TRACK REVIEW: The Ronaynes- Panic Attack

TRACK REVIEW:

The Ronaynes

 

Panic Attack

 

 

9.5/10

Panic Attack is available at:

https://soundcloud.com/the-ronaynes/the-ronaynes-panic-attack-mp3

RELEASED:

2015

GENRES: Grunge; Rock ‘n’ Roll

ORIGIN:

Glasgow, U.K.

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IT is challenging being in this line of work and coming up with anything...

new to say.  Not in a bad way:  I just encounter so many bands, it is near-impossible putting a different spin on things.  Whilst The Ronaynes play music with plenty of life, quality and originality:  I find myself (briefly) back in Scotland.  I am splitting reviews for the next week- a lot of them feature artists from Scotland and Yorkshire- so it is good to start things with a look into one of Glasgow’s best kept secrets.  Before I come to them, it is worth revisiting the music emerging from Glasgow; the importance of mixing genders into a band- looking at the genres of Grunge and Rock ‘n’ Roll to complete things.  So many music fans are looking around searching for those quality bands:  Those that can play heavy and hard but make sure there is nuance and repeatability to be found.  With so many brief and disposable bands coming through- that drop a great album only to disappear from view- the challenge is finding an act that can endure and improve.  With the sheer amount of competitors flooding the market, the question is this:  How do you make sure you are in the public’s attention years down the line?  The simple answer is ‘you can’t’.  Music today is such an overcrowded and unpredictable thing:  You never know which artists are going to go the distance.  That said, I can always detect an artist that has that potential:  Early sounds that have the potential to lead to long-term success and acclaim.  Away from the obvious avenues for new music- those big cities of England- it is great to see Glasgow producing so many terrific and unique artists.  Historically, the city has produced a wide range of artists who have made their impressions on the music world.  From Franz Ferdinand’s arty Rock to Primal Scream’s legendary music:  Glasgow is a city that has not exactly slouched when it comes to those legends and leaders.  Throw in Marmalade, Mogwai and Belle and Sebastian:  Softer ‘middle-of-the-road’ acts such as Deacon Blue and The Fratellis call Glasgow home.  I often speculate- when assessing a city or area- what causes the type of music and quality that emerges.   Glasgow prefers to play with that core of Rock:  Throwing in Electronic and Dance elements; that primal and exciting core seems to mandate a lot of the output.  Whilst areas like London have more Pop and Soul artists:  Glasgow has a tougher edge and more grit than elsewhere in the U.K.  This can lead to some homogenisation- you have to dig deep to find great Pop, Electro.-Pop and Folk singers- but the Rock bands they are producing rank among the best of the moment.  I have listed a few legends- some of them still playing today- and that is just the tip of the iceberg.  Rock (or Rock ‘n’ Roll) is one of the hardest genres to make new and original.  There is mobility, but due to the sheer number of bands doing the same thing, separating yourself from the pack is extremely difficult.  I encounter so many bands that are cut from the same cloth:  At the end of the song, you hardly come away overly impressed or surprised.  Luckily, The Ronaynes have taken the time to ensure their music leaves the listener wanting more.  Whilst they do wear a few influences on their sleeves, the music they are coming up with has enough verve, passion and invention to stand them in good stead.  Here is a band that is building slowly and ensuring their music has plenty of nuance and appeal.  I think so many acts are nervous they need to put out music:  You get rushed and hurried songs that possess no depth and intelligence.  The Ronaynes have grown up listening to Grunge, Rock and Indie artists- from the ‘70s/’80s legends to the upcoming acts via Nirvana and their Grunge peers.  With so many boy-only bands out there- I am stunned there are so few mixed-gender acts- it is always a nice surprise finding a band with a female lead.  It is 2016 but there is that depressing over-reliance on the 4/5-piece band with only men among the ranks.  I guess it is not their fault:  Diversity and difference always leads to stronger music, mind.  With male and female members (in the band) not only will the vocals have a greater range- the music and lyrical content will have different angles and possibilities.  The Ronaynes understand how important it is to distinguish themselves and not just be your run-of-the-mill band.  Before I continue my point, let me introduce them to you:

Debi Mason - Singer

Guitar - Steven Mcauley

Guitar - Jamie Reid

Bass - Mark Mcguinness

Drums - Jenny Tingle

“A filthy breed of classic rock, glam and grunge with a controversial twist has the music world talking about the Ronaynes”.

The band’s description of themselves (above) is a pretty apt summation.  There is no room for relaxation and Pop cliché in the ranks.  With a powerful female lead- and an equally assured female percussion section- the boys’ strings nestle together in songs that have that familiarity to them.  Those who love the past masters of Grunge will find a lot to love inside The Ronaynes.  The Glasgow five-piece do not simply replicate the past:  Their fusions of Rock and Glam are the perfect blends that make the feet move and the hairs stand to attention.  Authoritative yet melodic; direct and developed:  A band that hits you first time but ensure their notes stay in the head for a very long time.  I am not sure what they are planning for the next few months- a new record or single- but it seems like they have enough material for an E.P.  Maybe the guys have already been in the studio- recording that E.P. - but it will be interesting to see what is coming next.  Having completed a series of great gigs, the band are looking forward and keeping their fans abreast.  Keen to connect with their followers- keep them in the loop with regards developments and plans- I am going to be following their progress and what they have in mind.  Panic Attack is a stunning insight into one of Glasgow’s best upcoming acts.  They are not an act that simply throws songs about love into the ether.  They investigate common and diverse concerns; they have a social coincidence and are a relevant band.  In a tumultuous and uncertain time, you need musicians that are speaking for you- not those that are obsessed with their own heartbreak and misery.  An honest and vintage-sounding band with modern attitude and impetus:  This year will surely see them make their way into the public forum.  With a loyal fan-base and solid sound:  Who would bet against them taking the festival circuit by storm?

Panic Attack was originally released a while ago:  It is one of the band’s newest cut and something that represents where they are at the moment.  Capturing their live energy and those wonderful performances- together with a sturdy and professional production- I was keen to look back at their earlier works to see any changes and alterations.  Johnny Jones mixes a Rock backbone with an emotive and impassioned vocal from our lead.  The band comes together in a performance that has soulful edges and something quite melodic.  When called for, the mood lifts and the harder edges come through.  What the band does is have Grunge and Rock working in the back but give it a controversial twist.  The emphasis is very much on distinguishing the sounds aside from expectations.  Those vibrant and full-bodied vocals have huge soulfulness- and could be straight out of Motown- whilst the composition brings some gravel and pummel into the mix.  The songs look at issues of love and relationships but give the areas new meaning and potential.  When It Comes Around is another song that shows the band are not your average and predictable players.  Every track has those captivating vocals and a rounded and multi-genre composition.  It would be good to see the group stretch their subjects out across a future E.P.  Whilst they tackle everyday love and relations with new angles:  There are other subjects and concerns that would benefit from their chemistry and shared talents.  Political unrest and modern-day social issue are not often tackled by a lot of bands.  That gritty and hard-rocking music could inspire young listeners to become more involved in social and political issues.  Whether The Ronaynes are settled on their current themes- tales from their lives and something more relatable- I feel they have that potential to broaden their horizons and address lesser-heard themes.

The band released the E.P., No Courage Without Fear- that brings all their previous songs together in one record- and showcases their full talents and abilities.  I hope the band have another E.P. in them and continue their sterling work throughout 2016.

I love that the band has already put out in terms of quality and sound.  That inimitable lead vocal and core sound has meant they are building their fan-base and growing in reputation.  It would be good to see the band exploit this on future recordings and perhaps expand their palette.  Having such wonderful musicians- and incredible singer- at their disposal could see them own anything they touch.  Perhaps something more pained and angst- like the classic Grunge anthems- could come in or maybe something overtly Glam-Rock and danceable.  It is not my job to suggest the band’s angle but I love the music they have already offered.  So much confidence and authority already exist:  I just know they can achieve some great things and really expand their influence.  With each new release, you get something a little different and unexpected.  Panic Attack takes love and day-to-day but gives it a new angle and attention.  It would be great to see the guys step aside completely from relations (for a few more songs) and fully exploit their abilities and hugely powerful music.

Panic Attack begins with a rampant and meaningful charge.  Reminding me a little of Elle King’s Ex’s & Oh’s- that same chugged momentum and sound- you have a track that has that Blues rooting together with a blend of Detroit Rock and Amy Winehouse-esque soul.  Everything comes together in those initial moments but remains restrained and controlled- the band does not explode out of the gates too soon.  The firepower and potential come out right from the start.  Our heroine starts with advised a man to “keep on running”.  That vocal is well-paced and ensures every word is delineated with care for emotion and setting the scene.  Whilst the composition has those Blues-cum-Rock blends, the vocal is a lot more soulful than you’d expect.  This is a good thing as it gives the lyrics of chase and anxiety a charm and beguiling allure.  Perhaps the song looks at two lovers with very different agenda or perhaps an overall warning against panic attacks.  Whilst so many of us get those feelings in our veins- a caution that is laid out on the song- maybe there is panic inside a bond that has hit the skids.  You cannot ignore the confidence and passion that comes through in the vocals:  It ensures each lyric has that quality and urgency desperately needed.  In previous numbers, the band has experimented more with Grunge and Rock edginess.  Here, that is done to a lesser degree:  What you have is a song that marries Rock ‘n’ Roll of the ‘50s and ‘60s with something modern and contemporary.  Tying these older and modern threads together- ensuring the track has its heart in the 21^st century- will mean a multitude of listeners and music fans will appreciate the song.

Interpreting the song, we see a man that is not who he used to be.  I become curious as to what has happened and compelled the song.  You cannot shut this man “out of the door”.  There seems to be control and something dangerous coming out.  The man is hard to shift and there is that air of suffocation.  When the heart “skips a beat” it is not in a romantic thing:  That fear and attack has Grunge sensibility but is delivered with beehive swing and revives the swinging ‘60s Soul sound.  Few bands mine the territories of Rock, Soul and Blues inside songs that investigate unsavoury characters- it works wonderfully here.  Whether this song is written in the first-person- our heroine is recalling hard times from days past- or it is fictional, I am not sure.  The Devil stands over her and there seems to be no room to escape.  Inside the domestic unrest and entrapment, you get a song that plays a catchy and addictive beat.  The percussion keeps slamming whilst the strings have groove and dance to them.  From my “front to my back” that panic attack is making its feeling known.  With some backing vocals- that add to that intensity- you get a song that ensures the issues and lyrics have accessibility to them.  The Ronaynes are a band who has shown how hard-hitting and unique they are- the themes they explore and the sounds they unite- and here they have probably created their finest track.  At every stage, Panic Attack showcases what a tight unit they are.  The performances are consistently committed whilst that lead vocal ensures the right balance of light and grave danger.  It is rare to find a band that deal with well-worn cores- relations and love- but push it out and tackle different sides.  The desperation and need for escape keeps coming up for breath.  Our heroine asks whether we heard her scream:  That hopelessness and need for salvation is one of the most haunted and electrifying pleas you will hear.  If the delivery lacks that necessary scream and Grunge roar, perhaps the soulful and big-bodied alternative works even better.   Spooky and ill-fated, our lead seems to pray to the heavens and look for a savior to lead her away from her tormentor.  Themes of domestic abuse and stress might not seem like a goldmine for musical revelation:  Such is the rarity of its exposure The Ronaynes sound utterly fresh and new.  There is no other band that treads the same lines with that blend of sounds and elements.  The composition never relents its campaign and urgency:  The percussion slams with sweat whilst the guitars and bass keep the blood flowing fast.  The rough-and-tumble nature then explodes into something demonic as our heroine unleashes a single scream- the summation of her pains and harrow.  The chorus remains catchy and memorable- in spite of the subjects it broaches- whilst the band ensure the final notes are as compelling as the first.  At every stage, you wonder whether you have the song licked and have interpreted it right.  That central figure- who started out/in the past was so nice- has now turned and showing a different side.  I wondered whether the song was a personal revelation from the lead or something that distances itself from personal revelation.

The mix of ‘60s Soul and Rock/Grunge undertones makes the track such an instant thing.  In future cuts, I would love to see the band ramp things up and let their Grunge animal out a little more.  The lam-cum-Blues sounds unite inside Panic Attack.  The testifying Soul and Rock swagger bonds surprisingly effective and ensures there is fire and rumble throughout.  You cannot refute the emotion and conviction of that central performance.  Debbie Mason has a mature voice that stands her apart from her contemporaries.  Singers like Amy Winehouse are inspiring a wave of new artists of the moment.  The combination of grit and anxiety- together with Soul power and something utterly exposed- means artists like Ella King are getting a lot of attention.  Perhaps an unsurprisingly sound- given how much Winehouse meant to people- it is nice to see a female singer step away from that obvious idol.  You get a bit of Winehouse but the abiding sound is a singer with native accent and love of ‘60s Soul.  On Facebook, the band markets themselves as a blend of Rock ‘n’ Roll, Grunge and Glam.  Whilst there is some Grunge barbed-wire and undertones, you get more Glam and Rock ‘n’ Roll emerge.  Those ‘50s Rock swings- unusual for a modern band to be influenced by that genre- is given a retro. twist and lease of life.  The Ronaynes are a band that take existing genres/styles and give it vitality and fresh lease.  Steven Mcauley and Jamie Reid allow their guitars to give the song Rock nervousness and plenty of layers.  It is not just about raw emotions and directness.  With the guitars, you get danceable swing and something tender in places.  The duo combines well and propels the vocal- ensuring the pained lyrics are given appropriate support and drive.  Mark Mcguinness ensures his bass keeps things disciplined and ties all the threads together.  With Jenny Tingle providing sturdy percussion- that pummel and constant drive- you have a drummer that perfectly injects a tormented heartbeat and spades of urgency.  Together, the band ensures Panic Attack lingers in the mind and reveals its true potential over repeated assaults.  Given the subject matter and nature of the lyrics, everything is dealt with maturity and intelligence.

It is always a nervous experience- for me anyone- coming up with something new to say about a band.  Having reviewed hundreds of acts across the last few years- and having a very set style and way of writing- it is getting harder finding new angles and topics.  Whilst Glasgow- and the words written about them- have become familiar and a little worn- the acts emerging from here are anything but.  Having previously reviewed The Fables- a couple of great local bands coming shortly- it is the music and sounds that are the most important things.  With the next few reviews being a challenging thing- new ways to write about Glasgow, Rock and bands in general- for today I have been captivated enough with the music on offer.  The Ronaynes have only been playing for a short time but have made in-roads and created a name that has seen them amasses some loyal and dedicated fans.  It is no surprise (this has happened) given the mix of sounds and the way they perform.  Their songs are not predictable and the same as other acts- heartbreak tales and overly-familiar stories- whilst every performance bursts with energy and commitment.  The tight-knit connection of the members can be heard in every single note.  Having two female members (and three boys) in the band has resulted in a rare chemistry that allows their music to showcase depth, diversity and layers.  So many bands are filled with boys and you get limitations and predictability.  That strong and to-the-bone vocal is backed by incredible compositions that have instantaneous and epic status.  There are Grunge bones and gristle inside Glam stomps and Rock ‘n’ Roll swagger.  That blend of cool-and-spiked makes the Glasgow band a fascinating proposition.

Rebelling against the worst instincts a lot of bands show- stadium-sized songs with no depth and originality- you have a five-piece that is grittier and more real than a lot of their peers.  With 2016 shaping-up to be a rather unsettling and unpredictable one- in terms of the political turmoil and violence that rages- there is anger and fear in the minds of many.  The Ronaynes are a band that reflects a lot of this uncertainty inside songs that strike against the normal yet document universal feelings.  Away from that, there is plenty of personal insight and familiarity:  They are not a band that is too singular and restrictive.  I am curious to find where the quintet is headed and what their next move is.  They have unveiled a few tracks and it seems like there is definite scope for an E.P. or album.  Having has a run of gigs under their belt, they will be more confident and assured than ever.  Having gained that live experience- and made sure their songs have been rehearsed and well received- surely will compel them to not only record some new tracks but put the existing tracks together with them.  In 2016 it is important our bands and musicians separate themselves and try and make their music as long-lasting as they can.  I am worried there is that tendency to rush into making music through fear of missing out- as a result, songs seem half-baked and under-cooked.  While too many bands are sticklers for Indie and Alternative sounds- they are popular so why not? - there are so many other avenues worth exploring.  Dance and Electronic sounds can be thrown into Rock music- like Primal Scream did across Screamadelica- whilst Punk and Grunge are always there for the taking.  The Ronaynes have ensured they are not a divisive band:  By the same token, they do not want to be too familiar and predictable.  While a lot of their peers make music to get the feet moving; here we have music with a much more ambitious intention.  Those Glam-cum-Grunge minglings get the brain inspired and make the heart pump.  The feet and arms move; the voice shouts and supports- songs that get the entire body activated and united.  Glasgow has once more showed what it is capable of.  There is a thriving local scene which sees bands and artists support one another.  I was lead to The Ronaynes by a Scottish photographer- other Glasgow bands have pointed me to home-town favourites- so there is that desire to get the city on the map.  The truth is; Glasgow has never stopped impressing and producing great acts.  It is just the media and largest attention is trained to other parts of the U.K.  Being so far away from the capital does not mean the music deserves to be overlooked.  Maybe there is not the number of great solo artists you’d hope for- there is a tendency towards bands largely- but the groups on offer have that energy and originality the music world craves.  If Punk and Grunge is not your bag then there are more subtle and studied alternatives.  If you are a fan of something more artful and Pop-based then you have plenty of options available.  Our Glasgow quintet has a future ahead of them and need people to support their music and help it spread.  With Panic Attack currently on offer…

NOW is the time to get these guys the attention they deserve.

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Follow The Ronaynes

 

Facebook:

https://www.facebook.com/The-Ronaynes-257182377807275/

Twitter:

https://twitter.com/theronaynes

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Music:

https://soundcloud.com/the-ronaynes

TRACK REVIEW: Ursa Major- Dusk

TRACK REVIEW:

 

Ursa Major

 

 

Dusk

9.4/10

Dusk is available at:

https://soundcloud.com/ursaspeaks/dusk-1

RELEASED: January, 2016

GENRES: Psychedelic R&B.

ORIGIN:

Toronto, Canada

PRODUCERS:

Noah Barer and Cavewerk

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ONCE again I get to come back to Canada and view a new artist…

who has crafted quite a special sound.  Before getting to Ursa Major, I wanted to have a look at Canadian music; the genre of R&B- talking a bit about the great young acts emerging right now.  Canada is a country that keeps producing some rather special talent and artists to watch.  Like Australia, it is one of those well-known countries that we don’t instantly turn to for new music.  The U.K. and U.S. press are desperate to make sure their home stars are proffered:  Canada is missing out on a lot of deserved attention.  Existing/established acts like Broken Social Scene, Drake and The Weeknd all call one place home:  Toronto.  To my mind, it is the most fervent and exceptional part of Canada (for new music).  Legends like Neil Young call the city home.  Such a prosperous, diverse and exceptional city:  So much great music is stemming from here at the moment.  Last year, artists like New Fries, Jazz Cartier, STACEY and Dilly Dally were highlighted- each representing different genres and areas of music.  I know the likes of London, New York and Los Angeles etc. have that reputation and well-known artists.  Most of us would probably not look to Toronto if we want to discover the best the music scene has to offer.  That is a shame, as the city is boasting some tremendous young artists.  Ursa Major hails from Toronto and ranks among one of the best artists to hail from here.  When looking at the 19-year-old, I was completed to look at the city and see if there were any like-minded performers.  Other parts of Canada- Ottawa and Montreal etc. - have some terrific bands, but to my ear, Canada’s best solo artists are playing in Toronto.  I am not sure what it is about the place- the communities and heritage the city has- but so many bright and ambitious musicians are making their names heard.  Take away the likes of Drake and The Weeknd and you have a wide range of genres and sounds being fused exceptionally.  Ursa Major describes his sounds as ‘Psychedelic R&B’:  Not something I have ever heard a musician say.  Ursa Major’s lead wants his sounds to recall the masters and mistresses of the past- the R&B/Soul greats- and bring it clearly into the future.  There is a stunning mix of older sounds and modern-day urgency across music that will very little social media details; it will be interesting to see how he develops.  Dusk is a track that was almost destined to spend time collecting dust and potential.  Recorded in dorms., basements and bedrooms:  The song’s D.I.Y. aesthetic was handed to producers Cavewerk and Noah Barer and brought to life.  Together, the trio has created something that is very much a song for 2016.  The dark and troubled lyrics talk of struggling to move on from love and heartache:  The troubles and obstacles faced when trying to move on and face uncertainties.

Those pained utterances are supported by a composition that fuses the passion and sexuality of R&B whilst giving it a Psychedelic twist.  That coming-together creates music that stands among the most original out there right now.  The teenage has scribbled the lyrics- worked on the music and ideas- between classes; whilst ensconced in dormitories and facing the troubles of youth.  If you look inside Dusk you will find much you can relate to.  The track is not just confined to our author:  The themes and moments explored can be understood and speak to everyone listening.  There is a lot of pressure put onto artists, and with Ursa Major being so young, let’s hope he manages to overcome the hurdles and expectations and keep making exceptional music.  The media loves a fresh-faced and hopeful young artist.  Few terrific teenage acts are performing in the world of music:  Ursa is a rare commodity and someone we should all keep an eye for.  I know Ursa Major has performed a few songs before- hooking up with other artists- yet Dusk seems the most personal and individual track he has created.  I can see 2016 being filled with possibilities and more music-making from the Toronto native.  That sound he has perfected is such a beautiful thing you cannot escape its wonders and nuance.  It is great to hear a young musician that has such a sense of identity and purpose so early in their careers.  Too many artists struggle and take time to discover who they want to be.  You get no such qualms with Ursa Major:  A star that is already shining and seems sure to burn bright for a long time to come.  I hope a trip to the U.K. is planned- I always say this with every artist I love- but there is such a great sound laid out.  So many fans-in-waiting would welcome him in and be keen to pay tribute to one of the most original artists currently working.  If an E.P. or album is planned for this year, I am not sure but it seems like Ursa Major has plenty of inspiration and potential in him.  If Dusk is anything to go by, it will be a very exciting and deep record:  Something that will pick up a lot of fans and new support.

If you want to know how Dusk’s author has progressed and matured, you will need to look back at his past efforts.  Being such a young and upcoming act, there are a couple of songs out there- a little window into what he is about.  Night Sounds was unveiled a month ago- performed by Jules Mercer- and features contribution from Ursa Major and Erez.  Those blended and diverse voices come together to create something harmonious and atmospheric.  The lyrics mix images of ashes being scattered by the ocean and the yearning of our heroine.  It sounds like lovers’ conversation and has such a relaxed and cool vocal that mixes with the edgy beats and wonderful atmosphere.  The composition sees darting thuds and vibrating electronics sit with sound effects and a great R&B.-cum-Electronica fuse.  A great input from Ursa Major- who provides a contrast to Mercer’s soulful voice- it is a wonderful collaboration.

  Indigo was recorded with False Mystics and is a softer and more contemplative affair.  Acoustic strings and echoed electronics being the track in- the energy starts soon enough.   Chilled and boasted some confident vocals:  It is a song that has catchiness and huge effectiveness.  The performances are brilliantly realised and bring life to the track.  Colours of indigo- and moments of years ago- "laugh like a child".  The Psychedelic elements- and some wonderful electronic guitar work- give bristle, emotion and spark to the song.  You can get lost in the words and allow the song to seep into the mind.  Showing different sides to Ursa Major- who can bond with any other artists seamlessly- you have a talent with huge mobility and diversity.

   Dusk is the first chance for Ursa Major to step out alone and create a track with his voice alone.  What you have is elements of other tracks- where he has collaborated- but a much more unique drive and a sense of personality.  Rather than joining forces and being a back member:  Here you have a song that is a testament from a young man affected by love’s heartaches- keen to burn the past and move on.  As a songwriter, there is a lot of depth and originality to be found.  This progression and mobility means Ursa Major is an artist that has a long career ahead.  Most solo artists either do well on their own or hooking with other artists.  Occasionally you get someone who seems effortless and natural in all arenas and dynamics.  If an E.P. is due- either this year or later- it will be interesting to see if there are any collaboration to be found- maybe just solo songs.

Dark and vibrating electronics spar with clicked beats to begin Dusk with an appropriately unsettled and nervy opening.  Right from the off you are immersed in the force and black majesty of the introduction.  Putting me in mind of ‘90s Trip-Hop- acts like Massive Attack came to mind- you have a song that is so fascinating and meaningful within the initial seconds.  Atmosphere, drama and images are summoned as you surrender to the building momentum.  The production values allow those compositional elements to come through sharp and clear.  When our hero gets to the microphone, his words are unsettled and show some restrained anger.  “Dark haze right before my eyes/when I was numb, I succumbed to your lies” show a young man that was in love and got his heart broken.  Maybe too invested to see the truth- the real motives and calculations of his girl- you can feel that disappointment and unhappiness come out in the vocal.  Looking back at events and a hard time for him; you have these strained and harrowing recollections we all can relate to.  We all know the type of vixen that is being ascribed:  Maybe the heroine was cheating or making false promises to keep her man happy.  Maybe the past was better and filled with some more prosperous times.  Wrapped inside a lonesome existing- “Smooth winds make me reminisce”- you have a subject that cannot help think of love and scars that have been left.  Although there are recriminations and accusations emerging- looking at the dissolve of a once-pure bond- our man has some fond memories and a part of him still yearns for the girl.  That soft skin and beauty is in the mind- maybe a desire to rekindle the better days- and a new-found lust can be discovered in the performance.  At all stages, that composition keeps pervading and inspiring.  The mix of beats and electronics create something haunted and spirited; R&B-influenced and dangerous- the loud and soft contrast with fast and slow.  Our lead ensures his voice has those same characteristics and qualities in them.  In the first verse there is some pace and consideration:  Making sure the words resonated and are given true passion; an emotive and leveled projection.  As darker subjects start to come in; that voice races and accelerates the tempo.  Looking at drinking and drowning sorrows- given the realisation the bond is broken- Ursa Major wants to numb himself and forget his troubles.  I am not sure what caused the relationship to crumble.  Maybe there was no communication or the girl was feeding too many lies.  In spite of the demolition and mistrust; you can tell there were some great days and a true connection.  Without her soft skin and tenderness, our hero wonders what he will do.  Such desperation and anxiety comes out; it is impossible to ignore that suffocation and sorrow emerge.  Being a teenage musician- and others who tread this same ground- most would deal with such issues with a lacking maturity and clichéd lyrics.  What you get here is such wisdom, maturity and intelligence come through.  While the lyrics do look at bleak possibilities; you cannot deny there is a need to change things and expunge the past.  Ursa Major ensures the lyrics are universal- and do not disconnect listeners- but have enough personal history to make Dusk an authentic and authoritative track.  It appears the girl only calls when she is drunk and things are going bad.  When the tears run and the walls are closing in:  That is the time when our hero receives a phone call.  Once upon a time there was a natural love that seemed like it could endure any struggle.  Now, there are those late-night calls and something rather pathetic.  Maybe the heroine was a support for Ursa Major- when he was struggling she was there for him- hence the reason she is missed.  On the one hand, you get a young man that seems to want to get rid of her influence- and all the troubles and heartache caused.  On the other, there is that longing and need to reset things- capture those glory days and how things used to be.  The boy is inspired by soft keys and piano melodies.  Perhaps recalling the origins of the song- turning that pain into something productive- you get some recall and a story progression.  In his room or basement- wherever that music and lyrics came together- memories still tumble and make their way onto Dusk.  Remembering “beer-stained perfume” and broken glass:  All those elements and shards are put together in a musical collage that keeps pressing to the final moments.  Changing his voice up- the pace and way the words and presented- gives the lyrics such energy and unexpectedness.  The composition bubbles, burbles and vibrates to soundtrack a heart that is feeling the effects of a rather tumultuous past.  The hero is merely stated words and saying how things were in the past.  Now everything is over, he is making decisions and seeing how he will progress.  A chance to change life and make a new plan:  The influence of this break-up cannot be understated.  In the final seconds you are caught in the drama and wonder as to the song’s true nature.  Of course there is a lot of pain and unsettled recollections.  That obvious, you wonder whether everything is that clear-cut.  Maybe there were some great times that have made Ursa Major the artist and man he is now.  That girl- whoever she happens to be- has been important whatever way you look at it.

A terrific and assured song from a Canadian artist that can speak and connect with any listener.  Noah Barer and Cavemen have ensured Dusk sees the light and is given the exposure it deserves.  Helping with the composition- and producing the song- you have a number that is among the most affecting you will hear.  Fans of Drake, The Weeknd- and other natives of Toronto- will find some familiar strands within the track.  The abiding impression is a song that is very much the work of a musicianship keen not to be compared with anyone else.  The subjects of love and regret are hardly groundbreaking:  The way you address them can determine how far you make it in music.  Ursa Major has not simply employed the same clichés and ideas as his peers:  You have an artist with a very distinct pen and a new way of covering the topics.  Among the shadows and hard realisations, you have a hopefulness that comes out.  Wanting to escape the bad days and focus on a better future:  Dusk is a song that has many layers and ideas working away.  A track that does lose its appeal over time- a song that gets better in fact- it is a hugely impressive effort from the 19-year-old Canadian.

It is great being contacted by new artists and hearing what they have to say.  Usually- and the last few weeks especially- I have been reviewing U.K.-based acts.  In fact, they will make up the next couple of weeks of reviews.  It is always good investigating terrific acts from Britain:  It is nice to take a trip out once in a while and expand my horizons.  A lot of media sources are not really looking beyond home when it comes to promoting the best music around.  It is a shame artists like Ursa Major seem to be confined to Canadian attentions.  Of course, the 19-year-old has fans throughout the world- despite some social media anonymity- but it would be good for press sources here to recognise his ilk and what they are capable of.  It is not surprising to me to discover another treasure from Canada.  Throughout the country there is such a wealth of wonderful and varied music.  Every artist that comes through has such passion and potential:  I can think of few other nations that are so consistent and diverse.  Toronto is a city that a lot of us will only ever visit as tourists.  As much lovers, I think more people should turn their attentions here.  Away from the obvious likes of London and New York:  You can discover so much untapped gold across Toronto.  I have highlighted- in the top of this review- some of the bands and acts heralded last year.  They will continue to plug throughout 2016; there are a whole host of new upstarts that are just starting to come to critical attention.  Whatever your tastes in music- some sexy R&B or ‘60s-sounding Rock bands- you are pretty much covered.  Toronto is a part of the world that has been in my thoughts for a few years now.  The music that comes from here never fails to surprise and surpass expectations.

Ursa Major is- I am going to avoid any star-based puns and jokes- a talent that deserves a lot more credit than he has.  To be fair, he is hard to locate across social media and the Internet- just a SoundCloud account- I hope the youngster gets an official website together and ensures many more people discover him.  The music is certainly affecting those who have heard it.  Looking at the SoundCloud comments- the feedback for the single, Dusk- there is plenty of love and admiration to be seen.  Dark and heavy; passionate and intelligent:  A musical insight into a man who wants to dissolve his past and move into the future.  As we surge further into 2016 there will be a lot of people wondering who they should follow and invest in.  With the band market getting attention and biggest focus- rather unfairly I think- I am looking at the great solo artists emerging.  In this country there are some stunners to be found for sure:  Each with their own ambitions and objectives.  Being a passionate music lover, I find myself looking at other countries for inspiration.  The U.S. has always been good and reliable:  So many cutting-edge and amazing acts play here.  Canada needs to get more people behind it; supporting the music they house.  Whilst their native media sources are doing this; why are more people not getting behind them?  You cannot accuse the country of lacking quality and consistency.  In terms of cities, few match the reach and splendor of Toronto.  Whilst Ursa Major- and the producers behind the track- have Montreal roots; it is Toronto that comes under the microscope.  I will be spending a lot of time this year keeping my eyes focused on the city to see what comes next.  I am not sure who the city’s media are highlighting (to watch as the year progresses) but Ursa Major must be among them.  Such tender artists- Ursa Major is not even 20- tend to start out rather uncertain or take the time to mould their sound.  The maturity, direction and confidence are already there with our young star.  There is no precociousness and predictability with regards the music.  A lot of younger artists focus on love and heartbreak but do so with little flair, depth and grit.  You want someone that take meaty and troublesome issues and delivers them with some punch, nuance and effectiveness.  You do not have to scream down the microphone or throw everything into the pot.  What Ursa Major does is take some dark issues- moving on from the past and making a better future- and creates something intense and hugely memorable.  I have been seeking solo acts that I can stick to and promise great future returns.  Ursa Major will be releasing new material very soon- let’s hope so anyway- and there is such a unique and special sound already cemented.  R&B and Psychedelia are not genres you would ever imagine could come together.  The sensuousness and sexiness of the former marrying with the latter’s edgy, druginess and hardness make a wonderful couple.  It is said opposites attract and this seems to be the case for sure.  Not only do they match but they better one another.  The R&B shades of Dusk are augmented and given fresh life:  The ‘60s/’70s-recalling Psychedelia is given modern vibe and sounds completely reborn.  At the centre is that voice that sounds unlike any I have heard.  Making sure those personal and harrowed lyrics are given hope and memorability:  You have a performance that is filled with life, heart and soul.  A long career for Ursa Major awaits so do not miss Dusk and…

THE first steps from a brave and bright young hope.

[soundcloud url="https://api.soundcloud.com/tracks/241389730" 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 Ursa Major

 

Twitter:

https://twitter.com/j_chusid

_______________________________

Music:

https://soundcloud.com/ursaspeaks

 

TRACK REVIEW: Scott Quinn- There For You

TRACK REVIEW:

 

Scott Quinn

 

 

There For You

9.4/10

 

There For You is available at:

https://www.youtube.com/watch?v=xKTOgZEHiO0

RELEASED: January 21st, 2016

GENRES: Electro.-Pop; Soul

ORIGIN:

Harrogate, U.K.

____________________________________

BEING in the middle of planning a new radio station...

I am looking about for some great solo artists that could (theoretically) be featured.  I find myself going back to band music and older sounds.  When it comes to modern artists, there are still far too few great acts emerging- those that do things differently.  Before reaching my featured artist, it is worth looking at the value of radio these days; the continuing output of great Yorkshire artists- finishing with a bit about male solo artists.  To begin, it has come to my attention how few people (my age at least) are invested in radio these days.  It seems the Internet- SoundCloud, YouTube etc. - is a more popular option when listening to new music.  Most people prefer to stick to their own song selections:  Few actually take the time to listen to the radio and investigate what they have on offer.  If you think about the mainstream radio stations playing from London- Capital F.M., X Radio etc. - do they really reflect the tastes of the general public?  I know stations have a target audience and have to conform to those guidelines- it seems there are few options for those who like their music more cutting-edge.  Away from the more Pop-friendly stations, there are few genuinely fascinating radio stations.  Absolute Radio is my favourite for a good reason:  They play a great range of music and have presenters passionate about the songs they play.  You have to look at the ‘lesser’ players- the up-and-coming stations that have fewer confines- to get a better spread of music.  One of the biggest drawbacks of modern radio is how little-unsigned music is featured.  Sure, some of the smaller stations dedicated time to the under-the-radar acts:  Commercial stations tend to stick to the mainstream and popular.  It is harder for a musician to get their songs heard across the airwaves- local radio is an option I guess.  There are some phenomenal new bands and solo artists coming through that struggle to get their songs championed.  Whilst there is a mass of acts coming through- how do you get to focus on the most worthy artists? - there needs to be more done to showcase some of the best out there.  Scott Quinn has management behind him and has established a dedicated fan-base.  To my mind, Quinn should get his music spread a little wider and further.  It is great to see an ambitious young artist come through that overturns my skepticism about the solo market.  I have heard too many artists that do not stay in the mind and do not simply install enough originality and passion into the songs.  Quinn (on paper at least) might strike you as your average solo artists:  When you dig deeper there is a much more to him that meets the eye.  From the unique and impassioned voice; the songs that tackle love in a new light- there is something fresh about our hero.  It is no surprise to see Yorkshire produce yet another wonderful musician.

Recently, I have been immersed in London and the musicians coming forth- I will be in Yorkshire and Scotland for the new week of reviewing by-and-large- so it is great to come back to a very prosperous county.  Although London is leading the current charge- when considering the most diverse and stunning acts around- Yorkshire by no means a slouch.  I have often speculated the reason behind Yorkshire’s consistency and quality.  Perhaps there is less stress and hustle (compared to London) or a lack of expectations.  When interviewing bands from the county, I asked that question.  When answering, you get a clear conclusion:  Less anxiety and a supportive network of musicians results in a prosperous scene.  What I love about Yorkshire- among many reasons- is the sheer range of music that you can find.  Other parts of the U.K. are diverse:  Yorkshire acts go a lot further and take more care to ensure their output is as original and surprising as possible.  The bands have that extra urgency and variegation; solo acts revoke the wonders of ‘30/’40s Swing- into a retro. blend of Pop and Electro.- whilst the Rock/Pop-led solo acts distinguish themselves from the pack.  I always take a deep breath when it comes to a new male solo act:  It is a patchy affair and often challenging finding one that differs from the James Bay/Ed Sheeran blandness of the mainstream.  If you are talking about love and heartache- themes musicians need to move on from and expand their horizons- it is here you get some rather samey and forgettable moments.  Luckily, and showing true promise, Scott Quinn has very in little with the maligned Pop stars of the charts.  Quinn’s subjects often look at love, heartache relationships:  He tackles these issues with enough personality, difference and urgency to ensure he does not fall into the traps of his lesser peers.  Having a look back at his previous work- his Lust Game E.P. for instance- you have a young man who wants to stay in music for years to come.  In each track, you cannot escape that commitment and soulfulness.  Being compared with some of the best, older solo acts- a talent to keep your eye on.  The main reason Quinn appeals to me is the way he backs up his lyrics and vocals:  Those highly-charged and atmospheric compositions are a scintillating mix of beats and electronics.  I think that is a way to elevate and improve songs about love and loss:  Add those crackling and edgy backdrops and ensure the vocal has enough heart and soul.  Quinn is a performer that sits alongside the most impressive and notable young talents emerging right now.  His lyrics reflect universality and a shared pain:  Issues that deal with break-ups; wondering where home is and assessing the world around him.  Not willing to stick to tried-and-tested subject; there's wide-ranging reach and something irrefutably special at work.

It wasn’t until I started getting into There For You- I thought this was the debut song from him- that I noticed Quinn had already released an E.P.  I had to go to his SoundCloud page- I would highlight this across Facebook more- that I got to check his previous offerings.  What struck me about the E.P.- his Lust Game E.P.- was the conviction and confidence right from the start.  The title track spares no time in getting to work and evoking some stunning compositional sounds.  Whirring and machine-like sounds boast a vocal that brims with heartache and passion.  Many will be reminded of Sam Smith- the soulful and Blues concoctions- but Quinn is very much distinct.  A catchy chorus- that looks at losing the heart of the girl- sees our man confused and lost.  That drive and wave- the vocal has a restless energy and wonderful projection- ensures the song gets into the mind and provokes sing-along.  Our hero wants his girl back and misses her touch.  Whatever has caused the break-down burns hard and has left its scars.  A wonderfully accomplished song that is endlessly memorable and impressive:  That ambitious and edgy composition is the perfect backing for a lush and heartfelt vocal.  Changing course and throwing surprises into the mix- you can never predict where it will head next- it is a wonderful track.

The City and Guess This Could Be boast more of the same qualities.  The former has that rushing and head-spinning introduction.  Pining for a girl once more- when she is all alone our man should be in her mind- we look at the cessation of a relationship.  Maybe there is blame and recrimination- some issues that have not been worked through- there is imbalance and mixed motives from the start.  Our hero is running through the city looking for answers.  A Gospel-cum-Soul backing vocal- putting me in mind of the best harmonies I have heard- enforces that urgency and attack.  The ghost of the girl lingers and is still in his soul.  Guess This Could Be begins more gently and has a charming introduction.  The vocal is more relaxed- backed by finger-clicked beats and a sparseness- it is one of the most soulful and honey-dripping vocals from Quinn.  Recalling Michael Jackson, Boyz II Men and Marvin Gaye:  A match for the best male voices over the last few decades.   The backing vocals- whether Quinn alone or joined by other singers- augments the lyrics and sends shivers to the back of the neck.  The song looks at the possibility of love- this feeling that is inside- and sees our man dancing with the girl.  He needs to catch his breath and slow things down.  Showing mature and control- needing to take time and not rush to the bedroom- it shows another side to Quinn.

There For You continues that mature lover-man bravery- a gentleman that wants a true and noble connection- you get more of that insatiable sweat and soulfulness come through.  There have been no big departures from Lust Game E.P.- no need when the material was that strong- but if anything, the quality has gone up.  The production and sound is as rich and polished as ever- allowing edge and rawness to come out too- but the vocals seem even more gripping and rounded.  Quinn is an original voice that has elements of past masters:  On his latest track, he mixes contemporary Pop with Soul of the ‘70s- topped off with some deliciously pure and sweet undertones.  Being a sapling artist, any major shift would alienate and confuse existing sounds.  What we have is a natural step and a reliably strong song and another gem from a young artist with a rare talent/.

