be something better (out there for the musician). I mention it because Daphne & the Mystery Machine- alongside many others out there- deserve a wider audience; great exposure- they would love/be adored by crowds over here; across Europe- and find opportunity and fan-base. With their eye-catching ranks- you cannot ignore the staggering beard of Josh Preston!- and stunning music, the future is looking very good. Having graced their social media pages- and seen the feedback fans are providing- they put on one hell of a live show. On the basis of Learn to Fall, I am looking forward to the forthcoming L.P.: see exactly what the band has to offer; how they will vary and adapt their sound across a full album. I love the music this country produces- I still think we are just edging it with new music- the U.S. has greater opportunities and support. I find musicians are talent is looking across the ocean: eyeing up the big cities; the warmth of Nashville; the lights of New York- finding better fortune over there (than they have here). The U.S. do somethings a lot better than us- their comedy is a lot better (ours sucks big-time); their dramas are superior (bigger budgets and better talent); their economy is stronger and more prosperous- and it seems the country has a better music climate. In spite of its superior size/population there seems to be greater diversity and community- hardly surprising so many great acts are coming through. Tennessee is synonymous with its terrific music scene- not just Country music and Americana- and the wonderful acts coming through. With its warm and friendly locals; the unique and charming music venues; the opportunities out there, it seems a very tempting proposition. What you find with acts- like Daphne & the Mystery Machines- is a natural warmth and sense of ease. There seems little anxiety and fear- like they have to hit a certain target; always have to look over their shoulder- they have a loyal fan-base and tremendous sound- a rather secure future it seems. There is a lot of preconception and judgement when you say the words ‘Americana’ and ‘Folk’- and tie it to the word ‘Tennessee.’ Many would imagine something quite antiquated and divisive. Many still have that preconceived notion of Americana-style music- and what Tennessee musicians produce. Sure, there are a lot of traditional and old-fashioned acts, yet Tennessee is a large state; its musicians are among the most talented in the U.S. - Daphne & the Mystery Machines are among the finest. Learn to Fall has some regrets and harder tones; it has warmth and heart to it: terrific melodies and building tensions; a combination of emotions- that comes together in an arresting way. Two things come to mind; make me wonder: firstly, if the band would ever come to the U.K., and secondly, what their album will sound like. Even on the basis of one track, you just know the band would be well-received here: those melodies and vocals remind me of Adele (and Amy Winehouse); the lyrics/music would inspire a lot of fellow acts- the crowds would love to see/hear Daphne & the Mystery Machines. Through London (and further north) there are venues they would suit; a definite fan-base awaits- of course it costs a lot of money to come over here (yet something for the band to consider). More urgently, their album will be hotly-anticipated and received: if it contains gems like Learn to Fall then it will be a staggering album, indeed. I’ll wrap this review with a singular message (to those reading this): expand your horizons and start to get out of the comfort zones. For me, I would not normally have known about Daphne’- the type of act/sound that is coming out of Tennessee- but I am so glad I did. Take away any preconceived notions; leave your restrictions at the door and there is a musical world out there: one filled with new heroes and wonderful sounds; entrancing moments and brilliance- start your search in the U.S. This country produces some wonderful music, but to my mind, the U.S. has a greater diversity and range- so much out there to discover. It may be hard to seek all the terrific (U.S.) music out; get to grips with everything out there. If you are looking for a phenomenal starting-point then start here…

WITH Daphne & the Mystery Machines.

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Follow Daphne & the Mystery Machines:

 

ReverbNation:

https://www.reverbnation.com/daphnethemysterymachines

Facebook:

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

Twitter:

https://twitter.com/DaphneandTMM

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Music:

https://soundcloud.com/daphne-the-mystery-mach

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Tour Dates:

https://www.facebook.com/DaphneCulverandFriends/app_123966167614127

Track Review: Little Sparrow- Wishing Tree

TRACK REVIEW:

 

Little Sparrow

 

Wishing Tree

9.6/10.0

Wishing Tree is available at:

https://uklittlesparrow.bandcamp.com/track/wishing-tree-2

The music video for Wishing Tree is released on Monday

https://www.facebook.com/events/451602031676284/

ORIGINALLY RELEASED: 6^th May, 2014

GENRES: Acoustic, Folk-Pop

ORIGIN:

Manchester, U.K.

IN a week where I am re-reviewing existing artists…

I am returning to one of my very favourite- a young woman who has one of the most captivating voices in music.  On Monday the video is released (for her twin single) Wishing Tree/Garden.  Having reviewed Little Sparrow’s album (Wishing Tree) last year, I was excited to assess (once more) its title track- review it with fresh ears.  It brings me around to an interesting point: the effect new musicians can have on the public- those who resonate and linger.  Before I introduce Little Sparrow, it is worth looking around the music landscape: there is a quite deal of tremendous and wondrous artists.  To my mind, the band market always seems to fair much better: they have more bodies and resources; it is easier to connect with the public.  Bands have always enjoyed hegemony: from the early-‘60s to current day, public money favours groups.  Being a solo artist is a lot harder and more challenging: the one person has to do all the work; they have certain limitations (bands do not) and have a harder time of things.  For that reason (when a solo artist succeeds and lasts) it is that extra bit special.  With the flood of artists coming into the market, it is harder to find someone truly special: that act that really strikes a chord; sounds that do something truly wonderful.  With the proliferation (and expanse) of social media, that task is no less easy- and often the mind and body can become overwhelmed.  When it comes to solo acts- that resonate and stay in the imagination- it really comes down to two things: the originality and potency of their songwriting; the effect their voice/composition has.  If we look at Little Sparrow- the alter ego of Cambridgeshire-born Katie Ware- and she proves my point.  When I first came across her music- when her album Wishing Tree was released (last year) - I was overcome by her voice: something that seeped into the senses; left me somewhat dumbfounded.  Few people can deny its magic; reviewers and critics were stunned and amazed- her music is still causing tremors and stun.  Before I go, let me give you a short introduction:

“As captivating to watch as she is to listen to, Little Sparrow's beautifully emotive use of expression mirrors the sincerity of her delivery, making her someone not to be missed.  Her delicately crafted folk songs are created with a combination of flawless vocals, strings, guitars, percussion and tender harmonies.  Singer-songwriter Katie Ware adopted the name Little Sparrow as she felt it characteristic of the sound she had developed and the direction in which she wished to travel.  Drawing upon influences as diverse as Kate Bush, All About Eve and PJ Harvey she creates songs that are filled with a blend of styles, woven into the colourful tapestry of her music, often with a mysterious fairy tale quality.

Listeners are taken on a journey that touches upon every emotion, from heart-breaking sadness to uplifting joy. 2014 was the most exciting year for her yet as it involved more live appearances than ever and most significantly she was thrilled to have fulfilled a huge ambition by releasing her beautiful debut album 'Wishing Tree'.  The album has gained many great reviews and much radio play from those including Janice Long (BBC Radio 2), Michelle Hussey (BBC Introducing Manchester), Dave Monks (BBC Introducing Merseyside); Guy Garvey, Tom Robinson & Chris Hawkins (BBC 6 Music); Simon Raymond, Ruth Barnes, Shell Zenner & Kathryn Tickell (Amazing Radio) along with many other radio stations regional and international.”

Little Sparrow has worked tirelessly throughout 2015: her music has been championed far and wide- taking her on the road and playing to new crowds.  With the music video arriving on Monday- for her Wishing Tree- it is only a matter of time before Little Sparrow is a household name.  It is hard to overlook that incredible voice: something that is heavenly and human; emotional and strong- few other singers have that range and sense of captivation.  Writing songs that speak to the heart- and paint wonderful tales and vivid scenes- Ware is among the best songwriters in the U.K. - someone who is inspiring others to take up music.  When reviewing Wishing Tree, every note and line lodged in the mind: the compositions were (and are) both nuanced and impassioned; the songs filled with detail and prowess- ruled by that insatiable and crystal-clear voice.  Take the time to investigate Little Sparrow in the full- through SoundCloud and YouTube- and check out the new music video (arriving Monday).  In a music scene with so many unimpressive and sound-alike artists, we need to herald and support her music- that which can truly inspire and impress.

The opening notes of Wishing Tree have Country tones: straining and breezy U.S. embers; a romantic and swaying sound that gently beckons the track in.  Mixing with Folk strings and the listener is intrigued and fascinated.  When our heroine comes to the mic., her initial words are curious and compelling.  “Take a step back from the things you see/You might get confused quite easily” make you wonder with whom she is speaking- whether a new love or a former friend.  When delivering these lines, Ware ensures the words are carefully and considerably deployed: unveiled with clarity and concision, there is an intentional sense of italicising and precision.  As the lines are being delivered in the foreground, there is a light and tripping backing vocal (a repetition of the main line); it is layered and presented so the two threads overlap and intertwine- creating a sensuous mixture of romantic and dominant.  Our heroine looks to be addressing a love/man: someone who is on her mind and thoughts; an anonymous beau arresting her thoughts.  Wanting (him to be her) wishing tree, Little Sparrow’s voice floats and pervades; flies across the sky- that sense of desire and lust is evident.  When assessing the initial stages of the song, I am reminded of two artists: Fleetwood Mac and Tori Amos.  Whilst there is an essence of Kate Bush’s mystique and etherealness, there is a suggestion of Fleetwood Mac- especially their Rumours/Tusk period.  Pastoral and dreamy; the song could easily fit within those albums.  Ware’s voice has suggestions of both Stevie Nicks and Tori Amos: that comingle of huskiness and child-like beauty; womanly strength and vulnerability.  As the song continues my initial thoughts are questioned: with regards the exact inspiration of Wishing Tree.  As our heroine counts to 10; taking off for the stars, I was starting to rethink my impressions- perhaps there is another subject in mind.  With her wishing tree, our heroine floats across the heavens; passing rainbows- the colours seep into her skin- and on its way.  Throughout, there is a real sense of dream-fulfillment and longing.  Ware’s voice multiples and variates- the backing vocals are hugely effective; the foreground varies its pace and timing- creating something both dizzying and unpredictable.  Caught up in the whirl of her own imagination, Little Sparrow is caught in a daze- taking the listener with her.  Wanting the stars to (tie her to the ground) you really get seduced by the lyrics and imagery- start to picture yourself with her; follow her in her quest.  It is not just the voice that entrances; the composition is changeable and nimble: switching between Country-tinged romanticism to dream-like Folk, there is plenty of depth, colour and variation.  The final moments are a myriad of cooing vocal and plaintive strings: the song starts to move to the heavens and complete its work.  Ware’s voice remains firm and urgent throughout; never succumbing to tire and ineffectualness- remaining beautiful to the very last note.

Having reviewed Wishing Tree last year, it is great to hear it again- and come at it with a fresh mind.  Nuanced and spine-tingling, it is a perfect Little Sparrow track: one that demonstrates what a tremendous writer and singer she is.  Plaudits must be paid to the production, first of all- that makes the song such a clear and concise wonder.  Each note and syllable has clarity and strength; nothing is buried or muted at all- the entire song has a very professional and polished sound.  That is not to say it is too polished; the production also provides quite a live-sounding feel to proceedings- earthy and open; expansive and fresh.  Ware highlights what an original and strong songwriter she is.  Making sure her words contain depth, ambiguity and directness, the listener is open to interpret the song- you can apply different meanings to certain words/lines.  At its heart, Wishing Tree is about dreaming and desire; escape and wonderment- that is achieved with aplomb.  When it comes to vocals, Ware makes sure she seduces at every moment: from the first line to the last notes, there is no escaping that sense of beguilement and entrance.  Aching and sensuous on the one hand; noble and strong the next; few can deny the potency and passion on display- what a wonderful instrument (her voice is).  Wishing Tree staggered me last year; it continues to blow me away now- a song that begs for repeated investigation.

The future will certainly be a golden one (for Little Sparrow).  After speaking with Little Sparrow’s friend (Shay Rowan; who looks after Katie/Little Sparrow) I know how hard things can be: the touring demands and input needed (for her music to thrive) is both challenging and exhausting.  Katie Ware is not a woman who tires easily and has been working passionately- ensuring new eyes and ears fall in love with her music.  Wishing Tree is an album that is (still gaining) plaudit and commendation- new stations and reviewers are starting to realise how special it is.  Fresh from music video recording duties, Ware has been performing some intimate gigs- the young artist never seems to stop working.  I am not sure what is in store for the rest of this year (and next year- although there are plans for a new E.P. next year) yet new music is sure to arrive.  Following Wishing Tree will be a challenge, yet there is plenty of inspiration and potential- it will be fantastic to see what arrives next.  Few solo artists have that same blend of mesmeric vocals and captivating songs; exceptional personality and rare beauty- someone very much made for the stage.  Ware is a singer/songwriter that is at home here (on the stage); dedicated to bring her music to the masses- an artist that is hungry and passionate.  Wishing Tree is one of those songs that demands repeated plays- it gets inside of your head and will not shake.  Struck by the tenderness and beauty of the song, your thoughts go into the wilderness: try and jump inside the lyrics and conspire; dream and float away.  The video for Wishing Tree is as captivating as the song itself: shot in the woodland, it sees our heroin (and other figures) dressed in an animal mask- well, a material animal head- given it a quirky and surreal aspect.  Whilst Wishing Tree’s dreamy and earnest lyrics unfold, you are presented with these strange and beautiful visions- giving the song an extra layer of beauty and appeal.  The video’s innovative use of stop-motion technology gives things a trippy and delirious feel: imagine Radiohead’s video for There There and you get a sense of what to expect.  The animal (mask) motif gives the video an eye-catching and dream-like feel- emphasising the song’s sense of delirium and imagination.  If you are new to Katie Ware and her exceptional music, make sure you do not miss out- an artist that deserves huge respect and support.  Before I conclude- and let you go on your way- I was keen to catch up with Little Sparrow; see what influences her- and what the future holds.

Your album Wishing Tree was applauded- by me included- for its stunning vocals and spine-tingling tracks. Which artists- either growing up or now-have influenced your work?

All About Eve, Tori Amos, P.J. Harvey, Kate Bush and probably the most influential was my dad's own music!

Now I love listening to the people that I normally find while I'm gigging like Tracey Browne and Raevennan Husbandes, Liam Frost, TGElias, Jessca Hoop.  Other artists are First Aid Kit, Agnes Obel, Elbow.  You are starting to tour quite a bit; see different parts of the world.

Do you enjoy touring/gigs? What have been the best aspects about hitting the road?

The best bits are meeting all the different people :)  My goal this year was to 'play out of Manchester', to play to new audiences.  (I am a home bird and thought I should try and fly the nest a little and see what happens!)  I am slowly achieving this throughout the year.  I love performing, so any opportunity that arises that seems a little exciting then I'm there!  I have a few lined up later in the year that are in different parts of the country.

A lot of songwriters have different ‘muses’ (when writing music). What subjects/themes go into making a Little Sparrow song?

Anything really!  Whatever is in my head at the time... A little song I am working on at the moment is about a spider, just because I saw one walking along the floor at the time!  But I also write from the heart, so the emotion will always spill out in some way.

What does the rest of the year hold for you?  Can we expect a new album/E.P. (this year or next)?

I am actually planning to hide away for a couple of months in the autumn so I can work on a new E.P., to release maybe later in the year or in early 2016.

Finally- and for being a good sport and lovely person- you can pick any song; which I will post here.

Do you mean a song that I would tell you to check out?  There's so many... But I will pick Agnes Obel - 'Riverside'

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

KEEP your eyes out for this truly wonderful artist.

[youtube https://www.youtube.com/watch?v=tjJDK0bfJkQ&w=560&h=315]

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Follow Little Sparrow:

Official:

http://www.littlesparrow.org/

Facebook:

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

Twitter:

https://twitter.com/uklittlesparrow

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Music:

https://soundcloud.com/uklittlesparrow

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Videos:

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

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Gigs:

http://www.littlesparrow.org/#!gigs/cnnz

Track Review: Gorilla Punch Radio- No Retreat

TRACK REVIEW:

 

Gorilla Punch Radio

  

No Retreat

 

9.2/10.0

No Retreat is available from iTunes on 7th August, 2015

GENRES: Indie-Rock; Alternative; Rock

ORIGIN:

Leeds, England

IT is time to say hello to one of the most…

uniquely-titled bands in the world.  The pronunciation of their name conjures everything from tropical radio stations to violent primates- their music, weirdly, mixes the two.  I have dealt with the Leeds-based band before: the tail-end of last year I got to say ‘hi’ and check out what they are about.  At the moment, the group is preparing to launch No Retreat: their huge single that is gaining radio-play and huge plaudits.  Before I delve more into the band, I want to raise an important point: getting acts together/social media compartmentalisation.  In the course of my ‘duties’ I get to hear some varied acts; hear a lot of great new music- you often wonder whether they could do better.  I don’t mean in the sense of quality; more quantity: can their social media numbers be boosted honestly?  I have managed to connect a few acts- through #FF-ing on Twitter; sharing stuff on Facebook- yet there is still some division- lots of similar bands are missing out (on one another).  It is good to be back in Leeds- at one point most of my reviews were set in Yorkshire- and a growing band with a great sound.  I am organizing a charity music day/night in November- at a local music venue- and getting bands together: Gorilla Punch Radio would make a perfect addition (to the line-up).  Like Goldbirds- another young act in their first stages- Gorilla’ make hot and heavy sounds- hardly a shock given their name- and birth colossal riffs and epic soar.  Working in a bar (as a D.J., among other duties) I get to do a Monday night slot I review four albums: one of them has to be brand-new; one ‘older’ (1985 and earlier) one of my choice- the final one has to be influential.  From the likes of Los and the Deadlines to Gorilla Punch Radio, Foo Fighters are a big influence.  In fact, this Monday night, as part of my album reviews- Sly and the Family Stone, Radiohead and Sleaford Mods are included- is Foo Fighters (and their seminal album The Colour and the Shape).  That album has compelled a lot of new acts- songs like Everlong and Monkey Wrench cannot be ignored for their impact and effect- and G.P.R. have taken this on board- their sounds under Foo Fighters’ riff-age and update it.  No Retreat is abound with Grohl-esque vocal; seductive slink and ferocious arpeggio jams; brutal to-the-bone pummel- tied around lyrics of alienation and against-the-odds f***-you mentality.  Returning to my original point, Gorilla Punch Radio has stablemates and hombres: bands that play a similar sound; have that same spark and booze-flecked abandon.  Hopefully I can get Gorilla Punch Radio to the south- come November time- along with Los and the Deadlines, Goldbirds, Bi:Lingual and Allusondrugs- to my mind, some of the most essential Indie/Rock bands coming through.  Yorkshire is producing (and has done for a while) some quintessential acts- a county cannot stop giving birth to some good-looking babies- and continues to do so- few county-mates sound like Gorilla’. Before I wrap-up the point, let’s have a look into the band’s biography:

Paul James Stefan Gandhi Mark Heppenstall Elliot Vaughan

“Gorilla Punch Radio, an exciting new alternative rock band from Leeds, are proud to announce the release of their debut single ‘No Retreat’.

After touring extensively in support of artists such as The Struts, The Pigeon Detectives and New City Kings with his former band Titans Troubadours, guitarist and singer Paul James decided to pursue his own sound and formed Gorilla Punch Radio in late 2014.

Mixed by the acclaimed engineer/producer Elliot Vaughan, whose previous clients include: Pulled Apart by Horses, Frank Turner and They Fell from the Sky, ‘No Retreat’ kicks off with an explosive guitar riff that’s sure to have fans banging their heads and punching the air.

The song’s theme focuses around the gritty realities of standing up in the face of seemingly overwhelming odds, with lyrics that are designed to inspire courage and a refusal to back down.

“We’re really excited about this song as it has taken a while to craft and perfect. Elliot has successfully captured the energy of Gorilla Punch Radio in this recording, and we can’t wait to share it with everybody!” – Paul James of Gorilla Punch Radio.

The radio-beating gorillas- I will ask them one day the genesis of their band moniker- have not been wasting time- instead honing their sound and making their new single the best it can be.  The band is coming into the market at the perfect time: the likes of Royal Blood and Drenge have redefined Alternative-Rock- that sort of White Stripes-cum-Led Zeppelin-via-Queens of the Stone Age jam.  Gorilla Punch Radio has a range of influences- mainly U.S.-led- and distills this in their unique brand of music.  The boys are looking ahead to 2016: who knows what is to come from the group; just what a potential album will sound like.

If you are new to Gorilla Punch Radio, there are a few acts that are good starting points- to see who has influenced the Leeds four-piece.  In terms of U.S. examples, I would say Nirvana and Foo Fighters count as idols (and to a degree our version of Nirvana, Allusondrugs).  Like their Leeds contemporaries Allusondrugs, Gorilla Punch Radio has their ear on ‘90s Grunge.  In terms of album comparisons- for Nirvana and Foo Fighters- I would select Bleach and The Colour and the Shape.  Nirvana’s debut was filled with rough and loose-sounding jams; Kurt Cobain’s burgeoning songwriting talent; a keen eye for social commentary and romantic rage- a perfect mix of meaty riffs and superb band interplay.  In terms of attack and lunge, The Colour and the Shape may not be in the Foo’s top 3; however, the album remains influential and inspirational.  Its Post-Grunge production values/sound inspired legions of bands and followers.  The powerful rushes and big hooks defined that Post-Grunge era; it comes through in Gorilla Punch Radio’s single- you can hear little bits of Up in Arms and Monkey Wrench.  Like Grohl, Gorilla Punch Radio has a graveled and masculine voice: a powerful set of pipes that shred through the material- no sense of cadence or fatigue throughout.  I would say- in terms of U.K. influence- you’d look at Royal Blood and Muse.  Royal Blood- themselves not long in this world- have created quite a furor; critics are salivating over their innovative sound.  Of course Royal Blood employ no guitars- getting that ‘guitar sound’ from bass only- but their straight-ahead attacks; mandates on love and broken hopes have been extrapolated by Gorilla’: the boys have aspects of Royal Blood’s debut- that same endeavor and ambition; the epic riffs and huge choruses.  Listen to the likes of Figure It Out and Out of the Black and you can hear a bit of No Retreat: the trip, duck and dive; the groove and head-rush; that immense carnivorous bite- all backed with some pretty cutting lyrics.  The production values are quite similar too: both bands come across as both live-sounding and polished.  Words and utterances do not get over-bleached or drowned; the vocals do not get pushed down and suppressed- it is all up-front and elemental.  At the same time, there is a great ragged edge to things: Gorilla Punch Radio wants their music to sound like it is in your face- no studio tinsel and needless overproduction here, thanks!  When comparing Gorilla Punch Radio to Muse, you’d go back to their ‘glory days’- the 1-2-3 of Origins of Symmetry, Absolution and Black Holes and Revelations.  Nowadays (and as was evident with Drones) Matt Bellamy has been getting his crayons out; scribbling pseudo-political lyrics with a surprising amount of juvenilia and homoeroticism- Bellamy is more Chad Kroeger than Bob Dylan when it comes to penning a line.  Among the over-serious attacks and lyrical retardation, the riffs and bat-shit-crazy goofiness remains- the likes of Repears, Defector and The Handler are among their best tracks.  Muse hit their peak (in my opinion) on Black Holes and Revelations.  That album saw their riffs at their sharpest- with Assassin and Map of the Problematique right up there- and the emotion at its most earnest (songs like Soldier’s Poem and Supermassive Black Hole are delightful).  Gorilla Punch Radio take that ‘overblown’ aspect and mute it slightly: they have retained the sharp and face-slicing riffs; the operatic and dramatic vocals; the made-for-the-U.S.A. sound.  What is most evident- and the best comparison- is the craft and production.  On Black Holes’, Muse sound fully-realised and equal- in previous releases it was The Matt Bellamy Show.  With No Retreat, Gorilla Punch Radio sound equal and in-step; each member pulls their weight impressively and there is no sense of imbalance- each instrument gains equal footing to add to the overall quality and force.

When the band released their self-titled debut album- at the end of last year- tracks like Bragging Rights stood out- that song was appropriate in its declarations.  The immediacy and intuition was evident from the off; the song was filled with passion and urgency.  On No Retreat the boys sound even more confident and assured- from the earliest seconds, they have improved their sound; come on since their earliest days.  From the get-go, the riff is snaking and poisonous: it snakes and jives its way through the speakers; a concoction of threads and notes- fizzing and popping with energy and potential.  Flecks of Foo Fighters and Royal Blood unite to create something fascinating and teasing- the listen has their interest and imagination pricked instantaneously.  Clattering and rumbling, the band unites tight and fiercely.  The boys are up the task at hand: the percussion is particularly dominant (in the early exchanges) as the Gorilla boys whip an epic and grand-standing introduction.  When our man gets to the microphone, you can feel the anxiety and hostility.  Pressure is building; the strain is coming- like “acid dripping in an open wound”- and he is pressure-bound and all-consumed.  Whatever has compelled this feeling- whether the stresses of modern life or high expectations- there is an unnerving degree of anger and explosion.  The fires are burning; the tensions are building: our man is overcoming the odds against some rather stringent forces.  In terms of the mixing and production, the vocal is given a good chance to shine and focus- it is not buried low and crowded by the instruments.  That said, the mix also allows plenty of instrumental swagger and prevalence- the band members never let up their energy and motivation.  With some Grohl-esque growl, the sense of balkanisation is evident: either rallying against life’s pressures- or people who are letting him down- our hero is putting up his armour (and suggesting sides are being picked).  Just after the 1:00 mark- and after the initial round of anxiety- the band crank out a spiraling riff; prabond their instruments in a flurry of fist-pump and shout- making sure the listener’s attention does not wane or wander.  In the same way Royal Blood slam and punch- not to belabour a point or compare the band to them too much- the Gorilla boys have that same raw and relentless sound; the mixture of ‘90s Grunge/Indie with something unique- an insight into the struggles the band face.  Defiant in the face of adversity, the lads are faced with fist-raising enemies- these gorillas are waiting in the mist- and detractors.  Both youthful and mature, the band is waiting for submission: they will not be beaten and put-down; they are here for the long-run.  Whether a declaration to the music industry- the band will not be overcome and overlooked- or something personal, that determined and relentless voice cannot be overlooked.  In fact, at the mid-way point, the guitar work shines brightest: a delirious and whacked-out grumbling riff burrows through the concrete; conspiring with drum and bass, the band reaches their heavy best.  Beefy and British- a fuse of contemporary ‘Blood and ‘80s Judas Priest- the fretwork is both exhausting and exhilarating; it keeps the mind guessing and the ears hooked.  When our man is back at the microphone, his burden is no less extinct- that insatiable chorus comes round to root.  Melodic and sing-along, forceful and bolshie, you cannot help but chant in support- the bitterness and side-choosing; rebellion and masculinity.  The lines have been drawn- as we find out by this stage- and the vocal becomes malevolent and cooing (down to a whisper at this stage) as the lines “have been drawn” and another has come; there is that tangible sense of warfare- sides coming together in an explosive riot.  The Muse comparisons may not be too far off (at this stage) as there is some tremendous vocal work- something operatic and high-pitched is unleashed in the background- and the riffs have that Absolution sound (Plug In Baby and The Small Print especially) - the lads expertly walk the line of genuine honesty and intergalactic epic-ness (a combination not even Muse can the hang of these days- one suspects Matt Bellamy needs to find a good woman and read some Aldous Huxley).  By the end, the boys join vocals; the heat is well and truly on- the song becomes a sprinting bull; a wild and horny monster (the extent of the emotions involved is combustible).  The final notes are a guitar hold: a final note is struck and it is held; floating in the musical cosmos.  This a good move as not only do you get a very vivid picture- imagine the boys downing instruments and walking off with triumph to applause- but it allows some calm and consistency (although a nice, sharp ending may have been better: think Out of The Black and Loose Change is we want to go Royal Blood again).

