Track Review: Mrs. Skannotto- The Outlier

TRACK REVIEW:

Mrs. Skannotto

  

The Outlier

9.4/10.0

The Outlier is available here:

https://www.youtube.com/watch?t=12&v=jxt668oTC3E

RELEASED: April, 2014

GENRES: Rock-Ska; Punk; Reggae

ORIGIN:

Rochester, N.Y.

AFTER assessing Brooklyn-based act The Falling Birds (yesterday) it is…

time to step across New York- and over to Rochester.  Whilst Brookyln’s The Falling Birds provided a slice of ‘60s Rock-cum-Blues (with their single Sweet Things That Kill); today I am looking at Mrs. Skannotto- a band that differs in quite a few ways.  I shall get to that soon, but for now, there are a few issues (that need discussing).  New York is among the most productive cities- when it comes to great new acts—and is showcasing some wonderful acts.  In my previous review, I compared (the U.S.) to the U.K.: the two nations are stamping out some terrific music; the U.S. is slightly ahead of the game- when it comes to the overall quality.  I am amazed by the range of sounds and genres being explored; the types of artists you can find- the U.S. is a fascinating area to behold.  Whether it is the larger population (we are a smaller and less populous nation) or the diversity of geography- between the 50 states, America is a lot more varied- but one thing is for sure: more eyes should be trained here.  I know people who are emigrating to the U.S.A.: favouring the crowds and opportunities; there is a lot more lure for the new musician- a better way of life perhaps.  Maybe it is the crowds that attract people; the fact (that the U.S. is a richer nation) or something else- it is a tempting life.  I am aware new acts face the same struggles British ones do- with regards financial stability and recognition- but there are benefits to the American way: chief among them is the range of opportunities.  Large and influential venues; a host of wonderful and supportive musicians- it is a much more ripe and stable music economy.  Out of this, fantastic music arises: New York is feeling this prosperity; among its five boroughs (some of music’s best) are being spawned- I am fascinated seeing what N.Y. is summoning up.  Before I step away from U.S. music- to interview too brilliant female artists (one Maltese; the other German), I am pleased to discover Mrs. Skannotto:

Joe Harmon - Vocals Mike Frederick - Guitar Justin Lloyd - Trumpet Dan Carter - Bass Evan Dobbins - Trombone Alex Bochetto – Drums

“Rochester, NY alternative ska/rock outfit Mrs. Skannotto is a band that's hard to classify. Their distinct sound reflects the eclectic musical backgrounds and styles of each band member.  Vocalist Joe Harmon explains, "We spend a lot of time trying to explore the boundaries of what genres like ska, reggae, rock and punk can do, mixing in elements of jazz, funk, and classic and progressive rock. We all have a wide range of tastes and influences, and bring those influences in to the writing process and our performances.”  Originally formed in 1998, the current lineup has been together for 4 years. The band's commitment to touring has kept them on the road for much of that time, and it's paying off. Harmon says, "We've learned a lot about playing and writing with one another since this lineup first came together. We keep getting tighter as time goes on."  Mrs. Skannotto is currently holed up in the studio at Hope Alive Media in Farmington NY, where they are reuniting with audio engineer Matt Goodwin and sound mixer Matthew Saccuccimorano, who they worked with on last year's 'Outlier' LP.  When pressed for hints as to what fans can expect from the new record, bassist Dan Carter says, "I'd say the focus will be on tight compositions, and further developing new ground explored on the last album. The music itself is different. We keep evolving musically."  Mrs. Skannotto will announce spring/summer tour dates soon.”

Although The Outlier is an ‘older track’- their L.P.’s title track was released last year- I was keen to introduce the band; get people aware of their music- as there are no movements mooted.  When a new release does come, I am keen to jump on that; the Rochester-based band is among the most engaging and innovative (in the U.S.).  The way they fuse genres; skip from one to the other- whilst keeping their unique voice- is to be applauded: few acts are as daring and bold; few can handle such a move- Mrs. Skannotto are fearless and striking.  I am not sure where they name derives- it has been bugging me for a while- but I am impressed by their entire make-up: their official website is informative and full; they have a huge spread of (music-sharing/social media) sites; their music is bold and stunning- a band that deserve long-term affection.  Having been formed in 1998, the New York band has survived the hurdles of music: they are clearly dedicated to their craft; have a dedicated and loyal fan-base- and intent on making music (for many years to come).  Whatever they have planned for this/next year; whether an E.P. or album is mooted- I suggest you keep your ears to the ground.  The U.S. media has latched onto their merits; we in the U.K. are less familiar with them- I hope that soon changes.

It is pretty hard to compare Mrs. Skannotto with anyone else: I cannot think of any other act that does things like them.  The best thing one can do is compare the band with themselves- see how they have grown and developed.  Burning Inferno of Fire was released back in 2002- seems like an age, doesn’t it? - but showcased what a band they are.  The title is not a boast or misdirection: it is indicative of the music contained within.  From the very first track (Just a Game) the band are off to the races: a Ska-Reggae fusion that witnesses the band in full flight; a delirious little song- something that remains in the mind.  Tracks like Ordinary Girl continue this sound- this track looks at love and its realities.  White Man on Vacation and What I Wanna Be are among the album’s highlights: they show the band at their tightest and most striking.  Their debut tended to stick with one sound/projection: that Ska-cum-Reggae vibe; trumpets featured (in most tracks) and the boys crafted their identity.  Bet You Didn’t See This Coming was released a few years later (in 2006) and saw a sea-change- with the introduction of heavier sounds.  Although not a complete about-face, there was a leaning towards Rock.  Songs like Some Dude rocked harder; saw the band step into new arenas- and widen their spectrum.  2010’s The Long Dark Road augmented and emphasised this: not only were more heavy edges instilled; the band sound tighter and more confident here- the songs more vibrant and stunning.  Girlfriend is s stunning blast; a song that never relents or slows its pace.  Get Off the Fence- as is customary to an extend- starts with a brief (Rock) blast- before heading into Ska territory.  Although Mrs. Skannotto will always be about Ska/Reggae (at their heart) they have started to become a little more urgent and direct- each new release sees the songs get harder and more insistent.  All These Evolutions (released two years ago) the album is more mature and serious- than previous releases- and sees the band tackle the modern world- from politics and the state of the nation; through to personal relationships.  More catchy and impressive- the hooks and compositions are more detailed and complex- the band hit their peak here.  Following on from that triumph, the boys stepped up to top gear: Outlier sees them change skins; up the ante- and present something wonderful.  Whereas previous cuts have featured mostly Ska and Reggae vibes- a lighter touch on most tracks- here they are harsher and angrier.  There is that shift towards guitar-heavy sounds; they have not abandoned their ethics.  If anything, the ‘new direction; works wonders: their music (on this album) is their most ripe and receptive; the songs are more nuanced and stunning- adding Grunge vibes into their melting pot.  Tracks like The Zealot put you in mind of Nirvana and Foo Fighters.  The Losing Side is more teasing and slow-burning; you think it will erupt in sea of strings- before the trumpets cut through the mist.  Entropy is a magisterial and upbeat swagger: a song that sounds like a carnival standard; designed to get people united.  Mixing Salsa and Ska, it is an insatiable cut.  Games Without Frontiers is a swansong with a kick: a dazzling little song that perfectly brings the album to a close.

The band have matured and developed with each new album/release.  The songs have become more confident and assured; their performances more commanding and passionate- their range and sense of ambition heightened.  The biggest change is the complexity and compositions: they have become fuller and more intelligent; by introducing new sounds and ideas, their music is fuller and more electrifying- highlighted on their latest album.

Having experienced Mrs. Skannotto’s previous output- and knowing their sound quite well- I ‘sort of’ knew what to expect- when it came to their track, The Outlier.  A few quick blasts (of guitar and drums) and my expectations were turned on their head: the sound is very much a mixture of Punk and Grunge; little bits of Classic-Rock in the mix.  Without trumpets and anything elliptical and flavoursome; what you have it an intense and hard-pushing rattle: an introduction that sweeps up the feet; takes the breath by surprise- and knock the senses into hyper-drive.  The initial moments put me in mind of (the likes of) The Offspring and their ilk- although my ears may be way off- and there is a catchiness and addictiveness (to the opening notes).  The vocals rush in charged and determined; filled with venom and direction- our hero is in no mood to compromise.  The initial lyrics have oblique edges; you are never sure what is being referenced- opening line “I’m gonna wait ‘til the moment comes” is an open-for-interpretation sort of thought.  Essentially, the guys have gone straight in with the chorus: usually bands do verse-chorus-verse; it can be predictable- here, we launch straight into the chorus; taking the listener by surprise.  Trying to catch your thoughts, the words tumble and savage; the band are tight and focused- the initial thoughts are thrown with little abandon; no time for reflection and pause.  In my mind, our hero is talking about a revolution; taking a chance to rise up- perhaps the fervency of the vocals influenced that thought.  By the end of the first verse (well, chorus really) there is an interlude of brass: it parps and parades with like a headless chicken; it dives and swoons- creating something both head-spinning and uplifting.  Not just a chance for a break, the musical parable is fascinating in itself: emotive and scenic, the band demonstrates how seamlessly they can shift- going from full-on snarl (to a more composed refrain) in the space of seconds.  When our man is back at the microphone, his thoughts turn to politics (“What’s that you’ve signed? /Are you out of your mind?”).  Perhaps we are looking at love and marriage?  That sense of ambiguity makes the song fascinating and compelling: my mind always treads towards the first interpretation.  The subject/subjects have wasted sovereignty; wasted opportunities and compromised integrity- patience and pride have been evaporated.  That chorus soon swings back in- with the added interjection of “I don’t want to hate what I’ve become/I’ll wait ‘til the war is won.”  Those images of politicians selling-out; wars being waged- and the population revolting and reveling- gets inside your head; the direction of the composition/vocal moulds your thoughts- and gets you in that mindset.  Whether perturbed and disgruntled by political in the U.S. - or overwhelmed by the state of the world- the band deliver a hailstorm of fire; a fast-talking riff that propels the lyrics forward.  What the band do is split the song into two: the verses have trumpet-laden spirit (tied with anxious lyrics); the chorus is guitar/drum/bass-led and more direct.  The effect is neither predictable nor boring: you are constantly fascinating and intrigued by the formation; your body and feet never stop moving.  The song looks at alliances and allegiances: the insanity of pairing up (with venomous allies); boycotting reason for something less pure and rational- leaving the country is jeopardy.  Once more- and as the song continues- half of my brain goes towards love and friendships: perhaps a broken romance is being assessed; maybe a former friend is being given a dressing-down.  The lyrics are intelligent and deep; simple and direct- a lot of attention and thought has (gone into them).  As hooked-into the verses as you are, it’s that chorus that really hits home: it is quotable and sing-along; smashing and stunning.  In terms of definition, an outlier is something that lies outside the main group (for example an island distant from a group; a cow separate from the herd).  When thinking about the song, the word could synonymise dislocation and loneliness: feeling separate from the government; left in the dark and exposed- this can also be applied to relations and broken friendships.  Thought-provoking and constantly engaging, the song does what it sets out to do: it gets the listener thinking and supporting; attacks its subjects impressively- and makes a valid point to boot.  Towards the final stages, the song starts to calm and restrain: trumpet bonds with guitar (they tango with one another); the band create a musical line that is complex and emotive- something upbeat and peace-making.  Reggae/Ska-tinged, there are stabs of guitar: it keeps the listener on their toes and always second-guessing.  With one further introduction of the chorus, the song comes down to land- and lands with a bang.

Filled with vivid images and vital messages, The Outlier is a song that fascinating and compels the mind.  Whatever your interpretation- and whatever the song actually symbolizes- there is a large political objective.  Images of war and back-stabbing; poor ties and deceit are laced in: few can ignore the passion and genuineness of these lyrics; the way they are delivered.  That authenticity is in no small part down to the band themselves: the performance is consistently excellent and spellbinding.  When the band are heavy and domineering (in the chorus especially) you can hear that passion and determination.  When the trumpet comes out; the mood starts to relent slightly- and something less rushing comes in- and they sound effortless and natural.  Lesser bands would struggle to blend (two rather disparate) strands into a cohesive whole: Mrs. Skannotto are masters of their craft; they weld their instruments, lyrics and expressions with no issues or gaps- everything is tight and stunning.  The brass performances (trombone in addition to trumpet) give the song a great sense of energy and lightness: making sure proceedings do not get too heavy and foreboding.  Exceptionally delivered, the brass gives the song heart and smile; mingles perfectly (with the other instruments) to give the song its unique edge.  With the bass guiding the song forward; keeping it on the straight and narrow- and injecting a lot of melody, force and rhythm into things- it commands with distinction.  The guitar work is exciting and jostling throughout: whipping up plenty of anger and attack, they never sound too forceful and directionless- the riffs and guitar lines add huge weight and direction to the track.  With a percussion sound that not only blends with the rest of the band- and supports the other players- but stands in its own right; you have an exceptional band here- playing at the height of their powers.  The lead-off track from their Outlier album; The Outlier is an anthem for the modern age: a contemporary and ever-relevant theme; it is a song everyone can relate to- and everyone will be deduced by.  A lot of bands- when they dabble in politics and these matters- can come off a bit short.  For every American Idiot (some would argue that album is filled with irony) there is Drones; for every Bob Dylan there is a, well...every other political singer.  Mrs. Skannotto have a voice that needs hearing; words that need to be aired- the way they complete this is impressive indeed.  Their lyrics are not ironic or cringing; they are not disingenuous and cloying- they hit the mark and do their work.  If you have not investigated The Outlier, then I suggest you rectify this now- a song that deserves a huge audience.

Having just played Spokane (in Washington) the boys head to North Carolina and Florida: far from home, they are taking their music across the country; checking-in down south- taking their music across the land.  It would be good to see the band come to England- I say this about every foreign act I review- but I mean it: their sounds would be welcome here; we have few bands like them- it would give influence and inspiration to our up-and-comers.  The Outlier is not a typical Mrs. Skannotto slice: if you hear this track alone, you get a false impression- it is not the ‘true sound’ of the group.  The best way to understand the boys is by investigating their back catalogue- and their L.P. at the very least- to get a true representation.  When you come away from listening (to their music) there is that feeling of happiness.  When the band are heavier and pressing- like they are on The Outlier- there is no sense of suffocation  or divisiveness- the band always make music to unite the masses.  Before I conclude, it may be worth mentioning the band as a whole: where they are headed now- what is next.  Their last L.P. came out last year; at the moment they are touring- would be pleased of a rest when they are done.  In addition to taking in- the splendours and many landscapes- of the U.S., when they finish touring, the band will have to make a decision: will they create a new L.P. or E.P.?  Outlier was celebrated and championed upon its release; the fans and public took to it; the range of sounds was amazing- an album that resonated hugely.  It would be great to hear a new album from them; maybe an E.P. in the meantime- I guess new music will be (on the band’s) minds.  It is not the band’s sheer energy and passion that grips- although that is one of the main assets- but their diversity and genre-fuse motifs.  A lot of acts- that walk the line between Ska and Reggae; Rock and Indie- tend to come off as forced and insincere- not the case with Mrs. Skannotto.  When they are in hot-and-heavy territory, their sounds are exhilarating and blinding: it reminds you of the legends of Rock; among the best contemporary sounds- few bands can pen a riff like them.  That said, when they introduce trumpets and a more jubilant tone; then you get a completely different experience- something upbeat and swinging; it catches the brain firmly.  Few bands are as replete and commanding; the New York band does not rest with one idea- their music changes course and projection; they like to subvert expectations at every turn.  What you get is a band that has a long future ahead of them- hardly a surprise they have survived (and flourished) for 17 years now.  If you are not familiar with them; have not heard a single note- now is the time to do so.  In the U.K., we have a few ‘diverse’ bands- that can integrate genres and styles- and consistent talent.  To my mind, Mrs. Skannotto are among the most impressive bands out of the U.S. - definitely keep your eyes alive.  What the next year has in store is anyone’s guess- of course; touring will be among the top priorities.  I do hope they release a new L.P. - although that will take time to craft- as there is demand a-plenty.  For now, investigate the wonders of Outlier; check out The Outlier (and its incredible sound) and follow the band closely.  If we ask nicely enough, they may…

COME and play Britain.

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Follow Mrs. Skannotto:

 

Official:

http://www.mrsska.com/

Facebook:

https://www.facebook.com/skannotto

Twitter:

https://twitter.com/mrsskannotto

SoundCloud:

https://soundcloud.com/skannotto

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Music:

http://mrsskannotto.bandcamp.com/

 

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Videos:

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

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Gigs:

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

Track Review: The Falling Birds- Sweet Things That Kill

TRACK REVIEW:

The Falling Birds

 

Sweet Things That Kill

9.7/10.0

Sweet Things That Kill is available at:

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

RELEASED: 12^th August, 2015

GENRES: Rock ‘n’ Roll; Blues; Rock; Grunge

ORIGIN:

Brooklyn, New York

FOR the next two reviews I will be pitting…

two New York bands against one another.   In a couple of days I am focusing on Ska/Rock band Mrs. Skannotto (such a cool band name: no idea what inspired it) who hail from Rochester: located in Monroe County; it is dubbed ‘The Flower City’; notorious as being one of the most idyllic parts of the U.S. (topping lists as the most desirable areas of the country) - its population is varied.  Split between white and black- about 40% of each, there is also a strong Latino population- Rochester itself is flourishing and nourishing community; one of the most sought-after parts of the U.S.  Mrs. Skannotto’s Ska-cum-Rock motifs- whilst not indicative of Rochester itself (not sure how you would simulate that musically)- is fitting with expectations: with acts like Polar Bear Club, Sirens and Sailors (calling Rochester home); Mrs. Skannotto are among the very finest- showcasing a direct and urgent style of music; a band with a huge future.  The Falling Birds emanate from Brooklyn: the most populous of New York’s five boroughs, it is also one of the most notorious.  To be fair, my knowledge of Brooklyn doesn’t extend beyond the comedy (the exceptional Brooklyn Nine-Nine), yet ‘Kings County’ has produced some of the world’s best music- from the likes of Grizzly Bear and The Drums, the borough is a hotbed for musical talent.  With a similar race/ethnicity breakdown, Brooklyn is perhaps grittier and more notorious (than Rochester) - the two areas are not that far apart; in terms of the bands and acts they produced.  At the moment, Brooklyn is the more diverse of the locales (taking the first round perhaps): The Falling Birds are a true Rock ‘n’ Roll band; heavy and hard when they want to be, they have plenty of range and surprise- a band that can shift tone and emotions within a line; are among the most arresting and memorable acts in the U.S.  Before I continue on- and raise another related point- let me introduce Brooklyn’s The Falling Birds to you:

Stephen Artemis - Guitar, Vocals, Harmonia David Burton - Drums Nick Albury - Bass

“Grungy rocker”, “blues infused”, “country with a whiskey roughness”, “punk too limiting”, “melting pot of American music” are just a few of the adjectives music critics use to describe The Falling Birds. Their musical range, creativity and instrumental skills defy easy categorization. They are consummate storytellers. They spin tales of joy and heartbreak, honed in the cauldron of life growing up in Albany, New York and the rural Mohawk River Valley observing first hand their inexorable economic and social decay. Principal songwriter Stephen Artemis absorbed Albany’s punk scene and upstate farm culture which formed the foundations of his song writing. “When I lived in the country, radio reception was limited to three stations, country, classic rock and oldies. In order to connect to alternative material, I had to create it myself” he said. It was during this fundamental coming of age when Stephen witnessed the insidious decline of New York’s northern Rust Belt. The experience profoundly impacted the subjects and characters that define his work. Years later building his musical career and reputation in New York City and keenly aware of the incalculable disparity coexisting in that remarkable city Stephen began incorporating these experiences into his songs. In 2011 Stephen met band mate Dave Burton, drums, and the first incarnation of The Falling Birds was born. Nick Albury, bass, joined in 2013. Each had left home in search of a more fulfilling life, but found life even more challenging in the Big City. The aftershocks of America’s Great Recession were still in full bloom and working multiple jobs made concentrating on their musical style extraordinarily difficult. To compensate Stephen began to workshop his songs on New York’s streets and subway platforms earning the hard way performance experience and pocket change. He calculated that if he could entice New York’s commuter warriors for even a few minutes, he might just have a sound that would attract a larger audience. The trio began writing songs that reflected their life stories and provided the inspiration to overcome the relentless grind of the City. The years of frustration and longing came to life in songs as emotional and chaotic as their lives. They learned the painful lesson that no meaningful art is produced without pain and the joys and disappointment life serves up. Instead of shying away, they embraced those experiences to create a sound uniquely appropriate to the times. Soon their shows attracted a loyal and enthusiastic following. They described their performances as a musical conversation, a place where each instrument speaks in a distinct voice. Their songs range from melancholic - stories of loss and longing - as well as rowdy that exude a heavy blues riff. The Falling Birds sound, as their name implies, is a fearless launch from the nest into a hopeful expectation of flight that is at once disturbing, compelling and ultimately optimistic. In 2014 The Falling Birds released their first EP, “Native America”, a five song chronicle of their experiences and musical influences. “Native America” received significant favorable reviews from independent media which led to their 2015 follow up, “Till We All Fall Down”, which will be released this coming fall.”

 

The band have absorbed a range of colours: the shades and contours of their idols- the gods of music past- and their geography; the people they grew up with- what you get is something both old-sounding and fresh; genres mix and trip (in and out of one another)- everything from Grunge and Blues to whiskey-soaked Folk and Rock.  The Falling Birds are doing business in a borough- and state for that matter- with a lot of healthy competition- New York is one of the most populous musical areas; the fierce competiveness has not bothered them.  The boys sound effortless and cool in every moment; their songs have little anxiety and fractious emotion- their songwriting is unimpeded and free from critical expectation.  Although their latest cut- that promise sweet things can kill- the band are always in control and ice-cold.  Whilst the U.K. is producing its fair share of Rock bands- acts that can kick through concrete- the U.S. is edging ahead- and showing a greater sense of range and emotion when they do.  We have some Falling Birds-type bands here- that lace together Blues, County, Pop and Rock- yet none with the same sense of fervency and authority.  Authentic and hungry, Brooklyn’s stunning trio is gathering a huge momentum; their reputation is growing- their fan base swelling by the week.  With Sweet Things That Kill picking up some prestigious reviews and press, things are looking good- watch this space…

If you are new to the group; wondering who inspires them- they list their influences thus:

“Mr. Hendrix, all the stones, Mr. Dylan, Mr. White, fellow birds The Black Crows, Chris Robinson, our brothers and sister across the pond in a Band of Skulls, NOFX (Mike sucks), the Sex Pistols, of course Kurt, the 60's, the 90's, yeah I guess the 70's too, don't forget about all the delta blues boys, are you still reading?, buy our albums please, and Mom & Dad.Song.”

That melting of U.S. Blues-Rock, Psychedelia and Folk- and essentially every other style/decade of music- is a good starting-point.  Their latest single has elements of ‘60s/’70s Blues-Rock; smatterings of traditional Blues music- elements of The White Stripes.  As it crackles and reaches fever-pitch there are touches of The Doors- that same magnetism and animal lust (displayed by Jim Morrison).  Traditional and modern; uniting disparate strands of ‘40s Blues (with ‘90s Grunge), the band cover the spread- not to be compared with anyone else.  They are a very unique and startling group: there are elements of other acts; you would be foolhardy to draw another name to their shore- The Falling Birds should be judged upon their own merits.  With comparison to their previous work, the guys are on the top of their game: Sweet Things’ is their most enlivened and scintillating slice (to date).  Native America E.P. was their previous work- recorded a year ago- and the first full introduction to the band.  A five-track collection, the songs are as striking (as the E.P. cover) - a stunning design that intrigues the mind.  Darling is a Grunge-laced, lo-fi diamond: scuzzy and swaggering at first, elements of Punk come out- putting you in mind of The Clash and Sex Pistols.  Cocksure and masculine, the vocals have bare-chested intentions; the composition is tight and gripping- the band are in-step and in command.  If Time Allows is more soothed and gentle: beginning with acoustic strings, the track offers respite and reflection- a chance to see the band’s sensitive side (and our lead’s adaptable and stunning voice).  Country/Folk-influenced, it brims with the ghost of ‘60s Dylan- harmonica at the ready, it has shades of Dylan’s mid-‘60s output.  Arms Out Wide and Dead Man Walking get the E.P. back in ‘heavy’ territory: the former begins like a haunting showdown- two pistol-slinging backs together; taking steps into the desert sun.  Slinking into Tarantino/Surf-Rock territory the song has ounces of cool and sparkle- it explodes into life and clatters with abandon.  Dead Man Walking has a similarly fascinating introduction: more Blues-Rock in sound, it is a leather jacket-clad rocker: imagine The Rolling Stones (circa-1968) spliced with The Black Crowes.  New York Love Song—the E.P.’s swansong- takes things to a seductive close.  Bristling with passion and tenderness, the harmonica leads the swoon- a passion play unfolds.  Largely instrumental, it is a time for reflection and settlement: take the E.P. to a natural close; allow the listener chance to think.  It completes an authoritative, jam-packed and mesmerising E.P. - few bands have come in this strong and bravely.  Borrowing sounds of the ‘60s and ‘70s- with some ‘90s/’00s Grunge and Blues-Rock- it has an evocative and nostalgic feel; the modern edges are all there- making it sound contemporary and fresh.  What comes through is the band’s individuality and personality: there is no mimicking and tribute act at work- they are their own force; a band with their own skin.  Huge and impassioned vocals sit with wonderful compositions and varied themes- backed by a lo-fi and ‘live-sounding’ production.  Sweet Things That Kill- and one suspects their ‘Til We All Fall Down E.P. - is the band at their peak.  Showing some continuity- fans of the band’s previous E.P. will find familiar themes- yet the guys are more urgent and emphatic here.  The production is a little cleaner and crisp; the riffs bigger and more nuanced- the aftertaste sweeter and more addictive.  It is hard to improve upon something (as treasured as Native’) yet the boys are ripe and receptive; fully up for the challenge- keen to keep the quality but naturally evolve.  Old fans will love their new movements; new listeners will find much to love- the trio sounds in love with music (on Sweet Things’); finding new inspiration- putting fresh sounds into the pot.  I guess their new E.P. will see Blues-Rock sit with ‘60s Rock and Punk- on their lead-off track, there is that definite nod to ‘60s/’70s masters- Hendrix and The Rolling Stones for sure.

Beginning in a flurry if Blues-Rock magic- where strings twang and swagger; the mood shimmies and puts on its drinking trousers- Sweet Things That Kill gets underway.  Done in the most exhilarating- yet strangely subtle and restrained way- the listener cannot help but be pulled-in- and captivated by early promise.  Arriving at the microphone; voice whiskey-soaked and lascivious; eyes trained and set- our front-man lays down his testament.  An anonymous (and rather femme fatale) figure is investigated: whether an ex-girlfriend- or else a friend- she is “so bad”- the song’s title (and sweet thing that kills).  In the early exchanges the guitar/bass/drum interplay has a traditional Blues/Blues-Rock template- an updated version of a Blind Willie McTell/Son House riff.  Chugging and fist-pumping; foot-tapping and determined- it is a catchy and slinking introduction.  The boys show how tight and in-tune they are (in the first stages): the composition sounds well-rehearsed and natural; there are no wasted notes or rambling- it is a razor-sharp riff.  Soaked in booze and cigarette smoke, the listener (cannot help but picture) the scenes: the bar-room meeting; the red-dressed heroine- teasing (and extinguishing male admiration) with a glint of her eye.  From the off, you are split between the past and present: the trio have a keen ear for ‘60s Blues/Rock heroes- The Rolling Stones especially- and the Detroit Blues-Rock movement (of the ‘90s and ‘00s)- the likes of Jack White can be heard.  That said, the riffs and composition has modern edges and contemporary threads- you struggle to compare the song to another; it is very proud of its exclusivity and rareness.  Ball-busting and intense, our hero lays down the law: his words crackle and ignite with lust- that endless sense of passion and persistence brings the song to life.  Whoever the woman is- and by all measures, she seems like a firecracker- it is having an effect: I get the sense (the woman referenced) is not so fictionlised; maybe a girl that has cast her spell (or our man).  Gun-toting beauty; trigger-happy cruelty: this gorgeous seductress has the capacity to crush a man’s heart; deceive with her sweet-natured appearance.  No doubt lulling (her prey) into a sense of false security, we can all relate (to what is being said) - whether a literal killer (or just a metaphorical one), I generated some rather vivid sights.  A song perfect for a Tarantino flick- or maybe a 1960s road movie- the production sounds quite vintage and bygone.  Lo-fi and bare-boned, you get a real visceral sense of sexuality and lust; as though you are hearing the boys live- every note and words sounds ragged and exhausted.  This makes the song a lightning bolt of energy; it comes across as genuine and distinct- although vocal clarity is lost a bit (some of the words seem a little muffled and buried; some lyrics get lost).  Sweet Things That Kill never relents (when it comes to pace); it pervades and electioneers: desperate to get everyone on board; make sure the song burrows into the mind- and never shifts.  By the half-way mark, the track sees it most enlivened moment: the vocal cracks and sparks; the composition shifts slightly- a brief emotional/tonal change of pace- before returning to that indelible central riff.  Due to some loss of decipherability- some steps in the story get lost- you have to start to guess and speculate.  Our hero is being tied-down (perhaps literally in some sense) and overcome; his subject doing her damage- causing quite a sense of delirium and confusion.  The blackbird high on the fire- similar to those on the single’s cover- the girl is doing her worst.  Becoming heavier and more concrete; grumbling and graveled- the vocal (and composition for that matter) get wracked and angry; the song reaches its exhausted peak.  With our front-man letting his voice roar; his words shoot and swing.  The guitar work is particularly vivacious: both insatiable and hungry; the riffs are punishing and psychedelic.  Clearly inspired by gods like Hendrix and Robert Johnson, the songs riff is straight out of the U.S.- you could imagine the song being written on a porch in the Deep South- dog by his lap and a bottle of bourbon by his (our lead’s) side.  Mixing songs like Back Door Man and Sweet Home Chicago, the Falling Birds boys update the ol’ Blues style: run it through their spectrum; they come up with something quite immense.  Bands like Black Rebel Motorcycle Club- the San Francisco band has never overwhelmed the critics- are past their best (whenever that was); they never rocked as good as The Falling Birds- they would do well to study this song.  Before the tale is up, you are not given a chance for breath: the song keeps coming round to strike; never allowing any submission or retreat.  The song’s anxious coda is repeated; the heroine has left the room- the dust is starting to settle.

Congratulations must be offered to the entire band: the trio summon the same command and noise a four (or five-piece).  Stephen Artemis leads with a commanding voice: his tones suggest elements of Jim Morrison, Mick Jagger and Jack White- at the heart of it, they are mere jumping-off points; his sound is very unique and distinct.  Sounding like the result of an epic whiskey and cigarette binge- that would floor a room of elephants- that gravelly and soaked vocal is utterly delightful.  It fizzes and electrifies with every word; the emotion and passion leant to every line is deeply impressive- the sheer power and prowess (from the first to last moments) is gripping indeed.  As a guitarist, Artemis channels the legends of old- the McTells, Johnsons and his peers- but has a very modern sensibility- fusing old and new works wonders where; you are reminded of Blues’ glory days but always kept in 2015.  Exhilarating and rampant, the riffage (sic.) is huge and Stone Age.  David Burton supplies drum support: his stick work is emphatic and impressive; he lead from the back; keeps the song level and focused- offering up a huge weight of gravity and pummel; perfectly bonding with his band-mates.  Tight and intricate, his work is not just shoot-and-squirt: there is a lot of rhythm and emotion; some nice little moments- that beautiful commingle with the lustful core.  Impassioned and strong; flailing and hardcore, he is a drummer to watch.  Completing the trio is Nick Albury: the bass player is the spine of the song; he keeps everything concentrated and moving; letting his bass provide plenty of urgency and power.  Theatrical and driving; dynamic and straight-forward, it is an incredible performance.  The entire band unites brilliantly: they are so tight and in-step throughout; a clear kinship and bond- you can hear the chemistry throughout.  Each instrument supports the other; the percussion bonds with bass; both augment the guitar- which support the vocal.  Intricate and intelligent; natural and intuitive, The Falling Birds have crafted a diamond here.  The only minor criticism is the clarity and concision.  Sometimes the basic/unsophisticated production mutes and depletes the vocal: the instruments drown out the voice; the intelligibility is diminished- some of the lyrics get lost in translation.  Maybe a lyrics sheet- to accompany the song- would help; I found myself straining at times- trying to decipher what was being sung.  That said, it is a minor quibble: you are so entranced by the song’s psychotropic trip, you just let it take you in- and thoroughly seduces.  Drunken and drugged-out; wracked and lustful, Sweet Things That Kill is an out-and-out triumph.