Beginning with an atmospheric and night-time vibe- the darkness and sense of uncertainty pervade- lightness emerges to give lease a voice full of intention.  Our hero recalls a girl that came to him- whether a current love or a friend in need- and someone who means a great deal.  It seems like the girl was stuck and needed “space to breathe”.  Perhaps a love was burning bright and took a turn for the worse.  You get that feeling of disappointment and resentment in the early vocals- as confusion reigns and there is a sense of injustice- with that voice reflecting the disenfranchisement.  With a rain-cloud hanging over the girl- backed by a tribal beat and a backing eeriness- you start to picture the scenes and emotions at play.  The sweetheart might be exaggerating things and misinterpreting the situation:  Perhaps there has been a lack of communication in the relationship and the desire to find some solace.  I am not sure what the reasons behind the fracture is- whether the two have different aims or there’s been arguments- but you start to wonder whether they are together still.  In these early stages, that feeling of loss and haunt comes through very strongly.  Whilst the vocal has elements of the Pop mainstream- not quite as soulful and bold as previous endeavours- it is appropriate given the circumstances and subject matter.  The song remains subtle and emotive in these early stages:  Our hero ensures his voice is pure and does not needless explode right away.  It is the composition that provides the most curious initial impressions.  With the girl taking her smile away- the days turning to night- and memories starting to linger- you get a turn in fortunes and narrative.  The hero promised he’d be “there for you” and that is employed as a mantra and mission statement.  The beats get harder as the composition starts to swell.  Reflecting on times lost and the years that have passed:  It seems like the girl has not been in touch and they have drifted apart.  In love, they promised the world and they would be there for one another- that has not been kept by the girl.  Maybe the circumstances behind the break-up have meant communication and connection have not been a realistic option.  You can tell There For You has been inspired by past events:  That emotion and impact from the vocal comes from a soul that has seen too much pain and loss.  The teary-eyed subject is not given a saccharine or overly-emotive delivery:  Every note and idea is handled with dignity and a real composure.  I became captivated by the composition that keeps getting bigger and harder as time elapses.  More urgent and busy than previous numbers- showing a fresh direction from Quinn- you have a song that ensures every listener is roused and involved in the track.  It is impossible to disassociate yourself from the lyrics that deal with an over-used subject- loss, relationship break-up etc. etc. - but ensure it does not devolve into  a boring and predictable territory.  It is vital to have these songs played but they account for an alarmingly large percentage of current sounds.  What Quinn does is make universal issues sound fresh and personal.  You do not have the same worn clichés and predictable stories unfold.  Most songwriters show a lack of imagination when it comes to their lyrics and interpretations.  It is good to hear a song that highlights a common qualm with an uncommon ear.  That central idea- promising to be there for the girl- keeps coming back to bite and remind.  Our hero wanted to keep that promise and ensure she was okay:  For whatever reason, that promise has been broken and there seems to be little chance for repair and togetherness.  The song builds intensity and passion into the final stages.  That voice is multiplied to create a rapturous and heartbroken chorus.  That choir-like vocal adds elements and additional regret to a song that seems like an exorcism, of sorts.  Beats, heady electronics and dark undertones mix with something ethereal and uplifting.  That strange mix of beautiful and disturbed blend supremely in a track that showcases what an agile talent Scott Quinn is.  By the last notes, you reflect back and wonder where that song came from.  If it is a relationship long in the past- or a current one that has a slight chance of rekindling- I am not sure.  All I do know is we have a track impossible to ignore and forget.

Fans of Quinn’s previous work will find much to love in his latest single.  Carrying from where Lust Game E.P. left off:  There For You sounds like it could have been included on that record.  The production and sound remain central to ensuring each note and lyric are given huge support and naturalness platforms.  Quinn is impressively restrained in a song that deals with some harsh realisations and a lot of anger.  That voice employs some of the soulful touches in the E.P. - although not as many as perhaps you’d like- and will bring in new listeners and followers.  Whilst the subject matter does not stray from the familiar and every-day:  The way it is addressed and represented shows Quinn to be a rare talent intent on originality.  Fans of Electro.-Pop’s best will discover a new artist that ranks among the very best the genre has to offer.  There For You is not a disposable number that does not demand interpretation and multiple listens.  It will hit you on the first listen but you come back to try and assess what is being sung.  I was wondering if the girl ever came good and got in touch with our hero.  It is perhaps a mystery that will never be answered in a song that has an enormous amount of courage, nuance and positives.

There For You is another stunning cut from a British artist with an impeccable talent.  Electro.-Pop and Soul fusions are a popular and appealing blend- Jamie xx beautifully exploited them in his album In Colour- and if you get the dynamics right; it can result in something simply breathtaking.  I am not sure what is in mind for Quinn this year- if a new E.P. is going to be on the horizon- whether There For You is going to be a sign of future sounds.  Lust Game E.P. was a compelling and nuanced release that marked Quinn as a definite artist to watch.  I am staggered his social media numbers are not higher- there are lesser acts that have amassed more followers- so let’s hope this year that imbalance is rectified.  There are so few artists that have that originality and quality at work.  In a scene that is seeing an indeterminate amount of good musicians emerge- this is especially true of the mainstream- we should all take more time to celebrate those that go the extra distance.  Maybe it is relevant to bring back the subject of radio-play and the way radio stations operate.  I understand how commercial stations have a certain brand they need to conform too.  By the same token, local stations and newer stations also have to confine themselves to an extent.  With 24-hours in every day:  You would think more time could be dedicated to a wider selection of new music.  I am fearful the bright and restless best we have to offer are struggling to get their voices heard.  Musicians coming through- that are original and impressive- are needlessly struggling for the smallest crumbs of affection.

The amount of graft, grit and electioneering involved- getting the music heard and promoted- is damn near killing them.  I hope commercial radio- in years to come- dedicated more shows the underground stars that are showcasing so much more vibrancy and ability than a lot of the mainstream’s best.  Quinn seems contented to perform and record for now:  He will set his horizons on the festivals and big venues soon enough I am sure.  If he were a weak and unoriginal artist, I wouldn’t care too much how his future shaped up.  As it stands- being a performer that deserves acclaim and exposure- I am hopefully his following and music will get rewards and following.  He should be proud of the fact he has distinguished himself from the pack and is capturing the ears of the music press.  Another week and another fabulous Yorkshire-based artist under the microscope.  A county that continues to stun me- that variation and quality- it is perhaps not that surprising someone like Scott Quinn should be discovered.  That county sure loves Electro. blends- making sure honest and human emotions are elevated to the highest plateau- but Quinn surely ranks among the most impressive from God’s county.  As London seems to be taking a lot of the top honours- when it comes to critics’ tips for this year- I think eyes and minds should highlight what great music is emanating from Yorkshire.  Quinn is a new proposition and a musician that is just taking his first steps into the (shaky and hard) world of music.  He understands the realities, expectations and capriciousness that he faces:  The fact even the most intuitive and special have to fight needlessly hard.  As this year unfolds for me, I hope to get a radio station started:  Something that dedicates a lot of time to artists like Quinn (from all around the world) and gives more attention to those who would otherwise struggle.  I am hopefully Quinn will bring his sensational blend of sounds down to London and seduce the audiences down here.  There are plenty of places he can perform and contemporaries he could share the stage with.  London is producing lots of agile Electro.-cum-Pop acts:  It seems to be the in vogue sound that is rightfully getting acclaim and attention.  Make sure you hear There For You and a direct statement from a musician that deserves a future in music.  As I said, I am not sure whether an E.P. or album is mooted- shall have to speak with his management- but I will be all over it.  A fresh musician to my ears, I am compelled to follow him closely and see were 2016 takes him.  The men of the solo realm are not particularly standing tall in the imaginations of many.  I have spent too much time criticising the likes of Ed Sheeran and their ilk- that represent the lack of energy and originality in music- but it is perhaps unfair.  Those artists have their market and represent the desires of many listeners.  For those listeners seeking something more adventurous, new and edgy:  There are plenty of options coming through right now.  There is fatigue and need for these artists to overthrow the bulk of boring and idea-less Pop artists- hopefully, it will happen soon.  I shall sign off by commending Quinn on his authoritative and stunning track.  There have been few male solo acts this year that have appealed to me:  I am certain Quinn will be continuing his rise and endeavor years down the line.  Let’s just hope the savviest radio stations get their act together and acknowledge a musician with a rare ability- songs that the masses want (and need) to hear!  If you don’t believe me…

LISTEN for yourself.

[youtube https://www.youtube.com/watch?v=xKTOgZEHiO0&w=560&h=315]

_________________________

Follow Scott Quinn

 

Official:

http://www.scottpquinn.com/

Facebook:

https://www.facebook.com/scottpquinn

Twitter:

https://twitter.com/scottpquinn

_______________________________

Music:

https://soundcloud.com/scottpquinn

________________________________

Videos:

https://www.youtube.com/channel/UCSp1xGs6WnRZz5U07z8LqfA

TRACK REVIEW: Canou- Last Leaf

TRACK REVIEW:

 

 

Canou

 

 

Last Leaf

 

9.6/10

Last Leaf is available at:

https://soundcloud.com/canoumusic/01-last-leaf

RELEASED: January 2016

GENRES: Folk; Jazz

ORIGIN:

Dorset, U.K.

The E.P., The New Eye-Sky is available at:

http://canoumusic.bandcamp.com/

TRACK LISTING:

Last Leaf- 9.6

Mother Ivey (Swim) - 9.5

The New-Eye Sky- 9.5

Soft Sun- 9.6

Laurel- 9.6

DOWNLOAD:

Last Leaf; Soft Sun; Laurel

STANDOUT TRACK:

Last Leaf

This E.P. was recorded and produced over a period of around three months in Plymouth, England in the autumn/winter of 2015.

Credits:

Released:

January 15, 2016

All music written, performed, recorded and produced by Louis Alberry except for:

Louis Alberry except for:

Carly Bell

Saxophone on Laurel

Michael Alberry

Piano on Soft Sun

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GIVEN the rather unsettling and unhappy January that has…

just gone; many of us are looking for something more uplifted and prosperous in February.  With the passing of so many icons of music- including Terry Wogan- it proves what an effect these icons had and how important they were.  With each new loss, we reflect on music and how these people contributed.  Music is one of those areas that seem to bond everyone.  Regardless of gender, age and location:  All of us seem to have music in common.  As we reflect and look back at a rather strange month:  We can look forward to some great new music coming through at the moment.  Before I look at Dorset-based Canou, I wanted to look at the music coming from Dorset; the blends of Jazz and Folk you can find- in addition to the struggles artists can experience when they start out.  Perhaps not stereotyping a country:  It seems Dorset and the counties of the south-west share a love of softer/Folk-influenced music.  As a reviewer, I have encountered quite a few bands/acts based here:  There appears to be that connection with the more reflective side of things.  Whilst it has not produced a huge rafter of legendary acts:  At this time, there are a few promising artists emerging from Dorset.  I always love to find music outside the major cities of the U.K. and what is being made elsewhere.  I think we all- and raising this point again- tend to focus too heavily on the major areas- London, Manchester etc. - and do not find time to take our thoughts anywhere else.  Perhaps there is not enough media attention being paid to smaller/less-known parts of the country.  This is a shame, because there is so many terrific music being produced in counties away from Greater London.  It is interesting to think about various parts of Britain:  Whether you get a particular type of music depending on where about you live.  Whilst countries like Dorset have plenty of Rock, Alternative and Indie bands:  There seems to be that majority who perform that Folk/Blues blend.  As such, venues such as Royal Portland Arms, Sixty Million Postcards and Finns emerged:  Showcasing the best and brightest Dorset has to offer.  I have perhaps been a bit keen to define Dorset and the music coming out here.   From a country that gave us PJ Harvey, it is unsurprising to see so many hungry and original musicians hailing from here.  With the dominance of London, Manchester and Liverpool still evident- a holy trinity that will always get most exposure- we should all take some time to look around.

Canou is the moniker of musician Louis Alberry.  Hailing from Swanage- and based out of Plymouth- you have an artist who is just making his first maneuvers in music.  A couple of years ago he released the mini-album, In a Window in a Canvas.  That seven-track release was recorded in Swanage and saw the young artist make that first impression.  Looking into the record, you realise what an impression that was.  Mixing together Jazz and Folk elements- together with some Pop and Rock touches- you have music that possesses depth, emotion and spark.  Being the early days, Canou’s social media pages are growing- the fan numbers will increase given time- and there seems to be a loyal following already.  Whether Alberry can transcend to the attentions of the larger cities- or prefers to familiarities and faith of the home crowds- here is music that deserves wider exposure.  Having just reviewed a New York band (Too Many Zooz) that has thousands of fans across the U.S.- but not widely known in the U.K.- here is an act with a unique sound and an army of acolytes.  Canou, by comparison, is a more intimate artist that surely has some golden years ahead.  It is not often you see artists authoritatively fuse Folk and Jazz together- putting in some mainstream sounds within those blends.  Perhaps influenced by the classic Folk artists of the past:  You have a young man who values craft and nuance above mindless power and commercial expectations.  Too many upcoming musicians seem determined to make music that is chart-friendly and critic-friendly.  As such, there are so many mindless songs coming through:  Musicians that are so cloying, you wonder why they bothered in the first place.  In an age of social media and amassing followers- the obsession with popularity and getting ahead- it is refreshing seeing a musician taking time to craft some wonderful music.  Not concerned with how many thousands he can get- in terms of his Facebook page and downloads- there is an honesty and tradition to Canou’s music.  I love the Folk artists of the ‘60s and ‘70s- Bob Dylan and Neil Young; Fairport Convention and Arlo Guthrie- and the Jazz-Folk blends of Tim Buckley.  You get a little bit of these artists within Canou’s work:  The New-Eye Sky is a colourful and introspective work that recalls the masters of old with a great, contemporary twist.  His five-track E.P. shows the passion and talent on display:  A consistently engaging and stunning work that is capable of captivating a new wave of fans.  There are a lot of young artists starting out; all of whom have to face the realities and struggles of the industry.  Recently, reports have been documented that attest this point:  The early stages see hardship and financial struggles for so many.  Unless you ‘make it’ and get your name across the mainstream; how easy it is to make a living from music?  Not to put a damper on anyone’s ambitions:  It just seems a cruel reality for musicians to encounter.  With the number of musicians increasing- all willing to tackle the obstacles and shortfalls- it makes it harder for the individual to make a living and gain recognition.  It is wonderful we have so much music coming out.  What it means- for others artists- is they have to fight harder to get their music out there.  When they release an E.P. - or have a gig to promote- they are battling with thousands of others around.  Against the haunting (and daunting) nature of music, one thing stands firm:  Musicians find it hard but continue regardless.  That passion and desire is always going to see them play on and make music.  Canou is an artist that seems anxiety-free and just concerned with making the purest music he can.  I know Alberry will have the same thoughts and aims as every musician- that desire for acclaim and getting his sounds out there- but you cannot hear any nerves or strain the music itself.  Everything sounds completely impassioned, crisp and stunning.  Let us home he has some gigs lined up for 2016.  Having reviewed his friend Bee Maru- you may remember that from a while back- here is an artist that could get some of the capital’s venues interested.  Whatever he has in mind- and whether he will be taking the new E.P. across the country- we have a young talent to be proud of.

Canou is a brave and bold musician that lets the instruments do the talking.  Weaving textures and stories with that that guitar- and the incorporation of a few other instruments- and you have an act that impresses with instrumentation, performance and musicianship.  Whilst there are very few non-vocal artists along new music and the mainstream- usually reserved for the confines of World Music, Jazz and lesser-heard genres- you have an artist that could have mainstream appeal.  Whilst it is difficult to truly capture people without that vocal lead- many look for a human voice to connect the dots- Canou allows the listener to let their mind drift and let the music do the talking.  Given my reticence towards a lot of solo artists- and the fact their voices sound similar and insipid- it is a simultaneously brave and necessary move, here.  I think the importance of compositions- the feel and wonderful richness you can evoke- is often lost behind the voice and production.  Maybe I am off the mark, but I find a bad vocal- or one that does not inspire and impress- can ruin the potential of a good composition or set of lyrics.  If you have not encountered Canou before ensure you listen to In a Window in a Canvas- the 2013 debut that saw an impressive and wide-ranging compositions sit alongside one another.  Almost three years to the day, the follow-up arrives:  The majestic The New-Eye Sky.  One of the marked differences between the releases is the economy and clarity of the songs.  Whilst In a Window in a Canvas was wide-ranging and lo-fi:  The New-Eye Sky is more honed and polished- without sacrificing integrity and emotion.  There is more concision and concentration on the latest E.P.:  The sign on an artist evolving, learning and adapting with each release.  Having come up with an impressive and ‘non-conformist’ sound straight away, I am pleased to say Louis Alberry has not changed things too much on his latest E.P.  You get those haunting and busy strings elicit myriad possibilities, scenes and soundscapes.  Whilst the number of tracks has been cut down (7 appeared on the debut; 5 are seen here) you get more confidence and nuance from the latest record.  Maybe some inter-E.P. gigs have sharpened the skill-set and songwriting:  The New-Eye Sky seems more affecting and able of translating into the mainstream.  I have stated how it may be hard to gain a true grip within the mainstream- with the lack of vocals to be heard- but that is not to say it will never happen.  Great music should pervade regardless of its dynamics and make-up.  It is stunning just how effective the music is with the limitations inherent.  This rate of progression and development could well see an album appear some time very soon.  I know Canou will want to tour and perform across the U.K. and although the music may be reserved to intimate/smaller venues at first- the local bars and halls- there is a great possibility those songs could find themselves being played in bigger venues soon enough.

Louis Alberry is a one-man production, music and writing machine that needs few outside bodies- aside from two others musicians he brings into the fold.  Having creative control and ownership of the music results in something wonderful across Last Leaf.  If a producer- untested or a friend- to come in; the music might lack that necessary quality and personality.  The same could be said of the music itself:  Why bring in other musicians when you have an artist completely controlled and sure of his direction.  So many new artists have an army of writers, producers and musicians:  The music comes across as hollow, soulless and utterly impersonal.  It not only shows a lack of talent- if you can only sing- and do not have the ability to write your own songs- then there seems little point coming into music.  I always adore a musician that can do everything themselves and showcase enormous promise into the bargain.  Here, you have a musician that has seen his music fruit from the ideas stage to recording:  Making sure every note and passage is as stunning as it could be.  Given the quality and near-genius of In a Window’; there is perhaps some heady expectations for The New-Eye Sky’s opening number.  Any fears or uncertainties are allayed instantly.  We get tumbling and child-like guitar notes that welcoming the song in.  With few fears and endless possibilities- you get images of children and innocent minds frolicking with nary a care in the world- it is impossible not to be seduced by the beauty and purity of the music.  Soon enough, you notice a build and acceleration come in.  Percussion can be heard adding a little thunder and heartbeat into the pot:  A light but stunning addition that adds depth and force into the compositions.  Such is Alberry’s imaginative grasp and lack of limitations:  You have a song that throws a lot into the composition whilst keeping it focused and accessible.  After those dizzying and wonderful early strings- our hero shows how deft and sensational he is as a guitar player- that scuffling and Jazz-like beat adds an extra layer.  Your mind starts to look at the last leaf possibilities:  Perhaps there is that progression into autumn and a certain somberness to the song.  Looking at that leaf drop to the ground- the cruelty of winter will soon be upon us- there is a seasonal change and a sense of wistfulness that bonds together to create something truly special.  Electric string come into the pack- light but their influence can be felt- that says so much.  By not having vocals on the tracks- other cuts across the E.P. have wordless vocals- you have that pure composition doing the work.  The Last Leaf was a poem written by Oliver Wendell Holmes in 1895.  It’s most affecting verse- in my humble and less-than-poetic mind- is:  “But now he walks the streets/And he looks at all he meets/Sad and wan/And he shakes his feeble head/That it seems as if he said/"They are gone!".  I get the idea Alberry had this poem in mind when he was penning the track.  Even if not, you can extrapolate that sense of loss, age and inevitability in the song.  O. Henry penned a short story called The Last Leaf that had a slightly different concept- but was similarly memorable and beautiful- and you get literary ideas and possibilities within Canou’s parable.  So vivid and tangible is that sense of season, age and mortality.  With no vocals or lyrics, it is hard to see exactly what the inspiration behind the song was.  Maybe words and vocals would cheapen and distill the essence of Last Leaf.  As it stands, you have a moment that is inescapably mesmerising:  A song that is personal and poetic; deeply human but fantastical too.  At every moment, I find myself helpless to deny the momentum and atmospherics of the song.  It keeps building, developing and evolving as time elapses:  From its acorn beginnings, it blossoms into a proud and statuesque tree- before seeing its progeny submit to gravity one-by-one.  Last Leaf seems like that universal and ubiquitous soundtrack that could accompany a summer’s day or be accompaniment for a rain-lashed night.  It is a track that does not push you away and refuse your company:  It beckons you in and asks you to take it into your bosom.  As such- and contrary to the nature of much modern music- here’s a song that digs deep and begs the listener to let their mind imagine.  You get a lot of insincere, unmemorable and shallow music that does nothing but produce a quick hit and easy-to-digest moment.  Musicians that go further- giving you something enduring and studied- are a rarity indeed.

Louis Alberry is the modern-day embodiment of the genuine Folk innovators of better days.  If you yearn for a reincarnation of Nick Drake and Bob Dylan- with originality and a modern edge- then you should not have to look further than Dorset’s Canou.  Last Leaf is a track that perfectly encapsulates all Canou’s highs- that stunning craft and ability to summon a variety of emotions- into a tight and focused song.  While other songs across The New-Eye Sky are longer and more experimental:  The E.P.’s opener is a concentrated and shorter song that stands as Canou’s finest track.  The production values here- compared to the debut offering- are sharper and a little more polished whilst retaining that live-sounding feel to things.  Few acoustic guitar players have such a wide and nuanced palette at their disposal.  Canou is a musician that can portray emotions, seasons and changing landscapes with ease.  I found myself repeating Last Leaf and seeing what I missed the first time around.  The song keeps revealing new insights and possibilities each time you come back to it.

While I have focused on Last Leaf- for me it is the most complete and authoritative track on The New-Eye Sky- the E.P. serves up plenty of treats and treasures.  Mother Ivey (Swim) boasts that curious title and parenthetical lake-swimming grace.  You imagine yourself reflected against a moonlight riptide:  Something beckoning but dangerous that lures romantic souls to a watery end.  Perhaps our author had other ideas but you get such a rush throughout the song.  After the elliptical and potent poignancy of early moments:  The song erupts into a symphonic and head-altering cacophony that throws up so many possibilities and hard emotions.  Lacing together some warped and Jazz-inflected sounds together with a solid Folk core and you have something experimental and progressive.  Almost a Prog.-Rock-like anthem unfolds.  Multi-part and epic; it unveils new buds and chapters as the song unfolds.  Every listener will have their own interpretation and idea as to the inspirations behind the song- for me, it has to be two lovers swimming and being pulled under the waves.  Given the title, perhaps something more ecumenical and faith-based is being ascribed.  Maybe wrestling with ethical and religious conflicts has enforced the song.  Who knows, but what I do know is, it’s a track that will compel you to come back and revisit.  That unexpected build- with its ecstatic race and furious dance- is one of the biggest emotional hits on the E.P.  A veritable hurricane and snowstorm in one- you get a gale-force slap across the face- it is a bracing and breathtaking sense awakening.

The title track is the most listened-to and popular song across the E.P.  The track begins with a tender and reserved guitar line that sees some echoed vocals- one of a few vocals that appear inside the E.P.- give haunting and atmospheric ingredients.  Light and breezy, that conflict and juxtaposition- the eerie, spectral voices against the peaceful and becalmed composition- results in a song that has so much depth and fascination.  Again, you get a building anthem that has that epic status attached to it- at over 7-minutes long; it’s the E.P. longest track.  Not a musician to be taken lightly, you get elements of Nick Drake, Neil Young and the Folk greats in that extraordinary finger-picking.  Perhaps Drake is the most immediate recollection as a beautiful and riparian beauty unfurls before your ears.  Pastoral and emotive; you are lost inside the contrasts of lightness and the dark:  Helpless to refute the strange and beguiling power that is projected.  Towards the latter stages, the track hits a stride and increases its edginess.  A catchy and pressing beat steps the song up as Jazz elements fuse with bristling electronic strings- together with those core Folk sounds.

  Soft Sun is no misnomer or false promise.  Early on, you get some gorgeous and entrancing piano notes that remind me of the Jazz greats of old.  The percussion rumbles and crashes like a wave; the piano rolls and weaves with aplomb and a swooning heart.  Bonding together- the song has a great quiet-loud dynamic- you have some wonderfully immersive and escapist.  Here is a song to get lost in and reveal yourself in its bracing emotiveness and romanticism.  Stunned by the authority, musicianship and originality that radiates through- one of the most startling and triumphant cuts across the entire E.P.  The piano work is especially mesmeric:  A performance that mixes dizzying highs with reflective lows.  That energy, fascination and grandeur never releases its grip on this song:  Every minute and passing passage gets inside the mind and will not escape the thoughts.  A song that allows you to imagine the morning sun- it all its resplendent beauty and peacefulness- one of the most evocative and transcendent moments from Canou.  I can tell how much detail, time and attention has gone into the process of making this song.  Whilst Michael Alberry is responsible for those piano sounds; you must give kudos to our hero who has put so much of his soul and heart into a truly wonderful moment.

Laurel ends The New-Eye Sky with more haunting vocals and something strangely beautiful.  The guitars and electronics lead to something (again) that reminds me of Prog.-Rock.  Building into an astral and cosmic sound- weird and quirky at the edges- everything is kept grounded by that consistent and gripping vocal.  While the acoustic guitar ensures beauty, tranquility and romance are always inside that beating heart:  Projecting outwards you get shadows and something more bracing and unusual.  Allowing the guitar to prosper and interject towards the middle- a nice moment that showcases Alberry’s impressive chops, fluidity and range of ideas- against the ghost of a young Nick Drake can be detected.  Such a stunningly impressive player that can mix the grave and affirmative together and make it sounds natural and completely right.  Before you get entranced in the guitars, a soothing and sensuous saxophone- played by Carly Bell- adds mystical sexuality and Blues/Jazz coefficient that stuns the imagination.  Such a gorgeous and soulful sound spars spectacularly with boulder-like percussion and the frantic build-up.  Reaching fever-pitch heights, the song gains fresh impetus and intensity- taking its sound to a wonderful righteous crescendo.

Having investigated In a Window in a Canvas- the curiously-titled debut release from Canou- it has been a pleasure looking into The New-Eye Sky and the most essential cut.  I was keen to review the lead-off track as it gives the fullest impression of the E.P. and what it is about.  The entire collection shows what a talent and ability Louis Alberry’s alter ego has.  Filled with life, love, passions and vivid scenes:  You have an E.P. that is perfect for any mood and time of day.  You get recollections of the ‘60s and ’70s Folk acts alongside Jazz interspersions and Pop flavours.  At every possible avenue I am trying to push out of my comfort zone- Rock and Alternative music- and embrace sounds that provide depth and diversity.  The mainstream’s best Folk-Pop-Jazz mixers are either under-the-radar or hopelessly inept.  There is so much unspectacular and predictable music coming out, it is always a treat discovering an artist that sounds new and promising.  Derision and criticisms have been levelled at B.B.C.’s ‘tips for 2016’ list:  The winner, Jack Garratt, is seen as representing the worst traits of the music industry.  While that assessment is particular to a few publications; there is some truth in the matter.  The Independent- in an article from 25^th January- ascribed Jack Garratt as the definition of blandness.  They were keen to highlight particular issues- the songs have no nuance of durability; the singing is off-key and un-affecting- whilst there seems to be the proliferation of tear-inducing singers with little grit and originality.  The media-trained and disposable artist seems to be the norm. these days- according to The Independent’s writer- and represent the death knell of modern music.  In a similarly scathing article, The Guardian bemoaned the replication of the white-boy Soul singer:  The James Bay-type artists that seem to pollute the charts and radio waves.  There is editorial bias and subjectiveness in these pieces although there is a little truth in the pieces.  Too many similar and zeitgeist acts are coming through with the same husky voices and songbooks.  I am not sure what has inspired the proliferation- acts trying to sound like U.S. Blues/Soul artists- but it seems to be popular with a particular group of music listeners.  Canou is an artist that is not only a genuinely fascinating Folk artist- someone who will never receive a derisory beat-down from a broadsheet paper- but a guanine article.

There is no fakery and forced qualities to his music:  Every note showcases a musician who knows his craft and does not want to follow the pack.  Whilst there is little to distinguish between Ed Sheeran, James Bay and Jack Garratt- besides their facial hair and fashion sense- we need to embrace artists that rebels against the radio-friendly sounds that have a baffling vogue at the moment.  The New-Eye Sky has more in common with the glory days of ‘70s Folk than it does the Folk-cum-Pop artists of today.  This is a good thing, because not only will the music resonate with older listeners- there is that opportunity to give younger listeners something genuinely quality-controlled and nuanced.  A big problem is music is the narrow and homogenised nature of the media and artists.  The aforementioned singers are all London-based (or near enough) singers that produce much of a muchness.  While a lot of genres and acts are proffered, there seems to be that obsession with a certain look and type.  For that reason, too few outlets are concentrated away from the capital and towards something more fascinating.  If you have not heard Canou- a bit of a local secret- then you should reserve some time to get inside the music and magic.  Perhaps not as immediate and hard-hitting as Royal Blood or their ilk:  What you get is music that reveals its peacock feathers upon future listens and gets inside the soul.  The songs do what great and original music should do:  It is cerebral and thought-provoking whilst ensuring it stays in the mind and gets the heart throbbing.  No cliché lyrics and lamentable (boring) guitar strumming.  There is so much adventure, scenery and story within Canou’s motifs you will want to come back to the music time again.  I can see a big future for Louis Alberry in London.  I have stated how there is an obsession with London Folk/Pop newcomers, but that was a parable:  A way to show how positive reinforcements can lead to a more diverse and qualitative music scene.  Too little attention is paid to the purveyors of originality and surprise:  For that one reason, we need to ensure the likes of Canou have their opportunity to shine.  Free from the weedy-voiced depressiveness of so many male artists:  Canou is a comparative supernova that is a proper musician sans cynicisms and box-filling.  It is just the compositions alone (without vocals to his music) that have the work to do- and do so with stunning conviction.  While there are issues with the assessments of The Guardian and The Independent- the troubling ‘white boy’ racism of one piece; the narrowness that is displayed- you can take some truths from them.  Essentially- regardless of genre, colour and location- music that has soul, authenticity and personality should supersede anything inferior and less.  That seems to be axiomatic:  Canou is a Dorset-based act that is sure to see his name and brand expand to a wider audience.  While few new artists successfully blend together Pop, Folk, Jazz and Rock- in the mainstream at the very least- it is impressive everything hangs together so impressively.  With the giant that is Terry Wogan departed-a D.J. that prided himself on championing the best and most original musicians- keep his memory alive and…

ENSURE the likes of Canou gain the royalties they richly deserve.

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FEATURE: A New Wave- Radio Adage

FEATURE:

 

 

A New Wave

 

Radio Adage

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OVER the last few years, I have documented a few ambitions and desires…

across these pages.  From albums to charities:  I plan on achieving them all given enough time and passion.  Whilst all of that will arrive in time, for now, I am looking at something very much needed at the moment:  A radio station that reflects the needs of all music-loving listening.  I feel radio is a form of entertainment that is declining- or less popular than it was years ago- and too many younger people are relying on the Internet and social media.  How many of us listen to the radio day-to-day?  I bet those who do listen to radio- in the majority at least- are going to be slightly ‘older’.  Music is something that unites us all- every one of us has an interest in it at least- and the most logical medium for fueling that desire should be radio.  It is the most efficient and disciplined way of ensuring a wide array of songs reaches a large listening audience.  The problem is this:  How many truly great radio stations exist?

I have always found local radio a rather depressing fare- I’m sure they are good local stations around- that play a very limited range of songs- with so many negatives and limitations.  Aside from local radio, there are the mainstream boys.  The B.B.C. stations- Radio 2, 1 and 6 Music- very much have a designated and particular audience.  As such, those stations have a particular sound and look:  Often those stations push away a large sector of listeners for some reason.  I have always found Radio 1 great when it comes to mainstream’s new artists- those that are just starting to ascend to the big leagues- but lackluster when it comes to older music and legendary acts.  Conversely, Radio 2 is great at proffering the existing order:  Perhaps not quite as effective when it comes the best and brightest new acts.  While Radio 2 showcases upcoming talent, I find the artists (they highlight and push) are Pop/Folk-based.  6 Music is perhaps the finest (of the B.B.C. stations) when it comes to covering the spread.  Ensuring older music is kept very much alive:  The guys and gals share their passion for music seven days a week.  Quite good at showcasing some stunning new musicians; here is a station with a bit more edge and variation.

Away from the B.B.C. stations- and the downsides most of the stations possess- there are some great (London-based) possibilities.  Away from the Pop-driven drivel (editiorialising a bit) of Magic F.M., Heart Radio and Capital F.M. - surely enough puerile crap for the teenage market- there are more reputable and impressive options.  Whilst X.F.M. has bitten the dust- re-branded as X Radio- there are drawbacks to this station.  I love the official website- eye-catching and informative; impressive and clear- there is some great music played, for sure.  The guitar-driven songs have a lot of quality but, given the narrow confines, lack that diversity and variation.  A lot of attention is given to its ‘star’ D.J., Chris Moyles.  Having ‘left’ Radio 1- the controversy-seeking D.J. was playing on borrowed time- the acquired tones of Moyles have transferred to X Radio.  I have always found him odious and obnoxiously loud:  Do you want your banner D.J. having these ‘qualities’?  Aside from the homogenised music, the roster of presenters on the station is not as appealing as they could be.  That leaves one other option:  The mighty and evergreen Absolute Radio.

There are negatives and issues with Absolute Radio.  They are a commercial station, and as such, have to interrupt the music with adverts- the most nauseating and irritating adverts across all the land.  The station dedicates too much time to the same kind of music.  Whilst Absolute Radio plays some exceptional sounds- across various decades and genres- there is still an issue with regards predictability.  They have a core/desired audience- the young listeners who want the edge of Radio 1 with the heart of Radio 2- and ensure the music played satisfies them.  You get a lot of the same acts cropping up- Coldplay, Foo Fighters and Blur- that conform to public tastes and needs.  The problem is, there is a whole world of music being overlooked.  Absolute Radio has sister stations- Absolute ‘80s, ‘90s etc.- that makes sure various decades are given a thorough investigation.  That is perhaps an issue:  Why create so many sub-stations for particular decades/genres?  There are enough hours in the day to give every decade and genre a good show- and ensure the playlists are not too samey and stilted.

Given my reticence, Absolute Radio boasts a huge amount of highs:  It is my favourite stations for a very good reason.  It is the music itself that impresses me:  You get a lot of depth and variation; so many classic tunes mixed alongside some rare gems.  Based in Soho- arguably the cultural centre of London- you can hear and feel the vibes of the city reflected in the presenters.  Energetic, funny and engaging:  Every day you tune in knowing you will smile and be entertained.  Perhaps not boasting enough diversity- in terms of race and age- you get D.J.s that have a huge passion for music and connect with the listener.  I love Frank Skinner’s show (Saturday mornings from 8) and find him peerless in terms of humour and surprise:  An enormously talented human that is insanely funny and sharp.  Andy Bush and Leona Graham are terrific D.J.s that gives me a good chuckle, too.  My favourite D.J. is Christian O’Connell:  Perhaps the station’s star hosting the flagship show (The Christian O’Connell Breakfast Show).  The team he has- Richey, Faye etc. - have a terrific bond and the banter is infectious.  Playing great music and bringing the listeners in- there are various competitions and phone-ins- it is the perfect way to kick-start the morning.  The way a radio show should sound:  More D.J.s need to listen to Christian O’Connell.  Absolute Radio has been the most influential radio station to me- long may their monarchy reign and inspire.

Aside from the two genuinely great- my view; others may disagree- stations, Absolute Radio and B.B.C. 6 Music, what else is there?  If you want to find a station that addresses the negatives of the aforementioned- Absolute’s lack of true range; B.B.C. 6 Music’s limitations- then you have a hard time.  Internet radio is a massive and busy jungle that offers enough choice.  What I find- when it comes to finding a broad station- is the narrowness and niche nature of the stations.  There are very few stations that incorporate the best elements of ‘mainstream’ radio- whilst stretching it out and bringing more listeners into the fold.  I love stations like Channel Radio- www.channelradio.co.uk- who seem to be leading the way for the underground.  The presenters here have a shared love for great music and diversity- covering genres like Jazz and Rock- and gave me the impetus for my own station:  Radio Adage.

Aside from some Absolute Radio similarities- a station beginning with the letter ‘a’ for one- there will be a lot of differences.  I love Radio X’s website- seems like a strange point- but is so detailed and informative- easy on the eye and great to navigate.  That will be the building block for Radio Adage:  Ensuring the homepage is equally impressive and brilliant.  The aim of the station is to have that mainstream/long-term appeal:  Not just confine itself to digital/underground realms.  Whilst it is important to have a core following- and broadcasting is its own reward- I want the station to have the chance to nestle alongside Absolute Radio and X Radio.  Here’s how I want it to look:

PRESENTERS

 

This is one of the most important foundations and considerations.  The voices (and faces) of radio:  It is crucial to get the mix right and have some likable and popular presenters.  The reason I love stations like Absolute Radio and Channel Radio is the inimitable mix of humour, passion and personality.  Absolute’ pillars like Christian O’Connell, Frank Skinner and Leona Graham have their own qualities and highs- the comedy and wonderfully rich voices (Leona on this one) - and this is something I want to capture (read: steal).  If the presenters for a station are not entertaining/warm; then you will not have a wide listenership and appeal.  One of the reasons I dislike so many stations (local radio particularly) the lack of good D.J.s.  Even X Radio has some great presenters- Absolute Radio and 6 Music are the finest- and it is paramount the people you hear on the station get the listeners hooked and keep coming back.  It is vital- when it comes to Adage Radio- to have diversity and quality there.  Probably starting out with a few D.J.s- I am trying to go for 10; it may be a little unrealistic- it is hoped more will join in time.  I want to find D.J.s that is funny, witty and passionate.  If I can find my own Frank Skinner and Christian O’Connell, then that would be ideal.  Essentially, I do not want D.J.s that is too young and inexperienced:  Personality is more important than age/youthfulness.

One of the things I want to do is have a better spread of races and gender.  Not positively discriminating- and trying to rebel against the lack of diversity in the entertainment industry- but modern radio is too white and ageist.  In addition to younger D.J.s- early-20s to mid-30s- I want to have some older shoulders.  Given the recent passing of Terry Wogan- a stalwart of radio and legend- it would be terrific to have an experienced D.J. on board.  I also want more women on the station.  There are stations that have a few female D.J.s, although not enough.  In that respect, more black and Asian faces need to be heard:  Not doing it for the sake of equality; it would give the station more depth and appeal.  The station will broadcast 24-hours a day, and as such, would probably (in the earliest days) sees some international D.J.s join.  Between the hours of 11pm and 6am (the last evening show and breakfast show) I want Australian and American D.J.s take over and broadcast.  Starting in Brisbane (and throughout Australia) I have a guy in mind:  By the same token, there are a couple of American options.  I want warmth and wit to sit alongside a genuine passion and flair for music.  D.J.s that has their ear to the ground of new music- those unsigned and on social media- would meet with presenters that know music’s history- willing to spin songs from the ‘50s and ‘60s.

MUSIC

 

This is the centerpiece of any radio station:  The music you play on a daily basis.  The reason I dislike some stations- and love others- is what they play.  The reason for getting this station going- aside from the need to fill a gap- is ensuring the best new music is featured- in addition to playing a better range of older material.  Aside from local radio and Internet brands:  Few radio stations feature music by brand-new artists.  I do not mean the acts that are coming through the mainstream- although they will feature too- but those without a record deal or trying to crack their way in.  Throughout the world, there are a wealth of terrific bands and acts that make waves across social media- they have to struggle to get radio play and attention.  It is not fair they have to rely on local radio- and its narrow listener-ship and potential- and there should be a platform for them to get their voices heard.

Aside from the brand-new music- they will get a big market-share of the playlists- it is vital to keep existing music in the forefront.  Whilst a lot of stations have to fit into a mould/target audience; I feel there is a lot of compartmentalisation and limitations.  The big boys of radio focus on guitar-driven music and Alternative sounds.  While you get a lot of great music played:  I find too few stations do not go far enough and negate certain genres.  There are plenty of great Jazz artists and terrific tracks from the ‘90s that are never played.  Why can you not put these on one station?  Some great stations do have sections dedicated to various genres/decades:  This can often mean listeners avoiding certain times.  It would be much wiser incorporating music together to get a more variegated and diverse playlist.

FEATURES

 

Each section/D.J. would have their own brand/sound.  I want each segment to have a very distinct feel and not all sound the same.  From the morning show to late-night shows:  The station will have originality and familiarity bonded together.  It is important new bands and artists are allowed to play/perform live- like local radio stations and Internet radio- in addition to existing artists.  While it may take time for Radio Adage to get clique and a name- thus meaning mainstay acts want to perform- there is no reason why international acts cannot feature.  You never hear many acts outside the U.K. performing on our radio stations.  Whether in the studio- or from their home locations- there needs to be more attention given to non-British artists.

Completions, phone-ins and listener interaction are vital, and because of this, the station will bring them in and involve people in the day-to-day processes.  Whilst 'Adage will start as an Internet-only station- hopefully, it can become digital in time- the listeners will be able to call and join in the fun.  Some stations are slipshod when it comes to range and interesting features.  Radio Adage will go onto the street and highlight great local bars, attractions and things to watch.  I hope Radio Adage will find itself in London have quite a London-centric feel.  Vibing from the cosmopolitanism and diversity of the city:  There would be a good deal of features that brings the city and music together.  I want an annual concert- raising money for charity- to feature the best new acts coming through.  On the charity front, the station- and website particularly- would have charity initiatives and events happening regularly.  I want Radio Adage to be more about music.

BASE

 

With no studio booked/found yet, the early days of the station will be wherever is feasible and economical.  In time, I want to be based in London:  Preferably around Soho/Piccadilly; it would be in the beating heart of the city- not just confined to London.  The hope it to get the brand known across the U.S. and Australia- as far around the globe as possible.  It would be great to have a very modern and large-ish studio to give the station the breath and space it needs.  I understand a reality check and sense of confinement needs to happen in the fledgling days/weeks etc.  In time- and when the reputation is built- it would be great to have an established base in London.

GETTING IT STARTED

 

To get the station started, there are going to be logistical challenges and a lot of planning.  Of course, things like broadcasting equipment, D.J.s and royalties- ensuring the music played has permission and is all legal- will be essential.  I am hoping a Kickstarter campaign can be launched to get the foundations built:  Meaning we can recruit some talent and make sure all the equipment/website/cores required are there and safe.  This year, I am confident we can get the station created- a rudimentary website built- and get broadcasting.  Naturally, it will take years to build that reputation and get among the big leagues- if it happens at all!  Just, for now, it is important to get feedback and see if the idea has legs.  I know so many people are turning away from radio- whether there is not enough range- and either listening to their own music or using social media (to find the best in new music).  Radio is still the logical way to hear all music and keep that passion going.  With digital music starting to be overtaken by physical release- the buying trends are starting to shift- perhaps there is dissatisfaction with the way music is broadcast/available.  I am not sure, but what I do know is too few radio stations have all the necessary boxes ticked- the spread of music and appeal of their D.J.s.