Each member of the band has expounded a lot of effort and time: No Retreat is testament to a lot of craft and discussion; some dry-runs and rehearsal- a song that sounds as loose as it does honed and studied.  The exceptional production values and tremendous mixing means every note is decipherable and crystalline- yet instilled with some dents and cracks (to give it a great live sound).  The lyrics remain simple yet personal; nuanced and open for interpretation: the band are fighting forces of suppression; trying to battle the odds- yet you are never 100% sure if they are battling particular people (or just the state of the world).  This means, not only can listeners fill in the gaps, but the song appeals to a wider audience- if it were too insular and personal its appeal would be finite and mortal.  As it is, their single has all the mainstream appeal or your Royal Bloods, yet is ready-made for the underground pits- the sweat-flailing floors of the country’s best music venues.  Arms aloft and fist-pumping in its criteria, the Leeds collective have crafted something both classic and current- yet they do not sound too like anyone else; only themselves.  The guitar work is exceptional and ferocious for large parts.  When it needs to be controlled and calm, it always bubbles with intent: threatening to punch you in the jaw at any provocation.  The bass work guides and glides in the calmer moments; frantic and driving when the song explodes.  Similarly the drums provide a constant heartbeat and sense of primeval beat: always making the song sound Jurassic and masculine in every moment.  Together, the instruments create a Rock symphony; a concrete-aiming kick to the senses- and it succeeds in achieving its aims.  With vocal work that has suggestions of Dave Grohl and the Grunge greats, we have a forceful and powerful voice: something that makes No Retreat such a terrific song.

It is hard to point at any negatives or suggestions.  At points, I would suggest making the vocal even fiercer and wracked: adding in a primal call and scream; adding extra intensity in the chorus perhaps- matching the passion and fervency of the instrumentation.  With regards the mixing- although it is exceptional indeed- perhaps putting the percussion higher up the mix.  No Retreat is a song that demands a huge beat and clear kick- putting the drum further up; clarifying and defining its quality and the song would have a punchier and harder sound (that its lyrics cry out for).  They are minor suggestions, and in reality, I cannot fault the song for any reason.  The Leeds collective has not only unleashed a superb stand-along single, but a taste of the future: if they produce an album with songs like his, they will be festival booked in a second.  Primed and born for both underground venues and large stages, the boys should prime themselves for the future- they are sure to be big names before you know it.

Having dealt with the band before (and their music) I knew what to expect to a degree- No Retreat blows away any cobwebs of expectation.  No mere Foo Fighters wannabe, the lads inject their own cocktail of force and relevance: a song that speaks to the listener whilst kicking them square in the nuts.  Cranking the volume all the way to 12 (even Spinal Tap couldn’t kick it that far) the Leeds brotherhood has unleashed a snarling cross-breed: the teeth and snarl of a British bulldog; the heart of and hunt instinct of an American Fox Hound.  Together, you have an unbeatable combination: edges of American greats with some home-grown honesty.  The band has taken every care to ensure No Retreat is a supreme thing; it is polished and ragged; rough-and-ready around the edges.  Let’s hope new music embraces the potential of Gorilla Punch Radio: the band is no mere one-trick ponies; they have a lot more to say.  When I reviewed Goldbirds- and their brilliant new music- I was confident they will go onto great things- I have no hesitations here.  Radio stations are embracing Gorilla Punch Radio; their fan-base is starting to climb- their social media ranks will be expanding and diversifying.  One day we will discover a social media platform for music- takes away the needless aspects of Facebook and Twitter- and dedicate something to music/musicians.  That way, not only will venues be aware of ideal/perfect bands (for their venue) but other musicians will be able to connect- fans will be able to find their type of music without serendipity.  ReverbNation and their ilk do okay but there is nothing comprehensive and fully-fledged.  At the moment, we have to rely on luck and good fortune: the mainstream media cannot uncover every great act out there; it is a hell of a challenge.  I hope the lads get some more sounds out there; get a full SoundCloud and YouTube account set up- at the moment, it is quite hard to locate their music.  In time- and when they have more songs out there- they will be readily available.  Their Facebook and Twitter accounts are well-maintained and full; they want to make sure they are updated and full- plenty of people will want to keep abreast of all their news.  What more can one say then?  Well, it seems new music is producing plenty of variety; some terrific acts are coming through- I wish Gorilla Punch Radio all the best.  The Indie/Rock/Alternative mould is starting to fill up; the competition and range is quite immense- everyone fighting for those future festival dates.  If the band keep crafting gems like No Retreat, then they will be assured: the likes of Los’ and The Goldbirds have shown what can be achieved if you get your sound right.  Personal and unique; contemporary and familiar in places, the Leeds clan should be very proud- make sure you do not overlook what they have to offer.  In a year that has provided some great acts; songs that stick in the mind, No Retreat is right up with them.  I have a feeling…

2016 will be a great year for the band.

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Follow Gorilla Punch Radio:

 

Facebook:

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

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A Time for Change: The Single Voice: Uniting All

A Time for Change:

 

The Single Voice: Uniting All

ANOTHER day; another shooting in the U.S…

There’s almost a song lyric in that (steal it if you wish).  Seriously though, my opening line has almost become a cliché: every week there seems to be a new shooting; another chance to get angry.  It is all very well (President Obama) being disappointed- at how he cannot soften gun laws- but the fact remains: so long as the (irrelevant and seriously outdated) Constitution remains, the U.S. will always be strong-armed- never able to become truly civilised.  The news is dominated by violence and terrorism; horror and fear: we will never eradicate all of this misery.  With social media (and the Internet) growing and expanding, there is an opportunity being missed: a real chance to utilise it for genuine good, rather than self-promotion.

What the Charity Does.

I have mentioned The Single Voice in previous blog posts (probably bored everyone to tears) - I am really pumped about it.  Whereas charities focus on one issue/cause, The Single Voice brings them all together- and has its own agenda.  By uniting all charities, it is not only hoped that a) more money/awareness is raised for them, but b) each charity can help one another.  The Single Voice will have its own website- that would be eye-catching and unique- that is informative and easy to navigate.  There are links and ways for charities to interact; help one another and unite to raise funds.  The main points of The Single Voice are to make genuine changes and get everyone involved in charity.

The Charity’s Main Focus:

Mental health is a big issue: by addressing mental health issues, we can prevent so much tragedy from occurring.  A lot of gun violence and killing takes place, because (the perpetrator) has mental health issues- that are not being addressed.  The usual solution- when responding to terrorism and gun violence- is to shoot first; ask later.  It may seem pie-on-the-sky but actually talking about things; addressing issues before they occur is paramount.  In this country, there are limited resources: there is finite money/people available to tackle mental health issues.  By raising money- through mass online appeals and social media unification- we can generate funds; join mental health charities together- tackle those most vulnerable.

Another aim is to raise awareness of lesser-known charities: get their name into the forefront; compel people to do more for causes- and get involved in the community.  There are a lot of causes and concerns that get overlooked- go under the radar- that deserve wider acclaim.  From animal rights to equality for women, The Single Voice can help- by putting these charities up front.

The First Promotional Imitative- 2016

 

How it Raises Money.

The campaign is designed to bring together YouTube, Google, Apple and Microsoft: some of the most influential and important (companies on the planet).  I will go into more depth (below) but the way (the user) raises funds is through YouTube ‘views’: every time someone views a video (you have uploaded)- 15p is donated to your chosen charity (an additional 5p is donated for every ‘like’).  YouTube is the ‘hosting site’: it is their website that is the basis of the campaign.  Google will be the ones who are donating the money.  Each user/member- who chooses to take part- will register on the main site (see below) and through advertising and increased search results, Google will gain revenue- which in turn will be donated into The Single Voice.  Companies like Google and Apple generate enormous profits each year; they do great work but have a lot of profit coming in.  Finding a (legal and non-invasive way) for them to generate more funds- by advertising and getting more ‘business’- would allow them to channel this money into the campaign.  There is the potential (for an individual) to raise millions (possible tens of millions over the campaign) for a great cause- either something at a local level; or a national issue.

The Main Site.

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.  I shall expand more/give ‘the fully skinny’ in my next blog. (middle of June).

Registration.

Each person will be asked to register simple details: name, D.O.B., location; campaigns; total raised (and several others).  It will work a little like Facebook, where there is a profile page: it will be a simple process and contain plenty of information- although nothing too personal or revealing.  From the registration page, there are links to social media- where you can easily promote your page/share your success.  When all the personal details/key details are entered, then comes the ‘fun part’.  The Single Voice has the option of 25 different YouTube-based ‘initiatives’/ideas.    These will be split into categories: Film and T.V., comedy, music, miscellaneous.

Each new member is allowed to ‘sign-up’/choose five of the twenty options.  For each initiative you will be selecting a different charity (I will go into more depth later).  On the profile page will be your list of ‘initiatives’.  By each of your selections will be the total (money) you have raised; how many times your idea/entry has been shared (and how many times you have shared it).  This charity campaign will run for a year- from its launch date- and your selected charities will get donations each month (at the end of each month; however much you have raised will be donated to them).

The Initiatives.

There are twenty five different ideas- covering film, T.V., music and advertising.  As I have said, each person will be allowed to select five different ideas (from the list of twenty five).  Each person could be involved with the campaign for five years  When you register, it will ask you to select from the list- which idea/choice you want- and there will be a step-by-step guide.  It is very easy and simple to complete.  Before I explain how it is done; here is what you can choose from (among others):

Top-10 Songs.  Like Desert Island Discs and Tracks of My Years, each user gets to choose their 10 favourite/most important songs.  There is an option- on each entry- for a user to commentate/explain why they have chosen (what they have selected) but it is a great chance for the person to share their favourite songs.

New Music. This is an option that is a chance (for new music to be heard).  A person can give the world a chance to discover new music/musicians.  If a new band/act has posted to YouTube, then their music can be shared.  There is a chance to select your ten favourite songs (from new acts).

Music Videos. It is nice and simple: choose your favourite ten music videos.  Whether it is from a new band- or classic act- you get a chance to have a good think- what you consider to be the best of the breed.

Comedy. Whether it is a short clip- lasting a few seconds- or a full-length film/T.V. episode, this is comedy-orientated.  Whatever makes you laugh the most: get it uploaded!  I shall expand on this more- and what I would select- but you can choose a stand-up show; an episode of The Simpsons- or a comedic home-made video/prank.

Drama/film. Again, whether it is an episode of Breaking Bad- if they are allowed on YouTube- or a short film, this is the chance to get it shared.

Originals. This is the chance for a user to create something new- and upload to YouTube.  Not a chance for self-promotion, it is a chance to flex your creative muscles.  It can be anything you want: a mock advert; a new song; a comedy sketch- whatever you fancy.

Commercials/Misc. If you have favourite adverts then you can get them seen hear.  This option gives voice to other videos: those weird and wonderful videos- YouTube seems to proffer by the bucket-load.  Beauty blogs and ‘how-to’ videos; home-made videos can be selected.  The rules are simple: it can be anything (as long as it is not sexual, offensive, and violent- or violates YouTube’s rules).

There are- as I have mentioned- 25 different choices; appealing enough to everyone- that gives the user a chance- not only to think about their favourite music/films etc.- but discover new and exciting work.

Beyond Social Media.

Of course, the point of the campaign is not to share music/film- just for the sake of it.  The idea is to raise money and awareness of causes and charities.  On the home page, you get a chance to share your ideas and videos- and raise money (each time they get a ‘view).  When you select a charity- for each entry- there is an information button: this gives you huge information and links.  If you select Diabetes U.K., then you get to find out about the charity.  There are links to their website; how to get involved in the community; how to spot the signs (of diabetes); ways to further becoming involved with the charity- runs, fundraisers, volunteering etc.  This will be the case for every charity.  It means that, not only does the user get to learn more about their chosen charities (and causes); other people do too.  On the site’s main page, there is an A-Z of Charities: a full list of all charities; information, links and videos for each. In addition engaging people more with charities and causes; there is a hope it will lead to more community involvement.  There is a chance to ‘represent’/choose (to support) women’s rights, stamp out gun violence, support local communities and boroughs- causes not usually represented by the big fundraisers.  In addition to giving information about each, there are ways for you to get involved: get out onto the street and make a difference.  Raising money will be a huge and important part of the idea, but it is hoped that the government will take note- issues and campaigns will be highlighted; a chance to change law- change people’s lives and initiate social change. Not only does one get to learn more about charities and causes- the main objective of the campaign- there is a secondary bonus’.  Each time you compile a list; there is a chance to benefit others.  Say you have selected Top 10 Songs.  After you have selected each track, there will be a link on each video/selection.  Song and album information is provided; links to other (similar) acts; ways to record your own music/become a musician.  In terms of new music, there is a chance to help new musicians (links to campaigns; ways to share their music and causes); find great new acts; support local venues and festivals- ways to bring about equality and change for musicians.  The same goes for film and music videos: ways to become a director/actor; local schools and campaigns; links to similar films/videos; local schemes; ways to support other charities and causes etc. All of this video-selecting and information-finding is designed to be quick to share/promote.  With a click of the button you can share you entries/profile to social media; encouraging friends to get involved- taking this thing viral.  It is A fun, quick, and educational scheme; with the potential to raise a lot of money very fast

Before Then…

I hope to organising a charity gig towards November/December- to raise money for Mind.  It would unite my favourite new musicians and would be an all-day event; not only aimed to showcase new music but raise a lot of money.

The Single Voice: Using Creativity to Make Changes:

The charity would use music and the arts to pull in people: encourage creativity and artistic endeavour to raise money and awareness.  Like the first promotional initiative, the charity’s website encourages creativity: becoming involved in music/creating your own sounds; D.J. work and music writing; comedy and screenwriting etc.  Having its own social media site, The Single Voice encourages collaboration and joint ventures: getting users to unite on creative projects; use music and arts to raise charity funds- and raise awareness of great causes.

Setting Up and Going Forward:

At the moment, there are a lot of ideas on paper; schemes and plans coming together- the first steps need to happen (before we can run).  Hoping to establish the charity this year, I will need trustees- and people to support it.  The website is the important next step: not only establishing what the charity does/aims, but having everything in one place.  There will be a social media channel and links to charities; bespoke music and screenwriting sections; ways to become active in the community.

The main aim is to help eradicate big issues and ills: from gun violence and terrorism to social inequality, there are ways to make a change.  Rather than use violence and hatred, raising money and awareness- helping tackle mental health issues- are much more vital.  By joining with companies like Google and Microsoft- helping to promote them- there will be money available and a necessary platform- which means The Single Voice can thrive.

The Point of Doing All This:

Something needs to be done in the world: there is too much needless violence; stupidity and ignorance; a lot of people not doing their fair share- people need to do a lot more in this world.  The Single Voice, not only aims to raise a lot of money and solve issues- but get people more involved in community and charity- and less concerned with social media and needlessness.  Before the end of the year, I will set up the charity and produce a more thorough blog- it may seem a little sketchy at the moment.  I just get so annoyed by the state of the world: too much rudeness and selfish people; needless gun violence and terrorism- nobody seems capable of being able to solve things like a human.  Things can be done; changes can be made- it just takes the support of the people…

Track Review: Tiny Rhymes- Arrows

TRACK REVIEW:

Tiny Rhymes

 

Arrows

9.3/10.0

Arrows is available at:

https://soundcloud.com/tinyrhymes/arrows-1

RELEASED: 23^rd June, 2015

GENRES: Chamber-Pop; Indie-Folk

ORIGIN:

Buffalo, New York, U.S.A.

The E.P., A Kinder History, is available from:

http://tinyrhymes.bandcamp.com/releases

Arrows

Oh, Amaranta!

Gold Mountain

Home

Performed by:

Sharon Mok- vocals, guitar

Katie Weissman- cello, vocals

Kathryn Koch- violin, vocals

Dan Schwach- percussion, glockenspiel

Brad Lauchert- percussion

Zack Steinberg- bass

Peter Isaac- trombone

All songs written by Sharon Mok/ Tiny Rhymes

Recorded at GCR Audio (Buffalo, N.Y.)

Mixed/edited/produced by Brad Lauchert/ BadTone Productions (Buffalo, N.Y.).

Mastered by Adam Grover/ Georgetown Masters (Nashville, TN.).

Art by Nicholas Dowgwillo.

ONE of the worst things about music reviewing…

is that sense of predictability: reviewing the same sort of sounds; similar acts and artists- you get to the stage where music becomes stale and formulaic.  This sensation is something that has been present lately: that feeling that a lot of the music (that is coming my way) does not break too far from the mould: predictable parables that leave little to the imagination; really does not linger too long.  Gladly- and very much distinct from other acts- Tiny Rhymes arrive.  A lot of my reviews emanate from the same sort of areas- the U.K. or Canada- yet Tiny Rhymes hail from Buffalo, N.Y.: my second trip to New York (having reviewed Ariana & the Rose) and my first to Buffalo- located in Western New York, on the eastern shore of Lake Erie.  Buffalonians (the name given to native dwellers) are a diverse mixture- the population is divided between Hispanic, Black and White (with Asian and Native Americans among the mix).  Recovering from economic downturn, Buffalo is a thriving economy (now): technology and financial services are big business; healthcare too- the area is bustling, in spite of economic issues (across other parts of the U.S.).  Tiny Rhymes are not what you’d expect (from a band from Buffalo) and are exempt from cliché and stereotype: the group marry Chamber-Pop and Indie-Folk- a hypnotic pairing of dark tones and orchestral undertones.  Before I continue my point, a bit of background is needed (provided by lead Sharon Mok):

“I've always played piano, but decided to pick up the guitar for this current batch of songs, and set out to create melodies influenced by my childhood experience with both Chinese opera and classical music.  While writing and recording in Buffalo, I met cellist Katie Weissman and we instantly hit it off. Weissman’s diverse technique and smooth, dark melodies added necessary dimension to the songs.”

I know there is a lot of music out there; a huge pool of multifarious sounds: the media (and social media) tends to bring us only a select few; there is a lot of compartmentalisation- so much quality goes rushing by.  Tiny Rhymes are a band that deserves wider acclaim: a group that dare to be different; break away from the mass of samey bands- their music cannot be ignore or overlooked.  Chamber-Pop is a genre (many are) unfamiliar with; maybe some will balk or shy away- unware of what the sounds entail; how good it can be.  Having listened to Tiny Rhymes- assessed their E.P. and its wonders- I am now a fan: I would urge everyone to take a sip of the Buffalo clan.  Mainstream tastes tend to via towards Pop and Indie: there is wiggle room, yet there is still a rigid leaning towards tried-and-tested sounds.  With the growth of Electro.-Pop and Indie music, tastes are starting to broaden: some long-forgotten sounds are resurfacing; great music is coming back to the fore.  Tiny Rhymes are not quirky and divisive: their sounds are a concoction of everyday emotion and delicacy; orchestral swathes and pin-sharp vocals- something that is a rarity in today’s scene.  I hope that more follow suit; start to learn from Tiny Rhymes: they are getting a lot of tongues wagging (in New York); spiking the public imagination- it cannot be too long before they arrive here.  In the U.K. we have some ‘fairly’ similar acts- the likes of Little Sparrow (a solo artist) spring to mind- yet nothing quite like Tiny Rhymes- their brand of song would be celebrated over here.  I do hope the group comes to London and play: there are clubs and venues that would house them without hesitation- the capital would love to see them.  The group’s E.P. has arrived; a four-track collection that demonstrates a wealth of treasure: stunning beauty and fragility; fantasy and reality- a stunning collection of songs (that linger long in the mind).

When it comes to comparing Tiny Rhymes’ work (with their previous cannon of songs) it is quite difficult- being so fresh from the blocks, the Buffalo group are a sapling sound.  The Cape- a single released last year- was replete with romanticism and yearning; jumping strings and crashing waves- a touching story with some stunning images.  Since then, the group has not varied their sound too much: they sound more confident and intuitive.  Tiny Rhymes started off strongly and impressive: over the course of this year they have cemented their sound; brought in new influence and elements- augmented their beauty and wonder.  It is hard to compare Tiny Rhymes to another; few other acts spring to mind- they are a rare breed indeed.  Chamber/Folk music does have its patrons, yet none do things like the Buffalonians: few acts are quite as original and ornate as the group.  Taking elements from bygone acts; a sprinkling of contemporary Chamber-Pop/Folk acts, Tiny Rhymes bring in their own voice and flair- not wanting to come across sounding like anyone else.  If you are new to their music, I would suggest investigating the (genres of music they play) and getting some background: even acts like The Staves and The Unthanks can be traced (to Tiny Rhymes) - there is that similar sense of beauty and tenderness.  What makes Chamber-Pop so beautiful is the mixture of instruments: yearning strings and low-high blends- orchestral grandeur and romantic delicacy.  If you’re a fan of other genres- and not usually tempted to the kind of music the band plays- I would advise experimentation: they are well worth your time; a valuable addition to anyone’s collection.

Arrows leads A Kinder History; it does so with some tremendous beauty.  The song’s initial notes pair plinking notes and tripping dance; a myriad of trickling cascade- a balletic version of a Disney score.  Merry and romantic; light and breezy, the listener is welcomed with a warm and intriguing heart- you are never sure quite what is coming next.  “If memory of you finds me sleeping…” open the track- the lyrics in the early stages are clever and oblique- where there is a sense of separation and remembrance.  Employing some deft wordplay, the subjects of dreams and memories are introduced: our heroine will (not forget her man) until she is dreaming- she wants to re-write a kinder history.  There seems to be some regret and lingering doubts: our lead wants her man to think of/remember her; not sure if he will.  As I stated, there is some obliqueness and ambiguity: your mind and heart converge down different roads; never 100% sure whether there is resentment or contentment- I guess there is a little of both (in every word).  After Dan Schwach’s dizzying glockenspiel; some terrific strings (from Katie Weissman and Kathryn Kock) it’s Mok’s vocal that steps into the spotlight- narrating her tale with stunning passion.  Mok’s female companions lend their voice, yet Mok stands out front: that blend of child-like innocence and womanly strength radiates and compels.  Superbly delivered- she delineates her words with a real sense for mood and pace- you are hooked in and seduced.  The song looks at the present and past: Arrows mixes the physical with metaphorical; exploring love and innocence- a rhapsody of heartfelt emotions.  Our heroine looks back at childhood- where she had all the time in the world- and the present- where she and her lover have none.  One is never sure whether the relationship is intact or broken; if there is a parting or doubts- the words leave room for interpretation.  To my mind, I envisaged two lovers split and fractured: maybe overcome by modern strains and the distance between them; there is that need to return to the past- where innocence and simplicity were so much more favourable.  You can sense that yearn and sigh; that need to restart things- make life less complicated and fraught.  Never overly-anxious and full-on, each line is delivered with softness and consideration (yet there is plenty of passion and conviction).  It is not just Sharon Mok’s show: her cohorts ably support her; adding symphonic lust and immense beauty.  In addition (to some mesmeric) backing vocals, each instrument adds huge weight- the strings lift the song to heavenly heights.  As the song progresses, the travelogue continue: each party seems to be bound in a different direction; their paths never crossing- perhaps they will meet by chance?  With our heroine moving and dreaming- her subject on her mind- maybe they will see one another; perhaps things have finished for good?  Friends and companions, that dislocation-cum-break-up mandate is a well-worn subject- yet Tiny Rhymes present it in a very personal and distinct way (never succumbing to lyrical cliché).  Before the 3:00 marker, our heroine makes a plea: “Don’t come back for me.”  There is that sense of succeeding; letting events take their turn- and giving up on a dream-like meeting.  With her voice starting to show its emotions, Mok reaches her impassioned peak- recollection and truth have caused their damage.  Wordless vocals enter the fray- as punctuation and sense of relief- and the listener is forced to reflect.  You find yourself emphasising with the heroine: wanting things to be different but knowing they never could.  Adding lightness to proceedings, Schwach’s glockenspiel comes back in- that candid hop and sweet-natured chime prevents the vocals from becoming too maudlin and weighed-down.  Supported by some superb production values- that makes the song sound like it is coming live from a cathedral/large room- you feel as though you are there; yet there is some intimacy to things.  The production makes the song vast and impressive yet mollifies too- at times, it sounds like this is a riparian lovers’ call (as though you are being serenaded by the riverside).  Quite an impressive and laudable step, it brings Arrows fully to life.  In the closing stages, unity comes through: each instrument and voice blends in; the wordlessness augments and swims; the band notch up the offensive- reaching spine-tingling levels.  Scene-closing and evocative, the final notes are beautifully escheated- and you find yourself seeking more; continue that superb and entrancing sound.

Applause should be meted out to each Tiny Rhymes member.  Mok’s lead voice- and her lyrical direction- are at the forefront.  Her soothing and delicious tones are the perfect clothing to an amazing body of work: a song that resonates with all, yet feels deeply personal and special.  Her narrative and wordplay is incredible and stunning; her voice constantly engaging and gorgeous- few other leads could achieve such a feat.  The strings-and-vocals combination of Weissman and Kock is to be commended: not only exceptional players, their tones fit perfectly (alongside Mok); adding beauty and weight- lifting words and lines to unbeatable realms.  Perfectly in-step, the trio work wonderfully off one another- there is a clear love and affection; a natural bond that ekes through in every note.  Glockenspiel and other notes are supremely delivered (by the rest of the band).  The glockenspiel incorporates delicate beauty and crystal-like fragility; one of the defining aspects of Arrows.  When the band unite and weave (in and out of one another) the biggest chills are elicited: the bond they all share makes the song such a thing to behold.  Arrows is the perfect lead-off track; a perfect starting-point for A Kinder History.  The song showcases the band’s core strengths: personal and relatable scenes; stunning vocals and harmonies- authentic and genuine Chamber-Pop majesty; gorgeous string and percussion.  If you need an escape; get your mind off of modern life- investigate this stunning track.  It will melt the woes and raise a smile: when it comes down to it, how many other songs do that?

