INTERVIEW: KEELS

INTERVIEW:

 

 

KEELS

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KEELS (or ‘Keels’) is one of the most talked-about songwriters around…

the U.K. and E.I.R.E. at the moment. As former member of the band Empire Divide, Niall Keels cemented his reputation around London as a name to watch. Stepping out alone, the single Surrender brings together embers of The National and Bon Iver. There will be more work coming – which is exciting indeed – so I was eager to talk to KEELS about the new material and how life solo compares to that in a band. Having toured with the likes of Augustines, Catfish and the Bottlemen and Young Rebel Set; working with established filmmakers Kim Roden and Alfie Biddle - many would be envious of that sort of C.V. Always humble and forward-thinking; KEELS has his sights set on 2017 and just what can be achieved.

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Hi KEELS. How are you? How has your week been?

I’m all good, thanks. Just trying to get everything done before the Christmas panic-shop. On the music front, I have been getting a few bits in place for the video (for the) next single Darkest Nights - and getting the live rehearsals going.

 For anyone new to your music: can you introduce yourself, please?

Sure. My name is Niall Keels. I am a singer/songwriter on a journey to live the dream! I have lots of new work to share which I’m very excited about. If you like The National, Bon Iver and Massive Attack you should give my music a listen.

I do not often get to interview Irish artists. Which part of the country do you hail and how does the music scene compare there (to England)?

(I have) A very Irish name and a very Irish dad but I was born and brought up in Surrey/Sussex.

I have a lot of friends and family over in Dublin and spend a fair bit of time there. My allegiances are with the men in green when it comes to sport.

This was drilled into me from a very early age from my dad and the rest of his mates down at London Irish Rugby Club in Sunbury. I played with the club all the way through ‘til I was about nineteen and it was there I had to quickly learn a good Dublin accent.

Based out of London, I can imagine the capital provides its fair share of inspiration and frustrations. What is it like for an aspiring musician living in London?

London is a great CITY but it is an expensive place to live! On the music scene, there are some brilliant venues to play for up-and-coming artists like the Lexington, The Sebright Arms and St. Pancras Old Church - where I’m playing in March of next year. It’s great that so much music is readily available and it certainly helps provide creative motivation. London is such a diverse, multicultural hotbed: you meet so many people from all walks of life which can only be a good thing in terms of creative inspiration - especially when you’ve worked as a waiter/landscaper/carpenter/brickie’s assistant.

Looking at reviews that have been paid to your music – you are being compared with the likes of The National and Bon Iver. So early in your career, is it quite daunting or humbling receiving that kind adulation?

It’s both! Very humbling as these, in particular, are two acts whose works I love. I have been to see The National live in London a few times and absolutely loved it. Epic songs delivered so well on the big stage: Slow Show and Hard to Find are two of my favourite tracks. Bon Iver has inspired so many people: just look at how many artists have covered Skinny Love! What a voice and what great songs.

You are a former member of Empire Divide. What was it like being part of the band and how does solo life compare?

Being part of a band is great. Working collectively on a track is an awesome experience. It’s not all that different now as Keels.

I still enjoy writing with old band members and I work closely in the studio with my producer and other writers - which means the creative process is similar. I just get to have the final say. Live, I will be playing with a band, so that shared performance/enjoyment of the music on stage won’t change all that much. I always work with musicians who are into the music and believe in the project, which is very important.

Surrender is your new single. What can you reveal about the origins of the song and what inspired it?

Hard to say. The chords and melody to the song came about when I playing at home on the piano. The lyric "Heart will surrender to nothing but The Devil’s play” came out of nowhere, almost immediately.

We have all lost someone at some point or another so once you have a starting point - the skeleton; chords, structure and lyrical idea - it’s just a matter of fleshing it out and building the track up - and retaining the theme of loss and regret which I did with a friend in the studio.

[youtube https://www.youtube.com/watch?v=Ns222Wo6uPc&w=560&h=315]

Was it a difficult song to get together or did it kind of flow when you got into the studio?

In terms of the body of the song it all came together pretty quickly but the production on the track has evolved. Building up the sounds/pads and vocal layering took time.

The video for the song is beautifully shot and conceived. Whose idea was the video and what was it like working with Kim Roden and Alfie Biddle (whose work includes V for Vendetta and Harry Potter)?

After putting together a mood board the video was storyboarded by Kim Roden and Alfie Biddle. Alfie is one of my best and oldest friends and he also happens to be one of the best up-and-coming cinematographers in the film business. He is immensely resourceful and generous with his time and I have been very lucky to work with his talented team. Alfie has worked on some huge films in differing capacities and his wealth of experience and knowledge plays a huge part in delivering such a powerful visual that works so well with the track. I couldn’t recommend a better team of people to work with and I think the video is sufficient evidence of this.

Can we expect an E.P. or album next year perhaps?

There will definitely be an E.P. first and hopefully an album at the end of 2017.

PHOTO CREDIT: @pedroalvesphotography

In terms of the musicians that have inspired your music: which would you rank as the most important and why?

Again, a very tough question to pinpoint as there are so many artists that have influenced my vocal delivery and songwriting.

I would say Johnny Cash/Roy Orbison/Elvis are three vocalists that I listened to more than any growing up. They all had an amazing ability to convey their message through a powerful and honest vocal delivery.

For me, honesty is the most important quality in delivering a message through a great melody.

Having toured with everyone from Young Rebel Set and Catfish and the Bottlemen you must have some fond memories. What has been your career highlight so far?

Young Rebel Set are a good bunch of lads with great songs and I am always surprised that they haven’t had more success. Berlin Nights is brilliant. Career high is hard but playing with Augustines to a sold out KOKO was pretty special. They’re another band I am amazed haven’t exploded and was very sad to see that they had called time. Another high was playing more recently out in Moscow in a sold-out Imagine Café - where my brother came and joined me for my set. We’re best mates so to have him with me for that show singing to a sold out venue was awesome.