FUTURE AIMS

 

Knowing a bit about business- and the realities you must accept- Radio Adage will not ignite and be a big-time hitter this year- in fact, it may take many years in order for the station to transcend beyond the Internet.  The most important thing (in the early stages) is to get the stations going and get a loyal core cemented.  In time- and with the way radio is at the moment- the hope is Radio Adage will be a mainstream/above-the-parapet station that can keep growing and getting better.  I want a lot of D.J.s- more than 9 or 10 in time- that will reflect various audience sectors and tastes.  Forming into a cohesive and gilded station:  The aim is to create something that fills gaps and keeps music’s passion alive.  Whilst there are some phenomenal stations out there; few go deep enough when it comes to the music itself.  I feel there is room for Radio Adage due to the fact so many people- myself included in the list- for another participant in the pack.  We will have a 'voice' for the station- like Matt Berry for Absolute Radio- and create something both familiar and new.

It would be great to get people views, support and feedback:  See when this can become a reality and ideas the public have.  Of course, getting the bricks-and-mortar stages sorted- the soft/hardware sourced; getting everything in place- will take a long time (and quite a bit of money) so these early days are going to be rather unexciting (if essential).  Let me know your thoughts and help welcome in…

A new face for radio.

INTERVIEW: Nina Schofield

INTERVIEW:

 

 

Nina Schofield 

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AFTER a busy and productive 2015…

Nina Schofield is looking ahead and planning her moves for 2016.  One of the hardest working and most distinct artists in music:  I was excited to learn what was in store and what advice she would give to up-and-coming artists.  This year is going to see a lot of young solo artists emerge:  Each will have their own aims and ideas.  To my mind, Schofield is among the most arresting and distinct voices out there.  Inspired by a wide array of artists and genres- from Coldplay to Lana Del Rey- few others elicit quite the same range of emotions and reactions.  Make sure you keep your eyes on this Surrey-based artist…

________________________________

Hi Nina.  I hope you are well.  How has your week been?

I am thank you!  It’s been good; I’m excited because my album is being mastered at the end of this week.  After a year of work on it I can’t wait to hear it!

It seems like 2016 is going to be a busy one for you.  What is the typical ‘day in the life’ for Nina Schofield?

I’d say there isn’t really a typical day because every day is different!  Recently I’ve been spending most of the day either in the studio recording final vocals or in a different studio working on the preliminary stages of a project; which is a bit of a secret for the moment!  In the evenings, I’ll be gigging- if it’s a weekend- and if it’s not then I’m probably watching Netflix and baking gluten-free goodies.

The past few weeks has seen some music legends depart. As a fellow musician, how has it affected you?

It’s been a really sad start to 2016.  David Bowie, in particular, was a big inspiration for me.  His song Life on Mars has always been one of my favourites and I’m not even sure how many songs it helped inspire me to write.  Life is short; all the clichés are there for a reason.  But you can look back at someone like Bowie and see how much he gave to music (and is still giving to music), and you can take inspiration from that too.

[soundcloud url="https://api.soundcloud.com/tracks/225909182" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Looking back at 2015:  Which moments stand as personal highlights?

Going to Rotterdam and supporting Romeo (the Dutch boyband behind the song Coming Home) on their sold-out comeback show was incredible!  I got to meet another great artist, Alex Alexander and stay in a stunning place.  I felt very lucky.  Then moving forward to the latter part of the year, I was extremely fortunate to go on tour and support brilliant artists like Nell Bryden and Blair Dunlop- and work alongside incredibly talented musicians such as Leland Sklar.

Modern music is defined by long days and hard work- to make ends meet.  How do you keep the passion alive in that situation?

I’ve got to be honest:  Sometimes it’s really hard!  I don’t know any working musician who hasn’t had those days where they just think ‘what am I doing?!’  I am lucky to be surrounded by an incredibly supportive network of friends and family- a lot of whom work in the music industry themselves so they understand what I’m going through.  A quick phone call or text from one of them can turn a bad day around.  You know, there are really bad days and then there are really good days and there’s no balance.  It’s remembering those really good days (or moments) that keep fueling the fire.

I hear you have just finished putting down vocals for your forthcoming album.  Can you tell us something about it?

I can!  It has 11 tracks; its title is related to the front cover of each single I’ll be releasing up until it comes out (not giving the game away just yet).  I think it’s the most creative thing I’ve ever done!

In terms of your new material:  What subjects/themes have defined its creation?

It’s all about relationships but not just with other people:  It explores the relationship I have with myself as well. I hope that will be something others can relate to.  The whole album goes on a journey through 2 different relationships from start to finish… Well actually I suppose 3 if I’m also counting the one with myself!  It’s not all doom and gloom either:  There are happy moments, sad moments and everything in between; there’s even a song about me needing more money on there!

I know you rank Coldplay as influences.  Which other artists- from days past or today- inspire your music-making?

So many!  That’s what’s great about music:  You can keep discovering artists both old and new.  I love Phil Collins, Say Lou Lou:  Jet’s first album was one of my favourites growing up, as was Keane’s.  Right now I love Marina and the Diamonds and Tove Lo.

If you could pick your proudest musical achievement- a particular song or gig- what would it be?

I think that keep changes, but I’m really proud of a song on my new album called HIH which began as a piano/vocal; then a basic production by me and now has been brought to life by producer Jo Pereira.  I think it's the most unique song I’ve ever done and it’s been great to watch it develop.

You are based near London.  Do you think there are more opportunities for musicians in the cities as opposed to anywhere else?

Yes, certainly in terms of the live music scene.  But if you have a computer and social media pages, then these days you can also reach a whole new audience just by going online.  You could technically stay at home for 10 years and have a successful career!  But where would the fun be in that?  There’s so much to be said for the live stage experience and how it moulds your craft.  On top of that, the more people you meet and the more places you go, the more likely you are to be inspired.

There will be some young artists inspired to follow in your footsteps.  What advice would you give them?

Keep developing, keep moving forward.  Don’t get stuck in one place, which is really easy to do, and keep yourself open to others opinions whilst not letting them define you.

If you could turn back time and offer your younger self some advice, what would it be?

Probably the advice I just gave above – I’d tell myself not to be afraid of taking risks creatively.  That’s a stage I’ve got to now but I think I had to go through some stuff before I could get here.

Last year you were picked up by Mystic Sons (a London-based P.R. company).  How did they make you feel?

Great!  It’s nice when someone else sees your vision and wants to be a part of it.  I felt like part of the team and I had creative control which is always really important to me.

Apart from yourself:  Which other artists would you recommend people check out?

Here are my current recommendations:  Tove Lo, Frances (Grow), Above and Beyond; Nico and Vinz and Marina and the Diamonds!  Check out all their most recent albums.

Finally- and for being a good egg- you can name any song you like; I’ll play it here…

Tove Lo – Moments.

[youtube https://www.youtube.com/watch?v=W8tbQgXyn1c&w=560&h=315]

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Follow Nina Schofield

 

Official:

http://ninaschofield.com/

Facebook:

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

Twitter:

https://twitter.com/nina_schofield

YouTube:

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

Instagram:

https://www.instagram.com/nina_schofield/

TRACK REVIEW: Too Many Zooz- Hollagraphik

TRACK REVIEW:

 

Too Many Zooz

 

 

Hollagraphik

 

9.7/10

Hollagraphik is available at:

http://toomanyzooz.bandcamp.com/track/hollagraphik

RELEASED: 26^th January, 2016

GENRES: Brass-House

ORIGIN:

New York, U.S.A.

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THROWING a wrench into the blog writing machine was never an option…

until my mind sort of froze today.  Unsure what to review, I remembered a great sound I came across:  That which emanated from New York’s Brass-House masters, Too Many Zooz.  Having caught these guys on YouTube- performing at New York City Subway where they regularly play their music- it seemed only apt to feature the boys.  Before I come to them, it gives me the chance to explore some new themes:  The music and artists of New York; Brass-House as a genre- looking at how some musicians are taking a unique approach to music-making/recognition.  When you want to explore the greatest sounds music has to offer- that are fascinating and stray away from the norm.- then you cannot go too far wrong looking at the major cities.  Most people have assumptions areas like London, Los Angeles and New York are fairly predictable:  You have bands and solo artists of varying sounds; nothing too unexpected to be honest.  The trouble is, the press- and the acts they assess/highlight- are just scratching the surface.  In terms of the most unique music, you have to dig a lot deeper.  Some of the most spectacular artists you will find are in the underground:  Quite literally when you think about New York’s Too Many Zooz.  The U.S. is a musical landscape us here (around the U.K.) hardly get to hear past mainstream press.  Unless you have a finger across all the most cutting-edge blogs around- mine hardly ranks alongside them- it is hard to see what America is producing at the moment.  Last year, I got to discover some great bands coming out of Los Angeles:  The city is always showcasing so many rich and colourful musicians.  A vibrant and fertile music hub:  It is an area of the globe that will continue to astonish this year.  Whilst California has few limits and barriers- the sheer breadth of music there is stunning- New York is even more astounding.  While the bands are about equal to Los Angeles’ best:  It is the less-than-traditional/solo acts that surpass their West Coast peers.  New York’s solo artists have that extra level of grit and passion:  I am not sure what it is; they just have a little bit more magic and passion to their sounds.  Having never been to either New York or Los Angeles- Orlando remains my only contact with the U.S.- I am gleaming and forming impressions based on my previous reviews.  New York is a humongous city that is seeing thousands of musicians try to make their way to public consciousness.  While it is near-impossible getting acclaim and long-term recognition among the mainstream stations and media; that is not to say it will not happen eventually.  Amidst the sheer wave of hungry bands, there are a few that are shouldering above their contemporaries.  Exocomet have been touted by Gigwise as one of the bands to watch closely.  Mixing The Velvet Underground with Bauhaus- how often have those two been spliced? - that forms an original and genuinely pleasing sound.  Elsewhere, High Waisted- having recorded some of their music in a haunted house whilst out of it on acid- are a lo-fi, Surf-Rock band that record on reel-to-reel and have a ‘60s vibe to their aesthetic.

Reputante are a Brooklyn band that are a modernised version of Joy Division- in no small part due to their lead’s deep and sonorous voice- and are causing excitement.  Throw in (among hundreds) Jack + Eliza and there is variation and plenty of potential to be unearthed.  That is all well and good- those acts have commercial appeal and are hugely impressive- yet I think we can go a little bit further.  Take a trip away from the studios and basement-recorded sounds of New York and you will find something even better.  Too Many Zooz may play and seduce the New York Subway crowds:  They are a trio that is more than a novelty act for the YouTube generation.  It is not often I get to talk about Brass-House- a genre fusion that you wouldn’t think would work- but it has got me very excited.  In Britain we had something (or still do) called Acid-Brass music:  The mingling of traditional Acid and Brass elements, it is a strange and wonderful chemical blend.  Too Many Zooz throws away the vocals and studio trickery and seduce with their staggering musicianship.  Having first encountered these guys via YouTube- a short clip of them entertaining the morning commuters- I could not believe what was coming through.  A cartoonish blend of vivid sounds and strange ideas:  The sounds emitting from their instruments are psychotropic and mind-blowing; incredible vivid and insanely catchy.  It is impossible to be within a 100-mile radius of Too Many Zooz and not find your feet involuntarily- and with no regard for dignity and gravity- flailing and dancing to the strange-world symphonies of the New York clan.  Designed to bring sunshine, colour and amazement to the world- few bands have such a universal and thoughtful approach- they have amassed a huge legion of fans.  I have never witnessed a group like Too Many Zooz.  In the U.K., we do not really have an equivalent, so it is hard to see where their competition lies.  Brass-House is a sub-genre that should inspire other acts to follow suit.  Maybe New York has quite a few sound-alike bands- again, the limitations of the media- but I’d like to think Too Many  Zoozs are in a class of their own.  When it comes to authority, genius and variety:  There are no other acts that get close to matching them.  In sheer musical terms- they amaze without vocals and any other band member- the boys shift ideas and tones from song-to-song.  Hollagraphik is a new song I was keen to investigate as it is the here-and-now of where they are.  An exploration into the terrifying, beautiful and mesmeric, it is a song that is extremely hard to define and pin down- just as well I choose it, right!?  As I type this- listening to Absolute Radio online- Bob Dylan’s The Times They Are a-Changing and I could not imagine a group more different:  Could you draw a line between Dylan and Too Many Zoozs?  Whilst a young Dylan enthralled Greenwich Village- his stomping ground when he arrived in the city in ’61- our ‘Zooz boys have their milieu and distinct gig venue.  As this year kicks off, few U.K. sources will be looking at Too Many Zooz:  It is a shame, because the three-piece are amazing musicians that deserve huge respect.

If you happen to be new to Too Many Zooz, you will want to hear where they have come from.  F Note was released a couple of years ago and was one of the first E.P.s from the trio.  Mixing the experimental Jazz sounds of Mile Davis, Charles Mingus and John Coltrane:  Their five-track collection blends in the limitless sway and recklessness of House music.  Bonding romance and texture with drugged-out, drunken abandon and you have a collection that saw them stand aside from their contemporaries.  Noda is perhaps the finest cut from the E.P.:  A circus procession that asks you to stamp your feet and march to the rhythm of the drums.  A call-to-arms and clarion call:  A song that provokes all manner of images and dream sequences.

The Fanimals E.P. was released after (F Note) and shows a continuation of that musicianship and quality.  If anything- marking an evolution between the recordings- the New York group sound even more freewheelin’, kinetic and ambitious.  Perhaps the interim performances- honing their craft and gauging crowd reaction- ensured the E.P. brimmed with quality and nuance.  The production values and musical themes do not stray too far from F Note’s gauntlet.  What you get are additional passions and new genres ideas.  Salsa, Bossa Nova and Latin ideas are tossed into the melting point.  Limbo is a song that is much more danceable and intoxicating than anything they had recorded previously.  A veritable orgy of dark satin and late-night coming-together:  There is something sexual and positively- charged about the song.  House of the Glass Red I is a standout that really takes you in House music.  Reminding me of the anthems of the genre’s heyday:  The boys simulate that sound through their instruments and make the listener cast their mind back to when music had that limitless potential.  Bounding beats and strange vibrations- the sound of a cricket playing a digeridoo- you have a song that inflames the senses and stands as the band’s most electrifying moment (up to that point).  Having quite a defined and specialised sound; it is hard for the boys to take huge leaps- without compromising their uniqueness and core.

Holographik has that hard-to-achieve blend of accessible and experimental.  Perhaps not as experimental as Fanimals E.P. but not as accessible as F Note:  Here is a song that unites the trio’s previous work and updates their music for 2016.  The guys show evolution and development in addition to familiarity and consistency.  Their existing fans will love what they hear across the track- it is has been online for a while but available for digital download at the moment- and enjoy the fresh ideas and themes explored.  I know a new album is planned for 2016:  It will be the first opportunity for the boys to break away from E.P.s and produce something longer and more in-depth.  I am not sure whether existing songs will feature across the album- or if it will be only new songs- but I am confident the resultant record will be immense.  Too Many Zooz are an act that defy quality expectations and have never missed a step.  If their album- the campaign they are launching right now- does not reach its target it will be a sad thing for music.  Since their earliest days, there have been no limits and boundaries to their sound.  An act that immerses the listener and takes them somewhere mystical:  This year is going to be a productive and exciting one for the New York boys.

Having obsessed- perhaps ‘familiarised’ is a more apt word- my ears to the music of Too Many Zooz, I was half-expecting something that harked back to their past days.  I loved the trio’s early E.P.s and thought- as the song was recorded a little while ago- Hollagraphik is a fresh track on the scene that shows where the boys are now.  If anything, the song shows progressiveness and a new stage for Too Many Zooz.  Pulsing electronics open the track and show a slight departure for the group.  Many would expect a teasing beat or slow-building brass coda to open things:  Here we get something direct that sounds like an Electronica/Acid track.  That percussive stamp plays in the background- the hollow taps and heartbeat slams- creating something strangely focused and natural.  After that initial surprise- and how authoritatively Too Many Zooz are right from the get-go-their more ‘traditional’ blends come to roost.  Those tip-toeing and tripping horns swagger in and add colour to the dark carnivore elements.  At this stage, I began to wonder what inspired the song- and where that title stems from- so your mind will race and conspire.  If you listen to Too Many Zooz, you do not have vocals and lyrics to shed life:  They are essentially like a Jazz act whereby the music alone does the speaking.  For that reason, it is quite a different challenge reviewing them:  You have to gain impressions from the music and what it is trying to say.  Instantly, you hear the confidence and tight-knitted bond Too Many Zooz share.  The clear and stunning production values make the instruments crisp and alive- without making them too polished and commercial.  Having released songs like Spocktopus and 20/20 this month, it seems 2016 is shaping to be a very productive one for the trio.  Hollagraphik has so many ideas and strands to it; you need multiple listens just to get to the bottom of it.  As a Jazz fan- and a follower of Miles Davis’ finest creations- you get elements of Kind of Blue and Birth of the Cool blending together.  The former’s lush and thought-provoking introspectiveness sits with the latter’s Bee-Bop cigarette-smoking suaveness.  What the New York trio do is evoke memories of revolutionary ‘50s Jazz and something almost Disney-esque.  The elephantic and trumpeting sound- that has Hip-Hop/Rap swagger- melts with a cartoon-like fantastical phantasmagoria that takes the breath away.  Whilst constrained and disciplined- at this stage anyway- there are so many elements and layers built into the music.  Being Too Many Zooz, the energy levels never drop and you find yourself moving your head:  Helpless to resist the alluring charm and dance of Hollagraphik.  That warping and punctuated brass-and-electronic sound is joined by dizzying brass- the evocative animated sound- and something distinctly Miles Davis-esque.  If anything, Sketches of Spain acts as a bigger influence (than Birth of the Cool and Kind of Blue).  Like Sketches of Spain, here you have something that brims with lyricism and gracefulness.  That album boasted transcending adagios and something akin to modern art.  Vibrant and filled with life- the timbres, tonalities and harmonic structures seems new to Jazz in 1960- you can see parallels within Hollagraphik.  A stunning narrative that has romanticism and exceptional command of the instruments:  I was amazed by how shades of Saeta, Solea and Will o’ the Wisp- from Sketches of Spain- blend into a modern spectrum of Subway grit and street-level electioneering.  Unsure as to the true inspiration for the song, you are taken on a weird voyage of the New York streets.  Colourful and head-spinning- you struggle to comprehend the possibilities and magnitude of the sound- you try to capture as much as possible.

The sound of 21^st century music mixes with ‘60s Jazz in an orgy of the demented.  Romance and passion sit with the (electronic) sound of a barking dog.  A wide-eyed chatter joins wordless vocals- almost acting as characters within the song’s storyline- to give the track some danger and streetlight uncertainty.  Snaking and slippery trumpet lines slither alongside blood-rush electronics:  A modal groove-cum-cutting razor that evokes a myriad amount of dreams and insights.  The chaos, fog and paradoxical nature of the compositional has another influence:  Milles Davis’ Bitches Brew.  I hate to bring up Davis so often- it is apropos here- but that experimental nature can be compared to the Jazz godfather.  Joining Jazz-Rock together with Brass-House and Electronica would be ridiculous in lesser hands.  It is testament to Too Many Zooz’s shared talent- and the telekinetic nature of their performances- that everything comes together so well.  Those shuddering and spectral judders- that cut through the atmosphere like a chainsaw-wielding murder- are calmed by brass which becomes fevered towards the conclusion.  Breathless and evading the law, the brass becomes frantic and terrified:  It tees the song up to deliver a confident and cool-as-crap conclusion.  At this point, I get evocations of ‘90s Acid and the club songs of the time.  Whilst there is modernity and 2016 in the song- a song that could translate to the clubs of New York- it is the elements of the past that come to the foreground.  In addition to Miles Davis- the comingling of his accessible and experimental highs- you have insights into 1990s glory.  Whilst some may perceive Hollagraphik may be interpreted as a voyage into an addled and troubled mind- the song has a very emotional and haunted sound- there is such a busy and itinerant sound to the song.  In my mind- every listener will have their own interpretation- I look at the nighttime sounds and smells of New York.  I saw a lone character- perhaps worst for wear after a heavy night- seduced and suffocated by the neon lights and loneliness of the streets.  Maybe something strange lurks in the shadows:  A hat-wearing killer that is stalking the hero as he tries to evade his fate.  By the closing stages- the most vivid and urgent moment of the song- all the musical elements and genres pollinate into an explosion of near-apocalyptic possibilities.

It is hard to know where to begin with Too Many Zooz with regards to their qualities and genius.  Having been unfamiliar with them until last year, I have been making up for lost time.  Against a music scene that has too much rigidity:  The New York trio are a hurricane of fresh air that pack an enormous amount of mystery, drama, dance and multifariousness.  Hollagraphik is one of the most arresting and immediate songs the lads have ever crafted.  Perhaps their most diverse, atmospheric and accomplished songs:  You will not believe how stunning the song is upon first listen.  Given further investigation, various shades and ideas come to the fore.  A truly nuanced and incredible statement:  If this is the way the trio are going to develop in 2016, I sorely hope their album gets funded.  It is no faint praise comparing Too Many Zooz to Miles Davis:  One of the most iconic musicians in all of history.  The New York trio is renowned for their beyond-the-point-of-believability performances and wondrous connection.  Having seen clips playing across New York train stations- reveling in the freedom of their surroundings and vibes from commuters- many would wonder whether they would sound as pure and natural in the studio.  Never loading their sound with shiny gloss and trickery:  You have the replication of their live performances against the control and discipline of a studio setting.  Sounding live and bare- but with enough shine to ensure there is that additional quality- the boys would not have been able to make this track work if they were playing in the underground.  Bringing all those ideas, instruments and sound effects together required a studio setting:  For that reason, Hollagraphik is one of their most essential and impressive unveilings.  It will be fascinating to see how the song is performed live- whether the guys will bring singers and other musicians in- but I hope the trio comes to London.  I am excited to see where this year takes New York’s master:  Hollagraphik is the finest statement from a group that become more beguiling as time elapses.

If you have not made Too Many Zooz part of your life, make sure you change this.  If you wanted to find bands as starting points:  I guess the likes of Madness and The Specials would be close enough.  That duo has a mix of brass and abandon- wrapped around Ska and Reggae sounds- that have inspired and captivated the music world.  To be honest, it is quite a vague comparison because Too Many Zooz are so unique.  Having digged some of the New Yorkers’ previous work- and what a spectrum and sense of spectacular they have- Hollagraphik will please existing acolytes and draw in new admirers.  It is hard enough finding originality in music; let alone something that is exciting and enduring.  In the U.K., I have been seeking bands that do things differently to the rest of the world.  You know, something that recalls the giddy heights of the ‘90s:  Music that makes you feel wistful but is genuinely forward-thinking.  While it may be a hard ask, the terms of my conditions are quite open:  Just rebel against the conformist and vanilla-dull restraints so many are all too happy to embrace.  Perhaps the likes of me- who review music and proclaim the best and brightest- are not exempt from responsibility.  I suppose we have become so familiarised with a certain musical sound- and desensitised to its predictability- when something new does come about, it takes a while for it to get true recognition.  It is perhaps ironic that New York’s Too Many Zoozs are an underground act- that are making waves across the city- but am performing as far and wide as they can.  Maybe Brass-House is a genre that will take a while to be exploited.  A singular and impossible-to-define act, they are in the process of funding their debut album.  If you go to https://www.kickstarter.com/projects/1013202534/too-many-zooz-needs-your-help-to-complete-their-de , make sure you donate some money to an act that deserve the chance to shine.  While their $100,000 budget may seem a lot:  It is the price you pay to hear music of exceptional calibre and grasp.  In the meantime- and whether they will hit their target- the boys are seeing how Hollagraphik fares.  The guys play Brooklyn Bowl today and a chance for New York’s finest borough- certainly when it comes to the most forward-thinking music- to be cast under the spell of Too Many Zooz.  The trio has produced an impressive- and hugely consistent- body of work that deserves a lot of appreciation and sharing.  Before I come to the end, it is worth revisiting those motifs of New York music, Brass-House and the diversification of sounds.  America’s centre for great music- my words you understand- New York is perhaps the most essential place to find the finest acts around.

I love London to death- and the immense amount of wonderful musicians we have- but New York has an extra edge.  In terms of sheer size- New York could swallow London like a Mento- there seems to be that variety and spice we are lacking.  Hard to explain, New York’s five boroughs- Manhattan, The Bronx, Brooklyn, Staten Island and Queens- are producing as much scintillating music as anywhere else.  While Staten Island and Queens may be lesser gods when it comes to musical genius- there are some fine acts emerging here, mind- it is the likes of Brooklyn and Manhattan that are housing some truly special musicians.  As Too Many Zooz prepares to enthrall Brooklyn, I am determined to spend more time seeking what New York has to offer.  A mind-boggling and Herculean feat:  The rewards of such passionate investigation are going to be huge.  When you get past the skin-deep and easy-to-define mass of acts coming out- even New York has a lot of stereotypical and bland acts- there is so much richness and wonder to be discovered.  You do not need to be a genius to know that originality is what defines a truly special act/band.  I have had my fill- and my brain has been numbed by- so many samey Rock bands and bland-as-butter Pop artists that leave a rather metallic aftertaste.  A man who loves a wealth of genres; the time has come to start proffering the artists that dare to be different.  Too Many Zooz’s brass-cum-House cocktails have seen them gain thousands of supporters across social media.  Their Subway performances are the thing of legends:  Just see these boys play and you will not believe what you are seeing!  The colourful and sense-altering world of Too Many Zooz is a place we all need to visit and remain.  Up until this point, I had not really encountered anyone who played Brass-House.  I love oldskool (forgive me using that world) House and the Acid-House artists of old.  In today’s market you hardly hear many House acts- with that munch quality and endeavor- emerge:  Fewer blend House elements with other genres to be fair.  Matt Doe, Leo P. and King of Sludge are a brotherhood that are going to be conquering the music world soon enough.  So many musicians do not take the trouble to variegate their sounds and stretch the limits of their musical ambitions.  Variety being the spice of life and all, how can anyone not fall for the quirky and feet-moving bliss of Too Many Zooz?  Take the opportunity to donate to their album campaign and ensure the guys have a platform to get their music out there.  I wanted to review the trio to get (or try to) their brand heard in the U.K.  While the guys have British support, they are still really an act with an American majority (of fans).  Hollagraphik is a statement from a three-piece that have a very clear and wonderful future ahead.  If you do one thing today…

DISCOVER this unstoppable musical juggernaut.

[bandcamp width=350 height=442 track=1506956993 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

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Follow Too Many Zooz

 

Official:

http://toomanyzooz.com/

Facebook:

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

Twitter:

https://twitter.com/TooManyZooz

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Music:

https://soundcloud.com/toomanyzooz

TRACK REVIEW: MissDefiant- Venus and Mars

TRACK REVIEW:

 

MissDefiant

 

 

Venus and Mars

9.2/10.0

 

Venus and Mars is available from February 5^th.

GENRES: Pop; Electro.-Pop

ORIGIN:

London, U.K.

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I can never claim to be the biggest fan of mainstream Pop music...

but I am always looking for artists that lend credibility and quality to the genre.  Away from the powerhouse/big chorus artists- Katy Perry, Rachel Platten etc.- there are a range of upcoming Pop acts that provide a mix of passion and subtlety:  Songs that do not grab you by the throat at every opportunity.  I shall come to my featured act soon, but for now, it is worth looking at female Pop acts:  Leading into investigation of the general Pop market- finishing off with a word on the importance of upbeat/futuristic sounds.  Being a big fan of the heavier side of music- Rock and Alternative especially- I do not often dip into the Pop market.  I find a lot of the modern, mainstream sounds to be quite particular and basic.  Too many artists process their vocals heavily and stuff songs with easy hooks and inane choruses.  It is a hard graft to pen a catchy song, mind:  If you are able to do so with some intelligence and grace; so much the better.  Far too often we get a new Pop act arrives and the same thing happens:  Their songs are over-produced and mindlessly simple.  That music never sticks in the imagination and you are left feeling a bit cold.  While acts such as Justin Bieber are starting to find form- and gain genuine credibility- acts like Rachel Platten- mentioned above- are displaying the ignorance and worst traits of Pop music.  With music that relies on cliché subjects and a lack of identity.  Whilst the music (and choruses) is big enough to stand an atomic bomb:  Listeners want their Pop artists more rounded and unique.  The songwriters and artists that will distinguish themselves- stand away from the faceless clan that are coming through- are those that mix emotions, sub-genres and ideas into a cohesive whole.  You can have big choruses and something emphatic- it can rally and inspire all listeners- but you need to be smart and offer the public depth and a bit of range.  MissDefiant- on paper at the very least- may sound like your average Pop duo and provoke the same thoughts:  They are going to be Katy Perry/Taylor Swift-esque and only appeal to fans of those artists.

We are quick to judge artists; when you dig deeper, MissDefiant have a lot more to them than meets the eye.  While they have those Pop staples in their stable- contagious sounds and polished production- they manage to present contrasts and surprise.  Their songs do not simply rely on well-trodden subjects- hearts broken and fighting against the world at large- while their music has a great blend of Electronica and Pop ideals.  At the one moment they can be restrained and melodic:  The next, they rise to euphoric heights and sparkle with intensity and purpose.  Jordan Cather and Emily Rose Adams are striking to witness- not just in the flesh but through the speakers- and have a look and sound that is ready-made for the mainstream market.  Venus and Mars is forthcoming and shows what they are all about:  More confident and alive than ever; it is a song impossible to ignore and not be affected by.  The girls’ social media numbers are climbing at the moment- they will increase as their new single is unveiled- and there are big hopes for this year.  If you consider the Pop market- the artists out there and the great duos- you have a few choices available.  I have stated my ’objections’ to the likes of Ed Sheeran and his type:  Music that lacks necessary nuance, range and staying power.  I know he has his fans- and has collected enough awards along the way- but I always look for something less rote and sugary.  There seems to be a calculated effort to make his music appeal to a very distinct market:  The pre-teen girls and everyone else seems exempt.  I may be off the mark, but with Sheeran, the music is too limited and not all-inclusive.  Lyrics that are a bit plodding and over-worn:  Music that lacks depth and necessary inspiration means his albums are for a particular time and place.  MissDefiant are a powerhouse that certainly cannot be accused of soppiness and lacking any depth.  Their compositions and songs are capable of lifting through the atmosphere and eliciting big emotion- whilst appealing more to a teenage audience.  Bringing in club shades and Electro.-Pop- inspired by the likes of Calvin Harris and Mark Ronson- and you have a duo that are rounded, original and ambitious.  Too many new artists forget to create something upbeat and future-looking.  What I crave in music- aside from a lot of other aspects- is music that gets me stood to attention and provokes something positive.  That does not have to come at the expense of texture and quality:  It is easy enough to create an upbeat song that massages the brain along the way.  Our London duo team up with producer Mike Tournier and pen music that not only grabs the club-goers but those who prefer their music Rock-tinged and a little more developed.  The girls are aiming for big things this year and it will be interesting to see if they come up with an E.P. or album.  Their range of songs already out there shows MissDefiant are more than your run-of-the-mill Pop act:  They have the potential to cross boundaries and get their sounds heard by a wider audience.

If you are fresh to Miss Defiant- like I am alas- it is always worth having a look at their previous numbers.  In terms of the girls’ influences, the below artists feature:

Lady Gaga, Charli XCX, Rita Ora, Die Antwoord, Katy Perry, Crystal Castles, Madonna, Tinie Tempah, Lana Del Rey, Ellie Goulding, Havana Brown, Fuse ODG, Mark Ronson, will.i.am, Calvin Harris, Swedish House Mafia

Those balking at the idea of a Rita Ora-cum-Katy Perry sound will take a deep breath:  There are elements of Mark Ronson and Swedish House Mafia that means their music is not a girls-only sound.  Empowerment and defiance are themes that sit alongside sensitive unveilings and lyrics with plenty of heart.  Venus and Mars is their most assured and fascinating number to date:  It builds on their early promise and stands up to repeated listens and scrutiny.

Mess With You was an early number- released last year- that saw futuristic vocals present rather saucy lyrics.  Our girls want to mess with (the hero) and are rather candid in their ambitions and intentions.  Not allowing any double-meaning or doubt to come in:  The lyrics are pretty direct and do not leave much to the imagination.  The composition spars blipping electronics with rushing highs that give the song a constant energy and persistence.

Get Out!  has another strong and memorable chorus that sees the girls speaking to a suitor or subject:  That desire for them to get away and leave it presented with verve and passion.  Like Mess With You, Get Out! contains some processed vocals and relies on a (deliberately) robotic sound to provide urgency and an edginess into the fold.

  Innocent showed another leap forward and the girls bring in something more subtle and introspective.  Not completely ballad-y- the song still has plenty of energy and attack- the vocals are less processed and it allows their voices to sound more natural and free.  Looks can be deceiving and the song’s subject- who has perhaps not been completely free from blame- has been put under the microscope.

The girls seem to be growing stronger with each release and demonstrating personality and originality.  In their earlier numbers, I found there was perhaps a committee-led ambition to have them fit into a particular hole.  While the songs stand in the memory and have quality, the voices were being distilled and there was too much emphasis on the composition.  By the time Innocent arrived, you get a greater sense of roundness and depth.  The duo always sound exciting and uplifting:  Their music never dips into blandness and is always capable of eliciting a reaction.  Innocent was their most authoritative and assured song that has led to Venus and Mars.  Taking another step forward, the music is at its very peak.  Recalling the 'Girl Power' Pop of the ‘90s- and the wave of acts that followed The Spice Girls- there are clear and unfettered vocals.  The production values are still polished but this does not come at the expense of emotion and quality.  The girls sound more open and confident here:  The vocals really flourish and the composition is their most diverse and compelling.  Employing elements of Disco and Pop into Electro.-Pop strands means you have MissDefiant’s defining statement.

Venus and Mars begins with a twinkling and star-gazing sound that is backed by ethereal vocals.  Ensuring the song wastes no time getting into the head:  You have an instancy and magic that means you are curious to hear what comes next.  Before too long- and an unexpected move from the duo- comes in the form a big beat that takes the song into Electro.-Pop/club territory.  Not too imposing- but pressing enough to get the feet moving- you have instant contrast that sends the thoughts in different directions.  Following that breezy and cosmic beginning:  Here is a sound much more urgent and intense.  Reminding me of some ‘90s Pop/Dance acts- everyone from Madison Avenue to All Saints- there is a very modern and contemporary essentialness to the opening.  I mentioned MissDefiant were influenced by hit-makers such as Calvin Harris, Mark Ronson and Swedish House Mafia:  Their influence is felt in these opening exchanges.  Previous numbers from the duos have seen female-heavy influences come to the fore- subjects looking at sexual hook-up and rebelling against no-good guys- but the composition here suggests something gender-neutral and more universal.  Straying away from pure Pop:  That hard-and-heavy blend will hook in the most steely of listeners.  Just as you start to predict where the song will lead, our heroine arrives at the mark with her voice sweet and passionate.  “Hit me like a falling star” shows someone in love and under the spell of a particular man- my interpretation anyway.  Wanting (her subject) to point her to where they are:  Here you have declarative and direct words that see a young heart that is in the grip of passion.  That said- and given the song’s title- my mind was looking at alternatives.  Perhaps the song relates to getting away and escaping life’s stresses:  Using Venus and Mars as far-off destinations one could retreat to.  The first minute-or-so sees that subtle but powerful composition- a steady beat keeps the energy levels high- and key words repeated.  Ensuring the lyrics are easily remembered- and can inspire sing-along chants and accessibility- there is a certainty hypnotic charm to the vocals.  Light and airy on the one hand; there is plenty of urgency and soulfulness at work.  Once more- and catching you off guard- the song suddenly steps up a gear and explodes into life.  Those beats become heavier and the electronic swathes- that were under-the-radar at once- fizz and crackle with life and motivation.  Taking its sound into Dance/Electro.-Pop territory, you get hooked by the intensity and catchiness of the unfolding drama.  Our lead wants that falling star to hit her- the repeated words “Say something” suggests there is a need for communication- and there are frustrations among desire.  Maybe the hero is being too cagey and not letting his feelings out freely.

While there’s that tangible passion and desire- from our lead at the very least- perhaps the lines of communication are blurred and the two parties are on different wavelengths.  Maybe I am over-analysing yet that is the nature of the song:  Its simply-but-complex contradictions inspire deeper thoughts and investigations.  It is perhaps the unflinching and indefatigable energy of the song that will mark Venus and Mars out.  Never overly-powerful or generic in its sound:  The composition bubbles and explodes with smiles and dance-floor ambitions.  Uniting sub-genres and decades into a heady and nourishing blend- that is strong enough to convert Pop deniers and skeptics- those repeatable codas ensure listeners will be quoting the lyrics and singing in unity.  After the snowballing codas- where the vocal has a charming mix of Kylie Minogue and Ellie Goulding- the song expands and offers new lyrical insight.  Our girl wants her heart touched and the man to be more honest with her.  Asking where the two should begin- there is a sense this is a new romance starting to bloom- it is hard not to picture astral and intergalactic scenes- given the song’s title.  With its heart pure and a smile always at hand- despite the frustrations at work- it is a rather innocent and original take on love and finding common ground.  Too many peers employ clichéd words and cloying sentiments inside one-dimensional compositions- topped off with boring-as-crap vocals.  There is no such fate for MissDefiant who ensure every second of Venus and Mars provides something interesting and different.  One who has been nervous assessing a Pop song- and has preconceived notions as to its sound- was hugely surprised and impressed by their talent and ability.  Riding that insatiable and thirst-quenching backdrop; our lead wants to be lifted from gravity and discover a rare intensity.  The song’s title- when you think about it simply- refers to women being from Venus; men being from Mars.  The 1990s self-help/relationship guide from U.S. author John Gray was a huge best-selling work.  Promoting practical ways to improve communication in relationships, the girls have extrapolated ideas and cores from the book:  Venus and Mars sees two lovers with barriers that need overcoming.  Maybe here- through the song; following the arc of Gray’s work- there are problems that need resolving or stumbling block:  The hero might have one idea of things (that calls for action) whereas our heroine might want a talk-based solution.  I am not sure, but one thing is clear:  That combustibility and desire never relinquishes from start to finish.  Eliciting so much upbeat energy- ensuring the song has cross-party appeal- you will not be able to refute the power and urgency of an immaculately-produced Pop gem.  The final moments see that chorus coming back in once more and a tantilsling beat brings proceedings down.  By that final second you never relinquish that smile and find yourself coming back to the song and playing it over and over.

Few Pop acts have that nuance and memorability sorely lacking from the modern scene.  Too many acts are obsessed with heartache and love:  Putting these well-worn issues around vague and slight sounds.  I have been looking around for a great Electro.-Pop act that calms my reticence with regards Pop’s abilities.  MissDefiant have always been a strong proposition- I am glad the vocals are more natural here- and have hit their stride on Venus and Mars.  Gone are the processed vocals and here is something much more appealing and developed.  The girls have honed that knack of mixing universal themes inside compositions that have a nice blend of grittiness and sweetness.  I cannot wait to hear an E.P. as Venus and Mars surely will have a starring role.  Developing and improving as singers and writers:  I feel tracks such as Innocent and Mess With You will feature too.  It not only shows the differences and sides to their music but how they have evolved over the past year.  I have not been excited about Pop music for a while so am glad MissDefiant have arrived on the scene.  Cather and Adams are a duo that has a stunning connection and a tightness that comes through in their music.  I am not sure whether Venus and Mars was penned solely by the girls- or whether there were a few cooks in the mix- but you can hear that identity and honest come through.  The duo is not merely plodding out a committee-approved song that will get chart approval.  Whatever the inspiration behind the lyrics you have to tip your hat to the song’s intensity, consistency and originality.  Balking against the tired and limited nature of some Pop music- that tends to rule charts and minds- you have a song that gives the genre a much-needed kick in the arse.  When the song is released on February 5^th, ensure you take time to discover a wonderful song from a talented new act.

I am glad to have discovered MissDefiant as I had some trepidation at first.  The Pop market is a hard one to crack and there are so many players out there.  The public seem to be rather hard to pin down.  Whilst some artists have risen to prominence without deserving it- shall not mention particular names- others have had to struggle for recognition.  Too many artists pitch their sounds to narrow audiences a particular type of consumer.  The pre-teen market is an important one for sure:  Acts emerging seem to fit in by either sounding juvenile or producing something sugar-sweet and bland.  Maybe that simplicity and lack of imagination speaks to an audience sector who do not look for depth and nuance in their music.  There is that desire to discover something immediate and uncomplicated. Attention spans are shorter; few younger listeners take time to discover what music has already given them- they are all about the here-and-now.  Pop music also provides a sense of identity for a lot of listeners (especially young girl).  Because of this, the likes of Katy Perry and Rhianna have grown in popularity and prominence.  Songs that look at defying the odds and fighting adversity appeal to young minds that struggle with the demands and realities of the modern world.  It is vital we have artists that speak to (and for) young girls and resonate with them.  The trouble is, too many Pop artists play in this arena and tend to push away other listeners.  I do not think Pop is a market reserved for younger audiences- and those that want something disposable- so more artists need to look at what they are doing.  There are too many bland and saccharine acts emerging:  I would happily embrace Pop music were I to hear more diversity, energy and quality.  Perhaps I am being over-demanding:  It is just I grow tired of the milquetoast and timid artist.  Those that try to subvert that image come off as clunky and a little cringe-worthy.  Once in a while you come across a Pop act that provides what you are looking for:  Reaches further and gives music that ticks all the boxes.  MissDefiant started their careers confidently but were still looking for their voices.  The likes of Robot, Mess With You and Get Out! have their charms and pack a punch:  It is hard to ignore the intent and authority the girls have.  Lots of Pop acts process their vocals if they do not have strong pipes:  Our girls have great voices and it is great to hear them unhampered and singing proud.  Innocent was the most intriguing move of the girls’ career that saw them at their natural and stunning height.  Venus and Mars takes things even further and mix all their sounds and elements together.