Well, then!  It is clear the New York band will rise to great things: building from promising beginnings, the boys get bigger (and more memorable) with each new release- they evoke a true Rock spirit without compromising integrity and ideology.  Their personalities and voices are original and personal; their style a superb blend of old and new- their music appeals to the brain, heart and soul (few other acts promise that).  It would be great to see the guys come play London: bring their mixture of black magic and mystique to the capital- and enthrall the British crowds (the boys are coming to Yorkshire later in the year; maybe they have to come further south?).  Perhaps that may be a while off, but for now, the band should be very proud: their latest track is a bold and stunning record; perhaps their finest moment- a sure declaration of intent.  Since last year- when they released their last E.P. - the boys have been working hard; laying down their new moves- let’s hope they capitalise on this momentum.  The guys are unleashing their new E.P. soon- ‘Til We All Fall Down- which will give the world a chance to see what’s next; fully exposed and in their glory.  Sweet Things That Kill is as stirring and memorable as its title; the band seem at their most natural and tight- no surprise the song has resonated with media and fans.  Before I sign off, I wanted to finish on this point: the state of music in the U.S.  Most of my reviews- being based around British music- usually end with the same sentiment- that the mainstream acts are being overpowered (and outdone) by the new/underground musicians.  In the U.S. the same is certainly true: the mainstream music/charts are as mediocre and unpredictable as ours; their new musicians are by far the most impressive.   With the likes of The Falling Birds leading the New York charge- and sister acts Mrs. Skannotto joining the fray- I predict big things- the Brooklyn trio will be a festival act to watch; they have the talent and intuition to make a long-term career (a distinct possibility).  One of the big things we need to do- as much as possible through social media- is to become more aware (in this country) of great U.S. music- and vice versa I suppose.  I discovered The Falling Birds through Yasmine Van Wilt- a stunning American singer/author- and I found her through... well, luck.   I am glad I made the discoveries: it seems rather serendipitous and fluky.  I guess that’s the way discovery/social media will work: how can we effectively overcome compartmentalisation?  That may be a conundrum for another day, yet the point remains: the likes of The Falling Birds should not be left to sheer dumb luck/friend of a friend discovery.  With a solid and scintillating set of songs; a terrific sound and sense of identity- they are a band to watch very closely.  Check out Sweet Things That Kill; dip into (The Falling Birds’) back catalogue- and see how good they are.  What the future holds- could be anyone’s guess I suppose- though it is sure to be filled with new ventures and extensive touring.  They have a new E.P. forthcoming, so that is something (to get your teeth into).  Make sure you listen to the single; take it to heart- and above all…

SPREAD the (good) word.

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

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Follow The Falling Birds:

Official:

http://www.thefallingbirds.com/

Facebook:

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

Twitter:

https://twitter.com/fallforthebirds

SoundCloud:

https://soundcloud.com/thefallingbirds

Instagram:

https://instagram.com/thefallingbirds/

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Music:

http://thefallingbirds.bandcamp.com/

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Video:

https://www.youtube.com/channel/UC7zLoKwLZqC2QtEBkSI_Crw

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Gigs:

http://www.thefallingbirds.com/shows

Track Review: Melinda Ortner- Ghost

TRACK REVIEW:

Melinda Ortner

 

Ghost

9.3/10.0

Ghost is available at:

https://soundcloud.com/melindaortner/ghost

RELEASED: March, 2015

GENRES: Electronica; Pop

ORIGIN:

Petaluma, U.S.A./London, U.K.

FOR the next few reviews/features, I will be looking at international talent…

concentrating on U.S.-born talent (for the most part): two New York-based bands; following up with NINA- a German-born Electro.-Pop star.  For today, I am investigating the gorgeous Melinda Ortner: born in California, the young Pop star has crafted quite a career; obtained and achieved some notable honours- had her music featured in some prominent places.  Before I get to her, I am keen to explore a particular topic: the range and ambition of female singer-songwriters.  It is a subject I raise in a lot of reviews- most of them in fact; even when reviewing male singers- but today it seems quite prescient: my featured artist is a striking and unique talent; someone that does not fit into mould- her music remains in the imagination.  I am not sure why the male-led songwriters seem (by comparison) homogenised and narrow- the females are leading them by a mile; they have much more at their disposal- and are championing the merits of the new music scene.  I know I bang on about artists like FKA twigs and such: my passion and exuberance does not start and end with her.  If you consider Soul/Pop artists like Adele; some terrific young acts like Lianne La Havas; the wealth of Electro.-Pop acts coming through- there is so much to behold.  The men do have a sense of mobility and range: they go from Folk to Pop; Electro. to Rock- yet there seems to be fewer (male artists) than female.  The last male solo artists that impressed me- and I mean really bowled me over- was James Blake: his 2013 masterpiece Overgrown is still in my mind- since then, there have been few that have made an impression.  When it comes to the females, there are more (making larger steps); sticking in the mind- causing excitement and inspiration.  When Pop is used as a starting-point- rather than being exclusively explored- that is when yu get the big reaction- tying it to Electronica and Soul; infusing some Blues and Rock together; by being inventive and intelligent, you create something more fascinating and nuanced.  With the girls leading such a revolt- even now, I am thinking of other great female artistrs and examples- I am always excited to witness (a new example).  Before I raise another point, let me introduce Melinda Ortner to you:

“With her debut album still to come, Melinda Ortner is quickly climbing in the music industry, both abroad and at home. In 2011 she was the grand prize winner of MTV’s “Steal The Spotlight” contest, and was chosen as one of 15 songwriters of the year for ASCAP’s Johnny Mercer Project. She was also semi-finalist for the IMWSC Songwriting Contest while her song “Something You Said” was featured on STAR 98.7.com’s indie playlist.  She has three recent song placements in the feature films, ‘I Hate Valentine’s Day’ by Nia Vardalos (My Big Fat Greek Wedding), ‘American Pie 7: Book Of Love’. She’s written for Chevrolet, and recently licensed a song to Glen Ballard’s young new artist also working with Desmond Child and The Jonas Brothers. In August 2011, she opened for Joe Jonas, Miguel and Cobra Starship at the official pre-VMA show at House Of Blues, LA. She played the 10th Annual Jeff Buckley Tribute with host Jack Osbourne, and performed with Magni Ásgeirsson (finalist from the CBS show “Rockstar Supernova” in Iceland). Furthermore she won “Best Performance” and “Best Song” 4 consecutive years at the West Coast Songwriters Showcase. She got to perform at Kate Hudson’s Christmas Party last year and was voted “Best of Sundance Music” also performing at SXSW in Austin, Texas. She was featured on PCTV and invited to perform the ESPN Dinner Party and several film premieres which led to writing the theme song for a feature film in Finland called “Gone With The River”. The track made it into the top 100 Billboard charts in Finland.  In 2011 Melinda completed a successful 4 month self-assembled Europe/Japan tour that led to great press reviews, radio and TV interviews, sold out concerts and a scheduled follow-up tour late 2012. In the meantime she’s completed another US West Coast tour, and regularly play shows in LA. She was also the main subject in a documentary released in Europe, where cameras followed her around for a year, filming her walking six dogs at a time to pay the bills whilst writing melodies for her album, then running off to the studio or a gig or some Hollywood meeting.  The music video for her first single “Heartbeats” has more than 45K views on YouTube,” and has been licensed for over a dozen wedding videos, promos, and company websites. Several of her tracks have also been aired regularly on MTV2, Showtime, HBO, USA Network, Pay-Per-View, as well as the Comedy Central, The Sundance Channel, and the Movie Channel.”

At the moment, I am fascinating by foreign talent: mostly those located around the U.S.  It may seem axiomatic; the U.S. has some of the best up-and-coming musicians around.  Ortner was raised in California- and currently resides in London- and seems to have seduced her home crowds.  After extensive touring around the United States; now based in the U.K. she is finding a loyal audience here.  With the likes of Mrs. Skannotto and The Falling Birds (two terrific U.S. bands); American musicians are starting to gain influence; make their way to our shores- or at least come under our radar.  With so much attention paid to British-born acts, it is always great to discover something different; international talent- artists that differ from ours.   Ortner is one of the most fertile and ambitious musicians to come out of the U.S.; her music stands her aside distinctly- her unique voice is evocative and exhilarating.  I love British artists a lot, yet it is wonderful to look further afield.

If you are new to Melinda Ortner, it may be worth looking at some of her idols: included is Goldfrapp and Fiona Apple.  The way these artists have their own (unique) voice, so too does Ortner: she is not your run-of-your mill singer; her voice mutates and develops- depending on her song themes and subjects, her voice adapts.  A lot of modern singers are too reigned-in and predictable- that is not the case with Ortner.  When the moment calls for it, she can go from heartbroken to upbeat; whispering and fragile through to a sky-scraping high.  It is worth judging the star on her own merits and voice: that said, if you want an idea of where she came from, the likes of Apple and Goldfrapp are key.  One of the best things about Ortner is her sense of range and ambition.  No too songs really sound alike; she never likes to rest and play it safe- always stretching herself and creating something new.  Ghost is one of Ortner’s newest compositions: a song that is mature and introspective; quite subtle in places- powerful and evocative in others.  It has an ear and sound that places it somewhere between classic Soul territory and modern-day Pop/Soul.  A soothing and sensational blend, the song creates new memories and ideas on each spin- one of her most developed and brilliant tracks.  In her earliest days, Ortner came out with Somethin’ Sorry- a track that gets out of the blocks from the first moment.  It is usueful to see where Ortner is now- and how she has developed- to get a real sense of her music.  Funky and stomping, jazzy and spritely, the song gets inside your head.  A packed composition fuses matching piano and dancing notes- a whirlwind of colours and emotions.  Guaranteed to put a smile on your face, it showed Ortner was fully-rounded right from the first moments.  Not willing to do a string of cover versions- and produce early songs that are effete and naïve- she is mature and confident here.  The song looks at temptation and forbidden fruit: wanting something a little wrong and different; wondering if (her lover) is the one for her- and he is the right man.  In the earliest moments, Ortner understood the importance of diversity and surprise: Another Chance seems like a very different beast.  Here she brings in influences such as The Beatles and Radiohead.  In the acoustic-led moments, I am reminded of The Beatles-era work (especially McCartney’s compositions); as it becomes heavier and Rock-ier, there are edges of Radiohead- circa-OK Computer.  Sweet Little Lies (recorded a few years ago) is raw and emotional; both contemporary and classic- looking at deceit and treachery.  I’ve Got You is chirpier and youthful; cute and seductive- as or heroine yearns for something better.  With The Right One (piano-based and soft) the song builds from tender beginnings- building to a rousing climax.  Issues of love and repression mingle; feeling trapped and alone- wanting a better life.  Ortner’s subject matter has not varied too much (and need not either).  When she launched her career her writing varied between fun and uplifting subjects- being in love and happy with her lot; the compositions matched this bonhomie- to more introverted matters- heartaches in love; feeling strained and anxious.  Ghost (and other up-to-date cuts) tow these lines: a variation on the theme, perhaps there is a tendency towards the latter- writing songs that are a little more grown-up and contemplative; perhaps more fitting with the expectations/sounds of the mainstream.  That said; Ortner’s compositions and diversity is still in place: she cuts loose and has fun (on some numbers); not always committed to being down-to-earth and investigative.  Whilst her discourse and thesis lean towards love and loyalty- and the nature of relationships- this shows Ortner has matured and developed.  A more fully-rounded and striking songwriter, her lyrics are tighter and more impressive; her melodies more addictive and nuanced- her songs packed with more detail and fine moments; more assured and bold.  The biggest change/difference is Ortner’s voice: it has certainly come into its own.  While earlier compositions maybe employed shades of her idols- and tried to fit into the current Pop scene- now her voice seems more personalised and variegated- more gripping and beautiful; impossible to compare with anyone else; more emotive and heartbreaking.  No One’s Gonna Love You Like This- a track recorded around the same time as Ghost- sees Ortner in fine voice; the composition is swelling and emotive- the chorus is one of her most catchy and stirring.  Improving and evolving (with each new track) it means the future will be very exciting: the American becomes more captivating as time goes on; who knows what a forthcoming E.P./album could contain- and the impact it will have!

We are here to look at Ghost: a track that has taken Ortner to Cannes; has its own little life- and is gaining a reputation and positive acclaim.  It is not hard to see why (it is gaining such a reputation); why the public have fallen for it- the song has hints of the current scene, yet maintains Ortner’s sense of identity and flair- fans of her older work will find familiar threads.  Starting with a romantic and tender piano line, the introduction is pure and delicate: something quite entrancing.  Early on, our heroine is piecing things together; trying to figure things out- she has closed doors and broken bonds; things have changed and there is a sense of regret.  Running around in circles, feeling isolated- Ortner is coming under scrutiny it seems.  Whether based on real-life fall-out- or something based in fiction- it certainly comes to life: one suspects relationship breakdown (or falling out with friends) has inspired the song- maybe some important bonds have been severed.  Ortner (in these early exchanges) feels backed into a corner: people are blaming her (for problems and mistakes); voices and fingers are spiked- there is that sense of pressure and struggle.  It seems the judgement of others is off the mark: there’s that assumption (Ortner is looking) for someone to save her; rescue her from strife and sorrow- that she needs a life vest of sorts.  With her voice firm and resolute, there is that feeling of rebelling against expectation and common opinion: here is a young woman who is strong and mature; not someone that needs babysitting and constant interference.  Making sure proceedings never become mordent and depressed, the composition has a lightness and sense of openness- not too upbeat, instead it perfectly keeps emotions appropriate; never betraying the lyrics.  It appears a relationship has broken down- whether a friendship or romance; I suspect the latter- and there is regret for sure.  Our heroine laments circumstance; the fact she (has pushed her subject) away- as things are now, all she feels is a ghost.  With a memory haunting her mind, there is a feeling of desire: the need to go back in time and do things differently; have her beau by her side- at least get the chance to renegotiate the past.  Ortner’s voice multiplies and layers- creating a spectral and spine-tingling choir- as she looks back at the wreckage- “I buried it all/Watched as you called.”  Both emotional and vivid, the lyrics put the listener into the song: each person will picture the scenes; become involved with the drama- and root for the heroine.  With the song (developing into something) rousing and electrifying, it exceeds the limitations of current Pop- which tends to be quite one-minded and thread-bare- showcasing Ortner’s unique talents.  The love (she had) was “too hard”; the fall-out still reverberates- she pulled the heart out (of her man’s) chest.  Contrary to most similar songs- which blame the man; casts aspersions and assigns blame- here the tables are turned.  Ortner owns up to her culpability: she acknowledges her role and regrets her actions; changes the gender roles and shows honesty and bravery- that comes at quite a price.  Whilst she knows the truth, she is receiving scorn and derision- corned in; everyone seems to be against her.  Perhaps our heroine is turning into a ghost: that feeling she is detached from her heart and soul; the need to float away and escape the stresses.  With her man fresh in her memory, she is looking around- expecting to see him there.  The composition goes from tender (and piano-led) to something pounding and emphatic- a fuse of Pop-based sensibilities and something Electro.  Eliciting the maximum amount of emotion, the composition packs quite a punch: in the chorus it is particularly bold and punching; the vocals layer and rise- ensuring the words get right inside (the listener’s mind).  It is that chorus that is the most effective tool: with its memorable lyrics and haunting imagery, there is a mixture of sadness and energy; beauty and sorrow- making it a hugely stirring thing.

Never cynical or predictable, Ghost is a very personal tale: coming off the back of a scarring break-up, the song is an exorcism of sorts.  Never bogged-down or uninspired, the track is constantly enthralling and wonderful.  From its sparse and gentle introduction, the song runs the gamut of emotions: going from soft and shy to sparkling and thumping.  Ortner’s voice ensures the lyrics are brought to life: the performance is consistently impressive and emotive; the words memorable and economical- she does not cram the track with needless lines and moments; everything is tight and to-the-point.  The composition allows the vocal to stand out front: whereas other songs/artists lose clarity and decipherability, here every note and word is clear and crystal- making the song that more impressive and professional.  It is hardly surprising Ghost is going to feature in a film; it has received such praise and applause- it is one of Ortner’s most rounded and confident songs.  The song seamlessly fits alongside the current Electro./Pop/Soul palette of today: nestling itself alongside the best of the bunch, Ortner is an artist that has plenty of ambition and passion- reminding me of the St. Vincent and Robyn.  With that in mind- and seeing how female Electro.-Pop/Soul artists are coming through- where does Ortner fit in?  I would definitely rank her with the best out there (and the likes of St. Vincent).  If you consider songs like Digital Witness- from St. Vincent’s last album- that mixes additive brass with a witty and cutting lyrical theme (the shallowness and downsides of social media).  Ortner has always put her pen away from the predictable ink pots: she likes to write from her own perspective; with regards lyrics and composition, she pushes boundaries- one of the most innovative songwriters around.  Ghost shows the young singer in reflective mood: wearing her heart on her sleeve; it sees her at her most emotive.  Whether it is the sound of future releases- or if she will mix it up and incorporate different themes- time will tell.  As it stands, it is a stunning and gripping track- one everyone should investigate.

In a few days I will be looking at German-born singer NINA: an Electro.-Pop artist that is creating a lot of buzz and excitement.  As (my next two reviews) look at male-led bands, it has been great spending time with Ortner: a terrific female artist with a big future ahead.  The signs are all rosy and positive: with a stunning album under her belt- and a slew of great songs and accolades- the young American is not going to stop there.  Since I Wanna Be Ok- Ortner’s 12-track album released last year- she has been a busy lady- touring around the land; creating new songs and ideas.  Four years ago Ortner released Somethin’ Sorry; she followed that up with gems like The Right One and Caught in the Middle- with each new step she gained confidence and stature.  As things stand, Ortner is at her very peak: Ghost (released a few months ago) shows how vibrant and assured she is; the songwriting and performance is insatiable and mesmeric; the production values allow Ortner to shine and wow- it is a track that will linger in the mind.  With regards to future plans, I am not sure what is in mind: maybe Ortner will plump for a new single; an E.P. or album perhaps?  To be honest, she has the options and audience: whatever she decides to do, there is a hungry and dedicated fan-base waiting.  From what I have heard- and bearing Ghost in mind- it would be great to see an E.P.  Ortner launched Ghost in Cannes- the song is going to be featured in a film- and she is busy touring.  Next week she heads up to Edinburgh (to play at the Edinburgh Fringe Festival); recently she has played around London- she is one hell of a busy musician.  There are a lot of young female artists coming through- that marry Pop with Electro. and Soul sounds- and not all of them have long-term success.  It is vital to have a unique selling point: something that seperates you from the crowd; a style and personality that draws in faces- and an artistry that makes you distinct and attention-worthy.  Ortner has a down-to-earth talent and great beauty; a terrific set of lyrics and ideas- her music is constantly evolving and improving.  An assured and stunning singer, her voice has shades of classic Soul artists; little sprinkles of her idols- including Goldfrapp and Fiona Apple- and plenty of vintage shades (being a fan of The Beatles and Pixies, she knows about quality and making an impression).  After the dust has settled; when Ortner is less full-on and busy, it will be exciting to see what she does next: I am sure the business of music-making is going to be at the forefront.  With a sea of vivacious female artists bursting through, it is great to see an artist with genuine durability and sustain.  Make sure you check out Ghost; follow Melinda Ortner across social media- and keep your eyes peeled.  Maybe she’ll stay rooted in London; perhaps she will return to L.A. and the U.S.: one thing’s for sure- whatever she decides to do- it is sure

TO be something truly special.

[soundcloud url="https://api.soundcloud.com/tracks/196153883" 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 Melinda Ortner:

 

Official:

http://melindamusic.com/

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This Week's Albums: August 14th, 2015

This Week’s Albums

 

August 14^th, 2015

IT is a case of “Something old, something new/something ‘borrowed’, something…

 

that doesn’t rhyme. “  I do a D.J. gig every week; I have the opportunity to play four different albums: one that is ‘old’ (to my mind, anything pre-1985), something ‘new’ (released brand-new that week); something influential (and has inspired a genre/other acts)- in addition to dealer’s choice (any album I choose).  Having done this for over a year-and played everything from Graceland to Pearl Jam; from FKA twigs to Beastie Boys- it is enormous fun.  I get to talk to people (about music); play some awesome stuff- turn people on to some great/forgotten sounds (well, I try to).  I shall publish this every week; try and highlight some fantastic albums- maybe some you had forgotten about.

The Old: Dusty Springfield- Dusty in Memphis (1969)

 

9.5/10

We all are aware of Dusty Springfield: the legend is synonymous and widely celebrated.  If you do not own a Dusty album, make it this one.  With hits such as Son of a Preacher Man, The Windmills of Your Mind and I Can’t Make It Alone- it is an essential collection.  The queen of British Soul music went to Memphis- a climate and town that were foreign to her- and recruited the best musicians and producers.  With the likes of Memphis Cats and Jerry Wexler on board, Springfield’s stunning voice reigns.  An album that is far ahead of its time, Dusty in Memphis is a Soul masterpiece: Springfield has never sounded as authoritative and ready-made.  A natural-born Soul diva, she makes each track her own (the likes of Bacharach and David, Gerry Coffin and Carole King are covered).  Released in 1969, the album stood as a landmark release: for a white British singer to conquer the Soul market- normally ruled by U.S.-born black singers- was a huge achievement; Springfield sounds no-less striking and mesmeric.  For those seeking a perfect Soul/Pop album; brimming with transcendent moments- your search should begin (and end) here.

[youtube https://www.youtube.com/watch?v=DjydOI4MEIw&w=420&h=315]

The New: Neck Deep- Life’s Not out to Get You (2015)

 

8/10

I was going to by the new album from Dornik: a Psychedelic Soul star from south London (who used to drum for the likes of Jessie Ware).  H.M.V. doesn’t seem to stock it; Amazon doesn’t have it in stock- the stupidity of this baffles my mind.  Angrily, I had to plump for Neck Deep: in fact, my anger was soon allayed.  The Welsh band’s (sophomore album) delivers huge punch and emotion.  Tracks Threat Level Midnight are relentlessly pressing and addictive; Can’t Kick Up the Roots is one of the most captivating songs of the summer- Gold Steps is a Pop-Punk jam that is sure to be a live favourite.  Whilst not the finest album of the week; Life’s Not out to Get You is a stunning L.P.  Comparisons to Sum 41 and seem unfair and short-sighted: Neck Deep have their own personality and drive; their songs are more consistent and nuanced- a band to watch closely.  Whilst the relentless force and energy may grow tiring, it is an album you will revisit; one guaranteed to raise the energy levels- and get the crowds united.  If you manage to find Dornik’s self-titled album anywhere, let me have it!  As it stands, Neck Deep’s new album is a mighty consolation: a record that should be investigated by all.

[youtube https://www.youtube.com/watch?v=d6uIsM7s6pY&w=560&h=315]

The Influencer: Wire- Chairs Missing (1978)

 

9/10

A year before Dusty Springfield’s masterpiece arrived, Wire landed this stunner: a band and album you have probably never even heard of.  The record mixed cold and haunting synthesisers with dark and downbeat moments; a crucial evolution from Punk into Goth music.  Chairs Missing is a study in perfectionism and detail.  The arrangements are filled with stunning sounds and sonic texture; the songs deal with personal demons and disturbing avenues- the combination is hugely effective.  Too Late is a rousing Punk-Rock closer; packed with sweat and pummel.  I Am a Fly (the album’s highlight) is all mechanics and imagery; fly-mimicking guitar sounds; vivid lyrics- the band’s masterpiece.  Sing-along and quirky, it epitomises the disc as a whole.  Brimming with inventiveness and doom-laden prophecy, there are hints of early-career Pink Floyd: few artists manage to concoct albums so enduring and faultless.  Many of you will be unfamiliar with Wire: one spin of Chairs Missing will completely change this; compel you to dig deeper- and check out the band’s back catalogue.  The group are still recording today- and released their self-titled album this year- so high-time you got on board!

[youtube https://www.youtube.com/watch?v=OnIXXe83fe4&w=420&h=315]

The ‘Other One’: James Blake- Overgrown (2013)

 

9/10

The 2013 Mercury prize-winning album was a huge statement upon its release: confounding and startling critics- Blake’s sophomore L.P. took the music world by storm.  Blending melancholy and introspectiveness (with electronic soulfulness) Overgrown is a perfect ‘grower’: a record that takes several listens to understand; when you do the effect is wondrous.  Blake’s somber reflectiveness and ghostly soundscapes moved away (from his Dubstep-influenced debut); his subtleness and minimalism make the heaviest moments palatable and all-encompassing.  Retrograde is fragmented beats and spectral vocals; Digital Lion is trippy and Eno-esque: a song that ducks and races; catches you by surprise- Our Love Comes Back is the stunning swansong.  Defined by Blake’s jaw-dropping and captivating voice, Overgrown has inspired legions of modern Soul men- including the likes of Sam Smith.  Of-its-time and modern, the album fuses intoxicating loops with (stunning) digital beats.  Rebelling against the ‘traditional’ Dance/Club albums, Blake created an album to swell the heart; rouse the soul- far exceeding the expectations of the genre; showing his peers how it should be done.  Absolutely essential listening.

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

Track Review: Soulshaker Ft. Lucas- Far Away

TRACK REVIEW:

Soulshaker Ft. Lucas

 

Far Away

9.5/10.0

Far Away is available at:

https://soundcloud.com/soulshaker/soulshaker-ft-lucas-far-away-radio-edit-mp3cutnet

RELEASED: April, 2015

GENRES: House/Electro.

ORIGIN:

Surrey/London, U.K.

IT has been nice to focus on solo artists…

and see what is out there.  Although, technically, my featured track is collaboration, I am interested in the man behind the song; the voice that comes through- I shall introduce him soon.  For now, I am interested in the solo market; the range of sounds- and what can be achieved.  Over the last few months, I have been lucky enough to discover some great solo stars: the music is always ambitious and strong; the songs unique and personal- there is a lot of range and choice out there.  I find that the band market seems a little limited: most of the bands I have come across tend to tread the Rock/Indie lines; a few go heavier (or softer), yet there is less diversity.  Perhaps playing to strengths- you elicit the best results from these genres; it is what the public seeks- the lone artists has a tougher task ahead- without the support of band-mates, they have to do all the work; plan their careers- and fight off some tough competition.  When presenting with a new artist- someone that is just starting out- I always tend to find the same thing: they have worked tirelessly (to get where they are); spent a lot of money and time- put a tonne of effort into making it happen.  It is one of the signs of the times, I guess: to ‘make it’ or at least get recognised, you have to sacrifice a lot- that can include financial security and a degree of happiness.  With that in mind, eyes and ears will concentrate on the most unique: those artists that offer something special; break from the parable of mainstream predictability- and craft something that really strikes the ear.  This brings me to the issuer of genres/styles: the types of music that is currently favoured.  Electronic sounds are coming through at the moment: some of the best solo music at the moment includes Electro./House elements; something upbeat and electric- essentially, music that is gripping and busy.  With the likes of FKA twigs coming through- I know I mention her every review; there is a good reason for it- and the release of her new E.P. (Melissa), it seems to be a quintessential art-form- that is inspiring a lot of solo artists.  Within Electro./House parameters, you can achieve quite a lot: there is more mobility and potential; switch seamlessly between forceful and sensitive- you are not as constrained and limited.  I do appreciate great Folk/Pop music; yet find there are fewer stand-out acts: you really have to dig to discover something special.  Before I continue my point, let me introduce Lucas to you:

“My name is Lucas and I’m an R’n’B, Soul, Pop singer/songwriter solo artist from London. I have an eclectic taste in music so I’ll listen to pretty much anything. Listening to these different styles of music helps me to creatively write better songs, have a better production behind me and be more innovative in this ever changing industry. My style of music is a mix of old ‘90s R’n’B to modern R’n’B, Pop and old Soul! My vocals are inspired by my favourite artists from Michael Jackson and Stevie Wonder through to Mary J. Blige, Ne-Yo, Usher and Justin Timberlake to name a few. I am planning on releasing my debut E.P. very soon as all the songs are written and just need recording now so that is one of my favourite processes and I’ll have a few more cover videos out In the coming months. I also plan to start gigging as soon as I have my material all ready to promote!”

The young artist has a true talent: he is seamless when backed by electronic force; natural in the Pop arena- comfortable and striking when in the Soul mould.  With an eclectic music taste, it is perhaps not surprising: here is an artist that will not rest; wants to perform various genres- and showcase his full range.  Having just heard Elena Ramona’s latest song/collaboration- Got It is a typically assured and stunning track- it seems that a lot of young singer/songwriters are joining forces- with producers/Rap stars to create something quite awesome.  Lucas’ voice is the star of Far Away: together with Soulshaker, the track is a compelling and authoritative House/Electro. mandate- a song that demonstrates what a talent (Lucas is).  Soulshaker are a growing and reputable team: the producers-cum-D.J.s-cum-writers have worked with some incredible artists- their name is catching some influential ears; their portfolio is expanding by the month:

“Soulshaker are considered as being one of the hottest dance music production teams around. They won the 'Best International Dance Producers Award' at the Music Awards in, Malta, Europe, and to date have been involved in an unprecedented 12 No1 UK Music Week club chart Hits and countless more Top 40 Hits around the World including cuts on a new No1 Album in Japan. Always trying to keep their sound at the forefront of the underground dance music scene.”

Far Away is the perfect coming-together of production team and central artist: the hungry young artist joining together with innovative and professional producers- to create something quite dazzling.

If you are new to Lucas, it may be worth heading to (his YouTube) page: it shows a range of cover versions; the artists that inspire him- and what his voice is capable of.  What strikes me about (Lucas’ voice) is his naturalness and soulfulness.  When the likes of Plan B go into Soul territory it sounds a little forced: although Ben Drew has a Smokey Robinson-esque style, his natural home is in Rap.  Lucas seems like he was born to be a Soul singer: given his influences include Michael Jackson, Stevie Wonder and Mary J. Blige; it is not a shock (he has such a terrific voice).  From I See Fire (Ed Sheeran) to P.Y.T. (Michael Jackson), the young singer makes the songs his own- that rich and expressive voice brings life to the tracks.  There are not a lot of great Soul voices on the scene now: the trend airs towards Rock and Pop; the opportunities to discover a Sam Smith-type vocal are few and far between.  As we are witnessing a Lucas composition, it is hard to compare (Far Away) with previous output.  With Soulshaker joining forces- and Lucas’ previous output being mainly covers-based- this is a new venture; stepping into fresh territory- lacing his soulful voice with something harder and less Pop-based.  Definitely check out his YouTube/SoundCloud accounts; get a gist of what to expect- and what his voice can achieve- and listen to that (in tandem with) Far Away- it gives you a glimpse into his future.  In terms of confidence and authority, Lucas is at his peak (on Far Away) - he sounds more assured and stirring; his voice is in full bloom; perfectly mingling inside the composition.  Few young artists are as mobile and adaptable: Lucas shows he is as confident when tackling Justin Timberlake- as he is singing his own songs.