Are there any new artists coming through you recommend we check out?

Amber Run are a new band coming through that I played with a little while back: nice guys with a good sound. Also, an Irish act called Picture This are definitely worth keeping an eye on.

PHOTO CREDIT: @der_ivanov

Is there any advice you’d offer to any new artists coming through?

Be determined/persistent. I have been grinding away for a long time now and it feels like things are starting to really come together.

Luck plays a huge part in music but you have to be in it to win it. Of course, be true to yourself as an artist and don’t rush. Look at Sia: her first number one came album in her late-30s.

It is almost Christmas. Any plans for this year? What have you put on your list to Santa?

Excited to spend Christmas with old friends and family: it’s the one and only time of the year some friends are about.

Also super-excited to get all the live performances going in the New Year and can’t wait to put more tracks out. I’d love to get on a few more shows overseas: always a great opportunity to see a new city/town.

I have asked Santa for a Christmas number one. I didn’t specify what year so we’ll have to wait and see!

Finally, and for being a good sport, you can choose any song you like (not yours as I’ll put that in) and I’ll play it here.

Hard to Find - The National

[youtube https://www.youtube.com/watch?v=3mfpCQM92F8&w=560&h=315]

Thanks to you all and a very Merry Christmas. 

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Follow KEELS

 

Official:

http://www.keelsmusic.com/

Facebook:

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

Twitter:

https://twitter.com/keelsmusic

Instagram:

https://www.instagram.com/keelsmusic/

SoundCloud:

https://soundcloud.com/keelsmusic

YouTube:

https://www.youtube.com/channel/UCkfu8IoyAjGyODM-34aHx1g

INTERVIEW: The Peppersplum

INTERVIEW:

 

 

The Peppersplum

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THIS year, one of the nicest surprises was discovering…

Mexican sisters Marie and Sussie Fernandez. Known as The Peppersplum, they are heavily influenced by older English music and U.S. Rock; European Dance and more traditional Latin sounds. Songs like Take the Adventure of Love pulls all these disparate threads together and shows what passion and talent the duo has. Into next year, the girls will be looking at releasing new music. They discuss these plan alongside memories of the year so far; what type of music inspires them and how Is It Love? (their last album) came together. In addition to that, the girls are working on two new albums - which shows just how hard-working and determined The Peppersplum are. They chat about those releases and what they have planned for Christmas.

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Hey girls. How are you? How has your week been?

Sussie: Hi there. It is so nice to talk to you. Thanks for this time you take to talk about music. Also, we would like to thank you so much for the review you wrote: we really like it and enjoyed reading it.

Marie: Some parts are as if you had been there watching very close to what it was. Surprisingly accurate.

For anyone new to your music: can you introduce yourself, please?

Together: We are The Peppersplum. (*smiling*)

Marie: We’re sisters…

Sussie: …and we do music.

You began your musical life 2006. What compelled you to start a duo and can you remember the first song you recorded?

Marie: Not only the first song we recorded but also the first song we wrote.

Sussie: Well, we always wanted to sing and express ourselves in an artistic way.

We can recall when we were very little: every time we saw a theatre play we tried to replay, in our house, all the roles by our own - all the singing, all the words and acts like it were a children’s game.

As sisters, what was the type of music you grew up listening to?

Sussie: We listen to a lot: all Rock and Roll; ‘50s, ‘60s; ‘70s, ‘80s and ‘90s music.

Marie: Yes, we like all the old music stuff.

What is the musical scene like in Mexico? Is there a lot of great indigenous music or (does the country) take in a lot of U.S. and British music?

Marie: Well, we can´t really say what's the scene (as we listen to all stuff) but Mexico does take lots of English music.

The Beatles still have a daily hour on one of the biggest radio stations.

Sussie: Yes, indeed. I think it is (as you have probably said) half local music whilst half of the population goes for English music.

You have won a collection of awards and accolades over the year. What has been the proudest achievement for The Peppersplum?

Sussie: Wow, well, every one of them. They are different and we like to think it is because of our fans and their love and amazing support.

Marie: Yes. All of them have a special place in our hearts, in our music; most of all, a big thanks to all the people involved: the ones who work alongside us and the fans; the prizes are them.

https://play.spotify.com/track/2XTh24LMfWj4FmLCmqdhcn

Can you tell us about the coming months? Any new music coming through or E.P.s in the pipeline?

Marie: No. In fact, we did a pause to answer this interview. We are recording the album. The album has been delayed for many reasons. Upcoming is two new singles - but totally different. The two albums will have twelve to fourteen songs on each one – so, if you count the two of them that will be at least twenty-six or so new songs. Their titles will be Fast Love Vol. I (Dance) and Fast Love Vol. II (Rock).

Sussie: Yes.

We are recording two albums - following the single format. This E.P. is, in fact, the first single from two different albums: one the Rock side and the other is a Dance album.

They are two singles from two different albums (but with the same name). We’ll hopefully finish recording the two albums next year.

Is It Love? composes eleven unreleased tracks and was your second studio album. What was the inspiration behind it and how does it differ from your debut work?

Marie: Guess we have to start by talking about our debut album and the difference (with that) and Is It Love? Yeah!, as it's called, was the first step to achieving our dream (to write music). When we finished it, we were like: “Can't wait for everybody to listen to it”. The second one we hid a bit so it stays a little longer - only for us alone. Is It Love? has lots of emotions. When we recorded, it was a tough time for the person not for the musician. We were having a real hard time recording. That album was what kept us going. In Life, for example, is about loss - but not to a love - but concerning our grandfather because he was like our dad - and then he passed away. Every one of the eleven songs is a story on its own. They are different. The only one thing permanent in all our songs and albums is genuineness.