A tune that has some grit and hardness among the sweetness- that contrast of emotions makes it so fascinating- you are given elements of ‘90s Pop and the current mainstream acts.  Before concluding, I wanted to come back to the Pop market and the importance of bigger, upbeat sounds.  If you are tired of the vanilla and serotonin-reducing crop that come through- we hear them across radio all day long- then you will be seeking acts that do things very differently.  A lot of our new Pop artists focus too heavily on emotions and heartbreak:  This is a tradable commodity but far too many acts do not break from these confines.  If you look about the mainstream at the moment and think:  How many current Pop artists really linger in the mind?  There is a very real danger Pop will start to limit itself to the very young and exclude the more mature.  Our up-and-coming musicians are being too swayed and inspired by Rock/Alternative because Pop does not provide any appealing alternative.  If you look hard enough, there are a band of young artists that are putting more thought and diversity into their songs.  You are not going to balkanise audiences by neglecting issues of love and emotion:  So long as you cover them at some point, you can still win and retain hearts and minds.  The genre needs a credibility boost, so MissDefiant seem to have arrived at the right time.  They have the image and sound that can easily be picked up by teenage audiences.  When you look beyond that, you have a duo that produces well-crafted, fun and imaginative songs.  Their sapling cuts boasted enough sass and force to ensure listeners were never bored and underwhelmed.  If anything, the last few weeks/months has seen the girls up their game and hit their stride.  This all bodes well for a prosperous and exciting 2016 for Jordan Cather and Emily Rose Adams.  I am not sure if there is a new E.P. coming soon- or whether a fresh single will drop first- but we all will be looking to see how the London-based girls progress.  Venus and Mars is a song that you will want to snap up and hold close.  Those who are rather nervous with regards Pop- I can be included in this summation- should not fear MissDefiant.  They have plenty of quality and ambition that means they could well be a feature across festivals and radio stations before too long.  Take a peek into the girls’ past and see a young duo…

WHO is a serious act to watch closely.

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Follow Miss Defiant

 

Facebook:

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

Twitter:

https://twitter.com/MissDefiant

Instagram:

https://www.instagram.com/missdefiantofficial/

___________________

Music:

https://soundcloud.com/missdefiant

___________________

Videos:

https://www.youtube.com/channel/UC-2ky3QstIV_tG19NbHYqYA

 

INTERVIEW: FiFi Rong

INTERVIEW:

  

FiFi Rong

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THE next few weeks will see me fervently try to interview some of...

the hottest musicians around.  Last year, I was lucky enough to discover the rare talents of FiFi Rong.  Bowled over by her invention and way of working:  This year will see her create more music and unveil a brand-new E.P.  In a music scene that has too much staleness and rigidity:  Artists like FiFi Rong are a commodity that needs to be promoted and savoured.  Keen to catch up with her- and reflect on the year just past- I asked her about music plans and her heritage; who inspires her sounds- and what music means to her...

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Hi Fifi.  I hope you are well.  How was your Christmas and New Year?

It was great thanks!  It was restful and I just did what I love doing the most throughout the holidays

I believe you a planning a PledgeMusic campaign for your next E.P.  What can you tell us about that?

Yes, I'm running PledgeMusic campaign again for my new E.P. Forbidden Desire as I really loved the interactive experience of the campaign for my last E.P.  The process of making music is the part I enjoy the most and sharing it with people (who like my music) is the best experience ever.  This time, I’m running the campaign for one month only.  I’m adding in some additional exclusive one-off items whilst making some of the items from the last campaign available again- for those who missed it last time and for those who are new to me :)

In terms of your style and image; it is very unique.  Was there any particular person that inspired that image, or was it always a personal choice?

My thinking was to introduce some eastern culture in a western, modernised way:  I merge those Chinese elements in little doses into my imagination and experiment with things.  So I guess it's a personal thing, but I haven't thought about it so much… it just happened.

The music you make also has a very original and stunning sound.  Which artists/musicians have influenced you and were important as a child?

I was born into a Chinese music background with built-in Chinese Opera and Folk music programming.  Whatever I do now I can naturally blend in those elements to any degree.  So I play around with it.  Growing up, I definitely discovered myself liking dark, dreamy and deep music such as Pink Floyd, Cocteau Twins etc.

You were born in Beijing.  How does the music scene in China differ to that of the U.K.?

I have no idea.  When I left, I was close to the underground Rock scene there:  Some great, passionate (but struggling) musicians as opposed to Pop stars on the other end of the spectrum.  I’m not sure what happened after that.  When I go back now, performing there (I think) people accept uniqueness more.  The U.K. has a rich music culture (although it is saturated):  Fast-changing; it is still one the coolest place.  There's certain moodiness about it that I like that makes me want to stay in and make music- more so than other places.

London (where Fifi is based) is a vibrant and busy music centre.  How important is the city with regards your creative process and success?

I'm ignorant of the world outside my studio.  I started off here- since my first production and song- and haven't paid much attention to the changing world as music makes time go fast and make life linear and simple.  It would certainly be harder to focus on music if there was hot sun and beach outside my window.  I also like the freedom that I can be myself here: Straightforward, little judgement; it’s a great environment for me to create.

Congratulations on a great 2015.  Any particular highlights?  Do you think your best music is still ahead of you?

Yes, my last E.P. Violently Silently was definitely a highlight and the first time running a PledgeMusic campaign was thrilling and fun!  The launch show at The Garage was wicked.  The China tour was immense as well.  I have been making my best music in preparation for my next full-length album.  That would be the best so far:  However I need to prepare my audiences with this coming E.P. (Forbidden Desire) first, which is pretty close to what you will get from me.

When it comes to the coming year- in addition to the new E.P. - are there any other plans in mind?

I have a small tour in the U.K. and several good shows booked in E.U.  Mainly, I will be crafting the album just mentioned, and give it my all.

With regards the music you have already produced.  Which song has meant the most to you, either creatively or personally?

I taught myself to produce on my little Mac. many years ago.  I honestly didn't know what I was doing or listening to, but Wrong was mostly done in the first year of my music mileage.   I'm pretty impressed thinking “How did I do that?”  by not knowing anything.  I loved Hurt Outta Sudden, I Need the World to End; Ever Rising Sun and Time.  The beauty I see mainly comes from non-thinking and pure innocence.  I'm also proud of Since When as I tried many (many) attempts at its production.  It is a track of very good balance:  Creativity and conventionality; technicality and experimentation.  There's no shortcut or much luck when it comes to this track.  All of my tracks have their own stories:  I love all of them but once it's released they belong to the world.  I no longer feel attached but I'm more-so (attached) to the ones I'm doing now.

You have studied at university and produce your own music.  Do you think it is important to have that control when it comes to your music, and how important have your studies been with regards your creative process?

I studied Economics and Sociology for my first degree and then Media Management as a Masters.  The little PhD I did was to do with music- but on the sociology side of things.

I don't think I would be doing music if I didn't start off producing music.  It's absolutely critical and defining for me to have control of my sound.  I can't imagine having other's sound on my music.

Music is a basic instinct to me.  Everything seems written in my sub-consciousness already:  I just need to get it out.  Music theory is important with regards arrangement of course but I just taught myself:  It's not rocket science, but I really wouldn't want to study music at uni.  I would have died from frustration.  Nonetheless, my studies in business-related subjects were incredibly valuable:  That how I have managed to hold my own ground.

Are there any other musicians/acts out there you would recommend to people?

Sad-Sic- an artist I have collaborated with- has a unique sound.  When I said ‘unique’, I mean it… It's hard to find these days!  He’s got a new album out and is keeping it low-key.  Still Parade- I came across last year- has amazing songs and sound.  They’re a German band:  Very inspiring.  Island is (a group) I found out about yesterday:  It's not the first time I heard this kind of stuff but I really love the vibe.  Their drums are especially divine.

Your music mixes various genres and sounds- including Electronica and Pop.  Which artists were important with regards shaping your sound?

Like I said, my music comes from an unconscious, non-thinking place.  I don't really think about it although people like to compare me with what they know of.  I love a massive range of music from all kinds of artists but my all-time favourite would be Cocteau Twins and D'Angelo- they are the only ones I can say I like almost all the stuff they did.

I love how unique your vocals, music and lyrics are.  Is there one particular element- lyrics, music or vocals- that are most important or is it the combination of the three?

Lyrics are most important to me as they happen from the effort of my mind.  Whilst my music and vocal delivery come from a place beyond my mind and thoughts; they are probably most unfamiliar to other people who are new to my cross-cultural style of singing in English- with a hint Chinese traditional tonality.

Finally, and for being such a good sport, you can name any song and I will play it here… 

The new track I did as a gift to people:  Lost in Space Music

[soundcloud url="https://api.soundcloud.com/tracks/238849707" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Support FiFi Rong’s PledgeMusic campaign (from January 29^th):

http://www.pledgemusic.com/projects/forbidden-desire

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Follow FiFi Rong

 

Official:

http://fifirong.com/

Facebook:

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

Twitter:

https://twitter.com/fifirong

BandCamp:

https://fifirong.bandcamp.com/

SoundCloud:

https://soundcloud.com/fifirong

Instagram:

http://instagram.com/fifirong

TRACK REVIEW: Scout Killers- Rip Me Apart

TRACK REVIEW:

 

Scout Killers

 

 

Rip Me Apart

 

9.4/10.0

RELEASE DATE: March 28th, 2016

GENRES: Rock; Alternative

ORIGIN:

Bristol/Bath, U.K.

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FOR today’s investigation I get to come back to a band…

that provided much excitement in 2016.  I have been searching for great bands this year- among the throng of rather bland ones- and seeing which ones will be making big moves this year.  I have been reading a lot of articles that make predictions about new music.  There is a fear the best of the ‘new acts’ coming through- those on the ‘ones to watch’ lists- are rather unspectacular and overrated.  When I look around the promised artists for this year:  There is a bit of suspicion there will be some disappointment and familiarity.  I feel the media is too quick to proclaim artists based on rather shonky foundations.  Rather than looking for forward-thinking and ambitious artists- which sound different and rebel again the middle-ground- the press tend to look at acts that fit into pre-defined moulds and expectations.  While the likes of B.B.C. have tipped a couple of good acts:  There is still a depression lack of genuine musicians coming through.  Another report I read- cannot remember the website- stated Rock music is well and truly dead.  Whilst there is some truth in the fact- it is not as explosive and stunning as it once was- there are some great new acts emerging.  I think the problem arising when you look at the sheer number of artists out there.  Given the music that has come before- the huge array and invention- it is harder to create something truly original.  Rock and Alternative are genres that have so many participants- each of them doing their own thing- it is very difficult to reinvent the wheel.  You can find some quality but when it comes to doing something truly unique:  How easy is it going to be to find that?  We (as music lovers) have high expectations of our new musicians.  It is unrealistic to expect something world-beating from every musician you come across.  If you lower your expectations to realistic levels:  There are some artists poking through that are going to shake music up.  I mention Scout Killers- no muted praise at all you understand- as they’re an act that are gaining a lot of momentum.  Within the sardine can of the Rock/Alternative market:  These boys rank alongside the best and brightest groups coming though right now.   Scott Cox, Beau Stevens, Julien Morrez; Josh Ellis and Chris Phillips are the scout-killing boys that have been playing for a little while now.  Looking at them- and the fact they originate from the Bristol/Bath areas- gets me thinking about the geography of our best bands.  I have been spending a lot of time- as I will this and next week- investigating London acts and how well they are doing.  Whilst the capital is spawning some tremendous solo artists, there are few stand-out bands coming along.  I find the best U.K. bands are stemming from parts other than London: The focus has shifted to other parts of the U.K.  Away from Manchester and Liverpool- two areas that are still giving us so many good bands- the likes of Bristol and Bath are showcasing some terrific talent.  Looking at Bristol- and the great artists playing there- the likes of Spectres, Idles and Trust Fund are definitely worth watching.  Rebecca Clements, Turbowolf and Groan Dogs make up a list that sees variation and ambition in spades.  Last year I had the chance to look at Stand Your Ground:  The five-track E.P. saw our heroes create something enduring and hugely exciting.  Focused, tight and bursting with epic tunes:  It showcased maturity, depth and musical intelligence.  There has been a bit of a gap between recordings:  Glad to say the boys are back with a new single.  Before I get to that, it is worth looking at what the future heralds.  With the likes of The Family Rain- a promising band coming out of Bath- growing in status:  More eyes will train themselves the way of Bath and Bristol.  London is still that nirvana for performance and critical attention:  I hope the quintet will come and play here and give the crowds a chance to witness their music in the flesh.

At the moment I am formulating a radio station:  The intention being to play brand-new music alongside classics and lesser-heard gems.  Inspired by a lack of radio variation- few stations champion unsigned acts- I feel the likes of Scout Killers deserve greater exposure.  Away from social media and the like- SoundCloud and YouTube- there are scant chances to hear their ilk across the airwaves.  Perhaps it would be too subjective playing new musicians on radio:  You have to draw the line somewhere and so many acts would still miss out.  That said, there is a chance begging I feel:  Our best and most inspiring bands are not being given a platform to get their sounds heard by a wider audience.  Those problems may not be reconciled quickly:  For now we just have to appreciate chance discoveries and ensure we keep promoting great acts.  Scout Killers are going to be releasing their new album this year and it will give audiences a chance to see how they have developed and progressed.  Having cemented a solid and crowd-pleasing sound across previous released- their E.P. and singles- I would not expect too much change.  What you get from the Bristol/Bath collective are well-defined songs that have universality alongside personality.  Those central performances- well rehearsed and compelling throughout- prove just how passionate the band is and how much they want to succeed.  Too many bands arrive and do not put the necessary graft and work in:  You start to wonder whether they want to inspire and stick around in music.  Scout Killers have an honesty and hard work ethic that singles them out as serious players this year.  If you want a divining rod that leads you to water- rather than the arid desert that some media outlets guide you to- social media still has some potential.  Not as disciplined and organised as it should be- another issue that gets me ranting freely- it is a good way of discovering great artists.  Scout Killers will be busy this year releasing material and taking it on the road.  If you are a fan of the best Indie/Rock/Alternative has to offer; ensure you take time to check out these guys.

Scout Killers have been performing for a few years now and already produced an album and E.P.  In terms of their evolution, one should look back at Stand Your Ground- their latest record that was unveiled last year.  The title track shows those atmospheric and magisterial vocals soar over a nervy and building composition.  Militaristic drums keep the pace and intensity at fever-pitch.  The guitars wail with carnivorous intent whilst the band evoke memories of early-Oasis and the vocals reach exhilarating highs.  A song that crawls and bays at will:  Few listeners can deny the intent and ambition from a band completely in control.  Defiant and against-the-world:  It is an anthem that inspires fists-aloft proclamation and chorusing.  Elsewhere, Time and Again provides Acoustic blends and lightness into the E.P.  After an intriguing introduction you are witness to one of the most cinematic and memorable tracks from the boys.  Gorgeous and romantic in places:  The vocal comes in and shows our hero at his most sensitive and restrained.  Looking at pain, splits and heartache:  That darkness and weight is on his mind throughout the song.  Being Scout Killers, you never know how the song will develop.  Keeping things just below the level of ‘combustible’:  It is a track that has U.S. strains to it- the likes of Counting Crows and Pearl Jam can be heard- that will appeal to a wide audience.  Those Eddie Vedder-esque vocals come out in the finale, Cease and Resist.  Judas Priest-esque guitar squeals back a track that is the band’s Hell-fire mandate.  Animalistic and savage:  You have a song that is packed with meaty riffs and spectacular noise.  In the grip of an out-and-out epic; you get lost in the impassioned performance and immersive lyrics.

Rip Me Apart unites the band’s previous work- more in common with their E.P. rather than earlier album- and takes their music a step further.  The intensity of Cease and Resist is in there:  The boys incorporate subtlety and emotion into a song that has a lot of layers and fascination.  Our lead’s voice is more developed unique- fewer touches of Vedder in there- but still retains that gravel and potency.  The band themselves seem ever more bonded and unified- such a tight and hypnotic performance- whereas the song mixes urgency and nuance.  The first play hits you hard and true:  You need a few spins before all the components and sides coalesce truly.  Scout Killers seem imbued with ambitions of success and longevity.  They have not created a new song that sticks to their sound and does not move it along.  The five-piece have infused new lyrical bents into the mix- whilst keeping the subjects of heartache and pain in there- whereas the composition is among their most inventive and festival-ready.  At the heart of everything is the originality and desire.  I have mentioned bands like Pearl Jam and Oasis, although to be honest, there are the faintest of touches.  If you like your bands to be their own boss- and owe a debt to no one- then keep your peepers on Scout Killers.

Rip Me Apart is a six-and-a-bit minute of fascination.  The warped and echoed electronics- sort of an ultrasonic cosmic sound- gets the hairs standing up right from the outset.  Almost tripping into Electronic territory- that would be an interesting avenue! - our front-man is teed-up by a percussive smash and guitar strike.  Keeping the composition supportive and guiding- rather than an immediate blitzkrieg- it gives the vocals a chance to shine.  Those inimitable and chocolate-rich tones- Eddie Vedder still has influence yet our man sounds more himself here- give importance and emphasis to the lyrics.  Initial feelings look at “endless lies”, broken ribs and blackened eyes.  That violence and chaotic unfolding provoke instant images and speculation.  Our hero looks for meaning- the “truth untold” will never be known- with anxiety and uncertainty here.  That vibrating and echoey vibe keeps the song dangerous and unnerving.  Ensuring every listener cannot escape the unfolding drama- and the soul-weighing predicament our hero is facing- the band unify and sound completely in-step.  The percussion has tribal elements and a bellicose undertone.  There are pattering beats and pulsating electronics entangled in a rapturous seduction.  Riding a charge, our hero is being eaten alive and feeling the force of some harsh premonitions.  There is a girl that is at the forefront:  Whether a former girlfriend or a current love; our man is trying to escape hurt and pain.  Maybe there has been some breakdown and a parting of the waves- a rather harsh and acrimonious split- where he feels “that rage again”.  Walking into the “lion’s den”; there are epic images and huge emotions at work.  Clearly, there are some big issues and problems between the two.  I started to wonder what is being assessed- these visions and predictions- and start to pick the lyrics apart.  Ensuring the lyrics resonate and get inside the head:  Our hero produces one of his most entrancing vocal performances.  Keeping his emotions in check, they soon expand to biblical heights.  Proclaiming “This is the end!” you get a sky-scarping performance that turns the volume up to 11.  The band combines in an orgy of metal, skin and fire:  A startling and head-splitting commingling that comes as a shock.  Properly evoking the intensity of emotions- and the fracturing of relations- you have that explosion and howling execrating.  One of the most immediate and unforgettable musical gestation I have heard in a long while.  Just as you think the song will collapse in a breathless heap; the mood dips down and the calm arrives once more.  Whether sarcastic or plain fed-up, our hero directs his words:  “Hello there, good to see you again” as his thoughts turn to the regretful and accusatory side of things.  It is clear this girl has caused scars and irreparable damage.  In his mind now and again:  Our boy is glad she got hers- maybe justice or a new lover- in the end.  It is a fascinating few lines that make me wonder how the girl is faring.  Maybe life has caught up with her and she is being punished- getting a taste of her own medicine- or maybe there is genuine intent in the words.  Perhaps our hero has been self-immolating and not been free from culpability.  Maybe his sweetheart has moved on and has a new life:  This is causing him some peace at the very least.

Given the intensity that preceded these words:  One suspects there's some cynicism and irony in the lines.  In need of answers, that quest for truth keeps coming through the mist.  Living “a lie” there is that need for détente and reconciliation.  Lying awake by unanswered questions- why things broke up and what went wrong- our hero cannot keep “asking why”.  Maybe he has kept his distance and being restrained so far.  When the composition erupts and that vocal ignites:  You cannot help but hear that pain and torment come to the surface.  Wanting to march to her house and demand explanations:  You start to sympathise with his plight and feel recrimination towards the heroine.  The girl made our man a boy- that regression to a fearful and uncertain state- and has taken so much.  Making him choose avenues he did not want to explore- and breaking his heart into the bargain- the issue of deceit is given fresh voice and new initiative.  I love how the song has a quiet-loud dynamic that runs through it:  Reminding me of Grunge masters like Nirvana, Pearl Jam and Soundgarden; you are transported to the ’90 and that heyday of rebellion and leadership.  Scout Killers sound like a genuine article:  They do not copycat any band; instead, they evoke their memory through their own spectrum.  Our hero wants to change places with the girl:  Give her a chance to see how he feels and how she has put him in the ground.  The deathly hallows and haunted spirits hover around:  There is no retreating from the anger and vitriol emerging.  Being ripped apart like a carcass in the noonday sun:  Every time that demonic vocal brims with pain; you feel helpless to resist its power.  The band is consistently impressive and gilded throughout.  Those rifled percussion notes are backed by concrete and lightning-strike guitars.  The bass drives the song and keeps everything disciplined.  That warping and pulsing electronic beat keeps its voice heard:  The combination of instruments and ideas gives Rip Me Apart endless wonder and depth.  Few bands go in heavy and hard and do so authoritatively.  By the closing moments- as that chorus comes in again and the final words expelled- you start to wonder how things worked out.

The boys of Scout Killers have created their most combustible and astonishing moments to date.  Bringing in all their previous sounds- from their album to E.P. flairs- you have a song that highlights their core strengths:  That unique and fire-brand sound; the originality and innovation alongside the tightness of the band.  Our lead has his velvet and atmospheric voice at its very peak:  Recalling painful and regretful unfolding; you have a song that would sound much weaker in anyone else’s hands.  Able to softly inspire and seduce:  That voice explodes and roars with intensity and huge passion.  Few singers have such a breadth and quality to their voice.  A vocal capable of making everything sound fascinating and compelling:  I can think of few other singers that leave such an impression on the mind.  Kudos goes to the rest of the band who are at their finest too.  The guitars mix intense rage with something settled and composed.  Perfectly bonded and intuitive:  The guys have that connection and passion for one another that translates into a mesmeric jam.  The percussion provides bullets, storms and beating hearts: A cornucopia of emotions and colours; the drums add so much spark and nuance to the song.  Ensuring the bass guides proceedings and ties it all together:  You have a performance that augments the song’s qualities and inspires the band to up their game.  Altogether, Scout Killers are at their most adventurous and stunning.  The production on Rip Me Apart allows all the elements and ideas to come together.  Never mixing anything low or missing anything out:  Here is a production that perfectly bonds the cinematic and emotional polemics into something focused and dramatic.  Whether Rip Me Apart will be an album lead-off- or a song lower down the mix- it is sure to have some serious radio play and fan support.  Huge congratulations to a phenomenal band that becomes stronger and more amazing by the year.  It is clear 2016 will be a year that will see them ascend to some rather giddy heights.  Do not be surprised to see the lads gracing the stages of Glastonbury and Camden Rocks Festival very soon.

It seems Scout Killers grow in confidence and commitment with every fresh release.  Although Rip Me Apart is not accessible to the public for a couple of months:  People should prepare themselves for something quite special.  If you are an older fan of the band- and have followed their progress from the early days- there will be familiar touches and pleasing consistency.  Not changing-up their sound too much- instead bringing in new subject matter and urgency- you will be excited to hear the guys at the top of their game.  Anyone new to the five-piece will find that blend of ubiquity and uniqueness.  A sound that could easily slide into the festival rotations- and find itself played across mainstream radio- their songs dig deeper and sound like nobody else.  I started by contemplating the state of Rock music and the proclamations made by the media.  Whilst the likes of B.B.C. are hardly gospel when it comes to the up-and-coming best:  They do provide a useful guide to what this country is producing.  This year- when it comes to said lists- has not seen too many bands feature across them.  I am not sure whether there has been a dip in interest- people starting to turn to solo acts- but there is a little fatigue for sure.  Maybe the sheer number of bands coming through has exhausted public attentions.  The mainstream has hardly given us too much this last year:  The best music from last year was (largely) created by solo acts.  Aside from the likes of Blur and Royal Headache- creating two of 2015’s finest albums- it has been the likes of Kendrick Lamar, Courtney Barnett and Jamie xx were the big hitters.  Perhaps our newer (mainstream) bands were too caricaturing and generic:  Sticking to familiarity is not the best way to gain reputation and longevity.  Even the new solo acts coming through- the sort tipped for greatness this year- seem too honed-in and safe.  Perhaps there is trepidation and a need to fit into boxes:  If you have a radio-friendly sound- that can get you airplay at least- it is wiser than being too unique and original.  I don’t know, but what I do now is that music needs more progression and boldness.  The solo acts I mentioned- Jamie xx etc. - made immense albums that showed individuality and incredible talent.  More musicians need to follow their leads- not literally; more a guidance- and make albums that impress those who prefer their music with colour and nuance.  In the band market, we still find too many acts who do not want to do anything nee.  Scout Killers are going about business a little differently.  Taking tried-and-tested Indie/Alternative sounds as a basis- they have some clear influences- they make music that is very much particular to them.  I can see them doing some good things this year.  Whether they will be touring across the U.K. - or keeping things fairly local- I am not certain.  What is clear is their musical development and intentions.  Rip Me Apart is their latest (and brightest) statement that will inspire other bands coming along.  Whilst their best days are still ahead of them- they’re a band constantly improving- all the signs are very encouraging.

Tight and measured; catchy yet emotive:  The five-piece have nailed all the key considerations (with regards penning a great song).  That anthemic quality lingers within introspection and anxiety:  Here is a group that understands what it takes to connect with an audience.  Before I get this review completed, I wanted to circle back to the Bath/Bristol bands coming out.  I have stated how hegemony belongs to London- when it comes to the best of new music- and a lot of attention is focused here.  If you want to discover the freshest and most impressive bands about; you’d do well to look further north.  Whilst Bath and Bristol (the latter especially) have birthed classics band such as Portishead, Massive Attack and The Cortinas:  The cities are seeing a new breed coming through.  Perhaps not as experimental as the listed- not with regards Trip-Hop/Electronica at least- there are some fantastic Rock and Alternative bands compelling me.  I have been looking around the radio and the Internet for a band I can invest in:  Something special that offers potential for long-time output and curiosity.  I have grown tired- as have many others- of the mass-produced bands coming out.  Every one of them seems to be tipped as ‘The Next Big Thing’ and is frankly quite depressing.  I understand how much competition there is out there- and how hard it is to stand out in a packed music industry- but the media needs to calm down slightly.  If you look at Scout Killers, you have a band that has that potential:  The guys have the ammunition to be performing for many years to come.  The boys do not seem too bothered- at this stage, it seems- with getting their names in every magazine and on every station.  They are forging their music and making encouraging steps.  It may be a few years down the line, but I can see Scout Killers being a festival proposition.  Against the charge of riff-heavy artists coming out- that provide little soul and depth- you have a group that have more emotion and sides to their art.  If you have not heard Stand Your Ground- go back and listen to that E.P. - you should be excited for Rip Me Apart.  It is a glimpse into their album- I think there is one due this year- and shows new confidence and inspiration.  Stronger than they have ever heard:  I can see the guys featuring across Radio 6 Music very soon (as a permanent fixture).  In the modern climate, that is a…

VERY impressive feat indeed.

_____________________________

Follow Scout Killers

 

Official:

http://scoutkillers.com/

Facebook:

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

Twitter:

https://twitter.com/scoutkillers

Instagram:

https://www.instagram.com/scoutkillers/

___________________________

Music:

https://soundcloud.com/scout-killers

_____________________________

Videos:

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

TRACK REVIEW: The Updraft Imperative- Pieces of My Past

TRACK REVIEW:

 

The Updraft Imperative

  

Pieces of My Past

9.1/10

 

Pieces of My Past will be available soon.

GENRES: Christian-Rock; Rock; Alternative

ORIGIN:

Brisbane, Australia

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THIS is the second time I am with the Brisbane-based...

Christian-Rock band.  In the first review for the band- when assessing their debut album Chair- I was impressed by the quality and sound of the music.  Far away from what I expected it was not what you’d call ‘typical Christian-Rock’.  My previous exposure- like a lot of people I guess- comes from television and media examples.  The odd band here and there that would be described as Christian-Rock.  The music being played by these bands is defined by its optimistic and faith espousal:  Never really winning you with its sound or hardness; the music is often bland and segregated- not designed to capture non-believers; more designed for the converted and confirmed.  That is all very well- making music for Christians- about your love or God- but it doesn’t have to be that way: Christian-Rock does not have to be just faith; foreign to those who think differently.  Take me, for example.  I am a confirmed and committed atheists (no human, event or circumstance will change that) and will never believe in God yet I am a huge fan of The Updraft Imperative.  Having listened to other Christian-Rock bands- mainly based out of the U.S. - I was off-put and cold.  I forget their names- there was a tortured pun or church-related name involved- yet the music was always the same:  Acoustic-based and overly-gleeful; subjects don’t stray far from belief and its power.  It is great having faith and holding onto something you believe in:  If you’re a religious musician- and have that platform and aim- then why not aim further and wider?  Beyond the churches and Sunday concerts; past the clandestine venues- when do we hear Christian-Rock bands?  Perhaps it is a societal fault:  There are some snobbiness and discrimination while people are not willing to embrace the music without even hearing it.  Perhaps that is true; yet there is an opportunity at hand:  Playing electric guitar- and infusing Rock and grit into your sound- does not betray belief.  It is not an affront to anti-religious sentiment.  Keep the messages true and you are not offending anyone or selling-out the Christian faith.  Before I end this point- and mention Australian music- let me introduce our featured band:

“Formed in their school days in the country town of Dalby, Queensland, Josh and Murray's friendship spans over 20 years.  In the time during and after high school they both honed and refined their individual and distinct musical styles.  In 2009, having both moved to Brisbane, the pair decided to get together to write a selection of songs, encompassing both their unique musical styles and their passion for honest, challenging lyrics.  Known simply as 'Updraft', the pair recorded a rough 10 track EP, 'Reflections'. Recording took place in Murray's garage on an old analogue recording desk and an even older, more unreliable free computer - with Murray both recording and playing guitar, bass and drums.  Laura (Murray's wife) commented that the resulting demo "sounded much better than it should" due entirely to the low tech facilities available to them at that time.  By late 2012, Josh and Murray had been joined by Pete on drums.  With the full support of their families, the trio made the brave decision to self-fund the professional recording of an album - using some tracks from the earlier demo 'Reflections' in addition to some new tracks written as a three piece.  While recording 'Chair', the band decided their name needed more impact. 'Updraft' was a direct reference to Isaiah 40:31 - '... but those who hope in the Lord will renew their strength. They will soar on wings like eagles; they will run and not grow weary, they will walk and not be faint.'  To stress the bands shared belief that as Christians, we should always be seeking and working towards something higher, a name that gave a strong reminder of this was agreed. And so, 'The Updraft Imperative' was born.  The 10 track album, 'Chair' was recorded over a four week period and produced by James North.  The band credit James for both his brilliant recording and production skills, but perhaps more importantly for his understanding of what the trio wanted to convey through the album and his direction in how to achieve this while also reflecting and capturing their unique style.  'Chair' was released in December 2012.  With their significant background of support through live performance and leading worship, The Updraft Imperative album tracks were included for airplay on local stations in Australia.  In June 2014, the band were offered support in promoting their music in the UK.  A whirlwind of airplay, radio interviews and album reviews has ensued, not only on the UK, but worldwide.  The storm of media attention happening overseas has stirred further interest back home.”

I will return to the band at the end of this section, but for now, to end my point- with regards the rigidness of Christian-Rock.  There is this fear about the music:  If it is too Rock/Alternative-based does that water-down its aim?  The design of Christian music- and anything that plays in this genre- is to promote faith and belief by giving thanks and praise to God- without trying to preach and judge.  Faith is a powerful thing yet there is power to be gained:  By making the music more captivating and popular- thus drawing in more ears and eyes- you are likely to succeed and certainly get more listening.  Unless you are Bob Dylan, an acoustic guitar (and a voice) leaves you restricted- something the modern music scene is forgetting.  It is 2016 and you have to go further.  Even Dylan understood ‘going electric’ was the way forward.  You cannot be stuck in the past (Christian music has this stuffy and middle-aged image still).  What impressed me about The Updraft Imperative- aside from their cool name and the quality of their music- was its contemporary sound.  They are not stuffy or boring; they are not insanely happy and saccharine- acts like The Polyphonic Spree can come across as such.  Chair is an album that is very faith-orientated- promotes the effects and redemptiveness of belief- and very true.  Its music and projection go further by rivalling the best of the Rock scene.  Masters of music’s finest components- a catchy and big chorus; tight and compelling performances; nuanced songs- the album stunned me.  The only reason I marked it ‘low’- or lower than most reviews- is its religious messages.  Those messages promulgate strength and joy; giving and togetherness.  The God-directed effuse- the faith-will-conquer-all mandates- were not quite potent enough to change my thinking and get into my heart.  That is a minor flaw:  The album and the band are filled with majestic layers and plus-points.  Arriving with new material (insights into what their new L.P. will contain) it is great to have them back- I shall reflect on that soon.  Before I get to the band- and their past work and current movements- it is worth mentioning Australian music.  Being based in Brisbane- one of the hottest and most fervent Australian music hub- it is worth looking around.  In terms of the Brisbane music scene past and present; some great bands have surfaced:  Powderfinger and The Saints; The Go-Betweens and The Veronicas; The Riptides and The Grates.  Away from the Queensland city it is Melbourne that leads the way:  They are producing some fantastic and varied sounds.  From The Temper Trap to Nick Cave and the Bad Seeds; there are some fantastic sounds happening there.  In the U.K. and outside Australia, a lot of our exposure to the Australian music scene comes from T.V. shows like Neighbours and Home and Away.  Totally Mild are one of Melbourne’s best current bands:  Their dreamy Electro.-cum-Pop blends have captivated critics; they are one of the world’s best bands.  Over in Sydney, Rock bands like Royal Headache are emerging.  The city has produced acts like INXS, AC/DC and The Vines.  Australia is showing itself to be the secret diamond:  The country producing the best new music and the finest new sounds.  Totally Mild and Royal Headache are perfect examples.  With The Updraft Imperative revitalising and showcasing Christian-Rock’s potential- and a wealth of great Alternative acts coming through- the country is really shining; mixing-it-up with the U.K. and U.S.’s best.  There is clearly a great mood and wave coming through; a rich vein of form- more eyes should be trained here.  Too many media eyes are focused on Britain and America and ignore less-obvious areas (their folly!).  The Updraft Imperative have shown- not just in Brisbane terms, but globally- how good they are and what diversity can be found- they are the finest Christian-Rock band on the scene.  After a terrific debut album, I was keen to investigate their new sounds and see what is in their mind.

The boys’ previous work (Chair) is the best comparison piece:  I wanted to see how they have evolved and changed and how the new material stacks up.  The album was a bold and brave testament:  The band mixed U.S. Rock elements- hints of Bruce Springsteen and Queens of the Stone Age- with some Classic-Rock elements.  There were some ‘Australian elements’ to the music- local bands and native sounds- yet it was mainly U.K./U.S.-based Rock bands that came through.  When it comes to the sound that was laid-out on the album, there were heady and weaving riffs with strong-armed percussion work.  Compositions changed composure and delineation and caught the listener by surprise.  So much depth and originality; a lot of flair and passion, the performances were consistently electrifying and tight.  You could hear the kinship and closeness:  The songs were well-rehearsed and solid.  Everything sounded immaculate and not overdone and polished.  The lyrics mixed Christian themes with the universality of love.  What defined the album- in my mind anyway- was that mix of doubt and hope and the uncertainties of faith.  In a lot of ways- when it comes to the new track- the boys are back in business.  All the motifs and components remain:  They have not radically altered their sensibilities to fit into market expectations and moulds.  The greatest leap is their confidence and performances.  The new song sound bolder and more assured.  The boys are even more confident and I am not sure what has caused this.  Maybe motivated by momentum- and their wave of support- there is an extra layer/level at work.  In that same sense, the performances are more emphatic and developed.  The guitars fuse genres and sounds- they did on the album but do so more abundantly here- and pull it off with aplomb.  There is Grunge and Desert-Rock licks; great little ticks and lines:  The best guitar work of the band’s career.  In addition, the percussion work is more rhythmic and potent with more fills and emotion- perfectly augmenting the track.  The vocals are full-bodied and more determined:  That sense of campaign and convert comes through like every word is utterly crucial.  You cannot deny that force in every note.  This bodes well for a future album as the music is at it most exciting- the boys get better with age and time.

Pieces of My Past is instantly memorable:  The initial notes and moments hit the mark and get right inside the mind.  The opening moments are a cascade of flowing strings and teasing percussion- the introduction settles in and builds the atmosphere.  There is an underlying sense of funk and dance; something quite toe-tapping and exciting.  Mixing Jazz and Funk elements with some Rock and Pop sounds- it is a complex and mesmeric beginning.  Building from these simple (yet hugely gripping) notes, the song expands as our hero comes to the mic.  It is unclear who he is talking to- as the ‘you’ in the lyrics could be a friend or lover; someone offering advice- yet it seems like there is some conflict.  Given the song’s explanation- and what Josh has disclosed- it seems to fit right in:  There's a doubter and detractor:  Someone who is putting pressure at our hero’s feet.  Our man needs to find his own way and he will win his own battles.  There is a lot of doubt and hardship ahead:  Some testing times and need to find answers; find God’s grace in their own manner.  From the new Christian’s point-of-view, there is a lot of judgement and expectation:  They do not realise it is not that easy to find answers and sort things out- they need support and not judgement.  The opening lines reveal these concerns:  “You look at me/and you say that I need to change things in my life/so I can be free”.  It is not as easy all that:  As our hero explains- they want him to “pull out the bad” and put good in its place- that is an over-simplification.  We are hearing the subjective voices- those that seem naïve and judgement- those resonant and disappointed tones come through.  The vocal is alive and determined; soulful and spiked cleverly layered and punctuated to add maximum effect.  The hero- from the point of the recent Christian- has a broken spirit and wants to be able to see the light- he is not able to reconcile these issues at the moment.  There are self-doubts and hesitancy; introspection and examination:  The need for God to guide the way and find his love and grace.  Before you start predicting where the song might head and where the composition leads, there is spectral and (rather Doctor Who theme-sounding) snake; something that slithers and weaves- tied with a rushing and funky guitar line.  The combination is hugely effective.  Instantly bonding Rock hardness with something spiritual and haunting here is the sonic representation- those doubts and conspiring thoughts- unleashed in a multifarious and wonderful moment.  Vivid images and metaphors are unveiled- never employing cliché or faux-emotion- as our hero lays his heart out in the spirit of the song’s subject.  There are pieces of the past on the floor that he cannot sweep up.  With too much to sort out- before he can obtain transcendence and deliverance- epiphany is not that simple and easy.  Our man is on his knees; he wants to find answers and a light:  He is struggling to battle through the darkness whilst desiring a higher plain.  The past is a powerful force and its ghosts linger on.  It is hard to rebuild your life; simply change everything.  Non-Christians can find relatability and familiarity:  We all have been in a situation where we need to find change and transformation- the battle is always hard.  Pieces of My Past is troubled and doubtful:  Our man looks inside himself and does not need “another voice” in his head.  There's too much chaos and chatter; he needs peace and solace so he can find direction and peace.  The song really showcases the band’s musical flair.  Not contented to lay-out a simple and generic coda, the guitars rapture and yowl:  There are jump riffs and scratches whilst the drum skittles and punches.  Compacted and dangerous; psychedelic and entranced, the composition mutates and variates.  All of this keeps the song alive and unpredictable.  Amidst the scenes of pain and doubts- our man confesses every day is a struggle; a battle in a sense- the guitars trip and vibrate; the percussion hisses and swaggers.  The band are not your average Christian-Rock band- I know they are influenced by the likes of Rage Against the Machine and Queens of the Stone Age- and show this diversity and Rock love.  Keeping the song urgent and dizzying- that will appeal to fans of the above- they do not lose sight of the core:  Those doubts and fears with the need to discover God’s light and find direction.  You can sense that desperation and desire:  The need to find God and meaning is almost a sexual frustration; an aching passion comes out.  In the closing stages, the vocal becomes more dramatic and wracked:  Our hero is bleeding-out his heart to the full.  That soulfulness-cum-restraint is a stunning blend.  Supported by his brothers-in-arms, the song never loses its passion.  Little shades of Crowded House comes out- whether consciously or not; the vocal has a Finn-esque quality- as the track concludes and leaves you impressed.

  

The music world is in need of a shake-up:  Getting out of the traditional mindset and embracing something different and fresh.  A lot of modern bands tend to be young- early-20s-mid-30s- and play certain genres (ordinarily Alternative, Rock, Indie; and variations on these genres).  The Updraft Imperative are a good case in point:  A band that are distinct and new; are not the tried-and-tested formula.  The boys aren’t exactly ‘getting-on’ in years- they are still gazelle-like in energy- yet are over their younger days (phrased that as diplomatically as I could muster).  This maturity and experience work wonders; comes out in their music- their combined years create rich and instructive tracks; inspirational and deep moments- that we can all embrace.  Not concerned with media expectations and conforming to an ideal; they are fun guys having a ball- making music they love; paens to faith and its power- they should compel many up-coming bands.  Re-writing the rules of Christian-Rock, they have the cross-border appeal:  Strong enough to break through barriers- faith and music- to reach new audiences.  Their latest cut shows they have lost none of their drive:  That common touch is still firm; their endless endeavor and quality is here.  Perhaps a step-up from Chair’s best- the boys sound more confident and tight; inspired and motivated- they have been driven by success and support.  The media attention and fan-love has spurred them; lead to creative explosions- this duo of songs is just the beginning.  What amazes me about the band- and continues to do so- is their balance of sounds; their integrity and passion and how much music means to them.  From following them on Twitter and Facebook I know how much they love their fans and how productive they are- radio interviews and new gigs; fresh writing sessions and jams.  The boys have affection for their fans and a great manager behind them:  The music reflects those elements of trust and joy; ambition and urgency.  Having spoken with Murray (the band’s guitarist) in a brief- but technically fraught- video chat; he is pumped and ready.  The band have experienced some upheaval- including a split with their long-time drummer, Pete- and had to stay strong.  In the face of adversity and uncertainty, the boys are looking ahead:  They have re-hired and galvanised- looking to get into the studio and unveil their sophomore album.  On that subject:  The irons are still in the fire whilst the songs are being penned.  We shall know more in time.  With Pieces of My Past forthcoming, they both continue- and subsequently break-away from- Chair and its terrific sound.  That album mixed hard-hitting compositions with multi-part messages- faith and God’s love; broken love and relations; simple homespun pleasures- but here they are venturing into new territory.  Those compositional elements are all there:  That fantastic genre-fuse and cross-pollination, yet the boys sound like stronger songwriters.