Far Away starts with a very pleasing opening vibe: the first beats of the introduction put me in mind of the ‘90s Dance scene.  With a suggestion of Show Me Love (from Robin S.) I was transported back to music’s heyday: when the Dance/Club scene was awash with stunners and epic tunes; here there is instant nostalgia and evocation.  That is not to say we are hearing a ‘90s tribute slice: Soulshaker make sure the introduction has a modern vibe: that comingle of ‘90s-via-current is intoxicating and wonderfully realised.  The tribal call-to-arms rush (of the introduction) then succeeds to Lucas’ voice- it comes in hard and focused.  Not overly-produced or processed, we get a naturalness and nakedness coming forth- a rarity considering the wealth of Auto-tuned Dance/House music.  Our hero’s initial words are deployed with emotion and pace- the lines are teased in to make sure they hit home.  Looking out across the land (so it is said) “we rise and we fall.”  As our man sees it all- his eyes and mind have witnessed too much- there is that desire to “drift away”- quite a mordent sentiment on first investigation.  When it comes down to it, there’s that need for calm and peace: get away from the rabble and chaos of events; find somewhere ensconced and quiet.  The song gains early stripes with its mixture of tradition and simplicity.  The composition remains vibrant, yet still pervades that air of ‘90s Dance: appropriating the glory days, you are instantly uplifted and smiling.  The lyrics themselves touch on common themes and concerns: the lines are quotable and memorable; kept basic and honest- to ensure the sentiments can be appreciated/understood by all.  With its rushing composition, the listener is gripped and invested- already sympathising with Lucas’ plight of anxiety.  As the beat gets heavier and more dominant- it is a static beat that punctuates and highlights the foreground- our hero is “far away”- there is a sense of obliqueness and mystery in some of the words.  Wanting to return to a certain “place”- whether that is entrenches in music-making or a happier time- there is that desire to return: escape an unhappy way-of-life and find some sanctuary.  Before you find yourself predicting the next moves- where the song is going and what will arrive- the track evolves and switches- a stunningly stirring mantra is unleashed.  Backed by a soothing (feminine) backing vocal, Lucas is “not gonna wait”: that sense of determination and spirit is unerring.  The entire piece is backed with a rousing and multifarious soundtrack: the beats are less punchy (and more soothing); the electronics are colourful and sprite- the vocal is up-front and clear.  That declarative statement comes around again (and again): it is a catchy and sing-along moment; sure to have club-goers and music-lovers unison in voice.  Both bellicose and smiling, that sentiment (“I’m not gonna wait”) seems to be the song’s central message- something that defines Lucas’ current objectives.  There is that feeling of boredom and uninspired day-to-day: the images of Lucas going through the motions; working a humdrum job; not fulfilling his ambitions- that is what strikes my ear.  Having heard a lot of modern Dance/Electro, tracks- including Elena Ramona’a latest- common themes come through.  Dream-chasing and self-sacrifice are hot topics among young performers: there is that sense of stress and emptiness; that constant struggle to pursue dreams- having to compromise and do a workaday job (just to fund your dream).   In my imagination- and I may be way off the mark- I get the feeling Lucas is calling out to the world: when he says he is “coming back” again; it refers to recording/touring.  He is telling the world about it- I am guessing social media is being referenced in these moments- and determined to throw off his shackles and demons.  Having overcome some hardships and trials, the young man has his eyes primed: he knows what he wants in life; music is his reason for existence- that desire and burning passion emanated in every note and expression.  Supported by an insatiable and fire-cracking composition- that teases ‘90s beats with cutting edge electronics; static crack with swirling undertones.  Writing a song that is not just personal- it can be extrapolated by so many people- Far Away is that definition of frustration: the need to get out of a bad way; feeling detached and alone.  The final moments reintroduce that stunning chorus: its addictiveness and entrancing qualities seem even-more pressing and glorious; a perfect send-off for the track.  The final seconds take things down rapidly: no time for fade-out or silence; the track comes to a succinct and speedy end.  All that is left is to reflect and take it all in: try and get to grips with the many themes, dreams (and sounds) of Far Away.

As a song, it is filled with catchiness and nuance: you find yourself repeating it; missing things out on the first lap- you keep coming back time and time again.  When you sit down and listen to the track, there is that instant nostalgia and recognition: consciously or not, Lucas and Soulshaker have crafted something that is ‘90s-sounding yet modern; ‘oldskool’ and current- a wonderful concoction.  As beat-makers; Soulshaker come into their own.  I have checked out their previous work, yet here they seem to be at their peak: the production qualities and sound is exceptional; it is clear and polished, concise and crystal- allowing every note and vocal to shine without any fear of muting/clarity loss.  Lucas’ central vocal is the real star here: his soulful and direct vocals bring the words to life; keep the listener fascinating from first to life- he showcases himself as a natural front-man and voice; someone with a huge amount of instinct and drive.  The song’s messages are personal to him: they can be understood and appreciated by everyone- we have all experienced that sense of disenfranchisement and struggle; the need to do something meaningful and good.  Keeping the lyrics direct and simple, it not only makes the song memorable and quotable- it is perfect for the current crowd; those who want their songs easy-going and catchy.  That is not to say the words are unintelligent or basic: Lucas has managed to make his thoughts deep and thought-out; yet has not made them too wordy or complicated.  Soulshaker and Lucas seem like natural counterparts: their distinct voices/talents blend perfectly; there is a seamlessness that made Far Away such a stunning song- there are no loose edges or nervous moments; always a feeling of natural bond and intuition.  I hope the two combine in the future; join force again for another round- this one-off collaboration will see the fans and listeners desiring more.

Lucas shows himself to be one of the best up-and-coming talents around.  It would be good to see an official website from him: something that ties his social media together; puts himself up front and proud- is a one-stop port for his music and news.  As things stand, the future is looking pretty good.  I know he is planning his debut E.P.: a chance to see him in his element; show the world what he is about- and make his mark on the scene.  Being such a superb interpreter it will be interesting to see whether Lucas- when his E.P. has been completed- opts for originals-only; or whether he will include a cover or two.  Having studied his SoundCloud page, it seems like he has plenty of ammunition and music: his original tracks (largely snippets and ideas) seem full of potential and possibility; he may have a hard task narrowing his options down.  Before I mention Lucas more, it is worth reflecting on Far Away- and the collaboration with Soulshaker.  The startling production/D.J. crew seems like natural bed-mates: their intuitive ear is the perfect springboard for Lucas- when they join force, you get a real simpatico; I hope the two join forces again.  The composition and production values are tremendous: they allow the vocal to reign yet do not negate the music itself—which is rich and filled with detail.  A song that is ready-made for the dancefloors and clubs- that also has a made-for-radio popularity and quality- they have created a gem here- a song that cannot be ignored or overlooked.  Soulshaker are on the rise; a growing force, they will be worth watching closely- and make sure you follow them closely.  With regards the central voice: here is an artist that will go onto big things.  Being a mutual friend of other great London/Surrey-based talent- including Elena Ramona and Chess- he is one (of the core) of young artists making their first moves- and showing the music world what they’re about.  Far Away is just one side to the young man: given his musical upbringing- and his eclectic range of idols- and list of cover versions; any future E.P. will be fascinating to predict- just what can we expect from Lucas?  Well, it seems like there will be a leaning towards Soul and Pop: that unique voice augmenting tales of love and struggle; against-the-odd and fighting on.  Lucas has overcome some hurdles and set-backs (in his life) so it will be fascinating to see how he distills that- and whether it will feature in his music.  Of course, Far Away shows he is adept in the House/Electro. milieu: maybe his upcoming E.P. will combine all these strands.  Far Away has already made its way into an E.P. - the track features a number of remixes- yet when Lucas goes alone, that will be the most interesting release.  Equip with a honey-rich set of pipes; a confidence that bellies his age and youthfulness- keep your eyes peeled.  The likes of Sam Smith and Paolo Nutini- two young and startling talents; both complete with stunning Soul tones- have shown what can happen- they are both among the best singers/artists on the scene.  Smith has gone onto critical success and applause; Nutini is one of the most impressive singers around- there is no reason Lucas cannot join the pantheon of the greats.  Of course, he will want to focus and regroup: plan his next moves and start to hit the road; taking his music to new audiences- before dropping an E.P.  With so many jaded and fly-by-night artists coming through- most of whom have no real quality and durability- we need to embrace the truly deserving: those singers that have a long-term future; are filled with distinction.  As the weather is somewhat capricious (read: complete crap) and summer is fading away, we all need something to rally the spirits- Far Away is just the tonic.  Take a listen and drink it all in; it is a song that has nuance and fresh layers- all spiraled around a smooth and essential (central) voice.  With Soulshaker providing ample support, Lucas is eyeing the future; making his next essential moves.  Given what has come before, I predict 2016…

WILL be a very prosperous year for him.

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Track Review: Noralyn- Masquerade

TRACK REVIEW:

Noralyn

 

Masquerade

9.3/10.0

Masquerade is available at:

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

RELEASED: 5^th July, 2015

GENRES: Pop

ORIGIN:

Brisbane, Australia

TODAY my mind is focused on a number of different subjects and ideas…

My discourse and consideration is towards Australia and their music; female singers- and the tabloidisation of Pop music- and the state of modern Pop music.  At the moment, a lot of attention is coming from the U.S. and U.K.: the media is still focused wholly on these narrow shores; tending to push their home-grown first and foremost- missing out on a lot of talent.  One of my favourite reviews was for Anna von Hausswolff- a Swedish singer and artist- and her incredible music.  With a voice like Kate Bush; songs that look at death and mortality; compositions that present sweeping strings and funeral organs; epic introductions and stunning moments, I was blown away.  Again, the likes of The Updraft Imperative (Australia), Say Lou Lou (Australia/Sweden) and Little Dove (U.S.A.) are among my highlights- all based away from the U.K.  In Australia, the music hubs seem to be Melbourne and Sydney (the former particularly); few media eyes tend to cast themselves towards the likes of Brisbane- where my subject emanates from.  The capital of Queensland, the city is a bustling city: nearly a third of the population emanate from overseas; the climate is hot and sunny (in the summer); the landscape gorgeous- a hotbed for art and science.  A city that deserves wider acclaim, it houses a lot of culture and diversity.  Based away from Melbourne (Brisbane and Queensland) play second-fiddle somewhat- gaining a smaller market-share of attention.  When you look at Australia, there is a lot of great music coming out: some terrific Hard-Rock bands; some fascinating Electro.-Pop artists- a lot of range and surprise.  Compared to the U.S. and U.K., there is less consistency and choice- having fewer than 22 million people in the country- in Australia.  Eyes and minds tend to look at traditional Australian artists: the likes of INXS, Silverchair, Wolfmother and Tame Impala- there is a lot of focus on the bands of the nation.  When it comes to solo acts, there is Kylie Minogue and Gabriella Cilmi- both born in Melbourne.  Away from the populous cities; separated from the obvious climates, you get some great acts- Noralyn is one such example.  Making sure eyes turn to Brisbane, she is one of the hottest and most distinct artists to come out of Australia: with a sound/genre-fuse that sounds U.S.-made, she has retained her native voice- making her music sound popular, yet very much her own.  Her Pop-cum-Electro. fusings are gaining a lot of attention.  I shall mention her voice (and its potency) later, but I want to look at Pop and the female-led Pop scene.  Noralyn has spent time in England: she was awarded a scholarship to study classical piano, before moving to Brisbane fairly recently.  The love of Kate Bush and Tori Amos comes through in her performances/vocals; her love of Pop and Classical music blends into her music- creating something quite special and uplifting.  With evocative and scenic lyrics, her music is stunning in its breadth and effect.  When I look at the modern Pop scene- and the mainstream acts we have- there are few that really stand out; not many that really lodge in the mind- perhaps they are lurking in the realms of new music/unsigned territory.  If you think of (the likes of) Lucy Rose- representing the bland and mediocre crop of singer-songwriters- it is quite depressing and forgettable.  The best results come when you go beyond the bland: tie in Electro. edges and classical themes; go beyond the acoustic-led sameness that pervades the scene.  There are some terrific female singer-songwriters in the U.K. (and further afield) yet there is still that leaning towards the band market: the public purse is more readily available to them (than solo acts).  One problem- that accounts for the bad press solo artists gets- is the tabloidisation of the scene.  Barely a week goes by without Iggy Azalea feuding with someone; Rhianna baring her breasts; Sarah Harding causing embarrassment- nothing to do with the music; more to do with politics and scandal.  It is a pity, because great artists are being overlooked; the art of music-making is being forgotten- replaced by tittle-tattle and needless celebrity gossip.  For those willing to do their research; put the effort in and look further afield- gems and treasures can be discovered.  Noralyn is a fascinating example: one of the most compelling artists I have come across.  Based away from the U.K. - which, in itself, provides me some relief and excitement- her music is arresting and captivating.  Not only does that voice hit you hard- with its mixture of quirkiness, sweetness and huge power- but her music too: she is 24, yet has a maturity few of her peers possess; a pen that is sharp yet vulnerable- her latest track has popular appeal, whilst remaining hugely credible and uncompromising.  Few of us would look to Brisbane- when it comes to seeking some great new sounds- yet Noralyn could start a trend: with the likes of The Updraft Imperative putting the area in focus, we need to change our habits; get away from the tried-and-tested areas/sites; look across the world- only then will you really discover something fresh and different.

It is hard to compare Masquerade (with any previous Noralyn work); as this is really her first out-and-out solo move.  The young Australian has recorded music- a charity E.P. included in the list- but here she is out on her own- and beginning with a bang.  In that respect, the best thing to do is look around for comparable (artists) - give you an idea of who inspires her.  Tori Amos and Kate Bush are names that will be bandied about: when it comes to unique and striking, there are few better names.  Noralyn has that sense of individuality and appeal: her tones are not ordinary and boring; there is that child-like innocence; belting and emphatic moments- together with some U.S. /U.K. tones.  In terms of albums- from Amos and Bush- I would mention Little Earthquakes (Amos’ debut) and Never for Ever (Bush’s third album).  Amos broke onto the scene with her debut: filled with beautiful and emotive numbers, Amos introduced a new way of singing- bringing so many emotions to every song on the record.  Sexy and haunting; innocent and powerful- the album mingled a host of themes and concerns.  Buh’s third album saw (the British icon) find her voice; become more confident and stable- the singing style was theatrical and tailored; more controlled and focused.  The songs (within the album) saw seriousness and romance come under the microscope: there was never a sense of flightiness or loss of control; it remains a focused and subtle (by Bush’s standards) L.P.  Noralyn fuses and overlaps the two albums.  She takes some of Amos’ diversity and range- on her single, there is seriousness and innocence; her voice sounds both fragile and strong- and Bush’s song-craft- with a little dabble of her acrobatics into the mix.  Not to say her song (and future works) could match these albums- there is no reason to suggest they couldn’t- but the earlier indicators are positive- Masquerade is a confident song that never lets up; offer so much colour and contour- with some black-and-white seriousness and maturity.

Quite dark and serious keys (greet in Masquerade).  Sounding Classical and focused, it grips you from the very first notes.  Noralyn’s breathless vocals come in and give the song a sense of etherealness and movement- sounding a little like a cross between Lana Del Rey and Tori Amos.  The song begins quite measured and restrained: our heroine makes sure her messages resonate; that the notes hit the mark- rather than let it all rush by.  Focusing on an unnamed subject- or perhaps aimed at those who cover their feelings- there is a sense of secrecy and closed-off emotions.  Where the wreckage is swept away “underneath the carpet” (the song’s subject) is putting on a brave face- or perhaps just not confronting things.  Whether a personal insight- Noralyn projecting a venerable and hurt side- or towards a particular friend, I am not sure- what is certain is the sense of emotion and urgency.  Even in the initial stages- where things are quite down-beat and introverted- there is that pressing passion; the voice quivers and resounds- the keys are impressively firm and striking.  Just before a new thought is introduced, there is a musical build-up: a muscular percussion beat bonds with rising keys; the mood swells and envelops- before our heroine comes back to the microphone.  It seems that- whether speaking to herself or her subject- nobody wants to “see you cry”- there is that need to suppress feelings and keep up pretence.  With her voice cracking and gliding- in an Amos-esque bout of expression and verve- the chorus comes into play.  Our heroine would rather believe a “pretty lie”; tonight begins the masquerade- the images and sense of mystery heightens.  To my mind- my perceptions can be lead astray somewhat- I was thinking of a relationship; maybe bonds have been strained- our heroine having to keep her emotions buried.  Maybe a plea (to a friend or associate) you get the sense of doomed love: two parties at odds; fractions and dislocation- masks being worn; truths being withheld.  Keeping the composition energised and hypnotic, the piano strides and gallops; the percussion punches forth- a perfect setting against Noralyn’s vocals.  The vocals in question crackle and shiver; they tremble and rise- operatic and grand yet filled with emotion.  If you watch the song’s video (on YouTube) our heroine wears a mask; set against a row of lights, she can be seen sat at her piano; pounding the keys- giving a focused gaze to the camera.  Many songs have been written- with regards repressed feelings and lies- yet Noralyn imbues Masquerade with her own ideals- her choice of words and imagery are vivid and enlivening.  Finding a poker face “to hide behind”, that tensions mounts: the feeling damage is irrevocable.  Augmenting the composition, the listener gets drawn into things: that insistent and gripping voice gets into your head; takes you away- you are powerless to resist.  In the same way as debut album-era Tori Amos (mixed the deeply personable with variegated vocal styles), here Noralyn crafts something special: her voice twirls and swoons; her words remain tense and judgmental.  There are- in the world of Masquerade- plastic people: fake smiles and eyes that deceive and double-cross- our heroine has seen too many.  Noralyn’s piano work does not remain static and bordered: after the chorus she unveils a twinkling flourish; a rippling wave that beautifully punctuates the chorus- a perfect lead-in to the following verse.  When the promise is hidden and dissipated- perhaps her lover’s folly; the cruelty of a ‘friend’- there is heartache at hand.  Our heroine’s voice elongated the words; her projection is striking and effective- reminding me of Nelly Furtado’s delivery across Whoa, Nelly!  A watershed moment has arrived: Noralyn seems at a loss for words; she has been hurt and affected- my mind shifted to another interpretation.  I feel her subject could be (a former) love; someone who has betrayed her- and left damage in his wake.  Whatever/whoever the inspiration, you are entranced by the urgency throughout: Noralyn’s stunning voice waltzes and explodes; the composition remains constantly engaging- a stunning combination that lifts the songs (to heavenly heights).  Surrounded by plastic people- where it “doesn’t feel right”- our heroine is looking around; she needs answers and rectification- and people she can rely on.  As the song comes to its end- in the video, Noralyn sits at her piano; looking quite doe-eyed and broken- you have to feel for the heroine; that struggle and hurt- it is a feeling we can all understand.

Masquerade is a stunning debut release: a song that shows a distinct personality; a wonderful voice- a songwriter with a hell of a talent.  A lot of Pop songs fall at one hurdle: maybe the lyrics are cliché and weak; the composition one-dimensional and phoned-in; the vocal unarresting and po-faced- here there are no such issues.  From the first notes, the track keeps you fascinated and invested: the piano playing is wonderful and evocative; the percussion and electronics multifarious and powerful.  When it comes to the lyrics, they are by no means simplistic and inane: here we get an insight into Noralyn’s mind; she represents (a well-trodden subject) with a new lease of life- putting her own stamp on relations and lies.  Backed by a voice that is exhilarating and varied- her highs are bird-like and pin-sharp; her middles and lows heartbreaking and tender- and you have the complete package.  Supported with some terrific production work- that keeps the song fresh and modern without compromising clarity and feel- and Masquerade is a winner- no lie.  The multi-talented Australian has a bright future ahead; her songwriting is well-realised and impressive from the off- it will be fascinating to see what she creates next.

Having spent a lot of time with Noralyn and her music, I have been hooked and grabbed- a fan that will follow her career closely.  Stunning to the eye- few other singers and musician are as stunning and beautiful as she- it is the music that remains in the mind.  That particular and exotic vocal style- which nods to Amos and Bush yet has its own sound and personality- is matched by ambition and artistic reach: she is not an artists contented to do the minimum; she is focused and fresh; eager and talented- someone with a big future ahead.  Masquerade is a burnishing example of her fire-power: I cannot wait to hear more music from the young Australian.   At the moment, the first moves are being made: Noralyn only just moved to Brisbane; her aim of being a singer is only starting- so it would be premature to predict her next move.  I hope she looks towards an E.P. perhaps: Masquerade would be a perfect lead-off song; maybe a four-track record would be great- to really showcase her talent and vocals.  Bring her Classical and piano skills in: present a ballad or slow-burning anthem; something tender and passionate- combine that with songs that offer uplift and dance.  After hearing one song- and knowing what she is capable of- it is impossible not to project and predict (on her behalf)- and wonder just where she is going.  For one, Noralyn has a future: she is going to be an artist that will go beyond Australia; gain popularity and applause in the U.K. and U.S.; see demand from Europe and North America- and be wanting this side of the globe.  I hope Australia welcomes her forth: the likes of Melbourne would do well to host her with open arms; see what a talented singer she is.  Before I wrap up, I will just mention one thing: the female singer-songwriter sector.  We all know what is out there; the sort of sound/trends that are coming through- I think there needs to be a rethink.  The best female (and male, in fact) solo acts are not those Voice-auditioning wannabes; the sort that is mass-produced, committee-written- and terrifyingly pointless in essence.  The finest voices are those that have their own voice; they write their own music- and are not slaves to the desires of label men/women and T.V. audiences.  Noralyn is the antidote to the (growing and dismal) mass of made-for-tweens robots: the anodyne conveyor belts that offer no personality or longevity- simple vacant-eyed ‘musicians’ that are short-lived and utterly excruciating.  Social media is going a long way to curbing the trends: the true music-lovers are championing the (best and finest) solo acts- the mainstream media needs to catch up.  Until that day arrives- and one wonders if it ever will- be thankful for serendipity- and the likes of Noralyn.  Masquerade is a colorful and slinking song; masked and seductive the one moment- bold and intoxicating the next.  Backed with a tremendous vocal potion- that sees child-like sweetness tussle with sensual prowess- the young Australian is a superb artist.  The lyrics are memorable and inspiring; the composition effective and nuanced- the entire effect is quite brilliant.  These are the early days, yet the signs are all positive: Noralyn will be producing music for years; it will be fascinating to see her next move- what she has in her mind.  Make sure you check her out; show her some social media love- and investigate Masquerade.  In a scene where the greatest wealth emanates from the ten-a-penny acts, we are all richer for being poorer- the rare and underground artists are leading a revival; the ones that are the future of music.  On a wet and sullen day- unless it is sunny where you are: in which case, damn you! - you would be wise to check out Masquerade- and all the sunshine and energy it offers.  Guaranteed to stick in the brain, just sit back and take it in and…

SUBMIT to its many charms.

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

______________________________________________________________

Follow Noralyn:

Official:

http://noralynmusic.wix.com/noralynmusic

Facebook:

https://www.facebook.com/NoralynMusic

Twitter:

https://twitter.com/NoralynMusic

 _______________________________________________________

Videos:

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Track Review: False Advertising- I Don't Know

TRACK REVIEW:

False Advertising

 

I Don’t Know

9.4/10.0

I Don't Know is available at:

https://soundcloud.com/falseadv/i-dont-know

RELEASED:

March, 2015

GENRES: Fuzz-Pop, Grunge

ORIGIN:

Manchester, U.K.

The album False Advertising is available from 4th September, 2015

TODAY marks a breakaway from two distinct areas of music.

Having been entrenched in Mancunian music (for the past few days), I am straying away from the area- ending with the mighty False Advertising.  In addition, I am looking towards female-led/male-only solo work: sounds that bubble and percolate; have electronic themes and sparkling upbeat- coming off of band-made heaviness/Indie-ness.  Within this valedictorian (well, sort of) speech, I am going to be focusing on an up-and-coming band- one that has entered the scene at just the right scene.  Portraying Fuzz-Pop/Grunge hybrids, the Manchester trio is striking indeed.  I shall come to them soon, yet I have been compelled by a number of things.  In the next few days I am going to be writing to our Prime Minister: provide a supplication; a plea to make change; through the conduit of charity and business-linking- so that we can help eradicate (needless) issues- societal blemishes that should not exist.  I shan’t divulge the details- mainly because I’m not sure what they are yet- but one of my ‘hot topic’ concerns is within music- not something I will pitch to the P.M. directly.  In new music, there is such a needless lack of support and finance.  Big businesses and companies- who defecate money like it’s going out of fashion- have cash going spare; more than they know what to do with- it seems like a great opportunity is being missed.  One of the most frequent things I hear- pertaining to new musicians and their struggle- is how hard it is to sustain: make their music and keep laying down sounds.  The expense and hardships of making music take their toll: there needs to be more money available for great acts.  Google and Apple; Microsoft and Amazon: here are organisations that have pennies to waste; plenty of finance available- money that can be better used to help fund the arts.  By having more money available; making sure great musicians are helped out- the music world can become more vibrant and anxiety-free.  In terms of reciprocity, it would be easy to solve: bands and acts (that receive money) could have adverts running- on their band pages/videos- for said companies; nothing too intrusive.  I don’t know, really- it just seems like there are things that can be done.  My point is that certain band come to my attention by mere chance- either they will follow me (on Twitter) or I hear of them from someone else- rarely does the mainstream media dedicate too much attention to great new music (away from the mainstream).  False Advertising are one such band (that deserves a bigger leg-up and coverage) and- before I continue with my point- let me introduce them to you:

“Sitting somewhere between Pixies, The Primitives and Yuck - False Advertising is a slab of loud but highly melodic fuzz delivered by a trio with no fixed front-person, with Jen Hingley and Chris Warr fronting the band and drumming alternately. Backed up on bass by Josh Sellers, their nostalgic influences result in a sound which is sludgy, yet radio-friendly and approachable.

False Advertising have self recorded and produced their debut album with plans for its upcoming release to be revealed soon.”

The band is simply Jen, Chris and Josh: a talented trio that are among the most bracing and interesting new bands around.  Having spent a lot of time reviewing London bands- from the likes of Los and the Deadlines to Ivy & Gold- it is good to be in Manchester- a city that is challenging the capital for sheer quality and diversity.  The band release their debut album on September 4^th (it is self-titled); it will be a big leap for the band- who up until now, have not released anything fully-fledged.  At present, the band has released a couple of songs: I was keen to feature I Don’t Know, ahead of the album release.  The trio has been planning for ages now: the album has been gestating for a long time; in the process of being made- until now, it has been hard-fought and speculated.  The band is excited about its imminent release: with promises of dissonance, sweetness and Grunge-influenced hooks- from ‘90s masterstrokes to modern-day strike- it promises to be a wonderful affair.  Before I get down to reviewing, it is worth commenting on a couple of things.  The genres of Grunge and Fuzz-Pop (in a way, a baby sister of Grunge) are not that often featured (in the mainstream press).  With the likes of Wolf Alice coming through- and Hard-Rock acts like Royal Blood inspiring legions of new acts- False Adverting is quite a band.  Soon it will be in vogue and wide-spread; for now, the genres are somewhat under-represented.  There is a lot of Electro.-Pop and Pop; tonnes of Indie and Rock- acts that inject a little Grunge into the mix should be celebrated.  The likes of Allusondrugs- the Leeds-based band who are on a steep trajectory- are a great example: a young band that is rising through the ranks with little opposition.  Since the Grunge heyday- when the likes of Nirvana, Soundgarden and Pearl Jam were in command- the trend has turned away from Grunge- towards something a little less heavy and fuzzy.  If you know where to look; there are some great Grunge bands- putting the genre back into the spotlight.  I hope False Advertising’s forthcoming album will see a sea-change: get the bygone genre back into focus; in the minds of the mainstream press- shake-up the pale and lipid band market.

The trio includes the likes of Yuck and Pixies as influences: there is a little of each in their music.  When listening to I Don’t Know- and their track Wasted Away- I was reminded of each.  There is a little bit of Yuck’s luster (in the music of False Advertising): in the same way Yuck (on their debut most glaringly) mixed oblique with direct; blended hypnotic and grinding (to great effect) - the Manchester trio do likewise.  There are little shades of Pixies; that same mixture of soft-loud dynamics; the grimy and darker shades- the ability to turn a song on its head in the space of a few notes.  To be fair, False Advertising has few sound-alike comparable: when listening to their music, I could not think of too many other acts.  When it comes to Grunge- and bands that play in this field- you can always hear the influenced: it comes across quite glaringly and obviously.  Not indebted to any other act, the Mancunians instead take the smallest of particles- a tiny bit from their heroes- and update the sound; filter it through their creative process- come up with something original and unique.

Ahead of their album release; I have been fascinated by I Don’t Know- one of their most direct and evocative tracks.  Together with Wasted Away (also on SoundCloud) it is a chance for the public to hear the band- get a glimpse into their album’s potential/possibilities.  I Don’t Know begins life with a wonderfully intriguing introduction.  At first, we have a woozy and punch-drunk guitar sway; a passive-aggressive little undertone that soon erupts; as the snare kicks in the intro. kicks up a gear- and the song explodes into life.  At this stage, there are little nods to the greats of Grunge/Indie/Alternative- Soundgarden and Nirvana; Alice in Chains and Smashing Pumpkins- all done in a very idiosyncratic and unique way.  Within the first twenty seconds, the to move through the gears: the percussion slams and devours; the strings contort and bounce; the riffs crunch and drive- an exciting and head-spinning way into things.  Before you become overwhelmed; you feel overcome by the weight of things, the band brings it down a notch.  When our hero comes to the microphone (backed on vocals by Jen) the song gets underway- and the tale begins.  It seems there are some woes and anxieties on the mind: the day is not going so well- our man can’t wait for it “to start again”.  Amidst the strains of pain and aching bones, our man is looking for some solace and relief- whatever is causing the heartache; it is taking its toll.  The first stages of the song are rife with tight musicianship and energetic performances: the entire band unite superbly and unleash an edgy and powerful proclamation.  The only detraction I would have related to the vocal clarity and decipherability.  They will forgive me for misunderstanding or misinterpreting the words; only it can be quite hard to pick them all up.  Reverbed and echoed, the vocal loses some of its finesse and intelligibility- getting a little buried in the mix; being drowned-out by the music itself.  Whilst it does cause some problems (with regards picking up the lyrics) it does at least sticking to a classic Grunge parameters: the rawness and vitality that echoes through cannot be understated; you are gripped by the song regardless of minor quibbles- it is both instantaneous and thought-provoking.  The male/female vocal hybrid put me in mind of Pixies.  Whilst our leads do not model themselves around Black Francis and Kim Deal, there is a little of that chemistry and formula: the way the vocal interlace and weave; the deployment and structure- I detected a little hint of early-career Pixies.  Whether the two leads are putting themselves on opposing sides- one plays the female ‘villain’; the other the male ‘villain’- or they are in unison (against an unknown subject) I am not sure.  It seems a relationship/friendship has broken down; being dragged along with snideness and tense emotions.  Whoever our man is rallying against, it (seems he must) descend to (her) level- his ‘counterpart’ is being rather immature and cutting; causing upset and pain- “Your jokes are mean” so it is told.  Having been a long-time fan of Universal Thee- a Scottish Indie/Grunge act influenced by Pavement and Pixies- they too have the same boy-girl vocal byplay; that way with words and great delivery- I wonder if False Advertising would play with them one day?  It seems there is no détente or impasse- our man is being taken out and pummeled- whatever the circumstances behind the drama.  Whatever he gives (our lead); there is no sense of thankfulness and satisfaction- it is never enough.  Backed by his band cohort, I was lifted by the naturalness of the vocals: there is a sense of togetherness and intuition; each member has great respect for the other; the way the voices seamlessly entwine is superb.  It is (the band’s) deployment that is highly effective.  Syncopated one moment; punctuated the next, lyrics are not lazily slung and delivered with the least imaginative sense of urgency.  Some words run into the next; the lines are presented with pizazz and passion; contemplation and consideration- making the song more effective and stunning.  Aside from a little bit of lost translation (when the vocals are at their most fuzzed-out and distorted) it actually adds to the effect- that unwavering sense of pressure and anger.  Seemingly losing his touch, our man is casting his mind around- searching for answers in the sea of confusion- and seeking a safe resting place.  Before you get too entrenched in the story development- the same way the introduction catches you by the brain- you are given a breather.  Combining their instruments, the trio unveils a cheeky and spaced-out riff: something quite swaggering and hazy; a little lost and crawling- a drunken tip-toe that highlights the song title.  With our leads combining in voice, they augment that sense of loss and confusion- the listener begins to wonder what the outcome will be; whether any sort of resolution will be discovered.  When the band become more minimal and quiet- away from the rabble and pace of the verses- you hear a new side to them- how effective they are as musicians and composers.  The chorus itself is a stand-out mutating beast: at first it is teasing and spiraling- variegated and elastic- before becoming more primal and crepuscular- transforming into a hairy, drooling beast.  The strings add the colour and control: keeping the song level and grounded yet exhilarating and wild- I was impressed by the sound.  False Advertising has a D.I.Y. and interchangeable work ethic.  With Jen and Chris up front- there is no set lead vocalist; the trio rotate and pair-up in various formations- the drumming is handled by both Chris and Jen- again, there is no solo drummer.  Josh provided bass work- which is particularly impressive and authoritative here- and that does not mean a detraction and cessation of quality and consistency.  The drumming (throughout the track) is intense and brutal; flailing and monster-like- without becoming undisciplined and aimless.  As the song progresses, you cannot escape that feeling of insecurity and unease: the protagonist(s) fighting against the tide; trying to find justice and compromise- never able to find what is needed.  The production allows the band to really flourish: there are no embellishments and shine; the song is raw and honest; you can practically see the ribs showing- it is almost like you are hearing the song in a live setting.  By the final notes you sit back and contemplate; try to get to grips with things- wonder if you have understood everything in the song.  The band will have their own truth and interpretation, yet the listener will have their own ideals: it is a track that can be extrapolated and appreciated; we have all been in a similar scenario- so I Don’t Know seems tangible and realistic.  With few drawbacks and detractions- apologies to the band if I have misunderstood any of the lyrics- the track is a fresh and bracing kick; a runaway donkey that is kicking fiercely- one of the trio’s tightest and most impressive performances.  Not merely a one-off gem, it instead acts as a teaser (when the album comes out soon) - if you like this, you will surely love what False Advertising offers.  I Don’t Know has nuance and layers; fuzzy and strung-out moments; vibrant and emotional swathes- a song that is dead-set to be a live favourite.  If the band decide to come to London, this will be a song that’ll have me dancing- a true fist-pumping, voice-raising nugget; inspiring sweat and singalong, you cannot ask for any more.