Sussie: Yeah! was an affirmation: it was a "yes it's possible". We’d been told: "Girls in a Rock world? Only in more than ten years"; "Girls for Rock are not good". So Yeah was: “Look at us, we did it"! Is It Love? came together in a more accomplished way.

We wanted to write more about us and we added some more thoughts and emotions, as you said (which was very amazing for us, you figured it out). Words we really use, that are totally us, like: "I just can't believe..."  This is a phrase we used a lot (maybe we're not believers) (*smiling *). But we wanted to take away all the bad experiences we were living by singing.

What has been your favourite song to record? Which one has meant the most to you?

Marie: The new one we're working on in that moment is the favourite. All the others left a mark, of course, but they have gone.

Sussie: We like them all. They were part of us in a time and space, and when we listen to them again, it is like seeing an old friend.

[soundcloud url="https://api.soundcloud.com/tracks/291271807" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Do The Peppersplum have upcoming gigs or are you spending time in the studio?

Sussie: Well, as we said, we’re finishing recording these two albums - but we have signed with a new manager so we are eager to confirm some upcoming gigs.

Marie: Hey, she said it all (*smiling*). Some surprises soon.

You have a lot of love for the U.K. Can we expect to see you play in the country anytime soon?

Marie: We grew up listening lullabies like (*singing*) “Orange and lemons/say the bells of St. Clements”, so you can say that.

Sussie: “Oh, The Grand Old Duke of York...” (*again singing*). We love to play there. We hope with this new guidance (manager) we could play there very soon. As soon as we know we’ll share it with you as well as well as new stuff.

Marie: Yes. We are really curious about finding out your opinion on the new tunes.

Are there any local artists or artists you love you’d recommend we investigate?

Sussie: Oh God! We only listen to old music as we said. Wow, this is a hard one.

Marie: The Beatles and Elvis are so well known (joking) – sorry, we really don’t know who to name.

[youtube https://www.youtube.com/watch?v=3F4_ePEi2DI&w=560&h=315]

For any bands/musicians wanting to follow in your footsteps: what advice would you offer them?

Marie: Constancy! It's the only thing that would make you get your goal.

Sussie: Be patient and don't let down yourself.

Finally, and for being good sports, you can request a song and I’ll play it here (not your own as I’ll include that).

Sussie: Always good sports and fair players so mmm… would be nice to listen to an old tune like E.L.O.’s Last Train to London.

[youtube https://www.youtube.com/watch?v=hpCBv1dO3eA&w=560&h=315]

Marie: Or we can go a little bit earlier and listen to House of the Rising Sun but we’ll leave it up to you. Thanks a lot for this interview; we were very glad answering it. Looking forward to your review of our next tunes.

[youtube https://www.youtube.com/watch?v=y2oKRKZnEoA&w=560&h=315]

Sussie: Thanks. It was so nice. Hoping to see you all of you at a gig.

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Follow The Peppersplum

Facebook:

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

Twitter:

https://twitter.com/thepeppersplum?lang=en

Instagram:

https://www.instagram.com/thepeppersplum/

SoundCloud:

https://soundcloud.com/thepeppersplum

YouTube:

https://www.youtube.com/channel/UCwjH43XXtfM44VeHlXZYX1A

FEATURE: Track of the Year: Radiohead – Burn the Witch

FEATURE:

 

Track of the Year:

 

 

Radiohead – Burn the Witch

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YESTERDAY, I expounded the virtues of an album by a blonde-haired…

Yorkshire native – my favourite record from this year in music. Facing some hefty competition and long odds: the fantastic debut cut beat off all other competition to claim the honour of best album of 2016 (I am not mentioning her name as promised it would be the last time this year; you can check yesterday’s post if you are that curious). Today, I am looking at the track that, for me, stood out from the rest this year. Given the amount of songs unveiled throughout 2016, it is challenging narrowing it down to that one choice. There have been songs of all shapes, sizes and genres; from across the world and exploring all types of subjects. It is true; my longlist contains music from Hip-Hop, Electro.-Pop and Alternative. The one that actually takes home the gold it the lead-off track from Radiohead’s ninth studio album, A Moon Shaped Pool. There are quite a few reasons the album transcends all others and sticks in the memory largest. As 2016 came into view, there was the odd bit of press about Radiohead’s movements. Aside from Twitter-based tease and Instagram snapshots: few were really sure whether the Oxford band has an album in them. True, there was some hesitation and doubt after 2011’s The King of Limbs. That album contained the usual array of beauty, mystique and command. Following the near-career-defining In Rainbows: many were hoping for a similar album yet The King of Limbs traversed new ground. Not that their eight album was a disappointment: it just felt a bit short of In Rainbow’s majesty and quality. There was a fear, if 2016 was to produce a Radiohead album, it would be a run-on from The King of Limbs.

As it was: the doubters and fearful could rest easy. A Moon Shaped Pool took the purest and finest elements of The King of Limbs – the orchestral sways and attention to detail; the sense of refinement and purity – but cast the net wider and expanded the sound. Aside from some ‘older’ Radiohead songs – True Love Waits finally made an album appearance – there was plenty of nervous energy, atmosphere and life. Ful Stop, Deck’s Dark and Identikit cannot easily be compared to the more regent and introspective string-laden tracks. Say what you want about the album, one that cracked my top five; making it to the second-placed spot, but its first single cannot be questioned. I remember the moment (in May) it dropped to the world. This year has seen too much bloodshed, division and separation – as I type this I am reading another horrifying piece of Aleppo and failing ceasefire – and musicians have been responding this. Burn the Witch is a song that looks at the negative, accusatory and hateful elements of society. Whether you see it as a caution against groupthink or a general pervading scepticism: lyrics like "abandon all reason/avoid all eye contact/do not react/shoot the messengers/burn the witch” are as powerful and haunting as any committee to tape this year. Against the news stories of mass immigration and prevailing wars: Burn the Witch is Radiohead at their most relevant and unsettling. Not since How to Disappear Completely (from the profound and life-affirming Kid A) have they managed to marry that overwhelming beauty and creepy undertones so naturally.