It is great to discover something genuinely wonderful: an act that comes out of nowhere; something unexpected- music you would never (have otherwise) heard.  Since reviewing Tiny Rhymes, I have looked into Buffalo’s music: the area fascinates me and I was keen to check out Tiny Rhymes’ colleagues and peers- who the movers and shakers were.  Few local acts resonate as hard (as Tiny Rhymes) yet Buffalo boasts some terrific music: from Goo Goo Dolls to Gym Class Heroes, there is a lot of fervent activity.  By and large, the music (coming out of Buffalo) sticks to the Rock-cum-Alternative territories- with some Metal and Folk peppered around the edges- so Tiny Rhymes are still quite unique.  In such a bustling and developing region, you’d expect some contrast.  Let’s hope more acts follow suit: we have too many bands that play it hard and heavy; tend to prefer something more forceful and to-the-point- Tiny Rhymes’ nuanced and uplifting beauty should not be overlooked.  Arrows is the perfect starting place- when investigating the group- and their E.P. (A Kinder History) is packed with stunning moments.  Oh, Amaranta! Is a tear-inducing sway; it begins with aching strings- the introduction then is overthrown with a beautiful and sighing vocal.  With its bare and natural production values, the song has a pastoral sound- a great live-sounding tone that makes each word more authentic and tangible.  Bubbling and rising, the song goes through waves and swells: rising like a phoenix, before demurring into the shadows.  Relentlessly touching, it is a song that gets under the skin: Mok’s lead vocal is entrancing and impassioned throughout.  Gold Mountain is similarly wistful and cooing: in the early stages it boasts similar traits to its predecessors.  Before long the group layer in; the sound becomes larger and more atmospheric: it is one of the most evocative takes of the E.P.  Putting your mind in the wide open; soaring across the sky, the track is stunningly sweeping; magisterial and graceful- a wonderful thing.  Home is the E.P.’s closer- and perhaps an appropriately-titled swansong- which sees Tiny Rhymes sign-off in style.  Tender and soft, trembling and honest, our heroine is focused on the door- looking to “run right out.”  There is a need for escape; get away from things and start again- find some sense of personal relief.  Overall, the E.P. has a consistent and loyal sound: the group do not stray too far from their signature feel; choosing to variate from track-to-track- never breaking away from that core of beauty and ethereal delight.  The four tracks are a testament to study and intelligence: a group that sound contemporary and classic; cultured and everyday- able to unite the mainstream with the underground.  Baroque-Pop is a genre that showcases many legends- from Belle and Sebastian to Florence and the Machine; Fiona Apple to The Decemberists- and is a very popular (and profitable) style of music.  Chamber-Pop manages to take in Baroque elements, whilst employing classical edges: Tiny Rhymes have a keen ear for Folk and Indie; never willing to become rigid and restrained.  I have a lot of genuine respect for Tiny Rhymes: in a music world of homogenization, they are separating themselves with distinction- the signs are all very positive.  With their E.P. gaining some heated praise, the U.S. newbies will take great solace and heart: hopefully it will not be too long before a second E.P. (or L.P.) is introduced.  As mentioned earlier, it would be great to see them (the band) in London: hear that stunning music up close and personal.  Arrows is a perfect song for the season: filled with sunshine and warmth, insight and mystery, make sure you do not let it pass by.  Having bogged-down in a sea of predictable acts, it is nice to regain some sense of focus and difference: it is my hope some similarly-ambitious acts come my way.  If you need a break from the heaviness of Rock and Indie; the staleness of Pop; the rank-and-file acts, then get involved with Tiny Rhymes: a soothing and medicinal balm that counteracts the stresses of modern life.  Brimming with talent and beauty; exceptional songwriting and exemplary performances- they are one of the most tight-knit and close groups I have ever heard.  Long may their success continue; they have overcome the first hurdle: their music is catching on and growing; their name promoted and celebrated- tiny steps, but vastly important ones.  It is wholly conceivable Tiny Rhymes will be playing internationally; creating another E.P. (and many more after); going on to great things.  In a music world packed and expanding…

FEW survive to see the day.

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Follow Tiny Rhymes:

 

Facebook:

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

Twitter:

https://twitter.com/TinyRhymesMusic

YouTube:

https://www.youtube.com/channel/UC38vthDSCRnSYiQHXZM0pIA

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Music:

https://soundcloud.com/tinyrhymes

Feature: Inspiring New Music- The Rise of Boileroom

Inspiring New Music:

 

 

The Rise of Boileroom

By Sam Liddicott

Wednesday 29th July, 2015, 09:00

[twitter-follow screen_name='samliddicott' show_screen_name='no']

ONE of the bittersweet things about living around Surrey…

is the- not all, but a (worryingly) high amount of- people and attitudes (okay, technically two).  Buried among the sweet and lovely people (there are a fair few) is a much large malaise: a lot of rather ‘unlovable’ humans.  An aesthetic of insane/slow drivers, extinction of common manners (among a lot, but not all); unwarranted sense of self-entitlement (ditto).  The youth/young- again only a certain percentage- lack drive and any ambition; are demonstratively profane: Guildford is particularly culpable/to blame.  There are some horrible aspects to (certain parts of the county) but some rather good ones- firm among them is the terrific music.  It is the great people of the county who produce and support the music: make it an attractive place to visit (rather than stay in/live).  Unfortunately, there is a trend towards London- and something I am desperate to do very soon- because Surrey produces fewer chances (for new musicians/music-loving folk).  The coffee shops- a sanctuary where an adult should be able to unwind- are filled with wailing children (and their 'parents'); the pubs either too crowded or too distracting (we're there to drink, man).  When one wants to unwind/escape they look towards venues- a chance to hear great music in a terrific setting.  London still houses the most influential bases- including Roundhouse and Koko- yet Surrey (and areas like Guildford) is starting to forge real estate.

As jaded/purely fed-up (as I am with) a lot of Surrey people, there needs to be more foresight: recognise that- among the problems and social flaws- there is a demand for live music; music-lovers do not want to commute to the capital/further afield (every time they want to see their favourite act).  Having experienced issues with the A.C.M.- refusing to conduct a feature; being very ungrateful when I sent their students a gift (a big-ass pile of music no less, bitches!)- I turned to Boileroom: the best and most impressive venue in Surrey (in my opinion).  An undoubted salvation of Guildford, it is a venue with an immense amount of fight: a hot-spot that deserves a happy life- it does the town a lot of credit.  Being familiar with their work- and the acts they housed- I was keen to catch up; champion the work they do- introduce them to the wider world.  There are many acts I know- from Yorkshire, Scotland and afar- who would love to play here/are seeking somewhere great- I hope they finally get in touch (with Boileroom)...

The Intro.: About Boileroom

 

“Founded in September 2006 by an independent collective dedicated to promoting the highest quality live music, creative arts and club events, the Boileroom has quickly garnered a reputation as one of the South East’s best live music venues. Now in its’ seventh year, Guildford’s most established and respected independent live music venue books an eclectic and varied programme of music and events.

The Boileroom has a national presence as a destination venue, and to date has played host to no less than 10 Mercury Music nominated artists, BBC 2 Folk Award Winners, MOBO Award Winners, Ivor Novello Award Winners, BBC Sound Of Artists, and Rock & Roll Hall of Fame Inductees; booking emerging touring acts as well as well-established stalwarts like: Ed Sheeran, Foals, The Bronx, Marmozets, First Aid Kit, Catfish & The Bottlemen, Soweto Kinch, Fairport Convention, David ‘Ram Jam’ Rodigan OBE, to name a few.

We have also had the pleasure of curating several different stages and events such as: Vintage Guildford at Guildford Cathedral; Lewis Watson at St Mary’s Church, Martin Carthy & David Swarbrick at Holy Trinity Church; curating stages at Magic Summer Live 2013, Redfest, Staycation Live, the Guildford Beer Festival; curating the stage and running a cafe at The Artist and Makers Festival; plus many more.

The Boileroom is the first port of call for music fans and creative minds to come and visit.”

[youtube https://www.youtube.com/watch?v=wJA5wT-myw4&w=560&h=315]

Boileroom is chief of the tribe- among the new music venues of Surrey- and is leading the revival: the creation of charming and inspiring houses (for musicians).  Having overcome adversity- I shall touch on later- the venue has managed to host some truly wonderful acts- including Wolf Alice and Ghostpoet.  Among Guildford’s streets and avenues sits Boileroom: if you were to drive past, you may whizz by without realising.  Whilst London music hotspots are pulling in the modern-day legends, Boileroom is not exactly a shrinking violet: huge names play there regularly (in-between festival dates to boot).  In addition to its proximity to London, Boileroom is a perfect venue: it has intimacy and character; it’s capacious and accommodating; there are great loyal crowds (who flock to see the latest acts).  Having an award-winning bar (and exceptional food), the reviews speak for themselves: patrons have provided numerous laudatory statements; italicized Boileroom’s multiple merits- word-of-mouth and reputation has cemented (the venue as an essential stop) for any act worth their salt.  That said, there is work to be done; renovations/improvements afoot- Boileroom is a venue that deserves a long (and prosperous) survival.

Verse 1: What Makes Boileroom Special?

Starting at staff-level; the people who work there have a clear passion: dedicating their time and lives (to the pursuit of) terrific music.  This passion and dedication spills over into the working day: Boileroom is maintained to a high standard; the food and drink is faultless; the service wonderful- ensuring that the consumer has the best possible experience.  In addition to the environment/team, Boileroom does not just stop at the music: multiple events are held/backed- ranging from activism and debate; vintage fairs to street parties.

What is your Activism?

 

http://www.theboileroom.net/events/29-jul-15-what-is-your-activism--the-boileroom/

“A series of workshops discussing activism and personal politics…

Over the course of five workshops, participants will discuss their ideas of what activism is, what kind of activism they are personally involved / interested in and what their personal politics are - whether it's simply buying organic food as and when they can or chaining themselves to railings at protests every weekend!

The sessions will involve group discussion, talks from guest activists and artists, arts and crafts workshops, a trip to a radical political zine archive and research into local political history, amongst other things.”

As a group we will be thinking about collective work and action and what we can learn from each other.

There will be an introductory session on Wednesday 15th July; where we will discuss the issues that are most important to us. We will then programme the following sessions based on the interests of the group.

If you would like to attend, please drop lydia@theboileroom.net an email. If possible, please include some information on why you are interested in attending, and your particular areas of interest within activism."

Vintage Guildford

 

http://www.theboileroom.net/vintage-guildford/

“To get in touch about having a stall, running a workshop, or playing some music, use the following lines of communication below:

Email: toni@theboileroom.net or lydia@theboileroom.net

Call the office phone on 01483 440022 (Mon-Fri, 9am-5pm)

A bit more info about our Vintage Guildford events

Having successfully run our own Vintage as well as Artisan market at the venue for some years, we’re stepping it up a gear and moving to local landmark the Guildford Cathedral.

As Guildford’s Independent, Alternative Live Music venue, we pride ourselves on championing our local music and creative community. Which is why we are delighted to announce that we will be hosting Vintage Guildford: a fair that provides a platform for the finest local vintage sellers, designers and makers to exhibit what wonderful items of yesteryear are available right on their doorstep! There will be stalls selling vintage clothing, homewares, vinyl, and more!”

[youtube https://www.youtube.com/watch?v=Ufq9N5hKqHs&w=560&h=315]

Staycation 2015:

  

http://www.theboileroom.net/staycation-2015/

STAYCATION LIVE 2015 Saturday 1^st – Sunday 2^nd August 2015 Midday – 7pm each day Phillips Memorial Park, Godalming Free entry – Donations going towards the Teenage Cancer Trust, and the running of the festival. All Ages welcome

http://www.staycationlivefestival.co.uk/

Godalming’s community music, food, and arts festival is back for it’s fifth year. Held at Phillips memorial park in the heart of Godalming, over the first weekend in August; this free family-friendly event brings together some of the finest local food offerings, live music, and family-friendly activities.

The bandstand is transformed into the main stage for the weekend, and will see the likes of Americana blues legend Martin Harley Band headline on the Saturday, and folk-rockers Leatherat on the Sunday; alongside local electro-swing act Captain Flatcap, Stevie One Bloke One Mandolin, and many more besides!

The Boileroom stage is back for the second time. This year bigger and better than ever, with the help of the Music Works School in Milford. Expect to see some of Surrey’s rising musical stars perform in the Cloisters area of the park. There will also be 20 stalls of local Vintage sellers with a mixture of women’s and menswear, home-wares, accessories, and much more besides! Come and pull up a pew or browse the rails while listening to some tunes.

Staycation Live started off life as a pub gig, raising funds to support local and national charities, and despite it’s rapid growth as a community arts, music and food festival, it’s ethos remains the same. After joining forces with Godalming Town Council, TST Live have raised over £3000 for the likes of Disability Challengers, Shooting Star Chase Hospice, Rhythmix and Oxfam.

This year, Staycation Live will be in aid of the Teenage Cancer Trust (TCT), with the help of local fundraisers Teens4Teens in Godalming & Surrey. The Teens4Teens choir will also be opening the main stage each day – get down early to bag a spot at the front, or buy a CD and support the cause!

For full line-up info, head over to the Staycation website: http://www.staycationlivefestival.co.uk/

BOILEROOM 2ND STAGE LINE-UP

SATURDAY The Joshua Martin Band-Midday The Joshua Martin Band is a unique sonic experience, performing in their own original and mind-blowingly groovy style.

The Keep Cats-12.30pm The Keep Cats are brothers Jonah & Eden writing songs, twanging their guitars and beating some drum… & now introducing Fin, the ‘Axe’ & Louis, ‘Stix’!

Marcus Coyne-2pm Acoustic singer-songwriter Marcus Coyne plays melodies inspired by the likes of Swoon-some Ben Howard, Bon Iver and Passenger.

Otis Mensah-3.30pm Otis Mensah is a flipside alt-rap artist that has risen from a new wave; age and era which embraces a contemporary, experimental epidemic of nostalgic authenticity in rap music. The music he creates often captures a melancholic vibe & a mellow atmosphere however accompanied with lyrics which transcend to something much more prolific and poetic.

There will be Vintage clothing, jewellery, homewares and furniture from the lovely Vintage Mabels, take a look at their lovely wares here

http://www.vintagemabels.co.uk/

And some face-painting too!

SUNDAY

Risk-Midday RISK is a 3 piece, modern british rock band. Alex Griffith on Bass/Vocals, Tom Ofield on Drums/ Vocals and Alex Frow on Guitar/Vocals.

Sophie Scott-12.30pm Singer songwriter recently graduated from ACM, and currently gigging around the locality with her unique and original songs.

Beau Halford-1.45pm

Bourne Weird-2.45pm

One more TBA-3.30pm

All of the acts performing each day have come through our ongoing programme at The Boileroom named The Project; helping aspiring young musicians through showcase events, mentoring, workshops, Q&A panels, and more. For more information on The Project, email toni@theboileroom.net.”

The Chorus: Question and Answer (Part One)

Having reached that stage in the feature/’song’, we come to the important part: the heart of Boileroom.  Determined, not only to put my thoughts on paper, I wanted to question the staff: see what life was like at Boileroom- and which acts have stuck in their mind.  Having done so much great work, it would be only be fair to give them a say: let the people who make the magic happen, speak.  Thanks to the staff at Boileroom- especially Lydia Stockbridge- for donating their time: giving an insight into 'Boileroom Life'- and the year's highlights.  Without further ado, here’s what (they) had to say…

Boileroom has overcome some difficult times- including a threat of closure- and overcome them all. How has the last year been (for the staff at Boileroom)?

It’s been quite an intense year and a half here!  From going through a challenging 2014 with the license review, and then coming out the other side and building bridges with our local community; to winning Best Bar None Awards (overall winner for our attention to detail with our policies and adhering to our licensing conditions) - the upstairs revamp courtesy of our Patreons, transforming the garden with plans to turn it into a community garden.  An amazing 2nd Independent Venue Week at the start of this year with our penultimate, amazing show with You Me At Six: it’s fair to say we hit the ground running in 2015, with no plans to stop anytime soon!

You have Patrons (people who donate to ensure the venue remains open and supported). How is that progressing? Is there still a long way to go?

This has been such a positive and encouraging process for us here.  The Patreon site is unique in crowdfunding – although we will be rewarding our Patrons when we reach our 275 target with a big party; our Patrons support what we do as a business as a whole financially, with their help we launched Originate Studios, and our community garden- it’s great to be able to reach out to our supporters directly.  As a small, independent venue we receive no funding, so for us to communicate in this way with our customers is a real game-changer for us; in helping us to push forward and actually put into progress all the changes and scope we have for the venue.

The venue is noted for its intimacy and character.  How would you say it stands out from other venues?

Thank you!  We put a lot of effort into creating a unique, alternative atmosphere for all of our events.  Attention to detail is key for us here – all of our artwork is done in-house, all our venue artwork was created by local artists in the area; even the labels of our Little Boileroom beer have been hand-designed by our illustrator friend Dan Bowden (he does some amazing gig poster designs for our venue Birthday party too).  We want it to be a memorable experience coming to an event here, I feel personally that shows at smaller venues are the most exciting ones – being able to get up close and personal to your favourite band or artist is always an unforgettable experience.

A lot of attention- when it comes to venues – tends to be focused in London.  Do you think the music scene is growing (in counties like Surrey)?

I think that tends to be because the focus of national press is aimed at cities, because they tend to be based in the capital.  However, I think regionally there has always been a scene – it’s just not talked about as loudly!   Online publication Noisey recently did a feature on regional scenes including Guildford, I also think we’re (comparatively) young as a venue- so it’s taken a bit of time to build up a rep too.  Surrey in itself has a rich cultural heritage – so many legendary acts have come from this county – The Jam, The Stranglers, Reuben, Hundred Reasons, Vex Red, and so many more – and also for hosting legendary shows:  Rolling Stones at The Wooden Bridge pub, David Bowie, AC/DC at University of Surrey, The Beat and The Selektor at Guildford Civic; Fleetwood Mac at the Gin Mill club in Godalming – the list goes on!

https://twitter.com/allgigs/status/623038908029276162

Vintage Guildford- held at Guildford Cathedral- is one of many Boileroom events.  Can you tell us a bit more about it (for those looking to come along)?

Sure thing: we run 4 Vintage Guildford events a year at the (Guildford) Cathedral and it’s great fun. A family-friendly event (under -5s go free!); with a vintage market of 35+ stallholders selling vintage clothing, homewares, furniture, records, accessories and vintage-inspired handmade bits and pieces too.  We also have a pop-up salon for vintage hair-do’s and nail art; craft workshops that are child and adult-friendly, a café selling tea and cakes, and live music too.  There’s a lot to pack in in a day!

When it comes to booking acts- and finding the best underground music- how does that work?  Is there an audition/interview process, or do you check out (the acts') songs before booking?

We always keep an ear to the ground for local acts, attending other local shows when we can and reading local blogs.  We tend to check out people online, whether it’s a video or songs uploaded to Soundcloud or Spotify.  We also encourage people to get in touch with us, and our Youth Programme (The Project) is all about nurturing upcoming talent.

On that note:  who are you particularly looking forward to hosting over the coming weeks/months?

Ah, we have some great shows coming up:  Rat Boy, Hooton Tennis Club, Darwin Deez, Keston Cobbler’s Club, The Milk, Martin Carthy (and a few more we can’t tell anyone about yet)!

[youtube https://www.youtube.com/watch?v=vLg4NcwPfqc&w=420&h=315]

Verse 2: What the Supporters/Public Say

Working in the area (at The Stoke Pub and Pizzeria- just down the road from Boileroom) many regulars wax lyrical: expound the virtues of the venue.  The Smyths recently played Boileroom: a gig that is talked about in fond terms.  A particular couple I know (from my pub) are regulars at Boileroom (Dave and Jane)-  some of the venue’s most loyal clientele.  The Smyths were lauded for their fantastic performance and authenticity- a lot of cover bands are not overly exceptional; The Smyths were.  Keen to catch any act that plays, the people I speak with all agree on the same thing: not only are the acts (that play there) top drawer; the venue is both homely and grand- a rare mixture in this day and age.  Boileroom has that quality to it: it could easily nestle itself with central London; rub shoulders with the ‘big boys’- I could not imagine (the guys at Boileroom) would want to move there; what with the reputation and loyalty they have.  Having overcome a lot of adversity, it is word-of-mouth that does big business: the people who come time and time again keep it going- those with a huge passion for music.  What impresses me most (about Boileroom) is its diversity: you do not just get Rock/Pop acts; there is a staggering range- from Hardcore to Acoustic; Alternative to Indie-Rock; all in-between.  As stated earlier, it is not just sapling acts that play there: the big-hitters are keen to grace the venue.  It is this blend of brand-new treasures (and established acts) that seduce the public imagination- speaking with people- that is what compels them so.  With regards the aforementioned couple- I hope they don’t mind me name-dropping them- they want to see everything they can.  Their eclectic tastes- they love Wolf Alice and current sounds as much as anything- is well catered for- Boileroom is the perfect setting for them.  Outside of (Dave and Jane), the venue attracts a great young crowd: a few days back I saw a line of teenagers (to be honest they looked about 10) queuing for an act- they must have been dehydrated/knackered by the time doors opened.  That is the charm of Boileroom: you get a wide range of ages coming in.  The enthusiasm and professionalism the staff display (is oft commended); each person is dedicated and friendly.  Some venues exist/thrive simply by the names/acts they pull in: Boileroom manages to boost so much more; a combination that is hard to beat.

[youtube https://www.youtube.com/watch?v=1ZpQFApy7Ng&w=560&h=315]

The Middle Eight: Upcoming Events/Dates at Boileroom

 

It is not just the music (Boileroom offers the people) but a vast array of events- from vintage fairs to family days.  Keen to draw in the whole community, Boileroom makes such they are always busy: nary has a week gone by without something colourful or compelling happening.  From social activism to fairs, the venue has a lot going on (no excuse not to get involved).

[youtube https://www.youtube.com/watch?v=HUVnebFNe8A&w=560&h=315]

What’s On (Selected Highlights):

What Is Your Activism? Wednesday 29th July

What Is Your Activism? Wednesday 5th August

Little Comets Friday 7th August

Fox and the Law Saturday 8th August

Monuments Wednesday 12th August

What Is Your Activism? Thursday 13th August

Steve Conte NYC (New York Dolls) Tuesday 18th August

What Is Your Activism? Wednesday 19th August

Red Jumpsuit Apparatus Friday 21st August

Hanshotfirst Album Launch Saturday 22nd August

Street Party! Sunday 30th August

Craft Club Monday 21st September

RAT BOY Monday 28th September

Barrence Whitfield & the Savages Thursday 8th October

Wheatus: 15th Anniversary Tour Friday 9th October

Vintage Guildford Saturday 10th October

The Chorus: Question and Answer (Part Two)

Recently, Boileroom has been hosting workshops- discussing activism and social issues.  What has the response been like?  Have you seen a lot of people turning out/getting involved?

It’s been great – we’re trying to grow the community events organically, our Craft Club has been running now for 3 years and we now get between 12-20 attendees.  We’re aiming to do the same for our new workshops, it’s been great fun meeting new people in the local community, and branching out into new areas.

What have been the proudest achievements for Boileroom- over the last couple of years?

Ah there’s a lot!  Overall winner of Best Bar None (this February) was a really proud moment; for myself and the team to have our hard work on all our policies recognised.  Being a flagship venue for Independent Venue Week and taking part in that has been a great success for us, and we’re very proud to be a part of it-and Music Venues Trust too- and fly the flag alongside other independent venues. Being the 100th venue to sign Attitude Is Everything charter- improving deaf and disabled people’s access to live music.  There’s been a lot over the years; I’m really looking forward to celebrating our 10th birthday next year.

I know a lot of people who are regulars at Boileroom- come in time and time again, impressed by the great music. What would you say keep people coming back?

I think it’s a combination of things – an eclectic programme, bringing in new, local, and renowned national and international talents, being as inclusive as we can, and also good customer service – being welcoming, friendly from the moment a customer comes in the doors to when they leave – manners cost nothing!

https://twitter.com/HanshotfirstUK/status/624549808360026112

Boileroom has a particularly impressive and informative website- in addition to great social media channels.  Do you think it is vital to have up-to-date and full online presence?

Absolutely – we’re in a digital age, as well as the traditional routes of promoting in print, a lot of our customers use the internet and social networking, we try to reach as many people as we can.

Being a music reviewer/writer- and someone looking into music P.R./promotion- what advice would you offer; to anyone looking to go into music P.R./promotions?

Having a passion for music helps!  Keeping an open mind, exploring as many genres as you can, getting out there and meeting people, checking out shows, staying up to date with how bands and artists are promoting themselves.  Also being organised with your time and good communication; as well as always being friendly and polite – as I said before, manners cost nothing!

I know a lot of young upstarting bands/acts (who would thrive at the chance to play Boileroom):  is it easy to get under your radar/play the venue?

For sure!   All they have to do is drop Duncan@theboileroom.net or me on Lydia@theboileroom.net an email with a short blurb on the band; links to where we can take a listen to their music, and we’ll see what we can do!

[youtube https://www.youtube.com/watch?v=G1zri1Zm5uk&w=560&h=315]

Penultimate question:  are there big plans for the venue going forth- any developments and events?

Always – we don’t like to rest on our laurels here, we’ve got big plans for next summer and our upcoming 10th birthday – keep your eyes and ears peeled!

A long question, but one for all the staff (and one where I will put some music links/videos here)

Your favourite act from this year (who played at Boileroom)?

This year – it’s a tough one but I really enjoyed Loom last weekend – snarly garage-rock/post-punk noise.

[soundcloud url="https://api.soundcloud.com/playlists/33551337" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The act you would recommend to readers (who have played Boileroom)?

Cosmo Sheldrake – such an awesome live show – really entertaining and talented performer

[youtube https://www.youtube.com/watch?v=11vHDlFByPg&w=560&h=315]

Your all-time favourite song?

Sabotage – Beastie Boys

[youtube https://www.youtube.com/watch?v=NgX8DSOBLIc&w=420&h=315]

Your all-time favourite album?

Yeah Yeah Yeahs – Fever To Tell

[youtube https://www.youtube.com/watch?v=1YhfzO52ToQ?list=PL062093FF6A2446E8&w=560&h=315]

Best new song of this year (can be any genre or artist)?

Shamir – On The Regular

[youtube https://www.youtube.com/watch?v=Lp9GgdCgMXk&w=560&h=315]

The Guitar Solo: Supporting the Venue

 

With financial realities/strains; pressures of survival, Boileroom is looking for supporters (or ‘Patrons’).  If you would like to donate to Boileroom- and why the hell would you not?!- then visit: https://www.patreon.com/theboileroom?ty=h.  As Boileroom themselves say:

“For 9 years, we have developed and thrived without financial aid; but due to many factors this has become increasingly difficult, and to ensure our survival we are reaching out to our local community.

We need your help to continue with this work and develop our new creative space, we love what we do with a passion that is limitless.

Please invest in us so that we can continue to invest in Guildford's creative community.”

Whereas major cities have the money- and the population to keep venues healthy- there are bigger issues in the home counties- there is simply not as much financial support.