Buoyed and driven by their previous success they are clearly on a natural high.  Whilst their latest track is more emotional/passion-led- and play a slightly softer side- that is not to say their upcoming songs will be like this- Chair contained calmer moments and I'm sure their new album will, too.  It is left for me to end on two notes:  Those touched-on in the introduction (Australian music and Christian-Rock).  Australia is the world’s most surprising musical country:  Not in a bad way; it just seems like a revival happening- cities Melbourne and Sydney are producing some stunning bands.  Not just your generic and tired acts (the Melbourne/Sydney bands) are more ambitious and substantive; varied and spectacular- going deeper and further than their peers.  In the Rock and Punk arenas; some young and hungry bands are emerging- Royal Headache (not so young) are the leaders.  When it comes to Electro.-Pop and synth-led sounds, some tremendous female-led artists are popping-up- normally found in Melbourne.  I am not sure what it is about the cities and why you find certain music in each, yet I am glad there is such fervency- in Melbourne, Sydney and the bigger cities- as it is setting the music world alight.  The media are being forced to take note; widen their scope and sights- and give their respects to Australia.  Away from the more ‘obvious’ locations, the likes of Brisbane are starting to emerge and showcasing some of music’s most hard-working and forward-thinking musicians.  The Updraft Imperative are on a noble charge; they are improving by the release- their new track show just that.  Pieces of My Past possess plenty of emotion and softness; some openness and vulnerability- those emphatic and spirited riffs/compositions take charge.  That is why I love the band- well one reason anyway- and their music: they subvert expectations; seamlessly blend Rock swagger with words of faith and love; hope and heartache.  I think a lot of people have preconceived notions of Christian-Rock and have been misled by its big players- that idea of sappy and uninteresting songs; rather cliché image/make-up.  The Updraft Imperative are not your sweater-wearing, guitar-totting ‘preachers’:  Strumming aimlessly and grinning aimlessly with no real point.  The Brisbane boys are a genuine Rock band:  They have that authority and desire; their niche is the Christian message- it is not preached or heavy-handed; it is blended into the mix- so you would barely notice.  That is the biggest asset the band possesses:  On the one hand they appeal to fellow Christians- and have a sermonising edge to the music- yet their music digs deeper and unites all.  It goes beyond the borders of religion and belief.  Months ago- when I reviewed Chair- there was no hyperbole; just shock and stun:  I knew a great band was upon us; something very special indeed.  I left my atheism at the door and did not go in single-minded:  That openness led to great revelation and joy through music I would not normally have uncovered.  Whilst my religious views are not changed- you do not need to be a Christian to understand the music’s appeal- my musical outlook has been radicalised:  I have been compelled to dig into the genre and unearth fellow Christian-Rock gems to see what else is out there.  The Updraft Imperative should foster a surge of like-minded bands:  Those unwilling to follow their example are foolish indeed!  The band’s social media ranks are growing as their fan-base is expanding- their media portfolio is looking mighty fine.  The boys may be seeing a membership switch- and losing their drumming comrade- however the music sounds at its most exhilarating: Pieces of My Past is their best statement; phenomenally assured and compelling- a song that demands repeated plays just to get to the bottom of them.  There is some secrecy at the moment- as to when the new album will be ready- but one thing is for sure:  There will be new music and it will be fantastic.  Staying close to Chair’s hallmarks- the mix of sounds and themes; those incredible performances- there is a notable quality increase and a bit more passion and energy.  The band have never sounded as alive and ready.  I know the future holds interviews and gigs; recording sessions and plans- an exciting time to get involved.  The Updrafters- the name given to the band’s fans- want your recruitment and are looking for your love.  On the evidence put forth- and with Chair’s wonder still winning hearts and minds- why would…

YOU refuse them?

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Follow The Updraft Imperative

 

Official:

http://www.theupdraftimperative.com/

Facebook:

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

Twitter:

https://twitter.com/TUI_Official

 ___________________________________

Music:

https://soundcloud.com/theupdraftimperative

__________________________________

Videos:

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

TRACK REVIEW: Oxygyn- Corrode

TRACK REVIEW:

 

Oxygyn

 

 

Corrode

9.2/10.0

Corrode is available at:

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

RELEASED: December 23rd, 2015

GENRES: Indie-Pop

ORIGIN:

Malta

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FOLLOWING a rather exhaustive review of London-based Reggae artist...

Natty: I now find myself assessing an act at the other end of the spectrum.  Just starting their life in music; their progression has just begun.  Whilst Oxygyn have a little bit of information on social media, it is their new single that will do the explaining- I shall come to this later.  Before I do, I wanted to discuss the Pop end of the market; acts comprised of siblings- completing with a bit about international sounds.  One of my biggest disappointments from last year was the lack of genuinely impressive Pop music emerging from the scene.  When it came to the mainstream, there was really not a lot to recommend.  Although they are seen as mainstream favourites- and influence my featured act- the likes of James Bay and Ed Sheeran were still being played to death.  Whilst I appreciate those artists have cache and respect: I find their music to be as flimsy and unspectacular as any around.  Not delving deep and offering anything original and enduring; it was quite a fallow year for the Pop artists.  Away from those examples, there was a bit more luck.  In the underground, a few great acts emerged: Likely to translate to the mainstream soon, there was a little bit of hope.  Away from the solo artists of Pop, I find duos and (Pop) bands to be more effective and nuanced.  Perhaps capable of creating more depth and quality in their music: I feel there will be a shift towards these acts this coming year.  Whilst 2016 has started quite promisingly- a lot of great new artists to see- the past year was a little bit ho-hum.  Pop is a commodity that is always going to be a staple of radio and the charts: It accounts for a large market share and appeals to younger music lovers.  Whilst Pop may be losing some of its past glory, if you dig hard enough, you can find some terrific acts.  I think what is lacking- with regards the vague and meagre Pop artists- is they stick to the same subjects and do not really expand their horizons.  Whilst the majority still concentrates on love and the vicissitudes of life- drawing from their personal experiences and day-to-day- it is the vocals and compositions that trouble me most.  So few voices out there stun you and offer anything more than a mouthpiece for their words.  The compositions occasionally stray into ambitious territory: Predominantly you have music that does not stick in the mind and seldom demands repeated listens.  My featured act is a young proposition that play the good side of Pop.  Whilst they have influences like Bay and Sheeran: Their sound has more in common with Daughter and Broods (much more credible and quality-assured artists) that has interested me hugely.  Before I bring up a new point, let me introduce them to you:

Oxygyn is a band composed of sibling duo Kurt and Katia Abela. The songs released by the band are written by Kurt and composed by Janelle Borg. They are inspired by the likes of Ed Sheeran, James Bay, Daughter, and Broods; due to the intense emotion they portray using their music.  Their dream is to share their experiences and emotions through song and this band is the medium through which this process will occur. Follow for info about upcoming new songs, music videos, and more.

Emotions and intensity are words that can easily be applied to the music of Oxygyn: A stunning duo that has a great sound already crafted.  Whilst they are at their sapling stage, I can hear the promise there and how far they can go.  When encountering them- their composer Janelle Borg brought them to my attention- I was fascinated by the brother-sister bond.  Few Pop acts have siblings among their ranks and it got me thinking.  From Kings of Leon to the Maccabees: Music has quite a few recognisable bands comprised of siblings.  I have mused on the subject before: When looking at duos I stated those in relationships/were close had a truly unique sound.  Maybe it is that natural understanding and closeness that results in stunning music.  Compared to other duos/bands- that do not feature loved ones/relatives- you get something a lot more intimate and engaging.  Oxygyn not only have a stunning sound already formed: Kurt and Katia have that simpatico and history that translates into their music.  Whilst it can be a hard dynamic to sustain- some bands go the way of Oasis when it comes to bickering and turmoil- it can also galvanise the act and ensure long-term success.  Whilst sweethearts and lovers (in a duo) may split and go their separate ways: There is a more indelible and secure bond between siblings.  From the faux-siblings of music- The White Stripes for instance- to the mainstream players like First Aid Kit; there are some wonderful examples to be found.  In previous reviews, I have been lucky enough to take my sights out of the U.K. and investigate some tremendous artists.  Whereas most of my non-U.K. reviews take me to Canada and the U.S.: Now I have an opportunity to go to Malta and the musicians emerging there.  Over the last year, the likes of Dana McKeon and Cryptic Street have come under my radar.  One of the most compelling up-and-coming music nations in the world: More attention and respect needs to be directed towards Malta.  Perhaps the media has its hands full with British and American artists: If they took a chance to expand their horizons they could discover some wonderful music from less-than-obvious sources.  I am not sure what the music scene is like in Malta- compared to here in Britain but there is a great connection and bond between artists.  Keen to support one another and promote the country at large: You have a nation that is producing some of music’s most scintillating artists.  Those Pop wonders- like McKeon and Surrey-based Chess Galea- are now joined by Oxygyn.  The duo’s new single sounds like a science formula starring to develop: Oxygyn and Corrode have a scientific basis and the music offered forth mixes combustibility with a chemical reaction that is hard to ignore.  I know the duo is going to be planning gigs into this year- let’s hope they get to London soon- and it will be fascinating to see how they develop and expand.  With an assured and hugely memorable song under their belt: It is only a matter of time before the siblings are planning an E.P. or album.  I find too few Pop artists go that extra mile and strays far away from the pack: Oxygyn have no such issues and have that early promise that is so rare these days.  With instant appeal and filled with atmosphere and intensity: A perfect unity that marks them as one of the acts to watch into 2016.

If you are new to Oxygyn then it is hard to compare Corrode with anything else: This is their first cut and their fledgling steps into music.  Whilst they are inspired by the likes of Ed Sheeran, Daughter and Broods; the duo very much have their own sound and merely employ faint shades of the aforementioned.  If you are inclined towards any of the above artists you will find a lot to enjoy and recommend.  Broods are a New Zealand that gained acclaimed from their 2014 album, Evergreen.  Bringing Indie shades into their agenda: The album’s textured vocals and brother-sister bond struck a lot of reviews: Many noting how the emotional lyrics and nuanced sounds appeal to those who want music that is more than skin deep.  Whilst a lot of their contemporaries promote wafer-thin compositions and no depth: Broods managed to create an album chock-full of stunning compositions and personally relatable themes.  Oxygyn have that same connection, artistry and sound that the New Zealand duo create.  Daughter and Ed Sheeran are other influences.  Daughter- especially on their sophomore album, Not to Disappear- brings in more assertion and articulation to the fore.  The songs- compared to the debut album- have cross-genre appeal- Indie and Alternative sounds gave the album edge and depth.  Oxygyn have a similar make-up when it comes to their songs: You get the layered sound and personality burning through in addition to sounds that are not just confined to the Pop market.

It is best to use these guides and examples as just that.  Judge Oxygyn on their own merits and discover a duo that is (actually) quite hard to compare with anyone else.  It is clear the duo will be planning an E.P. and it will be fantastic to see what direction they take.  Whether they expand and mix genres together will be anyone’s guess.  What I do know is the quality will be consistent and they will explore new themes and ideas- keeping their core sound intact and ensuring they do not lose their focus.

Starting with an emotive and stately piano: The listener is at once stood to attention and offered something quite haunted and still.  Possessing beauty and passion, Corrode begins with plenty of purpose and directness.  When our heroine comes to the microphone, you get words from a troubled soul.  “Skin grew tired” from voices coming and “creeping in”.  Whether referencing herself- and some internal turmoil that leaves it marks- or someone else I am not sure.  When the words “across my chest” are brought in; the song has that first-hand and personal nature to it.  In these early phases, there is some obliqueness and indirectness with regards the lyrics’ origins.  Whether a relationship has broken down or friends have betrayed our heroine, it is hard to pinpoint an exact paramour in the early exchanges.  The story starts to unfold and you get some vivid images and stark emotions.  It is thanks to Katia’s soulful and impressive performance- few Pop vocalists have the same ability and sound as she does- that gives Corrode such a huge weight and sense of purpose.  The subject matter does not stray too far from the emotive and scarred arena: It is a song that would sound cheap and insincere were there any false emotions and needless light-heartedness.  Because of the raw nature of the song- and the stunningly real performance laid out- it is impossible not to be affected and enveloped by the song (in a good way).  Backed by that intense and gorgeous piano sound: You have a song that sends chills to the spine and gets inside the brain.  As our heroine tries to light a flame- looking for gasoline she comes away empty- you get the impression of a young woman that is struggling to move on and gain what she wants from life.  Perhaps overcome by anxiety and heartbreak; each listener will have their own interpretation and speculate as to the true nature of the lyrics.  Joining with her brother, you have a duel vocal that adds intensity, breathlessness and additional shivers to the foreground.  Having loved like soldiers at war- the scars are bleeding and the wounds fresh- you have big statements and images from a duo that want to make impressions and leave a mark.  While some of the lyrics may stray into the tried-and-tested side of things- other artists have used the same metaphors and ideas- the way Oxygyn present them stands them aside.  Not only are their vocals and performances more impressive and resonant: It is the way they deliver their lines that give Corrode such an intensity and depth.  Whereas peers of the mainstream- the fly-by-night Pop acts emerging- have clichés a-plenty and a lack of grit: We have a duo that has the credibility and talent of the best Indie acts out there.  Ghosts are on the mind and there are memories that are hard to forget.  I get ideas of love and romance as the song starts to move along.  Still plagued by sadness and suffocation- our heroine tries to speak but her lips will not part- you are dragged ever-deeper into a song that recounts a very bleak occurrence.

Keeping events level-headed and hopeful- it is never too depressing or heavy-handed- it means Corrode will have listeners coming back for more- trying to get to the bottom of the lyrics.  Our heroine has had her heart manipulated and thrown away: It seems like a particular man has led her astray and taken a part of her soul.  Ensuring that ‘hero’ is given a dressing-down; the lyrics are impressively mature and memorable.  Having been written by Kurt; it is impressive to hear a male writer pen a song for a female voice.  If you did not know who wrote the lyrics you would assume it was scribed by a female: The fact the lines have such authority and reality are a testament to Kurt’s lyrical abilities.  That said, there is a universality that means both genders- and all ages for that matter- can extrapolate and appreciate the sentiments being poured out.  It is when the duo combines in the chorus- and the soldiers of love’s wars lead a charge- you get the biggest emotional hit.  Eliciting the qualities, directness and emotion of Daughter and Broods- two acts that are influences of Oxygyn- you have a track that surpasses the efforts of the majority of the Pop market.  Keeping that composition simple and background- allowing the vocals to reign and pervade- Janelle Borg has written a backdrop that perfectly highlights the “struggle for survival” and the ghosts that swirl around the song.  Leaving her soul behind: your heart goes out to the heroine as her voice keeps its composition to recall a part of her life she’d rather forget.  Every second that elapses sheds new light and revelations: Keeping those lyrics open-ended enough- simple phrases that have plenty of effectiveness- you have a song that could be documenting struggles we all face.  Making sure Corrode is not too personal- thus pushing some listeners away- there is that universality that all great songs are made of.  The glass heart- that one suspects is shattered- is showing its age and the skin is fatigued.  You cannot escape the suffocation and intensity from our heroine: The way that voice looks for comfort and answers among a gentle and tear-dropping piano line.  Oxygyn are at their strongest and most compelling when their voices are married together: The siblings’ tones complement one another and provide different shades that fully exploit the lyrics’ meanings.  By the closing stages, you still wonder who has caused this umbrage- if it was a former lover or a friend that has been dishonest- and no listener will be able to suppress emotions when they hear the song.  Being a first single, one suspect Oxygyn will expand their sounds and subjects on further releases: Bigger compositions and bring in new instrumental elements.  On a debut release, you need something that has simplicity and honesty to it.  Oxygyn have created a song that could soundtrack a million broken heart moments: There's relatability and personality mixing with passion and the quest for closure.

Ensuring Corrode does all its title promises- a heart and soul that is depleted and damaged- the lyrics, composition and vocals all have to be just right.  The production polishes the song without making it soulless and mass-produced.  Those vocals are allowed to sit high in the mix and ensure none of the lyrics pass the listener by.  That said, the composition does not get mixed too low and is given an opportunity to impress and seduce.  Congratulations must be given to Borg for penning a composition that has great familiarity: Pop and Indie lovers will find much to admire in that mix of grandeur and bare-naked emotion.  There's depth and wisdom in the notes: Spades of fearfulness and yearning that gives the lyrics the rudder and backing they require.  Kurt Abela’s lyrics provide a great and new perspective on the capriciousness of love and the deceit effects: The way a heart can be damaged beyond simple words and easy repair.  While there is universality in the lyrics, they also have a distinctly female perspective.  Few male writers have the ability to write like this: Being Katia’s brother, it is hardly surprising he can write a song that reflects his sister’s pain.  Maybe the song is a passage from Kurt’s life- he is the one who has experienced the troubles- but that is the beauty of the song.  Katia’s lead vocals have an atmosphere, occasion and heartbreak to them.  Sounding completely dedicated to the subject matter: It is one of the most singular and impressive vocal performances I have heard for a long time.  Kurt provides evocative and supportive vocals in the chorus to augment that urgency and intensity.  What you have here is a duo with a very bold first step: A song that shows a lot of promise and quality from one of Malta’s best up-and-coming duos.

One of the best things about reviewing is looking at artists that are just starting out: Helping to support those initial steps is rewarding and exciting to see.  Not being the biggest Pop fan in the world, I am always filled with trepidation when faced with a Pop act: What to say and how to approach the review can be quite challenging.  Whilst it is perhaps the male solo acts of Pop that elicit the weakest response in me: Thankfully, the duos are bands are creating stronger and more immediate music.  Injecting that necessary atmosphere, emotion and diversity into their sounds: What Oxygyn provides is something a lot stronger and nuanced than the majority of their peers.  We need dispensability and throw-away- my words rather than anyone else’s- when it comes to music: The trouble is there’s far too much of it on the current scene.  Too many artists come in safe and into that mould: Sounds that could score a Heart Radio playlist or fill column inches in Q Magazine.  The trouble is; music consumers- those who appreciate great music- want something a lot more daring and adventurous than that.  I appreciate the likes of Bay and Sheeran have their audience but that does not mean the music is going to be any good.  I am a fan of Daughters- an act that inspires Oxygyn- and gladly our Maltese duo has that necessary passion and quality.  I am seeking Pop acts that reappraise my cynicism: Corrode is a song that is got inside the head and ranks alongside the most promising tracks I have heard all year.  The connection and understanding of Kurt and Katia Abela- with composition by fellow musician Janelle Borg- results in music that will appeal to a wide range of listeners.  Not just confined to pure Pop fans- that like things more comforting and familiar- there is plenty to recommend here.  I wonder whether the duo will go and record an E.P. this year: I can see Corrode being a lead-off track and setting out the stall quite wonderfully.  That will be down to Oxygyn but it remains: This duo is going to be making a lot more music to come.  It is so rewarding being on the ground floor with regards an act’s career: Looking at those early songs and seeing how they are likely to progress.  The duos market is throwing some fantastic possibilities into the music centrifuge.  The relations and connection between the players mean the ensuing music has that strength, understanding and closeness to it.  I never get tired of seeing the stunning two-pieces we are witness to: I always come away (from reviewing them) with a bigger sense of satisfaction and hopefulness.  Few brother/sister duos are evident in new music, so it makes Oxygyn a revelation and rarity.

I would urge media outlets, reviewers and radio stations to play close attention to music emerging from Malta.  It may not be the most obvious source for great music, but that would be short-sighted: So many of our future heroes are playing in the country right now.  Maybe Malta- the radio stations and media- is not as extensive as here in the U.K.  I find a lot of Maltese acts are coming to the U.K.: Reviewers assume (therefore) they are British are do not often look at the country they came from.  Boasting some of our best and brightest Pop artists; there holds a consistency and range that has deeply impressed me.  There are Internet radio stations- Channell Radio among them- that are doing their bit to promote music coming out of Malta.  I guess it is hard to focus on music from every country: You have to draw the line and focus more on what is coming out of your home territory.  Let us hope Oxygyn change perspectives and inspire more people to think more clearly and widely with regards their music choices.  Not just because of their origins but the music they are providing.  Corrode is a track that will not rust or tarnish in any sense: It blends honest and everyday emotion with plenty of depth and originality.  In a market where they are ruthlessly efficient artists- keen to tick boxes and fit into marketing surveys- who reveal debts and dues to other stars: It is refreshing to see an act that is very much looking for respect.  Too many musicians have that X Factor-esque sound that is cloying and anodyne: Artists that push the envelope and broaden their scope are always going to gain more approval and adulation.  Let’s hope this year sees more acts like Oxygyn emerge: A brother-sister force that have plenty more songs in them.  Corrode has been played across 89.7 Bay (a Maltese radio station) and is doing great business in Malta.  Garnering some serious views across YouTube; you have a sound that has serious clout and a lot of promise.  I hope they manage to translate across to the U.K. and U.S. this year as their sound mixes elements of Daughters and Cryptic Street- country-mates that have a tremendous sound- into something wonderfully pleasing that stands up to multiple plays.  Check out this Mosta-based act and a Pop act that are worthy…

OF a long and successful career.

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

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Follow Oxygn

 

Facebook:

https://www.facebook.com/oxygynmusic/

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Music:

https://soundcloud.com/oxygyn

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Videos:

https://www.youtube.com/channel/UCUCEW-0xjQPUj-vjn8EfB0Q

 

ALBUM REVIEW: Natty and the Rebelship- Release the Fear

ALBUM REVIEW:

 

Natty and the Rebelship

 

 

Release the Fear

9.6/10.0

Release the Fear is available from 29^th February (digital).  The physical release is out on March 18^th.

GENRES: Reggae; Soul; Future-Roots

ORIGIN:

London, U.K.

TRACK LISTING:

I’m Alive- 9.6

SS I Luv U (Reprise) - 9.5

Rainclouds- 9.6

Streetlights- 9.5

Change (feat. Alborosie and Busy Signal)- 9.5

Motherland- 9.5

Stand Up (In Love) - 9.7

King Had a Dream- 9.6

Gaia- 9.6

Things I’ve Done- 9.6

Release the Fear (feat. George the Poet)- 9.8

DOWNLOAD:

I’m Alive; Rainclouds; Stand Up (In Love); King Had a Dream; Release the Fear

STANDOUT TRACK:

Release the Fear

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ASSESSING an artist that has already established themselves on…

the scene is always a little daunting.  Having had some notable backing behind them: It is to me to try and do something different and stand-out.  When it comes to Natty (and his Rebelship), press and critics have been keen to add their praise and plaudits.  I shall come to him soon, but for now, I wanted to look at the genres of Reggae and Future-Soul: Moving onto the subjects of peace and love (in music) and diversification of sounds.  It is not often I get to investigate an artist that mixes Reggae and Soul music together.  My last out-and-out Soul review was Leon Bridges: My Reggae experience does not tend to stray far and wide, alas.  The mainstream has some great Reggae artists working away although few make it to the charts and radio playlists.  Occasionally, stations like Radio 1 and B.B.C. 6 Music will feature a great new Reggae artist: There is still a focus on Indie, Alternative and Rock sounds.  Maybe it (Reggae) is seen as a niche genre and something that is restricted to die-hard fans: This is a mistake, as there is so much joy and potential to be found in the genre.  Perhaps the big festivals and stations do not pay enough attention to Reggae and Soul- not as much as they should anyway- but if you dig long enough; you get to discover artists that are changing the way we perceive music.  I have always adored Reggae for its positivity and hopefulness.  Whilst a lot of the best (and most genuine) Reggae artists emerge from Jamaica and the U.S.; there are some fantastic British examples making their way through.  Historically, this country has produced the likes of Aswad- a great group that still get plenty of airplay- Desmond Dekker and Eddy Grant: A veritable trinity of wonderful acts that have had a great impact on the music scene.  Even bands like The Police, The Clash and Madness employ Reggae vibes and its messages to maximise their own impact.  Those Caribbean sounds have a great reputation and history:  It seems there are fewer Reggae artists playing then at any other time.  Compared to the ‘90s, for instance, it seems like there has been a slight dip.  That said, the likes of O. Rappa, Kiko Bun and Fat Freddy’s Drop are brothers that keep that flame burning bright.  I guess British Reggae is viewed a watered-down counterpart to the authentic Jamaican sounds we all know and love.  Less a strong-rum Malibu cocktail: Perhaps a low-alcohol equivalent that does not elicit the same sort of kick and aftertaste.  Lloyd Brown- when waxing lyrical with Young Voices in 2013- tried to assess the issue:

“Reggae has almost been outsourced to the point that it has been embraced by artists of all races, and I have no qualms with that because the music is all about ‘one love’ which Bob Marley sang about. But within our own Caribbean community here in the UK, I don’t think British reggae is seen as standing shoulder-to-shoulder with the reggae output from Jamaica”.

Before I continue my point, let me introduce the wonderful Natty:

"Hailing from North London Natty grew up surrounded by an eclectic mix of sounds from Neil Young to Bob Marley. Although interested enough in music to write songs from an early age it was while working in Sphere Studios, Battersea that he really discovered his talent. By day he was engineering for some of the biggest names in pop music, and by night this gave him the inspiration to nurture his own sounds.

Soon he garnered a devout following from his open mic sessions and Vibes and Pressure nights which have seen the likes of Ben Howard, Ed Sheeran, Wretch32, Dawn Penn etc perform.

The success of his debut Album “Man Like I” captivated the well-deserved attention of the uk media and press (see attached). It went on to establishing Natty as a well-respected songwriter and festival favourite across Europe and Japan, where had a number 1 hit with the single ‘Badman’.

TV Highlights include performing on Later with Jools Holland, ITV News and The BBC Electric Proms. Collaborations include work with Nitin Sawhney, Roots Manuva, Tony Allen, Busy Signal etc".

Alongside his Rebelship- Bob Marley had The Wailers; Natty has his own backing brethren- you have an artist that is going to give British Reggae a much-needed kick.  There is truth to the fact British Reggae does not get just recognition: There is too much attention on other genres; stations and media sources are not pushing it quite as hard as they should.  Natty has become popular because of his quality and exceptional talent.  Perhaps it is his cross-genre pollination that makes Reggae more accessible and tangible to the masses.  Using Reggae as a base- its vibes and messages- he mixes in Soul sounds and (what he calls) Future-Roots measures.  Music suffers from a lack of overt positivity and redemptiveness.  Too many musicians are self-investigating and heartbroken when they present their music.  Whilst it is important to provide something personal and relatable to the audience- often involving relationship breakdown and stress- the music lover seeks something brighter and more hopeful.  If you think about it hard: How many bands/acts make music that preaches love, unity and strength?  Pop mainstream give a very muted and poor show of it- the big choruses and generic lyrics- so the torch has been picked up by Natty and his contemporaries.  Urging people connect to the world around them and make positive changes: Few can deny what a forward-thinking and original artist we have here.  The north London legend has already produced a critically-acclaimed album and is working on his brand- having parted ways with a major label recently.  Release the Fear is an album that makes you forget the strife and turmoil surrounding the world: Concentrating on hopefulness and love; we have a record that is perfect for the modern times.  Few artists are diverse and wide-ranging when it comes to their sounds and lyrics.  Natty and the Rebelship do not just stick with the classic ‘60s-‘70s revolutionary vibe- although that is a building block they work from- but give it a contemporary vibe.  Free of production tricks and polish- concentrating on a raw and real sound- Natty is a lyricist that has a sharp mind and a pure pen.  His lyrics do not suffer cliché and insincerity: You have a writer in touch with the world who funnels his uplifted soul through the transom of blissful Reggae and sweet-leaf purity.  There is jaggedness and something harder among the sun-kissed atmospheres: A musician who does not confine himself and has an exceptional breadth.  With his ambitions and grasp perfectly represented throughout Release the Fear: Here is an artist that is going to be a huge name in 2016.

Many of you will be new to Natty and the Rebel Ship.  Even if you are a keen Reggae/Soul fan, perhaps our London hero is a new addition to your consciousness.  In terms of his influences and heroes, the list below is a good starting point:

Lee Perry, Jimi Hendrix, Bob Marley, Neil Young, Fela Kuti, Yellowman, Finley Quaye, Prince, Burning Spear, D'Angelo, The Streets, Miles Davis, Sly Stone, Dillinga, Curtis Mayfield, Big Yout, Van Morrisson, Nitin Sawhney, Velvet Underground, Supercat, James Brown, Roots Manuva, Pink Floyd, Common, Slum Village, Bob Dylan, The Clash, David Bowie, Sizzla, Joy Division, Oumou Sangare... and the rest

Quite a wide and varied list from a man who grew up with some of music’s finest names.  Distinct and original, it is hard to compare Natty with anyone directly: Take the names above as a guide and arrive at your own conclusions.  Essentially, we get a compassionate mingling of ‘60s-‘70s Reggae revolution with some modern-day street-level messages.  If you love artists such as George the Poet- who appears on Release the Fear- and Bob Marley then you will find much to love here: The album (and Natty himself) has so many sides and colours few listeners will be immune to what he offers forth.

In terms of progressions and shifts; the ensuing time between albums has seen the young hero grows in confidence and direction.  Release the Fear is the most eye-catching representation of Natty’s Reggae-Soul marriage: More revolutionary and progressive than previous releases; it sees our man at the peak of his powers.  Publications and critics have noticed how sharp and focused Natty is.  On his debut album- subsequent releases in-between- there was that promise and originality: If anything Natty sounds more confident and intent than ever.  Perhaps enforced by the dissolving nature of peace- the recent terrorist attacks have influenced a lot of musicians- Natty has stepped-up and penned songs that implore for peace.  Against the forces of malice and repression we need a musician that gives guidance and comfort: Release the Fear is an album that provides an alternate soundtrack to the dislocation of the modern world.  Mixing political messages against traditional unity and hopefulness: A collection of tracks that shows Natty at his very best.  The Rebelship sound even tighter and more authoritative too.  Having gained touring experience and performance galvaisation: This has resulted in music that sounds more nuances and strong than their debut days cuts.  Natty has separated from the big labels and is working on his own brand.  It will be fascinating to see what 2016 holds for him and how Natty evolves: Perhaps a new E.P. or album will arrive later in the year?

I’m Alive is the leading single from Release the Fear.  Tumbling and rainfall guitar notes give a passionate and tender start to a song that instantly makes you smile.  Patterning and intent percussion drives the song forward as it builds and expands into something quite beautiful.  That blissful and inimitable voice comes into the fray as that composition continues to press and compel.  Lyrics see rude boys on the side of the road- there is “music in the air”- as our man celebrates the simplicity of being alive.  Against the turmoil and unpredictability of the modern world, we have a redemptive and transcendent opener that is overtly hopeful and positive.  Spiritual and faith-inspiring; you get smiling faces and a joyous atmosphere.  Kaleidoscopic voices and hand-claps bring the song up to heavingly heights: The listener will be intoxicated by the sweet smoke and embracing sounds Natty offers.  Backed by his brothers-in-arms- who give the song huge warmth and affection- you transport yourself into the song.  Contemporary-sounding- the composition has an element of modern-day Folk- mixes with the spirit of ‘60s Reggae.  Our hero promotes dancing and peace; togetherness and a sense of thanks.  The hero goes out marching by day- dancing the night away- and wants to keep the spirit burning bright.  When the sun comes up we are all going to dance: Such a unique and wonderful message that emanates from the speakers.  The harmony and togetherness is needed in this life: Few people take time to reach out and unify their voices.  Our hero knows people fight to survive and struggle: Let us celebrate the fact we are living and breathing.  It may seem like an a worn-out cliché- a Facebook post that we all see on our timelines- but there is a universal truth to be discovered.  Kicking Release the Fear off with a tremendous track: I’m Alive is as pure and celebratory as any Natty track there has ever been.  A catchy and head-spinning chorus melts with a deliriously sun-seeking composition that makes the most haunted souls feel uplifted and better.

SS I Luv U (Reprise) starts off soft and gentle before becoming racier and more urgent.  Our hero wants to take the people on a trip across the globe.  Continuing the soul-freeing messages of I’m Alive: Here we have a song that perhaps speaks to a sweetheart or lover.  A certain girl may be in his mind and inspiring the words pouring forth.  With his voice entranced and deliciously pure; the track is hugely evocative and nuanced.  Away from the stresses of life- away from time and space itself- there is that need to emigrate and go somewhere warmer and more settled.  Maybe headed to Africa or a Jamaican beach I am not sure: Each listener is given the chance to imagine their own story-line.  Urging rebellion to an extent- forget the bank loans and hassles of everyday life- Natty implores overthrown and fighting the oppression of modern society.  Few people have that strength to just throw the bad things away and find something more positive.  I get embers of Bob Marley and Lee Perry- disparate names that seem to come together here- as Natty’s rich and expressive voice brings huge life to the lyrics.  Killers are on the screen and the world seems like a confusing place.  Channeling the needs and fears of many- wanting to get away from all the violence and upset we see- our hero has his sights on warmer climes.  It is here where perhaps Natty’s voice is at its most flying and uplifting.  Wordless chorusing causes shivers and immense purity as the composition offers racing beats and elliptical strings.  A song that perfectly represents what we face today- the fear and lying that pervades society- every listener will take inspiration from the messages here.  On board his Rebelship, our hero wants to take everyone with him: It’s a trip you are delighted to take.

   Rainclouds begins with a rousing and emotive piano line that puts me in mind of Carole King’s Tapestry: I half-expected to hear I Feel the Earth Move or It’s Too Late play.  Whereas previous tracks have used Reggae-vibed guitars and percussion to kick the songs off: Here we get something more soulful and emotional.  A gorgeous and immersive introduction sounds leads to a pulsing beat- like a heartbeat that gets inside the head- and an urgent vocal.  Natty looks at the generational gaps and misunderstandings.  The older people feel like the young’s (ways) are wrong and “aren’t real”.  Perhaps looking at the war and hatred that is unfolding- how the world is becoming more oppressive and fraught- there is that desire to regress to simpler times.  Maybe this generation is leading the world down a bad path- not employing the ethics and morals of past days- and our man cries for peace.  Bringing some Pop and Electro.-Soul elements into the fold- there are touches of James Blake in the vocals and compositional sound- give the album a new direction and side.  Searching inside his soul; the hero looks up and sees rain clouds: The sun is sorely missing from the sky it seems.  Wanting something more positive and hopeful; you get lost in the building mood and compelling vocal performance.  Perhaps the most heartfelt and affecting vocals on the album: This is a song that sees anxieties and fears brought vividly to life.  Never allowing the song to become morbid and depressive: The backing vocals and insistent beat ensures those Reggae flavours add positivity and dance to the mix.  Presenting important issues and concerns- the world is moving too fast- we all need to take more time out and slow down a bit.  Packing another irresistible and sing-along chorus- that is sure to be shouted by festival crowds across the world- Natty fears the world is becoming too crowded and fast-moving.  We do not take time to “read between the lines” and look out for our fellow man- a vital declaration we should all take note of.

   Streetlights starts with some tenderness before exploding into life.  That fast-paced and charged composition gives the song such urgency and impact.  Our hero waits for his girl to go “downtown” and see the sites.  Purity and passion is at the forefront once more: The desire to take his sweetheart dancing and reconnect with the world around them.  As is familiar in Natty’s songs: There is a fear technology and the modern world is taking away human connection and spirituality.  Few of us take our eyes from phones and social media: If you get out into the world and get back to life; you will get so much more from it.  A racing and frantic vocal shows just how meaningful and important the words are: Streetlights is the album’s most bracing and (perhaps) important moments.  Hard-hitting and swaggering; there is such an immense force and weight to the music.  Once more the vocals are enraptured and highly captivating- the backing vocals are especially commendable- as the song gets stronger and more assured.  The beats and electronics are harder and street-wise than previous numbers- straying away from ‘60s Reggae sounds to offer something more contemporary- that will bring in more young listeners and a wider audience.  Natty offers an intriguing proposition: For one night, let’s rally against convention and change things for the better.  If we pull down the road signs- would people get in their cars? - and disconnect cables would we all still talk?  Perhaps modern life has taken away the joys of simplicity and pure communication.  Inspiring people to sit under the stars and unshackle the constraints of modern life: We are too dependent on unimportant things and rarely reconnect with fellow man.  If we watch the sun rise and “talk about life” it would make things so much better.  Whilst it may be impossible to switch modern life off completely- and lead an almost Aboriginal existence- it is possible to embrace the simpler elements of existence.  A song that is free from cynicism and doubts; you have a musical moment that perfectly represents Natty’s mandates and political ideals.  Few modern artists keep Reggae’s purity and hopefulness alive- there is too much negativity to be heard- so it is refreshing and stunning to hear Natty and the Rebelship burn so fiercely.

Change brings Alborosie and Busy Signal into the mix as the song looks at changes being felt.  The seasons change and pregnancy brings new life into the world.  Everywhere we look there are transformations and reconfigurations to be found.  Bringing in new voices and aspects gives the album some variation and collaborative spirit.  It is wonderful to hear Alborosie and Busy Signal’s varied tones breathe new life into the album.  Whilst Natty is stunning when leading the charge: Change is a good thing and this applies to the music itself.  Whilst not bemoaning the fact things change; the song states obvious facts we cannot ignore.  Change doesn’t come in a day- as the chorus lets it be known- and it is another song that promotes positive thinking and progression.  Whilst the world is not ideal and perfect, we can all affect some change for the better: It may take time but every time the world spins round something changes.  The celebratory horns mix with ruffled beats to give the song such a fervent kick and sense of endeavor.  With new days “on the horizon”, you are spellbound by the fast-flowing vocals and blissful composition.  A song that is perfect for summer festivals and uplifting the crowds: You find yourself captivated by the song’s spirit and start to sing along.  Hardship is attested and brought in: Our leads look to change the world and bring about equal rights.  Politically and socially aware; we have a song that wants to make positive changes in the world.  We need to be patient and embrace the small transformations that occur daily.  It is here where we get one of the most unexpected and mobile compositions.  Ranging from calm and collected lows to rapturous highs; the music stops, starts and swoops: A sensational and wondrous sound that keeps the listener invested and hooked throughout.

Starting with intriguing strings and a slow build: Motherland returns the album to the pure roots of Reggae.  Our man wants to escape the small world and ignite a fire.  Feeling trapped and smothered by the way life moves- the stresses and miseries we all face- the future maybe looks a little hazy.  Being called lazy by some of his friends and contemporaries: It seems like the hero wants to return to Africa and build a protective vest.  Wanting something more homely and familiar, you are caught in a vocal that has such a peaceful purity to it.  Maybe the rabble of British life is causing some anxiety and heartache: Setting his sights back to the homeland you have a soul-baring anthem that has its heart in Babylon.  The composition has a unique voice and charm to it: Slight clatters and odd motifs give the lyrics such a drive and perfect backing.  Supportive vocals give a choir-like/gospel grace to the song and make it such a stunning sense of purpose and pride.  Motherland’s proclamation repeated- this world being small and uncertain- is something that becomes a mission statement for Release the Fear.  We all experience the walls closing in and feeling so insignificant: If we could go anywhere we wanted; we perhaps wouldn’t stay where we are.  I am not sure what Natty’s lineage and heritage is- there are African roots for sure- but there is that need to return to the continent and life a simpler life.  Providing a thought-provoking and sensational centerpiece to the album: Few songs across the record leave such a huge impression.  Its simplicity and memorability ensure that it will be another one of those fan favourite tracks.

Delighted beats and hazy strings welcome Stand Up (In Love) and give the positivity back to the album.  A blackbird is outside Natty’s window: Everything seems pure and beautiful against the site of a new morning.  A merry and transcendent that shows our hero let his voice reign with love.  Whatever happens and wherever he is his girl’s face is right there.  We have all felt the spell and drunken power of a great love: Few artists represent it with such a candid and uplifting sense of wonder.  The celebratory and life-affirming core of Reggae expands and explodes in a song of delight and thanks.  Our boy does not want to control the girl and control: There will be other men but nobody gives her what he does.  Happy and contented in his skin; there's that comfort and pride that is an irresistible force of nature.  Whereas Motherland was a song that looked inside a haunted soul: Stand Up (In Love) transposes those emotions to give something hugely positive and free from constraints.  Expansive, open and proud you get dragged into the delicious blend of sounds and voices.  A riotous celebration of life’s purity: Here is an anthem that recalls the greatest artists from Reggae’s past.  Natty’s soulful voice gives so much richness and emotion to a song that forces smiles and compels the listener to move their feet.  Such a delightful and festival-like song: Nobody will be able to refute the glory and cheer that comes through in every note.  A short (and very sweet) song that I would definitely recommend as a single release.

King Had a Dream is perhaps the most political moment from the album.  Starting with soft and passionate strings- one of the most memorable and beautiful introductions across Release the Fear- it is stunning to see such an about-face.  After the festivities of the previous number; Natty shows how inventive and diverse he is- each song sounds perfect alongside one another and there is never a sense the album is unfocused and scattershot.  Building from its proud and noble standing: The composition begins to settle to allow the vocal to come.  Our man will be “walking in the street tonight” and evoking the messages of Martin Luther King.  Whilst it may seem like an unrealistic ambition- to connect fully with every human you meet- Natty is determined to give peace and connection a chance.  In a world where there is so much inequality and bigotry we all need to reconnect with people.  London has a reputation for being a little cold and distant- stranger will not talk to one another for example- and perhaps Natty is feeling the pinch.  Affected by the impersonal and inhuman nature of the streets: He needs to feel like humanity can rule again and change the world.  Sitting alongside a hero of his; Natty wants to fly across the U.S. (and the world) and follow those immense footsteps.  If one man can do so much for the world- his effect and leadership affected huge change- our London hero wants to make changes too.  That nature of change and betterment are themes that keep coming through across Release the Fear.  Representing the voices of people everywhere- who feel like they cannot effect movement and improvement- Natty stands tall and sets his gaze across the globe.  With a child’s voice adding to the poignancy and inter-generational togetherness- not sure if it is Natty’s child on record- you have emotion and beauty that is impossible to escape.  Natty wants to see Babylon’s brotherly spirit and peace emit its bliss across the world.  Natty dreams of a time when guns are silenced and hosepipes are turned off- against innocent people and protesters.  Everyone from John Lennon to Bob Dylan has yearned for a world that promotes peace and love: Will we ever live to see a day when it becomes a reality?  While there may be rampant gun violence across the U.S. and other parts: The hero is fed up with the bloodshed and hatred that we see on the news on a weekly basis.