The song’s promotional video was directed by Chris Hopewell, who helmed their stop-motion film for There There, and employs a similar technique to achieve its results. Rather than a lone Thom Yokre tripping through a woodland filled with miniature animals and strange Sylvanian Family-esque figures: this one incorporated elements of the 1960s T.V. show, Trumpton Trilogy. In addition to homages to The Wicker Man; the video sees an inspector looking around a quaint (if unnerving and disturbing) community – where a local fair is unfolding; complete with dripping blood and strange, Pagan dancing. At the end, the representative is imprisoned in a giant Wicker Man figure. An evocative and unforgettable way of representing the song’s themes of right-wing activism and polemic political rhetoric. It is not just the visual accompaniments and build-up that makes the song such a triumph. The entire band is completely in-check and awe-inspiring. There is Jonny Greenwood’s string articulation and genius – a man who knows how to score an incredibly moody and exciting set of players. The orchestral flavours are bolstered by fantastic and atmospheric performance; a production that is clean, crisp and astonishing. Thom Yorke’s vocals, as is the case with the album as a whole, is the emotional centre and most remarkable asset. Never has he sounded as seductive, spectral and beguiling. There is no vocalist capable of producing such spine-tingling and evocative vocal deliveries. Burn the Witch is Yorke at his very peak. Whether elongating or syncopating he is completely engrossing and spectacular. If you put all of these considerations and commendations together you have a song that is worthy of A Moon Shaped Pool’s acclaim and solid reputation. Even if other critics have placed the song scandalously low down their list (of the year’s best songs) that is their issue. Those who know their music at least place the song in their top twenty choices of 2016. Burn the Witch provided 2016’s music one of its biggest shocks and most dramatic moments. Radiohead took down their social media pages and created whispers and hushes of fevered excitement. Few could have predicted anything like Burn the Witch and its myriad wonders. Even seven months after its release it continues to yield answers, insight and questions. Some might say it was long-overdue from the legendary band; others wanted more (of Burn the Witch) across A Moon Shaped Pool. To the neutral observer – and those unconcerned with petty criticisms – recognise Burn the Witch as a rare marvel...

THAT made 2016 just that little bit more special and strange.

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

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Follow Radiohead:

http://www.radiohead.com/deadairspace

TRACK REVIEW: Lewis Fieldhouse - Naked Psycopathic Blues

TRACK REVIEW:

 

Lewis Fieldhouse

 

PHOTO CREDIT: Ray Roberts

 

Naked Psycopathic Blues

9.5/10

Naked Psycopathic Blues is available at:

https://soundcloud.com/lewisfieldhouse/naked-psycopathic-blues

GENRES: Americana; Alternative-Pop

ORIGIN:

London, U.K.

The album, Theodor Washington and the Central Valley, is available at:

https://fieldhouse.bandcamp.com/

RELEASED:

2^nd December, 2016

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NOT too many reviews left for this calendar year...

PHOTO CREDIT: Ray Roberts

but there is always time for a fantastic solo artist. I have included, in these pages, quite a few throughout 2016 but none that sound quite like Lewis Fieldhouse. Before I come to him, and look at his music, it is prudent investigating the male solo artist and those who source inspiration from unusual places; a little bit about original vocals and music that hits various parts of the body. Quite an odd compendium of subjects but all fitting when thinking of Fieldhouse. I have been assessing and featuring my favourite albums from this year (mainstream) and what defines them. Among my top ten, there are few inclusions from male solo acts – James Blake is a rare exception – with the majority either being band-made or female-created. There has been, as I have stated before, a move away from bands and their dominance and towards solo artists – I feel the female artists have been getting (long overdue) dues. There is nothing to suggest this proliferation and focus will halt in 2017 – that is something quite heartening and pleasing. I am casting my mind around the mainstream works from this year and trying to think how many – those great, titan albums – derived from the boys. Kanye West and Frank Ocean perhaps; James Blake and David Bowie. Just looking at The Guardian’s run-down of their selected ten from 2016 and the opening gambits are mostly female-led. Apart from Kanye West (number four) there is Christine and the Queens, Rhianna; Anohni and Solange in their list. Bands are getting critical nods but there seems to be a surfeit of solo males creating extraordinary works. In the underground, there is hope to suggest that will change in future years. It is fascinating seeing trends change and various dynamics unfold. There was a time, not too many years ago, the boys were ruling the landscape – that is all changing now, thankfully. I am, with no small gratitude, pleased there are some great new male acts coming along. The new musicians I have witnessed this year possess more mobility, hunger and variegation than a lot of the best of the best. Lewis Fieldhouse is an artist who seems ready-made for the demands and challenges of the mainstream. Not your average turn-up-sing-some-pretty-songs-bugger-off artist: his music and words go beyond the average and elicit beautiful images. Before I carry on my point, and get to the music behind the man, it is apt we learn more about Lewis Fieldhouse:

PHOTO CREDIT: Juliette Carton Photography

“London-based Lewis Fieldhouse creates unapologetic alternative pop, with the raw touch of the American south-west. A story-teller at heart, Lewis has a lyrical eye for the absurd and sincere, offering up snippets of life coupling humour with honesty. His music evokes the lush sound of The Beach Boys and Father John Misty, with acoustic flair and undeniable hooks. In the past couple of years, Lewis’ work has caused a positive stir amongst music blogs like the The 405 and The Vinyl District, with It’s All Indie crowning him “one of the most exciting singer-songwriters in London at the moment.” Originally from the north of England, Lewis arrived on the London circuit in 2013, by way of a number of “life affirming” road-trips in the US. Lewis is a self-professed ‘geography and Tolkien enthusiast’, with an impressive collection of colourful shirts. He describes his vibrant musical style as almost a rebellion against the darker, more hostile indie sounds he grew up with. In 2013 his debut single, The Water’s Fine, featured on the soundtrack to Emily Diana Ruth’s independent film of the same title. Glasswerk describe his first EP, Born Human, Raised Human, as Fieldhouse’s own “contemporary brand of infectious, sun-soaked acoustic alt-pop”. His tracks have spurred the attention of DJ’s at BBC London Introducing, Amazing Radio, as well as BBC2’s Janice Long. In 2015 Spreading the Seed called his latest single, Not Done Loving You “an acoustic pop masterpiece”, as Lewis continues to hone his combination of immediate hooks and flourishing guitar. Lewis is currently gigging in London and across the UK while working on his debut album. His next single, Goodbye, a nostalgic ode to summer love, will be aptly timed, hitting the airwaves in August 2015”.