[youtube https://www.youtube.com/watch?v=27W94C8eTyI&w=560&h=315]

For only a few pounds a month, you can make a big difference: ensure that Boileroom continues to operate; support great new music- make a real difference in the community.  The venue is undergoing some changes- some refurbishment and a new garden- and making some plans; looking to the future.  With so many great acts coming through- and some terrific artists like Wolf Alice doing well- Boileroom is a natural home.  A space where bands can feel welcome and comfortable, they are guaranteed fervent support- in a brilliant environment.  We all spend so much money on needless peripheries; junk we don’t need: few people take the time to donate to worthy causes/projects.  Look at reviews (about Boileroom); watch the videos on the official site- all the cool events/dates coming up.  For all this to take place- and keep going year after year- there needs to be backing from the public- do something wonderful with your money.

The Outro.: The Future…?

Barring any challenges and upheaval- let’s hope Boileroom’s struggles are at an end- the future looks promising.  Of course, there is a little way to go: great venues require constant finance and patronage; great music coming through the door- bums on seats (figuratively speaking).  Capricious as fortune is; fickle as the public can be, Boileroom is doing tremendously- its reputation is solidified; its popularity continues to grow.  As much (as I) posses an issue with Surrey’s people (the small number that causes needless obstacles and stress) there is a loyal core of music-lovers: people who want to see great acts play on their doorsteps.  There are other music bars/venues around Guildford/Surrey, yet none have the same status as Boileroom- just talking to people and it is evident what an effect it has.  Among the upcoming events- full listings at http://www.theboileroom.net/listings/- is the latest What Is Your Activism? (on July 29^th); Street Party! (on August 30^th).  Wheatus are stopping by on October 15^th- as part of their 15^th Anniversary Tour- it will be a date to remember (although a middle-aged band singing Teenage Dirtbag may be a bit too ironic).  Monuments- one of the best new Metal acts- play on August 12^th (shall stop by and see that); there is a lot going on- definitely something for everyone!  Boileroom has had a tough upbringing; its infantile years have been staggered by challenges and pressures- there is still work to be done.  What makes the venue so special- aside from the great music- is the hard work that goes into it.  The staff does exemplary work- there are no rank-and-file members in the venue- with everyone showing dedicated passion and hard work.  It is only left for me to say a) thanks to the staff of Boileroom (especially to Lydia Stockbridge) for their support and time, and b) go visit the venue- and see some wonderful music.  In a world where digital media is taking over; London is stealing focus- it is essential (venues such as) Boileroom thrive.  Do something good…

AND support a wonderful venue.

All photos included are taken from Boileroom’s official website- http://www.theboileroom.net/ (and its social media pages)

_______________________________________________ 

Follow Boileroom:

 

Official:

http://www.theboileroom.net/

Facebook:

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

Twitter:

https://twitter.com/BOILEROOM

Instagram:

https://instagram.com/boileroom/

YouTube:

https://www.youtube.com/channel/UCf4TuQQz7WRraTQ64ficvPw

The 350th: Foreplay is for Cowards- A Celebration of New Music

The 350^th:

Foreplay is for Cowards-

 

A Celebration of New Music

AS I ‘celebrate’- well, wonder how the hell I did it- the 350^th blog post, I decided to do something different…

and put together a playlist- that which celebrates the best of new music.  Having reviewed a lot of acts- from around the world; all different ages- it was great digging through SoundCloud- seeing which songs would fit in (hopefully my arranging/producing skills are passable).  It is not just celebrating new music; there is a charity component: users/listeners are encouraged to visit a JustGiving page- I have set up- and donate (to The British Red Cross).  In as much (as they do) terrific work- often in extreme and dangerous circumstances- they are desperately under-funded- and need support now.

[soundcloud url="https://api.soundcloud.com/playlists/126187293" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Across the 21-track collection, there is a great mix of sounds: from the new Pop sound of Jen Armstrong to the upbeat Blues of Jonnythefirth- with lots of diversity in-between- there is something for everyone!  Take a listen to the playlist and enjoy!  I have called it Foreplay is for Cowards because (and not that I believe that statement) it a) sounds like a cool album title (my first two- if I get a band- would be Marriage: A Beautiful Revenge and American Genius) and b) it begged a simple- yet effective- ‘album cover’- something I whipped up for the project.  Not sure if I will make it to 500 blog posts- which is why this event may not be as arbitrary as it seems- and I want to highlight some of my favourite/hardest-working musicians- there are many more (I want to include).  Maybe on the 400^th we will do it again; do something special- maybe get everyone together at a gig.

For now; enjoy the music and remember to donate- all the links and information is below.  Once you have done that, check out the acts included- these guys have tonnes of quality songs.  Thanks for reading and supporting the blog: here’s to the next 350 (you may be bored stiff of my by then)!

Peace X

Playlist link: https://soundcloud.com/samliddicott/sets/foreplay-is-for-cowards

JustGiving link: https://www.justgiving.com/Sam-Liddicott8/

E.P. Review: Los and the Deadlines- Perfect Holiday

E.P. REVIEW:

Los and the Deadlines

 

Perfect Holiday

9.5/10.0

Perfect Holiday is available at:

https://losandthedeadlines.bandcamp.com/

RELEASED: 13^th July, 2015

GENRES: Alternative, Rock, Grunge

COUNTRY OF ORIGIN:

U.K.

TRACK LISTING:

Feel at Ease- 9.6

It Could Be So Much Better- 9.5

The Youth’s Opinion- 9.6

Batshit Crazy- 9.5

Lust to Shop for Nothing- 9.5

DOWNLOAD:

Feel at Ease, The Youth’s Opinion, Lust to Shop for Nothing

STANDOUT TRACK:

The Youth’s Opinion

Lyrics by Alex Losardo

Music by Los and the Deadlines

Band:

Alex LoSardo - lead vocals, guitar

Niels Bakx - guitar and backing vocals

Rotem Haguel - bass and backing vocals

Alberto Voglino - drums and backing vocals

Recorded and Mixed by Tobin Jones at The Park Studios

Produced by Tobin Jones and Los and the Deadlines

Mastered by Phil Joannides

Artwork by Alberto Voglino

WHEN you get to a certain point with an act…

you have to cut to the chase.  There is no need for a lot of background; a big build-up: Los and the Deadlines (have been on these pages) a number of times; almost like old friends- most of you will be aware of them.  Before I get down to business- via some biography and background information-  I will raise one point: longevity and modern-day bands.  Some of my favourite ‘underground’ bands- Crystal Seagulls, The Bedroom Hour etc. - have called time- bands in the mainstream have split up: it seems great music does not guarantee a long-term future.  In the case of the aforementioned bands, the issue lies deeper: aspects around management and relations; personal fulfillment and finance.  It is such a shame this has to happen: great acts (who make great music) forced to quit, in spite of their glorious sounds.  With so many new acts coming through; so much competition (for festival/gig spots), people are being forced out- only a select few go the distance.  I am all for bands/acts coming through; great musicians coming to attention: the more musicians we produce, the less likely we are to see consistency.  There is this trend towards brevity and short burst: bands come and succeed; they are then overcome by pressure/external factors; a new band comes along (and repeats the process).  Seldom do we see- in the realm of new music- acts that last a long time- several years; produce many albums and E.P.s.  Maybe I am over-simplifying, yet my point is valid: life expectancy is fairly short-lived; not too many people acts have a long career- it is quite upsetting to see.   Before I finish my point- with regards Los and the Deadlines- let me introduce them to you (using their own words):

“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 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.”

Here is a group that will overcome the odds: forge a long career and make a great show of things.  With their latest E.P. out- which I will review later- the band are growing in confidence: their music is getting stronger and they show no signs of slowing.  The relationships in the band are solid and brotherly; the boys have a clear respect for one another- this comes through in their music.  With regards other factors- finance and competition- the Los’ lads seem to be overcoming it: they are one (of few bands) who seem unlikely to split: I can see them playing on for many years; becoming headline regulars.  It is hard to pin-point the one reason behind this; why they seem so solid- the music itself is a key factor.  In a scene of over-familiarity and sameness, Los and the Deadlines do things differently: the band mix ‘90s Grunge with modern Rock; their lyrics mix modern life with politics; their anthems are unique and original- few other acts can be tied to them.  It is not just their originality that defines them: the sheer confidence they project is hard to refute; it makes every note so vital and urgent.  The combination of forces- the great relations and terrific music- marks the band out for greatness- expect to hear a lot more from them.  Perfect Holiday is their latest offering: to my mind, the finest work they have produced to date.

Barreling out the gates (like a horny rodeo bull), Feel at Ease is a demented and feral thing- a snarling track that wants to eat you alive- well, in the initial moments at least.  The song’s intro. mixes distortion with tease; jumping bass with rolling-rock percussion- a typically dizzying/head-f*** opening from Los and the Deadlines.  Taking your brain one way; your body the other; that bass twang lodges inside your brain- before our front-man steps up to the mic.  Having reviewed this track previously- back in April of this year- I knew what to expect: over the last three months, the song has revealed new beauty.  Looking at the central figure- someone who has a ‘big plan’ to make money and get on his feet- that mixture of despondency and hope is infectious.  We all can relate to that loser-in-the-face-of-the-odds struggle: someone who is desperate for a bit of money; convinces himself safety is just around the corner- a lyrical subject not too many bands touch upon it.  Tired (our hero is) of trying to achieve the dream, he is walking the streets- looking for a way out of his struggles.  Looking for a “quick fix”, our man is trying everything he can: that need to feel at ease is paramount.  Entrancing as the lyrics/vocals are- and the distinct Spoken Word-style LoSardo delivers them- the band joins the fray- delivering an impassioned and quirky composition.  The guitars chug and jive; the percussion hisses and teases- the bass twangs and strikes.  As our hero speculates and worries- paranoia grows; his ‘contact’/way out seems to have a dead phone; it seems like he has been screwed-over- the vocal gets anxious and sweaty (our hero needs a Plan-B).  Just as another parable is delivered, the band changes direction: the music becomes focused and hard, Grunge-like (Nirvana’s early work comes to mind) and pressing- although never too heavy or forceful.  The band’s twirls and spirals; solos and arpeggios add emotion and drama to proceedings- the song seems like a film score or tangible thing (their instruments represent heartbeats and anxiety; the emotions of the hero).  Additive and sing-along, Feel at Ease boasts a memorable chorus: the entire track whizzes by (actually it is 3:29 long) but you are left wanting more- entranced by its magic and mystique.

   It Could Be So Much Better begins with a punchy beat: soon joined by a leather jacket-clad guitar (sounding a bit like glory days AC/DC), it is a fantastic opening.  Controlled and confident; teasing and underplayed- the band tempt you in from the opening seconds.  As the title suggests, our hero wants things to be better: the song looks at the malaise of modern life; the boredom of the situation- that need for something else.  Our front-man is caught in a daze (“On T.V., nothing ever changes. It’s getting boring/Open up my cupboard to look just for the right booze”); junk food and cigarettes are on his mind- almost as a way to medicate the realities of life.  The chorus is spoon-fed and teased; highlighting the importance of the words- and getting the listener invested in the song.  By the time the second verse appears, our man looks out at the world: the way humans can become better; the wat we can “start evolving.”  Typical of the band, the music speaks as loud as the lyrics: the composition fuses Grunge and Alternative; dark grumbles and static beats- to create something moody and angry; grumbling and concrete- underlining and emphasising the band’s messages.  Looking into modern life and the workplace, our front-man is bored: his boss is disgruntled; our man wants better from life- “Pretty sure I won’t be here tomorrow.”  Past the half-way mark, the band unleashes a twirling coda: guitar notes crackle and spark; the percussion spits and strikes; the bass guides and lunges- an epic soundscape begins to unfold.  Expanding and elongating- throwing in some new sounds and diversions- the band goes full frenzy: ramping things up and rushing for the heavens- before the chorus comes back to play.  With his voice more urgent and bold, our hero is wracked and determined- a man who knows things need to be improved.  A likely future-single- and a song that ha myriad music video options- would kill to direct the hell out of that puppy- it is a terrific sophomore number.  Once more touching on the everyday, the boys highlight a common issue: that need to break from the mundane; the frustration of the workplace- the desire to do something meaningful in life.  Completing a tremendous 1-2, Los and the Deadlines have rarely sounded more assured- It Could Be So Much Better is one of their finest (and most assured) number so far.

   The Youth’s Opinion is next off the blocks: it wastes no time in making its voice heard.  Feet-tapping and s***-kicking, it is an introduction that stumbles drunkenly.  The album works like a concept work: a central character that progresses (as the album does).  The opening number looked at desperation and scraping- relaying on half-arsed leads and dodgy deals.  The following track sees him in a mundane job; determined not to stick it out- looking to change the world.  By this stage, we see some development: this song is a musical job interview; that series (of inane questions and job requirements) - almost like our man is trying his luck again.  Whether speaking in the first-person- or documenting the events of a fictional character- it is another addictive and unique number.  The lyrics stand out here; the real-life/common quandaries are laid bare- again, we can all relate to what is being sung.  From the banalities/purposelessness of job interviews (“Please provide at least two references/We'll decide if they're strong enough relationships”) there is a mix of world-weariness and sarcasm- that juvenile spit that shows distain (for such noxious logarithms and mathematics).  The chorus is a mixture of desperation-cum-submission; our man looks at the requirements of the job market (“I'll do anything, anywhere, any given time/I'll never ask what is fair, I will never whine”); backed as it is by cooing vocals- giving it a great mix of Pop and Rock; adding some light amidst the anxiety.  Complete with terrific vocals (including backing vocals) our hero mixes speaking and singing (excellent delivery when speaking; emotion and passion when singing) adding weight and emotion to the song- and emphasising Los and the Deadlines’ hallmarks.  The song itself could have a few meanings: in addition to the workplace it could look at the music industry itself (that desire to tick boxes in order to survive) or a relationship dilemma (“Take me now, take me here, promise not to leave/I need a chance, give me a chance, PLEASE”).  Building up the mystery, adding in some great delivery- a mixture of David Byrne and Bloc Party- the song whizzes and dances; trading vocals (inside one another)- you are captivated by its layers and details as they unfold.  The song’s title seems most prescient: that need to fit into what youth want; to fit into the 18-30 market- whether their opinions are inane and stupid (as they tend to be) or not.  Punctuating the song- and coming in around the half-way point again- the band provide some breathing room: a well-structured and strong compositional moment arrives; a wonderful bridge that provides a real sense of progress and development.  The final verse is fast-paced and angry- lines are separated by little bursts of guitar and punctuation- as our man ups the (sarcasm) ante (“Congratulations, we are willing to offer this permanent position with 20 days holiday per fiscal year, this will involve unsocial hours and you'll need to provide a track-record of meeting targets, good writing skills, excellent face-to-face communication, savvy with social networking and really do value the youth's opinions..”).  When these words are delivered it has me wondering: are the band speaking about the music industry itself; showing their dissatisfaction with ‘market goals’- making music that will satisfy social media needs/a sector that want things a particular way?  Roaring and rollicking, The Youth’s Opinion is a brilliant midpoint track- and shows how strong the band are (turning in one of their most compelling and tight performances).

The penultimate number is Batshit Crazy: a song, presumingly not about fine love or tender romance.  Starting with- an intro. that, strangely, mixes Reggae and Funk into the mix- the band do not go crazy in the initial phase- making sure the song begins with passion and kick; rather than fury and vengeance.  Echoing and spacey (the early guitar utterance’s vibrate and wail) the boys change direction again- never staying with a basic/predictable sound; making sure their songs sound different and distinct.  Looking at a disreputable scene- delivering his sermon with that blend of judgment and revulsion- our hero has seen some things- strip clubs and poles; a 16-year-old selling herself; his stomach turns as things unfold.  You can picture the lyrics; see what is going on- sympathise with our hero’s plight.  In an insane world, these types of occurrences are quite common.  If we go down two avenues- the concept album developing for one; a new social issue the other- it is a fascinating song.  Maybe our lead/character has reached a breaking-point: dissatisfied with the world, he needs to blow off steam- the way he is doing it has caused disgust and regret; maybe a necessary wakeup call.  In terms of a message/theme, the band looks at the seedy and dark underbelly: the dank corners of society that need to be eradicated and purified.  Alarmed by the city (“Her smoke is done, she rolls another/A man from the corner shouts he loves her!”) our hero is in disarray- the vocal is particular emotionally-fueled and tense.  Without change or innocent, the chorus seems pretty apt- and a good a way as any (to describe what is happening).  Marrying frenetic strings (with something taut and punchy) the band are on Red Alert- the composition is one of the most frantic on the E.P.

Taking Perfect Holiday to land, Lust to Shop for Nothing is a sensational closer: a track that makes its impressions instantaneously.  Melting howling and snarling strings with combustible drumming, the introduction is alive and flailing: one of the strongest opening statements on the record.  Consistently nervy and stressed, the vocal is gripping and tense: if we follow the story along, our man has reached a breaking-point.  The song looks at consumerism and wastage: blowing money on things we don’t need; dislocated from reality, we/the subject blows money on pointless objects- leaving little left for rent and necessities.  The dissatisfaction is almost palpable in the early phases- “Baby I'm broke, got nothing left/Had a bad month, just paid the rent/Here's my credit card just spend a little less”- as our hero rallies against the insanity.  Essentially, we spend too much time behind the screen: shopping and frittering away the time; forgetting the importance of human touch and reality check- using money prudently and wisely.  Shades of Queens of the Stone Age come out in the song- the composition has elements of their Rated R-era work- with our front-man sounding a little (Josh) Homme-esque at times- whether the band are influenced by Q.O.T.S.A., I am not too sure.  Whereas previous numbers have expanded and evolved, Lust’ is more focused and linear- in order to get its message across effectively.  A cry to the masses, the band is completely in step: the composition is emphatic and filled with detail; the vocals combine and multiply- the energy and emotion involved is electrifying.  As you’d expect from the lads, the midpoint gives way to musical adventure: having delivering some truths, the band unveil a stunning statement.  Brash and pugnacious; syncopated and considered, the boys are in top form: at this point they unleash their tightest and most intriguing moment.  It is hard to ignore that sense of judgment and dissatisfaction: the ideal that online shopping and the Internet is replacing real life/human interaction- we are becoming slaves to the machine.  When the next verse starts to kick into life- “I had such a good time, what did you do?/Thank you so much, you’re too kind/I was at home looking for deals online/Let’s stay in tonight, see what we can find”- that combination of sarcasm and dissatisfaction comes into the spotlight.  Our man is caught in a relationship that offers boredom and the indoors; no romance or reality- just needless surfing and shopping.  Whilst the protagonist wastes time (shopping for nothing), our man has reached his limit- maybe he feels guilty he is not too dissimilar.  The closing notes give the E.P. a fitting send-off: the guitars ramp up and attack; the drum rolls and pummels; the bass leers and contorts- perfectly wrapping-up a terrific track.

The entire band should be applauded and commended: they have really put in a lot of effort; come up with their strongest record to date.  Whereas Part One: Bank looked at financial issues and caffeine; consumer life and woes, here they tackle new themes: finance and consumerism are still in place; the job market and online issues are brought to the fore.  Whereas Part One’ looked at inane Facebook posts/’selfies; Perfect Holiday focuses on online shopping- the band are always brilliant at tapping into modern concerns/habits.  Throughout the five tracks, the boys look into woes of society- the stresses of pointless jobs; the way we throw away dreams and life- and funnel it into terrific anthems.  Forgoing love and break-up stresses, the band are original and more vital- why waste time saying the (same as anyone else) where there are important themes to be explored?  The performances are uniformly exceptional- the entire group is in perfect sync.  Alex LoSardo marks himself out as one of Rock’s most distinct singers: someone who pairs Spoken Word commentary with emotive vocals.  Most bands- who play similar music- sing everything in full voice: it is one-dimensional and predictable.  As Los and the Deadline’s lead, LoSardo does things differently- not content to let the lyrics do all the talking.  His lyrics filled with stunning commentary and witty moments; brilliant cut and oblique avenues- one of the most accomplished set of lyrics the band have crafted.  Most songwriters stick to tried waters- love and heartache; nothing too unique- yet LoSardo has a very special type of talent: he is someone who wants to make changes in the world; a person that wants to speak for his generation- and not just speak for himself.  Niels Bakx shreds it with passion- combing effortless with the front-man- and showcases his full range of emotions.  A spectacular guitarist- and one who has played with many other acts- mixes the theatrics of Matt Bellamy, the Rock grit of Page and Hendrix; the Grunge and Kurt Cobain and Kim Thayil- a multifarious and diverse guitar talent.  Adding so much passion and importance to proceedings, Bakx almost steals the show: his guitar work is exemplary and inspirational from start to finish.  Rotem Haguel- the band’s new recruit- provides bass and backing vocal.  The former is consistently guiding and authoritative: keeping each track controlled and focused; guiding the band through every moment- making sure it all ties together.  When combining his voice (with LoSardo) you get a great blend of tones: something that adds great weight to the songs (he sings on).  A fantastic addition, Haguel demonstrates himself to be a phenomenal player: one of the most expressive and instinctive bass talents in modern Rock.  Completing the line-up is Alberto Voglino: the band’s backbone and percussion king.  At once primal and animal-like; the next teasing and restrained, Voglino combines drumming gods- Grohl and Peart; Ulrich and Castillo (Queens of the Stone Age)- into his special blend- one of the biggest names to watch.  Together, the band is tight and mesmeric; nobody misses a beat- the entire effect is fantastic.  Backed by terrific production values, Perfect Holiday is a tremendous achievement: an E.P. that brims with TUNES and insight; modern relevance and riffs; fist-pump and demure- what more could you possibly want?

Perfect Holiday is Los and the Deadline’s most impassioned work: the band have come on leaps and bounds; created their mist solid work- the most vital statement of their music.  From the earliest notes, the listener has little time to rest: every hook, riff and vocal gets under the skin; the lyrics are quotable and stunning; the band performances consistently tight and inspired- the overall effect quite spellbinding.  Usually when a band unveils an E.P.- especially when there are four or five songs on it- there is a weak link: that one track that is not quite as special as the rest- the supermodel who breaks winds when nobody is looking.  When Los’ produced Part One: Bank (in January of 2014) that E.P. was great: I did feel that the opening two numbers could have been a little stronger; perfect a tad more urgent- to make sure you are gripped from the go.  Perfect Holiday suffers no such slight: Feel at Ease is a gripping and nuanced opener that reveals something new (with each listen).  The London-based clan has undergone a slight band change (a new-ish member in the fold); their lyrical focus has shifted a bit- whilst still retaining their cores of social commentary, relations and personal investigation- whilst their musicianship is stronger than ever- their current E.P. shows no weakness or surrender.  Even as you look at the E.P.’s cover- a dilapidated (and possibly bomb-destroyed) building- there is sarcasm, irony and juxtaposition: the boys have a keen sense of humour; political edges to their music- that destructiveness and anger; beauty and restraint.  Although their ‘Shows’ page- on their official band website- is blank, keep your eyes peeled: the boys will surely be taking to the road; playing around London for sure- promoting the E.P. with a vengeance.  If you can catch them live- and it is something I am yet to do- then I would recommend it: the band’s live reputation is legendary; the boys put on a hell of a show.  With Perfect Holiday fresh in the minds, it will be interesting to see what happens next- whether the band are going to rest or pound the tarmac instantly.  The lads deserve a rest: their E.P. is the summation of endless hard work and effort; fettling and perfecting- making sure it is the very best it can be.  Brimming with quality songs and memorable moments, the future looks very positive- and will be great to see what comes next.  Of course there will be (a lot more) music afoot: I am curious whether the boys will decide to record an L.P. - record a 10 or 11-track album and expand upon their sound.  It is great to see Los and the Deadlines again; I am always cheered when they release new material- their current effort is the perfect soundtrack to the summer.  Complete with epic riffs and stunning moments; cutting lyrics and anthemic performances, here’s a band that will go the distance- their music can be appreciated by all.  If you are looking for a new band- one that will keep coming back/last the distance- and a unique sound, then get on board with Los’- ignore them at your peril.  In (a music industry) where there are predictable evils- the rise and success of mediocre and horrendous Pop acts- and unpredictable moments- great bands splitting- Los and the Deadlines are calm waters- dip your toes in.  Sit back, relax and breathe: and let their music…

BLOW you away.

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________________________________________________________________________________

Follow Los and 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

 _________________________________________________________________________

 Video:

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

 

__________________________________________________________________________

Gigs:

http://www.losandthedeadlines.com/?page_id=577

 

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Track Review: Victory Kicks- Died a Patriot

TRACK REVIEW:

Victory Kicks

  

Died a Patriot

9.4/10.0

The album High Wires is available at:

https://victorykicks.bandcamp.com/album/high-wires-lp

TRACK LISTING:

Writers’ Strike- 9.2

No Great Shakes- 9.3

Concept Car- 9.3

Died a Patriot- 9.4

High Wires- 9.4

Ended with Theft- 9.3

Spring Bulletin- 9.2

The North Fall- 9.4

Lancaster Gate- 9.3

Wherever She Writes- 9.3

DOWNLOAD:

Died a Patriot, High Wires, The North Fall

STANDOUT TRACK:

Died a Patriot

RELEASED: 20^th July, 2015

GENRES: Alternative, Rock

COUNTRY OF ORIGIN:

U.K.

All songs written by John Sibley. Recorded and Produced by John Sibley. London 2015

Unmanned Aerial Vinyl 2015. UAV-VKLP002

IT is always good revisiting an act…

that I have previously assessed- to see how they are progressing.  Music- or in this age at least- is defined by short-term lust: acts tend to come and go; there is a lot of transitory appeal; artists dissipate before you know it- before a new one comes along.  If you can remain and pervade- stick in the imagination and keep producing work- you are onto something.  It may be an over-simplification, but most new artists tend to not last too long- only a selected few last the distance.  I guess it is the nature of the beast: with the competition out there- and the amount of money needed to record music- it is inevitable in a sense.  That seems to be the impression I get (when looking at the new acts of the mainstream) yet new-new music- acts of the underground; away from the mainstream- do things a little differently- there is less pressure to succeed here.  Those starting out are building up their name; just beginning their careers: as a result, they are determined to produce music and keep stamping out songs- without the same huge pressures you get in the mainstream.  I have said it in previous pots- with regards pressures musicians face- some do fail; some acts and bands suffer dislocation and collapse- it is a sad reality of music.  However, there are a lot of great artists coming out: acts that are producing a lot of music; look ahead to the future- determined to stick around.  This brings me to Victory Kicks- the brainchild of John Silbley- whom I have reviewed before (their debut E.P. Emergency Noise was released in June of last year).  Since Emergency Noise, the band has released The Young Flood: their follow-up E.P. that was received with plaudits and praise.  Before I continue, let me give you some insight (into the four-piece) in their own words:

"Victory Kicks started life in early 2013 as a home recording project for songwriter and guitarist John Sibley. After writing a large number of songs and realizing that waiting around for a record deal would mean that most would inevitably be forgotten, John decided to start piecing a recording studio together at home. Old songs were finished off and new songs were written and often recorded the same day with John handling vocals, guitar, bass and drums as well as production duties and working out how to do the latter as he went. Early EP's and singles containing short, lo-fi pop songs were recorded and shared amongst friends and family. Victory Kicks then went from solo project to band with the addition of friends from other London based acts and established its own record label with the release of its first official EP, Rockets for Ghosts in July 2013. Comprising seven home recorded tracks of short, catchy indie rock, Rockets for Ghosts was a success for the band garnering favourable reviews and receiving airplay for the first time on stations in both the UK and the US. Ghosts was followed by the release of three singles, including the song Radio Saves which saw the band make its debut appearance on BBC radio playlists.