False Advertising’s self-titled album is dropped in a few weeks- with its striking cover and eleven tracks of intrigue- and is something the band are very proud of.  The trio produced, mixed and recorded the album themselves; without record label input the guys have put this all together themselves- few acts have such a work-rate and sense of ambition.  I urge you to grab the album when it lands- it will be available on the likes of iTunes and Spotify- but go and listen to I Don’t Know- a great example of what to expect.  The song shows the guys in hot and heavy voice: it is a mandate and shout-out to the masses; an example of what can happen when you focus and knuckle-down- the trio is among the most engaging acts of this year.  As the year progresses- and after the album comes out- the band are touring Manchester (and stopping off in Leeds) - the north seems to be the ancestral home for the new wave of fuzzy/Grunge acts.  What False Advertising has done is create something both timely and classic: they have lovingly touched on the ethos of ‘90s Grunge; updated it around their own voice- and modernised the genre.  Too many bands get caught in the quagmire of expectation and playing it safe: on the one hand they make music to meet a market need; on the other, there seems to be little adventure and boldness on their sapling effort.  Manchester’s bi-genre Grunge attack are no such slouches: they make music they want to make; the type of sounds the public need to hear- all done with a keen eye towards shaking things up; a debut album (this soon into a career) is impressive.  As the guys say themselves, it has been a long time in the works: with limitations and (the drawbacks of self-producing an album) it has been a hard task- the hard work will all be worthwhile.  Before I wrap things up- and you’ve come to expect a certain degree of loquaciousness from me with regards these things- I want to highlight two more points: localisation of bands; market trends.  On the first point, a lot of new bands tour locally: it costs money to come farther afield; makes more sense to (first of all) woo the home crowds- unaware there is a demand elsewhere.  I know there are financial limitations yet False Advertising would find patronage and venues down south- London especially would be able to house them proudly.  Maybe they are being sensible to begin, but I would love to see the guys live- get them down this way and have their music shared (in the capital).  I think a great deal of fledgling acts have to restrict themselves initially: when their album is unleashed, let’s hope they get their backsides down to us (in London).  Lastly, the current market needs an overhaul: in the mainstream at least there is too much Indie music (still); too few genuinely exciting acts- the likes of Royal Blood and FKA twigs come by once in a blue moon.  So much attention is paid to the existing, radio-featured acts, that a lot of tremendous music gets overlooked.  Were the press to cast their eyes further afield- and see bands like False Advertising come through- they could get into the mainstream; inspire other acts- make it a much more vibrant and quality-focused arena.  Oh well; for now I just have to appreciate what we have in front of us: if you have not heard this Mancunian trio, rectify this now.  Their debut L.P. looks primed to be a firecracker of a thing: crammed with retro. Grunge moves; some very modern-day ideas- colour and vibrancy; emotion and reflection- that will see the 11-track release much-heralded.  Ensure you buy the album when it comes out- as the trio have spent a lot of time and money producing it (and deserve recompense)- and check out I Don’t Know- a stunning song that shows just how strong (the band is).  If the new music arena is to gain maximum respect; get some of its best to the mainstream, then there needs to be more support: music-lovers need to come together; get the U.K.’s finest into widespread consciousness- and utilize social media for all its worth.  Some music fans are doing their best; many more need to do better- it only takes a few seconds to share music/acts across social media (Twitter and Facebook).  With no excuses available, please give this eager three-piece some attention; gets their music trending- they are a future festival band that will be kicking arse.  Ready-made for the dials and ears of the best radio stations- including XFM and Absolute Radio- the white-hot act leading a charge.  False Advertising is an album you need to own- and one that should be promoted far and wide- as it shows a band doing things ethically and with a great ethos- produce it yourself and make sure your own direction dictates the sound.  With so few bands- the new ones at least- doing things the same way; taking full control of their production, I am pleased False Advertising have taken this step.  When all’s said and done it is…

SUCH a refreshing change.

[soundcloud url="https://api.soundcloud.com/tracks/197754422" 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 False Advertising:

 

Official:

http://www.falseadvertising.co/

Facebook:

https://www.facebook.com/falseadv

Twitter:

https://twitter.com/falseadv

Instagram:

https://instagram.com/falseads/

 ______________________________________________________________

Music:

https://soundcloud.com/falseadv

 

__________________________________________________________

Gigs:

http://www.falseadvertising.co/live/

Track Review: From Carbon- Darkness

TRACK REVIEW:

From Carbon

  

Darkness

9.1/10.0

Darkness is featured on the album Wealth.  Listen to the song here:

https://soundcloud.com/fromcarbon/darkness

RELEASED: 2014

GENRES: Indie/Alternative-Rock

ORIGIN:

Manchester, U.K.

Produced by Yves Altana Engineered by Chris Oliver Wriiten and performed by "From Carbon"

WEALTH TRACK LISTING:

Velvet

Spirit

Darkness

Berlin

Pure

Mountains

Everything is Control

Please Please

Demons

Wealth

Understand

Sad Apples

THIS will be the last review (for a little while at least) to focus on Indie/Alternative acts.

Having featured the likes of The 48ks lately- and contemporaries who play similar sounds- I am looking further afield: to international Rock acts; female-lead Pop/Soul; something quite different- hoping to broaden my horizons.  That is not to say the Indie/Alternative moulding is not a pleasant one- far from it in fact- it is just the genres have been under my radar (a lot lately) - so a detox is needed.  Before said detox, it is time for one last piss-up: a hell-for-leather night with blurring, booze and vomit-strewn toilets- well, not quite.  Contrary to popular belief- that perpetrated by the media and lazy ‘music-lovers’- Indie music is synonymous with aimless and brainless tunes- so long as the music is catchy, it doesn’t matter about the words/themes.  That may be oversimplifying, yet the media tends to concentrate more on riffs than lyrics; the basics as opposed to intelligence and nuance- a lot of the Alternative darlings do not deserve their praise and position.  Today’s focus/rant looks at Mancunian Indie music: words that go together like Sarah Harding Lip-Syncing Disaster- her recent ‘performance’ on I.T.V. was like watching Freddie Mercury at Live Aid- or the exact opposite.  The northern city has produced more of the Indie/Alternative greats- maybe Liverpool can be added in- than any other city.  London is coming through and competing, yet Manchester has that historic legacy: from the Factory days through to The Smiths and The Stone Roses; along to Oasis- Doves and The Charlatans can be thrown in there.  The city has produced some of music’s most influential bands: each with their own aesthetic and sound; each one with its own vibe- the city is not exactly letting up.  In the last few years, The 1975 have stated their claims; there are some young up-comers emerging- few can match From Carbon.  (Carbon itself) has a fascinating biography: an incredibly high boiling point, it is an essential element; diamonds emanate (from carbon); carbon is a pattern maker.  The band themselves share chemical similarities; their componency is the same- the boys are among the most previous and important bands breaking through the Manchester scene.  Before I continue my point- and raise a couple of new ones- let me introduce From Carbon.

Scott Jeffreys - Lead Vocals Gray Shaw – Bass Jason "Nut" Coverdale – Drums Adam Smethurst -Lead Guitar Fiona McBurnie – Piano Sarah Hinkley – Violin Chris Oliver - Guitars

“Upbeat, Passionate and intelligent indie rock songs with the occasional soaring  ballad & waltz, beautiful melodies and thought provoking lyrics.”

The band’s biography is kept simple and to-the-point: that mixture of soaring melodies and intelligent lyrics defines them; their beauty and passion comes through in every line.  What I would say about the band- as a suggestion perhaps- is to make their album music more accessible.  Having released Wealth (last year) it has gained praise and attention- free to purchase online.  It would be great to hear the music on SoundCloud- make it free to listen to their music- thus engaging a wider audience; making it obtainable to a wide audience.  Being a D.I.Y./self-funded band, the desire is to raise funds: have their music raise money; ensure the band can keep producing/playing.  With that said, providing a link to the album- as a free download- would improve their chances.  It may sound counter-intuitive, yet if people get a taster, they may be willing to buy the album- fewer would snap up the album without a song or two for free.  From Carbon have a pretty healthy fan-base; their social media ranks are growing- I can see them gaining fans from across the U.K. and abroad.  With new music mooted, let’s hope the boys get something organised on YouTube/SoundCloud- and tease the masses in.  The official website (for the band) is informative and well-designed: clear and concise, it provides gig dates and up-to-date news.  The boys’ have covered Facebook and Twitter: between the social media sites, the band are keeping fans updated and informed; ensuring their keep in contact- making them aware of future events.  Following Wealth’s release (last year) the band have been laying down new plans/sounds; taking their music on the road- getting ready for their next attack.  Wealth is the sound of a band with purpose: the song titles are economic and tight (most just one-worded); the tracks are nuanced and addictive; the songwriting consistently excellent- the band performances incredible.  The way I came about the band (not sure that is the correct grammar) was through Shay Rowan: a Manchester-based photographer/music-lover and all-round top guy- he expounded the wonders of the band; lead me to From Carbon- bit of pencil/lead/carbon wordplay there, to boot!  Hilarity aside, the Manchester boys deserve their kudos and high praise: their music goes beyond that of the bog-standard Indie-cum-Alternative themes; stronger and more detailed- with much more striking lyrics.

To get a flair/feel for the band- assess who influenced their rise and sound- it may be worth digging into the following: Arcade Fire, Velvet Underground, Oasis, James; R.E.M., INXS, Longpigs, U2 Martha Wainwright; PJ Harvey, The Beatles, Elvis (Pressley), Johnny Cash, Rush; Lou Reed, Leonard Cohen… If you are a fan (of any of these acts) there is a little of each to be found- to be honest, they are the faintest of hints.  From Carbon are very much their own band; a force to be reckoned with- one of the most original bands to come out of Manchester.  If you are a fan of the ‘classic’ Manchester bands- Oasis etc. - you will see some comparable shades.  From Carbon are capable of writing stunning songs about modern-day concerns; tapping into the consciousness of the young and affected- striking a chord with their incredible lyrics.  Throughout Wealth there are nods to their heroes; yet every song bares the hallmarks of From Carbo: there are a few moments where you are put in mind (of any other band).  With that in mind, it creates a pleasing feeling: you do not feel short-changed or cheated; there’s that feeling you are listening to a fresh and innovative group- very much complete with their own voice.

Initially, I was going to review Understand- another track from the album Wealth- yet changed my mind: Darkness is available to listen to online; a better chance for the listener to connect with the band- rather than buy the entire album (to hear the song).  In time, I hope the boys put all of Wealth’s material on SoundCloud- they will get a bigger audience and make it easier to recruit new fans- yet Darkness is online for all to hear.  The introduction begins with a galloping blast: a riff that spirals and snarls; it is razor-sharp and frantic- the song spares no time in getting off the blocks.  Both uplifting and head-rushing; Darkness swirls and strikes.  The guitar see-saws and vibrates- reminding me a little of Achtung Baby-era U2- and the listener is instantly gripped.  Without uttering a world, the track kicks and punches its intentions; before the vocal comes to play there is an awful amount of build-up.  When our man comes to the microphone, the lyrics look at a central subject- “She’s got nothing to lose/nothing to prove…”  You feel a relationship is on the rocks (under strain) and some sort of fall-out is taking place- although you are not clear who the perpetrator is.  With a serious and focused vocal, the words are given maximum emotion- a very dead-ahead delivery that makes sure they are understood and hit the mark.  Allowing his voice to rise and emote, our hero takes the (song’s subjects) to task- stepping away from the first-person clichés, and focusing on an anonymous couple.  Whether the ‘he’ of the song is Jeffreys- or the tale is fictitious; or else based on a friend- the male party is in need of a “slap in the face”.  Seemingly “all over the place”, the song’s focal points are making a mess of things- whether it is relationship-based or they have just screwed up we are not sure.  When the chorus arrives, darkness is seen as a rescue aid- Jeffreys employs the first-person; making me wonder whether he is a bystander or one of the song’s central subjects.  Throughout the early stages there is a sense of ambiguity and intrigue: you are never quite sure the background (behind the song); unclear what is unfolding- yet the way the lyrics are portrayed; it allows some vivid speculation.  The vocal is forceful and determined; filled with passion and urgency, it makes every word jump out- nothing gets muddled or lost under the weight of the composition.  “Free/the 73/wake up to your needs” is uttered: another oblique sentiment that builds more fascination and wondering- what exactly is being referred to?  The composition keeps pressing and plugging; it builds a huge amount of weight and emotion- ramping up the emotion.  The chorus swings back around; the darkness is beckoned in- and another layer unfolded.  When love goes wrong- as the song foretells- the hero (of the song) always plays the victim- seemingly an immature and naïve figure.  There is no sense of sympathy or empathy in our lead’s voice: a guy with no real sense of reality, the song’s core is being given a dressing-down.  Before you become entrenched in the song (some more); investigate the lyrics and dive into the story- the band come back to the fore.  Those attacking strings melt with forceful bass; the percussion strikes and pummels- the knife-edge composition mixes anxious strings and dark-edged beats.  Showcasing the band’s tight and intuitive relationship, it is a stunning segment.   Melting some of U2’s skyscraping early work with some Velvet Underground overtones; the song’s messages and central themes hits home.   With every disaster, the song’s lead is playing the victim; coming off the hurt party- someone who needs things to go his way all the time.  By the time you become invested in the story, the song comes to its end: the final utterance of the chorus sees our lead backed on vocals; that central mantra- “Darkness, rescue me”- comes back into effect- augmented and emphasised in the final stages.  By the time the song comes to its end, you are left wondering how things worked out: if the lead (Jeffreys) was rescued; if the song’s subjects found what they needed- if there was a fair resolution.

Being available on SoundCloud, Darkness is (one of two songs) that the public can hear- an insight into their stunning album.  Uplifting and emphatic; heavy and serious, the song tows the line between emotional grab and stadium-sized riffs/choruses- a fascinating mix that seems ready-made for the crowds.  One of the most agile and fresh bands to come out of Manchester, Darkness is better than most tracks out there- a testament to the band’s songwriting talents; the close and tight performances of the band members.  Jeffreys leads from the front: his vocal is strong and resilient; gripping and emotive- making sure the song’s messages are understood and appreciated.  Someone who has seen his share of disreputable sorts, you hear the convicting and sense of fatigue- the need to get away from crap situations; find some sort of salvation.  Gray Shaw’s bass keeps the song sturdy and focused: making sure nothing gets out of hand; he leads with force- displaying a keen ear for melody and rhythm.  Instilled with a clear sense of personality and purpose, Shaw matches cutting drive with restrained guidance- adding force and emotion when the song calls for it.  Smethurst’s lead guitar- sitting with Oliver’s guitar work- is emphatic and impressive throughout.  Strong-armed and resilient, the guitars cut and shred; attack and sting- making sure the listener is kept on the edge of their seats.  Never too heavy-handed and imposing, the strings add the necessary degree of weight and punch- the perfect complement to Jeffreys vocals.  With Jason “Nut” Coverdale charging from the back- providing a huge amount of drive and passion- and you have quite an incredible band.  Coverdale’s stick work is impressively tense and gripping (from first to last); keeping the song hard and heavy.  Completed with some fine production work- that makes sure no notes or vocals get lost or misheard- Darkness is allowed to breathe and flourish- and be fully appreciated.

Before I make my way out of my ‘comfort zone’- and towards some foreign wonders- I am looking around the current scene; the growing mass of Indie bands- wondering what their future will be.  At the moment (that genre) is the fastest-growing around: it requires more truth (and fewer diversions/musical complications) than other genres- it is more straight-ahead and to-the-point.  Within the genre, there are opportunities for mobility and surprise: those that understand this are those that remain in the memory.  Fatigued by the throng of twenty-something bands aimlessly playing- thinking it is sufficient enough to phone it in- when a terrific act comes along, it is always pleasing.  It does not take a lot to stand aside: some personal and intelligent lyrics; an original and bracing sound; songs that stick in the brain- few acts negate these simple points.  The From Carbon boys have their own drive and personality- although they include a little of other bands, they are very much their own.  Darkness is a track that has not received a lot of air play and blog space- I do not understand why.  One of Wealth’s standout tracks, it is the band at their finest- the distillation and fine process of all their shades and elements; a brilliant fusion of components- getting too much into the carbon analogies (the band need to change their name!).  Before signing off, it is worth pushing the band into your mind: check out the (couple of songs) they have on SoundCloud; make sure you snap up Wealth- ironically, it is very reasonably priced; make certain to make the band one of your ‘new discoveries’.  In the Indie/Alternative arena, there are few bands that really pull it off: tick all the boxes and put you in mind of the legends past- the likes of The Smiths, Oasis, Doves and so forth.  Although the boys have their unique sound- and could not readily be compared to those acts- the comparable bedrocks remain: the knack with an instantaneous chorus/tune; lyrics that mix personal introspection and huge uplift (The Smiths could even do that) and terrific melodies- what else could you possible desire?!  Well, there is more to recommend: From Carbon are planning new songs; readying themselves for future sounds- so brace yourself for what is to come.  In the meantime, investigate Wealth; hope over to SoundCloud; give them a ‘Like’ and ‘Follow’- so you can keep up-to-date with all their happenings.   In a (music world) bestrewn with variable/mediocre/bat-shit lame acts, we should embrace those that circumvent expectations- go out their way to make exceptional music.  From Carbon are an elemental band; starting out and finding their way.  Although they are carbon now, we all know what (carbon turns into) and it is only a matter of time.  My lame/insatiable carbon-based puns aside, get involved in their graft; support a fine young band…

SIMPLE as that.

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____________________________________________________

Follow From Carbon:

 

Official:

http://www.fromcarbon.co.uk/

Facebook:

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

Twitter:

https://twitter.com/FromCarbonBand

 _________________________________________________________

Music:

https://soundcloud.com/fromcarbon/tracks

 

_____________________________________________________

Gigs:

http://www.fromcarbon.co.uk/events/

 

E.P. Review: The 48ks- Caught Up in the Wrong Crowd

E.P. REVIEW:

The 48ks

  

Caught Up in the Wrong Crowd

9.5/10.0

 

Caught Up in the Wrong Crowd is available at:

https://soundcloud.com/the48ks/sets/the-48ks-caught-up-in-the-wrong-crowd-ep

RELEASED: August, 2015

GENRES: Rock/Indie

ORIGIN:

Doncaster, U.K.

TRACK LISTING:

Changing- 9.5

Where the Wind Blows- 9.4

My Town- 9.5

Reason- 9.5

STAND-OUT TRACK:

Changing

CAN never be too sure whether there is an apostrophe...

in the 48ks- the guys will forgive me for excluding it.  Anyway, I’ll get back to that later: for now, I am drawn back to the Indie/Rock hybrids- and the bands that play these genres.  Over the last few days- and some reviews coming up- I am stepping away from the genres; looking for something a bit different- expanding the horizons and all that.  It is always exciting witnessing an Indie band come through: there is so much potential to be found; what can be done with guitar, bass and drums- and whether the music produced elicits a reaction.  It may seem like odd wording, yet it is a difficult situation: so many Rock and Indie bands are stale and predictable; come across as lumpen and uninspired- tend to come off as boring and retracted.  You do not have to limit yourself to tried-and-tested themes/sounds; the genres allow movement and invention- something quite exciting and fresh.  Maybe the scene needs a shake-up; the bands need to start expanding their themes- go beyond the usual parameters.  Within the songs of love and relationships, there are some interesting acts coming through.  With the rise of acts like Royal Blood, the newcomers are starting to become bolder: up their game and start showing some nouse.  The 48ks are a familiar band to me: I have reviewed them before- I reviewed their album For Every Day a Memory last year- and know what they’re capable of.  Returning with a new E.P., the anticipation has grown.  The band is no mere upcoming wannabes: they have already caught the ear of some prominent names- including B.B.C. 6 Music’s Huey Morgan- and their new release has already been spotted by Steve Lamacq.  It is clear their music is striking the collective ear; good enough to appeal to the taste-makers of the country- and get some really impressive airplay.  Before I go on, let’s welcome the band: 

Ryan Lightfoot- Vocals Steve Dale- Rhythm Guitar and Backing Vocals Simon Kato- Lead Guitar and Backing Vocals Adam Golightly- Bass Guitar and Backing Vocals Chris Morris- Drums

“Living in the shadows of noisy neighbours Sheffield, Doncaster has its own Phoenix rising from the ashes of closed mines and Thatcher's Britain telling stories of their lives and times. Whereas Sheffield has the musical heritage of Pulp, Arctic Monkeys, the Human League, Def Leppard Doncaster's famous sons are Kevin Keegan and Jeremy Clarkson. No bands. The 48ks aim to change this. Their manifesto is to "provide proper tunes", "proper songs that mean something to someone, songs you and your mates can sing together and you believe every word" and purge the charts of soulless, lifeless rubbish. With songs in the classic style of Lennon/McCartney Jagger/Richards is there any reason why Lightfoot/Dale of the 48ks can't join their heroes. They've certainly got the tunes. The 48ks formed in late 2009 and after various personnel changes they have grown into their own shoes with relentless gigging and songwriting. Combining their collective influences and adding their own individual ingredients they are intent on bringing the guitar and vocal harmonies back to the forefront of modern music. Their love of their heroes The Beatles, The Kinks, The Stones, The Jam, The La's, Led Zeppelin, Oasis, The Who, Ocean Colour Scene and Cast is the standard which they aspire to. The 48ks write tunes for the people. If they were not in the band then these are the boys they'd be rooting for. They've put the hard work in; they've worked for a living so people can relate to what they are saying. They all love a beer, a flutter on the gee gees, a night on the tiles, going the footy and their clobber but music is their passion.”

Hailing from Doncaster- and being residents of Yorkshire- the band stand in good company.  Across the county, there is a host of legendary bands- Arctic Monkeys and Pulp as mentioned- and some great newcomers (like Allusondrugs).  I think one of the members of One Direction hail from Doncaster- not sure which is which; they all look like pre-pubescent hairdresser apprentices- but no human wants to be tied to One Direction- unless they’re hurtling down to Earth with no chance of survival.  It seems like the boys are in a very unique place: not only put their hometown on the map; make sure musicians from the town follow in their footsteps.  It is clear the band are aiming high; their songwriting and musicianship is among some of the finest (of the current scene) - their tunes are simple and effective; quotable and festival-scoring- the sort that unites the fans in a throng of sing-along ecstasy.  Having impressed me with their album, their new E.P. builds on their core sounds; expands their ambitions and direction- they sound more confident and complete here; the songwriting is stronger and more impressive- a natural step forward (for the band).

 

Looking at the bands influences- and who has inspired their background and music- the likes of The Rolling Stones and Oasis are in there; as are Ocean Colour Scene and Cast- a lot of northern influence.  Throw in The Beatles and La’s and you have some localized- and let’s admit majestic- influencers.  The 48ks’ new work has more in common with Oasis and Ocean Colour Scene: there is a ‘90s vibes to proceedings; anthemic guitar work- some urgent and passionate vocals.  To be fair (to the band) it is really difficult pointing to any other band: there are touches of old legends; some suggestions of newer acts- when all’s said and done the band are very much their own.  It is their compositions that will seem the most familiar: they link the glory of ‘60s Rock- Led Zeppelin and The Rolling Stones- and infuse some modern-day hardness; to create something quite special.  The stunning song-craft and wonderful melodies ensure the music remains in the head; perhaps little flecks of The Beatles and The La’s- in terms of the terrific ear for catchy choruses and brilliant Pop sounds- but The 48ks are keen to stamp out their own sound- which they do with aplomb and attack.  Keeping their songs tight and focused there are no wasted moments and wandering ideas- songs do not pad out or trail off; they always remain controlled and level-headed.  The band’s L.P. was a stunning statement: a brave and ambitious effort, it showcased their combination of strong songwriting and brilliant hooks; big-time choruses and relatable lyrics.  Since last year- to my mind in any case- the band sound ever more assured and confident; they seem to have grown in stature- producing music that is dripping with energy, lust and magic.  The band’s intuition and courtship makes the songs so addictive: each member understands their role; the performances are tight and professional- the boys do not sacrifice their ideals and quality at any moment.  If you are new to the band, it may be worth dipping into the 1990s annals- investigating the likes of Ocean Colour Scene, Oasis and Cast- and listening to those bands; the legends that inspired the lads- and just what compelled their music ambitions.  Before you investigate Caught Up’ clear your mind to an extent: approach it with fresh eyes and just let the music do its work.  A natural leap for the band, it shows them channeling their ambitions and inner strength- and producing something quite epic.

Changing starts with an appropriate spring: the composition mutates and develops; beginning with a strummed and ear-catching riff, the beats patter and rumble- ducking and diving; keeping the listener on their toes.  The intro.’s riff has Punk and Rock edges- little bits ‘60s ‘Stones; suggestions of ‘90s Britpop- although to be fair, it is very much a (The) 48ks creation.  Catchy and insistent; head-nodding and feet-moving, it throws the E.P. into the heavens- and sparks the sky alight.  When our hero arrives at the microphone he is reflecting on issues; taking it all in- assessing events in life.  Both ambiguous and double-meaning, you wonder what has (inspired his thought-provoking words) - and whether it applies to a relationship breakdown.  It is life’s changes that are causing the issues: when he looks in the mirror, the image staring back seems unfamiliar- either older or different somehow.  Perhaps a natural (yet quite regrettable) transformation to older skin (the youthful glint is being replaced by something more lived-in) there is that sense of alarm and submission- maybe not wanting to let go.  Sentiments/concerns that apply to many, you emphasise with that sense of pain and regret- and find yourself singing along.  Caught up in the jumping riff, the entire band step up to the mark- their instruments blend to create an atmosphere that is claustrophobic and open; attacking and at ease- something that takes you in varying directions.  Our man talks about (and to an unnamed person/people) “’you should know my name”; and, as the thought develops, “’my game”- perhaps a call-out to the music world; a snarl at a jilted love- maybe a general kick-out.  Taking time to reflect on life; looking at events that have unfolded- you are never free of that urgency and haste; things are transforming (and not always for the better)- the song never relents or lets up.  The chorus and melody has elements of the ‘60s heroes- your Beatles and Stones- and certainly gets inside the head.  The band keep things simple and straight-ahead: the composition remains tight and focused; the song’s quotable lyrics are deployed to memorable effect- the entire ensemble is so well conceived.  Backed by a passionate vocal; some uplifting backing vocals- the final stages are compelling.  By the time the final chords rally, you find yourself humming along (still); gripped by the song’s energy and luster- it is one hell of an opener.

Following that emphatic opener, Where the Wind Blows begins more serenely- and has some gentle sense of embrace.  Acoustic-led and tender, the vocals are light and sensitive.  Caught up in the wrong crowd, our lead- backed on vocals by his bandmates- laments and reflects; he is being led astray- and it is not pleasing.  Acting almost as a title song- the song does name-check the E.P.’s title- it seems like a home town anthem: maybe the crowds and scenes have grown wary; creating something quite negative- there is that sense of dissatisfaction and loneliness.  Keen to throw off the shackles (of this oppressive force) our hero calls out (maybe to a friend or lover) to come with him- take him by the hand and make (their way) into the night.  The track (like the E.P.’s opener) boasts an impressively authentic ‘60s vibe: signs of psychedelic ‘Beatles-cum-Ocean Colour Scene fuses with The La’s/The Byrds; the effect is quite staggering.  Classic and modern; upbeat and introverted, the song is nuanced and layered- something that is not throwaway; instead it appeals to the brain, body and bones- really hits all the marks.  Speaking to (the unnamed subject) they are coming around “at the wrong time”- there is a sense of ambiguity to the lyrics.  There is obviously turmoil and doubts; something fractious and nerve-shredding, you are compelled and curious.  The subject certainly promises fun and escape- although there is some doubt from our hero- as the memories flow; the night develops- that knowledge that (if they go where the wind blows) it will all be okay.  When the song reaches its middle eight- and the rest of the band step into the spotlight- you get some overt hints at the ‘90s power bands- that Oasis-via-Cast combination; some Ocean Colour Scene too.  The 48ks manage to transmogrify (any ‘90s influence) around their own template; nothing ever sounds borrowed or second-hand- it is very much them being them.  The strings wail and shred; woozy and stinging, the bass comes into to keep it level- guide the music and keep the backbone strong.  With some punchy and strong percussion the band crank through the gears- before the vocal comes back in.  “You can have it any way you want it” is the mantra that unfolds: something that is both chant-able and oblique- the band always deliver their prophecy with a sly wink; what does the “it” (first) refer to; what does the “want it” reference?  Anyway, by the time the song is over, the listener is left to recollect: try to dig to the song’s nub; put the pieces together- knowing that the truth is known to the band alone.

   My Town jumps into life: with is bouncing and spiraling riff- that manages to weld some ‘60s Power-Pop with classic Indie strides- it begins with intent and ambition.  Insanely catchy (in its simplicity) the band unleashes something insistent and festival-ready.  One of the best things about the band is their introductions: they do not wait to get into your head; their songs always come charging out the blocks- and do not relinquish their attack.  “I see trouble” are the first words; “stony walls” and “the eyes of the trees”- a glimpse into the band’s town.  Whilst the wounds have healed (so it’s told) the scars are raw- the marks have been left.  It seems like the boys know the limitations of where they hail: their home town has its issues and limits; there are problems and heartaches- that will not bring them down.  In the early exchanges I was not sure whether the lyrics- which paint some vivid brushstrokes- reflected Doncaster with a positive or negative image (if there was a sense of anger or pragmatism).  Just like Arctic Monkeys unveil fantastical scenes of modern-day Yorkshire, The 48ks join them: their way with words is effective and striking; fewer poetic flourishes (than Turner’s lyrics) it is direct and powerful.  Building off of that central thesis- “’you’ll never bring me down”- it is a kick-against-the-world mandate- something designed to inspire festival crowds.  Contorting and dancing; jagged and melodic- the song is a busy and bustling beauty.  As our hero walks through the streets- noting some rather disreputable visions along his way- there is that sense of defiance: he will never be overcome and defeated- on his way, nothing is going to bring him down.  One of the most instant and effective tracks (on the E.P.) it should be a live favourite- a song that is designed to compel the masses.  At the very least, the song leaves a giant smile- just what great music should do.