PHOTO CREDIT: Ray Roberts

With Fieldhouse, you have a musician that stands in the mind instantly. In addition his suitcases of colourful shirts and his impressive social media platforms – lots of cool images and information – it is his stories and songbooks that get inside the head. Normally, when it comes to a lot of male artists, there is a dependence on relationship dramas and personal conflicts – maybe some inner-investigations and emotional outpourings. Essentially, there is little in the way of plot, progression and originality. Fieldhouse has, which is evident in his latest album, been influenced by the U.S. and his travels on the road. Not only going there to find himself and try to find answers: his songs reflect some unusual characters, weird landscapes and chance conversations. It is a travelogue of peculiar and charming adventures: like M.C. Esher and Picasso melting work, minds and thoughts – something twisted, bizarre utterly engrossing.  It is hard to get to the core of Fieldhouse’s work – in terms of defection and genres – so it is best to be heard and experienced. In a way, he reminds me of John Grant: another artist whose big personality and unique songwriting stands out from everything else around. Whilst the Iceland-based American is taking time out to record a new album; Fieldhouse is presenting his – I shall come to that a bit later. Essentially, the London-based musician stands out by being himself. There is no pandering to the media and fitting into holes; no run-of-the-mill songs and radio-ready cuts. Because of that, critics and fans have been celebrating his work and tipping him as one of 2017’s great hopes. Whilst my favourite albums from this year have had some ‘predictable’ subjects at their heart – songs about heartache and struggle; unearthing personal torment – it is the performances and music that really gets to me. With Fieldhouse, you get an extra layer of intrigue. There is that incredible voice and luscious, interesting music: you get tales and lyrics that fizz with imagination and humour; cut with their honesty and rawness – so many contrasting emotions and ideas.

PHOTO CREDIT: James Byrne

Before I summon the discipline to cut to the quick, as it were, it is worth noting Lewis Fieldhouse for his colourful and full-bodied music. I alluded to artists who put little effort into their compositions and overall sound. It is becoming quite common in music and something that needs to be controlled. It is encouraging hearing artists like Fieldhouse adding verve, character and fascination into music: let’s hope others hear his lead and follow suit. What is so fascinating is the way (Fieldhouse) keeps things quite calm and controlled yet manages to evoke serious weight and atmosphere. Reviewers have compared Lewis Fieldhouse’s work with the likes of Father John Misty and The Beach Boys – that is no exaggeration and hyperbole. You get the lusciousness and harmonies of The Beach Boys with the sincerity and urgency of Father John Misty. There are elements (of other singers) in Fieldhouse’s music but, when you drill down, it is the man himself who stands out. I have heard a lot of artists this year who have each offered their own sound and ideas – there are few as striking and assured as Lewis Fieldhouse. Many new artists provide music that gets into the heart, body or mind – finding those who achieve that rare triumvirate is a long and arduous process. Fieldhouse is that lesser-heard musician who produces heartfelt, gorgeous vocals with compositions that provoke energy, movement and involvement. It is the candid and novelistic tales throughout Theodor Washington and the Central Valley that seduce the mind and imagination. I mentioned early – how many musicians concentrate on love strains – but Fieldhouse assesses and documents his travels and the people he meets; observations about society and what is happening in the world. Of course, there is a bit of heartbreak and romantic misadventure in there: by and large, songs are more imaginative and ambitious; mesmerising with their individuality rather than their relatable edge. Naked Psycopathic Blues, as one can guess from the title, is not your average ballad about a disreputable lover. It is part of a fascinating and colourful album whose adventurousness and strange sights are anchored by heart, humour and a human core.

Previous Lewis Fieldhouse compositions have shown strength and merit: his new material is the strongest and richest yet. The Water’s Fine was released a few years ago and contains a typical blend of soothing harmonies and rousing acoustics. It is a descriptive, involving and immediate song that draws you into events and captures immediately. Refugee, from the E.P., Born Human, Raised Human, is another beautiful and scintillating track that frames that amazing voice and luxuriant harmonies. If we wind forward a few years – and come to the debut album – one can hear that development and growth. The same components are there – in terms of the harmonies and compositions – but the subject matter is more intriguing and imaginative. On that same note, on Thedor’, one can detect new-found inspiration and energy. I have stated how many of the songs (on the album) do not directly address love but there are the odd moments. In fact, the turmoil and unpredictability are explored throughout the record employing various compositional shades and vocal nuances. I have found, when comparing the new and older work, the production is glossier and fuller; the confidence is hard to ignore whilst the singing is more emotive and heartfelt than ever. I can see another album arriving in a short space: it seems Fieldhouse is at his most inspired and vibing from his adventures and U.S. expeditions. Maybe current events, such as the U.S. election catastrophe, will compel new songs and lines. Whatever happens, it is encouraging hearing a songwriter in full flight.