Taking the decision to record music at home would allow the band the flexibility to record new songs as and when they were written and since the release of its debut EP in 2013 Victory Kicks has built something of a reputation for prolificacy - 2014 has already seen a full length album called The Decibel Age as well as a seven track EP called Emergency Noise. A third record called The Young Flood will be released on November 17th. Today, Victory Kicks is a four piece band consisting of old friends making home recorded music whenever possible."

Victory Kicks intrigue me for two reasons: they have a lo-fi, ‘90s-influenced sound; they have a low key presence among social media channels.  There are few bands that tend to portray a ‘lo-fi’ sound: music that is neither heavy and urgent or more gentle and sedate.  Victory Kicks have plenty of presence and force: they tend to concern themselves with mixing beauty and nuance; passion and thought-provoking sounds- without coming across too strongly.  The boys still retain their key ideals: recording music that sounds home-made made and honest; sparse and raw- free from the peripheries and baubles of modern studios.  Every track sounds intimate and homely: the quartet is one of the few bands that have an honest and vintage recording sound- giving inspiration and guidance to bedroom kings and queens.  Whereas at the beginning- Sibley was recording all the parts/components in his bedroom- he has the support of the band; yet Victory Kicks has lost none of its hallmarks and trademarks- that distinct sound is very much in place.  That mixture of ‘90s-cum-modern-day influence does wonders: sprinkling mid-‘90s Grandaddy with early-career Guided by Voices is an intriguing blend.  I hope the resulting months see the band expanding their social media pages: maybe stamping an official website; getting involved more on YouTube: exploiting and utilising what is on offer; given the fans a glimpse into their lives.  The band has produced plenty of music, yet remains borderline-anonymous: their Facebook page shows few photos (of Silbley and gang); no tour dates or gig information- just the music itself.  It is always important to focus on the music, yet I would like to know more about V.K.: where they will be playing next; a little bit more of the ‘personal’.

When you look at influences/other acts- that you can compare and tie to Victory Kicks- there are a few possibilities.  The shimmering and wistful sound of Grandaddy- and particularly albums like Sumday- has influenced Sibley: High Wires has that Grandaddy-esque pairing of rural calm and sympathy for lost souls (plus touching on modern themes like technology and its effect on society).  Grandaddy’s finest moment was The Sophtware Slump focused on technology and machinery: the detrimental effect on society; requiems that were sympathetic and cautionary- songs that saw humans being alienated and replaced (by technology).  Sibley has a similar voice and style: touching on modern concerns and social issues with a mixture of intelligence and passion; rich melodies and aching vocals.  When Wilco released Summerteeth (in 1999) it was lauded for its beauty and sparsity- that bellied the studio craftsmanship that helped spawn it.  Both lush and sweeping, intimate and lo-fi, the album was a commercial hit.  The pastoral themes and focused song-craft resonated throughout; the album is a symphony of beauty and alienation.  British Sea Power- a Brighton-based act formed in 2000- hit their stride around Open Season and Do You Like Rock Music?  The music is rough-hewn and honest; organic and vintage- music designed for the people (rather than a particular individual).  Victory Kicks have managed to borrow influences from the above acts, yet they are their band.

Died a Patriot begins with a charming and gripping rush: the introduction mixes chugging guitars and driving force; punchy percussion- marrying the ‘90s grace of Grandaddy and R.E.M. with Victory Kicks’ patented blends (that has been evident in their past work).  Not too forceful and overwrought, instead the listener is teased in; seduced and hooked- fascinated as to what (is to) come.  Initial lyrics look at new beliefs and clarity; one-track minds and mortality- our hero’s voice is packed with emotion and urgency.  There is some obliqueness and mystery to begin: it is not instantly clear what Sibley (is referring to).  You sense some political and personal strife; a mind that is clouded and confused- in need of, in his own words, “a new belief.”  The vocals have a breathy and light quality; Sibley aches and yearns- but never seems overwrought.  Mortality and death are looked at- never in a mordent or depressing way- with the hero wanting to “die a patriot”- “sometime/somewhere.”   One of the track’s great strength is its simplicity and format: it is largely an instrumental track to start.  From the introduction- to the closing moments- that propelling and gripping (instrumental coda) seems to ruminate hard- and win most focus.  Both breezy and light; jagged and sharp- it is a score that is addictive and memorable.  Sibley keeps his lyrics focused and sparse- the entire track contains fewer lines and lyrics than a lot of their previous tracks.  Themes of dislocation and questioning come around; mortality and meaning feature large- our hero looks for meaning and resolution.  Towards the half-way mark, there is this sense of loss: our hero needs a new belief; something meaningful and new- seemingly disaffected and adrift.  Caught between “high and low” you start to show sympathy (for our front-man); hope that he finds resolve and safety- his mind is confused and shadowed.  Either a personal plea- or a reflection of modern society- there is that search for meaning.  Sibley spends his days seeking stable ground: as life is, things need to improve.  Mixing in shades of Wilco and British Sea Power, Died a Patriot pairs reflective and pastoral sounds with sweeping emotions- grabbing the listener and demanding them to take notice.  The band takes great trouble when it comes to the composition and componence: the entire song sounds well-rehearsed and considered; expertly crafted.  Being Victory Kicks, that perfectionism comes with loose and live: the band make everything sound natural and live-sounding.  Part of your mind focused on the lyrics themselves: wondering about their true meaning; pining for the front-man’s plight.  The other part (of your mind) looks at the composition: that endlessly fascinating mix of bonhomie and stir; emotion and uplift.  Keeping his card close to his chest, Sibley’s words take on several meanings: on a personal level there is dislocation and loss; on a wider scale there is political and social unrest- something we can all relate to.  Died a Patriot is a typically assured slice of Victory Kicks authority: a song that perfectly sums High Wires up.  The stand-out from their album, it is a perfect introduction to the band- and what potential they have.

High Wires is as striking and memorable as its album art: an album that does not shout and scream; it does not just fade and fizzle- instead it slow-burns and compels; demands some repeated investigation (and hooks you with its minimalism and lo-fi charm).  Most of the ten tracks are short and tight; no song runs on and outstays its welcome: the entire album is defined by its economy and brevity- by the end you are left wanting more (the guys tease that out of you).  A lot of modern acts trend to put out too much; produce lengthy tracks (and long albums) - by the end you are somewhat bored and annoyed.  Victory Kicks are an intuitive and intelligent act: they know how to put out their message without needless showiness and loquaciousness- High Wires is a focuses and memorable album.  Sibley has developed and improved as a songwriter: the hooks and melodies are stronger (and more memorable); his lyrics are more compelling and gripping- the songs more diverse and multifarious.  The band’s core sound is in place, yet Sibley has managed to both sound more original- fewer nods to his heroes and influences- and bold: his vocals seem more confident and passionate; the production values are stronger and sharper- whilst coming across as live-sounding and bare.  I was a big fan of Emergency Noise- and saw The Young Flood as a noble effort- yet find High Wires (to be the band’s) finest work.  Emergency Noise seemed a little long- it was a seven-track E.P. - and has the odd filler; The Young Flood improved on this- as of now, the group has truly hit their stride.  It is not just the songs that have struck me, but the sound itself: how many other acts have that home-recorded sound and majesty, whilst producing songs that are festival-ready and anthemic?  Excelsior to Sibley, who has managed to craft quite a special album: one that hits you upon a cursory spin; reveals magic and layers upon further investigation- and keeps on providing little insights.  I love a lot of the current crops- Everything Everything’s latest L.P. is filled with technoclour passion and rushing sonics; lyrics that are more downbeat and introspective- yet it is great to promote the underground: great artists that are working hard and pressing on.  It is only a matter of time before Victory Kicks are infiltrating the festival scene: playing alongside some of the best acts of the moment.  The fact that they not only keep getting better yet show no signs of slowing is encouraging- I predict the band will be making music for many years to come.  Sibley and co. has a natural and unique voice that is hard to fault: music designed for the masses without pretention or fakery.  High Wires’ strongest moments- Died a Patriot and the title track- occurs in the middle of the L.P.; Writers’ Strike is a perfect opener- Whenever She Writes a graceful and memorable swansong.  With no filler or weak moment, what you have is a consistent and studied effort- each track has a very Victory Kicks feel; nothing is forced or disingenuous.  Originality and consistency are what makes the band: although each song sounds fairly similar (in the sense there is no great sonic or lyrical leap) that works in their favour- you never feel the band is betraying itself or trying to please too hard.  Sibley is a natural songwriter with a keen ear (and sharp pen) which comes across throughout the album.  What comes next is anyone’s guess: maybe there will be some tour dates or bookings; perhaps an E.P. or follow-up album?  Being a lo-fi, low key band, we will find out in time; for now, just enjoy their latest offering: an album that is rife with standout moments and stunning songs.  In a music industry that is not overflowing with tremendous acts (and albums), the likes of Victory Kicks..

DESERVE a huge amount of support.

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________________________________________________________________________________

Follow Victory Kicks:

 

Official:

http://victorykicks.bandcamp.com/

Facebook:

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

Twitter:

https://twitter.com/victory_kicks

__________________________________________________________________________

Music:

https://soundcloud.com/victorykicks

Interview: Elena Ramona

Interview:

 

Elena Ramona

I have been looking forward to catching up with Elena Ramona: an artist making moves; putting new sounds together.  This week, I will be focusing on music talent; writing my own stuff too: many of my music contacts/friends are doing great things- which is always a pleasure to see.  After releasing Happy Song (online), Elena Ramona is not stopping there.  I was keen to see what she has in store; what she thinks of the (modern music) industry- and when we can expect some new music.

Hi Elena. You have had an interesting 2015: what have been your best moments?

There have been so many great moments this year, but the moment I will treasure forever happened earlier this summer.  I had an acoustic set in a local pub and unfortunately on the day my guitarist couldn’t make the event; I had to get some backing tracks together and make sure the show went on a planned.  All my friends turned up and cheered me on I felt so grateful, it showed me that not everything works out, but with great support and some hope it all can still work.  I love this journey I am on and times like that just make it all the more worth it.

Over the past few years you have played some great gigs; developed as an artist. Has it been tough making waves/progress in the music industry?

In a musical town and world it will always be tough; I have learnt through my experiences to stay focused on my own work.

In addition to music, you work in retail. Do you feel modern musicians need to work part time just to be able (to afford to make) music?

It is good to have a stable income.  Having a part-time job in retail has helped me hugely better my social skills and I enjoy it (as I meet all walks of life during the day on the shop floor).

You have recently released Happy Song. Does this mean a new E.P. is on the horizon?

I believe a new E.P. is on the horizon yes- after my fourth single and fourth music video- which is yet to be released.

In terms of opportunities- venues and labels- are cities such as London vital? Can you ever see yourself moving there?

For now I am very happy in Guildford: it is very central and only a train ride from the capital.  Having an Internet presence means I can reach anyone anywhere with the click of a button- I don’t know what the future holds if I got a dream job in songwriting I would move closer to its location.

Growing up, who were your main music idols/influences?

My main musical influences growing up where the Beatles and Elkie Brooks.  My main idols where Pink Floyd and The Spice Girls.

Your songwriting is pretty varied and diverse. What sort of themes and topics inspire you the most?

I am inspired by life experiences, and I aim to write songs that people can relate to.

As a young woman, do you find the music industry favours male acts? Have you faced any barriers/discrimination because of your gender?

Absolutely not: there is enough room for both men and women to do what they love in the music industry.

There are a lot of musicians coming through- many quite scared of what’s to come. What advice would you offer to them?

Keep doing what you do write about what is in your heart and do not take constructive criticism badly.  Grow as a musician and person, (lastly) enjoy the journey.

Of all the new music coming through, who/what would you recommend?

Lucas is a London-based artist, he has a great stage presence and an amazing soulful voice check out his latest track Far Away.  https://soundcloud.com/soulshaker/soulshaker-ft-lucas-far-away-radio-edit-mp3cutnet

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Finally- and because I like to offer interviewees a song- choose a track of your choice…

Big Girls Cry -Sia

[youtube https://www.youtube.com/watch?v=4NhKWZpkw1Q&w=560&h=315]

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Follow Elena Ramona:

Facebook:

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

Twitter:

https://twitter.com/elenaramona90

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Interview/Review: Van Wild

Feature:

 

Van Wild

AS I look around for music inspiration- having a slight spell of writer’s block- I have been struck my Van Wild (A.K.A. Yasmine Van Wilt).  The Tennessee-based star is a brilliant actress; an accomplished and stunning writer- in addition to being a wonderful new musician.  With jaw-dropping looks; an incredibly sweet and compassionate disputation- coupled with an incredibly inspiring songwriting talent- I was keen to find out more: see what makes her tick; how her music develops- and what her highlights (from 2015) have been.  With a short review of Hush- at the bottom of the interview- it has been terrific discovering a great artist: someone I hope comes to play the U.K.; brings her magic to our shores.

Hi Yasmine.  Your music is a hybrid of Southern Blues and Modern-Day Pop (contemporary yet instilled with some vintage sounds).  Which artists/acts inspired you (growing up)?

I'm very inspired by artists who emerged during the Civil Rights Movement and by those who came after who heightened, elevated our collective social consciousness; Richie Havens, Loretta Lynn and Pete Seeger are a few of my favourite artists.  Pete Seeger's unflagging commitment to social justice inspires me tremendously; the stories of real people who are working to illuminate our humanity inspire me. This all has to be rooted in the real, I think. Does "art" matter if it doesn't interrogate & engage the "better angels of our nature"?

Your social media numbers are swelling; your music is capturing the imagination.  What have been your highlights from this year?

Thanks for your kind words Sam! I'm honoured to chat with you. I've been very fortunate to work with some hugely talented people. Recording at 1092 with Matt Gordon, Daru Jones & Dominic Davis of Third Man Records & Jack White & Kurt Ozan of Jana Kramer has certainly been a highlight. Cherry Tree is in the running for Unsigned Only ISC in the Top 40 category, so that's exciting. I'm also working on a song with The Bellamy Brothers--for whom I have huge admiration.  I work with people whom I admire & who are, truly, geniuses. Many of them are also long-time friends: Van Wild featured artist actor/singer/dancer David Singletary, director/actor/writer Raquel Almazan & designer Jeffrey Michael.

Your track Cherry Tree has done fantastically- some prestigious radio play and chart position- and struck the imagination.  What do you attribute that to?

Thanks so much Sam. I'm just delighted that people, so far, seem to like the song.

In the U.S., the new music scene seems to be glowing- and more diverse than in the U.K.  Are there any particular acts (and new musicians) coming through, you would recommend?

Daru Jones is in a group called The Rough Pack that is extraordinary. Dominic & his wife Rachel have a folk-roots band that's very good. I'm presently collaborating with The Falling Birds, Jesse & Noah, Ahren B, Country Boy, Erisa Rei.

What does the rest of the year hold for you: in terms of new music and touring?

It should be a busy year; I'm releasing new singles to radio, recording the next album & hopefully touring. We shall see!

In addition to music, you are an actress and author.  You have a PhD in creative writing; you have written for the stage and film.  Where do you get the energy from (to do so)?

Haha! I think being creative, exercising discipline begets energy. It's also important to be organised. I struggle with this, but the more "in order" I keep all of my deadlines & objectives, the more I produce.  I don't know if you find this in your work, but the more interrelated the projects, the easier I find that it is to drive them forward. I'm primarily driven by fear, and am obsessively self-critical. I fear wasting the belief of my friends & family; I have no idea whether or not this is achievable, but I believe that artists will be pivotal in the next social movement. I would like to play a small part in doing this in whatever way I can. I'm always asking myself: "Am I doing enough? Am I doing the right thing? Am I raising my voice in the right way?"

On that note, you are showing what you can achieve- as a musician and writer- and are inspiring many people.  What advice would you offer to anyone wanting to follow in your footsteps?

This is very kind of you sweet pea! I'm not sure that I'm inspiring anyone; I would suggest that every artist adopt a business model that allows for realistic growth & success. I follow what could be considered the tech start-up model. Building a brand, understanding that brand and being conscientious about content-delivery is very important for emerging artists. We need to be entrepreneurs in order to succeed--this requires actually learning a bit about business and the industry itself. Artists really need to understand how this works...

You also write music (under your alter egos) looking at social and environmental issues.  What has been your reaction to recent events in the U.S. - especially the shootings in Charleston?

I'm utterly devastated by the shootings in Charleston. My thoughts and best wishes are with the community & with the family members of slain. That the victims were slain in their place of refuge is so upsetting. Americans should be uncomfortable right now; I'm extremely concerned about the mediatised rhetoric that has emerged from this: this was a heinous hate crime. This was an act of terror. I don't want to launch into a tirade, but suffice it to say "we have a problem". Not only do we need to work harder to eradicate racism, we need to work harder to control gun violence. There are disgusting sociopaths in every country; however, not every country makes it so easy for these people to get guns. I hope, to the very core of me, that my generation can tackle these issues. We need to turn this around NOW. "We Are Young" is my attempt to challenge the rhetoric of hate. We need a New Civil Rights Movement; my generation nerds to raise its damned voice and push for greater social consciousness! We need to use our dollars, our voting power & our artistic work to eradicate racism. We all need to be part of the solution!

I love your voice and music- especially the track Hush- and it always takes you somewhere special.  What themes and subjects influence your songwriting?

Thank you Sam! I think I'm motivated as much by the desire to share uplifting moments as I am to challenge social issues. My music is always part of a soundtrack for my writing--so the songs relate specifically to these narratives. "Hush" is from Unplugged, my one woman folk musical. It's a song that reminds the character of her childhood on the Gulf of Mexico, before the spill.

You have recently visited the U.K.  What was that like?  Any plans on returning soon?

I spent much of the last 9 years, all of my adult years, in the UK before relocating to the U.S. I made some to the most marvellous friends imaginable whilst there; London is a city with a deep reverence for "culture". I was very influenced by the freedom I experienced by my experiences studying and living in your marvellous county!

If you were banished to a desert island, which five albums would you take with you?

Oh man! Tough one. Can I cheat and pick compilations?!!! Neil Young (best of), Richie Havens (best of), Deja Vu CSNY, Blunderbuss & Blue.

Finally- and something I do with all my interviewees- is play a song for them (I will publish here).  If you name a song, I shall play it…

Oh fun! Any song? Or one of mine? If it's any song let's listen to "Shimmer in Pale" by The Falling Birds. They're my buddies & I think you'll like them!

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Hush (from Cherry Tree) is one of Van Wild’s finest tracks- and a brilliant showcase of her talents.  Building from evocative threads- the introduction weaves in soothing percussion; delicate and tender piano- Hush gently beckons (the listener in).  “They went fishing for stars/In the great ocean above” are some of the song’s most memorable images- and arrives right from the start.  Yasmine’s voice is instilled with such beauty and passion: every word and thought is spine-tingling and touching; pressing and urgent- making sure the messages hit their mark.  As the chorus expands, the composition swells and swoons.  The song has an intimate and child-like quality to it: images of lullabies and monsters; keeping away horror and heartache- there is a sense of maternal courage and strength.  Our heroine’s voice is calming and soothing; tremulous and gorgeous- you are caught into the song; seduced by its beauty and delicacy.  The entire track comes together incredibly well: the composition is focused and nuanced; powerful when it needs to be; minimal and sparse (when required).  Having listened to the track (several times) I was mesmerized by the innocence and honesty: few tracks explore such subjects; portray themselves in the same way- and make you feel the same way.  Yasmine’s stunning voice- and beautiful lyrics- make Hush such a potent number- one that will stick in the imagination (for a long time to come).

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Follow Van Wild:

Official:

http://www.musicbyvanwild.com/

Twitter:

https://twitter.com/YasmineVanWilt

Facebook:

https://www.facebook.com/pages/Yasmine-Van-Wilt/191494827570661

YouTube:

https://www.youtube.com/channel/UCV-AFvwN55blz_u1w26d_-A

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The Equality State: Getting It (Almost) There...

The Equality State

Pilot episode

(29 minutes):

Wy-om-ing, London

(Why I’m In London)

Main Characters:

Dan Bush (Tall, long-ish hair; model looks- smarter attire; fashionable casual look): A handsome and respectable doctor (based in Hackney), he lives in Shoreditch-with his girlfriend, Holly. A 29-year-old, he has plans for bigger things- including marriage. After becoming engaged to Holly (in the first episode) he begins to panic; wondering where his life is going- until he meets Stefan (an old acquaintance he knew from a while ago) - but can’t picture why/how. Dan’s day is spent tending to awkward/odd patients; receiving affections from a female colleague- and preparing for his forthcoming wedding.

Stefan Buckley (short, bearded; brunette- casual clothing): A 36-year-old layabout (obsessed with Thom Yorke), he sits about his flat- he shares with his girlfriend, Kate. Having just fallen pregnant, Stefan needs to step up; improve his ways- become a man (or get distracted by a cocky pigeon). When he starts to feel ill, he visits Dan- and receives some crushing news. Determined to improve his life, he puts together a Bucket list- which he and Dan begin. Stefan lives in Soho with Kate- the two find it hard making rent; under scrutiny from their landlord.

Holly Mercury (red hair, athletic; tattoos- cross between Cheryl Cole and Angelina Jolie; chic dress style): Holly is a young P.C. (24): she is always in trouble; prone to breaking rules- and being inappropriate. Having been on a final warning, after a Halloween party, Holly breaks the rules- letting a criminal drive her home in a police car. Her superiors kick her out: infuriated by her constant controversy. With a wedding coming up, she needs to make plans; get money- aware she does not have a good reputation. After a meeting with Kate- who she used to know at school, the two get together; by accident create a money-making gem. Holly’s future is thrown into turmoil.

Kate Fagen (black, slim; green eyes; short- ‘90s-style casual wear; jeans and T-shirt look- very striking too): A young mum-to-be, Kate (25) is living on the edge: desperate to make ends meet, she spends her days as a Jehovah’s Witness: trying to convert the people of south and east London. After having doors shut in her face; odd encounters- and a musical number, Conversion- the future looks bleak- until she meets Kate. Having to provide for her unborn- who she decided to keep; after a hard decision- and things look on the up.

Synopsis:

The pilot focuses on two different couples in their 20s, who come together; during Hallowe’en of 2016.  Their coming together will have a huge effect on each other; that will change their lives and cause huge waves.

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

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

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

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

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

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

The two boys meet up at a local bar- Homme’s; they discuss their situations and both feel trapped.  They are making plans for the future when Stefan gets a phone call with terrible news- he may only have 8 months to live.

The two girls meet at an Australian bar in Soho.  With Holly fired and Kate dislocated and lost, they both feel a change is needed.  After both drink a well-known cocktail; Holly still has drugs- taken from a local gang.  After dropping them in the cocktail; she accidentally takes a sip.  The effects start to take a hold; leaving her sedate and ecstatic- a bizarre and brilliant animated sequence takes place (mixing Fantasia, stop motion, The Beatles and live action).  As the girls make their way home on the tube, they see the depression of London life; the inequality as well as the beauty and fascination.  As Holly finishes her day, arriving at the door of a chavy couple, Kate calls.  Suddenly a master plan is struck, and the girls strike upon a way out of their problems.

Stefan and Dan have a heart-to-heart and asses the news.  Stefan decides that he has been a disappointment to Kate, and decides to make a list; a sort of Bucket List, where he will do as much as possible- as well as achieve as many goals as possible.

The girls realise that Holly has stumbled upon an addictive and potent invention.  The two set up premises in the empty basement of the kebab shop (opposite Holly and Dan’s flat), and come up with a name: Butterfly Kiss.  The bottle design is stunning: it depicts a multi-coloured butterfly spreading its wings; there is a lipstick kiss in the middle (created by the girls kissing the bottle)- the drink itself is a green liquid.  They recruit a group of followers who are all socially different.  It refers to the effect the cocktail has where everyone- rich or poor- is levelled and equaled: everyone feels the same.  It also refers to Wyoming, a U.S. state which is mountainous and sparsely-populated- the first state of America to give women the vote.  It seems like a metaphor for their business, and how they customers will blend into London life.

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

The boys look through London- to recruit musicians.  In a series of short vignettes, the two meet the perfect line-up:

They find Dave Grohl making hoax calls- he gets tired of being thought of (of) Rock’s ‘nice guy’- and has a seedy and dark private life- he also hosts an underground horse fighting ring.  In exchange (for not calling the police) Dave is in- and agrees to drum for the night.

The boys find Muse at a local bar- with Stefan arguing with Matt Bellamy (the two have a heated debate about bubble-wrap.  Matt assures the boys that Muse aren’t as wacky as the media make them out to be- until he pulls out a dead crow in a jar and sniffs it.  The band agrees to halt work on the new album- about the plight of the British library system- to gig for the cause.

After that, the lads stumble upon Ellie Goulding.  She is singing to injured children- that she has injured/run over.  After Dan gets into a debate- he thinks she is Rita Ora (Ellie resents this until she explains they do share a her-and-her toilet).  Ellie does the gig as part of community service.

After this, the boys go to Florence Welch’s house.  Finding her in the middle of a drinking binge- she is addicted to Scottish Olive Oil- if you drink it in the night it makes you blind- she has to kick the habit.  Her flat is strewn with empty bottles; she has a clear problem.  Florence has also acquired quite a few cats and is spiraling out of control.  The boys want to help and ask her to perform.

Before their big score, the boys find Thom Yorke- this sparks a huge physical fight between Thom and Stefan.  When it calms down Thom explains he is in the middle of a marketing scam: marketing Creep-related productions.  Thom is involved in an underground merchandise/fraud ring with local gangsters (The South Kensington gangsters aren’t as violent as they are cruel- Thom explains his famous-looking eye was caused by him being slapped by a wedge of imported Caribou cheese.  Fearing the gang will ‘glaze his nipples’- (or as Thom explains “just the tip of a disturbing, yet strangely arousing, regime of brutality”), he is still mad at Stefan- until Stefan saves him (after a box of peacock feathers falls towards him- and instead takes out the cast of Made in Chelsea).  Thom feels indebted and agrees to take part.