  Gaia is a surprise little beauty that fades in and instantly evokes something hugely uplifting.  The sun is on the horizon and there is moonshine “in our eyes”.  Immediately our hero feels “high” and holy: Up there in the sky here is another song that sees our lead caught in the blizzard of purity and love.  Perhaps entranced by a new love and connection- a girl is definitely in the mind- you cannot help but get lost in a song that channels such positivity and affection.  Gorgeous guitar licks and rousing brass gives the Soul-cum-Reggae blends such a conviction and nuance.  “You got to summon up the spirit now” is repeated like a bellicose chorus: Imploring people to look inside themselves and be who they are meant to be.  Too many people are limited and confined because of life: Here is a song that brings back the early days glory of Eddie Grant, Curtis Mayfield and Bob Marley.  On some album tracks that is such a modern vibe and contemporary relatability: Songs that will appeal to young listeners and chart-hungry music fans.  On Gaia you have a song that will resonate more with older/wiser listeners: Those that have affection for Reggae and are familiar with its golden history.  Contrasting these tastes and diversity across the album does not make it weaker or suffer:  There's a distinct consistency and personality that comes across in every song.  Was the album too samey and one-directional you would be bored after the half-way mark: As it is Natty ensures every track offers something unique and daring.

Things I’ve Done is a penultimate track that begins with a skip and echoed introduction.  Part-moody, part-skipping; you are fascinated to hear what will come next.  Growing and flowering by the second it is one of the most intriguing and assured introductions on the album.  Natty wants his child to listen to the story with an “open heart and mind”.  The best of him; the hero is given strength because he is a lover and father.  Having been living blind, he now “wants to see”.  Ills and crimes of the past have been a black mark that he is trying to erase.  Confessional and open; you have a song that shows the scars and is impressively earnest.  Natty wants to redeem himself to an extent and get absolution.  With that voice raw and direct the song will get inside the head and make every listener reflect.  Perhaps life throws obstacles and challenges to Natty: The way he dealt with some of them are not to be applauded.  Lies and heartache sit alongside fights and running with the boys.  A soldier “fighting for his life”; Natty needs his girl by his side- a compatriot that can help make his life better.  Few artists tend to put their soul out there in such an affecting way: Things I’ve Done is perhaps Release the Fear’s most open and personal statement from a man trying to better himself.  Once more you get some wonderful backing vocals and wonderful set of lyrics.  Amazingly consistent and focused, the composition once more stands aside: Such a wonderful thing, you get gentility and tenderness among something much more flowing and ramshackle.  Tying all the heartache, concerns and apologies together: Natty shows what a pure and open soul he has and how he is willing to make up for the mistakes of the past.

George the Poet- a London-born Spoken Word genius- comes to join Natty on the final track.  The title track gets underway with passionate strings and a real positive mood.  Cool-edged and intent; Natty looks at the sun and sea early on: Wanting to wash away his sins there is that need for improvement and shedding old skin.  There is uncertainty to be heard- not sure what is below or above- but that need to release the fear is paramount.  Perhaps the past has been a struggle and there have been too many setbacks: Now our lead has ambitions to the horizon.  “Ships go by without a sound” and feet are planted to the ground.  Our hero might be too timid to dive in and grab life by the shoulders.  Here we see a musician that is castigating past hesitancy and embracing a more daring way of life.  It doesn’t matter what has happened in the past- quite a set of stories to hear I am sure- but the focus is on the present.  Wanting to be a better man and see more of the world: The entire album’s themes are concentrated and reflected on a song that ends things with a massive high.  So relaxed and controlled, it is a song that seeps into the soul and rattles around the head.  George the Poet adds impressive backing that ensures the song always has that immediacy and quality throughout.  Embracing his faith and escaping the fear: Natty seems at peace and completely dedicated to what is to come.  Perhaps signaling new music and direction- will we see another release this year? - perhaps there will be less anxiety and more positivity across a new record.  Transcending from a boy to a man; you feel that evolution and growth as the song comes to its close.  George the Poet adds his vocals to give narration: There is a lot we can’t control; George is a pastor that gives guidance and pure truth.  It will be exciting to see where this energy and inspiration takes Natty next.  If Release the Fear’s title track points in any direction it is this: Plenty of life-affirming music will come.  Being the longest track on the album- a 10-minute symphony that is a masterclass in expression and motivation- you get Jazz calm (embers of Miles Davis’ Kind of Blue) sits with experimental Reggae and Soul.  It stands as the album’s highlight because it carries its weight and potency from beginning to end.  The extended and inspired composition gives so much weight and atmosphere to a track that constantly drives and aims for a higher truth.  Being a Miles Davis fan I love the Jazz interludes and that evocation of Kind of Blue/Birth of the Cool.  The song dips and rises to give it unexpectedness and mystery to the final bars.  Growing in intensity and motivation; no listener will be able to step away: Hooked into the drama and busy composition that becomes more wonderful by the moment.

Such a confident and spectacular album we have here: Natty and the Rebelship have created their finest work to date and album that deserves an immense amount of attention.  Whilst some media sources have already added their words- and proclaimed its wonder and influence- I was amazed by how deep, varied and consistent the album is.  Already marking itself as one of 2016’s finest albums; Natty has evolved as an artist and is at his most assured and confident.  He has scars and doubts but wants to (and everyone else) to embrace peace and come together.  Release the Fear is an album whose heart lies in the Reggae days of the 1960s: Where there was hope for change and a need to overthrow negativity and oppression through the medium of song.  By no means a distant relative or weaker thing: Release the Fear sounds like it could have been created by Reggae legends of the time.  Ensuring the music mixes in contemporary edges- collaborators and the production values- you have a work from an artist that is among the world’s most impressive and peerless writers.  Few artists are doing what he does- fewer do it as well- and that is to be applauded.  I know Natty will be touring this year and that will be great to see: So many of the tracks are destined to be sung by crowds and get people united.  That is the purpose of the album: Inspire people and get them to think more deeply about the world around them.  Anything that strives for that- and achieves it with ease- should be promoted and shared far and wide.  Let’s hope the media promulgate a work of bliss that deserves to be heard by everyone.

Release the Fear follows from where Man Like I left off: Expanding on that debut promise we have a sophomore release that burns with strength, courage and a call for unity.  Having found myself focusing on bands and solo artists- who play similar sounds- it is great to discover something genuinely new and fresh.  I am a fan of the legendary Reggae artists like Bob Marley.  I love the ‘60s and ‘70s revolutionary acts that paved the way for modern Reggae as it is.  If you take those ‘90s Reggae artists- Aswad among them- they may not have the same reputation and respect as the forefathers of the genre.  Perhaps the heyday of Reggae was during the ‘60s and ‘70s: I feel there is a perfect opportunity to reignite the form and get our modern-day representatives in the spotlight.  It is true there is an inequality and ignorance when it comes to Reggae: Few mainstream sources promote it and people are missing out on something wonderful.  Leading the vanguard; the likes of Natty and the Rebel Ship are showing just what can be achieved.  Among those hypnotic and universal messages are compositions that bring in so many ideas and wonderful touches.  If you were to name three British Reggae artists, you might have the hardest task: There are so many great acts that are struggling to get their name heard.  Maybe it is an issue that will never be rectified.  For now, we have an inspirational musician that is among Britain’s most promising young Reggae artists.  Bringing in Soul and Pop together- to give his Future Roots gospels depth and beauty- it is impossible to ignore the quality and nuance of the music.  Those tunes strike you when you first hear them: The positive messages and stunning performances get straight into the soul.  Upon further listens you discover new insights and layers: Music that demands devoted attention and fond consideration.  For people who prefer their music with upbeat messages and positive ambitions, then look no further.  Natty and the Rebel Ship have already toured some of this country’s big festivals- Glastonbury and Secret Garden Party among them- and joined Ziggy Marley on the U.S. stage.  Radio stations like Radio 1 and 2 have latched onto an artist of immense talent: Our hero has performed on Later… with Jools Holland into the bargain.  No mean feat for a musician that has not been performing all that long- compared to a lot of the legends of music.

It just goes to show what the music does to people: That peerless quality and ubiquitous songbook has been taken to heart by so many people.  It is sad when an artist- clearly adored and respected in music circles- does not get quite the same recognition as lesser contemporaries.  Natty has a great reputation and let’s hope Release the Fear does just that: Critics and radio stations need to stop being hesitant and celebrate Reggae a lot more.  Even if you are not a big fan of the genre; you cannot deny how effective and lovable Natty’s music it: It transcends boundaries and does not confine itself to aficionados.  Bringing the likes of George the Poet into the throng: Natty has created an album that has contemporary relevance but harks back to the glory days of Reggae.  Those revolution messages of the ’60s are given fresh voice by an artist who wants to change things for the better.  The messages of unity and hope-against-adversity are commodities not often traded in the modern scene: We all need to embrace a musician who is offering positivity against a backdrop of uncertainty.  Were it just skin-deep- the lyrics captured the imagination to an extent- it may be hard to fully embrace the music on offer.  Natty’s distinct and soul-calming voice adds another dimension: Throw in a kinetic and mesmeric band performance and you have yet another side to the music.  Compositions that unify Soul and African sounds into a boiling bot of headiness and transcendent smoke: A recipe that is going to give a flavourless scene the spice and sugar it sorely needs.  Natty has grown in confidence and ability since his debut album- that was assured and fantastic anyway- and the extensive touring has brought in new collaborators and influences.  Release the Fear is such a solid and wonderful listen because the band have been performing together extensively throughout 2015.  That well-rehearsed and traveled sound means the songs are alive and stunning throughout: There are no loose ends and weak performances to be heard on the album.  I know 2016 will be a bumper year for the London hero.  Having gained the backing of mainstream stations and festivals; it is only a matter of time before his music gains acolytes and disciples.  There are a lot of up-and-coming Reggae/Soul artists looking for a chance to shine and get their voice heard.  Perhaps looking for an icon they can follow: Natty is an artist that will lead a charge and see Reggae get the recognition it deserves.  Paradigm-shifting and progressive; we have a rare talent that should be given a lot more attention.  It is only left for me to implore people to get Release the Fear upon its release.  Few albums arrive that take the negativeness and fears of the world and reconfigure them into something positive and comforting.  There are fears and anxieties to be heard on the album- as Natty looks at the broken world around him- but the encouragement of unity and togetherness is an impressive and much-needed injection.  For those looking for music that provides direction and purity then look no further.  If you want an artist that has long-term potential and a wonderful vision…

[youtube https://www.youtube.com/watch?v=C5seQxAqZtQ&w=560&h=315]

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Follow Natty and the Rebelship

 

Official:

https://nattymusic.com/

Facebook:

https://www.facebook.com/nattyofficial

Twitter:

https://twitter.com/NattyMusic

Instagram:

https://www.instagram.com/nattymusic/

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Track Reviews: Universal Thee- Speaker / Hounds

TRACK REVIEWS:

 

Universal Thee

 

Speaker / Hounds

9.5/10 and 9.4/10

Speaker is available at:

https://www.youtube.com/watch?v=5s7978-Khaw

Hounds is available at:

https://soundcloud.com/abadgeoffriendship/universal-thee-hounds

SPEAKER RELEASED: 18^th January, 2016

HOUNDS RELEASED:

December, 2015

GENRES: Rock; Alternative; Indie

ORIGIN:

Edinburgh, U.K.

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BY returning to Scottish Rock/Indie band Universal Thee…

I get to see a wonderful blend of Alternative sounds; some perfect kinetics.  Before expanding more on the Edinburgh-based band, I have the chance to look at consistency and development in bands; the boy-girl dynamics- finishing off with the great bands emerging from Scotland.  Being a busy week of reviewing- across multiple genres and acts- I will get a chance to witness a variety of artists.  Some are just starting out whilst others are making their next (impressive) steps.  I have mentioned this in past reviews- when it comes to consistency and development among musicians- but there are still a lot of fly-by-night artists coming out.   It seems that so many ‘heralded’ artists- those held in high esteem by music publications and radio stations- impress you at first: As time elapses, their (once magic) qualities seem more explicable and unspectacular.  I think music consumers- and the press for that matter- become seduced too quickly: If an artist sounds a bit different or special; we are so keen to put musicians on a pedestal and create standards they cannot live up to.  This seems to be a big issue with bands: So many get huge plaudits and are compared to the next so-and-such: Invariably that act fails to meet the expectations that have been set.  I love discovering musicians that overcome the hurdles and keep on playing.  Music is a capricious and unsympathetic industry at times- where the best and brightest can find it impossibly challenging- so any musician that endures should be applauded.  Once bands (and other musicians) get past that debut-album/E.P. stage of their careers; from there they have the opportunity to develop/change their sound- having won the approval of fans and the press.  If you have a truly unique and wonderful sound straight away- few artists manage to achieve this- then changing things slightly can lead to renewed passion and inspiration.  Before I continue on this point- and mention one or two others- let me introduce my featured act:

James Russell (guitar & vocals)

Lisa Russell (vocals)

Robin Spivey (guitar)

Andrew Perrie (bass)

Matt Grieve (drums)

 “Universal Thee formed in 2010 as a trio with a faulty Macbook for a drummer. This remained the case for over two years. Only in March 2012 did they perform their first ever gig with a drummer. At least 8 people were in attendance. Things change however and by the end of March 2014 they had recorded and released their critically acclaimed slacker rock album “Back to Earth”.  With a range of songs and styles, the five-piece, led by husband and wife, James and Lisa Russell, provide a Pixies-esque loud-quiet-loud dynamic, mixing slacker rock, grunge and indie pop. It is James talent for writing catchy melodies delivered by beautiful male/female harmonies, matched with Robin’s ability to create diverse and powerful lead guitar hooks, that ensures listeners will be singing their songs for days. Although their music gives a nod to their many interesting and diverse influences such as Ash, Pixies, Weezer and Queens of the Stone Age (amongst others), fans and bloggers agree that they genuinely have their own new, distinct and exciting sound. The blog site musicmusingsandsuch sought to describe their sound, stating: “as well as melody, there is a great deal of exciting noise; this combination, combined with male and female (lead) vocals, elicits an almost-Grunge/Punk splendour, rarely attempted in the 21st century”.  February 2016 will see the release of their sophmore album “All Watched Over By Machines of Loving Grace” sees the band make a natural progression in their sound, with a more focused, more intense record evolving throughout the recording process as Universal Thee embrace the nuances of a bigger polished production as well as an increased level of complexity to their songwriting.  The result is a record that captures all of their most positive skills as a band, constructing songs with an immediacy which is difficult to achieve, as contagious harmonies are married with memorable melodies and wonderfully crafted musicianship. Album opener ‘Why’ leads from the front, setting the tone for an album that contains ten tracks of glowing, uplifting alt-pop. Harnessing the influences of bands such as Teenage Fanclub, Pixies and current favourites Someone Still Loves You Boris Yeltsin, ‘Why’ features the band’s compelling guitar licks, boy/girl harmonies and ear-worm like choruses. ‘Xang’ and ‘Sail Away’ exhibit a grittier side to their songwriting, while forthcoming single Speaker has the potential to capture the imagination of a much wider audience.  Having all studied at Dundee University, James Russell (guitar & vocals), Lisa Russell (vocals), Robin Spivey(guitar) Andrew Perrie (bass) formed the band in Edinburgh, with Matt Grieve (drums) a recent addition. Universal Thee have been building their name north of the border playing a number of shows supporting the likes of Ded Rabbit as well as an appearance on the pyramid stage at the Kelburn Garden Party Festival. With more tours planned over the coming months, a debut London show in the works and the forthcoming release of their brand new album, 2016 is looking like a year where Universal Thee will spread their wings even further afield.  All Watched Over By Machines of Loving Grace by Universal Thee is out 19th February 2016 via Eventual Heirs Records”

Having spoken to the husband-and-wife team of James and Lisa Russell- the voices behind Universal Thee- I know the band has undergone changes recently.  Currently welcoming  a new member- there has been a change in the ranks- the Scottish band are readying to present their latest album to the masses.  Having been a huge fan of Back to Earth; the intriguingly-titled All Watched Over by Machines of Loving Grace will be unleashed on February 19^th.  I know how much Back to Earth meant to the guys: It was their debut album and a fully-fledged chance to present their music to the fans.  Having spent a lot of time, money and sweat making that record: It gained the plaudits (after some hard graft) it deserved and saw them capture the ears of some very important media outlets.  When it came to their sophomore album the guys have brought in new influences- bands such as Someone Still Loves You Boris Yeltsin (one of the all-time best band names) and embraced old favourites (the likes of Pixies and Teenage Fanclub).  The confidence across the new album shows the five-piece have grown and developed their music: They were fantastic to start but have brought in new lyrical themes and added new dimensions.  Whilst not a total sonic about-face; All Watched Over’ is an album that will draw in new fans and sees new sides to Universal Thee.  Aside from the gorgeous guitar licks and stunning band interplay- one of the most harmonious and tight-knit group out there- you have that indelible bond of Lisa and James.  Being a husband-and-wife attack you would expect there to be a natural connection and understanding: They are one of the most exciting vocal duos I have heard in a long time.  Their tones seem perfect to the subject matter and whilst Lisa provides that mix of sweet-and-strong; James’ unique tones give passion and danger to the songs.  Being inspired by the likes of Pixies there are shades of Kim Deal (the band’s former bass player) and Black Francis (the band’s leader) in the sounds of Universal Thee.  Whilst perhaps not as psychotic and demented as Pixies; you have a band that perfectly blends U.S. Grunge/Alternative of the ‘80s and marries that to a blend of U.K. and American influences.  Few bands have a girl-boy duo up-front- few bands actually have one girl surrounding by boys- so it is refreshing to witness a band like Universal Thee.  Aside from bands I have reviewed- like False Advertising and Shaydes- it is rare to see female tones lead a male-heavy group.  I think music needs to take inspiration from the likes of Universal Thee.  A truly special and original act emerging: Make sure you follow Edinburgh’s finest Alternative act and where they are headed.  With the new album forthcoming- a couple of its songs available to the public- we have a tantilising glimpse into a wonderful creation.  Those changes- in personnel and sound- have not deterred or hurt the band in any way.  Universal Thee sound more inspired and urgent than at any other time: I predict they will be growing stronger and more nuanced with every subsequent release.  Around Scotland, there are some terrific bands playing.  I recently reviewed The Fables: A tremendous band that has the Punk spirit of Sex Pistols and The Clash.  Elsewhere, the likes of Ded Rabbit (who Universal Thee plays alongside frequently) are showing what the country is capable of.  With eyes locked to England for new music (of the U.K.), more people need to crane their necks to this nation’s most promising arena.  Scotland has always flown under-the-radar in a sense: Critics and music magazines tend to be too obsessed with other parts of the U.K.  If the likes of Universal Thee have proven anything it's how wrong they were: Let’s hope 2016 will see a more all-inclusive and unifying patronage.

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Many have noted- that have heard the new material- how evolving Universal Thee are.  The band has not lost their original sound and core: Adding new elements and emotions to the blend; we have a more rounded and nuanced sound across their latest album.  The five-piece are inspired by the following:

Pixies, Metric, Ash, The Cribs, Deus, Dinosaur Jr; Weezer, Cable, Stapleton, Neutral Milk Hotel; Of Montreal, Pavement; Frightened Rabbit, QOTSA and Grandaddy

If you are inclined towards any of these bands then you will find much to love in Universal Thee.  What is the biggest change- from their debut to sophomore album- is the new influences and sounds they bring in.  Whilst Back to Earth had a lot of Pixies elements to it- especially the twin vocals- now the band has expanded and broadened the vocals and sound more original.  The compositions bring in ‘90s elements and the grittiness of Alternative.  Not dropping their sunniness and uplifting moments; the band’s latest songs are even more memorable and sing-along than their debut days.  Whether it was the result of a band huddle- wondering what they next steps should be- but the songwriting is incredibly varied, emotive and impressive.  On their debut they were hugely impressive and confident: What we have this year is a band that is at the top of their game.  This all bodes well for the future of the Edinburgh band.

Speaker is the band’s latest single and sees one of their most memorable and vivid music videos- I believe it was an immense amount of fun to make!  Make sure you check the video out as it is a hugely memorable and captivating one.  The track itself begins with an orgasmic explosion of guitars, bass and percussion.  The band get out of the traps like a greyhound on fire: There is huge weight, speed and catchiness in the initial notes that showcase the new production values.  Both polished and raw; you have an introduction that sounds like nothing they have produced.  An ombudsman between their old and new sounds: Speaker is a vibrant and snaking beast right from the first seconds.  Ensuring the listener is allowed to imagine and speculate as to what is coming next.  Such an explosion and riot of sound; few will be able to ignore the hypnotic and swaggering sound of a band full of intention and direction.  It is said (by the hero and heroine) that they’re in love with a speaker- showing the charming and unique side of their lyrics- which makes you daydream and picture the words as they unfold.  Both Lisa and James join vocals immediately to give a unified charge that sees them at their most together and compelling.  It is said “You know it might just blow your mind” which gets me wondering about the origins of the song.  Whether the ‘speaker’ of the song represents the band’s song- and that tune will blow your mind- I am not sure.  It is fascinating to investigate words that have some obliqueness to them.  Caught gormless by the wonderful video- its speaker-headed lead is on a date that does not go well- I got recollections of Coffee + TV (some of the elements from that video are here) and that creativity and originality translate into the song.  Whereas previous numbers have perhaps started with some nerves or slow-build; that is not the case here: From the introduction to the first verse, the band does not miss a beat or lose momentum.  With the band whipping a wonderful composition- blending melodic Alternative shades with something snarling and attacking- you have a parabond of U.S. and U.K. elements early on.  It is the dynamics and blends of compositional elements that push the vocals and give the song such an addictive and fresh sound.  Little touches of Weezer’s debut album come out- that intelligent songwriting and insatiable sound- that will please fanboys of the ‘90s- whilst recruiting new listeners and younger audiences.   Throughout Speaker the five-piece repeat words- being in love with a speaker for one- that makes it a catchy and impossible-to-ignore song.  Not cynically designed for chanting and easy sing-along; instead, you have a song that recognises and highlights its strengths.

When the band sing “There is more to life than I can see”- among the rapture of notes and that wonderful chorus- it brings in new perspective and meanings.  Being a band that mixes direct with byzantine- making their songs immediate and open-for-interpretation- listeners will have their own perspectives of Speaker.  In the first case, I got impressions of music love and the passion musicians have: How music obsesses the mind and is the most important thing.  When new lines and directions are brought in, my mind starts to broaden.  Words of emergency and late-night rabble blend into a song that is huge on hooks and uplift.  Whilst the song’s nature might look at some seedier and emotive areas; you cannot deny how head-infusing and unforgettable the song is.  That chorus is just the start of things: The wonderfully vibrant and passionate vocals sit with a tight and punchy composition.  This is the kind of song that is likely to be a live favourite.  You can see crowds united in song as the song pummels out of the speakers.  That said, there's universality and melody that means it is going to be in-demand across radio stations around the U.K.  I hope the band ensure they push the song further than local radio- London’s biggest boys will want to hear it- as they have crafted one of their most memorable and stunning tracks ever.  Bringing in elements of early-days Pixies- candid and vivid stories that melt the strange and everyday together- with something uniquely their own.  Here is a band that sounds more in love with music than ever before.  As the final notes play you still wonder what the true meaning of the song is- something I will have to press the band about.  The accompanying music video sees the speaker-headed hero make his way to a nightclub: Promptly vomiting (rather artlessly) into a toilet, it brings all the chaos, drunkenness and love-gone-wrong regret the song suggests.  The video’s creativity and budget show how much faith the band has in the song.  Throwing down a gauntlet- and suggesting how great their latest album will be- it is perhaps the band’s most accomplished and ‘together’ song.  The composition mixes lovely drum fills/runs with some catchy riffs and assured bass work- keeping the song together and driving those vocals.  Up top, you have our leads that sound like they are completely in love with the song: Such refreshing and smiling vocals give the song the authority and performance it richly deserves.

Whereas Speaker is the band’s latest single; Hounds is a song that is available as a download.  Showing an instant diversion from Speaker; Hounds is a song that is equally impressive.  Beginning with a sharp and buzzing guitar riff- one that gets to the point and marks its intentions- the song wastes no time getting people involved.  Words that see our leads feeling paralyzed and helpless again get the mind wondering and guessing.  Perhaps some of the production mix the vocal too low- some of the words are a little hard to capture- but the abiding impression is ensuring that composition and vocal firepower reigns hard and makes its mark.  What I get from Hounds is how confident Universal Thee sound.  Paranoid and cashed-in lies come into a song that deals with tough emotions and something quite personal to the band.  Whether a reference to events in their lives- or something less direct- you have a performance that explodes with giddiness and directness.  Lisa Russell’s yelped punctuation is one of the most addictive and memorable elements of the song- that malleable and distinct voice add loads of nuance, heart and wonder to every line.  When Lisa and James combine you get a confident and scintillating performance from a band that is at their very peak.  Special commendation must be given to the composition that is given a lot of attention and detail.  The guitars employ lots of shades and ideas that give the sound such variety and potential.  Too many bands get hooked on easy riffs and to-the-gut punch.  Universal Thee are among the most intelligent and considerate bands around.  Their music has so many touches and ideas that will leave the listener hitting the ‘play’ button again.  One of Universal Thee’s greatest tricks is repeating lines and vocals to enforce the song’s meanings and catchiness.  Never compromising quality for simple sing-along; once more the band presents a song that has enormous repeatability and radio play potential.  Hounds will appeal to the more credible and cutting-edge stations.  Certain mantras and motifs- the line “Do you what you want to do”- mix inside a song that intrigues and allows every listener to arrive at their own conclusion and extrapolate their own meanings.  Bringing new influences and ideas into their songwriting: Universal Thee are more alive, diverse and meaningful than ever before.  Hounds is a perfect example of what All Watched Over by Machines of Loving Grace will possess.

Uniting the melodic uplift of Back to Earth with a renewed intensity and purpose: I am bowled over by how together and nuanced the band is.  When their album is released next month it will give fans a chance to see how Universal Thee have developed and progressed.  Their polished and terrific production sound allows the wonderful vocal and band interplay to really shine and capture the imagination.  The songwriting is at its most inspired and original and the entire band are tremendously tight and impassioned.  Make sure you get All Watched Over by Machines of Loving Grace when it is released: An album that marks the five-piece as a name to watch very closely.

It is going to be exciting to see what All Watched Over by Machines of Loving Grace sounds like.  With Speaker gaining a lot of attention- one of the best songs the band has created- there is no way the album will not impress and bring in new fans.  The band’s debut album showed just how assured, compact and talented they were: No fillers of weak moments; what you got was an authoritative statement from a hungry young band.  On their sophomore cut that ante has been upped and you get more colour, emotion and subject matter coming through: If anything, the newest material is more immediate and compelling.  Hounds and Speaker are too rare cuts of musical beef that drip with blood, gristle and headiness: A musical experience that will not escape the head in a hurry.  I know- from speaking with the band- how close the guys are and the friendships they have.  Having met and formed in their university days; what we have in 2016 is a band that are among music’s tightest and most exciting.  For fans of the Universal Thee’s earliest work you will not be disappointed: Those Pixies-cum-Teenage Fanclub elements are burning bright yet the guys sound more original and fresh now.  I hope the five-piece have a chance to come to London- I have been meaning to get to Edinburgh to see them- and it will give the capital a chance to embrace a band that would sound at home here.  London has some terrific bands emerging but none sound quite like our Russell-led quintet.  If you thought their album title was fascinating; that only really tells half the story: Delve deep and you discover songs that not only reflect everyday concerns but delve deep into the soul.  Led by the charming boy-girl interplay of James and Lisa Russell- with superb backing from the rest of the band- you have music that is of the highest order.  I have become fatigued listening to bands that tread the same water and seem uninspired: The play-as-loud-as-you-can four-piece that seems directionless and obsessed with stadium-sized choruses.  It is great having arena ambitions: If those huge choruses and energies are not concentrated and say anything worthwhile you will not capture the imagination and get inside the head.  What Universal Thee does is provide music that not only bristles with emotion and passion- two words that are apt under the circumstances- but provide quirky tales and introduce some rather odd characters.  Not just playing the same themes as everyone else- heartbreak and inner-inspections- you have a lyrics book that has so much diversity and wonderful storytelling.

Our Scottish five-piece (across the new album) sees them progress their sound: More complex and focused; it sees polished production give the songs big atmosphere and tonnes of nuance.  Still uplifting and insanely catchy- elements that were evident on their debut album- All Watched Over by Machines of Loving Grace is even grittier and wide-ranging than Back to Earth.  Embracing new audiences and stretching their horizons: What we have is a natural evolution and new ambitions.  I know there has been a London show mooted- shall have to get onto that- and the band are looking ahead to another album- they will want to concentrate on promoting this one before they leap ahead.  I know the Edinburgh band has faced financial struggles and creative doubts- whether their new material was as sharp and mesmeric as could be- and they should have no fears.  Having grown and galvanised over the last year; it seems like 2016 will be their year: I would not be surprised to hear their latest cuts make their way onto the playlists of the nation’s most influential radio stations.  I hear so few bands that break-away from that all-boy/all-girl dynamic (the latter is a rarity in fact) and mix genders.  If you have female and male tones it gives the music more depth, richness and range.  It is all well having a front-man/woman providing vocals; how varied and surprising are the songs going to be?  If you broaden the palette and bring in another voice, you have so more space and potential when it comes to songwriting.  You do not have to make the songs so restricted and singular (by doing this).  Universal Thee is a band that exploit the twin voices they have in music that contrast soul-uplift and something rather haunting and teeth-baring.  Few bands in the modern climate manage to survive years down the line so it is impressive and a relief Universal Thee has overcome the obstacles and natural barriers the industry throws- growing stronger and more inspired as they go along.  I have mentioned how solo artists are being touted and emphasised this year- when it comes to critical acclaim and expectations- so we need those amazing bands to steal back some focus.  Too much stagnation and lacking inspiration have taken the microphone from the bands and given it to the solo players.  Let us hope All Watched Over by Machines of Loving Grace is an album that bands should look at and take note of: It is how a record should be made and how it should affect you.  Hitting the brain, soul and heart: Congratulations to the intrepid five-piece and what they have achieved.  Speaker and Hounds are two sides to a record that surely will not disappoint.  More gritty, hard-hitting and variegated than ever: Our brave and electrifying band are on a quest to gain new ground and fans.  Given the quality they are putting out there; it will not be long until they are on the tongues of everyone.  Get involved with music (and a band) that will…

BLOW your mind and make you smile.

[youtube https://www.youtube.com/watch?v=5s7978-Khaw&w=560&h=315]

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Follow Universal Thee

 

Facebook:

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

Twitter:

https://twitter.com/universalthee

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Music:

https://soundcloud.com/universal-thee

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Videos:

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FEATURE: Radio Infrequency: A New Type of Station

FEATURE:

Radio Infrequency:

 

 

 

A New Type of Station 

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ONE of the things I find about my generation…

is how few people are listening to the radio.  I am not sure whether it has always been a generational thing- those of a certain age do not listen to it- but more and more people are turning to podcasts and other sources for music.  Until a couple of years ago I was turned off by radio: The ‘mainstream stations out there were starting to really annoy me.  I have respect for B.B.C. Radio 2 as it features a mix of new music and older stuff.   Whilst there is a good range of music I tend to find there are a lot of negatives and drawbacks.  The presenters are amiable enough but not really that engaging (or funny): The shows never really capture the imagination and it is not exactly cutting-edge.  Radio 1 prides itself on speaking to the youth of today: That comes at quite a bit cost too.  The presenters on the station (with the exception of a few) tend to be inarticulate, unlikeable and really irritating.  They (Radio 1) are good at highlighting some great under-the-radar music; they tend not to feature a lot of vintage/historical sounds.  Away from B.B.C. 1 and 2, there is not a lot of choice.  B.B.C. 6 Music is one of the best stations around.  They have that knack of mixing brand-new music with older: The presenters are quite engaging and have a certain charm to them.  I find the station does not really go far enough- whether they are constrained by genres/expectations.

My favourite radio station- and one of only a few in the U.K. who come close to being decent- is Absolute Radio.   I listen to the station every day and it ticks all the necessary boxes.  The hosts/presenters are engaging, entertaining and funny- Christian O’Connell, Frank Skinner and Andy Bush are the best in my mind- and have such a passion for music.  The music played is varied- with very few repeats- and you get a good spread of genres and tastes.  With its sister stations- Absolute ‘90s etc.- providing defined and particular music; Absolute Radio has amassed quite an empire.  Whilst one of the best radio stations in the U.K.; there are still problems and limitations.

One of the biggest issues is advertising.  Radio stations need to play adverts to gain revenue I understand that.  The problem is that I- among many people around the world- absolutely despise adverts.  They are hideously unfunny and embarrassing: Often mindlessly stupid and annoying; they are a plague on radio and YouTube- having to sit through stupid adverts before you get to hear/see a video on YouTube is one of life’s evils.  Absolute Radio has an issue of playing similar artists/songs.  I know they broadcast for many hours a day- seven days of the week- and there is always going to be overlap and repetition.  I feel the station is not as varied and diverse as it could be.  There are so many songs available- hundreds of thousands- and they do not really push hard enough in my mind.  Certain artists are played obsessively: There are people in the world (like me) who do not want to hear Foo Fighters endlessly (can’t stand the band) and need to hear something different.  Whilst one of the more cutting-edge and cool brand out there; the station does let a few rather dodgy bands get onto their rotation- Nickleback feature far too heavily in my mind.  Another issue with Absolute Radio is the fact it is under-the-radar (not their fault).  Whilst B.B.C. Radio 1 and 2 are the most popular in the U.K.; Absolute’ are one of the underdogs that deserve more attention.  I feel if they were given the same exposure and audience as B.B.C. Radio 1 and 2- who have far more flaws then Absolute’- then something wonderful could happen.  My point remains this: There are only a couple of radio stations out there that come close to ‘perfection’- doing what a great radio station should do.  What is to be done?

The Internet has a few stations/podcasts that have that potential to rise to the mainstream.  With fewer constraints and expectations; they are free to broaden their horizons and do something unique and unrestricted.  To my mind, there are still not enough stations that push hard enough and leave impressions in the mind (unless I am missing anything).  A lot of podcasts/stations are too niche and singular: Focusing on a particular style of music/genre.  If you do not have to worry about advertising/audience expectations then why confine yourself?  Musicians are free to create whatever music they please: Why then are radio stations becoming so tame and conformist?  The evergreen staples- Radio 1 and 2- are always going to get big audiences of a day.  The younger (or ‘yoof’) market will cling to Radio 1 as it provides the type of music they want to hear.  Radio 2 appeals more to the middle-aged/old-age sector with its more contemporary and mainstream tastes- doing a good job of ensuring bygone music is given a good showing.  It is important to represent audiences and draw age ranges in: Why can’t a radio station appeal to every listener out there?  There are only a few mainstream stations- B.B.C. 6 Music and Absolute Radio- that make an attempt at this.  I get annoyed by how many horrible radio stations there are.  In London you have Kiss F.M., Magic Radio, and Capital F.M.: Stations that ‘rock’ but are as far from cool and rocking as you can get.  They play (predominantly) Pop music and play the sort of music most of us really hate- their main audience is the young females of the nation.  Local radio is- with the exception of very few- a sorry and woeful affair.  With unfunny and cloying presenters; constantly repeated music- the same six or seven songs spun all day- and nauseating competitions- I really do hate most of them.  Living where I do; we have one of the worst local stations (Eagle Radio is tripe; Brooklands Radio is the best on show, mind) I have ever heard.  Aside from the abysmal adverts- some of the worst and more embarrassing you will ever hear- the presenters are off-putting and constantly unappealing/unfunny.  The music is the main concern: The quality and sense of diversity is seriously lacking indeed.  Tonnes of overplayed older songs and chart-friendly fodder.  No edge or any sense of class, alas!

Unless the Internet is hiding some gems- it is often the case a lot of great stations/music are hard to discover- you have to rely on what’s out there.  Too many people are sticking with iTunes/YouTube/SoundCloud for their music: Fewer younger people are listening to the radio and using it as a means of inspiring their mind and tastes.  While the Internet has greatest depth and range- compared to what radio stations produce- I worry radio in general will be obsolete in generations to come.  One of the biggest problems is the choice you have.  So many stations out there but all playing different music: Can you realistic have your demands/tastes met with a single station?  Unless you have an Internet station/application that can draw various stations together then you are in trouble.  What you could do is have something that scans stations and provides music from each of them.  First you can hear a song from B.B.C. 6 Music- based on your tastes this application would go searching for you- and after that you get a song from Kerrang! for instance.  After that you my get some chat from Absolute Radio before a song from Absolute ‘90s arrive.  It seems like an unwieldy and unnecessary way around things: Why not just create something original and new?

Whilst it may not transcend to the big leagues straight away, there is a real opportunity to fill some gaping holes.  I have been toying with the idea of starting a radio station: Starting on the Internet, it would go a lot deeper and further than what is already out there.  I have a very broad taste in music and find it is not being represented and exploited on radio.  It would be great to hear Miles Davis alongside Beastie Boys and Carole King.  I understand a lot of people don’t have such ‘varied’ tastes; that is missing the point: Radio limits itself and is too hung-up on crafting a particular brand or model.  Whilst I hate Radio 1 and find it seriously lacking; they are important when it comes to finding great new music and fresh sounds.  Radio 2 is rather good- if stuffy and too safe- at keeping older music alive and burning.  Even the cooler stations- Radio 6 Music etc. - are not variegated and all-inclusive enough.  A station should exist that takes all tastes into consideration.  You would not need to play all music across a single programme- a D.J.’s three or four-hour slot- but you could compartmentalise.  One D.J. could focus purely on brand-new music.  This would not just be limited to new mainstream music- the sort Absolute’, Radio 1 and most stations play- but artists that have to struggle hard to get their music played- the type that has to rely on local radio.  It would be great to hear songs from unheard-of bands- the sort I review quite regularly- play alongside Elle King, W.S.T.R.N. and Jack Garratt.  I do not understand why it is left to local radio to play songs specific to their locality- mainstream stations are ignoring a huge chunk of music.  I hear so much great talent around the world that does not get their fair shout.

One of the issues is royalties and paying artists to use their music: Perhaps the financial burden is castrating a lot of aspiring stations and dreamers.  It would be great to start a radio station (have it moored and based in London) that drew inspiration from new music fully: Focused on the mainstream’s best new acts in addition to those unsigned and across the Internet.  In the same beat; older music needs to be kept burning bright.  I find a lot of stations neglect genres and artists so many young listeners are missing out.  Why should Jazz and ‘90s Dance music be confined to particular stations; why it the likes of Steely Dan are rarely featured across U.K. music- an act that should be inspiring young musicians.

I do not have a name for it- one of the biggest issues going forward- but have a definite passion and goal.  Perhaps not presenting myself- choosing the music and working behind-the-scenes- I would love to see something take shape.  Getting a range of presenters together- perhaps from across the world- the station would encompass all music and make it easier for music enthusiasts to have their voices heard.  It (the station) would bring in charismatic and funny presenters- the model Absolute Radio has thrown down- and restrict its advertising to the station’s website.  That central website would be authoritative and complete.  Listing all the music played- information about presenters and the station- it would go deeper and do a lot more.  I have mentioned other plans I have- including a London music café and huge music website- that I would love to see happen.  The station’s site would give a link to Psychoacoustics (the music website I have pitched) and would make it a one-stop-shop for every music lover out there.  The station would also bring in charity and make it easier to raise awareness and funds- music events and concerts would be set up- and listen to market needs and the concerns of the audience.  If something needed to be included or changed; we would make that happen for them.

Of course there will be logistic challenges- getting money raised to set up the station; the problems of royalties and ensuring it was popular and heard- but things that can be achieved.  With older music starting to overtake new music- in terms of downloads and popularity- for the first time in ages; it is vital radio stations step-up and do what ends to be done.  It is hard to discover great older music through YouTube and the Internet- radio is the best device to rediscover some fine old tunes.  New music is a sector that will get busier and more expansive as time elapses.  Whilst a few stations promote new music consistently; they tend to confine their sights to those at mainstream level.  We all hear gems across Facebook and Twitter but few are played beyond the boundaries of local radio.  It is hard to represent all the fantastic music across the Internet: A new radio station could dedicate segments to that or sprinkle in songs between mainstream/older sounds.

It may just be me- as an avid and passionate music fan- wanting something better out there: I hate having to rely on social media for great new music.  Whilst I love Absolute Radio, for instance- one of the stations that come close to satisfying my tastes- there are still too many (needless) gaps and avenues unexplored.  I think I am not alone in my campaign and annoyance: I need people to give feedback and see if they would help.  I will need presenters and producers: Plenty of music fans to help make it a reality.  If it will happen I am not sure: It really needs to happen, though!  Just one question remains:

WHAT will the station be called?

The Classics Series: Rage Against the Machine- Rage Against the Machine

The Classics Series:

 

 

Rage Against the Machine- Rage Against the Machine

  

___________________

OVER the next week or two…

I am looking at a range of different musicians and songs- across various countries and genres- and seeing what new music has to offer.  Aside from my reviews and interviews, I will focus on a new series: Looking at classic albums that have changed music.  Starting off with one of the ‘90s most scintillating albums: The groundbreaking and unstoppable juggernaut, Rage Against the Machine.

Released in 1992, it saw vocalist Zach de la Rocha join with guitarist Tom Morello; drummer Brad Wilk and bass player Tim Commerford.  The L.A. group’s Rapcore blends were a breath of fresh air in a music scene that were seeking a mouthpiece against the inequalities and struggles of modern life.  Looking at police corruption, racism and political injustices: The quartet concentrated these angers into a stunning record that inspired a legion of musicians and young listeners.  From that stunning cover- featuring the self-immolation of Thích Quảng Đức- to the sheer consistency and quality throughout: Critics were united in their support and love of a masterclass creation.

Whilst the genres of Rap and Heavy Metal were strangers to one another; Rage Against the Machine were one of the first bands to bring them together- throughout the ‘90s bands such as Beastie Boys would perfect the art.  Few were expecting a band like Rage Against the Machine to arrive.  The U.S. had (up until that point) seen some terrific young rappers come through- and great Heavy Metal bands for that matter- nothing has arrived like the Los Angeles boys.  Led by angry white boy de la Rocha; their Molotov cocktail of rebellion and disgust came together in songs that were surprisingly disciplined, focused and nuanced.