Theodor Washington and the Central Valley was launched two weeks ago and as a result of a successful Kickstarter campaign. The fans’ faith in the material has meant a lot to Lewis Fieldhouse. Had the money not been raised, it would have been tragic to watch the album sit on the shelf – perhaps not seeing the light of day for a long while. It is perfectly timed because 2016 is coming to a close: a year that has seen so many unwanted events and timely deaths. The music is comforting and makes you forget your troubles; at the same time, it provides so many wonderful images and scenes. The listener is helpless but to engage in the physicality and directness of each song. Naked Psychopathic Blues’ title provokes instant interpretation. One envisages a crazy and bare-naked man raving and ranting; a derelict that is on the rampage perhaps. Whatever views and ideas you have ahead of time are evaporated and mutated after the first few notes. The opening seconds are as hard and grizzled as any on the album. If other songs stray towards Country, Alternative and Folk territory: here, we get a full-out balls-to-the-wall swagger. The percussion is tight and steel-fisted whilst the guitars wail, bite and groove their way into the spotlight. At once, you are elevated and motivated by the composition; physically moved and curious as to what is coming next. There seems to be some biography and personal relevance to the song’s lines. Noting how “We got married eighteen months ago today” seems to mirror Fieldhouse’s own life – having just celebrated eighteen months with his love. The song is certainly raw and direct. You feel, when the hero describes the rain dissipating against the weight of passion, that the carnality and spectacle of the coming-together is immune to gravity, compromise and reason. Maybe I am misreading but one feels that unity and recklessness: the desire to throw off the pressures of future and embrace the necessity of now.

PHOTO CREDIT: Juliette Carton Photography

Perhaps (the song) is less direct and more theoretical; maybe there is a fictional component coming to play. It is hard to misread lines that speak of doubting relatives and struggling-against-the-rock love. Many people, including parents of the sweethearts, felt the bond would not last. Perhaps the two are mismatched or have very different personalities – whether this was the case with Fieldhouse’s relationship – but there is a sadness and anger in the vocal. Maybe the sceptics are casting their aspersions at Fieldhouse/the hero. The girl is seen as a “trophy wife” and someone beyond conceivable reach of such a boy. Again, it is remiss to attribute the words directly to Fieldhouse but the parallels seem to fit. It is intriguing unpicking a song and getting right to the heart of the matter. It is galling hearing such negative words from the sweetheart’s parents. In a way, it has the ring of a classic love story. In classic novels, you hear of the down-trodden man or the social inequality of the lovers; the untraditional nature of love and how it flies in the face of social mores. In a rather nineteenth-century backdrop is the guise and blood of modern love. These two humans have fallen for one another but are facing the clucking tongues of those they seek acceptance from. As the story progresses, the title becomes somewhat oblique and byzantine. You do wonder what inspired that choice and whether it is the distillation of a genuine emotion – the embodiment of the anger and disgust felt by the hero. In spite of the strain and stresses felt by the hero: the vocals rise and the song starts to kick up a few gears.

PHOTO CREDIT: Juliette Carton Photography

Those lush and pleasing harmonies come in as the composition loosens and takes the song into its next phase. Fieldhouse changes from the man casting his mind back and recounting the story to someone with more bitterness and spite at heart. Maybe, and playing devil’s advocate again, there is fictionalisation and third-person narrative – maybe the song is looking at someone similar to him. The immature mate that is alcohol plays it roles and has infected the body of the hero. Hitting out at the girl and, deliberately it seems, causing wounds gives the song a sourness and sharp punch. It is contrary to the hopeful romanticism and struggles one hears in the previous verse. There is never attack from the hero but frank confession. Maybe having to battle so many oppressive voices has caused him to self-destruct and embrace a darker side. This virulent tonic that is released is causing scars and burns. As the song carries on, there is a line about making someone’s day – his wife’s/love’s mother it appears. Whether this relates to a moment of indiscretion and lust or walking in when they are at their most fraught and destructive – it seems like a told-you-so attitude would prevail. Fieldhouse gets more aggressive and charged as the words come out. Not his favourite woman it seems (the matriarchal figure is being put in her place) it seems like our hero is The Devil incarnated. There is a lot of tension and hatred in the house and it is fascinating finding out where true blame lies. True, the wagging finger from the mother is unjustified but it appears the hero is maybe acting out and engaging in futile rebellion. It seems this fight back is necessitated by an inflexible and judgmental tone from his girl’s parents. Now they are eighteen months down the line it seems like all the doubters can go to Hell. Naked Psycopathic Blues is the third song on Theodor Washington and the Central Valley and seems like a moment where Fieldhouse has to leave home and go somewhere less tense and unwelcoming. The fact he stands up for love and is so stubborn against the spitefulness is to be applauded. The entire song sticks its middle finger up and does not give a damn for idiocy. By the end, you know the lovers will get their way and be together no matter what anyone else says. Against the companion tracks of Theodor Washington and the Central Valley; Naked Psycopathic Blues is the standouts. It does look at love but in a way few other artists would dare. There are no tropes and lazy clichés: you get a mixture of emotions and a blend of classical heroism and modern poverty – in terms of emotions and depression. We know how things worked out for the pair: happily together and finding (albeit it not perfect) acceptance from in-laws and those around them. Looking back to a time where this passion was taboo is quite an eye-opening experience. Thankfully the entrenched sweethearts dug in their heels and followed their hearts.