After some confusion and anger, we need some Reason- the E.P.’s swansong delivers that in spades.  Beginning with an intriguing riff- that put me in mind of Green-era R.E.M. (and tracks like Stand) it has U.S. vibes- with a dose of ‘60s U.K.  Big and heartfelt; uplifting and Pop-infused, the song looks at relationships and lessons.  Whether the bond has broken- or is just on the rocks, stranded- the words “we’ve been here before” suggests lessons not learned.  Whether an argument or series of mistakes, our hero casts his eyes around- it seems hearts are very much on sleeves.  The song looks at reason-finding; that is the chanted chorus- a direct plea; why stand in line and not fade away?  The lyrics retain some classic elements- the sentiments and pleas have been employed before- but that is the idea: the song is designed to be extrapolated and understood; connect with the listener- and be taken to heart.  Whilst its origins are rooted in personal realms, the overall projection is very much universal and common- a track that we can all relate to.  That optimistic compositional sound- there is always a grin on the strings and percussion- contrasts with the lyrics; the juxtaposition is quite effective- and lifts the song beyond predictable avenues.  Our hero has seen all he needs to: the duo (whoever the second party is) stands and looks around; there is fatigue and a lack of new direction- what are they to do?  Part of your brain thinks of relationships and love; the other looks beyond that- maybe to relations in Doncaster- that sense of being trapped in a place- or at a friendship.  Maybe I am over-reaching but the song makes you think: go beyond obvious interpretation and get the brain working.  Before you become too entrenched in deep thinking, the composition comes to roost: blitzing with abandon, the strings rage and conspire; it is a brief parable yet adds some much-needed vitality and punch- the entire band are tight and focused from start to finish.  The composition itself changes and develops; never standing on its heels (which seems fitting given the song’s ideals of movement and moving on.  As the song comes to a close- and the E.P. itself in fact- you leave wanting more- can we have a fifth track?  The answer is ‘no’ and so it should: the band have always been about concision and economy; never giving more than is necessary- it just leaves you wanting more.

The entire band should be congratulated: they play with such passion and verve; each member knows their role- there are never any wasted notes or ineffectual moments.  The vocals are captivating throughout; very much the product of originality, they sound at once modern and fresh- yet imbued with a touch of the ‘60s and ‘90s masters.  The bass work is tight and focused throughout: keeping the songs in check; leading by example- whilst showing plenty of passion, personality and innovation.  Not just there to simply guide the songs, what you get it rhythm and strength; heart and soul- that lifts the songs and adds plenty of colour.  The guitars shine and dazzle throughout: at times blissed-out and knackered; others vibrant and stinging- they change course and skin without a blink of an eye.  So much contrast and diversity is dolled-out; the players each have their own voice, yet seem brotherly and close-knit- combining with such naturalness and effectiveness.  Suggestions of Oasis, Ocean Colour Scene and The Beatles comes out (in the guitars) yet these are guiding notes- the faintest of touches are used; the lads are the epitome of originality in their riffs and guitar motifs.  The percussion keeps everything levelled and focused; it adds heart and pummel- switching between urgent and fierce; managing to recoil and demure when the mood calls.   Together, the band are exceptional and impressive; their performances and uniformly excellent- the product of rehearsal and intuition.  Backed by excellent production values- making everything sound natural yet not too bare and lifeless- instead every note and variegated contour is allowed to breathe and colonise; get inside the mind- make sure its presence is felt.  The vocal and instrumental levels are just right; nothing steals focus or is muted down- just-so in fact.  That leaves the songs themselves: a four-track E.P. that shows the band at their creative best.  Not only are the riffs and compositions consistently engaging and catchy, the lyrics vary and inspire- they touch on everyday concerns and real events; yet there is plenty of room for personal pleas and hometown woes.  Both frustrated and constricted; optimistic and hopeful- The 48ks cover a wide spectrum.  Caught Up in the Wrong Crowd is a fantastic E.P. that suggests great things: if the band can keep up this rate of progress and quality, then international acclaim is shoe-in.  If you like your music with balls, brains, and above all, originality, you need to hear this- and hear how it should be done.

Having investigated Caught Up in the Wrong Crowd- heard where the band is at the moment- it is clear The 48ks have a bright future.  They are not a band that are tentative and nervy; they have no loose edges and wasted moments- their songwriting is strong and determined; their performances focused and well-rehearsed- their songs both every-day and personal; uplifting and introspective.  It is hard to predict the future: see which bands will make it; those that will struggle- early signs are important.  If you can come out flying; keep that momentum going- you have a much better chance of sustaining interest.  Their debut L.P. was an impressive and consistent effort; their new E.P. sees them in fine voice: at their most inspired and urgent; the songwriting is at its peak; the performances tight and honed.  The band have always rebelled against the rank-and-file bands; the acts that are clichéd and tired: The 48ks are proper songwriters, writing- in their own words at least- to the Lennon/McCartney, Jagger/Richards line- penning songs that have the ability to endure and inspire.  Caught Up in the Wrong Crowd might be a shot at their contemporaries: the sense The 48ks are alien in a sea of below-par songwriters; maybe caught in a town with little ambition and music heritage- there is plenty of ambiguity and mystery.  That is (one of the things) that makes the band ones to watch: their passion and urgency sits alongside mystique and open-for-interpretation words.  Among their four-track release, the Doncaster boys run the gamut of emotions; present vivid scenes and wonderful tales- all wrapped within their stunning performances.  It is no fluke- the fact B.B.C. 6 Music are championing the band- they are so good: their idols and influences have made their way into the music; they inject aspects of each- whilst retaining their unique core and voice.  It is only left for me to come back to my original point: the quality and consistency of Indie/Rock bands.  It is true; there are too many average acts: those contented to do the bare-minimum; swaying along with nary an original idea in their head- no direction or real sense of pride.  The 48ks are still in their infant days: their initial footsteps are showing them to be one of the most promising new acts in the country- it will be fascinating to see them develop.  With new competition spilling in (by the week) the facts remain: it is vital to make an impression; not just relegate yourself to lackluster campaign; make sure you make your intentions know.  The 48ks are worth watching closely: Caught Up in the Wrong Crowd not only sees them hit their stride running; the E.P. is a tantalising glimpse into their future.  The boys have played some impressive dates/venues thus far: I predict some big festival dates soon; they deserve a chance to be on the big stage- and stake their claim among the best out there.  There is no way in music (unfortunately) to get rid of the most lipid acts; celebrate and augment the very finest- in time, the music does its own fighting.  The 48ks should be very proud: not only have they crafted a wonderful and nuanced E.P.; they are shaping-up to be one of the best bands to come out of Doncaster… well, ever.  They should keep their sights set; aim high and far- it would be good to see them rock London, one day- there will be plenty of options for them done here!  I can’t see them staying in Yorkshire too long: their music translates county lines and boundaries; it is universal and yet, strangely unique- not many bands can boast that.  When the boys do launch their next album, there will be talk of ‘that difficult second album’.  On the evidence here, The 48ks will have…

NO such fears!

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Follow The 48ks:

 

Official:

http://www.the48ks.co.uk/

Facebook:

https://www.facebook.com/The48ks

Twitter:

https://twitter.com/the48ks

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Music:

https://soundcloud.com/the48ks

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Video:

https://www.youtube.com/channel/UCReypWgvul5zBTrMCI1GRQA

Feature: Music's Unsung Heroes- Part Two

Feature:

Music's Unsung Heroes- Part Two

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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.

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Pat McGuire- Music Photographer

Hi Pat.  For those unaware of your (good self), tell us a bit about where you came from/what you do?

I'm originally from a small town in North Lanarkshire called Viewpark- which is half-way between Bellshill and Uddingston.  All 3 towns (and North Lanarkshire in general) were a hotbeds for bands in the early ‘80s when I was a teenager.  I was involved in a few myself until the mid-90s when I kinda dropped out of music and started doing "normal" jobs (and raising my family).  In fact for maybe 10 years I didn't even go to gigs or buy much music at all.  Then around 2011 my wife bought be an entry level D.S.L.R. as she knew I was bored with my job and needed a creative outlet.  I had shot on 35mm film cameras in the early ‘90s and studied design and photography for a while- so it only took a week or so for me to get back into photography.

By this time I had moved into Glasgow so I knew that there were lots of venues and bands out there and a bit of a vibe going on as usual.  But I was still outside the loop.

Initially I was just shooting abstracts and architecture and just walking around the city.  I got into street photography for a while too as a kind of therapy to de-stress from my boring day-job.  But then I did some pictures of a friend's acoustic set (at a gig in town) and after that I was asked to cover a 4 -and fundraiser by some friends from my workplace.

After that it escalated quickly: I got hooked on doing live band photography and started getting back into music in a big way again.  But I think one of the turning points for me was bumping into an old friend of mine outside my house one day.  Duglas from The BMX Bandits.  He was playing at the Oran Mor all-day-er so I asked him for a photo pass and he arranged it for me.  I turned up expecting just to be doing shots of The Bandits but the pass was for the whole event- so I got to photograph a lot of bands, including Fatherson (who have just recently signed a record deal ) The Twilight Sad; of course The BMX Bandits, and a few others.  I think this was 2011 but I'd need to check my photo gallery for the exact dates as my memory is pretty bad.

So after that people like Duglas (and other friends I knew from the ‘80s and ‘90s) were still playing.  So he was a bit of a catalyst for me to start approaching people (for photo passes and getting to shoot at gigs).  It's really thanks to him and people like him that I got a portfolio together and the confidence to do live band and promotional photography.

So now I just keep doing live band photography and sometimes write gig reviews too.  Essentially I owe it all to my wife and my friend Duglas.

Currently I'm working with a few up-and-coming bands.  Have had some of my work featured in national and local press and online, have done some cover shots for a C.D. - The Beat Movement "Another Piece of The Puzzle".  I have another record cover in the pipeline right now too but I can't talk about it too much as yet.  I've also shot and had press for bands like Sleaford Mods (N.M.E. used one of my pictures of them. But the band are mates of mine now so I had lots of access) who are supporting The Who at Hyde Park this weekend (and playing Glastonbury too).  I have slow weeks and busy days, sometimes I'm booked for too many gigs and other times I'm sitting about wondering if I'll actually be doing any photo work at all.  But anyone who does live music reviews or photography has to get used to that.  What we do is always a bit of a stop/start occupation.  But the pros outweigh the cons in my opinion.

Based out of Glasgow- and knowing many great bands from the area- what is the music scene like? Are you seeing a lot of promising acts coming through?

I am seeing lots of great bands playing a lot of gigs and making a lot of music yes, but as to "coming through"; if that means getting recording deals or being able to actually make a full time career out if it I'd say no.  But that is where the 'Arts' in general and music in particular are right now.  Fatherson recently got a deal and they have been playing and touring and working day jobs for ages.  Likewise Gerry Cinnamon has got signed too, but it wasn't like in the movies.  One gig and someone gives you a deal.  He played his arse off and also did and still does open mic. nights (at The Priory on Sauchiehaul St., used to be Wednesday nights but now it's on a Thursday as of this week).  You have to put the work in and be good (and have songs to even have half a chance at getting anywhere now).  The days of breakthrough bands are over and the music scene has to adapt.  The music "industry" too, but right now the industry is still making too much capital on legacy bands (or established acts to care).

Photographing some great bands- and having done so for many years- any particular acts/moments stand out in the mind?

Well...while I'm 46-years-old and have only really been doing live band stuff for 4 years, I've had to catch up a lot with other photographers (who are either younger than me and have more energy), or the folk who are the same age as me (but have been at it for longer) - which is a bit of a challenge as there are some very fine photographers out there.  But to answer the question...loads!  Act/bands-wise I have a few favourites of course, but any band that is playing live and giving it a go even if the venue is not as full as it should be get a lot of respect from me.  I've taken some shots that blew me away when I looked at them the next day and then remembered that the venue had more bar staff than fans; but the band played the same as they did (a month later with 400 people) and the front rows going mental.  That takes a lot for a musician/singer/group to do and I've been there myself so I understand that if your audience is me- with a camera and 5 pals- it might not be the best gig of your life.  But if you play it like you mean it, I'll try to get you some nice images.

Universal Thee are a case in point.  They came over to Glasgow for a gig once (and the gig wasn't as full as it should have been).  But they were excellent as usual.  Then not too long ago they played at Nice ‘n’ Sleazy and had the comedian Phil Kay dancing about like a maniac in the crowd.

But I'm rambling as usual...so favourite acts/moments include but are not limited to...Stu West (bass player from The Damned) - He gave me shots while I was stuck at the right-hand of the stage and everyone was shooting Captain Sensible and Dave Vanian on the left (in the photo pit at the O2 ABC, you get first three songs then chucked out; usual rules for medium to large venues).  He must have felt sorry for me and came over so I could get some images :)

Also Gerry Cinnamon at King Tuts last year when he was over the barrier and the faces in the crowd are all just staring up at him.

Lyall Mooney of The Beat Movement (at Nice n Sleazies a few months ago) was another good one.  He is a guitar hero in the classic sense and we are pals- through me shooting the band a lot.  He gave me a classic shot and knew to let me get a few while he was doing his thing so I'd have options later on.  He wasn't posing as such.  He plays his guitar the same way all the time and is very mobile.  I think after a year or so of seeing my shots he trusted me to capture a nice shot.

I could literally go on and on but any band or singer or player or whatever that just does their thing with passion enthuses me and makes me want to get a great shot of them.  My main ethos is to try to get shots that I like first, the band or act like too and that show them as they want to be seen.

Musicians get a lot of glory.  For those wanting to go into band/live photography, what advice would you offer?

Don't expect any glory at all.  Or much money either.  It's the bands and musicians that people pay good money to see.  Not a guy with a camera who got in for free.  If the band and the fans of the band like your pictures then you are doing it right.  After that you can look forward to maybe getting a mention now and then.  But from the point of view of a new photographer I'd suggest asking a mate's band if you can do some shots live and at rehearsals just to get the practice.  After you get confident you can approach bands you don't know and show them your previous work.  Approach venues and clubs, use social media and email.  You need to build on your portfolio and keep doing it to get better at it.

Don't worry about equipment too much: my camera gear is less than professional but it does the job. The main thing is to use what you have and do the best work you can.  Also get used to rejection.  You won't always get a photo pass so just move on to the next one.  Don't be afraid to email a band directly (easy to do with social media).  You might be lucky and they might say yes.  But if they say no, accept it and move on to the next one.  Bands need good live and promo. shots and if you can do work you will start to get asked directly to cover gigs.

Also, this is the big one: be nice.  Sounds easy but I know bands that will point-blank refuse a pass to a photographer who maybe annoyed them during sound-check (or by emailing them 3 times a day for a pass).  Even if that person does good work, the band don't need to have to worry about a photog being a plonker.  I'm lucky in that people tend to like me (after they get over how scary I might look).  I try to keep conscious that the gig is for the band and their fans, and I'm there to try and get some nice pictures.

Using that approach, which comes naturally to me, I end up becoming friends with a lot of the bands I've covered.  Most bands are nice people too so it kinda works out.  So yes, don't be a plonker, practice a lot and do the best work you can with the gear you have and the lighting the venue uses and so on.

You clearly have a huge passion for music: what motivated you to become a photographer?

I covered part of this in question 1.  But for live band photography I think I used to read lots of weekly or monthly music magazines- even before I played in bands myself.  Pictures of Joy Division or The Jam or The Clash always seemed to look exactly as the bands sounded.  I'd spend just as much time looking at the photos as reading the gig/single/L.P. reviews or interviews.  So many years later this has influenced how I try to make my photographs look.  If I can I play some music from the band whose pictures I've taken when I'm working on my shots the next day.

But the other reason is bands are cool.  Middle-aged photographers like me are not.  I get to re live my youth, see some cool bands playing and do pictures of them.  I love doing street photography and abstracts too, but I still get a buzz when I'm shooting a live band.  I sometimes feel nervous too and get the shakes.  But then the band starts and I start shooting and my nerves disappear.  Within 30 seconds or so I'm too busy doing my stuff to worry anymore.  It's almost as if I'm playing the gig but not if you know what I mean?

In terms of capturing that ‘perfect image’ what would you (defines it); is it a particular moment or something else entirely?

I don't know if I have as yet captured a perfect live band image.  I'm still working on it.  I'm working with and against my own limitations all the time.  But essentially music is all about emotion.  So if an image emotes in the viewer's mind and they get an idea of what the band sounds like and are about, then that would be close to perfect.  Saying that, what you or I or even the band think is mediocre, the fans might think is brilliant and vice versa.  It's all subjective I guess.

Of all the (great acts) coming through, which would you recommend?  Who are the finest acts coming through?

Loads.  Really too many to mention but right now I really like The Beat Movement, The Blue Lena's, Universal Thee (of course) Jamie and The Giants, Gerry Cinnamon; a cracking new band from Manchester called Alias Kid.  A Math-Rock band called Lamina; Lola in Slacks are great as well.  Too many to mention really and I've probably missed out a few (and they will email me shortly and pull me up) :)

On that subject, what/which music/musicians influenced you?  Which albums are especially important?

Since playlists and computers happened I tend not to listen to albums from start to finish the same way as we used to.  But when I do I'd say things like all the L.P.s by The Jam or The Who- as they seemed to be track-listed to be a journey or a story.  The La's by The La's became influential to me though maybe 20 years after it was initially released- just because of where I was at the time and what was happening in my life.  I loved it when it first came out, but it became more relevant to me as a 40-year-old than a 20-year-old for some reason.

At the same time The Jam and Joy Division kinda cover both ends of the same thing that I can relate to as well.  It's actually a difficult question to answer and my answers may be different depending on what day or week I answer it too.  I'll need to ask my wife to be honest ;)

Knowing acts like Universal Thee- who recommended you- Scotland is producing some tremendous talent. What is about the country- as opposed to other parts of the U.K.- that produces such unique talent?

Scotland is producing excellent bands and talent in general.  But I actually think that the entire country is- well outside London and the "music industry" anyway.   I'd say that Manchester or even Nottingham is just as vibrant with new bands as Scotland is.  I feel that bands outside London have to work that wee bit harder to get anywhere (and that creates a filter that forces bands to decide if they are doing it for the right reasons), or if they should be playing weddings and functions instead (nothing wrong with those types of bands by the way....  ) So the end result is that groups and bands form and split up and then form new groups (until they get it right musically), but still they have to slog from gig to gig and try somehow to keep a full time job to support their music.  That means that to be into playing music you really need to be "into" it.  The days of the big record deal are over.  The music industry is stuck in nostalgia mode (with a few exceptions) new groups have to adapt and work so much harder now than ever before . But if you don't give it a go, you won't get anywhere so you need to keep going.

So yeah, I've totally not answered the question as I don't really see Scotland as being any different culturally or musically as the rest of the country (apart from London of course ;) )

As you work so hard- and continue to photograph the best and brightest- name any song… and I’ll play it here.

Tiger Tiger - Universal Thee.  Seen play it live a few times and this video is lovely too.

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

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The Dutch Guy- Music Blogger/D.J.

Hi (The) Dutch Guy. For those new to you- or unaware- tell us a bit about yourself; how you got started.

I've been a fast-moving radio personality for 20+ years, starting of as a baby D.J. on a pirate radio station here in Holland- only to become 'The Dutch Guy' on an oldies station in Dallas Tx., U.S.A. years later. During those years, my love for music just grew stronger and stronger and I would play independent music whenever I could and was allowed to.

In 2011, I lost my last radio gig and decided to devote my time to promoting these hot and upcoming independent artists (and bands through my blog).  Because, let’s face it, there's so many great music out there, but the mainstream media outlets simply won't pay any attention to these artists.  So, I like to think I'm doing my little part, in my own 'unique' way...

We know- have reviewed and adore- Ellene Masri. You take a lot of time to promote the women of new music: how important do you think it is to do that (in an industry where men get a bigger say)?

It does seem that I'm promoting the independent sisters more than the brothers.  But to be honest, I don't pick and choose.  When I hear something that I personally dig, I like to run a feature on it.  It's about the talent and their music, not their sex or looks...

Having been in the business- reviewing and radio- for over 20 years, what keeps driving your passion; how do you find the energy to keep going strong?

It's hard at times, I'm not gonna lie. I've been taking time off (line) twice since I'm running the blog.  But I always keep an eyeball out for new music and that's what keeps me going, the music!  Whatever is going on in my personal life, it's the music that always finds a way to pick me up again (and show off those dance spasms) I'm known for whenever I dig a tune.  Thank god webcams weren't around when I was still doing radio, ha!..

Bloggers and D.J.s are slightly unsung- when the musicians get a lot of credit. For those wanting to follow in your footsteps, what would you say to them?

Don't do it because you want to be the next hot blogger or D.J.  Do it because of YOUR love for music. The music business is nasty and people will just use you or burn you to the ground when they are done with you.  Sure, I've made awesome friends in the process, but I also got used by artists, big time!

Do it for the music, do your own thing; come up with something that sets you apart.  Don't do it for the fame, the so-called credits, the quick cash or the numbers of visitors/followers.

Don't expect your blog or show to become an overnight success: it's hard work!  Pick a schedule and stick with it.  Sure, you can change or try things, but overall, stick to the schedule, so people know when to expect your new stuffs.  Don't over-promote yourself; promote the music.  Do an ego-check at the virtual door; don't expect anything and be grateful to the ones who do show you love, one way or another.

I never paid any attention to my website hits, or when I was doing radio to my listener stats.  People usually don't believe me or find it strange, but the way I see it, even if there's only one visitor or listener who digs the music I'm promoting, my job is done!  It's about the artists/bands, not me... Sure, I'm having me some fun in the process, sure, it's nice to know that people dig what I'm doing, but that's it.  Nothing more, nothing less...

Your website is incredible; your interview style is causal and unique. You have a real bond (with those you interview/feature). How important is it to not only connect with the music, but the person/people behind it?

Thank you for your kind words about my website, but it's just plain lame.  I never got around to really spice things up . On the other hand, like I said before, it's about the music, not me.  So, less is definitely more!  But I do plan on launching a brand spanking-new website in the (near) future.

As for my writing skills, I got none.  I'm not a real journalist or blogger.  I can give you plenty of names who are better, more professional than me.  I do like to use my own words, and that is what sets me apart, I think.  Whenever I use the word 'schweet' for example, people keep pointing out that I wrote it the wrong way.  I know I did, but it's one of those little things that makes me, well me.  But in the end, It's about the music of the artist/band I'm promoting- and I like to let their music do the talking for me.

I do like to have a bond with the artists I promote, or with the ones who visits my website for that matter- makes writing a feature that much easier when you know what makes a person tick.  'Cause let’s face it, most journalists/bloggers ask the same questions over and over again and I'm the kinda guy who likes to know what the last furry thing was they've touched.  Twisted/sick?  Maybe, but the answers are usually funny as hell :)

In terms of all your interviewees/musicians, who have impressed you most in 2015?

Don't think I can answer this one.  First, I haven't done many 'Wednesday Q&A's' this year and second, I absolutely dig each and every artist/band I've featured on my blog.  So, take your pick J

You have your ear to the ground: any big music tips for this year; particular acts we should seek out?

Depends on which genre you like.  I almost dig any genre, with a strong love for Soul and Funk.  But I can go absolutely bananas on a Folk track as well.  But Well-Known Strangers is one of my hottest finds this summer.  Just peep the Q&A I did with them & their stuffs and you'll understand why...

You are based out of Holland. What is the music scene like there? Any great Dutch acts coming through?

It's funny how many times I get this question.  It's even funnier when I see/hear their reaction when I tell them I don't pay much attention to the Dutch scene.  I usually don't care about my national scene.  Can't explain why, it simply is.  But I do have a few that I absolutely dig and really have high hopes for, Jerusa (Pop), Secret Rendezvous (Electro-Soul), M.C.Melodee (Hip-Hop) and Rouge United (Rock)

You are a busy man; you never stop working. What does the rest of the year hold for you? Any new plans/ventures?

Plenty of plans, but with me changing 'day jobs' (to an over-the-road truck-driver to provide for my family), doesn't leave me with much time to finally launch the things I've been cooking up for some time now. Some people think I get paid to do what I do, but I don't.  So, until I land a sponsor (or two), things aren't going as the way I planned it.

But with that being said, a new website will come and I eventually will launch the weekly YouTube show I've been working on; to take my independent music promotion to the next level.  After that, I might even do a radio show again, who knows.

But it all comes down to time, money and my family.  So, I do know how it's like to be independent, whether you're an artist or a promoter like me, it is hard work to do what you love to do!

As you work so hard for musicians- and have such passion, name any song- new or old, and I’ll play it (on here).

My list goes on and on, so I like to choose a song that hopefully will inspire people to keep following their dreams, whatever that might be.  When I was a baby D.J. on a Dutch pirate radio station, I wanted to be on a U.S. radio station, and in the end, I did for years.  I want to take my Indie music promotion to the next level, and I will succeed.  It will take some extra time, but it will happen.

'Cause one of my radio gurus, Scott Shannon, once said: 'If you’re willing to work hard enough, you’ll accomplish whatever the hell you want to. All you really need is focus and determination; the rest is up to you.'…

With that being said: Journey - Don't Stop Believin'

[youtube https://www.youtube.com/watch?v=1k8craCGpgs&w=560&h=315]

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Interview: Damian Hughes, Allusondrugs

Interview:

 

Damian Hughes, Allusondrugs

IN a music scene where the bands have to compete harder...

than anyone else; finding success stories is quite hard- when an act does rise; sustains attention and appeal- it is always rewarding.  Yorkshire-based Allusondrugs are one such example: an act that have forged their own sound; encapsulated live crowds- and risen to public prominence.  It may be early days, but the signs are all good: the band has owned festival after festival; their gigs are legendary- their online following is swelling by the week.  With stunning music and tremendous band interplay, the boys have a shining future ahead.  Determined to quiz the band further, I caught up with Damian (the band’s chief songwriter).  Without further ado, here’s what unfolded…

One thing about Allusondrugs (that really strikes me) is your blend of sounds and genres. Which bands/artists have influenced your work?

There are loads, far too many to mention.  We like all like a bit of Deftones and My Bloody Valentine. There more than just what music I'm listening to that goes into what I write though; there are dreams I'm having, films I'm watching, feelings I'm feeling, food I'm eating.  It's all just whatever my life feels like at that particular time.  But then again, maybe I'm just lying about all that stuff to appear more deep. Menace Beach, All the Best Tapes, Louise Distras and Salvage My Dream are all good artists that take up a lot of space in my head.

You have had a busy 2015: any particular moments/gigs/months that stick in the memory?

All the festivals we played this year were really good, especially Y-Not (that was amazing).  Liverpool calling was really fun too.  It was a tiny place at the back of a pizza bar but it was one of the most fun gigs I've played this year- lots of sweaty love and everyone having a great time.  There was lots of stuff to climb on too.

I know a lot of people note the resemblance (your lovely lead) shares with Kurt Cobian. Does that ever get boring or annoying? Is it something that has (perhaps unconsciously) influenced your sound?

Do my singer's facial features influence the music I write?  No, really really not.  The amount of stick Jason gets for that is silly.  People say he's trying to imitate him because he looks a bit like him in the lower part of his face and he had bleach blonde hair for about a month.  You can't choose the way your face develops can you?  It's not like he got presented with a bunch of mouth and chin combo deals and said “I'll have that one!”  There is a certain musician that I think he looks up to a lot but it sure as flip is not Kurt Cobain.  I don't think he even listens to Nirvana; all I've heard him listen to for the past 6 months is Mac Demarco and Erasure.

On that note: which acts of the moment would you recommend? Any particular favourites?

Menace Beach, All the Best Tapes, Louise Distras; Salvage My Dream, Vukovi, Forever Cult, NARCS, Trash, Bruja

Having performed at various festivals throughout 2015; have you guys got into the ‘festival swing’- or is still a bit never-wracking?

There's always nerves, but nerves are good.  Nerves keep you on your toes.  Nerves stop you from being too comfortable.  If you're complacent on stage you probably won't give it your all and it will be obvious. I can't see how anyone can go on a stage in front of loads and loads of people (and really care about what they are doing without) feeling even a little bit nervous beforehand.

Can we expect some new Allusondrugs music soon at all?

Yeah

What goes into recording your music- in terms of influential themes and people?  Does one member write a lyric/another music or is a collaborative process?

It all comes from the spiritual plain, I tap into it every so often and all this raw feeling and spiritual energy flows through the filters of my mind and out onto the paper or into the 4-track and I feel so connected to the universe. It's a real trip maaaaaaan.  I write the bulk of the tunes, Jason writes the odd one.  Jason's songs are a bit more green and mine are a bit more purple.  We take the tracks to the rehearsal room, play them over and over until they actually start sounding like music; then somebody might suggest changing a certain part slightly (and I'll be a complete baby about it and start throwing things).

If you could choose your dream festival line-up (of any bands/acts past or present) who would they be?

Cardiacs, Nirvana, The Beatles, Amy Winehouse; Robert Johnson, Janis Joplin- anybody else that I didn't get to see before the split up or died.

A lot of great new bands- like Bi:Linguial- have split and called time. Do you think there is a lot of pressure for bands to succeed; do you feel like you have to hit targets/work to a particular beat?

Everybody wants to do well.  It's not a pressure to succeed; rather, it's a desire to succeed.  If you want to do well you have to work hard and think about what you're doing.  This applies to everything in life.

When you guys need to unwind/relax, what do you find most effective?

You want me to say drugs don't you? (Moi?  Hell, no! - Sam).  I don't drink or take drugs and I've recently quit smoking.  If you look after your body and your mind you will find yourself not needing to relax that much.  That said, sleeping and eating good food is amazing.  I'm starting to think about meditation.

The band clearly has ambition and plans for the future. Were you to turn into an established mainstream act, could you see yourself changing your sound- or would you keep it faithful?

We'd do whatever we felt like doing.

You hail from Yorkshire- a county that is producing some fantastic new musicians. Are there greater opportunities (in Yorkshire) or do you have your own theories (as to why it is so fertile)?

I think people are throwing themselves into music more in this area because there's not as much to do. It's not just here though; Liverpool is also a hotbed for talent- there's a lot of good stuff happening in Scotland.  I don't think there's any more opportunity up here than there is in London for example, but there's definitely a lot more “competition” in London, there are so many people in one place so naturally there will be a lot of bands in the same place.  So maybe it's just that the north isn't as saturated as the south.  I could be wrong.

In terms of your own music, which song are you most proud of and why?

I don't have a favourite, I don't think any of us do.  There are one or two songs that are a bit more boring to play but people seem to really like them and it's great to see everyone in the audience coming together and having such a good time so it's worth playing them.

Your social media numbers are huge- expanding by the week. How important is social media with regards your creativity and success?

Social media has zero bearing on creativity; it's just a promotional tool.  But for that purpose it is extremely important, in a time where everyone is glued to Facebook on their phones (and laptops) it's there that your promotion is best residing on a day-to-day basis.  I'm not saying that good old-fashioned methods (like word-of-mouth and putting posters up and handing out flyers) aren't all perfectly valid methods of promotion- but you should absolutely not neglect your online presence just because you want to stay oldskool (sic.) or whatever.

Not long ago, you recorded at/visited Abbey Road Studios. Given its heritage and history, was it weird- or does it seem like a natural home for you guys?