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

Bombtrack is a number that perfectly kicks the album off.  Kicking with tripping and sneaky guitar strings; the track builds into a stunning explosion.  With each player coming-together with aplomb and purpose: the song sees our lead deliver one of his most swaggering vocal performances.  Offering beat-downs and truths: Our hero leads an elite charge against the “power whores and landlords”.  Rallying against the social inequities he sees; de la Rocha sounds completely in control and purposeful.  Brad Wilk provides some stunning double-kick flourishes- rare for any drummer- and is backed by the electricity of Morello and Commerford.  The name of the track uses the word ‘bomb’ to mean ‘greatest’: Rage’s braggadocio and proclamations are evident right from the offset.

Killing in the Name is the obvious standout from Rage Against the Machine: The anthem that remains their most popular song; its chorus tag- “Fuck you, I won’t do what you tell me!”- became the rallying cry for disaffected youth.  A track that looked at police violence and institutional racism; it was one of the most politically-charged and angry songs on record.  A hit-back against the ills of American society it sees de la Rocha build the tension: Those “Fuck you”s start mumbled and teasing- before building into a firework crescendo.  Released six months after the Los Angeles riots; the song perfectly captured the imbalance and problems that pervaded society at the time.  Fiery bass lines and militaristic drumming brutality was at the core: It was perhaps Morello’s guitar work that defined the track (for me at least).  Few guitarists have arrived on the scene- and have since in fact- that have such a range of moves and innovations in their bag.  Ingenious and original riffs sparred with sparkling diversions and firecracker scratches: A player with limitless potential; it was all laid bare in a track that became Rage Against the Machine’s defining anthem.

Away from the obvious anthems; the band created songs which build and mutated: Songs that developed and grew like a blood-baying animal.  Bullet in the Head was inspired by the belief (the band had) the media were controlling people’s thoughts.  Packing in some meaty and gut-punching riffs; it sees Morello open his magic box and produce some of his most scintillating creations.  Take the Power Back is a chant-able beast of a track: An obvious call that rebels against the ineptitude of government; a song that resonated with those listening upon its release.

[youtube https://www.youtube.com/watch?v=jg8zR91tgSE&w=420&h=315]

What strikes me about Rage Against the Machine is how its songs grip the attention from the very off.  Those introductions are so considered and perfect; you are captivated from the very first notes.  Settle for Nothing builds the tension with a moody and twilight introduction: All danger and uncertainty; it leads to one of the band’s most tense and tight performances.  Know Your Enemy starts with that dizzying and head-spinning introduction assault.  Surprisingly direct and to-the-point the song looks at the contradictions the U.S. perpetrates: It is the “land of the free” yet invades other countries at will- a furious attack against the hypocrisy of government.  Wake Up sees Morello employ Led Zeppelin’s Kashmir (and that biblical riff) for his own measures.  Running in at over six minutes long- an epic by the album’s standards- it looks at the racial problems in the U.S.  Putting figures such as Malcom X. and Martin Luther King Jr. under the microscope: Here the song suggests government agencies such as the F.B.I. arranged those assassinations.

Fistful of Steel remains a favourite for me.  One of the finest introductions on the album; it builds from woozy and warped guitars.  From there you get that scuffed and echoed metallic punch; the percussion rifles in- de la Rocha elicits a brief “Hup!” before the band combine in an orgasmic, cool-as-fuck swagger.  With Freedom providing a suitably epic conclusion; you have an album that was- and still is among many- considered one of the finest in all of music.

Rage Against the Machine would go onto create three more albums- 2000’s Renegade was their last- and would never burn as bright as they did on their debut.  Whilst by no means a case of diminishing returns; Rage Against the Machine perfectly captured the anger felt by many: Perfectly assessed across an album that brimmed-over with explosive anger and hard truths.  The partnership and bond between front-man de la Rocha and guitar genius Morello seemed unlikely but worked perfectly.  The former was at his strongest when focused on particular issues- less inspired when widening his scope.  Few artists at the time had any particular political stance: de la Rocha’s leftist anthems saw him mix street preacher fanaticism with militaristic Rap assaults.  Morello brought in a

Few artists at the time had any particular political stance: de la Rocha’s leftist anthems saw him mix street preacher fanaticism with militaristic Rap assaults.  Morello brought in a truckload of wizardry, invention and colours.  Bringing new life into the genres of Rap and Heavy Metal: Marking him as one of the world’s greatest guitarists; the album would have been far weaker in anyone else’s hands.  Joined by some tremendous percussion and bass work- the entire band had no equals in terms of musicianship and quality- Rage Against the Machine remains a peerless and landmark creation.

The sad thing is- showing foresight and prescience by the L.A. band- the album remains crucial and relevant to this day.  Police racism and inequality burns bright and unchallenged.  Across the U.S., we keep hearing stories of police brutality and racially-motivated shootings.  With political lunatics like Sarah Palin and Donald Trump spewing their right-wing insanity and propaganda: Has U.S. politics and society changed since 1992?  It seems insane the country- and the world at large- has not matured and evolved in the past 24 years.  Whilst the music (of Rage Against the Machine) captivated and spoke to listeners at the time: Here is an album that continues to inspire and amaze listeners.  If you have not witnessed one of music’s finest-ever albums; ensure you change this…

AND watch your mind being blown away.

[youtube https://www.youtube.com/watch?v=QNzIKoAy2pk&w=420&h=315]

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TRACKLISTING:

Bombtrack

Killing in the Name

Take the Power Back

Settle for Nothing

Bullet in the Head

Know Your Enemy

Wake Up

Fistful of Steel

Township Rebellion

Freedom

DOWNLOAD: 

Bombtrack; Killing in the Name; Know Your Enemy; Fistful of Steel; Freedom

STANDOUT TRACK:

Killing in the Name

Track Review: Hannah Boleyn- Insignificant

TRACK REVIEW:

 

Hannah Boleyn

 

 

Insignificant

9.4/10.0

Insignificant is available at:

https://www.youtube.com/watch?v=lok6AEkEjVw

RELEASE DATE: February 5th, 2016

GENRES: Soul

ORIGIN:

Leicester, U.K.

LABEL:

Tudor Gate Records

WRITTEN BY:

Hannah Boleyn, Hiten Bharadia & Neil Athale (Phrased Differently)

PRODUCED BY:

Neros

____________________________________

THE last review for a few days sees me come back to one of this...

country’s blossoming artists.  When reviewing female artists, I have looked at the range of sounds provided: The sort of genres blended and what the scene has to offer.  I wanted to look at the voice (and its importance); the themes that influence a song- finishing off looking at how to get your music to the national radio playlists.  Coming into music requires a lot of determination, grit and passion.  With a lot of musicians feeling the pressure of the industry- and calling it quits after a short time- it is impressive watching artists keep pushing and growing.  In the modern music scene- when it comes to solo artists at least- there seems to be an emphasis placed on the voice.  Every column inch I see- when reviewing a great new artist- tends to pride the voice over lyrics and music.  Perhaps it is what consumers/listeners prioritise- I like the whole package myself- but there is a lot of focus placed on the quality of the vocals.  So many solo artists tend to pass you by: That vocal just does nothing and seems rather lifeless and ineffective.  What really impresses me is discovering a voice that can go huge- create something scintillating and explosive- whilst able to come down into tender territory.  I know it is a big ask, but I discover so many singers that have such a limited range.  The voices that have mobility and range are always going to be capable of more.  What is more important than anything- when assessing a voice and what it can do- is ensuring your sound is original.  Too many artists are emerging that lazily mimic existing artists and put no effort into making their music unique.  When it comes to Hannah Boleyn, there is not a whole lot of information/biography on her.  The Facebook/Twitter accounts revolve around the music, so one has to put the pieces together somewhat- it is good to have some mystique I guess.  What strikes me about Boleyn is her vocal sound: It has such a refreshing and special sound whilst bringing in shades of other artists.  Inspired by the likes of Shirley Bassey, Amy Winehouse (so many female artists are these days) and Lana Del Rey; you have an artist that is rightfully gaining a lot of attention and applause.  It is not just the sound of Boleyn’s voice that impresses me: Capable of presenting any emotion with complete conviction you have a natural singer that ranks among one of this country’s most impressive young artists.  Every time I hear a Hannah Boleyn song you get the same impressions.  No two moments sound the same at all.  Every note and verse have a distinction to it; in no small part due to that exceptional voice.  One of the other great things (about Boleyn) is her refusal to stick to the cliché subjects for music- heartbreak and love etc.- and her broad pen is one of her most impressive facets.  Inspired by real-life events and strange moments, you get a young talent that wants to distinguish herself from her peers.  In a music scene with too many heartache anthems; it is wonderful to hear a young woman who has that originality and autonomy.  Many artists could take inspiration from Hannah Boleyn.  The first instinct of any new songwriter is to recall heartache and broken relationships: It seems to be the staple now, so why buck the trend?  That is all well and good- you need to write one or two songs like this- but so many artists do not stray away from these subjects.

The most interesting and enduring musicians are those that expand their subject matter and dig a lot deeper.  I mention this point because Boleyn’s most recent track (Insignificant) looks at the unimportance of silly things- compared with life-or-death/serious issues.  Dripping with emotion and truth; hardly a surprise the song has been picked up by so many and hit hard.  Our heroine has enjoyed a steady rise over the last few years.  With some special releases under her belt- including the album The Boleyn Affair- it seems like there is no stopping her.  Whist Insignificant is taken from the album- in addition to previous singles Tough Love and Permission to Leave- it seems like 2016 will show fresh unveilings and progressions.  The Boleyn Affair is nary three months old but has already captured the public imagination and some wonderful reviews.  The consistency and quality throughout the album marks Boleyn as one of the U.K.’s most stunning talents.  Backed by that varied and sensationally soulful voice; the terrific range of songs and lyrics- you have an album that shows just what Boleyn is made of.  An impressive gauntlet and revelation; it will be fascinating to see what this year holds in store.  Having gained support from B.B.C. Radio 2- Graham Norton and Terry Wogan- it got me wondering about national radio-play.  A lot of artists have that ultimate goal in mind: Get their music played by the big boys of radio.   Whilst there seems to be no one formula and golden rule to success- and getting music to the national radio stations- I guess you just need to ensure your music has that originality and nuance to it.  Boleyn has a voice/sound that is ready-made for B.B.C. Radio 2; it can also translate to the ‘lesser’ stations like Absolute Radio and Radio X.  Whilst her music is quite populist and universal; it has coolness and bite to ensure it appeals to those who prefer their music edgier and harder.  It is no mean feat getting your music played by the national stations so congratulations must be given to Boleyn.  With one album already released, I suppose this year will see some new music and tour dates.  Given her rate of progression, it would not be surprising to see our heroine taking her music across the globe.  Such a universal and lovable sound; who would bet against her taking on the U.S. and Australia for instance?  That may seem like a dream right now- but hardly a stretch if you think about it- but Boleyn is focusing on the here and now.  Insignificant is another revelation step from a musician that has an inimitable voice- critics seduced by its soulful power and seductiveness- with songs that mix the personal with ubiquitous.

Whilst Insignificant- like most of Boleyn’s previous output- appears on The Boleyn Affair; one can see a difference between songs.  With its songs being recorded at different moments; I was fascinated to look at individual tracks and how they differ.  Before doing that, I wanted to look at Cemetery: One of Boleyn’s earliest and catchiest tracks.  From its endless swing and vivid lyrics, you get caught up in a voice that has such power and rawness to it.  A song that brings in elements of Soul, Swing and Pop; it is such an instant and confident number.  Using cemetery/grave-side imagery as metaphors for love- and burying memories deep down- it showcases a fresh and new take on the subjects of heartache and love.  Throughout, Boleyn lets her voice shine and power through.  A short and memorable number, it stands as one of Boleyn’s most uplifting and smile-inducing song.

    No Hard Feelings- taken from The Boleyn Affair- begins with atmospheric and racing strings.  When our heroine comes in; that bold and brassy voice drips with emotion and strain.  It is clear she has been through some break-up and heartache.  In spite of everything, there are no recriminations and accusations.  It appears like there has been a clean break (of sorts) and nothing to get too angry about.  Reflecting on the awkward conversations and past times- even though there is a definite regret inside our heroine- there is that compromise and acceptance.  The boy was perhaps not part of a long-term plan and agenda.  Not a true love for her; the break-up is being met with acceptance and maturity.  Not sure if it was inspired by a real-life event from Boleyn’s past: There is plenty of conviction and truth to be found in that scintillating and dramatic vocal.

   Tough Love is a song that has gained attention and popularity among social media and reviews.  Such an energy and explosion comes through in the chorus.  Our heroine is fed up with tough love and being told what to do.  Whether documenting love or professional relationships- the control some people try to exert- there is that emancipation and breaking away.  Fed up with others calling the shots; getting away from those toxic situations has enforced the song’s creation.  One of the most sing-along and uplifting choruses Boleyn has created; here is a song that can get crowds and listeners singing proudly and loudly.  The chorus has Pop edges and mainstream appeal whilst the composition (and verses) has its heart in Soul territory.  Rumbling drum beats and orchestral string rises give the song a brilliant mix of raw emotion and upbeat defiance.

   Permission to Leave is another single that has gained a lot of attention.  Differing from previous numbers- and showing another side to our heroine- it begins with a harder beat and swagger composition.  Edgier and more attacking than other numbers; the song soon expands and opens its wings.  Looking at fights and conflicts in love- it seems like our heroine’s sweetheart has caused her anger- the track recounts some fall-out and ruction in a relationship.  The track looks at twisting words and putting tests out there.  A bit of cat-and-mouse takes place- our heroine wants to catch her man out- and the vocal is much more direct and determined than other numbers.  Whilst boasting another big chorus, the emphasis here is on emotion and laying down the law.  Inspired by something more negative and unsettling; the track is given an appropriately focused and atmospheric composition.  Showing how versatile her voice is; Boleyn showcases her full emotional range across a track that seems very personal and important to her.  Clearly not a woman to be taken advantage of; you have an anthem that will appeal to young women: Taking control and not letting their men get away with indiscretions and cheating.  I am not sure the exact origins behind the song- whether it is taken from events in Boleyn’s past- but cannot help but be impressed by the drive and determination in the vocal.  An exorcism of sorts; Permission to Leave is one of The Boleyn Affair’s most stand-out moments.

What you find with Hannah Boleyn is an artist who is restless and varied.  Few of her songs sound the same: Huge range and difference can be found across an album that showcases what a talent she is.  Working with various songwriters has led to music that works across various themes and genres.  What impresses me most- apart from the composition and lyrical variation- is that voice which continues to amaze and impress long after the song has finished.  Whilst a consistent and solid album; there is still a lot of variation and diversity within the songs.  A lot of artists produce an album with songs that all sound similar: It can be off-putting and mean the record does not have much staying power and nuance.  What you get with Hannah Boleyn is an artist with huge range and myriad ideas- it will lead to a very varied and long career.

Differing itself from many of The Boleyn Affair’s tracks; Insignificant gets underway with a gentle piano line and something quite tender.  In other numbers, Boleyn gets songs underway with a brash and brassy composition: Fusing Soul and Pop into something direct and hard-hitting.  Given the importance and significance of the track; we get something more restrained and light early-on.  Right from the first words you understand just what the song is trying to say.  Our heroine doesn’t sweat if she misses the bus: Willing to stand in the rain; there are more important things to concern herself with.  Letting her voice pack emotional punch and soul- whilst keeping itself restrained and tender- our heroine documents a variety of situations.  If her clothes get wet then there is nothing to worry about.  If she loses her job then there are no concerns (I would be pretty stressed personally); against the focus of larger issues, these minor things seem insignificant.  It is hard not to think of Amy Winehouse when the opening lyrics come to play.  That distinct and smoky sound mixes with something powerful and vulnerable; a vocal blend that gives the words such a weight and passion.  When our heroine looks at the troubles and concerns of everyday life- being late for work and the commute stress- they pale when compared to the bigger strifes and horrors.  I know Boleyn was inspired to write the song after a loved one of hers was admitted to hospital.  After that event happened, everything else seemed rather small and pointless.  Few artists take a hard and challenging time and funnel it into music and something positive.  Not only does Insignificant deal with concerns and life philosophy with maturity and intelligence; it also showcases one of Boleyn’s most accomplished and stunning vocals to date.  The song originates from Boleyn’s horror upon learning the news- that a close relation was sick- and in that moment realised nothing else matters.  Every other stupid annoyance took a back seat to something more urgent and important.  Plinking strings and haunting strings support the vocal which continues to impress and captivate as the seconds tick.  The listener is drawn into the soul and heart of a song that has a tear-stained sense of perspective and reflection.   That refrain of “I’m losing you” is delivered with such a shiver and haunt; it is impossible not to be personally affected and troubled.  Those words make the listener look at their own lives- similar times that they have experienced- and it is impossible not to evoke some sort of reaction to Boleyn’s emotive performance.  Insignificant is a song that recounts a traumatic time and shows bravery and huge strength.  Those that are familiar with Boleyn’s previous work will be surprised to hear a song that sounds like a bit of a shift.  Few of her previous tracks have such a stillness and emotion to them.  Many of The Boleyn Affair’s songs have gutsy and big compositions: Vocals that are energised and full-bodied.  It would seem rather inappropriate to employ those traits to a song that calls for a particular delivery and sound.  That is what impresses me most about Boleyn: She can tread any subject and idea and put them all together in and album that sounds consistent and natural.  Gathered on the underground- tears are streaming down her face- that devastating news is still large in the mind.  Perhaps not in the right place at this time- having to battle commuters to get to the hospital- you feel that tension and emotion rise.  If we were in the same situation, how would we react?  It is only natural there would be sadness and unexpectedness: The way Boleyn articulates her feelings into the song is hugely impressive.  Such a clear and tangible set of lyrics means the listener can transport themselves in the song.  Perhaps our heroine has encountered bad news in similar situations- “Just another breakdown in a public place”- but this seems the most fraught and unsettling.  I am not sure exactly who is the core of the song- whether a family member or a boyfriend- but is something that compelled and inspired a wonderful song.

Through the early stages the composition remains supportive and comforting.  Not just letting the voice do all the work; the polished production and effective backdrop- hard and elliptical beats with delicate piano- emphasises that sense of loss and heartbreak.  When that news first came to Boleyn, the words got inside her and caused an instant reaction.  That sense of numbness and distress is represented in words that see flying birds and drowning emotions combat one another.  By the time the chorus comes around the second time, you still find yourself rooting for the heroine and everything she is going through.  The chorus provided that centre and mantra that tells what the song is all about: In a way you want more verse to see how things play out.  Before we are given more insight; our heroine documents how the new hits you “without warning”.  Being unaware and going about life as normal; she has received this random phone-call that has bowled her down.  Leaving her “cold on a sunny morning”, that chilling and head-spinning conversation is well explored and represented.  At every moment, the vocal has that combination of power and soul which will lead to some serious radio-play and critical acclaim.  Towards the closing moments, the backdrop beats get firmer and more persistent.  Perhaps representing an accelerated, anxious heartbeat; it is impossible not to be completely drawn into the song and its layers.  That central voice never fails to impress- whether uplifted and huge or emotive and tender- and keeps the listener seduced and invested to the very last second.  Boleyn shows how effortless and authoritative she is in every single territory.  Already demonstrating how strong she is when letting her voice fly: When taking things down you get a comparably huge emotional punch.  The very dying seconds see that percussion beat come in to represent a final fling: Those tears and distressing feelings that must have been in Boleyn’s mind when she heard that news.  At the very end, you wonder just how things worked out.  Did she get to the hospital on time?  Was her loved one okay at the very end?  Perhaps those questions will be answered in time: What you have is a song that keeps the listener hooked and leaves some mysteries at the very end.  Insignificant is one of The Boleyn Affair’s prime cuts and showcases just what an agile and impressive talent Hannah Boleyn is.

Joining forces with Hiten Bharadia & Neil Athale; you have a song that demonstrates a lot of heart and emotion.  Perhaps a subject not often explored- more songwriters should think like this- Insignificant breaks away from songs of love and minor issues to address something much more vital and important.  Not only is the song a stand-alone gem: It will speak to people who put too much stock in silly and unimportant things.  For those of us that get aggravated by train delays and social media content then take note: There are huge things that can come out nowhere that make everything else seem stupid.  Hannah Boleyn shows why she is one of the most heralded and important emerging voices in British music.  With so many of her contemporaries vying for market share it is impressive to see a musician who has already achieved so much.  With the likes of B.B.C. Radio 2 enamoured of her many talents; it is only a matter of time before the London-based singer becomes even bigger.  Insignificant is available across YouTube- its official release is next month- and a song that possesses huge emotions and personal heartache.  Given that premise, it might sound rather off-putting on paper: The truth is, the song is embracing and all-encompassing.  Intended as a guide/warning to people who let tiny matters consume them; a singular musical moment that should inspire many other musicians.  Neros’ production allows the vocal to be given free reign up-top.  Ensuring proceedings are not too polished and fake you have a production that perfectly blends the instruments and vocals together.  The composition is not mixed too low; allowing the haunting piano and strings to work closely together- an accomplished feat from one of the best producers out there.  Where Boleyn goes from here is anyone’s guess.  Insignificant is a song that is anything but: A big statement from a rising name in British music.  Combining ‘60s and ‘70s Soul voices with modern-day chanteuses: Few listeners and music fans will be able to ignore the exceptional talent we have in our midst.

Insignificant is another confident step from an artist that is shaping up to become one of Britain’s most promising artists.  There is a whole host of solo artists emerging, so the challenge is making sure you stick in the public’s mind.  It is no good coming in with vague ideas and a voice that sounds like everyone else- so many do unfortunately.  Given the height of competition and the masses of musicians coming through; there seems to be no excuse to arrive in music and simply expect the success to come.  Hannah Boleyn is an artist who has worked tirelessly to ensure her music stands aside and reaches as many ears as it can.  With some impressive radio patronage under her belt, it is clear she has a future ahead of her.  I often feel tepid about some solo artists- their first moves can be quite shaky- but there are no such fears when it comes to Boleyn.  Everything seems fully-formed, confident and original right now.  From The Boleyn Affair’s filler-free quality to the praise Insignificant is picking up: Clearly her music has the quality and passion to win the public heart and minds.  Insignificant is a song that sees Boleyn looking at what is really important in life.  Forgetting the petty quibbles and minor qualms, we get hooked-up on; focusing on what matters most is what really counts.  We often get bogged down in minor concerns and silly things.  Insignificant is a song that taps into those oversites and explains the importance of prioritizing your focus and attention.  Drawn from real-life events and happenings; you get a song that has inspired a lot of people and resonated clearly.  So many artists are coming in with their lyrics of love-gone-wrong and misery-inducing break-ups.  That is all very well- a majority of songs out there look at love in some form- but I am always impressed by music that steps away from such well-trodden themes.  Not only do you have more flexibility and potential in terms of lyrics: The song itself will stand aside from the crowd and seems a lot more original.  Whist Boleyn has written plenty of songs about love and the desires we feel; she is a talent that digs deeper and explores lesser-heard subjects.  If last year is anything to go by- an album release and a great leap forward—surely this year will be stronger still?  With a couple of gigs booked for London- there will be plans for more dates- the year is shaping up to be very busy indeed.  Right now there is a real proffering of female singers that have big/soulful voices: The likes of Amy Winehouse feature heavily in the tones of our new songstresses.  It is understandable the legacy of Winehouse burns bright: Those distinguished and stunning pipes have a haunting and mesmeric effect on the senses.  A lot of young musicians are trying to instill the essence of Any Winehouse in their music.

That is laudable but so long as the overall vocal sound differs significantly: If we have hundreds of Winehouse sound-alikes, then there is no currency to your music.  Hannah Boleyn is someone who takes Winehouse as an inspiration/starting block and expands on it.  With embers of ‘60s/’70s Soul queens in the mix; some elements of Lana Del Rey in there too- you have an artist with a terrific sound at her disposal.  At the heart of everything is a unique voice that betrays a debt to nobody.  The same can be said for the songwriting too: Hooking up with some terrific writers and producers; Boleyn has a clear direction and ambition that sets her aside from her peers.   For any upcoming songwriter reading this; there is a lesson to be learnt from Insignificant.  Too many musicians have little in the way of mobility and diversity when it comes to their songwriting.  They see others on the radio and think THAT is what should be done.  Whilst there are some genuinely impressive artists emerging; still too many replicate and mimic others.  It is a subject I shall drop- thankfully, you’ll be relieved- for now; my point is that Hannah Boleyn should be focused on more.  The Boleyn Affair was an album that gained positive feedback and support for many different reasons.  Not only is there a huge consistency and diversity to be found; there is an immense amount of confidence from an artist who has a desire to succeed and develop.  With many singers crumbling and fading after a few years; I know Hannah Boleyn will be playing for many years to come.  Insignificant is a song that shows just what she is all about.  2015 was a banner year for the young artist; if anything this year can be even more prosperous and impressive.  Make sure you investigate an original voice who is gaining a lot of momentum and attention right now.  Insignificant is another bold move from a musician who…

IS impossible not to love.

[youtube https://www.youtube.com/watch?v=lok6AEkEjVw&w=560&h=315]

_________________________________________________________

Follow Hannah Boleyn

 

Official:

http://hannahboleyn.co.uk/

Facebook:

https://www.facebook.com/hannahboleynmusic/

Twitter:

https://twitter.com/thehannahboleyn

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Music:

https://soundcloud.com/hannahboleyn

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Track Review: Mãs- Higher Spirit

TRACK REVIEW:

 

Mãs

 

 

Higher Spirit

9.5/10.0

Higher Spirit is available at:

https://soundcloud.com/givememas/higher-spirit

RELEASED: August 9th, 2015

GENRES: Electro.-Pop

ORIGIN:

London, U.K.

____________________________________

AFTER a run of great female artists I get the chance to….

feature a terrific London two-piece.  Before I come to my featured act, I wanted to look at duos once more- something I have touched on- in addition to uplifting sounds and the importance of creating music that one can lose themselves in.  I am sticking with London this week- two London acts coming over the next few days- and a great duo that have a stunning sound at their disposal.  Having featured duos on this blog before- quite a wide range of shapes and sizes- I am thrilled to concentrate on another.  What I love about duos is the connections they have: The simpatico and bond the two musicians have for one another.  The solo artist has to do all their own work and has to rely on their voice and opinions.  It can be quite a lonely existing, and as such, the music can quite be limited.  I have seen quite a few solo artists who have an amazing inventive sound.  Too many (in my opinion) do not leave that much of an impression.  While the music they produce can get inside the heart and speak to a listener; I find the tunes lack that necessary spark and sense of fun.  Of course there are solo artists that can produce something exhilarating, yet it is the duos that do this best.  A lot of the duos I have reviewed have been in relationships- maybe accounting for the closeness they share- but quite a few are good friends.  While bands can suffer break-ups and friction; I find duos are much more cemented and compelling.  There is just something about the chemistry that amazes me: How the duo work with one another and the music they come up with.  If you look at the end-of-year polls and declarations from critics- which acts are going to own 2016- few of the aforementioned are duos.  2016 will see a lot of promising and diverse solo artists coming through; some exciting bands will be emerging- what of the great two-pieces we have out there?  Perhaps it is a musical dynamic that will gain appropriate support I years to come: I find too few people are taking note of some wonderful duos out there.  If Mãs are anything to go by; we should all be spending more time checking out the duo market.  What the London-based boys do is produce music that has Funk edges and a definite kick.  They make music for the outcasts and the dreamers: Sounds that the artists, poets and lovers will revel in- a veritable Molotov cocktail of colour, hypnotic swagger and smile-inducing beauty.  It is hard to really pin-down and define their sound: A unique and stunning act emerging; they are musicians you definitely need to study closely.  Before I continue my points, let me introduce Mãs to you:

“We are Mãs. We make party hymns for outcasts. We are an Electro/Pop duo formed in London in 2015. The music we write is influenced by the hooks of Michael Jackson, the grooves of Prince and the atmospheres of Daft Punk. The result is an avant-garde pop you would love to lose yourself to. Currently, we are working on the production and recording of our Debut EP, which is planned to be released in spring 2016”.

So many duos tend to be Acoustic-sounding and Folk-inspired- quite wistful and romantic- or go in with a lot of force and intent.  What Massimo and Marco do is create music that has shades of classic artists- Michael Jackson, Prince and Daft Punk are influences of theirs- and inject their unique brand of fun and uplift.  It is always wonderful hearing musicians that get the listener upbeat and excited.  I find too much new music is quite sonorous and introverted: There is that missing magic and fire that can get the crowds unified in a dance of delirium.  With their debut E.P. not far away, Mãs are a duo that are going to be on the lips of many reviewers and critics.  Considering myself an archetypal ‘outsider’- someone who is never really understood and has big dreams- the music Mãs summon not only connects with me but makes me feel less misunderstood/alone.  The boys are keen to ensure their brand of sound you can immerse yourself in and surrender to.  Our duo creates a polemic against the rather serious and self-indulgent brand of music that many new acts are providing.  Many will read this and have the same thought: If their music is ‘fun’ and merry then it is not going to have a serious message or any real solidity.  Massimo and Marco have a solid and unflinching friendship that has resulted in some terrific music: Every note and moment has that passion and quality to it.  The boys are not your simplistic upbeat-making musicians that are concerned with compositions alone: Every element of their music has depth and intelligence to it.  If you consider the early days of Michael Jackson- Off the Wall and Thriller- you get those Disco hooks and funky-as-hell feet-moving lines.  Perhaps not as blistering as Jackson’s early work, the London two-piece have their own brand of Funk and Pop.  Combining electronic elements inside soulful layers- little bits of Prince’s early work comes out too- and you have a duo with few comparisons.  Electro.-Pop is a genre- or sub-genre I guess- that has quite a few patriots and players.  A lot of the music created (by Electro.-Pop artists) tends to hit you upon first listening and perhaps not linger in the mind.  Mãs are masters of the nuanced sound: Penning tracks that hit you instantly and then never escape the brain.  Inspired by some of music’s colossuses- the Jacksons and Princes- you have songs that hark back to ‘80s Pop whilst providing plenty of atmosphere and modern-day urgency.  They are not an act that keeps their minds in the past: Everything they produce is forward-thinking and progressive.  Being a sapling act in music- they were only formed last year- the guys have made big strides over a short period.  In a city that is hugely competitive and busy the Mãs boys are going to be working hard to get their names heard.  London has quite a few great duos working at the moment: For my money, none are quite as unique and distinct.  In a cold winter and uncertain time we all want to embrace music that warms us and allows some escapism.  For that reason, I feel like this year will be a hugely beneficial one for Mãs: Their E.P. will get a lot of attention and their fan numbers will climb rapidly.  Right now the boys have a small (but loyal) following that has promoted and supported their music since its inception.  Higher Spirit is as evocative and uplifting as its title suggests: A rapturous and serotonin-producing slice of Electro.-Pop that is a panacea against the sloganeering bands and easy-on-the-ear music of solo acts.  Possessing depth, mystique and wonder; I think more people should take Mãs to their hearts: When you do the rewards will be huge, believe me.  With spring seeming like a far-off impossibility- it is fricking freezing- Higher Spirit is a music that warms the heart and brings sunshine to the fore- who would readily overlook that?!

Over the past year, Mãs have produced some stunning songs.  Last year- and perhaps their first song they made public- Tiger was released into the wild.  Starting with finger clicks and bubbling beats: The track has a delicious unique start.  Romantic mystique and tiger eyes (in disguise) are laid out.  Our hero is hearing words he will “never hear again”.  His sweetheart is not holding his hand- although that does not matter- and there is that building mystery and intrigue.  The composition continues its endeavor at every stage: Never overbearing or too slight you get sucked in by those racing beats and chugging electronics.  Little shades of Daft Punk come through- that moodiness and atmosphere blends- alongside some cool-slung Prince.  Blending Soul, Funk and Electronic together results in a track that has a constant energy and racing pulse.  Never relenting and drawing breath there are cute touches- the song’s title chanted at intervals- and wonderful diversions.  The song looks at two lovers with perhaps some different ideals.  Time and separation has caused some pulling-apart.  A mesmeric and stunningly realised first effort; you get blown by the confidence and authority that comes through.

Dancing With the Tides was released soon after (Tiger) and begins with instant swagger.  Those Daft Punk elements come to the core as we get some funky and sassy electronics.  Sassy and hip-shaking: This is one of the most urgent and instant tracks from the duo.  A dance-floor filler; it is impossible to ignore the gravity and brilliance.  The duo combines voices to draw the listener fully into the song.  Looking at more positive sides of love- traveling deep into the ocean and escaping from the city- there is that hopefulness and passion that radiates bright.  Constantly catchy and engaging; it shows just how tight and consistent Mãs are.  Most acts tend to take time to warm up: Their first few songs see them finding their feet and looking for their sound.  No such quibble with the London duo who arrive fully-formed and solid from the very off.

Maradona begins with vocals- something the duo has not done before- and begins quite sparsely.  Romantic and longing, you pay attention to the soul and sweetness of the vocal.  Almost a Gospel number; our hero looks at the sun (in the morning) and the moon at night.  His eyes do not want to close- there is transcendence to the track- and the elements are brought into the song early on.  A song that speaks to the outsider- our hero is not alone and how someone on his side- you have a departure from the duo.  One of their most unique songs- a switch from their most effusive and busy numbers- the key is on that emotional and bare sound.  The voice is allowed to shine and do its work: Lyrics look at battling the odds and holding onto someone who means a lot.  A champion call to those that need direction and focus: Maradona is a song that will resonate with many listeners.  The song does start to build after a while and rises into a glorious vocal harmony.  As the song’s title is repeated you get a hugely spine-tinging chorusing.  Reminding me of Michael Jackson’s early days; I get glimmers of Off the Wall’s mixture of introspective balladeering and the funkier side of things.  Combining ‘80s Pop with something modern and fresh: Here you have a song that hints at a very bright future.

The boys have developed and grown in confidence since their debut cut.  With every moment you get a new perspective and sound emerging.  Not a duo that sticks with one sound- and rings it to death- it is wonderful to hear the progression and consistency they offer.  The production values are consistently wonderful whilst the performances from the duo are exceptional.  I can see Mãs producing an E.P. that brings in their best moments- Maradona, Higher Spirit and Dancing With the Tides- and expanding on this.  Higher Spirit fits nicely into their catalogue and marks as their most immediate and nuanced song so far.  A young act with a lot of spirit and talent: Who knows how far they can go this year.

Having gained a lot of attention and praise already, I was excited to get down to studying Higher Spirit- just what the boys had on offer.  Their most slinky and seductive groove to date: The introduction wiggles, dances and steps its way into the light.  I have mentioned the likes of Michael Jackson and Prince: Apt comparisons given the quality and addictiveness of those early notes.  You could throw in Nile Rodgers into the mix too.  Sparring Disco of the ‘70s with ‘80s Funk-Pop- via a bit of modern-day Electro.-Pop- and the listener is already excited and moving.  Funky spandex strings are cool cats that are walking the streets with swagger: You start to picture the song unfolding and just what could come next.  A confident and exciting first few seconds; no listener will be immune to the movement and power Mãs provide.  When the vocal does arrive the words are delineated with pace and consideration.  Ladling out the lyrics carefully; the listener is afforded the opportunity to understand and feel everything being song.  An hitch-pitched and soulful vocal; our hero is directing his words towards an anonymous heroine.  “We can do the twist” are words that beckon images of abandonment and fun.  When the words “Touch me like a stranger” flow forward I get the impression our man is on the dance-floor: Perhaps in the arms of a mystery girl and in the grip of a mesmerising song.  That is the beauty of Higher Spirit: The words give different possibilities and ideas; it is hard to get a clear truth from them.  It may sound like a negative yet the listener is allowed their own interpretation and views.  In the early phase, I was captured by the smooth and rich vocal: Reminding me a U.S. Soul great; perhaps tones you would not expect from a modern-day London-based musician.  As I try to get to the bottom of the lyrics- and just what the duo are saying- the track accelerates and increases its urgency.  A hollering of “Lighting me up” comes through backed by pulsating and rampant percussion.  So much unfolds early on- in terms of the composition and ideas thrown in- it is a dizzying experience indeed.  It seems like our hero is lost in the dance and under the spell of a very special woman.  Each listener will let their mind wander, although from my perspective, I saw the two alone and in the heat of the summer sun.  Enraptured and overcome with desire, there is that explosive possibility: Two hearts coming together and two bodies surrendering to one another.  Maybe over-sexualising the lyrics- or letting me own mind wander too far- it is impossible to resist the allure and potency of the music.

That seduction and come-to-me spell-cast is wonderful to hear.  Such a confident and direct vocal that gives gravitas and authority to every word that is sung.  Our hero knows the girl wants him- he sure as hell wants her- and the two convey to the dance-floor.  Like Michael Jackson and Prince; our boys manage to keep their lyrics and sexual desire clean and intriguing- without descending into smut and profanity.  The idea of the song is quite simple: Our hero’s spirit and soul can lift the two higher if they dance together.  It is at this stage- as the chorus comes in- that I started to wonder whether this was a first-time encounter or not.  Maybe our hero is in a relationship with the girl and wants to get lost in a romantic and paradise scene.  Perhaps this a chance meeting between stranger- a calling-out from across the dance-floor- as the two meet in the middle of a packed club.  That sweet-cum-saucy blend takes your mind and consciousness in different directions: The heartfelt and soulful vocals conjure romantic possibilities; the sweat-dripping falsetto takes your thoughts somewhere hotter and harder.  The guys throw in some neat little details throughout the track: sassy bass notes and crest-of-the-wave percussion give vibrancy and constant electricity to Higher Spirit.  Our hero is a fool for the girl: Whoever she is has cast her spell on him hard.  Fans of the older Funk/Disco/Pop masters- Jackson, Prince and their ilk- will find a lot to recommend in the track’s authority and affection tribute.  Massimo and Marco grew up listening to those legends so it is no surprise they evoke their memories with such conviction and authority.  That said; Higher Spirit has a very modern and contemporary vibe to it: The likes of Pharrell Williams would definitely approve of the song.  The twin vocal assault- where the duo get to overlap and combine- gives extra weight and attack to the song.  One of the most impressive facets of Mãs is how committed and dedicated they are to the subject matter: Every one of their tracks has such urgency and passion at every turn.  Even towards the closing moments, that seductive coo never silences: Our lead is intoxicated by desire and the charms of a jaw-dropping woman.  Whether Higher Spirit was inspired by events from the lives of Mãs- perhaps a late-night club encounter- I am not sure but that does not matter.  The song is that which can be understood and appreciated by all listeners.  Accessible and direct- whilst retaining some mystery- there are no limits to Higher Spirit.  Here is a song that could be a radio staple- I imagine it will be very soon- and is perfect for every climate and location.  It does not isolate itself or become moody at any point: From the introduction to the end you have a song that smiles and welcomes people in.  Only the stoniest of listeners will be able to stop their feet from moving in time to the music.  The guys have composed a song that brings so much vitality and dance together: One of the most memorable and impressive songs I have heard from a duo at any time.  When I was assessing Stockholm-based duo Sameblod- who make similarly intriguing and assured music- I was stunned at how confident and tight the music was.  Mãs have no nerves or limits when it comes to their music: That marks them as one of the most promising acts to emerge in 2016.  As the final notes of Higher Spirit play- and the chorus is reintroduced to keep the listener dancing- it is not a song you want to end.  Keeping mouths watering and eyes bright; the London duo has crafted a song that speaks to all ages and tastes- a hugely impressive feat.

Kudos must be given to Massimo and Marco who show no signs of quality dip or slowing.  Since their formation, they get more confident and bold with every new release.  Bringing in new compositional ideas and influences; their music is at its most arresting and universal.  That is not to say the duo is playing it safe at all- quite the opposite in fact.  The stunning duo has a sound and talent that few of their peers possess.  Higher Spirit is a song that will certainly get crowds united and arms waving aloft.  With that being said, there is huge potential to crack the radio-waves and the press: An impossible-to-dislike song, it has definite mainstream appeal and underground credit.  I have seen a lot of duos come along that make similar music: None has the same effect and magic as Mãs.  Bringing in the best elements of Michael Jackson, Daft Punk and Prince- funky jams with sexuality and sensuality at its heart- with cutting-edge and impressive production values- you have a song that unites genres, decades and moods.  A sun-worshiping track that brims and explodes with desire and lust: Perhaps one of the most enticing and scintillating cuts of 2016 so far.  Let us hope Mãs capitalise on their promise and momentum when it comes to their E.P.  When that is released- and where Higher Spirit fits in the mix- it is sure to capture the imagination and attentions of the music press.  Perhaps the boys have been under-the-radar so far: This year they will not be such a well-kept secret.

My congratulations to Massimo and Marco who have created a duo that is among music’s most promising.  The duo do not simply stick with tried-and-tested Electro.-Pop sounds: Our boys mix in elements of their heroes- Prince and Jacko hooks with some Daft Punk atmospherics- to create music that not only exhilarates the feet and arms- it gets inside the soul and digs deep.  Musicians that leave lasting impressions are few-and-far-between in an economy that shows quick turnover and disposability.  For that reason, we should invest in artists who have definite staying power and originality to them.  Mãs might just be starting their careers- their initial moments are hugely promising- but the boys will be going on to big things.  Higher Spirit- their back catalogue for that matter- has a sound that radio stations cannot refute.  So full of life and energy; wonderful sounds that get inside the head (and stay there for a long time) - who can ignore such a force in music?  I am not sure when the boys are going to be playing live this year.  I guess there will be London tour dates and some local shows- perhaps they want to focus on their E.P. - but I would love to see them live.  Hearing that music in the flesh is going to be a terrific experience.  With a collection of stunning songs under their belt, it seems like Mãs have plenty of material ready for their E.P.  Before tying this all up, I wanted to come back to the issues of duos and bringing the fun back into music.  Whilst critical minds and attentions seem obsessed with bands- they are still the hottest property and marketable dollar- there is a swing towards the solo artists.  Having seen the ‘tips for 2016’ lists that have come out- including B.B.C. among them- the solo act is coming into view firmly.  What critics are favouring at the moment- as opposed to previous years perhaps- is music that has that distinct spark and originality.  A lot of female solo artists are being given some impressive nods: Those special and emotive voices- mixed with songs that have huge originality- are getting plaudits and a lot of respect.  Mabel (a soulful Pop storyteller), Izzy Bizu (sunny Soul with an incredible voice) and Frances (atmospheric piano Pop) have been lauded because of their fresh sounds and depth.