He Hath Made You Rich is one of the standouts from the album and begins with gentility and soothe. The strings are soft and light; the vocal at its exquisite best. In many ways, the track reminds me of U.S. Soul legends and harmony groups like Boyz II Men. The Boyz’ were renowned for their extraordinary, velvet tones and heart-stopping beauty. I can hear a little of that in the song: the vocal is so chocolate-like and sweet; it has a calm and reflective nature but is direct and hard. Perhaps looking at a lover or someone gone: one senses the hero is pauper-like and willing to try again; regretting past decisions and looking on from the window. Perhaps events have transpired that makes love impossible and unrealistic. Whatever the origins, it is a song that glistens and glides; it grabs the heart and gets into the mind instantly. Live So Fast, Kiss So Slow is on the “wrong side of the tracks” and “drinking ginger and rum”. The hero is taken home by the girl and, right from the off, you get images of U.S. roads and lights ahead. Some of the album’s smartest lyrics (the girl taking advantage of the hero’s XY chromosome is beautifully executed) are here as are some of the most spirited guitar lines. The song has an infectious bounce and itinerant jog. One is infused and lifted by the energy and panache of the song. Showing what contrast and range there is on the album: Fieldhouse unleashes one of his most vivid and fascinating songs. You follow the tale and the imbalance of unrequited love. It is less about the ill nature and poor fate of events; more concerning the details and landscapes; the humour and buzz that is audible throughout. Fieldhouse sounds at his most alive and adventurous here. The entire album emanated from a (rather less-than-happy) trip to the U.S. Fieldhouse had intended to discover himself and drink in the scenes and sights of America. Rocked by personal tragedy in the U.K. and strain in the U.S. – the album’s themes and emotions reflect this upheaval.

PHOTO CREDIT: James Byrne

Great White Hope seems to be an assessment of the struggle and tangle of home and America: that need to get straight and find feet once more. It is “too late for me” as the hero says; not too late for the song’s heroine. That need to get a job and evade the pollution (both social and vehicular) of the city. It is another buoyant and mobile song that mixes elements of Country and Alternative into another album standout. Megan, Are You Goin’ My Way? is our hero heading for San Francisco and looking to cadge a ride it seems. The girl might be going that way but is a bit more reluctant. The lead wants to get away from the urban sprawl and concrete anxieties. He is looking to the horizons and using supplication on the heroine – asking if she will come with him. Here you get a portmanteau and proprietary blend of cherry red and sharp white – a heady wine that swims in the senses and elicits a relaxing kiss but makes you think. In a way, the album is a concept piece that follows a story arc. Megan, Are You Goin’ My Way? was the lead-off – our boy heading for a new place and wondering what is ahead. Istanbul is that travel back home. Appropriately, the song is another restrained and delicate number that perfectly ends things. Maybe Istanbul would have been a nice destination: somewhere away from where he is and a lot more agreeable than where he is now - perhaps a nice dream but not to be. There is wistfulness and sense of pining that comes out in the song. Fieldhouse has a love in mind and carries her with him (whether physically or emotionally). That raw and unquenchable desire keeps protruding and niggling at the hero. Looking back at regrets and indiscretion: this is the chance to make things right and redress the balance of things. The erudition that is displayed in each of the ten tracks is as a result of a life-changing and eye-opening trip. That time in the U.S. was not as wasted and fraught as one would imagine. Fieldhouse met some odd characters and great barroom tales; wide roads and quixotic nature – the contrasts and complexities of the country. In essence, realisation and clarity were obtained. Theodor Washington and the Central Valley is a wonderful and vast album that takes you on the plane and down the road. You are an uncredited companion of Fieldhouse and looking through his eyes. Songs switch from emotional and vulnerable to rousing and intense. Fieldhouse’s voice is consistently sharp, divine and varied throughout. Able to make every line and verse sound essential and compelling: there are not many artists that achieve that.

PHOTO CREDIT: Juliette Carton Photography

There is not much too much time left to make a big impression on the yet Lewis Fieldhouse might have done that with his debut album. So full of treasure, life and appeal: it takes a long time for every song to truly unveil its beauty, truths and full potential. I admire a lyricist who can provide something interesting and thought-provoking. I will not exsanguinate the body of the argument – with regards lyrics and making them stand out – but this year’s finest albums/creations are defined by relevant/strong words. I have argued against those albums most critics select as their 2016 favourite – although their long-list is pretty spot on. Such a busy and quality-strewn year for music that has seen some of this decade’s best albums produced. I am sure 2017 will keep the momentum strong and inspire those musicians coming through at the minute. That is the dynamic we need to see fostered and funded: mainstream’s best providing impetus and energy to the newcomers. The most exciting thing about music is seeing great new artists make strides: start climbing their way to the giddy heights of mainstream’s apex. I predict Lewis Fieldhouse will get there as he is one of the most curious and interesting musicians around. Not just one of London’s finest: music that has spread across the country and will cross to other continents very soon. It is not often artists experiment with Americana, Folk and Alternative ideas – fewer still who pull it off with aplomb. I am interested to see where Fieldhouse goes in 2017. There is going to be more music (naturally) but what form that takes is down to him. It would be good seeing an E.P. down the line: a nice between-the-albums release that follows from Theodor Washington and the Central Valley and provides the same sorts of tales, tease and tribulations. It is hard, with all the best artists, to really distill Fieldhouse’s essence and describe such an album (as Theodor Washington and the Central Valley). Exciting times ahead for the London-based artist. Capping off a busy and vital musical year; Fieldhouse can relax (a little) over the next couple of weeks before deciding what his next move is. The days are ticking down and we are looking ahead to the musicians who will be doing good things next year. I have heard a lot of really great artists who have the mannerisms, ability and sight to reach the upper echelons and mingle alongside this year’s very finest. I have heard so many average acts come along and there are precious few that pull you in and overwhelm the senses. Lewis Fieldhouse is one such artist; someone who has a lot more left to say. He may be one of the standouts from the capital’s musicians. When it comes to musicians that provide a unique blend of travelogue-cum-characterful lyrics, gorgeous vocals and detailed compositions…

LET’S hope he isn’t the last!

https://play.spotify.com/track/2utNLDsPCktduEK4Bn9DXq

_____________________

Follow Lewis Fieldhouse

 

PHOTO CREDIT: Ray Roberts

Official:

http://www.lewisfieldhouse.com/

Facebook:

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

Twitter:

https://twitter.com/lewisfieldhouse

Instagram:

https://www.instagram.com/lewisfieldhouse/

SoundCloud:

https://soundcloud.com/lewisfieldhouse

YouTube:

https://www.youtube.com/c/lewisfieldhouse

FEATURE: Album of the Year: Billie Marten – Writing of Blues and Yellows

FEATURE:

 

Album of the Year:

  

Billie Marten – Writing of Blues and Yellows

___________________

THOSE keenly observing might have noticed one name appearing on my blog…

PHOTO CREDIT: Harvey Pearson

the last few months. I am not sure what the plans of Billie Marten are in 2017 but one suspects it will be a combination of studies – she still has to balance academia and music – and working on new material. I know Marten has just stepped into the studio with Scott Quinn (not sure what the result will be: likely to be magic and marvellous) but one suspects there will be E.P./album/possible songs arriving. Billie Marten is an artist that does not have recording deadlines and demands from record labels – like U.S. giants being pressured by the bosses to get an album out by a certain date.