We had some mastering done there.  It's a massive place.  It was really cool to see the place were so much important, historic music was brought to realisation.

What advice would you give to upcoming acts/bands- those who want to succeed/follow in your footsteps?

I'm not really in a position to giving advice because we're still a relatively new band ourselves.  All I can say is just work hard, work very (very) hard, all the time.

I always like to hear which albums/songs influence musicians. As a band- or each member can choose- which three albums have been most important to you?

This changes constantly. Right now it's:

Menace Beach – Ratworld

Severed Heads – Come Visit the Big Bigot

Aphex Twin – Selected Ambient Works 85-92

With your music in demand, can you see the band moving (to London or abroad) or are Allusondrugs remaining where they are?

Right now we stay put. Maybe later we go somewhere else.  Honestly I'm not particularly fond of this country; there are better places to live.

As you have been great sports, you can choose any song you like- I will play it here…

This is amazing!

Arca – Sheep (Hood By Air FW15)

[soundcloud url="https://api.soundcloud.com/tracks/185853144" 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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This Week's Albums: August 7th, 2015

This Week’s Albums

 

August 7^th, 2015

IT is a case of “Something old, something new/something ‘borrowed’, something…

 

that doesn’t rhyme. “  I do a D.J. gig every week; I have the opportunity to play four different albums: one that is ‘old’ (to my mind, anything pre-1985), something ‘new’ (released brand-new that week); something influential (and has inspired a genre/other acts)- in addition to dealer’s choice (any album I choose).  Having done this for over a year-and played everything from Graceland to Pearl Jam; from FKA twigs to Beastie Boys- it is enormous fun.  I get to talk to people (about music); play some awesome stuff- turn people on to some great/forgotten sounds (well, I try to).  I shall publish this every week; try and highlight some fantastic albums- maybe some you had forgotten about.

The Old: Dire Straits- Brothers in Arms (1985)

8.5/10.0

This Grammy/Brit award-winning album was a formative part of my early years- it was released when I was a two-year-old.  Perhaps a product of its time- the boogie/New Wave effects of Walk of Life sounds outdated- the album serves as Dire Straits’ peak.  From denouncements of the era to real-life recollections- Money for Nothing was inspired by Mark Knopfler visiting a hardware store; seeing M.T.V. played on a bank of screens.  Throughout the L.P. you can detect the immaculate craft and production; its Pop-orientated ambitions serve the band well; showcasing (lead and guitarist) Knopfler at his peak.  It is those inimitable strings that define the album: from the stunning intro. of Money for Nothing to the jazzy riffs of Your Latest Trick- there is a whole feast of guitar-based wonder.  Whilst the album is intensely top-heavy- its finest moments arrive within the first four tracks- that is not to say the quality dips.  Tying together stunningly-imagined compositions and genre-spanning ambition and you have an album of imagination and direct lyricism.  Whether a child of the ‘80s (like myself) or someone looking for a terrific album: there is plenty of treasure to be found here…

[youtube https://www.youtube.com/watch?v=iwDDswGsJ60&w=420&h=315]

The New: Frank Turner- Positive Songs for Negative People (2015)

7/10

 

Some weeks are filled with great releases and plenty of choice: unfortunately the last couple of weeks have been a bit slender.  Not familiar with Frank Turner, I snapped up his new L.P.: keen to see what his drive was; I was pleasantly surprised.  Garnering mixed reviews (thus far) the album   Positive Songs for Negative People sees the Springsteen-esque talent- a songwriter who can pen real-life anthems without seeming overly-cloying- come to the fore.  Tape Deck Heart (Turner’s 2013 album) was a product of perfectionism and craft; here he sounds looser and more urgent.  Whilst his lyrics border on the cringe-worthy- he is not quite a Chad Kroeger/Matt Bellamy creation- his bombast and passion make up for it.  Get Better is a proclamation of anger: the hero comes back from the brink; battered by the pain of break-up, it treads familiar lines- yet the way Turner delivers his fury stands him apart from the clan of effete peers.  Sometimes the 33-year-old’s throat-scraping vocals get irksome, yet it is his authenticity that makes up for it: whatever you think of Turner the Man, you cannot deny Turner the Musician- Positive Songs’ is the sound of him exorcising his (relationship) demons- and doing a damn fine job of it.

[youtube https://www.youtube.com/watch?v=tB4Avdlz3lk&w=560&h=315]

The Influencer: The Verve- Urban Hymns (1997)

9/10

 

We all know this one: back when Richard Ashcroft was an inspirational songwriter- his solo albums seem to be a case of diminishing returns- The Verve were at the Britpop forefront.  At a time when the band looked set to implode- due to tension within the ranks- what you get is an album of concision and wonder.  From the Rolling Stones-cribbing Bitter Sweet Symphony to the arms-in-the-air anthem The Drugs Don’t Work, it influenced a wave of acts- I hear shades of this album in so many modern-day Indie acts.  Catching the Butterfly sees the band at their tripped-out best; Sonnet is a touching ballad- it is an album of immense power and diversity.  The Lancashire-based band may have since split; Urban Hymns remains a crucial and stunning statement: as Britpop darlings like Blur and Oasis were fading out (and past their peak), The Verve showed leadership and a guiding light: not only producing their career peak, but compelling a host of upcoming bands (to follow their lead).  Filled with lush and orchestral strings; quote-worthy anthems (Lucky Man is especially striking) the album is an essential purchase- make sure you re-investigate this diamond; and remember when music used to make you feel…

[youtube https://www.youtube.com/watch?v=1lyu1KKwC74&w=420&h=315]

The ‘Other One’: Rage Against the Machine- Rage Against the Machine (1992)

9.5/10

Few bands have arrived this hot off the blocks- for a debut album; Rage Against the Machine is an audacious work of genius.  A hugely influential work- the first album to convincingly fuse Rap and Metal- it is filled with fist-aloft, f***-you mandates.  Killing in the Name is (the album’s) most famous statement: its expletive-heavy rebellion against police brutality and racism not only highlighted America’s ills (the corruption rife in society) but acted as a rally-cry for the masses- the disenfranchised youth had their signature tune.  The album is synonymous with its guitar-and-voice by-play: Zack de la Rocha’s feral howl and Tom Morello’s insatiable guitar innovation were perfect partners- sound-tracking ten tracks of power and fury.  Although the tracks do run on a bit- most of the songs are over the five-minute mark- there are few fillers.  Wake Up is a woozy, dizzying and mutating beast- the range of guitar sounds/movements is exhilarating (even re-adapting Led Zeppelin’s Kashmir); its political messages insistent; Bombtrack is an explosive opener- “Burn, burn/Yes ya gonna burn” is its repeated promise.  Although the album is profanity-laden, that language is never deployed with juvenile smuttiness or attention-seeking: it is a way to highlight the anger; emphasise the messages- make sure you remember every song.  One of the finest albums (of any genre) it is a must-have for every music lover.

[youtube https://www.youtube.com/watch?v=Lp3kcHchD1Y&w=420&h=315]

Interview: The Updraft Imperative

Interview:

 

The Updraft Imperative

SINCE the day I discovered The Updraft Imperative…

I have been following their music closely.  Chair was released last year, and remains one of my stand-out reviews: not because of the quality (would never blow my trumpet that hard); but because it introduced me to something new- a genre of music I am not usually familiar with.  Aside from dabbling with Sixpence None the Richer- a Texan Christian-Rock band- the Christian-Rock genre was little-known.  Many of us here (and throughout the world) may see it is a niche genre- unfamiliar with what treasures lie within.  Being an atheist myself, I find much to recommend (with regards The Updraft Imperative).  Mixing U.S. Rock sounds and traditional Christian-Rock- music that is constantly inspiring and upbeat- few can deny its charms.  Having a good relationship with the band (and their manager Diane Sherwood) I was keen to catch up; how new music was progressing- what inspires their music.

Having known you guys since Chair's release, I am amazed at your progress.  Can you sum up 2015 for everyone?

So far it's been a crazy year!!!  Crazy-busy with all our personal lives/commitments, and of course crazy in the way our album has been so well received worldwide. From N.Y. to London, Australia to France, it's been (bar from a few exceptions) embraced by D.J.s and listeners alike.  The Updraft Imperative has featured on multiple well-known indie radio station charts, along with numerous charts here in Aus.  So, yeah, so far it's been a pretty amazing year....certainly wouldn't have thought the last 12 months would have panned out so incredibly well as they have!!!

It's been a mash-up of hard work from all of us including our promotions manager,  answered prayers,  great conversations opening and closing doors- and a growing number of awesome supporters.

Did you ever think you would come this far: have the attention of big stations and names; have such support behind you?

For me (Murray), no. I honestly abandoned the idea of making music heard on radio stations around the world a little while ago.  It appears that my ideas and the realities that can occur do often not align.

It is sometimes hard to see how far you've come, when there is still so far to go.   So many opportunities to arise and fulfill.   But there are so many things that have happened that we never really thought would.   Largely due to supportive radio stations and individuals.  For which we say a big thanks!!

How much does the fan support- on social media- mean to you guys/your music?

Twitter & Facebook is an amazing way to link with so many different and diverse people from around the globe; you are an example of that.  It's easy to let your focus either slip from it, or become transfixed on it, but sharing what you can when you can, and having people engage with that, interact and partially own it is truly cool!!

So it actually means a great deal.  As a band we don't aim to fill every weekend with shows as we all have jobs and families.  So social media and recorded music are important tools.  Meeting people through social media who love our music is always an inspiration and will continue to be a major part of our music.

I know what inspires your music; are there particular events/situations that compel you to write and record?

For me (Murray), usually it's a good drum rhythm/beat, with either a bass groove or guitar riff.  The rest flows on from that.

There are events and situations that inspire song writing.  As an example, the last two songs Josh wrote... One came from listening to a guy who had been part of many difficult circumstances, and meets many people of the same.  It was a reminder to look deeper into people and not make surface judgements and that life is often 'messy'.  The other...we are involved and support a mission that rescues and educates young girls that would otherwise be involved in sex trafficking.  A story of one of these girls being stolen away recently inspired a song that will hopefully help bring these tragedies to light.

With so many bands and acts coming through; what challenges does The Updraft Imperative face?

Stay true to our vision of seeing people changed, and challenged by our music.  At the same time, acknowledge that some of our songs cut to the quick a little more than others, so try to work on that 'formula' without abandoning our core sound.  But we also must keep adapting/growing as a music entity.  Though people may have liked Chair as an album, I think they would like the next offering we make to be more of the same, not exactly the same.

I guess to be original is an important goal of ours, so as not to blend in with the main flow.  Sometimes that can be a challenge in itself, because being slightly outside what might be considered the norm or in a particular genre can make your pool of listeners smaller.  But we trust that if we make consistently cool music, people won't be able to help but catch the T.U.I. train.

Not knowing too much about the music of Australia, what is the scene like there?  What kind of genres and acts are breaking through/most popular?

Hip-hop and Electro./House/E.D.M. is probably quite strong in Aus. at the moment.  Yes there are Indie bands, but if you have a Mac and a half-decent mixing program anyone can crack out a half decent sounding dance track.

We're by no means experts in the Aussie music scene.  There are areas that have a great music culture. I'm not sure Brisbane is the best of them.  I think most would consider Melbourne to be the place to be.  And I do think there is quite a variety of genres that do well.  But as I said.  We're no experts!

If you guys had to choose your favourite three albums (each member can choose their own) which would they be?

Murray -  Soundgarden- Superunknown, Petra- On Fire, Miles Davis- Doo-Bop.

Josh - Downhere - self titled, Ed Sheeran - X, Jason Mraz -  Mr. A – Z.

Pete - Right now, the top artists on my playlist include Asgeir, alt-J, and Royksopp.  There's a decent amount of "Classic Baby Lullabies" appearing in my Spotify feed... but that's another story.

I understand there is new music being planned.  What can you tell us about that guys?

It's.....new ;)  It's like we said before, more of the same, but with a matured sound that hopefully reflects where we've come from as a band, and where we are going to in the future.

We gave you the background of a couple of them earlier but apart from that we are pretty pumped with what is evolving so far.  There are a few added sounds that we didn't explore much last time, we think the songs are more focused and sit beside each other well.  Music videos will accompany the single releases, and we should see an album dropped mid-2016!!

You have come a long way- in a short space of time- what does the rest of this year/next year hold for you?

Though we have some gigs/commitments coming up, spending time putting the album tracks together will be high on the priority.  Oh...and filming a couple of music videos.

Are you guys heading to the U.K. anytime soon, and if so, can you head my way?

Oh we would dearly love to drop by your neck of the woods!!  Not over-committing to large-scale ventures such as an international tour is something to watch, but we always have it in the back of our minds that if all the planets align in the future........ If we were to come to the U.K. we will be having dinner at your place, don’t worry about that.

Sorry we can't give you any dates as yet.

Being a Christian-Rock band, do you think the genre is underrated/ignored or is there a dedicated core (of fans/listeners)?

I  think that's it's actually overpopulated with bands that 'claim' they are in the Christian-Rock genre, but when you listen to the message in the music, often the message is ambiguous at best- and fairy-floss nonsense the rest.  When you listen to The Updraft Imperative, there is absolutely no doubt what we are about- not what we hold dear to and believe.  You don't need to look at the genre next to the album title to decipher what we are about.  The most amazing thing is, we have been picked up for radio play by mostly secular radio stations, and have found it a challenge (initially at least) to have Christian/Gospel stations play our tunes.  I suppose there's something to be said for uplifting and encouraging music- in a world that is often far from that- and where people crave that more than a belting Rock song played on a 7-string B-tuned (though they have their place :)

There really is a massive group of listeners.  But as mentioned earlier,  I would say that much is very main stream/formulae driven songs.  And that's fine, as is obviously what people want to hear.   But we still want to be a bit different and have loved the fact that our music can be enjoyed within a secular environment as well.

In terms of fellow Christian-Rock bands, who are your current favourites?

Murray - I know it's naughty, but I'm drawing a blank (refer previous comment).  Oh, wait, Strypers’ new album is kicking!!!  And so too is Sacred Warriors’ new offering!!!!

Josh - Needtobreath, Leeland, Downhere, For King & Country When it comes to inspiring musicians- that have influenced you chaps along the way- who would they be? Murray - Cat Stevens, the groups America & Bread; Petra, R.A.T.M., Midnight Oil, Whiteheart, Living Colour; Sly and the Family Stone (I could do this for pages ;)

Josh - Jason Mraz, Ed Sheeran, Rob Thomas, Freddie Mercury

Pete - I would say my drumming style is most influenced by the likes of Chad Smith, Noah "Wuv" Bernado, and Lester Estelle.  Not that I'm anywhere near as good as those guys...

What constitutes a typical day for The Updraft Imperative- in term of your music schedule and day-to-day activity?

Murray - As I manage a mechanical garage, I'm committed between 8&6, with music coming into focus later in the evening.  I'm fortunate to have a reasonable music studio set up, and when we live out on the boondocks, one can make almost as much noise as one likes

Josh - I guess much of it would be interacting with social media.   Discussing with each other certain events and decisions.   Designing promo material, like single covers or editing video.    If I'm lucky, sit down and play song guitar and have a sing.

What advice would you give to new musicians coming through- maybe those who are scared of the challenges of the industry?

Set your sights and standards high, but your expectations low.  If you have it around the other way you'll almost be certainly guaranteed a disappointing music experience.  At least if your sights and high and likewise your standards, though you may be surprised when the news comes on radio play, you can almost be guaranteed of a snowballing effect once there's activity and motion.

I would say that is important to have good people as your support who love your music and believe in what you do.  Don't have your head too far in the clouds.  Have realistic goals and work hard.  And if people want to join you in the thing that you live to do, then great.  Just remember to enjoy yourself.  Life's not about "making it"

Before I finish, have always wanted to ask: how did you and your manager (Diane Sherwood) find one another?  What is the tale behind that?

Twitter!!!  Like all good stories of connectedness, it was through Twitter via The Bedroom Hour (that T.U.I. found Di).  Murray made the initial connection, shared our iTunes or Soundcloud address (can't recall which)- and the rest is, as they say......

Di here! I can confirm this to be correct!  I'm not altogether sure who found who, but it was away back in 2012, just as the boys were recording Chair.  I seem to recall lots of 'joking' about how me managing a West London band- while based in Scotland- wasn't enough of a challenge; and managing a band in Australia would be a much better idea...

Two years later, circumstances had changed (with The Bedroom Hour) and that 'much better idea' and my new challenge became a reality.  Some would say it was fate.  I prefer to use an awesome word (pinched from our Josh) and consider it more of a 'Godincidence' ;)

Lastly- and for being ripper sports (my worst Aussie slang there!) you can pick any song- and I will play it here…

Murray has picked his favourite pick-me-up smile-on-face ever which is Temples on Fire, by Sacred Warrior (from their latest album please).  If you aren't a fan of classic ‘80s style Prog./Heavy rock, tune out now

[youtube https://www.youtube.com/watch?v=zdNFVcC3a10&w=420&h=315]

_______________________________________________________

Follow The Updraft Imperative:

 

Official:

http://www.theupdraftimperative.com/

Facebook:

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

Twitter:

https://twitter.com/TUI_Official

YouTube:

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

SoundCloud:

https://soundcloud.com/theupdraftimperative

Interview: ADI

Interview:

 

Photo: Noa Flecker

ADI

I have been following the career of ADI for a while now.

The Israeli-born beauty has established herself as one of the most innovative Electro.-and R.&B.-Pop artists in the world.  With a stunning talent and incredible songwriting talent, she has come a long way.  From the raw and ready sound of her mix-tapes- through to the current suggestions within Heaven- ADI has a huge future ahead.  With her distinct fashion and down-to-earth personality, the young songwriter is preparing her next moves.  With Heaven having just been released- one of her finest compositions to date- I was keen to catch up with ADI; see what the future holds- and what advice she’d offer to up-and-coming songwriters.

Hey ADI.  Thanks for your time.  How has your day been?  Where you at the moment? My day was great!  I’ve been looking for a new flat here in Tel Aviv for quite a while now, and finally found one today!  So I’m pretty happy.  I’m now chilling at home, after a few hours of working on a new beat.

Your new track Heaven- an electronic colour-fest with emotion and passion- has really caught my ear.  What inspired the track and will we see it developed (changed or more vocals added)? Well I was listening to a lot of interesting and unique producers lately, and their music has inspired me quite a lot (from Ekali to Gravez to Negium Beats).  Heaven was made after I was sitting in a park by a river (here in Tel Aviv), and for a few minutes I just felt like time has stopped by, and it seemed like I was surrounded by landscapes of quiet and nature.  I ran back to my studio real quick and made this beat, and I knew that that's gonna be its name.  I can't say that it represents the rest of the upcoming music, cause the other tracks I’ve been working on were full of vocals and R.&B. elements; but it's definitely the general vibe.

With the huge rank of female singer-songwriters coming through, do you think there is a pressure- for new acts to succeed instantly and establish themselves?

I don't really know and I have to say that I don't really think about it.  I wanna create 'good' art, and enjoy while I’m doing it.  I’m not trying to make anyone like my music... I’m being me, trying to create music that I would enjoy listening to.  This shit takes time... it looks like artists just blow up but it's never like that...  It takes so much time and work to develop you artistic language and get to a point where you deliver something that is fresh and new.

On that note: the rigors of demand and expectation can cause anxiety and stresses.  What helps you to unwind and relax?  Is there a place (either physically or spiritually) you like to go?

I guess the only thing that really gets me stressed are my own expectations from myself. I’ve been working real hard on the new music, and it always feel like you can make it better but at some point you just have to let go.  The fact that I listen to such great musicians makes me want to improve and push myself more and more.  I think the place that relaxes me the most is that river I mentioned in the second answer.  It’s so green and full of trees… the sound of the water just makes me feel like I’m in a different zone.  Another thing that helps me relax is making lists!  I’m a freak of lists.  It makes me feel like I control my chaotic life in some way lol

Photo: Noa Flecker

Having reviewed Was It You? - and being a huge fan of your music- can you tell us about the future?  Can we expect a new E.P. or album soon?

Yes!  I’m working on that E.P. for quite a while now, but I don't have a specific release date as I’m still changing things, but.... I’m about to release another track quite soon.  This time - with vocals :)

What themes/ideas are inspiring your new music?

I’m trying to be as real as I possibly can.  It deals mainly with my everyday life - relationships and all the regular things but also feeling like an outsider, suffering from social anxieties and anxieties in general; having a writer's block and feeling depressed/different than the rest.  It’s all about being honest about my dark sides and sharing it with the world.  I really hope I’ll be able to help others just like some artists helped me.  The new music is really different than my old music in that sense - it was harder for me to share my darker sides in the past, but actually I’ve always had that dissonance in me - on one hand feeling like I can conquer the world, and on the other hand feeling like a pathetic piece of nothing.

You strike me as a very unique artist: you have immense beauty and style; a distinct flair.  How important is fashion and style with regards your music/image?

I love fashion.  I love visuality in general.  I’m trying to combine it in my creation as much as I can cause I see it as a way of telling a story and creating a picture full of different elements and colours.

There are a lot of great Electro.-and R.&B.-Pop artists coming through.  Who out there would you recommend?  Any acts that have stuck in the mind?

I’m mostly into Hip-Hop/Future/R&B producers lately… so the names that immediately pop to my head are Esta, PARTYNEXTDOOR, Sam Gellaitry, Bryson Tiller; Tory Lanez, J-Louis, Mura Masa, Nao, Post Malone...

Photo: Noa Flecker

You were born in Israel and obviously spend a lot of time there.  How does the music scene differ from other parts of the world?  How do the people compare?

The music scene in Israel is getting really cool in the last 2 years or so.  It used to be quite different in the past - I used to feel that the music here is totally disconnected from what's going on in the rest of the world, but there's a huge change now- and there are more and more awesome acts and producers that create really cool music.

You are signed with Brick P.R. (in London).  Do you get to come to London often?  When can we next expect you?

LONDON IS MY FAVOURITE PLACE IN THE WORLD.  I WANNA LIVE THERE.  I used to be there quite a lot but I don't have a specific date yet.  I will definitely update you when I do :)

Your mix-tapes are immediate and filled with treasure.  Is it easier/better to create mixtapes (as opposed to albums) because it costs less/is quicker?

I don't think that the money is an issue in the type of music that I’m creating.  It’s mostly electronic and the fact that I produce a lot of it myself makes it pretty simple and fast.  The only reason I made a mixtape/E.P. was because I didn't feel ready to create an album.  I always felt like releasing an album is a big statement, and I just wanna do it when it feels right.

Some of your songs deal with love and heartache.  Having dealt with break-up aree you in a happier space now or still searching for love?  Do relationships (and their capriciousness) help or hinder your creative process?

I mostly create when I feel OK.  I can't really create when I’m torn apart.  I’m in a happy relationship for quite a while now but the main thing is that you can feel lost and alone also while being in a relationship.  There are always ups and downs- it never ends.  I have the most amazing boyfriend, but life is just a bit more complex than that.

Your social media ranks are swelling- you get a lot of love from your fans.  How important is social media to you and getting your music out there?

I love my fans and I enjoy communicating and interacting with them.  They mean the world to me.

Music takes you all around the world; to new cities and areas.  Is it quite disconnecting being away from home, or is it something that you enjoy (being on the road)?

It’s pretty tough being away from my boyfriend, family and cats.  I miss them a lot and I’m trying to Skype them as much as possible.  But it's also amazing to travel the world and get inspiration from new amazing places, artists and people.  It’s pretty interesting and fun.

Being a songwriter myself- hunting for a band for my songs- what advice would you offer any up-and-coming artists- either with regards succeeding or the creative process?

Be patient, that’s my main tip.  It takes time (a lot of time).  Even when it seems like it's not gonna happen - don't give up.  I wanted to give up so many times.  But at the end of the day, there was this tiny voice inside my head that reminded me that this is my destiny.  Music is what I’m supposed to do.

To finish- and for being such a great support- you can name any song (either your favoruite or a song that means a lot to you); I will play it here…

It’s hard to choose my favorite song but in the last few days I’ve been listening nonstop to Drake's dis. (disrespect) song Back To Back and Bryson Tiller - Ease.

[youtube https://www.youtube.com/watch?v=pfDn0F6BrX4&w=420&h=315]

_________________________________

Photo: Noa Flecker

Heaven begins with trip and mis-step.  The electronics stutter and grab; retreat and haze.  Like a beautiful day, the scenery whizzes by; the leaves rustle- the composition spins and conspires; dizzies and ducks.  With some machine-like vocal wordlessness; married to some punchy beats, the song takes off.  ADI fuses some terrific touches into the song: hand-clap percussion; some hard and harsh low-down beats; lighter and elliptical colours- to create a cacophony of delight.  Both head-spinning and in control; the song is layered and delightful- parts of your mind try to keep up with things.  Entranced in the whirlpool, Heaven projects so many images- beauty and landscape; harsh streets and darker corners- in addition to healing love and perfection.  As it reaches its climax that insatiable beat keeps pressing; the electronics yelp and jump; the notes contort and interact- a riot of variegated sounds.  ADI is a mistress of seduction and beauty: she knows just how to buckle the knees; entrance and alert the senses- get the mind working and guessing.  Images and scenes flash through the brain; the notes compel you to imagine what is unfolding- picture your own Heaven.  Delightfully gripping; impressively nuanced the song makes you beg for more- you could happily listen to it over and over.  I know ADI is dropping some vocals over the song: she has so many options.  It would be great to hear something swooning and breathless mixing with a rushing and uplifted vocal; combining the two to create something quite rapturous; a duality of the senses- match the emotion and ambition of the foreground.  Whether she chooses to leave the vocals without lyrics- and have something wordless instead- that would be an option.  To my mind, there are some great lyrics possible: a chance to put down an honest love song; a paen to her native Israel- a shout-out to her fans.  Maybe combine the subjects and have an all-sweeping song: one that ties in everything; around this ideal of Heaven- and what that means to her.  Of course, she could go down another route- and choose to leave the song as it is.  That is the beauty of the track: it has so much potential to it, you find yourself desperate for answers.  What we have now is by no means piecemeal: it is ADI at her most inspired- an urgent and fire-crackling song; one that is as pure as they come.  The Tel Aviv resident has taken the surroundings and her native surroundings; been compelled to put down her electronic pen- and come up with something staggering.  Time will tell- as to what direction the song takes- but as is, she has created her finest track to date- giving a tremendous insight into her future sounds!  If you have not heard Heaven…

YOU cannot afford to miss out.

[soundcloud url="https://api.soundcloud.com/tracks/217496943" 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 ADI:

 

Official:

http://adiulmansky.com/

Facebook:

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

Twitter:

https://twitter.com/adiulmansky

YouTube:

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

SoundCloud:

https://soundcloud.com/adiulmansky

Instagram:

https://instagram.com/adiulmansky/?hl=en

Track Review: Greenfield and Conder- I.O.U.

TRACK REVIEW:

 

Greenfield and Conder

 

I.O.U.

9.2/10.0

I.O.U. is available at:

https://www.youtube.com/watch?v=DqJZluwVmz8

RELEASED: 2013

GENRES: Pop

ORIGIN:

London, U.K.

IN the coming days I will be stepping away from the arena of…

female singer-songwriters.  It has been great getting to grips with some special singers: from U.K.-bred solo acts to female-led bands, I have heard a lot- some terrific music and diverse sounds.  What strikes me about the solo field is the amount of female participants.  In terms of the band market, the men dominate (over the women) - there are few female-only or female-led bands (by comparison) - when it comes to solo work, the girls have the edge (in number terms).  The reason I am ‘looking about’ is to uncover a male solo artist.  It may sound off- that it is difficult to find one- but it is hard to find an original one.  Ed Sheeran has a lot to answer for when it comes to upcoming male artists: the acoustic-guitar led model is ever-present and rising.  Most newcomers are not Sheeran; do not have his cachet and personality- they come off as endless insipid and boring.  Unless you have an amazing songbook- or stunning voice at your disposal- you can unleash scant magic (with only a six-string).  The best male sounds come when electronics are introduced: more sounds and shades go into the music; there is more diversity and range- the voice itself acts as instrumental support; rather than standing out alone.  There are some great male singers, yet to my mind, they are a dying breed.  Gone are the days of Jeff Buckley and Nick Drake: the artists who can own a room with their voice and guitar; their incredible songwriting inspired and compelled.  There are too many sound-alikes and inane voices: male singers trying to be someone else, or simply coming across as unspectacular.  The female singer-songwriters- when left to the simplicity of voice-and-guitar combinations- fare a lot better.  Perhaps it is a stereotype, but I feel their range and sounds are more varied- there are more colours and contours; great depth and emotion on display.  Sensual and fierce, emotional and direct, I cannot put my finger on it.  Perhaps it is their style of music.  The boys tend to go more Folk/Rock- with touches of Acoustic-led Pop- whereas the girls introduce more Soul and Blues sounds.  The latter have greater richness and depth; the former is more restrictive and homogenous.  When a great female singer arrives, it is great to expound their virtues: such as today’s artist.  I am going to do things a little differently here: whereas most reviews look at current songs- released that week/month- today I am looking back (a couple of years).  Featuring a terrific song (from an eager young artist), Greenfield is a name to be reckoned with.  The gorgeous Londoner is partnered with Gavin Conder (her boyfriend) and the duo is striking indeed.  Before I mention Conder- and the duo market- let me introduce them to you:

“Jess Greenfield and Gavin Conder met at a friend’s 60’s fancy dress party seven years ago. For the record, he was Austin Powers and she was a go go dancer. The usual stuff happened that happens when you meet your partner and they became a couple. Singing as a duo was still a way off.  He wanted to be a singer but wasn’t doing it for a living. Infact Gav has had the obligatory every-job-imaginable essential for a future superstar. From an events manager in Greece to a forklift truck driver to a wood yard stripper, Conder started singing professionally after making his escape from Butlins where he was a barman, with the girl friend that helped him ‘acquire’ some cash. Hiding the cash in his guitar, he packed his life up and into his car and drove to Wiltshire. Meanwhile, Jessica, who comes from a music loving family, found her rich, golden voice when she was on holiday with her family in France. Her dad would play guitar and get the family to sing along. The 15 year old Jess, who was already in love with the music of Donny Hathaway, Dusty Springfield and Tina Turner, sang ‘Cry Me a River’ and surprised everyone, not least herself. She also has the mandatory list of jobs on her CV including working in a bar, a secretary in a publishing company and a sales assistant in a homeware shop.  By the time of the fancy dress party, both were working professionally as singers with a great live reputation, playing or singing in function bands and groups, while writing and recording their own songs, separately, whenever they could. Gav, whose singing inspirations include Sam Cooke, Connor Reeves and Marvyn Gaye, joined a blues band as lead singer and Jess did endless session work and gigs. The blues band came to an abrupt end and Gav, who loves all things martial arts and extreme sports, went to stay with the Shaolin Monks in China to completely get away from it all.  While Gav was away, Jess had recorded a demo of a song she’d written called ‘Forgiveness’. A mutual friend suggested the song would make a great boy/girl duet and they should record the song together to see what it sounded like. Unbelievably, It had never occurred to them to sing together before. On Gav’s return they went into the studio. It was difficult at first. Bickering and sniping were in evidence but respect for one another’s talent won the day and a unique vocal accord was discovered. Greenfield and Conder, the duo was born.  Jess’ warm, deep, soulful vocals and Gav’s heartfelt, rough but sweet voice alone can melt the hardest of hearts, but combined is a different ball game altogether. Live, she plays piano and he plays guitar. Together they make a sound that will take your breath away.”