Not your average Pop star with committee-penned songs; this year we are going to see some talent and stunning young solo acts emerge.  Jack Garratt and his Electro.-Pop soulfulness- tied to some head-slamming beats- sits alongside Alessia Cara- her candid and cool R&B sounds have enticed critics.  Publications and the press are heralding acts that bring important emotions and sides to music: Cool and atmospheric; harmony and sun-kissed bliss; conscientiousness and dreaminess- blended into big beats and nuanced compositions. Gone are the days we are promoting artists that are merely ‘a voice’ or sound like someone else.  There is a definite seismic shift that means the likes of Mãs are very much in vogue.  They have that blend of sunshine and cool: The emotion and dreaminess is already there as is the terrific beats and sexual electronics.  While some terrific solo artists have caught the eye of some big names- I missed out the wonderful Jack Garratt- the bands are still getting quite a lot of attention and patronage.  What is missing is a nod to the tremendous duos that are coming through.  Perhaps not as widespread and numerous (as solo acts and bands) they are a growing economy that are among music’s most spectacular and promising.  It is a rather baffling over-site considering what I have said up-top: The fact duos have a solid bond and longevity potential.  Solo artists are alone and have to work hard to raise money and interest.  Their own P.R. and publicity machines; the lone stars have a hard struggle to make ends meet- let alone making a name for themselves!  The bands are going into a busy market and often sound samey and unfocused: Too many new bands lack that originality and spark.  Solo acts provide the unique sounds and cross-pollinating innovation.  Bands give those riffs and big sounds: Solid and festival-ready music for the masses.  If you find a duo that can do all of this then they should not be easily ignored.  Many duos are sweethearts and lovers- the boy-girl duo is largely composed of lovers- and close friends.  It is clear Massimo and Marco has a deep connection and a tremendous love for what they do.  Music that promotes fun and uplift is rare in the music industry and few new artists manage to perfect this.  Mãs are a multi-coloured partnership that unifies ‘80s Disco and Funk through a modern spectrum: The resultant explosion is music that takes you somewhere special and safe.  Every listener and music lover need to find something that allows them escapism and something transcendent.  Making music for outsider and dreamers; our intrepid duo should be applauded for their accomplishments so far.  They have caught the attention of fans and followers- the best days are still ahead.  With an E.P. scheduled for a spring release, the London two-piece is a tantilsing proposition with a tremendous sound.  Higher Spirit is a song that will bounce around the brain long after the final notes.  On a cold and uncertain day, let yourself get lost inside music that…

WARMS the heart and inflames the senses.

[soundcloud url="https://api.soundcloud.com/tracks/213799875" 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 Mãs

 

Facebook:

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

Twitter:

https://twitter.com/givememasnow

______________________________________________

Music:

https://soundcloud.com/givememas

___________________________________________________

Videos:

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

 

Track Review: Lydia Baylis- ANYWAY

TRACK REVIEW:

 

Lydia Baylis

 

 

ANYWAY

9.5/10.0

ANYWAY is available at:

https://soundcloud.com/lydiabaylis/anyway-1

RELEASED: January 16^th, 2016

GENRES: Pop; Alternative

PRODUCER:

Ross O’Reilly

ORIGIN:

Salisbury, U.K.

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THIS next few days will not only see me featuring some of...

The best female artists around the country; it also affords me the opportunity to focus on artists I have reviewed previously.  Coming up I have the likes of Eliza Shaddad and Hannah Boleyn- two acts I wrote about last year- but for today I concentrate on one of my favourite musicians from the last few years.  Having reviewed Lydia Baylis a couple of times already; I am keen to interview her in the future and see what this year holds.  Before I come to her- and where her music may take her- it gives me the chance to look at female-produced solo music in addition to the ‘dreamier’ side of music- finishing off with a bit about longevity in the music industry.  Every time I review a female solo artist I am amazed by the differences I hear: Such a range of styles and vocals come through.  Although I have reviewed some great male artists I tend to find their music is less ambitious and original compared to their female peers.  I am not sure whether the girls of music set their sights wider- they are more daring when it comes to mixing genres- but they certainly have the most arresting and memorable music.  In previous posts I have highlighted how hard it is to be wide-ranging as a solo artist: You are one musician alone and often have to make all the sounds yourself.  Perhaps my assessment is a little short-sighted as it appears the bands are the ones lacking behind.  Of course, a solo artist can have a band/producer behind them: Extra bodies that can add those necessary elements to ensure the music has a distinct and stunning edge.  There are some male acts that push the boundaries and subvert expectations: The girls are still leading the charge and showing how it should be done.  At the centre of this quality hurricane is the voice: So many tremendous sounds coming from the females of new music.  From hard-slamming Punk vocals to sweet and mature Pop offerings: It seems like there is something for every listener taste out there.  Whilst there is an insistent/trend to project power and soulfulness through vocals- a lot of female-driven music has an emphasis on power- I always love witnessing an artist who possesses a gorgeous and soothing voice.  It may seem like an odd point to raise but a musician that can buckle the knees with the voice is a rare commodity.  A lot of new musicians have defined and amazing voices: Those that can overwhelm the senses without resorting to histrionics are the most impressive (to me).  I find when solo artists (not always but in a lot of cases) tend to write tender/gracious songs- those that have sensitivity to them- their voices come off rather effete and boring.  Maybe clichéd and sickly-sweet; something leaves me a little cold.  Lydia Baylis is a musician I have been following since her early days: I remember hearing Into the Water- released a couple of years ago- and being amazed by what was on offer.  Such a sensuous and spine-tingling voice came through that it was hard to put my emotions into words.  A stunning young act that has matured and developed; Baylis keeps getting stronger and more impressive with each release.  It is not just that captivating voice that stuns but the depth of music and lyrics.  An artist that is keen to bare her soul and inner-hurt; Baylis writes songs that speak to the wider audience- it is no coincident she has amassed a loyal fan-base.  New music is quite a cruel and indiscriminate mistress: If you are not good enough to remain it will often chew you up and spit you out.  I have seen a lot of great artists come through- with a bold debut song- only to take their foot off the gas.  Maybe they take too much time between releases or show a discernible weakening across time.  Whatever the reason, so many musicians have fallen at the first hurdle.  It is a tough industry to crack; that is why I am always keen to follow artists that remain and keep on getting better.

Baylis is an artist that has been flying under-the-radar for a while and has a very loyal core of supporters.  In a busy world of female singer-songwriters she certainly stands clear of her contemporaries.  That luxuriant, heartfelt and chocolate-smooth vocal possesses such a tremulous quality- capable of reaching delirious heights and seducing without warning.  Backing that voice are compositions that are atmospheric, dramatic and symphonic.  When I was looking at Into the Water I mentioned how the haunting lyrics- a tragic heroine perhaps meeting an untimely end- was supported by sparse but hugely effective notes.  Whilst the vocal was incredibly entrancing; the composition summoned such an immense force and black beauty.  Not an artist to rest on her laurels; Baylis has kept her core in-tact and sounds even more confident now- ANYWAY is her latest (and perhaps greatest) effort.  It will be interesting to see what this year holds in store for Baylis.  Another tremendous British talent, I am sure there will be some great gigs coming up.  Next month she plays London’s The Strongroom Bar: A chance to bring ANYWAY into the live arena.  Whilst Baylis prefers to more intimate gig settings- she has played in coffee shops in the past- I can see her transcending to festivals in years to come.  Venues and fans are starting to embrace voices that stray away from the belt-it-out-as-loud-as-you-can singer and those with subtlety and huge nuance.  Baylis has a talent and sound that is perfect for the late-evening festival crowds.  Whatever she has in mind, I cannot wait to see where 2016 takes her.  One of the most spectacular and consistent musicians I have heard; she deserves a lot more support and critical attention.  It is a shame so many promising musicians call it quits- whether affected by the demands of the game or lacking staying power- but those that keep on plugging and playing should be applauded.  Music is a career that many are drawn to- with all its allure and promises- and many are disenchanted and given a reality-check down the line.  Lydia Baylis has ensured her music is strong enough to keep her in the mind: In addition she has made sure she gets out there and wins over the crowds.  I find a lot of musicians rely too much on social media and the Internet: The reality is you need to push and campaign hard to get your music heard.

Before I got down to reviewing ANYWAY, it was worth looking back at Baylis’ career to see how she has progressed.  Into the Water was unveiled a couple of years ago: One of the earliest tracks from Baylis, it shows immense confidence and passion throughout.  That vocal is incredible soothing and beautiful throughout.  The lyrics take their inspiration from classic literature and poetry: A central subject has been dropped in a hole and is struggling against the tide.  With our heroine documenting the scene she implores (the hero/heroine) to “Please keep coming up for air”.  Intelligent and original lyrics- that are much more studied and considered than a lot of her peers’ work- you have a deep and fascinating song that provokes clear images and story.  Inspired by Virginia Woolf- who killed herself by loading her pockets with stones; she walked into a lake- the song’s heroine suffers a similar fate.  With the strains of the day and life on their shoulder- unable to escape the suffocation of reality- there is perhaps an inevitable conclusion.  Baylis ensures the song never sounds too morbid or depressive: Her stunning voice and the exceptional composition gives the song a needed gracefulness and level head.  For a song that looks at suicidality and an ill-fated historical figure- whose doubt is evaporated with one action- you would expect a song that weighed the listener down a little.  Baylis not only ensures the song is highly memorable- keeping it in the mind for all the right reasons- but pens an intelligent and hugely effective set of lyrics.  Superbly deploying her words and building the emotions- putting sympathy alongside haunting moments- you have a track that showed a remarkable young talent.

The same stunning production values that went into Into the Water- making it such a force of nature- have gone into ANYWAY.  Before her current single, Baylis released Hold On (came out last year) that showed a step aside from Into the Water.  More romantic and uplifted than Into the Water; here Baylis sounds more comforted and less anxious.  Whilst struggling against some issues and realities; you have a song that gives our heroine a chance to look at love and relationships.  From song-to-song the compositions change course and sound.  Throughout Hold On you have a beat-driven backing that is quite tender and sparse- whilst managing to perfectly augment the foreground.  It is here Baylis shows how enticing and sweet her voice can be: Packed with passion and emotion; you get plenty of heart and beauty resonating throughout.

Having reviewed Life Without You before, I am amazed how much diversity and versatility Baylis possesses.  Life Without You looked at the breakdown of a relationship and the differences before and after: It seems like the break-up did not really affect our heroine.  An original take on break-up reflections; Baylis shows wit and humour among more anxious and reflective moments.  Whilst her voice remains compelling and familiar with each new track, Baylis has a wide subject matter and does not stick too heavily to any particular topic.  From love dissolution investigation to a poet’s tragic end- via the joys of being in love and songs about self-investigation- Baylis has a wide array of inspirations and motives she channels into her music.  Whilst a lot of her peers tend to focus too heavily on narrow themes- being jilted or heartbroken; purely in love and intoxicated- Baylis stretches her imagination and stands aside as one of music’s most original and impressive songwriters.

The biggest difference/development you can hear- from the earliest numbers to present-day- is the confidence and production sounds.  With Ross O’Reilly helming ANYWAY- a producer she has worked with before- you get the most fully-realised and atmospheric track I have heard from Baylis.  Having such a bond and friendship with O’Reilly; that connection and understanding has worked wonders in this track: You get production valued that bring everything to life and mix each element- vocals, instruments etc. - perfectly together.  Baylis sounds more comfortable and assured as she has at any other stage: A singer that grows in ability and intuition by the year, her voice is at its peak her.  The same could be said for the songwriting which takes in new concerns and demonstrated that established and stunning lyrical ability.  This bodes well for the coming year which promises new music: Whether an E.P. or album will be produced I am not sure.  Given her rate of progression and the consistency she shows- the passion she has for music too- any future release will be met with huge anticipation.

It has been a little while since last I reviewed Lydia Baylis.  For that reason I was thrilled ANYWAY has been dropped into the ether.  Hooking-up with producer Ross O’Reilly- the two have a great history and connection- I was thrilled to hear what the results were.  The opening notes of ANYWAY sees tripping beats and a strange sensuality welcome things in.  Slight crackle and pause leads to our heroine who comes in with an emotive and stunning vocal.  The early words- “Seems to me that you didn’t know that I didn’t care”- get me curious and fascinated.  It seems the hero has been hiding her/a subject beneath the stairs.  At this early juncture I am thinking about romance and deceit within a relationship.  Perhaps our heroine’s boy has been lying and leading a double life.  Maybe a cheater and no-good, our heroine is wise to his foolishness.  That opening line- that looks at not caring given a situation- sees some aloofness and spiked tongue.  There is clear friction and fracturing within the relationship: Whatever has happened between them has taken its toll and the song seems to document a particularly fraught realisation.  Whilst our heroine burns all his letters my mind starts to picture and wonder.  That idea of letters being exchanges between lovers- seems a charming anachronism in the modern age- has its heart in fiction and older times.  A traditional love story- one that has turned sour no less- that has hit the rocks; you are invested in this song and following our heroine’s plight.  Baylis’ voice has such a purity and beauty to it before.  Sounding more unique and transcendent than ever before; it is a soul-bearing tone that gets inside the heart and causes it to miss a beat.  Backed by a stunning production and atmospheric sound- everything is crisp and clear; the sparse back-beat creates edge and tension- and the song begins with huge promise and punch.  Whilst there has been dishonesty and break-up, our heroine is not completely emotionless and happy: Burning letters and the past makes her hurt and feels immense pain.  That sense of loss and anger comes through in a voice that drips with soul and heartache.  Projecting her words with pace and consideration, it gives the listener a chance to get hooked into the song and imagine the scenes unfolding.  Whilst there is pain and sadness- burning old letters and purging the bond- it has to be done regardless.  In past songs, Baylis has looked at a variety of subjects- tragic heroines and the lack of emotion following break-ups- but here she shows a new maturity and development.

The composition is a different stroke for Baylis: Taking in new elements and ideas; it is a very modern and of-the-moment sound.  In past tracks, Baylis has looked at the heartaches of break-up: Never has she sounded as overtly affected and haunted as she does here.  When our heroine returns home and revisits past scenes, she hates the people and sights- because not one “was you”.  That central refrain- the pain arising from burning love letters- shows a tender soul that has lost a big chunk.  Damaged and terrorised by the cessation of a once-glorious bond; you cannot help but empathise for Baylis and what she is going through.  Never allowing her voice to be overwhelmed and insincere she shows huge strength and resolve in spite of the sorrow she feels.  A lot of singers would back such a song with needless sound and weight: On ANYWAY you have a composition that perfectly supports the vocal whilst projecting its own story in the process.  Those beats crackle and sparkle in the back; there are aching strings and whooshing electronics.  All slung together and you have a song that is hard to ignore and refute.  Powerful and endlessly dramatic, Baylis seems at the peak of her powers.  As the song develops and progresses, our heroine poses a few questions.  Asking whether her man has made her strong enough to cope- tough enough and able to ride this storm- he also said how big and bad the world is.  Reflecting and recalling the past- whether her former sweetheart did all he could to fight- you start to wonder why the relationship broke up.  Clearly there are residual feeling and questions from our heroine: Perhaps there was not mutuality behind the decision; the lovers may have had different ideals.  Whether the boy was cheating and in the wrong- keeping a dirty little secret stashed away- or if there were other reasons, you start to dig and look inside the lyrics.  Baylis’ voice is constantly stunning and clear throughout- perhaps her most assured and memorable vocal to date- inside a song that is perhaps her most heartbroken and personal statement yet.  Whilst her previous songs have hinted at loss and relationship implosion; none have dealt with the subject with such raw emotion and effectiveness.  The final notes see Baylis lost in her thought and surrendering to the realities of the situation.  Not willing to let go completely and forget everything that has happened; you get a real sense of a young woman struggle to contain her sadness and anger.  In every note and second you are affected by how ANYWAY affects you.  Whilst a very personal and meaningful song (to Baylis) every listener can relate to the words being poured forth.  With a universal heart and core, ANYWAY is a song that will be a live favourite and standout for Baylis’ fans.

I have been following Lydia Baylis for years now and was excited to see ANYWAY arrive.  It appears our heroine has no desires to slow down and relax: If social media scuttlebutt is to believed; 2016 will be one of the busiest and most productive yet.  In the past, Baylis has shown what a range and diversity she has at her disposal.  No two songs sound alike and the listener is always treated to something new and original.  Becoming stronger and more confident with every release there is no telling just how far the young artist could go.  Ross O’Reilly helms a track that has terrific production values and brings every detail and thought to life.  Allowing the vocal to be clear and concise up-top; you have a song where every note and element fuses together perfectly.  Each aspect is mixed together to ensure ANYWAY hits you upon the very first listen: You are compelled to keep coming back to the song and let it work wonders.  Baylis wrote the song with O’Reilly- one suspects most of the lyrics are Baylis’; most of the composition O’Reilly’s- and this combination results in a wonderful track that should be a staple among radio stations around the country.  I know a lot of stations that would love to have ANYWAY on their playlists so Baylis should be very proud.  One of the strongest and most compelling tracks I have heard this year- I know it is a young year but I have heard a lot of music- I cannot wait to see how she progresses as the year continues.  It would be great to see Baylis and O’Reilly work together more closely as they have a great simpatico that leads to stunning music.  Baylis herself seems to have found fresh inspiration and subject- perhaps reflecting on a relationship that she was sad to lose.  That dependable and arresting voice seems ever more transcendent and beautiful than ever: A head-spinning blend of power, emotion and sweetness; truly one of the most special singers this country has produced.  If you have not heard Lydia Baylis and what she has to offer, you are missing out on one of music’s finest artists.

It is great to feature Lydia Baylis again on these pages.  I love investigating brand-new musicians but revisiting acts/bands always gives me pleasure and inspiration.  There are so few long-lasting acts in the underground- so many bands and solo artists call it quits early- it is impressive and important we pay tribute to those who keep on burning.  Baylis is one of those artists who has a very distinct sound and a very clear future ahead.  Whilst most of her touring/gigs have been in smaller venues I can see the young star going onto to huge things.  Her music has huge emotions and atmospheres: Perfect for the festival crowds that want to unite in a musical moment of passion and captivation.  Not a musician that writes shallow and easy songs- hook-laden and basic choruses- Baylis has an intelligence, depth and knowledge few of her peers have.  When I reviewed her a while back- looking at Life Without You- I was impressed by her background and upbringing.  Her father served during The Falklands War and experienced hardship and horror during the campaign.  After coming back to England, it was a few years later that Baylis was born- in the Hampshire town of Aldershot.  Within the environs of Surrey and Hampshire, Baylis was only 2-years-old when the family relocated to Germany.  In fact, Baylis’ early life was a little nomadic and born of frequent relocation.  Having spent time in Russia, Lydia returned to England where she studied (until the age of 18, when she left school).  It was not too long until Lydia was on the move once more, and spent time in New York: she was lucky enough to perform in theatre productions; whilst there she fell in love with the city and has made frequent trips back there.  The second-born Baylis child eventually went on to study history at Christchurch College, Oxford (I studied history up in Cambridge, so can appreciate her fascination with it).  That itinerant background ad prestigious education has moulded a young woman with a huge knowledge of music, literature and poetry: These are all combined and mixed into songs that take the breath away.  I hear whisperings- from her social media pages- there is more music mooted for 2016.  I cannot wait to see what comes next- whether an E.P. or album is forecast- as Baylis is one of the most stunning musicians working at the moment.

Every song she produces shows new topics and sides: A restless and hard-to-pin-down artist; it is amazing how much breadth and depth she has.  In every track you are entranced by that voice: A startling instrument that deserves a lot of attention and focus.  Whether our heroine will be playing a lot of gigs this year- or concentrating on new music- it is not clear.  ANYWAY is a track that shows where Baylis is in 2016: A consistent and original talent the music world should embrace and encourage.  Before wrapping things up here, I wanted to circle back- perhaps with greater relevance- to the points about female musicians and longevity- in addition to the importance of beauty in music.  Over the coming weeks- and the last couple of weeks past- I get the chance to revisit some wonderful musicians; take in new talent and see what 2016 music is coming up with.  Among the female musicians I have reviewed lately- from Dolores Haze to Jasmine Branca- you get so much variation and difference.  Whether it is something in the composition or vocal- maybe the lyrics they produce- I am amazed by how many unique and wonderful artists are coming through.  The boys are doing a good job but for my money the girls are so far ahead right now.  It may take ages to get to the bottom of the truth- why they are so far ahead- but I am just pleased to see so much great talent emerge.  The mainstream media- and blogs focusing on new music for that matter- still concentrate too heavily on bands.  I think the male-driven band market gets too much focus and write-up- there should be more commitment to female solo artists- and that is shifting focus from the best music has to offer.  Lydia Baylis is one of those talents that keeps growing and developing as time elapses.  A stunning voice and wonderful musician; few artists are as compelling and original.  So few musicians stand the test of time- or struggle to meet music’s rigorous demands- so it is always impressive finding a talent that last through the years.  Baylis is a stand-out name for a number of different reasons.  Not only are her lyrics diverse and fresh- she sounds effortless whatever she writes about- but the voice behind them sounds utterly entrancing.  Baylis is natural and effortless when singing about tragic poets or the transgressions of love: Everything she touches leaves impressions in the mind and soul.  ANYWAY is a song that shows an evolution from a young artist that has a big future ahead.  It is always unwise making big proclamations: Baylis is a musician you just know will rule the airwaves very soon.  If you are looking for a solid investment and a beautiful artist with an unstoppable talent- Lydia Baylis is someone you should spend some time with.  Whilst she has toured coffee shops and smaller venues, I can see her going onto big stadium gigs and summer-time festivals.  In a music world that sees a lot of its participants struggle and fall, it is great to see a musician that shows no sign of slowing down.  Make sure you check out Lydia Baylis and ANYWAY: A wonderful young woman…

 

THAT is a household name of the future.

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Follow Lydia Baylis

 

Facebook:

https://www.facebook.com/lydiabaylis/

Twitter:

https://twitter.com/lydiabaylis

Instagram:

https://www.instagram.com/lydia.baylis/

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Music:

https://soundcloud.com/lydiabaylis

 

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Videos:

https://www.youtube.com/channel/UCUvsl2a3LnrjN4BwenA1eHQ

 

Track Review: FORTE- Goosebumps

TRACK REVIEW:

 

FORTE

 

 

Goosebumps

 

9.4/10.0

Goosebumps will be available from 12^th February.  Teasers from the track can be heard here:

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

RELEASE DATE: February 12^th, 2016

GENRES: Rock; Alternative; Indie

ORIGIN:

London, U.K.

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THE last couple of days has seen me assessing…

two London bands just starting out at the moment.  It is great witnessing a fledgling act making their initial steps into the world of music.  Whereas Duke of Wolves- yesterday’s review subject- had their single out in the ether; my featured act are providing teasers at the moment.  Next month the world will get a chance to hear their debut single in full.  It has been garnering radio play and some serious praise from the media in the meantime.  Before I get to that- and come to the subject of FORTE- it is worth mentioning a few subjects: The importance of radio play early on; the male bands emerging onto the scene- finishing off with a bit about the importance of the debut single.  A lot of musicians will be starting their careers in 2016 and going in with high hopes.  Perhaps they will have their social media pages set up and ready: Facebook and Twitter primed waiting for people to discover them.  I find a lot of acts do not really push themselves too hard when they first arrive in music.  There is an assumption that so long as you are visible online; that will get people listening and sharing your work.  What I have found first-hand- when it comes to some of my reviews- is that people do not share things they should be- this includes a lot of the musicians themselves.  Social media is useful to a certain degree I am finding.  So long as you support/follow some genuinely nice people- those that will spread the word and promote your work- then you are going to struggle to find necessary backing.  So many people follow a band/act- maybe commenting on a song and loving it- without spreading it out to their followers.  It is one of the downsides of social media: People are not as sociable as they should be.  Being such a massive, compartmentalised and random system, it is incredibly difficult relying it on at all- the musicians themselves have to take charge and create their own chances.  When you come onto the scene, it is vital getting radio stations involved and playing your stuff.  There are a lot of available stations out there- from national to local stations- that you can hit-up and email.  Whilst stations do get tonnes of requests for airplay, it is always worth putting your music out there and seeing what they say.  I have seen so many acts get new fans- get gig bookings and progress heavily- simply from the result of radio exposure.  Social media will only help you so much- when people can be bothered to do their part- so you need to reach out to the media.  FORTE are a band that have enjoyed some pretty notable radio attention so far- this week their debut single would have been played across eight B.B.C. stations throughout London and the south.  The boys have not been resting or sitting back in their early days: Digging deep and putting their music out there, they are a band that understands the importance of radio patronage.  When it comes to my featured band, FORTE are a five-piece with a little bit of mystery to them.   Their social media pages are a little bare at the moment- more photos and information will arrive in time- but what we have at the moment is a group with some dedicated and excited fans.  The London quintet are known as A.S., D.C.; H.P., R.B. and J.J.  Cool-as-crap purveyors of heavy sounds, it is not shocking the boys are getting some speculation and awed feedback.  When I was looking at Duke of Wolves yesterday- a similarly heavy band that could sit alongside FORTE- I was staggered by the confidence and quality of their debut cut.

Not many bands come in so strong and authoritative: What we have from FORTE is a similarly ambitious and assured effort.  Whilst teaser clips have been offered to the social media world- radio stations are the only others that have heard the full single- I get the chance to hear Goosebumps in its entirety.  When it is released in a few weeks, the world will get the opportunity to hear one of London’s freshest and most electrifying bands.  What I find baffling about a lot of bands is how weak they enter the scene.  Having reviewed quite a few new bands- who are not culpable of the point I am making- too many groups produce a limp and under-produced debut effort.  Even in the mainstream you get so many artists limping hobbling into music: If you are not prepared to go in hard and meaningful, what is the point?  Maybe there are nerves and uncertainties that early- not sure what the public wants and what your true sound is- but musicians should be doing more.  I think there is too much urgency and pressure put on artists these days.  Having so many different musicians out there; so many artists rush releases so they can be among the pack- fearing they will be ignored if they take too much time recording music.  FORTE are boys that have taken time to craft their debut track: You can tell how much effort and practice has been put in.  The results speak for themselves and the London band have a big future ahead of them.  There are a lot of male bands emerging at this moment- as has always been the case- and many of them are producing the same kind of sounds.  Tending to favour the heavier side of music- Alternative, Rock and Indie sounds- there are many male groups playing along the same party lines.  Whilst the best male-produced band music of last year- in terms of the mainstream at least- tending to push the boundaries of Rock- the likes of Tame Impala and Young Father showed that- there is still a huge demand for straight-out Rock and Alternative sounds.  Whilst FORTE (on paper at least) might seem like your workaday Rock band, they are so much more than that: The lads have exceptional musicianship and tease in other genres to create something quite special.  I mentioned the likes of Tame Impala- who usitlise electronic sounds and Dance music into a hypnotic blend- that is a direction I can see FORTE heading into.  There seems to be a shift-when it comes to Rock bands- to bring in other avenues and sounds (to make their music more diverse and dance-able).  Whilst Goosebumps is a direct and gutsy song, it shows a band with plenty of nuance, layers and ideas.  I would be fascinated to see where future songs take them- whether they open their sound up and bring new elements in- but I know the London clan will be a name to watch.  With so many bands coming into music, the new players have to distinguish themselves and make impressions.  Too often artists coming in and sound lifeless and unoriginal: Sounding watered-down idea-less, they are always going to have a short shelf life.  FORTE are getting adulation and predictions that could see them being big festival names of the future.  As London is housing so many sensational new bands, do not be shocked to see our FORTE boys playing Reading and Leeds in the coming years: They have a sound and confidence that is ready-made for the big stages.

When it comes to FORTE, it is hard to compare Goosebumps with anything else they have done- being their first stamp on the world of music.  What I discovered from the band is how original and different they sound.  Upon hearing their single, it was tough to bring other names to mind.  Perhaps those with sharper ears will be able to hear elements of other acts- if they were really digging that deep- but upon initial investigations, who does FORTE sound like?  If I were to put money on it, I would say the London group has gone out of their way not to sound like anyone else at all.  Too many bands- that are inspired by other artists- make their music sound like their heroes’: What you get are songs that are easily comparable and too unoriginal.  It is great having influences and idols- every musician in the world does- but you cannot just make your music sound just like theirs.  Well, you can, but the trouble is your careers will be short-lived: Why listen to a band that is a second-rate version of one that is already out there?  The trick is to incorporate little shades and sprinklings of other artists- either in terms of the music or vocals- and ensure the abiding impression is one of originality and freshness.  FORTE have a sound that is both universal and unique.   On the one hand, Goosebumps is a song that could easily inspire singalongs and unified crowds- it has a familiar feeling to it- yet I cannot find another act/band they sound like.  Perhaps a shrewd and wise move by the boys- who want to remain distinct but not too alien- they have produced music that is tailored for the radio stations of the U.K.  It is perhaps no fluke the boys have already enjoyed that impression radio attention: It seems they have cracked a tough nut early on in their careers.  Whilst a lot of bands I review- cannot name any names you’ll understand- produce a so-so debut; here the FORTE clan has come in impressively strong.  The question is how they develop and capitalise on their debut strength.  I think the guys will look to put an E.P. out some time this year- they may have other ideas- that will be a three/four-track release.  Obviously Goosebumps will be high up the track listing; the lads will probably keep their sound tight and focused.  With such a defined and exceptional sound already crafted, perhaps they do not need to stretch and widen it too much: Perhaps they will become a bit more experimental and genre-hopping a little way down the line.  It will be exciting to see what this year brings for FORTE: Whether they have any tour dates planned or are going to be heading back into the studio.  If you are a fan of the best Rock music has to offer-newcomers such as Royal Blood; older acts like Foo Fighters- there are some comparable shades within FORTE.  What the quintet does is to use Rock’s templates as a starting point: Their music has plenty of emotion and dimensions; subtlety and softness among the hardness- diversity and directness in equal measures.  Those that like their music nuanced, soulful and kinetic will definitely have to check FORTE out.

Making sure Goosebumps registers instant promise, the early drumbeats get the listener stood to attention and hooked.  A big and tribal percussion slam- that compels people to clap hands and get their voices ringing- the boys go in hard and confidently.  As that drum beat slams and drives away it is met with a grizzled and bristling electric guitar sound: One that is shimmering shivering; emotive and reflective in equal measures.  Letting the introduction work and extend, you become invested in the moves, motifs and colours it projects.  An evocative and dramatic opening salvo, FORTE has ensured that the listener is brought into the song and imagines what is to come.  Too many bands and artists either jump straight in with vocals- worried people will get bored if they do not- or produce an introduction that is wandering and unfocused.  FORTE provide so much story and possibility with their earliest notes that you wonder what shape the vocal will take- and what the initial words will speak of.  “Pick a star and rearrange the sky” are the first words and ones that make you wonder and speculate.  Oblique and non-specific, there are so many possibilities when you consider that line.  Delivered with passion and gusto, the listener instantly takes their minds to the skies and what is being attested.  Perhaps a romantic proclamation or a shout-out to the dreamers- you can do anything you want if you aim high- I was compelled to dig deep and see what was behind those words.  Part-poetic and part-direct, one star shines bright in the eye of the heroine.  Whether the band’s subject (early on here) are looking at a sweetheart, female or male subject I am not sure- the fact our hero has goosebumps suggests a lover is being attested.  Delivering the words with a soulful heart and plenty of compassion, I was fascinated and interested early on.  After that stunning introduction and intriguing words, it is impossible not to let your mind imagine and suck yourself into the song.  Throughout Goosebumps, there are grand proclamations and heady praise.  Our boy’s girl (having seen the video is an intoxicating and captivating muse) is able to part the clouds with the slightest sigh/breath.  Someone who has clearly captured his heart and seduced his mind; the emotions, passion and lust drips from every note.  Keeping the composition light and restrained at this stage- the band create a suitably atmospheric and powerful canvas for our hero- it allows that voice to reign and rule in the foreground.  Whist the girl runs her hands down the spine (of our lead) you get a tender and touching scene unfolding.  At every stage that voice is in awe and completely star-struck: Imbued with intensity and trembling knees, it is one of the most direct and impressive vocals I have heard from a young band this year.  Perhaps these ideas and proclamations are dreams and intentions- the lyrics suggest our man is fantasising to an extent- and the girl in question may be a soon-to-be lover.  Maybe she is with another man at the moment- or is somewhere overseas- but you can sense that need and desire that comes out.  We have all been in the situation when we have lusted for someone we cannot have- or belong to someone else- and let our minds wander into fantasy territory.  From the lyrics/vocals laid-out I get the sense there is some history and back-story to the song.  Perhaps our lead has already been with the girl or they have been involved: That need to rekindle a flame and become more involved.  That is the beauty of the early lyrics: You have a two-sided interpretation that will get listeners guessing and interpreting.  As the chorus blazes into view the band augment the composition and let the volume rise. The lead vocal rises to an impassioned and burning roar: Raising to the heavens it is an immensely electric and committed performance that gives the words such authority and meaning.  The band combines to provide a staggering backdrop of sounds and colours that gets inside the mind and provokes a huge reaction.  Our hero is at the height of his desires as hero asks whether he “was good” and doing it right.  The chorus shines more light and truth to Goosebumps: It seems like our duo are in the throes of passion and wrapped inside one another’s arms.  Maybe our man is in the midst of dream conspiring although the direct and to-the-point vocal suggests he has got the girl he desired.  Whether a current love- or a past romance that has inspired this song- it is clear his lover means/meant a huge deal.  It has been a long time since I witnessed a vocal with such a flair and power to it: As the chorus unfolds the intensity becomes almost head-exploding as our hero becomes overwhelmed by the power of the romance.

His sweetheart makes him feel better “on the inside” and has brought a lot of safety and light to his life.  Perhaps lonely and lost before meeting her; it is clear this bond has enriched his life and has seduced his soul.  Before the next verse comes into view, the composition is allowed to step into the spotlight.  The guitars remain rapturous and inflamed whilst the bass guides the song forward- the percussion tight and sharp in its attack and motivation.  Conversations and past events are replayed as the lead comes back to the microphone.  Feeling tongue-tied and confused, it seems like there has been some break-down of communications.  Although, upon deeper investigation- and our man still receiving goosebumps- it may not have been fraught or pained at all.   Maybe our hero has said something nonsensical or regretful: Maybe he is trying to convey something hard; it seems like his girl gets him and knows exactly what he means.  That connection and understanding runs deep: A bond that seems a perfect fit and natural, it is one of the few love songs I have heard recently with an overtly positive message to it.  In a world that is suffocated by uncertainties, horrors and violence; perhaps it is no surprise Goosebumps has been received with such warmth.  A lot of tracks are too negative and sorrowful: Here we get a track that brims with admiration and purity; it is a love song that pays tribute to an extraordinary soul.  As our hero lets his voice strike and emote- recalling just how much his girl means- the band throw in little sparks and beats that give the song a constant intrigue and energy.  Whether it is a spiky little riff or a drum fill- or the bass pushing the song forward- your mind is pulled in two different directions.  The impressive composition has its own life and appeal: It combines seamlessly with the foreground and pushes the vocals to fever-pitch.  When our boy is at his lowest ebb and down in the dumps; it is his girl that can raise the spirits and get him back to normal.  At every stage you cast yourself in his mind and watch the scenes unfold.  It is probably not a shock Goosebumps has received positive feedback: The song’s subjects have a relatable edge that many can understand and appreciate.  With a hard and urgent core, the song has accessibility and mainstream appeal.  Whilst it (I hope) will not be picked up by the bland Pop stations of the capital; it has plenty of potential to be spun across the most impressive airwaves of the capital.  Endlessly emotive, passionate and dramatic; you cannot ignore the intensity and purity that comes out.  As the chorus comes swinging back into the foreground- and its words gain new meaning and relevance- that combination of vocal and composition sounds ever more vital and impressive.  As the song reaches the final minute, we get echoed vocals and something quite spacey.  In the midst of a full-blown trance, our hero is in a fever of passion and desire.  My early interpretations looked at dreams and bygone bonds: It seems like this relationship is very much alive and burning bright- an intensity and firework display that is unlikely to stop any time soon.  So many modern love songs are negative and anxious- looking at break-up and deceitfulness- so it is refreshing to hear a song on the flip-side.  A positive and outright tribute to a pure love; you have a musical moment that subverts music’s worst instincts.  Given how sad music-lovers have been recently- following the deaths of two of its biggest names- we are embracing music that makes us feel better and reflect too.  Goosebumps has that positivity and urgency that cannot be ignored without it distancing listeners in the process.  It is a song that wants people to get involved and feel something inside- catchy and compelling enough to get people singing aloud.  In the final moments my mind started to look at the composition and how it works.  The percussion has a static charm to it- a heartbeat that gives the song blood-flow and punctuation- whilst the guitars seem faster and more vibrant.  Not only do they work together perfectly; the guitars are the bloodstream and shiver our man feels- as though the band is employing instruments as senses/metaphors for emotions and feelings.  The bass is fluid and commanding throughout: Perhaps representing a solid and unflinching soul; it also unites the instruments and pushes the vocal on.  The final seconds give that chorus another chance to say its piece- sounding even more relevant and captivating here- as our lead lets that voice get lost in the moment.  With some rapturous strings and punchy beats bringing the song to its close, FORTE wrap up a hugely impressive and compelling track.

Filled with nuance, phenomenal production values and emotion: Goosebumps is a track that is already warranted acclaim, radio-play and positivity.  Given its pure and positive messages, I am not surprised so many listeners have related to the song.  With the band being referred-to by initials, it is hard to get insight into the quintet- there is a bit of mystery to the lads.  What I can say is what a tight and impressive band they are.  It sounds like they have been playing together for years- that confident and assuredness sounds like a band with a rich history- and they will be playing for many years to come.  At every stage FORTE are completely connected and exhilarating.  That lead vocal is endlessly commanding and strong throughout.  Not sounding like anyone I have heard- there are a few shades of others but nothing too obvious- it is such a passionate and soulful weapon.  Bringing the words to life and giving them such gravitas: Here you have a singer that could make the phone book sound interesting.  Dealing with words that have a huge personal relevance; they are delivered with such heart and affection.  The guitar work from the band gives the song its injection of lust and shiver.  I said a bit earlier how the guitars sound like racing pulse and bloodstream: It seems like the band are using the guitars to summon up those racing heartbeats and spinning heads.  With the lead being caught in the blizzard of a huge love; the guitars are hugely important backing the words and making sure the vocal is given the support it needs.  On that note, the bass drives the song forward and promotes the voice too.  Keeping all the threads together and showing discipline- you are guaranteed Goosebumps stands up to repeated listens and closer investigation.  That drum does not idly stand in the back making little impression: A tangible and evident heartbeat; you have a performance that gives the track a huge hit and sense of drama.  Altogether the band unites supremely across a song that is an impressive and nuanced gem.  It has gained attention from radio- and will gain a lot more play in time- and is a song you need to get.  Although not officially released for a few more weeks: Ensure you check out the teasers on the band’s official Facebook page.  Blending Rock and Indie cores with something more mainstream and Pop- without compromising the intensity and integrity of the track- you have a song that will appeal to the die-hard Rock aficionados- that like their sounds hard-hitting and gritty- and bring in lovers of something more passionate, restrained and tender.  Filled with depth, desire and praise; few listeners are immune to the charm and treasure of Goosebumps.  Phantasmagorical it is not: Here is a number that recounts an intense and wonderful love.  If you want to find something that will get you singing- and stick in the memory for a long time- and moved; you need to check out the debut from one of London’s finest new acts.

It is hard to say how far a band will go off the strength of a debut single.  Given the rewards and praise the boys have already gained- that radio play and great attention over social media- the lads have a great momentum in their corner already.  Having spoken with the band’s guitarist Jesse James (J.J.); there is excitement and fond desires among the band- they want to succeed and go onto bigger things.  The boys have already secured B.B.C. Introducing London and B.B.C. Introducing Three Counties (for spot plays)- a great start for a band who have only been around for a few weeks!  Goosebumps is a solid and confident statement from a band that wants to remain in music for many years to come.  Those ambitions and dreams do not seem too far-fetched as they have a sound that is very much their own.  Not keen to be compared to any other act out there, the guys have drawn from their personal experiences and lives to create a song that has got many people very excited.  Having has a very busy start to their career; I am not sure what direction the next year will take.  Obviously the boys will be touring, although I am not sure whereabouts they will be playing- keep your eyes on their social media pages.  With regards new music, I am sure an E.P. will be in their minds: Again, it is up to them when that is going to be released.  For now the band are focusing on Goosebumps and seeing how the public react to that.  One of the golden rules- and cardinal sins on the flip-side- is the issue of getting radio play: So many bands and musicians do not contact radio stations early in their careers.  In the opening I looked at the mixed benefits of social media- how it is not always as helpful as it should be- and how too many acts are hoping it will do all the work for them.  Given the pacificity of many social media users- how few will actually share music and support acts- it is vital to take action and control your own career.  Radio stations will get loads of requests by the week: They will always make time and space for the acts truly worthy of radio play.  If you send a tweet or contact stations directly, you give yourself a much better chance of getting exposure and attention.  FORTE have been played on B.B.C. London and across the Home Counties: Here is a young act that has already resonated with a lot of people.  On 11^th February the boys will launch their single- supported by Foam and special guests- in north London.  I can see Goosebumps making it onto the playlists of London’s credible mainstream stations- Absolute Radio and ‘6 Music- and avoiding the lesser/rubbish ones- the likes of Heart Radio, Capital F.M. and Kiss F.M.  As there are so many male bands coming through- many playing in the Rock mould- only the brightest and most original will succeed.  So many bands are either desperately slight or unoriginal- being too similar to someone else out there- or go in rather insincerely on their debut song.  FORTE have ensured their first move remains in the memory and sets them up for a prosperous and long career.  It is dangerous making predictions early but is it is clear this London five-piece will be on the scene for years to come.  London is a busy music centre and is welcoming all manner of musicians into the world.  Bands are always going to a popular and in-demand commodity; for that reason, those coming in need to make their early music really count.  FORTE have managed to keep their core hard and heavy- whilst ensuring there is plenty of depth and emotion when it really counts.  Not your workaday Rock band, the lads dig deeper and come up with something much more rewarding and layered.  It is just left to me to congratulate the boys and let’s hope 2016 will be a diamond year for them- I have no doubt it will be very special indeed.  Goosebumps is an apt title for a song that has registered a lot of praise among the legions of social media followers (for the band).  Take time to discover a band (and song) that is worth…

 

A lot of love and attention.

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