Just before the boys call it quits, they pass a protest- outside a shop called Plant & Page.  It is emblazed in neon letters; the building is painted (in the style of Led Zeppelin’s Houses of the Holy album cover).  The protestors are in force- except for the odd few who seem to be at the wrong rally- and we pan inside the shop.  Robert Plant and Jimmy Page have set up a gardening shop- the two wear gardener’s clothes.  The two realise they have messed up- and blame each other- so Plant wails on Page- slamming his head against the stairway (to Hell).  Page responds by sticking a hose up Plant’s posterior- his trousers fall down (revealing a staggering mid-section) - until they are interrupted.  With the two still bickering- and revealing a few disturbing and unheard of rumours- they feel they need to get back into music- for one night only.  They only wish John Paul Jones could be with them- until Dan reveals he is still alive (Plant and Page hide a series of photos and plans that reveal where John Paul is/what they have done).  It seems everything is primed…

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

The vile men that take the head of the world,

Break the mind and kill our kind

The women who break the mould will never ask

For an even mind

In spite of light the sun goes down

The world’s true nature is revealed

The poor are blinder, the rich control

The average are crushed under foot

The right to vote, the equality state

Every human on a level plain

In the openness of the midnight hour

We are all the same

Whilst mere mortals tell us they see some

And only remember a few

We feel everything

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

We will rule- and they will hear us call

As the conclusion plays out, the girls find that they are being pursued.  Kate has her colleagues, as well as some of her ‘faithful’ chasing her; angry at her betrayal and revaluation; as Holly finds that her flat is taken over by the police; keen to find her, as some disgruntled criminals also close in.  Stefan has illness and fatherhood to think about (Thom Yorke drops the court case after Stefan saves his life), as Dan’s colleague announces her intentions- leaving each pair with much to ponder.  The screen splits as each of the couples go separate ways.  Stefan and Dan watch the concert unfold; and have a last heart-to-heart.  Stefan persuades Florence to sing (to his unborn child) over the phone, in a touching scene- with Florence doing it under one special condition.  Kate and Holly have a huge queue of customers, as word spreads.  As the siren’s flash across the street and the flat is turned over, the girls both join hands and smile; realising that London will be changed, and that their lives will never be the same again.  Dan and Stefan’s concert- from a coffee bar in Shoreditch- goes into the night; as the specially-composed song unites all the musicians- playing to an intimate crowd (the track, Candy Shop Blues- a stomping Blues-Rock number- unites each musician).  Mirroring the first scene- in tribute of Memento- Stefan pulls his car outside a local tattoo parlour.  There is mystery to why he is there (he has a note in hand with various information- he will tattoo onto himself); what is going to happen- setting up another cliffhanger, there is narration (from Stefan), as he delivers the line: “Now… where were we?” as there is an instant cut to the closing credits- as Radiohead’s National Anthem plays (it merges from the performed song near the end).

Notes and ideas:

Because there have been so few- good or successful- U.K. animated comedies, it is high time there was an attempt.  At the moment, there are few comedies- from Britain- I watch- there is a bit of a dip at present.  I want to write something with a U.S. sensibility; inspired by the likes of The Simpsons, Family Guy and South Park, it will a very modern look to it- the same style of animation as The Simpsons (without the yellow people), and feature a great and varied cast.  I have an idea for the main cast- two boys, two girls- and hopefully they will be in.  The pilot will hopefully wet appetites for a full series.  With cliffhangers and plot twists, the idea is to leave people wanting more- both A-story arcs have huge longevity and potential for growth.  The series will see the girls with the power- transposing gender roles and making them the dominant duo.  Parodying and (with) affection referencing Breaking Bad, the girls go all across London- and the U.K.- and get in all sort of adventures and scrapes.  The boys go all across the world and bond; experiencing and achieving huge things.  The reality of home life and reality never is far from the door; each couple comes together and keeps their other lives separate.  In time, I hope to employ celebrity voices for episodes, but want to make sure the pilot gets made and received.  If there is not an animation company in the U.K., it may be a case of going to the U.S. - or raising a Kickstarter campaign and getting it made privately.

The important aspect is the comedy.  Inspired by classic Simpsons episodes- Lisa on Ice, Homer Badman, Marge vs. The Monorail, You Only Move Twice etc. - the aim is to have as many jokes per page- mix in fight scenes, chases; classic one-liners, emotional punch and plenty of visual jokes.  Gorgeous animation, superb voice acting, and parodies (the opening episode would parody Made in Chelsea- where the cast get run down; Orange is the New Black- the dynamic of the series comes through with Holly and Kate, as they set up their business- in their orange jump-suits.  Breaking Bad is the main parody/inspiration; Fight Club, Memento and The Royale Family are all in there.

Desired Cast:

                                                   - Kate Fagen, Additional Voices

Emilia Clarke- Holly Mercury, Additional Voices

Matt Berry- Stefan Buckley, Additional Voices

-Dan Bush, Additional Voices

Additional Voices:

Robert Plant- Himself

Jimmy Page- Himself

Kelly Reilly- Police Chief

Stephen Fry- Dan’s Dad

Muse- Themselves

Thom Yorke- Himself

Ellie Goulding- Herself

Jameela Jamil- Sophie

Dave Grohl- Himself

Florence Welch- Herself

Desired Soundtrack:

Metal & Dust- London Grammar

Electricity- The Avalanches

Wake Up Boo- The Boo Radleys

Freazy- Wolf Alice

The National Anthem- Radiohead

Feature: Music's Unsung Heroes- Part One

Feature:

Music's Unsung Heroes- Part One

 ____________________________________

WITH musicians getting a lot of credit- and being at the forefront of attention- I was keen to highlight those behind the scenes: the managers, labels (photographers and venues) that promote new music; work tirelessly- to get great music to you

_______________________________________

Emily Walding- Label Manager with Acid Jazz Records

Hi Emily. For those who are unfamiliar with yourself: give us a short introduction/what you do.

I'm a record label manager at Acid Jazz Records in London.  I take music and turn it into a record you see on shelves basically!

You are label manager with (Acid Jazz Records) – based out of East London. It sounds like my dream job. What is the most rewarding part of your job?

The most rewarding part is definitely seeing the whole process through from start to finish.  From hearing early mixes from a band or artist when they're in the studio, to talking about what the album might be called and might look like; to actually making it, hearing it (and then sending it out into shops and going and holding it).  I really like finding albums I've worked on in HMV or indie music stores

Label managers and promoters tend to be ‘under the radar’- not getting the credit they deserve. With the tendency to push people towards music- rather than management/music journalism- should we be doing more to promote label management/journalism etc.?

Honestly I think not.  I think you do those jobs for the love of the job, rather than for acknowledgement. As long as the artists you work for know your name and know you're working hard for them, that's enough.  I think the only time that it may be beneficial for a manager or journalist to be in the public eye is if it's within the best interest of the artist, as opposed for personal gain.  However, it's always nice to be acknowledged!  I really enjoy it when people find me online and tell me how much they like the records Acid Jazz makes.  It's nice to have that fan-connection.

You also do D.J./radio work (part-time). Music is a clear passion of yours. When did that begin? Which musicians/albums have been most important to you (growing up and currently)?

My love for music probably began aged 6?  I used to make my own radio shows on my cassette player pretending to be a D.J . I think when I first saw The Spice Girls I knew I wanted to be involved in music. Even as a 6-year- old kid I thought it was crazy how much their faces were on EVERYTHING.  When I got a little older I got into Busted because they played guitars and I thought that was cool.  I bought a guitar and stole some of my brother’s records (Green Day, Blink, Staind etc.).  I'd talk about music all the time.  I drove everyone nuts with it in my household.  I was obsessed with writing it, reading it, learning about it.  When I left school I signed up to study music and I guess here we are J  Looking back on it now I had no idea that those albums shaped me in any way.  But I guess they did!

For people (like me) wanting to embark upon a job in management and promotion, what advice would you give- with regards to starting out; the right people to contact?

Contact.  EVERYONE.  Literally anyone.  But you can't expect a handout.  I found people will be more receptive if you're willing to offer your hours in exchange for gaining some experience.  It won't happen overnight.  It took me 20 years to get from my cassette player in my room to the label office!!  Never give up though.  You may find that you end up working in the industry but in a completely different department than you wanted.  But that's totally okay too!

You are based around Surrey/London. What do you think of the music scene (here); how has it changed the last few years?

I think Surrey has a great scene.  The Boileroom has some really good people working there at the moment who are bringing some great people to Surrey!  As for London, it's London isn't it?  It's a tough scene there and generally a lot easier to be involved with- if you know people in it or if you live in London.  It's not the be all and end all; it's just that a lot of labels are based there.  The north is JUST as important as the south I feel.  So many great bands come out of the North.

With that in mind: which new bands/acts would you recommend?

I usually hear about "new" artists or bands through A&Rs or through friends.  At the moment I'm enjoying a band called The Jacques.  Summer indie rock vibes.

Acid Jazz Records represents- among other- Matt Berry (to my mind the funniest human on earth). What is he like as a person? What attracts you- and the label- to his particular type of music?

Matt was actually with Acid Jazz before I was: he's been on A.J. for several years now and has released 4 albums with some more on the way!  There's a good photo of Matt and Eddie (Acid Jazz Managing Director) floating around with Acid Jazz (holding a toy gun to Matt’s head whilst he looks scared signing his contract).  I think that accurately sums up the relationship between artist and label!   As for what he's like as a person?  I've only ever known him through Acid Jazz, I'm not too familiar with the world of acting but I know he's a busy man!  And he still finds time to record albums, play shows and stop by to the office.  He just won a B.A.F.T.A. so I feel pretty up for gaining him the musical equivalent.   Matt said I should have called him a "fluky wanka".  His words, not mine!   Maybe include that as a nice little extra ;)

You seem to be keeping busy- with music and your jobs. What does the rest of the year hold in store for you?

I've got a couple of albums coming out this year that I've really worked harrrrrd on.  I'm excited for those.  We have this 7" demo coming out too which I'm not allowed to announce yet but it's GOOD! Other than that there are tours, gigs, more releases.

Finally- as you work so hard, you get to choose any song (I’ll play here): name it.

Come As You Are by Nirvana because I'm listening to it now.

[youtube https://www.youtube.com/watch?v=eGqBM_r932s&w=420&h=315]

Follow (Acid Jazz Records):

Facebook:

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Diane Sherwood- Manager for The Updraft Imperative

For readers of this feature: tell us a bit about yourself and what you do.

The concise answer would be - "an English woman living in Scotland promoting a band in Australia for free- trying to hold down a day job to pay the bills."

The Updraft Imperative are taking up a lot of your time. As a manager, how much of a demand is it looking after a band?

The band themselves are pretty low maintenance.  Apart from Josh.  He's the diva of the band and is very demanding.   I'm kidding.  They are all very low maintenance and hugely supportive and appreciative of the work I do.  Which means it doesn't really feel like work (don't tell them!)   One of the many things I love about being part of T.U.I. is the relationship we all have with each other.  There is a huge amount of trust between us all.  I'm very much empowered to make decisions and I know that the boys will always have my back - which is both reassuring and encouraging and in turn makes it less demanding…  there is also a lot of 'band banter'.  No-one escapes the ribbing, but Muz does seem to cop more than his fair share for some reason.

In addition to (the stresses/hard work) there must be a lot of goods.  What are the most rewarding things (about managing a band)?

Nothing beats the feeling I get when an email pops in my inbox with news of a new station playing us, an interview offer or a blog/review.  It can be frustrating at times - because for each of those great emails, there will have undoubtedly been a hundred or more emails or phone calls made- but getting that one response makes it all worthwhile.  Knowing that I'm helping to share the music that I'm passionate about with new audiences is why I do what I do.  I touched on the relationship I have with the boys earlier, and that's a massively rewarding part of what I do.  Knowing that every minute I spend working to promote them is appreciated is reward in itself.

For those looking to go into the sector- and manage an artist- what advice would you give- with regards making the biggest impact?

I'm no expert, but there are a couple of thoughts I can share.   Possibly the most important thing is don't stop being a fan.  If you love what you are 'selling' your passion shows through and you are more likely to bring others on board with your enthusiasm.  You have to believe in what you are promoting.  Being a fan you know what it's like to be captivated by a band and their music and you can relate to those who support them.  Fans are the key to any bands success and being one you know that better than anyone. Never forget that you are in a privileged position.  The second tip is to develop a thick skin - but don't completely desensitise yourself. Y ou will get a hundred times more knockbacks than successes, and a thousand times more non responses.  It can get demoralising, and persistence can sometimes pay off however; this is where it's important not to desensitise completely.  Going at it like a bull at a gate will undoubtedly get you noticed - but for all the wrong reasons. You have to remember that you are representing a band now. Your actions don't just reflect on you anymore.  Remembering your manners- seems such a simple thing- but it goes a very long way.  It's really hard - but don't take the knockbacks or bad reviews personally.  Remember what a boring place the world would be if we all liked the same things.  You just need to keep searching out the (better ;) people like you who do love the band you love - and you'll need your energy to do that, so don't let the negative Nellies sap that from you!

You are based in Scotland (in West Lothian): what is the music scene like there; are there a lot of up-and-coming acts/bands?

It seems to be pretty healthy.  There are a host of pubs and clubs in Edinburgh and Glasgow giving bands a platform to share their music with the masses.  Although between work and the band I have very little time to get out and support them I'm ashamed to say!  One particular band I do know to look out for is Edinburgh 5-piece, The Indos. They have been doing great things with the support of Scottish label Twin City Records- and I'm sure they have a bright future ahead of them.

You were involved with The Bedroom Hour- who have sadly disbanded. One of my favourite bands (of the last few years), what first attracted you to them/their music?

The first thing that attracted me to their music?  It's the thing that still gets me today - the intro to Shadow Boxer!  T.B.H. will always have a massive place in my heart.  It's because of them that I am here doing what I'm doing.  They had (blind) faith in me, and gave me a fantastic opportunity to develop the skills I have today.  I'm as devastated as you that as a band that they are no more, but I am incredibly proud of what we achieved together (when I managed them) and the friendships that we have.  We had the most amazing time and I have many, MANY incredible memories of the T.B.H. days - and it was all thanks to a chance encounter on Twitter...!

Which bands/musicians/albums have meant most to you- either growing up or at the moment?

Well I wouldn't have started what I'm doing if it weren't for T.B.H., and I wouldn't still be doing it of it weren't for T.U.I.!  Both have been massive influences on me for very different reasons.  I often wonder how different my life would have been without them...which then makes me extremely grateful that I'll never have to find out!   There isn't really a single band that has meant most to me growing up.  I have pretty diverse taste when it comes to music.  I'll listen to pretty much anything, but if the words and the voice touch me - I'm in!   I have some killer 'guilty pleasures' though which I'm not prepared to share - not even with you Sam!

Of all the new acts (coming through) in new music: which/who are impressing you most?

I haven't listened to anything new for a while...although there's something reassuringly familiar about This Modern Hope....

You have a busy 2015/’16 ahead: what do the coming months hold for you (and The Updraft Imperative)?

Can you believe it's almost a year since you reviewed Chair?  I can still feel the elation I had when I first read it - which was eclipsed only by the boys’ responses when they read it!  That review and the airplay from some U.K. stations was the catalyst for things taking off- in the way that they have for T.U.I.  We have achieved so much in the last 12 months, but learnt a lot also.  I know that we can (and will) achieve a whole lot more in the coming 12 months, and that really excites me.  I've been making the most of a little 'downtime' recently, because in just over a week’s time-  the boys are going back into the studio. That pretty much kicks off 'crazy time' for me which will include single releases, more recording, a new album, booking venues, arranging reviews and...oh yeah...going to Australia for a month to promote the album!  BRING…IT…ON!!

Managers are often unsung/away from the spotlight- yet work incredibly hard and long. Great acts and bands could not exist without them. In that spirit, name any song you like (and I will play it here).

Jeeze Sam that's a toughie!  I feel like I'm neglecting a child by just picking one..!!  However.  It seems right that I pick this one because without it so much wouldn't have happened - including meeting you!  Shadow Boxer by the bedroom hour it is then.

[youtube https://www.youtube.com/watch?v=CoLes-7E6IU&w=560&h=315]

Follow (The Updraft Imperative):

Facebook:

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

Emma Townend- Editor, Bleachandcologne

Hi Emma.  For those new and uninitiated- to you and your work- give us an introduction/bit about what you do 

Hi, I'm Emma and I write about indie music. Cringey intro aside, I've always loved finding new bands and wanted a way to introduce others to them. There are so many passionate musicians out there making great music that deserves to be heard, so I started a website to review and showcase them.

Your blog (bleachandcologne) is one of the best up-and-coming sites- dedicated to finding/promoting the best new acts.  Music blogs are on the rise: what motivated you to set one up?

Thanks! I'd always wanted to be a music journalist but life got in the way and my dream remained just that. Then one day I was listening to an album by Talk To Angels - a side project by Embrace's Mickey Dale. It inspired me to write a review of it, which he loved,  and set off the spark in my brain that led to me launching bleachandcologne (named after a line in a Talk To Angels song) to give lesser-known bands exposure to a wider audience.

With the proliferation of bands/acts coming through, how easy/hard is it finding great acts; does it make it harder finding genuinely great acts? 

It can be tough sometimes - there are so many bands around, inevitably there will be a few who are clearly talented but want to be just like someone else or have a cocky attitude that turns people off. But every so often you find an act who gives you a goosebumpy (sic.) shiver and you know it's all been worth it.

Which musicians/bands inspired you growing up?

I was a teenager in the mid-90s when Britpop exploded, I still love listening to it now - bands like Embrace, Ash, Shed Seven, Rialto, Mansun, The Verve and Sleeper.

There are a lot of great musicians about at the moment.  Who are the ‘ones to watch’?   

Off the top of my head: The Sherlocks, IC1s, No Hot Ashes and October Drift are all rising fast. Watch out for Mouses too, they're a North-East duo with a really in-your-face, catchy sound.

What does the rest of the year hold for Bleachandcologne?

I've had some time off (as I recently relocated from Teesside to Somerset), so the next couple of months will be spent writing reviews and improving the site to bring more news - the site's Twitter account @bleachncologne will link up to reach a (hopefully) global audience.  I'll also be looking for unsigned bands to review in the South West.

In terms of blogging/music journalism, what is the most rewarding aspect of your job? 

When I've been to an outstanding gig it's a joy to write about it.  I like to focus on performance and find off-the-wall observations to add a bit of interest.  If I can read it back and smile I know it's ready to publish.  Plus, getting messages of appreciation from the band and their fans is always nice!

If you could create your own ‘dream festival line-up’- acts past or present- who would be on it?

How much space have you got?! Embrace, Catfish and the Bottlemen, Royal Blood, The Sherlocks, IC1s, Mouses, Serinette; The Struts, Glass Caves, Carnabells, Marsicans, Darlia, The Twisted Dolls, Polkadodge; Puppet Rebellion, Allusondrugs, Shoot The Poet, Bi:Lingual, Be Quiet Shout Loud and The Purnells.  For starters!

With more people becoming musicians (as opposed to journalists and reviewers) should we be encouraging more to go into journalism- promoting acts rather than being one?

That's such a good question....and almost impossible to answer!  Both crafts need each other to thrive. With so many social media outlets these days it's easy for someone to start a blog and gain an audience, personally I'd encourage these writers to push themselves to greater heights since they've had the courage and desire to start the ball rolling themselves.  I think you should follow your heart and your ability equally - some have a knack for writing, others have a killer voice.  So I would say play to your strengths, look at what's already out there and decide what you love the most - then take a deep breath and do it.

Finally, and as you do such great work: name any song (and I will play it here). 

After much deliberation - He Loves Cilia by Talk To Angels please.  Without it, I'd still be daydreaming of being a music reviewer.

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

Follow (Bleachandcologne):

Official:

http://www.bleachandcologne.co.uk/

David Durant- D.J./New Music Promoter

Hi David. For those new to you/unfamiliar: can you tell us about yourself and what you do?

I am a lover of music. From as early as I can remember I fell in love with music and I soon discovered that I got the most pleasure from music by sharing the songs that I liked with other people by recording them on cassette tape. I especially liked it when they responded to my music choice with favourable comments or requests for more tapes.

This love affair continues to this day when instead of making mixtapes or compilations, I present a weekly two hour show on Brooklands Radio entitled Under The Radar Live Sessions, which shines the spotlight on independent emerging musicians of all nationalities and all genres. The essence of the show is to find and discover outstanding independent emerging musicians and showcase their music. All the tracks I play are chosen because they have an undefinable quality which makes my heart beat faster. Essentially, if a track or an artist moves me, I will give it some airplay. Simple as that.

As part of Brooklands Radio, you have seen some incredible talent: which artists/interviews have been most memorable?

Yes indeed, every week I hear incredible talent in recorded form and also in person when some of the artists I ‘discover’ accept my invitation to come to our studios for a chat and a live session. I have been presenting the show for almost eight years and of course there have been some outstanding sessions and interviews, as well as some not so outstanding sessions and interviews and everything in between.

I would prefer not to single out specific artists or sessions because it would suggest that I am favouring some over others, so I would like to say that every session has been special and memorable in some way. I would also like to suggest that readers judge for themselves by checking out these sessions on www.daviddurantmusic.com or www.mixcloud.com/undertheradarlivesessions where you will find a collection of most of the shows I have hosted since 2008.

D.J.s often get overlooked- when it comes to launching new music- but you have helped a lot of young acts coming through. How does that make you feel (seeing them do so well)?

I get mixed emotions, mostly happy ones of course on two fronts: the first, a genuine sense of happiness that they have finally been recognised, also happy that in a very small way I was part of that success by giving them airplay and the opportunity to be interviewed on radio and play a live session, often for the first time.

I also feel sad and sometimes irritated when I am asked to take down a video or review I did because their new management company wants to create a new image or because their old songs and the way they presented themselves do not fit with their new branding. It’s like denying that those sessions ever happened and quite frankly I feel insulted! It is precisely those lo-tech sessions and raw performances that have brought those artists success so why hide it?

In addition to helping new acts, what is the most rewarding part of your job?

Discovering new music and new artists. I love it when I press play on a track or a video and after the first few bars the hairs at the back of my neck stand on end! Likewise when I go

to a gig or a music festival and I discover a band or an artist I have never met before and their music is fresh, original and exciting!

You have just returned from Glastonbury. What was the experience like?

Glastonbury is a music lovers’ paradise with every single genre of music represented in one form or another. It is a magical event where you can find the unexpected if you bother to look around. It is also very much full-on with music, entertainment and food going on virtually 24/7 during the festival. It was particularly special for us because we were part of the Green Futures Festival Radio crew, broadcasting from the famous Toad Hall in the Green Futures Field which celebrated its 25th anniversary at Glastonbury this year.

For those wanting to follow your footsteps: what advice would you offer them?

Don’t be lazy… go and discover and find the music, don’t ask artists to send you music because you will soon be swamped with endless CDs, emails and download links, and you’ll soon learn that the vast majority of the tracks may not be to your liking or anyone else for that matter! Use social media, blogs and the Internet in general to look for new artists, and also go to gigs and open mic evenings and if you find an artist or a piece of music that moves you, make contact and write about it or if you have the facilities, make a podcast or a playlist and then use social media to promote it.

Social media is expanding and developing. How vital a role does it play (in terms of promoting/helping musicians)?

Musicians are pioneers of promoting themselves through social media so I think it plays an essential role in providing a necessary and valuable platform for finding new fans and engaging with people who may ultimately become superfans.

Crucially, Social Media has brought artists and fans closer together and for the first time fans are able to interact with artists in ways which would seem impossible 15 years ago.

Of all the new musicians coming through, who/which would you particularly recommend?

This is a very hard question to answer as there are many many new independent artists who are worthy of a mention, but in no particular order of preference, here is my list of five who, in my humble opinion have reached the top of their game without the backing of a major label:

1. a) Carrie Haber
2. b) The Portraits
3. c) Jo Harman
4. d) Orlando Seale and the Swell
5. e) August and After

What does the rest of the year hold for you and Brooklands Radio- any exciting forthcoming bands/developments?

The rest of the year will be more of the same! Discovering new artists and new tunes every week and sharing these discoveries with our listeners and followers. There are a few festivals and gigs we are very much looking forward to attending, and of course we may well be hosting our very own showcase, so keep your eyes and ears peeled.

Finally, as you work so hard, I’ll play any song for you- name it.

Well, that’s very kind of you! Please play Magic of the Sun by Marcus Valance. No particular reason, it was the first song that came to mind. Beautifully sung, expertly produced and it kind of fits in with the warm sunny weather we have been enjoying this week.

[soundcloud url="https://api.soundcloud.com/tracks/108189550" 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 David:

Official:

http://daviddurantmusic.com/

Interview: Mi'das

Interview:

Mi’das

London-based Soul-Pop singer Mi’das has had a busy year- including the release of his E.P. Stronger- and has more to stay.  After a hard start in life- including busking the streets- the Brighton-originated star is primed for the big-time: I caught up with him to see what his plans were (and gain an insight into his music process)

Hi Mi’das.  For those new to your music, can you give us a break-down (style and influences)?

Hi! I love all things soulful: that covers a lot of bases and not just soul.  It includes classic influences like Stevie Wonder, Donny Hathaway (and more up to date people) like John Mayer and Emily King.

What current musicians are influencing you/catching your eye?

U.K.-based; I'd definitely have to say Nate Williams and Shakka.

London is creating some diverse and unique artists- surpassing a lot of the U.K.  What do you attribute this to?

I think the U.K. is an amazing creative hub and the home of so much influential music; and especially in London that gets concentrated and drives people to raise their game.

Your E.P. Stronger is unveiled: what influenced your writing process?  What sort of themes and subjects can people expect?

I'd call the Stronger E.P. a "searching" E.P.  It has themes about working out what to do with the life you’re given (and how to spend it).  It's a snap shot of my 20s and deals with themes I'm sure a lot of people come across at this age.

Music is about expression and personalisation; release and catharsis.  Your music comes across as soulful and peace-inspired.  What you say you are a calm and relaxed person (in general)?

Yes in general I am on the outside; on the inside there’s a whole bunch of other stuff going on, but everyone always says of me that I'm laid back which sometimes surprises me!  Ha.

You have an eventful past- including time busking the streets.  The realities (of that life must have been harsh).  What did you learn from your time busking?

Humility: it’s easy once you start getting a bit of success- even in my own small way- to start talking down to people or being disrespectful- but that time for me planted my feet firmly on the ground and I don't want that to change.

Having performed alongside some tremendous artists, what have you learnt from them (about the music business)?

I've definitely learned different things from each of them.  It might be a specific performance thing- or how they deal with press or even the best of them- how they deal with the people they work with!

I see a lot of young musicians stifled by financial issues; balked by music’s pressure: what would you say to them; so they can remain strong and focused?

Start small and try to make sure you pay the bills first!  It's easy to get carried away on spending lots of money on promo materials and recording/mixing (and mastering)- but you don't need to spend lots of money on those things as much anymore (at least not if you have a clear vision and are willing to learn at every turn).

If you could choose your ideal festival line-up- say five-six artists- who would be there?

Stevie Wonder, James Taylor, Foy Vance; John Mayer, Brian Mcknight and er....Taylor Swift, ha.

Finally: having had a busy 2015, what does (the rest of this year) hold for you?  Any plans for 2016?