The reason I raise my point- about male and female solo artists- is the fact then- when you get a great male and female singer together- that cynicism disappears; you eradicate the shortcomings- and are presented with something fresh and wonderful.  Gavin Conder is one of the stronger male voices I have heard: potent enough to carry its own weight; it differs from the crop of rank-and-file male singers.  Possessed of soulfulness and passion- presented in a very personal way- he is capable of tenderness and amazing highs.  Not a run-of-the-mill acoustic troubadour, he has an amazing tone and sense of style.  Not only has Greenfield augmented my passion for the female sector; Conder has (helped to at least) dispel some reticence towards the male scene.  It is when the duo get together you get the biggest effect: their voices commingling is what makes their music stand out.  Duos can be a tricky proposition: if they have a weak bond the music is bound to suffer.  There tends to be some great male duos- the likes of Royal Blood spring to mind- yet tend to stick to Rock/harder sounds.  Acts I know- like Knuckle and Huxtable- all project that same smash-and-slam Royal Blood (line)- it tends not to deviate too much.  When it comes to female duos, it is largely eclectic.  There are great Electro.-Pop duos- the likes of Say Lou Lou come to mind- and terrific Acoustic artists.  By and large there are fewer Hard-Rock duos- the most fascinating two-piece is the boy-girl dynamic.  Aside from a few of my regular duos- Ivy and Gold are the most prominent name- the reason why my point rings true is passion and intuition.  When I reviewed the likes of Gypsyfingers- a fellow London duo that specialises in dreamy Acoustic-Folk and are a wonderful act- the byplay between Victoria Coghlan and Luke Oldfield (boyfriend and girlfriend) was evident.  It is risky mixing romance with music (or ‘business’ as it were) but if you can detach your relationship- and not have the two stepping on toes- something spectacular can unfold.  You can tell how close Greenfield and Conder are; they natural bond emanates in their music- elevating it beyond the boundaries of solo work; above that of the boy-boy/girl-girl dynamism.  The duo is planning new work- there is talk of a forthcoming album- so it is high-time more eyes were tuned their way.  It is not just their vocal byplay that sparks alive: the way they combine musically resonates.  Greenfield’s piano-led beauty- combined to that of Conder’s guitar work- goes into their work; the way they pair-off one another- intersect and unite- cannot be faulted.  Keen to investigate this up-and-coming duo- one of the strongest to come out of London for quite a few years- it seemed only right to check out their music.  I.O.U. - recorded a couple of years ago now- sees them at their best: a testament to their songwriting talent; the way they blend with each other- in addition to their (myriad musical) abilities.

In 2012, the duo released Introducing Greenfield and Conder: their debut E.P. that did exactly what the cover promised- it introduced them to the wider world.  The four-track collection instantly boasts their chemistry and commitment (to the material); the passion which they display- in addition to their stunning songwriting.  Indiscriminate Act of Kindness is touching and piano-led.  Conder’s soothing and melodic vocal swoons with romance and tenderness.  Scenic and tale-telling, the song looks at a figure booking into hotel; strangers bunking down; an act of kindness forming- and quite a rare and unique romance unfolding.  The song has a great scenic and episodic development; the tale goes on- as the strangers interact and move along- giving the song a real sense of reality and relatability.  Forgiveness is soft and Soul-infused.  Feeling foolish; restricted and being treated badly, Conder sings about the harshness of love; the need for forgiveness.  The track has that sound of Soul harmony groups; the way the vocals are layered and interact elevate the song- it is one of the richest and most memorable tracks on the E.P.  Forever Young has combination of piano and guitar.  A guiding song that shows tenderness and compassion- it seems like a message to a child.  Lead vocal by Conder- with terrific Backed by Greenfield- the song focuses on staying young; the world is quite scary and unpredictable- there is caution and support; a guiding hand all the way.  Not Enough Love finishes the E.P.  Sparser than previous tracks; and duo unite on the verses.  Looking at inequality and imbalance; the fact (there is not enough love) in the world, it has maturity and insight- like Forever Young there is a sense of dissatisfaction and fear; that feeling of injustice.  The E.P. shows Conder take on (the majority of) lead vocal- letting his soulful and powerful voice take the helm.  Greenfield provides uplift and support (in the choruses) but when the duo unites- that is when you get the biggest hit and effect.  Available at https://itunes.apple.com/gb/album/introducing-greenfield-conder/id482115533?ign-mpt=uo%3D4, it shows the young duo enter the music landscape- stamping their unique print upon it.  Whilst mostly acoustic/piano-led, the E.P. shows some powerful moments- a real mixture of emotions and subjects.  With consistently impressive songwriting, it was a fantastic debut- and an insight into (what their future signs) would contain.  I.O.U. is a natural development: thematically it possesses a similar personality (to the E.P.’s themes); the vocal deployment is similar- the confidence and sound has developed and expanded.  Building off the E.P.’s template, the track shows them at their peak.

Beginning with a vibrating guitar sound- quite woozy and Blues-sounding; intriguing and strong- the track begins strongly.  Conder approaches the song with his patented blend of soulfulness and nuance- vocals that are both convincing and impassioned.  The song looks (at our hero) being caught “in the rush from 9-5.”  Treacle-smooth and unwaveringly direct, the voice comes to the forefront: our lead sounds like a man with a weight on his shoulders; whether referencing his own life (and hectic schedule) or not- you can feel that sense of strain and fatigue.  Not able to say goodbye (either to loved ones or a friend) feet are not touching the ground- the pace of modern life is cataloguing his every move.  When the song looks at love- and Greenfield joins the lead (previously providing wordless backing) - is when you get that sense of understanding.  The song’s title references the duo’s love: it is “an I.O.U. kind of love.”  There are times when each of them will be alone; the pace of the world pulls them apart- but will always be there in the end.  It may be the case they owe (one another) time affection; whatever happens they will be there for each other.  Augmented by some swooning backing vocals- both heartfelt and emotive- Conder offers support and comforting words.  As said before- and across their E.P.’s songs- the tracks are at their peak when the duo combine voices.  When Conder and Greenfield join their voices, you get that biggest rush- and the song elicits its shivers.  Both have spent time apart; there is that feeling of disconnection- that desire to spend less time apart; break from the rush of the 9-5 life.  In the chorus there is that combination of wordless vocals and directness- sweeping and unified; tender and beautiful, the chorus is both effectively catchy and a direct emotional hit.  In terms of the composition, there is no needless overcrowding and layering.  The guitar remains shimmering and light- a constant presence throughout the track- and never hurries or becomes too imploring.  Delicate production provides necessary weight and backbone- the main focus on the vocals themselves.  Towards the song’s 3-minute mark, the duo reaches fever-pitch: their voices rise ever higher; the intensity becomes palpable- and the song’s message becomes ever more pressing.  Keeping the lyrics simple, the song makes its way into your mind- the chorus is especially memorable.  Whether it is the busy nature of London life- or a sense of having too little time to themselves- the track can be appreciated by all.  A lot of people find themselves in the same situation: when you are at the mercy of work and commitments; too rushed to kick back- yet know your relationship will always be there.  Our duo has a solid foundation and bond; they cannot be separated or broken- by the strains and stresses of the modern age.  The song is that which can be understood by all; it is quotable and memorable- it builds of Greenfield and Conder’s previous work; adding something new to the mix.  Both showcase what incredible singers they are.  Conder’s reliable tones are at their peak: honeyed and breathless; passionate and anxious, they add force and conviction the lyrics.  Greenfield’s stunning and beautiful voice is a superb support: working effectively in the background, they are at their peak when united (with Conder) - the duo’s voices are a perfect blend.  The production allows a live-sounding feel to come through; it is as though you are hearing this track in a small venue- it has an intimate and raw sound.  That said; there are no loose edges or wasted moments- it is polished enough to allow the vocals to shine; lyrics and vocals are both clear and concise.  I.O.U. is a terrific stand-alone song: a loyal addition to their E.P.’s work; a glimpse to their future sound- it will be fascinating to hear their new work; find out what is coming next.  Differing from a lot of the duo’s out there, Greenfield and Conder show what a unique force they are- their style betrays a debt to nobody; they are one of the most individual acts about.

As I look around the new music landscape- and wonder if there are many great male singers about- the ideals of fascination and diversity are on my mind.  The past couple of weeks have taught me a lot about the music scene: which sectors are rising fast; which are dying out- the best musical formations out there.  I am still skeptical about the male singer-songwriter mould: I feel there are too few genuine surprises/heroes- not enough genuine unpredictability and quality.  The female sector is much more assured: the sense of variety, adventurousness- and most important, quality- is right up there.  What has struck me most- and changed my way of thinking- is the duo market: taking the innovativeness of the female voice; the potential and strength of the male one- combining them into something special.  A fast-rising trend, duos are producing some of the finest music around.  Perhaps that would quell the unease I feel; remedy the (male singer-songwriter) malaise: by joining forces, the overall soundscape is much more tantilising.  Gavin Conder could survive and flourish as a solo artist: I feel he hits his full potential joining with Greenfield.  Being a committed and established couple, this trust and connection comes out in their music- I.O.U. is alive with passion, potential and panache.  Showing themselves to be exceptional musicians and voices, Greenfield and Conder are on a steady projection.  I cannot wait for new music to drop: see how they have developed; what new ideas they have brewed- whether that insatiable simpatico is still alive.  I feel it will be burning bright; the duo have such a gilded connection- their music demonstrates this unbreakable spirit.  Their E.P. showed what a strong partnership they have.  The four-track released bristled with inventive songwriting and exceptional performances; brilliant vocals and absolutely no filler.  I.O.U. expanded this further: built on their E.P.’s strengths and added extra layers- the duo sound even more urgent and focused.  London is at the forefront of the duo machine: creating some wonderful two-pieces, Greenfield and Conder are among the very finest.  Everyone from Gypsyfingers and Ivy and Gold- both London acts- do something different; if you want something heavier, there are options out there- there is a huge demand out there.  New music and the mainstream are overrun with solo acts and bands: an immense desire exists to see something different- the duo market provides that release.  I shall leave with a quick thought: that which relates to originality and inspiration.  I worry the new generation are being polluted by reality music shows- gives you a view on my politics and ethics- and feel the need to either take a cheap way out; or else they are being limited by what is out there- not enough variation to really compel them.  Bands suit the band wannabes; the solo artists provide something else- the duos often get overlooked.  I would love to see more come about; really tackle the hegemony and established orders- they are producing some of the most exciting music around.   When this happens- and there is that much-needed explosion of change- you will breed a stronger culture; one that offers quality and concision.  Greenfield and Conder should take heart (from these words): they have the potential to inspire other acts/musicians- keep that London-centric duo tradition going.  Make sure you listen to I.O.U.- and come to your own conclusions- and visit their E.P.: a work that deserves wide acclaim.  As the year fades by the pair are plotting new sounds; formulating their next move- make sure you do not miss out on that.  I am not sure what direction (the proposed album) will take, but one thing you can guarantee is the quality.  Never limited or uninspired, it will be a must-hear release.  Given the strength/nuance of I.O.U. I am…

LOOKING forward already.

[youtube https://www.youtube.com/watch?v=DqJZluwVmz8&w=560&h=315]

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Follow Greenfield and Conder:

Facebook:

https://www.facebook.com/pages/Greenfield-and-Conder/238054656253857?ref=tn_tnmn

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Music:

https://www.youtube.com/channel/UCR7qW_QFXUsFBaREKKUhqbQ

Feature: In Their Skin- A New Charity Initiative

FEATURE:

In Their Skin

 

A New Charity Initiative

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With animal rights/humanitarian issues at the forefront- featuring recent events- the ideals/issues of animal welfare have come under scrutiny.  Great charities do great work; they need full support and funding- to ensure there are fewer cases of cruelty.  It is time to do something about it…

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THE human race has outdone itself these past few weeks…

What with events in Africa.  American tourists kill more than 380 lions a year: they tend to have a deficiency when it comes to guns and humanity.  If it were not bad enough slaying your fellow countrymen, they want to export this sadism to the continents- take it out on poor, defenseless animals.  Of course, it is not just the U.S. that is culpable: animal cruelty/neglect is a sin every nation is guilty of.  Atrocities and injustices (involving animals) generate a lot of anger and unity: this past week the human race has bonded (against an evil human) and showed their solidarity- you wonder whether this will lead to action and change.  Charities deserve support and backing; severe issues (like animal cruelty) need stamping out- it is something that can be avoided.  We do not need vaccinations of scientific breakthrough; no need for research or money- we need for the human race to stop being c****.  This may seem like an impossible conundrum: most of us are animal-loving and sage; the minority drag the world down- and question the functionality and humanities of the human race.

In the past I have started charity initiatives- for Mind and Shelter- that have reached their plateau too soon- people were not getting involved/active.  I guess it is the pitfalls of social media/modern-day humans: very few will actually latch onto an idea; share good work- so long as they can be bothered.  Breaking through walls- and hitting people’s consciousness more vehemently- is an ill in need of a remedy.  When I launched Time out of Mind- to raise awareness of mental health issues- few took part- the idea died on its backside.  Same goes for the Shelter idea: on both occasions the charities did not share the idea; unwilling to get involved- when a charity cannot be bothered to back a scheme (that would raise them funds and awareness) what the hell do you do?  Wildlife conservationism and animal humanity are ideals we all can adhere to: most human beings love animals; none of them want to see them harmed/marginalised.  Having a good relationship with the R.S.P.C.A.- and supporting the likes of P.E.T.A. and the W.W.F.- it got me thinking: there is a way to make some positive changes.

Social media has shown it can mobilise and augment a charity campaign; vulcanise a charity’s aims- and get people unified and working together.  My idea is this: to be called In Their Skin it proposes people be more involved in animal protection- and put themselves in animals’ skins.  Using SoundCloud and YouTube, it would be a music-based imitative.  Music is the one thing that unites all people: it is the soother of pain; evoker of fond memories- nearly every human has a musical opinion.  I understand the success of viral campaigns- the ice bucket challenge, #nomakeupselfie, Movember etc. - relies on mind-numbing simplicity- perhaps that is the idea?!  If something is too complicated/time-consuming it is unlikely to appeal to the masses- many of whom have short attention-spans.  I had an issue with the ‘big boy’ viral campaigns.  The ice bucket challenge was simple-minded and unrelated to A.L.S.: the idea was tagged to the illness rather haphazardly and a lot of people did not donate to the charity- thus missing the point altogether.  #Nomakeupselfie labored under the impression not wearing make-up was brave: there is nothing brave about being bare-faced; it is the removal of vanity and showing a human face- something more women should do more often.  It belittled actual bravery: the kind cancer suffers (the campaign was raising money for) go through.  Movember was also a little aimless: a random oddity that has nothing to do with anything much.  In Their Skin would directly involve charities; bring in animal-related stories/issues- and is fun too…

What I want to do is work with the R.S.P.C.A., P.E.T.A. and the W.W.F. - a hell (of a lot of) acronyms, there!  Whatever your views towards the charities- whether you agree with their ethics/practices or not- they work tiresly towards animal protection.  Weter you are a cat or dog lover; have passion for exotic wildlife; are a committed vegetarian- that wants changes about the way animals are used and killed- then this is for you.  Each user/participant would complete a three-part piece.

First: the person would go to YouTube or SoundCloud.  Here you get to compile your own playlist.  Consisting than (no more than) 12 songs, you get to compile a bespoke playlist- something that appeals to you.  It can have brand-new music or unheard-of songs; classics and vintage hits or something very niche- the idea is to try and inspire others (with your music choices).  On both platforms- in addition to naming your playlist/giving it an ‘album title’- you can design an album cover- https://www.canva.com/create/album-covers/ is the first place to visit.  You can have fun with it; make it personal and fun- and share your choices with the world.  It may sound like a complicated thing, yet takes little effort/strain at all: it is a very simple step-by-step procedure.

Secondly: once that playlist/album is saved (and created) the second step involves animal photos/story.  Find a picture of you with an animal.  It can either be your/someone else’s pet or wildlife- any photos of you with an animal.  You tie this to a personal statement: what animals mean to you; why we should end cruelty- and put these two together.

Lastly: after you have done the above, it is a case of sharing it social media.  You would have the playlist/photo/story together, paste in the Justgiving link- where you should donate to- and the final step (when you share this) is to nominate three people- they in turn keep the ball rolling.

Simple as that!  The Justgiving page would raise money for the three charities (mentioned above) and directly involve the charities- they can share and promote the campaign on social media, too.  It gets music involved; gets people thinking about their favourite music- and most importantly, it involves animals.  Less inconsequential than some other campaigns, the idea is to get people involved- keep the momentum going and raise money.  Through awareness and viral-level proportions, greater awareness would be raised; we can start to make big changes- educate those abuse and extinguish animal life.  I understand that there is great apathy in society: social media is compartmentalised and limited; certain people will participate in this sort of thing.  Attitudes and apathy needs to change; we cannot just pick-and-choose who/what we get involved with: animal cruelty/abuse is something EVERYONE should be concerned about- no excuses not to get involved.

I just need to know whether people would a) get involved and genuinely take part, and b) if this concept is too complicated/user unfriendly?

OVER to you guys!

Track Review: Hannah Boleyn- Tough Love

TRACK REVIEW:

Hannah Boleyn

 

Tough Love

9.1/10.0

Tough Love available at:

https://www.youtube.com/watch?v=EqRpPM2llGE

RELEASED: July, 2015

GENRES: Soul; Electro.-Pop

ORIGIN:

London, U.K.

 

The album, The Boleyn Affair can be pre-ordered here:

http://hannahboleyn.tmstor.es/cart/product.php?id=25476

RELEASED:

02/10/2015

LITTLE is known about today’s musical subject.

Beside her music and image, our star has kept some cards to her chest: in terms of biography/influences, there are a few gaps- what we have is the music alone. A sweet and down-to-earth personality, there is a bit of mystique: the listener extrapolates clues and insights from the songs; what makes (Hannah Boleyn) tick- the person behind the music. Before I speak more about Boleyn, it has raised an interesting point: the issue of social media honesty vs. musical quality. In an age where people are more honest (read: incredible open and waffling) there seems to be no filter- most will post ANYTHING to social media; tire the moon with talk about food, mood- and pretty much anything else for that matter. All of it is personal and unimportant; rarely does anything crucial or factual make its way through- is social media necessary force? I guess it’s good to have an outlet, of sorts: somewhere you can ‘vent’; a way to share thoughts/words- more importantly, you can share music and creative works. Social media is at its most useful when music is being shared: it gives people a chance to hear some new sounds; discover something fresh and inspiring- a new hero/heroine. As important as the music (the core) is, how much should musicians give away? When it comes to their biography, do you air on the side of caution- stick to basics and do not disseminate too much- or are you open with the listener- give detailed personal information; favourite music etc.? I would say a mixture of the two: it is wise having some biography and insight, yet never give too much away- the music should talk the most. Acts and bands that are too forthcoming risk taking away the mystery; becoming too predictable and maybe losing appeal- although it shows they want to connect with the listener; come across as personable and grounded. When you provide few details, the music has to stand up: fill in the lines and back up the minimalism. If your music is impersonal and abstract; this is an issue: the artist risks becoming a name and nothing more- not concerned with being a human, more a portal (or marketing force). If you write personal music (from the heart) it provides opportunity to unleash and unfurl- allows the listener into your psyche; give them a bit of background and insight. Hannah Boleyn is an up-and-coming young artist with beauty to spare: stunning to look at, her music is even more jaw-dropping- something that is open and insular; heart-breaking and sensitive. Her personal website has links to social media/YouTube etc., yet not a lot about her as a person- where she came from; which artists inspire her; a window into her life. Maybe this is a sapling move: Boleyn does not want to give too much away- fearful the music will take second billing- yet I am curious indeed- it would be good to know more about the young star. Possessing such an impressive voice/talent; being in touch with her fans- very friendly and warm- there is that desire. I, for one, would like to know who inspires her- goes into making that voice; moulding her songwriting- and what her plans are (for the rest of 2015). More likely, the music is the mouth-piece: it gives you all the information you need; is objective and vociferous- more eye-catching and informative than any social media biography. The solo realm is a tricky one to crack: the fastest-growing sector, it is the definition of accessibility and ease. Providing you can pen a tune and compose some music- and have a voice of sorts- you are welcomed in- no need to recruit a band or do much else. So long as you have your own sound/voice, then you are straight in. That said, few modern singer/songwriters have a distinct and unique voice; that different and stand-out sound- there is a lot of sameness and predictability. Hannah Boleyn is a proposition apart- that surname alone is both historic and classical- and is not run-of-the-mill singer/artist. Apart from the title of her new song- Tough Love was the name of a recent Jessie Ware album- there is a very particular artist here. Gaining social media ground- her Facebook and Twitter followers are coming in thick and fast- the London-via-Leicester heroine has serious ambition. You can hear the confidence come out (in the music); that drive and hunger- somebody who wants to forge her standard on the music world. There are so many female solo acts out there- more than the men I dare say- and a lot of Pop/Electro.-based examples: trying to separate yourself from the pack is quite a mean feat. Tough Love is Boleyn’s shout-out to the (music) world; her voice coming through- a deceleration to the scene. With her debut album forthcoming- The Boleyn Affair- the rest of 2015 will be an exciting one. Having worked hard over the past year, the young musicians is excited about the future- the chance for the public to hear her in full voice; the full extent of her talent.

Despite being a fledgling act, Tough Love is not Boleyn’s first release. A year ago the single Cemetery was unveiled. The artwork for the single sees our heroine dressed in a chic black dress; bedecked in sunglasses and under an umbrella, it is a perfect representation. The song itself sees our heroine going down to the graveyard; flowers in hand, she is looking for forgiveness, for answers- it seems like a complicated backstory. Imagery and scenes come fully to life, due to that inimitable voice: husky and whiskey-soaked; emotional and intoxicating, Boleyn brings her emotional range to the fore. Finger-clicks and Doo-Wop elements fuse retro sounds with modern production- the result is an explosive and groove-laden kick; a song that fizzes and bubbles; a perfect introduction (to the young star). Following this, When You’re Gone and SO OK were unveiled- along with Tough Love as part of the Cinematic Soul E.P. The former is a restrained and investigative piece; that unique vocal sound looks at past love- a hard break-up and recrimination. Having been put through pain and heartache (by her beau), our heroine is in defiant mood- laying the world to rights. Elements of Amy Winehouse- at her Back to Black best- comes out; that sense of unease and anger- perfectly projected by Boleyn’s world-weary voice. Catchy and sonorous; overcome and overpowering, it is a stunning track. SO OK is a big and brassy number: smoky and urgent, it boasts a huge chorus and classic sounds. Mixing ‘50s Soul/Doo-Wop with some modern Soul sounds- Winehouse comes out; parts Gabrielle Cilmi- and you have a gem afoot. Another introspective track, it sees Boleyn casting her mind back: looking at events. Rather than heart-aching, there is a lighter touch here: the entire track has a relentless drive; it is quick-paced and itchy- never straying from its kick-against-the-world strut. Since these creations- and foreshadowing the L.P.’s forthcoming sounds- Boleyn has progressed and developed. Tough Love- originally premiered last year- sounds full of confidence and ambition; the vocal style/production is slightly different- it has more of swagger and swing; bigger electronic beats; a much bigger rush. Whereas previous incarnations have been more Soul-influenced, here there is an emphasis on Electro.-Pop and electronic influence. Much more suited to the dancefloors and beach scenes- as opposed to Jazz clubs and soul-searching moments- we get more of a smile (in spite of the subject matter). As Boleyn wants love and belonging, the composition swirls and pummels; it is a fast-racing and breathless thing- showing how much more confidence/passion Boleyn (has now). There is quite a difference between Tough Love and, say, Cemetery. Since her debut release, the young singer seems to have matured and developed- throwing off her old skin and bursting into life. Keeping her voice and lyrics strong and ear-catching, instead the overall sound has been bolstered- it is more alert and vibrant; essentially more modern-sounding. Whether you view this as a good thing- Boleyn’s music varies between modern-day rush and vintage Soul without compromising her personality- you will love Tough Love: it is the (urgent) sound of a young woman on a mission.

Tough Love begins with some gentle electronics: almost classical in tone, it builds up a sense of intrigue and romance. When Boleyn comes to the fore, her words are questioning and imploring. Her future seems uncertain; she’s searching for love: will things work out? Will she find someone out there? Riddled with doubts and uncertainty, our heroine is looking outwards for answers. Just as the song starts to settle into a calming (sense of self-examination); the composition rushes and bursts- becoming more frantic and full-bodied. Building off a simple refrain- “I don’t want your tough love”- our heroine has had enough; clearly at a critical stage, she wants a change. The composition joins crackling percussion- providing a sense of urgency and heartbeat- and swelling electronics. Sounding contemporary and mainstream- it could easily accompany a similarly high-charged song by Boleyn’s contemporaries- the vocals elevate proceedings. Retaining her traditional sense of Blues-cum-Soul emotion with passion and urgency, you are caught up in the song. “Say I’m right or don’t speak”; “Please do as I ask you” are two thoughts (that hit my mind): the former shows a woman who has seen too much pain; been through a great deal of upheaval- at a point where things need to change for the better. The latter solidifies this: that urgency and strain comes to the forefront; that need for escape and betterment is clearly evident. Boleyn’s husky and swooning vocals- employing small elements of Winehouse and Cilmi- makes everything sound more authoritative and pressing. Were the vocal sweet and effete, the song would lose a lot of potential- it would come off as rather ingénue and naïve. Boleyn’s full-bloodied womanly deceleration stands proud- and makes Tough Love an arresting thing. That insatiable chorus comes back to rule: quotable and sing-along, it grabs and seduces- an explosion of electronics and voice; a combination of tension and release. A sure-fire festival chorus, it is designed to unite crowds; get hands raised- and gets voices singing. Usually (songs like Tough Love) would be designed towards a certain market- females normally; the younger sect- and would normally have limited appeal. With the messages very much of a female perspective- with songs that do not reach beyond these confines- it is quite frustrating. Most modern Pop/Soul singers- who write similar songs- limit their appeal and audience- come off as limited and one-dimensional. Boleyn is not aiming for a ‘key market’ or demographic: the track is designed for the masses; for your boys and girls, young and old- anyone who care to take notice. This widescreen appeal does not come at the expense of quality and integrity: the track does not dumb-down or betray its roots; it is a filled with detail and consideration. As the song nears its end, our heroine is still searching (for answers): she is “sick of trying”; having been through the mill, she has reached an impasse. The composition introduces some twanging strings; injecting that passion and rush- before the chorus is upon us. The key to Tough Love is its simplicity and chorus. Being quite chorus-heavy, its central message is the weapon at hand: something that is deployed and used to great effect. The song is something of a rarity for Boleyn: it is unlike her previous output; I am unsure whether (her forthcoming album) will contain similar tracks- Tough Love is a slight one-off. If you are a fan of Boleyn then you will not be disappointed: the track contains her hallmark vocals and direction; the change towards Electro./Pop shows a natural development- and not a permanent switch. The Boleyn Affair is sure to contain mixtures of sounds: Blues/Soul ‘classics’ like Cemetery; harder rushes like Tough Love- something more gentle and acoustic-led. An artist that wants to employ diversity and range, Tough Love is a tantalising release. Perhaps those who favour Rock/Indie sounds will take more convincing: the song will need a few spins before its layers are revealed. At the end of the day, Tough Love is a confident and catchy slice of song; something that shows a sensitive and open writer- one who knows the importance of nuance. Tough Love is not a disposable song: it is something that sticks in the mind; reveals new insight (upon each listen) - positive signs with regards the album. A track that looks at love and frustration; the need to find happiness and satisfaction, everyone can relate: the song speaks to the masses; it can be extrapolated by everyone- in that sense, few will not find anything to recommend. I love Boleyn’s voice and its dark huskiness; it has highs and sensitivity- quite a multifarious and varied instrument. Moulding simple and effective lyrics with a complex voice, it is a wonderful combination- it comes off superbly on Tough Love. With some terrific and clear production values, few can deny the charms on offer. One thing is for certain: The Boleyn Affair is an album everyone will want to investigate.

What of Hannah Boleyn’s future? Well, the solo sector is a busy and competitive one: there are new entrants each week; the quality is high (well, it’s variable actually; some fantastic most pretty okay), but I feel Boleyn will do just fine. Tough Love is an open and honest tale: a song that yearns for satisfaction and comfort; a young woman in need of loving arms- a traditional and personal tale. Building off a fantastic chorus, the lyrics are a great insight (into our heroine’s romantic past) - a terrific achievement. It is hard to say what the album will contain- more tracks like Tough Love or fewer examples of this kind; some more uplifted and defiant tracks?- but it is surely going to be a fantastic thing. Boleyn has a very hungry sense of determination; an artist who wants to remain- and record music for many more years. Being fairly new off the blocks, time will be the important factor: whether Boleyn can capitalise on her initial promise- secure a long and prosperous career. When reviewing Nelly Furtado on Saturday- a small review of her debut, Whoa, Nelly! - I highlighted one vital factor: her uniqueness and sense of style. Not one of your Pop princesses- who are committee-made and without any sense of personality or talent- she came across as fresh and daring. Bending her notes and words; stretching lines and peppering lyrics (with vocal tics and quirky asides), she made an impact- few singers are as distinct and memorable. Not only (was her voice) both instant and original, her lyrics betrayed any preconceived notions: mixing behind slams on the modern-day (radio-friendly) scene- Shit on the Radio’- and personal freedoms- I’m Like a Bird- her subject matter varied vastly. Not willing to stand still, her album was packed with personality and uplift; insatiable choruses and a gorgeous voice- sounding like nobody else but Nelly Furtado. Boleyn is yet to drop her new L.P.- that comes in a few weeks- yet Tough Love shows plenty of familiar comparisons: a voice that is uniquely hers; a special way of phrasing; that knack with a chorus- my suspicion is the album will build on this and expand outwards. If that is the case- evidence suggests there will be variety and excitement- you should keep your eyes peeled. Hannah Boleyn marks herself from her peers; aside from the urn-up-and-sling-some-generic-music-together posse. Tomorrow, Boleyn plays Ronnie Scott’s (Jazz Club): a practical rite-of-passage for young singers worth their salt. An exciting gig for sure, and one that proves one thing: the capital is embracing what they hear; there is an audience out there. The young singer has worked hard her career: made steps and tirelessly plugged; that sense of ethic and indefatigableness comes through (on Tough Love). Make sure you check out the song- enjoy every note and confessional beat- and investigate an artist with a lot to say- someone with clear signs of longevity and prowess. Packing huge emotional weight; hugely effective as a lyricists- and possessed of a voice that could melt the ice-caps- Boleyn is on her way to the top. It will be hard to forge some space; poke her head from the throng, yet she need not worry: her music has potential enough to elevate her to great things. In time her social media ranks will swell; more will be known about (the personal behind the voice) and more gigs forthcoming- must go and see her the next time she plays London. I am glad I found Hannah Boleyn: an artist I will be watching closely; seeing where she goes from here. Tough Love is an earnest and spine-tingling statement from a young woman with plenty of strength and passion. As I close this review I am pleased: not just for the sake of witnessing a brilliant young talent, but most impressively I didn’t even make…

A single Anne Boleyn/Henry VIII joke.

[youtube https://www.youtube.com/watch?v=EqRpPM2llGE&w=560&h=315]

________________________________________________________________________________

Follow Hannah Boleyn:

 

Official:

http://hannahboleyn.co.uk/

Facebook:

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

Twitter:

https://twitter.com/thehannahboleyn

__________________________________________________________________________

Music:

https://soundcloud.com/hannahboleyn

 

 _________________________________________________________________________

Videos:

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

 

This Week's Albums: August 1st, 2015

This Week’s Albums:

 

August 1^st, 2015

IT is a case of “Something old, something new/something ‘borrowed’, something…

 

that doesn’t rhyme. “  I do a D.J. gig every week; I have the opportunity to play four different albums: one that is ‘old’ (to my mind, anything pre-1985), something ‘new’ (released brand-new that week); something influential (and has inspired a genre/other acts)- in addition to dealer’s choice (any album I choose).  Having done this for over a year-and played everything from Graceland to Pearl Jam; from FKA twigs to Beastie Boys- it is enormous fun.  I get to talk to people (about music); play some awesome stuff- turn people on to some great/forgotten sounds (well, I try to).  I shall publish this every week; try and highlight some fantastic albums- maybe some you had forgotten about.