I’m currently working on an album (which is due for release in November time) which is keeping me busy- and also have a headline tour around October in the planning.  Plenty to keep busy with.

[youtube https://www.youtube.com/watch?v=RxRB9UOmGwY&w=560&h=315]

______________________________________________________

Follow Mi’das:

 

Official:

http://officialmidas.com/h-o-m-e

Facebook:

https://www.facebook.com/officialmidasmusic1

Twitter:

https://twitter.com/officialmidas

YouTube:

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

________________________________________________________

Mi’das’s E.P. (Stronger) is available at:

https://itunes.apple.com/gb/album/stronger-ep/id971845739

Track Review: Dominique- Don't

TRACK REVIEW:

Dominique

 

Don’t

9.6/10.0

Don’t is available at:

https://soundcloud.com/dom_n_que/dont/s-O5ijY

RELEASED: May, 2015

GENRES: Electro.-Pop

COUNTRY OF ORIGIN:

U.S.

I am always on the look-out for a terrific singer/songwriter...

Someone who spikes the imagination; offers something different- distinguishes themselves from the pack.  In a busy music world, it is harder (to set yourself aside); stay in the imagination- what with the choice available.  Being U.K.-based I tend to focus on home-grown stars: those acts that play around the capital; they tend to form (the majority of) my reviews- or else acts based in the north.  It is great to discover something ‘foreign’- an act we may not have heard of; someone who could be playing the U.K.  Dominique is based out of the U.S.- she hails from New York- and has been garnering a lot of attention- kudos has been paid to her unique voice and style of music; her vibrancy and nuance- all vital qualities in today’s scene.  U.S. music tends to go under the wire (over here); our reviewers are focused on British acts- we miss out on a lot of great music.  America is producing some of the world’s best (new) music; some of the most alive sounds- that we all should be aware of.  Ever since reviewing Arianna and the Rose- another terrific female songwriter based in N.Y. - I have been keen to return- to see what the state has to offer.  When it comes to female singer-songwriters, there is a quality imbalance: there are some terrific and brilliant examples; a lot that lack any real distinction and killer punch.  It is so easy to become complacent and ordinary: write with the minimum of thought and effort; in the hope that will seduce listeners- it is an attitude that still pervades.  The (female singers) that get into your mind are those that set the bar higher: go out of their way to up the game; create something quite special- earn their plaudits and praise.  The U.K. is in a little bit of trouble: we have a lot of great female songwriters; the newer breed tend to fare better (than established acts) - offering more in the way of urgency and diversity.  The U.S. music scene is providing a lot of inspiration: some great Electro.-Pop acts; stunning Soul singers- a collection of terrific artists.  When it comes to young artists- in the case of Dominique- maturity and distinction are important pillars- and few actually achieve this.  It is all very well talking about personal issues; your own life and real emotions- when they come off as juvenile and bare-minimum, you risk alienating listeners (from the start).  It is a hard balance to get right: be relatable and real, yet display maturity and (age beyond your years) - if you get this right, then you are onto a winning formula.  It is essential- not just for female songwriters- to stick to this; set a good example- and inspire the new generation coming through.

Dominique is a good example (of the point that I am making): someone who is tender in years- yet has that inventiveness and mature edge; capable of speaking to all generations.  Despite her beauty and captivating sound, she is a serious proposition- an artist that has the potential to go far.  In the marketplace- with so many solo acts emerging weekly- it is hard predicting who will fail (and which will succeed).  The early signs (from Dominique) are encouraging; get out of your mind images of a singing nun- here is a talent bold and fresh; vibrant and engaging- who will stay in the mind (long after the music stops).  Having similar-sounding artists in the U.K., it would be good to see Dominique come to London: play some of the top venues; get tongues wagging this side of the pond- and see the crowds over here.  The early stages are always the most exciting: that first taste of what is to come; what is on offer- a chance to hear an artist taking their first steps.  Before I continue, a little bit (about Dominique):

“Set to bubbling sun-warped electronics in the verse and a wordless cascading fuzz of a chorus courtesy of co-producer ZeniF, it progresses with the playful bounce of electropop but with a slightly harsher, more abrasive side to it.” - The 405

“Dominique sure seems to be another example of why females are killing the electro-pop game." - UQ Music

Following the success of her debut single “It’s Only You” which has been championed by many indie blogs and bigger publications such as V Magazine, Wonderland, producer Steve Anderson (Kylie, Leona Lewis, Take That), and even added to H&M’s European playlist, with spins on Amazing Radio and KX93.5’s We Found New Music show, 22 year old Electro-pop artist Dominique returns with her latest single “Don’t” produced by herself and co-producer Zenif. Dominique was recently named as ‘International Artist of The Month’ on new music platform Tradiio and reached #1 in both their Global and Pop charts. Having recently featured on a track with Moon Regiment and recently releasing an exclusive unheard track called “Life & Death” with Tradiio, the latest offering is a combination of pulsating synths and pop-driven melodies.

Of the track, she says “Don’t was written to express my thoughts on the somewhat common expectation for women to be the paradoxical combination of being a "bad bitch" and a "nun" (chaste). In other words, very sexual but with a scarce sexual history. Rather than expressing these thoughts in a more serious way, I tried to keep a playful, teasing kind of attitude, while ZeniF pulled through with a killer drop to really set the tone of the song.”

Without hearing a word, you can tell Dominique is different: a sassy and brave artist; someone with grit and passion- in addition to melody and constraint.  Too many Pop artists- less common among Electro.-Pop artists- are concerned with being ‘popular’ and ‘likeable’- in their mind that translate to being beige and predictable.  Key issues need addressing- within music- and so risks need to be taken.  Dominique is playful and urgent; never coming across as offensive or divisive- someone who is sending out a clear message; addressing important subjects (making sure it is presented in a memorable and original way).  It seems New York is producing some of the most cutting and distinguished Electro.-Pop: matching (U.K. artists) such as FKA twigs for sheer memorability and prowess.  Dominique may be a new name (to many of us here in the U.K.) yet she is gaining pace (in the U.S.)- her latest single is her strongest effort; the best material to date- great omens with regards a forthcoming E.P.

Scratching, distorted electronics herald in the track: a mixture of psychotic mice and a dangerous night; mystery and build-up; fever and twilight- the song wastes no time in getting to work.  Don’t has an instant push and punch; no tender foreplay- Dominique (technically spelled Dom!n!que) lets the composition do the talking.  Building from a dizzy beat, the vocals begin wordless and hypnotic: our heroine is caught in the web of electronics; scatting and fragmented- lost in a sea of emotion and pressure; you can sense a tangible ache- something quite relatable and emotive.  Propelled by a punchy percussive slam- that is evenly-timed and pugnacious- Dominique’s voice gets under way: starting sweet and assured, her message comes into effect- she will not be messed around.  Her man/subject- anti-hero or a wannabe lover- is being given short-shrift: our girl is not that type of woman; not someone that will be devalued and objectified- those ‘perfect’ women are left to fantasy (and imagination).  The man in question has an ideal of a “perfect world”- something antiquated and rather infantile- where his women come cartoon-like (and submissive) and inequality reigns.  Our heroine wants to get things straight: the real world does not operate like that; women who (fit that crude ideal) are not representative (of most women) - and not something to aspire to.  Backed by a simple beat; a subtle sonic swirl- the vocal is allowed full authority.  Not demanding and finger-pointing; spiked or angry- that combination of sweet-natured vocals (and striking lyrics) is a memorable juxtaposition.  Dominique is playful and teasing; slinky and seductive- complete with teeth and a strong soul.  Laying down some truth- our lead lets it known she has “history”; had her fair share of man-dogs- a dose of reality is in the frame.  Whoever this bowser is- a man with a ‘50s view of womanhood- is being given (a metaphorical) nut-kick; he needs to know his place- and understand the truth about life/sexuality.  Refusing to be dictated or controlled, Dominique almost struts into the lyrics; the confidence and delivery is impeccably stirring; brilliantly executed- you are caught under her spell.  Not wanting to be defined or categorised, Dominique is laying down the law: hold off and don’t get your hopes up; show her some respect.  When desorbing the song, the author explains it thus:  “Don’t was written to express my thoughts on the somewhat common expectation for women to be the paradoxical combination of being a "bad bitch" and a "nun" (chaste).  In other words, very sexual but with a scarce sexual history.  Rather than expressing these thoughts in a more serious way, I tried to keep a playful, teasing kind of attitude (while ZeniF pulled through with a killer drop to really set the tone of the song).”  You get that sense throughout: the anti-hero wants a demon in the sack, yet someone who is sexless to the point of virginity.  There is this view- in society and in the minds of many a-man- that their woman needs to be submissive and sexually-available, yet a blank canvas (and rather bland).  In addition to being paradoxical, it is somewhat offensive- there are seldom these expectations when the gender roles are reversed.  Her own woman and human, Dominique is rational and to-the-point: things do not work that way; you get who you get- and should not expect such ridiculous attributes/demands.  The chorus is the most urgent and stand-out moment: the combination of the beat and electronics; layered vocals and distortion- a whirl of power and emotion; force and passion- something stirring and pulsating.  Not overbearing or over-layered, the chorus catches you by surprise: it is a twisting and snaking viper; a cooing and entrancing Siren- something that splits, divides (and whips) the heart and mind.  The vibe (of the chorus) reminds me of FKA twigs-cum-Sia.  A mass of discordant strands and entwined snatches, you get wrapped up in: the heaviness and insistency is a head-rush that is hard to overlook.  Both beach-ready and festival-uniting, it is a sun-kissed-via-nighttime-tryst sort of thing- a blend that is alcoholic and caffeinated.  Jumping (and half-complete vocal snatches) fizz and percolate: you can practically feel the sweat drip; the floor vibrates and buzzes- it is a symphonic see-saw that carries the listener away.  As the song progresses- and passes its half-way marker- it develops and gains ground (you are comfortable with the sound and sensations; anxious to hear what comes next).  Dominique keeps her tongue sharp- and her eyes glistening- as her tongue twists and teases.  The man is being kept at bay; perhaps given some harsh truths- our heroine will not be defined and belittled; made to fill his fantasies.  Whilst contemporaries would bite and attack- perhaps augmenting the beat (to represent a gut-punch)- Dominique shows control and intelligence- her alluring vocal shouts louder than any beat; much more effective than (needlessly overbearing) notes and slams.  Thanks to some excellent production values- along with beats, ZeniF adds a huge amount of majesty and weight- the song is crystal-clear and concise; never losing any prowess along the way- every note is allowed space to breathe and impress.  What is particularly stand-out- along with the lyrics and vocals- is the composition.  Adding words, drama and movement, it never stops working: emphasising and bolstering, there are myriad shades and colours- it is a positive fusion of chemicals and elements (that make the track such a destructive force).  Perhaps the exclamation points (in Dom!n!que) are no accident: here is a girl that stands out hugely; her messages bold and unmissable- a young woman who knows what she wants; keen not to be demined/controlled.  The final seconds are heartbeats; ticks and tocks that bring the song to rest- and speak volumes.  Don’t is a one-worded rally-cry: a message (to women out there) that clichés and stereotypes should be dispensed; outmoded ideals are stupid- things need to change.  We all know men with that same mindset: they want their women red-hot and ready; unspoiled and just-for-them- a contradiction and juxtaposition (that is both unreal and outdated).  Fierce and strong-willed; proud and rousing: Don’t is an anthem for young women; a sign for change- above all, a hell of a tune.  Dominique has penned a terrific Electro.-Pop tune that not only is impossible to forget- it establishes her as one of the finest young acts coming through. In a genre- that is growing in popularity- few of her peers possess such confidence and quality- future releases will be much-anticipated and in-demand.  Having few songs under her belt, the New York resident will grow and develop: when her E.P. is completed it will be a proper chance for attention (a fully-fledged work that shows what she is about).  For those looking for a wonderful new act; for a sensational song; a stunning possibility- look no further than Don’t (and its author).

The rest of 2015 promising much for the young singer- a chance to go to Paris (mooted for this summer) to work on her E.P.  With her brand across social media- and accruing a mass of devoted followers- the New Yorker is set to be a name to watch.  Female artists (are ahead of their male peers) when it comes to Electro.-Pop: it is a genre seemingly tailor-made for them.  Able to express sexuality and expectations- through a pulsating and bedazzling medium- Dominique has concocted a potent blend: a song that can unite Pop traditionalists- with its melody and nuanced sound- and enflame Electro. lovers- with its heavy beats and exceptional production.  It brings me to a final point- well, two actually- regarding new music.  Too many artists- especially from this country- come in too week/placid: either the Pop is too watered-down and vague; harder sounds too aimless and one-dimensional- finding a Midas intersection is the key (to early success) and catchment.  Critics have heard enough mediocrity: the world needs artists who come in hard and strong; dare to take risks- and make a name for themselves.  Dominique has made an excellent start: in a genre- and city for that matter- with players lining up, she has crafted something quite unique: ubiquitous quality with a very distinct individuality (music that is very much hers and hers alone).  Whilst contemporaries tend to stray towards existing acts (when it comes to their sound), you’d be hard-pressed comparing the young singer- the 22-year-old surely cannot fail.  Having reviewed acts like Laurel, Ivy and Gold- and other Electro.-Pop acts- Dominique may be the best yet- it is the voice that is queen.  Imbued with vitality and urgency; a very personal (and native) voice, it is hard to ignore: her forthcoming releases are sure to match/better Don’t.  For now, we have the track: an example of what she has to offer; what is on her mind- its messages are those we should all listen to.  Issues like sexuality and expectation; societal judgements and misconceptions are often suggested: few artists tackle them full-on.  By taking an issue- that is seen as taboo by some- and not only doing so intelligently- but with plenty of Pop melody and playfulness- the young artists has pulled off a mean feat.  I cannot wait for the E.P./future: it will be exciting to see and hear what comes next- whether the same issues will be explored; if Dominique decides to focus on love and relationships etc.  With the weather- struggling to decide what season it want to portray- we all need a head-rush; a dollop of sunshine- something hot yet pleasingly cooling (music that gets the feet tapping and the voice ringing).  Don’t is no forbidding kick; it is not a track that pushes you away: it is a song that is designed to be appreciated (and heard by all).  With that in mind, do not overlook this U.S. star: we will hear a lot more from her (in years to come).  With wisdom, intellect and passion- that belies her youth- she is no ingénue singer: she is a strong woman with a clear mindset.  In a sea of misdirected ambitions; murky and indeterminate clarity- it is refreshing to discover something pure and defined.  There is only one thing left to do: put the single on, turn up the volume...

AND let it do its thing.

[soundcloud url="https://api.soundcloud.com/tracks/207233930" 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 Dominique:

Facebook:

https://www.facebook.com/D0MINIQUEMUSIC

Twitter:

https://twitter.com/dom_n_que

MySpace:

https://myspace.com/dom_n_que

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Music:

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

Girls Aloud! The Best (New Female) Acts: Part Two

Girls Aloud!

 

The Best (New Female) Acts:

Part 2.

IF one installment wasn’t enough…

here is the second installment!  It is always great discovering great (female) talent- here we have some distinct and wonderful acts.  From U.S. wonders to British lovelies; enjoy…

Lisa Marini

Your E.P From The Bedroom Den (released last year- https://lisamarini.bandcamp.com/ ) was filled with colour, diversity and nuance: what are the secrets of your songwriting/creative process?

Thank you No real secret, I was aware that I wanted to express something from an honest place, so I took my time to find out where that was. I wrote the songs for my EP at a point when I had a better understanding of myself. Of course we are continuously growing - as I develop as a person, I hope the music will follow.

You are one of the most consistently optimistic and upbeat musicians. How would you say you stand out (from your music colleagues/peers)?

Ahh thank you.  There really are some incredible artists out there- I wouldn’t attempt to compete!  I just try to write music that’s authentic to me.  If you feel it with me, then what a blessing.

You have worked with the likes of Nina Gromniak and many different musicians: any music plans/collaborations ahead?

Nina has become one of my best friends and it’s always an honour to play with her!  Her feel is off the scale!! Hopefully there will be more- I love experimenting but I can’t help my spontaneity, so I couldn’t tell you with whom; or when or how just yet! Haha

You have a real passion for new countries and people: how important is it (when it comes to making music) to travel/play to different crowds?

Travel can be inspiring- even just being in transit, there’s something about movement that opens up ideas! Of course, learning about other ways of life helps to expand the mind and the heart.  I find that the more people I meet, the more I realise how similar we are- we all crave love and acceptance.  Being able to connect with people through my music is a real honour.

Lisa (and maybe an impossible question): What does music mean to you?

Music is like an extension of ourselves.  We use it to create a mood and often relate it to a person or an experience.  Music is like the soundtrack to our lives.  And as with any art it can be therapy, both for the creator and for those who appreciate it.

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

All the great songwriters, Joni Mitchell, Carole King, Nina Simone (and more recently Erykah Badu) and of course Miss Amy Winehouse.  I am sure there are many more that I have missed out- but those are what first come to mind.

Any new female artists you would recommend?

Melody Gardot.  It’s refreshing to hear an artist that has been allowed to develop.  Each one of her albums is so different, yet every song has been carefully crafted.  I have a huge amount of respect for her as a person and as a musician.  She has really lived through it. When she sings I believe every word she says.

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 couldn’t imagine living in a country where I wasn’t permitted to express myself creatively.  I feel fortunate to live in a place where I have the freedom to do what I do.  Prejudice in any form comes from a lack of education; by that I don’t mean an academic education, but an emotional and spiritual education- we can only lead by example.

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 think one of the most important things in life is to be honest.  It might sound simple, but in reality it can be hard.  It’s something I consider every day. Am I doing something for the right reasons?  Was that my opinion or someone else’s?  Do I really feel this emotion or is something else influencing me?  It’s often difficult to define, especially in a city where there are so many forces trying to pull us away from listening inwards.

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…

Right now I am listening to Musical Genocide by Gregory Porter. The title says it all wink emoticon

[youtube https://www.youtube.com/watch?v=9Bmh9A8Dl1c&w=420&h=315]

Follow:

Facebook:

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

Twitter:

https://twitter.com/LisaMariniMusic

[youtube https://www.youtube.com/watch?v=50Wpb0F1s1Q&w=560&h=315]

Ariana & the Rose

 

Hi Ariana. For those in the U.K., can you tell us about your music: where you play; the sort of style/sound you play?

Sure, I'm from New York City and am the lead singer in my band Ariana & the Rose. The music is a melding of electronic and real instrumentation, creating a synth band sound.  We've played everywhere from festivals, like Brighton Pride to venues like Sheppard’s Bush- and anything in between.  It was really important to me to play this kind of electronic music with a full band live- so the audience can really feel it as opposed to having everything on track.

I know you are a hungry and busy artist; you love touring and (playing to all sorts of crowds). Any plans for new material/tours in the future?

Yes! I've just finished new music and will be putting it out ASAP as (well as) getting back out on stage. We've literally just put the live show together this week: I can't wait to play the new material.  It's a real growth from my last E.P., so I'm excited to share it with everyone and hear what they think.

It is always great learning (about a musician’s) favourite album/artists growing up: who/which have been most important to you?

I grew loving singer-songwriters like Joni Mitchell and Laura Nyro, but then also being obsessed with electro queens like Robyn and Goldfrapp.  So, I think I've ended up taking my favourite bits of all of them and using it in my own work.

Do you think the U.S. provides more opportunities (for new musicians) than anywhere else? How do the crowds/venues different?

I actually think the U.K. provides the best opportunities for new artists, which is why I came here to make music.  There are many more platforms here for emerging talent, from showcase nights to B.B.C. Radio 1 (Introducing)- I think audiences really value discovering new artists here.  I feel really grateful to have found that outlet in the UK.

The stresses of creativity and expectation can get to musicians. How do you unwind/clear your head?

I'm generally stressed all the time!  I love films that unwinds my mind very easily.  I need to get lost in other things.  Theater is a really big inspiration for me as well, I love seeing avant-garde theater.  There's a big scene for that in New York, so I'm always on the lookout for it in other cities.

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

Jagged Little Pill is the album that made me want to become a musician.  The fearlessness that Alanis Morissette (has on that album really resonated) with me as a teenager.  More recently, I love FKA twigs. Her aesthetic and commitment to her artistry is so intriguing- and I think it's so hard to maintain that mystery these days.

Any new female artists you would recommend?

I love Betty Who, who I think is more well-known in the States (than she is in the U.K.).  Her live show just makes you fall in love with her, boundless energy.

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 this issue affects women in every profession in different ways. In music; I think it's mainly to do with the way the media cover women.  It's about what she's wearing and how toned she was last week compared to this week, the focus is shifting slowly though . I think we have to be persistent about the things we want to say and continue (to use the platforms like social media to get our voices out).  There's immediacy to a platforms like Twitter or Facebook (that are reaching a wide audience) and helping to change how the media covers women in entertainment.

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 would say confidence and knowing myself.  I'm a pretty self-reflective person, which I think you have to be if you want to write about your observations.  I think, for anyone, it's about taking the time to get to know yourself and having confidence and belief in who you are.  I try not to define myself with other people's words.  I really respect and admire people who truly go their own way.  Walking your own path, with integrity, is success to me.

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've just got the new Foals track (What Went Down) on repeat.  It's manic and ripping at the seams: listening to them is always a reminder of how amazing and immediate music can be.

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

Follow:

Facebook:

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

Twitter:

https://twitter.com/arianatherose

[youtube https://www.youtube.com/watch?v=XKVd1MpcB6A&w=560&h=315]

Vanja James (Front-woman of Little Dove)

 

Hey Vanja.  There have been some changes/developments (with your band Little Dove).  Can you tell us about the future: new album/E.P./tour dates afoot? 

Hi Sam!  Little Dove is currently expanding into a 3-piece with traditional drums and bass.  I met a great drummer and bassist a while ago and they have a history working together in other projects.  Once we get a couple of live shows under our belt - we will probably start working on new material for a new record.  While Dylan isn't playing the most recent live shows, I'm going to try to get him in the mix on the record - so it will be a little bit of familiarity, and a little bit of something new. :-)

I know how much you love touring/seeing other cities: can London (and Europe) expect a visit (from Little Dove) in the future? 

I'm really *really* hoping to make it happen in the future, but to make it happen I've got some money saving to do.  2016 is probably worth shooting towards.

You are an incredible writer and artist.  What is it that compels/inspires your words?  Do relationships (and heartache) go into it- or do you prefer to detach from that (to an extent)?

Long car rides are the best for me.  Usually I'll start singing in the car and come up with some melody ideas. Little Dove's songs are unique in that they are a little more detached by the time I turn whatever personal feelings I have had/am having into a song. There are fewer "breakup- oriented" songs and more songs about things I see in mass media.  One of the songs we'll probably bring into the mix is about an underground city of homeless people in Romania for example, while another new song is about the whole ISIS happenings.

I am fascinated by the U.S. music scene (and that of California).  It seems rich and vibrant: what is life like (for a musician/band) based in California?

California has been great to me.  L.A. has allowed me to really hone in on my craft and is a wonderful place for networking with some of the best people and the most talented.  The city moves quickly and stays up all night - which I love.  For some of my most favorite creative people (horn players, string players) I head to the Bay Area/San Francisco - which just has such a rich artistic history.  San Diego is my hometown and the music community is wonderful and has a great jazz scene, a great rock scene, and it's a wonderful place for singer/songwriters.  I can go anywhere in the city to experience live music, and there's a 95% chance of running into someone I know.

The music business- finding success and meaning- can be a stressful (and anxious rite of passage).  How do you deal with it (as a musician); do you think more support/guidance (needs to be given to) musicians starting out?

I'll put it this way: The way to be successful as an artist/musician is not anything they teach you in your standard college classes.  Finding success (especially financially) as a musician, takes a versatility and drive that many musicians don't have.  I keep tuned in to music business blogs and read articles about the changing trends in music. So many musicians are creating a name for themselves with Youtube and have had luck creating a more powerful audience on a digital level.  Beyond that - if you're an indie - you can count on investing a hefty amount of money on things like digital marketing and radio promotions. The best advice I can give any musician is to have another steady source of income that works for you to support your music habit. I know one guy who says he is able to only take gigs he loves now - thanks to driving for Uber.

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

I was raised on a steady diet of Disney Divas and divas in general - Aretha Franklin....Whitney Houston....Eisley and Aretha were a huge influences in helping me hone in on my voice and push my vocal range.

Any new female artists you would recommend?

New...hmmm....there's a band in L.A. called Dead Sarah that I think is going places.  Lucius (based in N.Y.) is also a fave.   Otherwise on the whole, I don't listen to too many female artists as I don't want them influencing me.  So I stick with old rock bands and that keeps me happy.

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'd say when it comes to gender inequality - the music industry is about 10 years behind.  I've been fortunate in L.A. that only one person has ever done anything inappropriate - but in San Diego - people weren't so well-behaved.  I believe that sexual harassment laws should apply anywhere - even if you aren't working in a building with walls.  My advice is: Keep the sexual commentary to yourself - and don't try to make out with somebody at random without their verbal consent first. (Seriously.)

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'd say what defines me as a person (I'm human first - female second ;-) - is my need to do service for others.  I like to do nice things for people - I like to help people, and I've been that way since I was a teen.  In my songwriting - I always take care to write in a way that transcends gender - you won't find many Little Dove songs making any gender references - they could easily be about a man or a woman. As a female - I feel that writing songs that way is important, since many people have this idea that females should write things that are "pretty" - I try to show that something can be aggressive and gritty and raw, but still be beautiful.

Most attractive qualities in people?  The ability to listen - and the ability to think things through.  Drive and passion are also huge - not everybody's belly is burning with fire - but if you find people who have that - you can consider yourself lucky.

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'm working on a jazz piano project (yes!) of all things with a friend of mine - we head into the studio next week and I look forward to having some new material to share.  We're re-imagining Jazz versions of some of my favorite rock songs.  I'm pretty excited about it.

As far as Little Dove goes - I did a single a few months back with this awesome guitarist named Yogi Lonich.  The song is called Devil's Breath. Devil's Breath is a street drug in South America - and I saw a VICE documentary about it - and it inspired a song. It's on our Bandcamp page. Check it out:

http://littledove.bandcamp.com/track/devils-breath

Follow:

Facebook:

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

Twitter:

https://twitter.com/LittleDoveBand

[youtube https://www.youtube.com/watch?v=Ju1FY3LPRco&w=560&h=315]

Bee

 

Bee is an indie-folk singer/songwriter living in London. She grew up in Guildford, where she spent her free time dancing, singing and acting, having attended Italia Conti, Guildford School of Acting and the Academy of Contemporary Music. While at university Bee took up the guitar and began writing her own music and performing. She has continued ever since; recently at venues such as The Bedford in Balham and Dingwalls in Camden. She competed in the regional finals of Open Mic UK, was featured on 96.4 Eagle Radio and in the Surrey Advertiser, Guildford Dragon and Southwest Londoner newspapers.

Bee believes that music is a way to understand or escape life. For her, it is her way of understanding and expressing it, and so lyrics and melody are used to connect with the audience. With such bright things ahead of this artist, she is one to watch.

You are from my ‘neck of the woods’ (Surrey): Are there enough opportunities (for songwriters/singers in Surrey) - what would you say to new artists coming through (to encourage them)?

Guildford is a great place for musicians.  It’s the home of the Academy of Contemporary Music which I attended when I was younger and plenty of venues which hold live music, such as The Boileroom (sic.).   I would say to new artists to grab every opportunity to perform – there’s no such thing as too much practise and I know I improve every time and it’s great to try out any new material in front of live audiences.  Music isn’t an easy avenue but we are all in it because we love it and to be able to share that is so powerful.

I love your new material (and cover versions). Any plans for an E.P. or album?

Yes! I’m planning my first E.P. at the moment so watch this space…

Your social media numbers are rising; you have played some awesome gigs (this year): what have been your highlights from 2015?

It’s been a fantastic year so far. My favourite gig was playing at the Bedford.  It’s such a iconic venue where some incredible artists have played and I was so proud to be one of them.  At the same time, the year is only half way through, and it keeps getting better.

I know you have a great range of influences and favourite artists. Which act/acts have meant most to you/inspired you to take up music?

I’ve always had a huge passion for music; it’s always played such a pivotal role in my life, and there are so many artists who have influenced me throughout my life, however, the reason I have chosen to pursue music isn’t because of a particular artist.  It is because of how happy it truly makes me and I love to be able to share it with other people.

Your songwriting seems to resonate and speak (to everyone). What influences your writing process: heartache and relationships; dreams and ambitions- what would you say characterises a Bee composition?

I write about what’s going on in my life at the time.  My songs are incredibly personal and a true expression of my thoughts and feelings.  A typical ‘Bee composition’ usually goes like this… I sit down with my guitar and start playing around with chords.  Suddenly something just ‘fits’.  The lyrics then fall out onto the page as if out of nowhere.  I usually then reflect on what I have written, figuring out what it means to me and so every time I write a song- it reveals something and helps me grow.

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

One of my oldest loves is Carole King.  Her life and talent is so inspiring and have a huge admiration for her.  I would also hugely recommend the musical Beautiful and definitely to any aspiring songwriters.  Favourite female album still goes to KT Tunstall – Eye to the Telescope. There are such beautiful lyrics and emotions in so many of her songs.  My other favourite female artist has to be Ellie Goulding - she is a great role model to all her fans and writes incredible music.

Any new female artists you would recommend?

I’m a huge fan of Lapsley and  Pheobe Ryan who are rising stars on the indie music scene – definitely give them a listen if you haven’t already!

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 have come across various people in the industry who have tried to take advantage on the basis of my being young and female; however, I don’t believe that it is any different in any other industry or sector anywhere in the world.  Unfortunately sexism is still a fact of life even in the 21st century and a topic that I am very passionate about.  I believe we are a long way off eradicating sexism and it’s necessary to keep raising awareness and standing up to the problem.  To all young girls entering the industry, it is crucial to keep your wits about you and don’t be scared to say no if something doesn’t feel right.

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?

There are certain aspects of femininity which I love: dressing up, painting my nails, going shopping; but in fact, I wouldn’t say I am defined by being a woman.  Actually, I would hope I am not defined by anything except my beliefs and values.  I believe I am constantly growing and developing and that we are also a part of everything around us.  I find the most attractive qualities are honesty, openness, integrity and most importantly, passion – that’s what keeps things interesting ;)

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…

It’s Friday night and so there’s only 6 words I have for you: "Shake it like a Polaroid picture"…

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

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[youtube https://www.youtube.com/watch?v=hPMadF5XIhc&w=560&h=315]

Abi Utley (One Half of Issimo)

 

For you (and Issimo: the duo she fronts with Marc Otway) is keeping you busy: what is life/plans like for you guys? What is coming up?

At the moment we are extremely busy, we are very lucky, we have recently shot our fan-funded music video for our next single The Coldest Queen- which I produced and acted in.  I am in the process of editing it at the moment (but we are busting at the seams to show everyone).  Shortly after its release we will be putting our first ever E.P. out there- so we are also busy preparing for that.  Plus, gigging and writing new material…

As a singer/writer you err towards positive and uplifting music- intended to get people singing. Do you worry about the amount of negative/heartbroken music about, or is it a necessary side (of music)?

Personally I love heartbreak tunes. I have a broad taste in music and enjoy Etta James, Otis Redding and Amy Winehouse- when I am alone or in a certain mood.  However a lot of the time, as you know Sam, I teach Zumba: I am hearing world sounds of Salsa, Reggeaton, Merengue and Cumbia -and it ignites a passion for rhythm in me that makes it hard for me to stand still.  Marc is an excellent pop writer and arranger, and together we fuse (our interests and create music) that hopefully takes our audience on an uplifting adventure- and gets them moving too.

Hailing from Yorkshire- a county that houses the likes of Jen Armstrong- it seems conducive to great/original music. What is it (about the county) that produces incredible music/musicians?

Maybe it’s the milk from the Yorkshire cows?  Yorkshire folk are very lucky (to have The Leeds College of Music).  Although I didn't study there, most of our musicians do or did: Marc did (as did Jen); the tutors are some of the best in their field (and the courses are intense).  I have been for the odd singing lesson and found it was the (best thing I ever did for my vocal health) and technique.

You have inspired a lot of singers/artists around the U.K. (believe me). What would you say to anyone coming through: advice on how to approach music/the business?

Hmmm, really?  Ha.  Well, I suppose, you have to be willing to work hard (that’s a given) and be very thick-skinned.

A lot of female singers have rather samey/predictable voices- yours seems very unique and stand-out. What music inspired you growing up; who are your idols?

Ha ha, may have already answered this.  I watch Etta James live videos (on Youtube) and wish I had her voice.  Growing up I was really in to Alicia Keys and Bonnie Tyler.  I suffered with nodules from the age of about 19 - and didn't sing again till I was 26.  It took me a while to find my voice: singing lessons really helped.

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

Janis Joplin, Amy Winehouse, Alicia Keys and Norah Jones- all got me through certain times in my life. Oh not forgetting Tina Turner!  I can watch her early stuff (in awe) and want to be her- an amazing woman who had to put up with a lot of sh*t (but still gave out-of-this-world performances)

Any new female artists you would recommend?

I love Steph Fraser: her voice is so soothing and her songs are ace.

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, we are getting there, though more girls are picking up instruments and becoming good at them. Inspiration and role models are needed at grass roots.

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 like to think I have a decent sense of humour: I like to laugh and like people who make me laugh and who also like to laugh.  I find kindness, compassion and reason attractive qualities.  As for qualities I desire from others?  Patience- as I can be a bit forgetful and dopey!

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…

Fans of ISSIMO: thanks you for being supportive and patient with us; sit tight it’s coming -‘The Adventures of ISSIMO’.  Hey, I am always saying check them out (but go and check out) The Cat Empire right now.  Try Still Young… turn it up full-blast and skank out- then buy the albums! xxxxxxxxx

[youtube https://www.youtube.com/watch?v=vPj1Hf6kfyI&w=560&h=315]

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[youtube https://www.youtube.com/watch?v=g3y3wtrqT84&w=560&h=315]

Emily Kay

 

Hi Emily.  I have always loved your (very unique and distinct) voice: which artists/albums have inspired that?

I was definitely inspired by older Jazz and Soul artists: Billie Holiday, Etta James, Miles Davis; and then I discovered Lauryn Hill, John Legend, Erykah Badu.  I am definitely a ‘90s R&B music fan too; so Mary J. Blige .

There are a lot of (other) young, black (and Asian) artists coming through. How important do you (think it is) to have diversity in the music industry?

My inspirations are an example of why I feel music has no age limit.  Jill Scott, Angie Stone and Erykah Badu sing with such deep revelation (on love and relationships).  It’s about the lyrics and that’s all I care about.  You have a lot of young artists coming through that are releasing commercial music (to get you moving in the clubs).  However, within a week there is a new club hit out (and I’ve forgotten last week’s song).  It’s so important to have diversity in music.  It doesn’t matter what nationality you are but do you make ‘good’ music?!

Songs like Soldier and Hold Me Closely (released last year) were among my favourite (that year). Do you see a new E.P. or album on the horizon?

Oh thank you.  Soldier and Hold Me Closely were key releases.  It was important for me to express the progress of my music (and get people excited to hear more).  Soldier was intimate- some say slightly sad- but the lyrics are real and true to life.  Hold Me Closely was popular between both men and women, as it was sensual and pulled at your heart-strings.  Of course, I plan to release an album one-day soon- maybe even release another single; in the meantime, you just have to keep posted.

If you had to sum yourself up (to a new potential fan) or provide a lesser-known secret, what would that/those be?

Oh wow this is a hard question!  Well I’m quite a private person, so no lesser-known secrets ha-ha.  I would firstly (ask my potential fan) who are their inspirations, and then I can explain where I come from as an artist.  It’s important to express to your fans your story.  My story is a simple one.  I have been on the quest for real-love, but along the way I’ve been hurt so many times (but I never give up on love).

You are based out of London (and hail from Birmingham): how important is the city (to you as a musician) - does it inspire your creative processes?

London definitely helps artists/musicians get exposure, than I would if I still lived in Birmingham.  I love the London buzz.  There are so many live gigs and events (to help new artists) and give them a platform.

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

Mary J Blige – Share My World and My Life, Lauryn Hill – The Miseducation of Lauryn Hill, Miles Davis – Kind of Blue, Emelie Sande – Our Version of Events

Any new female artists you would recommend?

Yes: Emelie Sande, Mary J Blige and Sade

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?

Of course there is a gender inequality in society (as well as) the music industry.  If you look in the work-place: how many women are company directors?  In the music industry, if you look at the iTunes chart (and count how many women are represented) vs. men.  You have female musicians out there (like myself) playing instruments- and yet this is not reflected in current charts.  The days of Alicia Keys was enough it seems.  We need to see that real musicians still make the charts- that’s why I love Rudimental.

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?

Your character defines you. It is who you are.  What will people say about me tomorrow- if (God forbid) I died today? I have a bubbly character (and I’m very emotional) and deep at the same time.  I am a strong, black woman (with love for God and things that are ‘right’).  I dislike injustice and I feel the music industry is unequal.  It doesn’t represent society- where there are still sexy black female musicians out there with class and morals like the days of Lauryn Hill and India Irie, rather than black females with a big booty and great lyrics- consuming the commercial industry.  Life isn’t fair- I understand that- but as Dr. Maya Angelou says: “You may not control all the events that happen to you, but you can decide not to be reduced by them”.  I continue in my lane- and those who relate to me- can follow my love and passion for music.

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…

This is a really good question. It would have to be the lyrics in Mary J. Blige’s – Be Happy.  Mary says “… How can I love somebody else if I can’t love myself enough to know when it’s time to let go?”/“I just wanna be so, so happy but the answer lies in me”/“I ask for the sign from the sweet Lord above I know the answer is in front of me..”  So my words of wisdom are: God first; love yourself and believe in (yourself).  You can do whatever you dreamed to do, don’t let anyone stop you.

Thanks Sam for all your love and support over the years. You support never goes un-noticed. Thank you  (Sam: had to keep that in- obviously) xx

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

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[soundcloud url="https://api.soundcloud.com/tracks/71999605" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Hannah Dorman

 

Your music is quite hard-hitting and Rock/Country-influenced.  What music/musicians do you particularly admire?  Who were your idols growing up?

I used to listen to a lot of Anastasia, Shania Twain, Avril Lavigne and Delta Goodrem.  My grandparents lived in Cornwall (which was a 5-hour journey).  We’d often visit, and during these long journeys we’d always have those artists’ albums playing.  I got to know every word, every ad-lib, and would belt them out at the age of 7 (or so).  Not that I really had much of a singing voice at the time… but I definitely had the drive and ambition!  Latterly, KT Tunstall, Kelly Clarkson and The Pretty Reckless (have played a big part in my music direction)- strong females solo artists!

You have gained a lot of great press/support (from fans especially).  Has social media played a big part in that?

Yes, definitely!  Social media has always been a huge part of my musical career and I love it.  I’m good at keeping in touch with my fans.  I’ve found it helps keep me grounded too.  When I talk to fans who have followed me since I was 15, it really helps motivate me when things feel like they’re going no where.  Knowing I have people all over the world who have followed me from the beginning and have continually supported me is amazing.  I also used Kickstarter to fund the recording of my last EP, I wouldn’t have been able to raise the money if it wasn’t for my relationship with my supporters over social media!  Some people go home and play games on their phones… I update my social media and spend time promoting myself, I get the same buzz and ‘obsession’ (if you like) as people do from games!

Few songwriters have your take on life/that unique voice.  What inspires/compels you most (as a songwriter)?

I write about stuff that’s happened to me.  You’ll find that (like at the moment) I haven’t written as much because I’m pretty happy!  But when this happens I go about writing in a different way.  For example, I wrote a song about moving house years ago- but everyone thought it was a love song, because I wrote about the life I spent there and my sadness of letting go.  You’ll find a lot of my songs are a play on words and aren’t always what they obviously sound like!  I do very well writing when I’m upset though, it’s like therapy!

It is clear you have a good bond (with your band-mates).  Are you guys brewing some new music (an album maybe?) for 2015/’16?

Yes, I’ve had a number of band line-ups, but these guys I’ve studied with at A.C.M., and they’re my friends as well as work mates.  We spent a lot of time together in the studio in May, and my stomach was aching from laughing so much.  Not only are they good guys, they’re great musicians and they get everything about the ‘Hannah Dorman’ brand- I couldn’t ask for more really!  I’m releasing something in Autumn… keep your eyes peeled.. !

If you, Hannah Dorman, could choose a perfect life, answer me this: perfect city/location?  Five albums you would take with you?  One person you (would take) with you?

City: London

5 albums: McFly Radio:ACTIVE, You Me At Six Sinners Never Sleep, Mallory Knox Asymmetry, KT Tunstall Tiger Suit, Kings Of Leon Come Around Sundown.

Person: I couldn’t choose! I have such a close group of friends and family.

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

KT Tunstall, Kelly Clarkson, The Pretty Reckless, Anastasia, Avril Lavigne.

Any new female artists you would recommend?

I haven’t listened to too many new female artists, but I’m intrigued by Tove Lo.  I’ve only listened to a couple of her songs on her album, mainly know her from her single Talking Body- but I think she’d be an interesting artist to follow over the next year or so!

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 know there was the whole thing about the Reading and Leeds line up- when someone left only the bands with females in on the poster- there weren’t many at all.  But, there are many female pop artists around and not as many solo males (that aren’t singer songwriters like Tom Odell, James Bay etc).  Then again, there’s so many male bands, but there aren’t many female-fronted bands that don’t sound like Paramore, so it swings both ways.  So I guess there’s a spot in the market for a pop/rocky singer songwriter like me, a mixture of the two!

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?

As a female artist, my music and persona is very honest, on stage, off stage, in videos or in person I’m who I am. I think that’s what defines me best… me! I think honesty and being yourself is the best quality anyone can have.

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’ve had Shut Up And Dance stuck in my head all day, and it’s a cracking tune- such a pick-me-up when you’re feeling down!

[youtube https://www.youtube.com/watch?v=nbcCG7PkI18&w=560&h=315]

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[youtube https://www.youtube.com/watch?v=NU5Hi9AwuOA&w=560&h=315]

Ruby Lane

 

What attracted you (to take up) Vintage-edged Pop- as opposed to more traditional Pop/Rock sounds?

I've been singing Jazz and Blues for over a decade so can't help but incorporate influences from those into my music, which often gives it a vintage edge without meaning to.  But also, while I love those traditional pop sounds, I just love the extra sass that comes with a bit of retro!  Vintage is timeless, and always comes back round, so fingers-crossed my music will stand the test of time too...

Your music is designed to put smiles on faces; get feet tapping: with so many (contemporaries) erring towards introspective/emotional, what keeps you so upbeat/optimistic?

Introspection is all very well, and there are so many songwriters who do a great job of making honest, emotional music, but to be honest I feel a bit of an indulgent bastard if I dwell too much on that sort of stuff.  Optimism comes much more naturally to me in my life and music.  I believe that being 'glass half-full' is a choice and it's definitely how I prefer to live my life.

Leeds is producing a huge amount (of unique and spectacular musicians). What is it (about the city) that encourages this trend?

Agreed - there's so much talent here.  The music college has a lot to answer for - it turns out hundreds of talented graduates every year, and it's testament to Leeds that it keeps lots of those graduates in the city; adding new talent into the mix so it's never stagnant.

Which artists/acts in the modern scene inspire you- and are catching your ears?

Well I love a great Electro. singer sort of act, but also have a thing for '60s-inspired bands.  I'm in the midst of a hardcore festival season, and this week I've been watching Future Islands, Blur, Temples and Teleman - all were awesome.  On my hit list for Glastonbury next week are Future Islands again (the front man is worth seeing twice), Father John Misty, Ibeyi, FKA twigs; Mr. Lionel Richie and of course George Clinton and Parliament, Funkadelic and the Family Stone.

Any plans for new material: a new album or E.P. for 2015?

An E.P. is in order for this year I think!  I've got a ton of songs ready to go which is exciting - I've never had songs to choose from before!  It will include the couple of songs already on YouTube as well as some fully finger-clicking full band songs, which have more of a '50s twist.  It'll be ready before my birthday in November if it kills me.

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

Ella Fitzgerald and Nina Simone inspired me so much.  I learned every lyric, every inflection, researched the back catalogue, and I never stopped being amazing by their talent.  More recently Amy Winehouse, Caro Emerald and Lianne La Havas get massive kudos from me for all they did to bring Jazz and/or Swing into the mainstream.  And Lianne just because I love her too much.

Any new female artists you would recommend?

Ibeyi are top of my list of recommendations.  They're twins, French-Cuban, but they sing in a mixture of English and Yoruba, an old Nigerian language . It's sort of Electro. meets Afro-Jazz, super chilled and interesting - love it.  Also, not so new now but anyone who hasn't checked out Agnes Obel must do.  Especially live - her band of gorgeous string playing goddesses must be seen!

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's definitely gender inequality in music.  It's just an amplified version of the problems in wider society; women are sexualised and objectified, a pretty face to be looked at, and with expectations of how we should look, act, dress.  So we're stuck with a problem: do we play the game and dress in the sexy way audiences expect to make sure we get ahead?  Or do we eschew the norm, cover up, and make a stand?  I'm not sure we're ready for the latter but that's what should happen, and we, the audience, need to be prepared to look past it and seek out the talent, not just the sexy women..

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?

What I hope defines me are energy and good vibes!  In life and in music, or at least that's what I'm going for... I love adventure and that's what I look for in others - people who are full of energy, and general up-for-it-ness.  I also find an instant friend in anyone who loves cat gifs.

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…

It's too hard to pick a favourite song but listen to Age by Lianne La Havas right now!  It's so simple and has the straightforward, straight-talking narrative that I like - and is sassy as fuck.  And once you're finished with that, put on Kiss Me Quick by yours truly.

@rubylanemusic

Ruby is a singer-songwriter, lover of all things soul, jazz and blues, and vintage addict. She been singing for a couple of decades and writing music for at least one decade, performing as herself and also previously as one quarter of female barberpop group Scarlet Street.

Described once by BBC 6's Tom Robinson as sounding like 'a northern Lily Allen meets Ella', she has shared stages with the likes of Ruby Turner, Mark Knopfler and the Sugababes. She trained at Leeds College of Music and frequently supports feminist and LGBTQ causes.

Ruby's songs take inspiration from her misadventures in love and sex, are always finger clicking with an optional hint of sauce, with frequent winks and infrequent sentimentality.

A new E.P. is on its way in 2015

[youtube https://www.youtube.com/watch?v=xcvL0wrHM1s&w=560&h=315]

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[youtube https://www.youtube.com/watch?v=fgW-_cQuY0w&w=560&h=315]

Track Review: Elena Ramona- Happy Song

TRACK REVIEW:

Elena Ramona

 

Happy Song

9.5/10.0

Happy Song is available at:

https://soundcloud.com/elenaramona90/happy-song-demo

RELEASED: 18^th May, 2015

GENRES: Pop

IT is always great revisiting an artist …

who keeps producing stunning results.  Too many musicians/new acts (last a short time); the quality starts to drop- finding acts that evolve/improve is very rare (indeed).  Elena Ramona (has had a) busy 2015: some prestigious gigs; news songs- plans for a future record.  As this year propels into gear, Elena releases Happy Song: her most urgent and instant song to date- a tantilising glimpse (as to what) a future release could contain.

Beginning with a wordless vocal- a skyward paen- a spoken word snippet unfolds (strangely “lift going up” are the words uttered).  Knowing the background to the song- the pleasures of working life; the daily routine- (those words) makes more sense.  Adding a heavy (electronic) beat into the mix- an undertone of Dub-Step and Grime- the song mutates and develops; Elena’s voice snaps and cracks- almost providing a Rap-like delivery.  On the mic. she lets reality speak (“I’m 25/I’m still alive/Working that nine-to-five”) - almost seeing resigned to the fate (of the day job and all its pains.  There is a palpable sense (of wanting to break free); trying to fulfil her dreams- trapped inside a humdrum/undesirable life.  Backed by funk-laden vibes (and a bouncing, insatiable beat) Elena’s voice rides and rules: wracked by anxiety, our heroine wants to take a shot at stardom- break away from (the unhappiness) of the here-and-now.  Making the most of her lot, (Elena Ramona’s) Happy Song will get the customers (of her workplace) singing- whichever floor they are on; wherever they are.  I know how much Elena loves her colleagues and home; the work she puts in- she has a lot of fun/adventure (at her workplace).  Her ambitions and heart belong to music; she wants to make it her living- that ache and yearning comes through (in every note).  Propelled by the beat, Elena’s voice is sharp and gripping: every word (and line) hits the mark; her passion and talent lift the lyrics high (and makes you imagine her every move; happily tripping the shop floor; smiling and singing- lost in her daydreams).  The chorus is one of the most memorable (I have heard in a while): simple and unforgettable, it is sure to be a crowd-uniter: that which demands chanting; designed to get the masses singing- a pure and direct delight.  Elena Ramona’s quirkiness and personality comes out- her way with words and imagery; her subject matter; charming little vocal moments (giving the listener an insight into her working life).  Having reviewed her before- two E.P.s and other songs- she has grown and strengthen- her voice is stronger and more confident (than I have ever heard).  Happy Song is a triumph for Elena Ramona: incredible songwriting, a passionate vocal- a track that is hard to ignore.  This year has seen (the young artist) dream and perform; surprise and desire- it cannot be long until she is a household name.  If Happy Song is anything to go by, one thing is for sure...

IT is her time to shine.

[soundcloud url="https://api.soundcloud.com/tracks/206080437" 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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The Good, the Bad, the (Very) Ugly.

The Good, the Bad, and the (Very Ugly).

 

THE past few weeks have been quite ‘eye-opening’…

As I type this my legs are below-functional (and in need of a rest); it has been humbling (and touching) to get some great feedback- after doing a run (albeit a long one).  I have been pleased by the donations; the outpourings and support- some great people (making me feel very good about myself).  That is one of the best things about life: there are some sweet and wonderful people; humans that have a lot to deal with- yet show nothing but politeness, caring and sweetness.  I am not an overly-cynical human: not someone who (thinks little) of everyone; tars the world with the same brush- I know there are some incredible people out there.  It is those (people) that make everything better; inspire average humans (to do great things) - deserve nothing but good.  Life is a learning curve: I have many faults/downsides- which I desperately want to neutralise and overcome.  I would like to think that my ‘good points’ compensate- and anything less-than-great is, at the very worst, a minor flaw.  Great people make everything more palatable: they give you a safety net; an open heart- if things get bad, they (are there) for you.  To all of those people- across Facebook and Twitter; who I know personally- I have nothing but praise and thanks- keep being who you are.  They/you are the reason I keep pushing: determined to (try to) do as much good as I can- and make (however small) changes in the world.  When it comes to mankind; there is a discernible flip-side.

Maybe it is geographical bad luck (I shall refrain from naming-and-shaming/bad-mouthing when I was born/work), but my heart has sunk: what the hell is wrong with people?  The ‘anonymous’ area/areas contain some great people: lovely souls with big hearts; some truly decent examples- the trouble is, they are dwindling in numbers.  What I am seeing (more and more) is something rather distressing: that sense of entitlement; the superiority complex- another term for utter stupidity; selfish lack of altruism; a shocking sense of arrogance and selfishness.  Aside from the not-specific-to-this-area idiocy- the insanely terrible drivers; the gormlessly pedestrians; the sheer lack of manners and common decency- there is something very specific (to where I am): people who feel superior (and have nothing to feel superior about).  London has a reputation for being cold and inhuman- such a vast city is going to feel impersonal and frenetic- yet there are terrific areas: great spots with tremendous people; London has many upsides (that justify its schoolboy issues).  When you live (in an area/town) with none of those benefits, then what is left?  I see (too many examples) of people providing snootiness/arrogance towards the needy- the times I have seen Big Issue sellers offered sarcasm has enraged me.  All the great people (who do great things) are being drowned out- by the growing masses of ignorant/unkind/plain unspectacular.  There is a ‘plus side’, I guess:

When my current job ends (in two weeks) - aside from some local bar work- there is motivation: get out of the (let’s face it, soul-crushing) office environment- do something TRULY worthwhile.  Being dedicated (read: obsessed) with music and charity, the dream would be this: split work between D.J.-ing and music publicity; setting up a charity (and working in the community) - some songwriting/recording among this.  London is the dream destination (to begin with), with a view of (in a few years) moving further north: perhaps spending some time in the U.S./Australia- spending time seeing new places.  Buildings and scenes do not define a community: people do.  If there is (ample but) uncaringness and stupidity, then you have to get away- after doing something proactive.  It is not well enough to just sit back (and accept the way things are).  Even if people don’t want to change their bad ways (and most do not), you have to try- drill some common humanity into them; stop them being so arrogant/despicable.  The world has enough issues/horrors in it (some man-made; others natural) that are suffocating us- from cancer and illness to gun violence and racism.  Human beings should be edifying the planet; tackling injustices and horror- thinking about the larger world.  People that think of others (and are socially conscious) are the best kind- not just contended to selfishness consider their own (rather beige and humdrum) selves.

The point of this blog (there is one: it is to thank the best of you) is evident: the very special/kind humans will rule out- those that (will be noted for nothing).  It is good there are options out there- countries and counties with masses of lovelies- and reasons to not give in: manners and humanity is VERY cool- not something that should be taken for granted.  To those people- I have seen being abusive/mind-numbing/horrendous (too many of you out there) - then get your act together: the world does not have room for (people like) you.  The point of life is to embrace the best; those that take the time out for others- and being spectacular.  Thanks to everyone- lately and historically- who have been there; supported things I do; given my impetus to keep going- and follow their examples and…

KEEP showing them (how it’s done) x