The Old: Pink Floyd- Wish You Were Here (1975)

10/10

Following the success of Dark Side of the Moon- an album that by all means, changed the face of music- the band produced Wish You Were Here: an album that differs yet contains the same quality and sense of genius.  Where D.S.o.t.M. was a dark and challenging listen- ethereal and haunting the one moment; disturbed and shivering the next- Wish You Were Here (an album about and inspired by, Syd Barrett) is a gentler, more textured thing.  Although there are few songs (five in total) the songs are sweeping and grand- no track is shorter than 5:24 (Have a Cigar); the Shine On You Crazy Diamond suites (that bookmark the album) total 26 minutes.  The band have gone on record stating (the album ranks as their) favourite; a pleasure to listen to- their crowning achievement.  From Welcome to the Machine’s pulsing build-up- fractured electronics and aching vocals- to the title track’s heartbreaking lyrics (“We’re just two lost souls/Swimming in a fish bowl”); it is a phenomenal achievement- an album that should be cherished by everyone.

[youtube https://www.youtube.com/watch?v=hMr3KtYUCcI&w=560&h=315]

The New: The Maccabees- Marks to Prove It (2015)

8/10

 

An album that has been greeted by mixed reviews; it is your classic vote-splitting album: an L.P. that is intriguing and impressive yet not strong enough to draw new fans.  The London band’s fourth album sees them in fine voice- I would give the album 8/10 for interest’s sake- and following up 2012’s Given to the Wild.  This time around the group sounds inspired and united; in love with the act of making music- a band finding their true voice.  Spit it Out- the finest track of their career- begins with gentle piano; the atmosphere builds (the vocal is both tender and haunted) and flourishes- the song explodes into life.  Not just a simple fluke, the band follows this up (with four or five similarly ambitious tracks).  The title track is a rushing paen to the strains of modern life; the stresses and oddities of our society/city life.  With its racing vocals- a composition that hurries and scrambles- it is a tremendous gem.  Perfect for nights in- or dancing in the summer sun- the album contains ounces of passion and heart; insight and drama- awash with stunning tracks.  Whilst not their strongest album, it still shows a band that are at the top of their game- with plenty more to say…

[youtube https://www.youtube.com/watch?v=ga6R2MBBHo4&w=560&h=315]

The Influencer: The Smiths- The Smiths (1984)

9.5/10

 

One of the most influential acts of the ‘80s- the decade was not a complete car crash- The Smiths have inspired a huge amount of bands- half of the bands I review regularly possess Smiths-esque touches.  Morrissey’s witty and unique lyrics; his stunning and semi-operatic voice- tied to Johnny Marr’s stunning guitar work- came together in their debut L.P.  This Charming Man is the iconic standout: the song that remains their most quoted/famous.  Although The Smiths turned in better albums- The Queen is Dead is their finest cut- they were fully-formed from the off- turning in an album that changed the face of guitar music in the U.K.  It was not just the songs’ structures that were radical- breaking away from the verse-chorus-verse predictability- but the lyrics and compositions.  The former looked at everything from sexual frustration to child molestation; violence to homosexuality.  The album started a revolution in music; the public were staggered (by the Manchester band’s) sound and innovation- in no small part due to Morrissey’s wonderful penmanship.  With his delirious croon bringing the subjects to life, Marr laced the songs with intelligence, emotion and diversity- a stunning arranger and wonderful guitarist.  An album that will continue to inspire and amaze.

[youtube https://www.youtube.com/watch?v=cJRP3LRcUFg&w=560&h=315]

The ‘Other One’: Nelly Furtado- Whoa, Nelly! (2000)

8.5/10

The stunning Canadian singer burst onto the scene with Whoa, Nelly!  Differing from the crop of singer-songwriters (of the era), Furtado’s distinct style and projection took critics by surprise.  Amidst the sea of Pop puppets- and premed princess of the scene- Furtado was a refreshing antidote.  Her scatting and note-bending fused with elongation and unique quirks- making her songs stand out impressively.  Filling the album with upbeat and positivity, the young singer displayed a sense of wit and naivety (some of the lyrics and songs fall short but they are few and far between).  Turn Off the Light is an infectious and album standout- that shows Furtado at her eccentric and mesmeric best- and is one of my all-time favourite songs.  I’m Like a Bird is the singer’s “freedom song”- a simple narrative that is impossible to forget.  Shit on the Radio (Remember the Days) does what it says; it’s the response to market forces- that desire to ‘fit in’ with the modern scene; hence the outpouring of dirges and bland songs.  The entire album brings sunshine and smile; it is to played loud and proud- a perfect solution to the capricious nature of a British summer.  If you have not checked it out, then there are no excuse- and dare to prove me wrong.

[youtube https://www.youtube.com/watch?v=kOL7aeIDruA&w=560&h=315]

Track Review: Scout Killers- Honey

TRACK REVIEW:

 

Scout Killers

 

Honey

9.2/10.0

Honey is available at:

https://www.youtube.com/watch?v=7aMtzU4fn8M

RELEASED: 5^th June, 2015

GENRES: Rock, Alternative

ORIGIN:

Bath, U.K.

The E.P. Stand Your Ground is available at:

http://scoutkillers.bandcamp.com/

TRACK LISTING:

Stand Your Ground- 9.2

The Rains- 9.0

Time and Again- 9.3

Honey- 9.2

Cease and Resist- 9.2

DOWNLOAD:

Stand Your Ground; Time and Again; Honey

STANDOUT TRACK:

Time and Again

RELEASED:

12^th December, 2014

ANOTHER day welcomes another band…

to my attention.  From Americana and Blues sounds, today something new is afoot: a band that has crafted their own stamp on the Alternative/Rock scene.  A lot of modern acts- that play in these genres- tend to tie too closely to other acts: lack originality and come across as a bit stale and forced- there are exceptions to the rules.  In today’s scene- and with the amount of new acts coming through- the competition is pretty tough; there are few excuses for playing it safe- if you do not distinguish yourself, you will find yourself buried.  The biggest variations (in music) come when you look to other genres- electronic music is perhaps ahead of the field.  When you mix genres and sounds; take leaps and be innovative- that is when you come up with the best music.  To my mind, the Alternative scene is becoming a little predictable: so many new artists lack that killer hook; their songs seem rather predictable and unmotivated- the whole sound comes off as insipid.  This is a generalisation, yet there are some bands that buck the trend.  For a start, the lyrics need to be unique: stay away from overused fell-in-love-had-heart-broken-what-will-I-do mandates; take time to craft words that have a distinct bent.  Once that has been cracked, the music needs to stand apart.  Too many acts present rather mundane and tired compositions; there are few surprises and distinguished moments- it leaves the listener somewhat disappointed.  The vocals are vital, too: make sure they are filled with passions and urgency; do not sound too like anyone else- grab you from the first moment.  Scout Killers are new out of the block: the band are taking their first steps; having released latest record (last year)- the band have already released an E.P.- the signs look good- fans and reviewers are pricking their ears; the five-piece stand apart from their peers; their heavy-cum-universal sound is proving very popular- and no surprise.  Before I continue on, let me introduce Scout Killers:

“Scout Killers are a five piece alternative/rock/indie band that formed in late 2009 in the Bath and Bristol area. The band currently consists of Scott Cox (lead vocalist), Julien “Zombie Beast Man” Morrez (guitarist and backing vocalist), Beau Stevens (guitarist), Josh Ellis (bassist), and Chris Phillips (drummer).

The band draws its influence from such artists as Rage Against the Machine, Queens of the Stone Age, Pearl Jam and Red Hot Chili Peppers. It's clear to see from their powerful live sets that they hold viscerally expressive vocals, atmospheric and foreboding guitar swells and shadowy rhythmic undertones high on their priorities when it comes to songwriting.

After a successful tour following the release of their EP “We Cage the Storm”, and a well-received music video for the single version of “The Waves”, it was time for the band to head to the recording studio. One bloody, sweaty, tear-filled year later, Scout Killers re-emerged.

Now, with their debut album released, and the music video for the album's flagship song “No Reason” having been met with such a positive and welcoming reception from fans and critics alike, it's no wonder that Scout Killers are being described as having a “very promising horizon ahead of them.”

Their new E.P./album (technically the former) Stand Your Ground is gaining positive feedback: their renewed confidence and fresh sounds are enlivening and festival-ready.  Although their influences are somewhat overused- Queens of the Stone Age and Rage Against the Machine are obvious influences- the band do not rip them off; they channel their essence- tie them around their own voice and flair- and come up with something striking.  One of the best things about the band is their location: based out of Bath, the boys are putting the city on the map.  So many bands emanate from London/the north, so it is great to see a Somerset band come to the fore.  I hearing what different parts of the U.K. are offering: you can get a real sense of an area, based on the music that comes through.  A lot of London-based bands tend to be heavy and hard; further north there is more melody and range; Scottish bands are among the most innovative and unique.  Too many new acts are scared of stamping their own footprint: they hear the mainstream bands do well and decide (the easiest course of action) is to take their sound; lazily repackage it and pass it as their own.  Scout Killers have their own range of idols- and instill a little of each into their boiling pot- yet are determined to present their own voice; not come across as uninspired.  Because of that, the band has built a solid fan-based.  Critics and fans have been flocking to see the boys; reviews have been positive and laudatory: their new track is already gathering some pretty impressive praise.

To see how far the band has come, one must look back- investigate their previous output.  Back in 2013 (in July) the band unveiled their debut album.  Self-titled, the L.P. was rife with early promise: from the distorted/T.V./radio tuning introduction of Red Sky; the band went in hard- and stamped a unique take on things.  Subverting expectations- and building up a lot of intrigue- it was a perfect opener.  Tracks such as Too Close bristled with stadium-sized riffs- the sort Foo Fighters are masters of- and Long Way Round possesses heart and genuine emotion- a track that mixes tenderness with prowess; power and sensitivity.  By the time we reach the closer (Push) the sense of innovation does not abate: the swansong is a perfect finale (to a tremendous L.P.).  To my mind, the band has improved in the last couple of years.  Their debut album was replete with sonic innovation and genuine talent.  Perhaps a little indebted at times- certain verses/compositions reminded me of Californication-era Red Hot Chili Peppers; sometimes elements of Rage Against the Machine were too evident.  From the debut days, the band has expanded their palette; brought in more diversity and range- in addition to crafting a more original and strong voice.  The performances are stronger and tighter; the compositions more fascinating and multifarious; the songs more nuanced and memorable.  Although there were exceptional songs from the off- the likes of Red Sky cannot be denied- the band are now more focused and confident.  The songwriting is more rounded and assured; the lyrics more fascinating/varied- a stronger outfit altogether.

With so much quality throughout Stand Your Ground, Honey is perhaps the most ‘traditional’ Scout Killers track- that would remind you of their early work.  Uniting their sapling sounds with more up-to-date influence/inspiration, the boys start with a huge kick.  Earthy and sensual; pounding and primal, the sparse beats (that welcome the song in) are an early declaration- the potency and passion is stunning.  Controlled and emotive, the band manages to whip-up infant fascination- with as few notes as possible. Yearning (guitar) strings melt with syncopated beats; reminding me of In Rainbows-era Radiohead- sensational cuts like Weird Fishes/Arpeggi and All I Need- the song remains controlled and firm whilst showcasing a real ear for emotional build.  Perhaps the Radiohead comparisons are apt- little flecks and moments put me in mind of their finest moments- yet it is the band themselves that shout loudest- a very distinct product of Scout Killers.  Swooning and floating; toe-tipping and serene, it is impossible (not to) get caught up in the introduction- it is one of the most perfectly-formed I have heard this year.  After the majestic opening, the song starts to crank up; the vocal comes in- initial words look bedroom scenes (lights on; blinds should be closed- questions about fatherly love).  Within a few lines- where our hero looks at an ingénue and distinct central figure- the song begins its mystique.  In my mind, I was looking at a lonesome teen (female); someone who maybe is shallow and free from respect- maybe pushed away by her friends.  The music video (on YouTube) sees a gorgeous young ballerina apply lip-stick; with a vacant stare, she is the embodiment of the song.  Caught up in the rip-tide, the listener is powerless to escape- picture the scenes and imagery.  With its accompanying video- that reminds me of Wild Beasts’ Albatross; shows the young star pirouette and dance alone; dazzle in the light- it perfectly soundtracks the song- helps to get behind the song’s meaning.  The band keeps things level and focused; the composition trips and delicately plucks- the vocal is whispery and romantic; filled with passion and potency.  Whoever the subject is- whether a former sweetheart or friend- you look at the song in two minds- caught between sympathy and a sense of condemnation.  Our hero advises warning and caution- “look at only your mistakes”- and there seems piecemeal empathy.  Whilst the verse progresses, things become clearer- the verse looks at a romantic partner; someone who has come crawling back (to our lead)- and light is shed.  Many songs look at similar themes- a former love comes back for more; causes much heartache and worry- yet Scout Killers find a new spin; do not make the song too heavy and accusatory- there is an underlying sense of forgiveness and tolerance.  Couple a griping and swooning vocal; a rich and engaging composition, and there is scant vitriol- making the song more three-dimensional and loveable.  By the chorus, the composition becomes harder and granite- Grunge shades of Ten-era Pearl Jam- as our lead lets his voice soar.  The band does not stray too far from a tried-and-tested presentation- in terms of the compositional elements and structure- but this works in their favour.  They do not wander or needlessly divert; instead keep the song focused and tight- instead adding ounces of beauty and grace.  A perfect soundtrack- for either your summertime festival throngs or late-night moonlight drives- the song soothes the sense and spikes the brain- the track is both gentile and forceful.  By the midway point, the composition starts to change a little: the percussion becomes more prominent; the vocal more determined and soulful.  Our hero looks at his girl; the ambitions and dreams she had; what she wanted to be- the sense she has wasted time and clung on to a life raft too long.  By the second introduction of the chorus, the scene becomes heavier still- the composition gets fiercer and the sense of anger more evident.  Mixing traditional Alternative shades with bespoke Scout Killers qualities- their ear for compositional dynamics and emotional deployment.  Essentially, the band knows when to hit it hard; how to get the biggest reactions from the music- how to build a song up.  Before the track is through, the band let the composition into the spotlight.  The guitars start to chug and sway- like a huge wave crashing the rock- those Grunge/Alternative shades become more persistent (and replace earlier calm and tenderness).  Combining with the chorus, the guys rise ever higher- the vocal is at its most tortured here.  Straining and roaring, our lead reaches for the heavens (or perhaps Hell I guess) as the song comes to its conclusion- and leaves the listener with questions.  Wondering whether issues were resolved- whether our hero will repeat patterns of the past; his girl will figure out what to do- there is that sense of mystery.  Whilst not their finest track, Honey is a perfect example of their modern work: it shows how far they have come; what confidence and quality they have at their disposal- a band that deserves a huge following.

Each member (of the band) turns in an exceptional performance.  Since 2009- when the band recruited its ranks from the Bristol and Bath area- the guys have become stronger and more confident.  Their Cage the Storm E.P. - forgot to mention it early; essentially a natural playmate of their debut album- was a terrific effort; their current work is their strongest.  Scott Cox’s lead vocal is very much his own: there are shades of Eddie Veder and such- yet nothing too obvious or scene-stealing.  His voice has developed and matured- since the earliest days- and his sense of passion and urgency is at its peak.  Capable of ranging from an impassioned coo- in the early stages/verses- to a blood-curdling assault—the latter moments- it is a stunning performance.  Cox very much takes you inside the song; grips the imagination and senses- his aching tones come across as completely genuine and true.  Julien Morez (“Zombie Beast Man”- must be a family name) and Beau Stevens unite their guitars.  Covering a huge amount of ground- from gentle and plaintive lows to enraptured highs- they showcase a huge amount of talent and skill.  Very much unique players, the duo conspire with a sense of unity and intuition- neither player steps on the other; they fuse their guitars to create a fantastic thing.  Josh Ellis’ bass guides the song forward; it is the heartbeat of Honey that guides the song forward.  With his unique voice- he fills the song’s spaces superbly; creates a distinct sense of identity and rhythm- his bass fits wonderfully with the band.  Seamlessly fitting in the fold, the bass work supports the percussion; emphasises the mood of the song- elevates the composition hugely.  The percussion work (from Chris Phillips) is exceptional throughout.  In the early stages, he elicits punchy beats: acts as an accelerated heartbeat; maybe a strike of anxiety- he manages to create a sense of atmosphere and (building tension) with a single beat.  As the song develops, his drum becomes faster and more empassioned- towards the end it is a firestorm of passion.  Never pushed to the back- his beats, at times, are right at the forefront- he perfectly supports the band; keeps things tight and controlled- whilst proving what an essential player he is.  The entire band are tight and in-step throughout; the track is a natural evolution from the band- they show just what a tantilising prospect they are.  Combining mainstream qualities with underground grit, Honey is a song at home on the airwaves (Absolute Radio and XFM) as it is at small (and sweaty) clubs.  It has sweeping emotion and a desire to be loved; a sense of rebellion and plenty of anger- all the things you want from a song.

Having listened (to the entirety) of Stand Your Ground, you can hear that confidence and passion: the band is not in it for the short-term; they have a desire to become festival mainstays- they have the potential to be just that.  Each (of the five tracks) bristles with energy and emotion; the performances are universally exceptional- the title track is the perfect kick-off.  Starting with moodiness and build-up, there are strings and echoes; ghostly vibrations and electronic buzz- a real mixture of moods.  Perfectly blended, the song punches and kicks; that neon fuzz is joined with sparking guitar- the combination elevates the song hugely.  Anthemic and defiant, the boys are standing their ground: our hero stands with his subject; fighting against the tide they are overcoming the odds- and not backing down.  With its swaggering and bolstering composition- that marries delicious riffs with powerful percussion- the song gets under the skin.  Completed with a lustful vocal; a huge amount of passion and it is the perfect lead-off.  The Rains begins more urgently- than its predecessor- and chugs into life; building steam it is a compelling number.  The vocal contains its patented blend of urgency and emotion: the composition itself is at its fervent peak- threatening to explode under the weight of things.  Teasing and testing; scenic and simple, the track is another gem- one that compels the listener to picture the scenes; immerse themselves in the music.  Time and Again is one of the most curious tracks: its introduction is lighter and more summer-like; there is a calm and serene breeze to it.  Almost an acoustic-led number, the track shows the band more restrained and reflective.  With a vocal that mixes breathiness and seductiveness, the band is in introspective mode.  Perhaps with a little edge of Pearl Jam (and their calmer, yet more emotive moments) the track never explodes or betrays its roots.  Wonderfully performed and gripping, those vivid lyrics come to the forefront: rain battering down; the need to protect (his sweetheart/friend); the building tensions.  Acting as a safeguard, our hero pours his heart out; the song acts as a declaration- the band are more than up to the task.  Tight and seamless, the entire song shows the lads at their most intuitive- one of the best tracks from Stand Your Ground.  Cease and Resist has a spooky and hard-hitting beginning; ethereal build and squalling riffs marry together- it is the hardest track on the record.  Primal and brutal, the song clatters and claws; feeds and lusts- the band spring into life.  A perfect swansong, the song is impossible to ignore.  With a vocal that remains calmed- well, it does not scream- the song is one of the stand-outs.  The composition is one of the most dizzying: twirling strings and jumping riffs spar with tight and menacing bass; the percussion snaps and strikes- a fitting end to Stand Your Ground.  With its ferocious lust- still ringing in the ears- it is a memorable song- one that shows what a range the band has.

It is this range that defines Scout Killers: they do not stick with one tired sound; they vary their ambitions and projections- without sacrificing their own identity.  Sure, there are elements of Rage’ and Queens’- some little sniffs of Linkin Park in the finale- but the south-west boys are their own boss: a group that have their own tales and ideas; keen to break away from the pack.  I know how hard they have worked; how hard they tour- they are keen to get their sounds heard by a large audience.  Their social media numbers are rising; their name is starting to gather huge pace- Stand Your Ground is their statement to the world.  Honey is the perfect introduction to the band: it fuses their hard and passionate edges; some softer and more melodic centres- words that burrow into the mind and speak to the listener.  One of the most tight and well-rehearsed bands I have heard, their music sounds seamless and perfectionist- yet they have a great loose vibe to things.  It is only left for me to implore the band to come down our way (London).  As part of their tour, the band play Newcastle, Birmingham and Oxford- let’s hope they have a London date very soon.  There would be venues willing to house them; some right on my doorstep, so it would be great to see them- I can imagine they are a fantastic live proposition.  In a week where I have seen one of my favourite acts (Bi:Lingual) call time, I am keen to help bands survive- too many terrific artists have had to break-up; overcome by the lack of public support.  Scout Killers should have no such fears.  Their fan-base is pretty loyal and dedicated; they are gaining new ground (by the day) - hopefully they will recruit new followers very soon.  In an age of sound-alike and uninspired bands, it is great to see Scout Killers succeed- I cannot wait to see where they go from here.  I suggest you snap up Stand Your Ground- you can get it on their BandCamp page- and investigate Honey (and its terrific, balletic-themed video).  The lads are on a rampant charge; they have talent in their arsenal- a group to keep your eyes on.  If you are looking for a new muse; a band that ticks all the boxes; differs from (the tiring norm) then look no further…

I know just the guys!

[youtube https://www.youtube.com/watch?v=7aMtzU4fn8M&w=560&h=315]

________________________________________________________________________________

Follow Scout Killers:

 

Official:

http://www.scoutkillers.com/

Facebook:

https://www.facebook.com/scoutkillers

Twitter:

https://twitter.com/scoutkillers

Instagram:

https://instagram.com/scoutkillers/

__________________________________________________________________________

Music:

https://soundcloud.com/scout-killers

 

____________________________________________________________

Videos:

https://www.youtube.com/channel/UCX7CkyTDXwkncDcQvtqH3Pw

________________________________________________________________ 

Gigs:

http://www.scoutkillers.com/gigs/

Feature: Music- the Modern-Day Gamble

FEATURE:

 

Music: The Modern-Day Gamble

____________________________________________

With a few of my favourite (new acts) calling time; I am saddened and shocked- although it is perhaps not surprising.  So many new acts are coming through: given that, is the music industry turning into a giant gamble?

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THIS past week has been a weird Hell-ride of varying different…

emotions and plans.  On the one side, certain parts of my personality have done damage- the depression/anxiety coaxial; self-doubts and fears- looking at my bank balance have exasperated the issue.  On the flip-side, the bad aspects have forced me to focus elsewhere: namely London (moving to and working in); and steady employment- a full-time score at a music P.R. agency- coupled with some charity work- would be awesome.  When I consider the ‘plans’ part of the argument- doing what I SHOULD be doing; moving somewhere that is a lot more ‘me’- I have had my doubts.  In addition to worsening neurological symptoms making my writing a bit sloppy- my social media statuses have more errors of grammar and spelling- I wonder if I am cut out (to be a writer).  Having looked out the music world, I am throwing caution to the wind.  There are so many great acts out there- some stunning sounds coming through- I cannot help but get involved; put pen to (electronic) paper and share the word- the best music needs eyes and ears dedicated to it.  Something is making me sad, alas: many great artists are having to quit and pack things up; give up on their craft for various reasons- lack of commercial support; financial strains or bond-breaking within the ranks.

One of my favourite acts (from the last couple of years) is Crystal Seagulls: a London-based act fronted by the talented- and fine-looking chap- Jim Lawton.  The band mix (or I guess it should read ‘mixed’) Indie-inspired sounds with stadium-sized choruses- their songs mixed everyday emotions with personal heartaches.  On paper it may sound like a tried-and-tested formula, yet Crystal Seagulls superseded expectations: the workmanship and nuanced elevated them above their peers- songs like Play Dead and Stroked drip with quality and panache.  Having reviewed the band (on several occasions) each new visit brought fresh surprise: every single song contained its own personality and drive; no weak links or moments- I tipped them for festival glory.  Whether a death-kiss (I’d like to think I’m intuitive enough to know greatness when I hear it) the plain fact was, the band had to call it quits- these things do happen.  Not wanting to push the agenda- and find out the specific reason behind the band’s demise- I know its members are looking around- Lawton himself is planning new music; he’s a talent too ripe to be left on the shelf.  I was shocked when the band split up- back in March of this year- as things seemed so assured and set: their music was gaining recognition and support; the quality improved by the release- it was only a matter of time before greatness arrived?  Sadly, no; the market forces and competition- tied to pressures of making music- made their mark; the band went their separate ways- at least we got the enjoy their music in the first place.  I understand that bands/musicians- regardless of how awesome they are- don’t always go all the way; fulfil their full potential and make the mainstream- Crystal Seagulls seemed dead-set.

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Two more acts- that have sadly gone the way of the elephant in the room (or dodo; I’m getting confused here) are The Bedroom Hour and Bi:Lingual.  The former were- in addition to being another London band- a great Indie-cum-Rock band.  With phenomenal vocals and lush compositions- think a splash of Elbow tied to something symphonic; via some edgy electronics and swaying codas- the band gained huge following.  Having crafted gems like Hinterland (their last full work) and Themes, the boys showcased huge qualities: the songwriting was relatable and inspiring; the performances tight and razor-sharp; the emotion dripped from the speakers- tied around anthemic scores and stunning stories.  Another band I oft-reviewed, each assessment brought a smile to my face: coming away from their music, I always felt better and more uplifted- compelled to pen my own songs; look inside myself.  Originality was never a factor: the band always produced unique and personal songs; never owing a debt to any of their heroes.  Although the vocals possessed a mingling of Elbow-cum-Doves, the songs stood above prediction- each one was very much a product of The Bedroom Hour.  A young and hungry act, it seemed like everything was laid-out- another act destined for the festival circuit.  Being based out of (west) London, the guys had the capital at their feet; a wealth of fans and venues- perfect opportunity to show just what they could do.  When the band decided to split, again, my heart was broken: I was looking forward to seeing the lads play; review their next release- watch them climb to the top.

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This week has been tinged with sadness: my old muckers Bi:Lingual have announced their resignation from the music world.  Citing a lack of public support, I was shocked and shamed: the guys’ music is so rare and sparkling, how could it not gain a huge following?!  What separated the band from their contemporaries?  First of all, their style was fresh and innovative: fusing Hip-Hop and Rap, the boys laced in Hard-Rock and Metal- a veritable cornucopia of grit, rush and street-level Rap.  Putting important subjects under the microscope- the ineffectiveness of a lot of (modern-day bands); society’s less-than-reputable characters- the band were a gang on fire- saying things we were all thinking.  The lyrics were smart and sharp; the vocals frantic and impassioned- the band performances chocked with rage and style.  If you imagine a lovechild of Rage Against the Machine and well, THEM.  The boys (based up in the north-east called time due to personal issues; an inability to push their creativity forward- in essence public apathy can be added.  Their music deserves huge plaudit and promotion, yet many were not turned-on and in-tune- not sure why there was such a struggle to get the music heard and appreciated.  Maybe it is too vibrant and forward-thinking; perhaps a little too honest and raw- I am baffled to be fair.  Shocked at their announcement- the band has a last tour date; yet there will be no new music- it was a genuine kick in the face.  Speaking with Dylan Cartlidge- the band’s voice and lead- he has new ideas and songs; the man will be back and performing in the future.  With plans to book the band (for a charity gig); being close-knit with Allusondrugs- Bi:Lingual and Allusondrugs had a brotherly bond- the guys seemed like a great booking.  Whilst Yorkshire’s Allusondrugs continue to dominate, the equally-talented Bi:Lingual are nearing their final bow.  Few would have seen it coming; many are unwilling to believe it- the Bi:Lingual boys will play no more.

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This is a subject I have touched on (well groped half-drunk to be honest); looked at in previous posts: a lot of great musicians are struggling to survive (in this current climate).  A few other acts- who shall remain nameless- have spoken about their struggle and expectations- the sense they are not (as far along as) they want to be; feel they are failing- unsure why they are not further along.  From superstar female artists to young bands, I hear a lot of the same thing: the public are not taking them fully to heart; their music is not getting full recognition- what is causing this?  There is an issue with personal expectation and desires: many new musicians want to be at the top instantly; they have ambitions to be big names- when it does not happen (at least at the early stages) it can cause stress.   The best musicians are always looking ahead; planning moves and aiming high- most want to be on the festival circuit; ruling the airwaves and dominate public consciousness.  Feeling marginalised and overlooked, musicians are feeling the strain: the feeling they are climbing a mountain; will they ever fulfil their dreams?  Away from personal goals, two other factors come into play: financial pressures and personal relations.  When you are entrenched in music- and have such a hectic creative process- personal bonds can be frayed; if you are in a band, relations can often take a hit.  That need to succeed and flourish demands huge time and effort; a lot of late nights and touring- inevitably things can become tense to say the least.  If that was not bad enough, financial issues can be a, well, issue.  It can cost- depending on which studio you visit- a hell of a lot to record a song/E.P.; many musicians have to work several jobs- just so they can cut a single.  With social media/music-sharing sites in full flight- and most acts feeling they have to give their music away- the profitability potential is reduced.  Unless you get gigs and sell music, where does the music come from?  After you have collected gig/music profits; deducted costs and expenses, there is not a lot left- you then need to find money to record new music.  When you work endlessly (at a job); spend what little time you have (recording music), it can become exhausting and devastating- leading to natural aging and decline.

Bands succeed and continue- the likes of Los & the Deadlines are perfect examples of groups showing no signs of slowing- and acts expand and succeed- graduating to the mainstream from the underground.  It is easy to point fingers (and pretty fun too) but it is hard to pin-point one aspect: just why certain musicians fail or split; why others continue to grow- social media is one of the worst perpetrators.  Still unregulated and compartmentalised (the likes of) Facebook and Twitter are chasms of randomness- no logical bonds and sense of organization.  What I mean is, they are a big mess; the layouts of both are insane- essentially one long timeline; you have to endless scroll to see if you have missed anything important.  Facebook and Twitter need a serious overhaul: with some organising and planning they can be a lot more effective and useful; make it easier to find the statuses/information you need.  It may be easy for me to say- and in practice hard to actually do- but social media needs to spend more time and money on improving their service; rather than whatever they do with their profits (the mind boggles).  Once this happens- and I’m not holding my breath the likes of Zuckerberg will do anything useful- we need a one-shop music website- something that tied together all the existing platforms.  There are some good music/social media tie-ins, yet nothing that is comprehensive and detailed.  If you had a Facebook-esque site for musicians/new music; channels for discovering new music/the best new acts (in addition to loads of other features) things would be a lot easier.  I tossed the idea around in a previous post- and my all-in-one website Psychoacoustics is still in the planning; would love to get a music café/bar set-up in London- and think it is a relevant concern- can we reliy on modern social media?  A contradiction in terms, social media is not pulling its weight; whether due to constraints- or people not being altruistic and thoughtful- bands are feeling the pinch.  All it takes is a share/re-tweet; a few seconds to click a button- it can change a musician’s entire career.

Whatever happens in the future- with regards music sites and organising social media- I am sad at the modern culture: it is not fair certain acts fail whilst others flourish.  As I bid farewell (to some great acts), my mind is racing; trying to figure something out- a way to make things better; prevent music-based tragedy from occurring.  As Bi:Lingual plan their farewell moves, all is left for me is to wish them the best of luck- I am sure the boys will be back soon (in various other formations).  I am always looking for ideas and inpuit; getting people involved- so we can all help and build something great.  Soon, I will be re-pitching/posting my music website/café idea (Psychoacoustics) - as I look to set up a charity too- and always want to promote great music.  It would be great to hear feedback- whether you agree with me; what the solutions are- so we do not have to bid farewell (to some bloody good musicians).  Music is a scary industry; it is a risk that does not promise success.  With success/the future being such a gamble, is it really worth the risk?  Well, in short, yes: I guess there is nothing we can do (to override the bad stuff) in the short-term.  For now, enjoy your favourite bands and acts; please share and promote their work- for God’s sake, it only takes a few seconds.  If I have to see another great act split up, I will have to think about my writing/journalism career (and whether it is really helping musicians).  When I think of that…

IT really does scare me.