She is a seventeen-year-old comfortable being by herself and writing when the mood strikes her - creating music when the time is right and it is not being forced.

It is, because of that, I was so awed by her debut cut: the hugely nuanced and beautiful Writing of Blues and Yellows. It might seem like a subjective choice – going against the popular opinion of tastemakers and poll-conducting sites – but there are good reasons for it. When I reviewed the album for The Metropolist (http://www.themetropolist.com/music/album-reviews/album-review-billie-marten-writing-blues-yellows/) I was not only one of the first allowed access to the album – I was struck by someone who was compared to many but sounds like nobody else. The invariable Laura Marling comparisons came in, I have been putting names like Kate Bush, Eva Cassidy and Nick Cave in the same sentence, but the Ripon girl is very much her own singer. Most critics, when it comes to their favourite album, have been seduced by Beyoncé’s Lemonade; some go for Solange – everyone from David Bowie, Frank Ocean and Chance the Rapper topping other end-of-year lists. I agree Beyoncé’s career-defining album is a superb work – few can refute the dominating performances, immense passion and sense of command from the U.S. legend. It is, in my view, a top-ten worthy inclusion but not my number one pick. The fact NONE (maybe some will come through) of the polls I have seen included Writing of Blues and Yellows in their list is a bit of a shock.

https://play.spotify.com/track/3IqSUhhlnTjWfbahlMxvKP

Marten may be young (and at the debut album stage) but inferior albums have been making it into top ten/fifty lists. For me, it is the consistency and nuance that really grabs me. I know ‘nuance’ seems to be my buzz word but I do not speak that word lightly or without knowledge. There are few albums that are as revealing and gets-better-each-time-you-hear-it as Writing of Blues and Yellows. When I reviewed it (for The Metropolist) I, rather stupidly, considered Emily a track that sounds too much like others – perhaps it could have sat a bit further down the album. It was only a few weeks later its true power, beauty and potential were unveiled. That song was pipped by Radiohead’s Burn the Witch in terms of my favourite songs from 2016: other tracks from Marten’s album could make their way into the same list (Green, Teeth and Untitled among them). Emily is a song that continues to amaze: not just because of the potent and majestic vocal performance but the mature and rich songwriting. One of the few tracks on the album without any other writing contribution: it is Marten at her most singular, focused and ambitious. Building, layering electric guitars; swelling, heart-aching strings and ghostly, lost-in-the-wind vocal interjections made it but eerie and spellbinding.

[youtube https://www.youtube.com/watch?v=zy6e1D4yDEQ&w=560&h=315]

It is not just Emily that captured my heart but quite a few – pretty much all – tracks on the album. Heavy Weather remains my standout because of its unbeatable chorus and stunning imagery; La Lune is a song unlike any other: Green one of the more spright and energised performances on the record – even if its lyrics project anxiety and self-doubt. It’s  a Fine Day – one reviewer was foolish enough to label it pointless and expendable – shows how gripping Marten is when reducing technology to its bare bones – recorded on an app. one day as her dad mowed the lawn. Teeth is an honest and gut-wrenching testament from a young woman who lies through her teeth in order to keep the façade strong: she is suffering inside but does not want to let the world know.

I have stated Marten is beyond easy comparisons but naming her among her idols, even at these early junctions, is not rash.

Teeth, Untitled and Bird have various shades of Nick Drake – a combination of Bryter Layter and Pink Moon sounds – whereas Emily is a Marling-esque gem; Kate Bush and Joni Mitchell’s spirit can be detected in some of the vocal deliveries – bits of John Martyn in the finger-picking and authoritative acoustic stylings.

https://play.spotify.com/track/6li7eXyxXMOlXjc4ckoc1f

I have a lot of respect for other sites/magazine and the determinations they have made. I am not suggesting they should have Marten’s debut at the top of their lists: it is worthy of a place in their favourite twenty at the very least – in the top fifty, one would think?! Maybe Writing of Blues and Yellows is an album that will take a few more months before its true class and powers are realised; perhaps there is a leaning towards certain genres/types of music. Given the political unrest and mortality turbulence of this year – the passing of some music icons and racially-motivated, disturbing political decisions of ‘the people’ – musicians that tackle these concerns and provide escape are being celebrated. Marten’s future, as I started out by saying, is very much ahead of her – in the sense the best days are going to come in the next couple of years. Not to bring Laura Marling back into play but look at her trajectory: with each album new confidence and quality; a musician that grows stronger with each release and is one of the finest songwriters on the planet. If Marten keeps her passion and focus strong she could not only be producing a lot more albums but gain the same acclaim and reputation as a certain L.M.

As it stands, Writing of Blues and Yellows is not just an original, accomplished and gorgeous album from a bright and lovable songwriter: it emanates from someone unfazed and unaffected by the trappings of success; someone pure, honest and down-to-Earth.

One imagines Billie Marten ensconced in a quiet nook: pen in hand and mind adrift; conspiring and imagining the next song; lost in her own world and prisoner to the tease of thought and language.

[youtube https://www.youtube.com/watch?v=_oD9hGnZqgw&w=560&h=315]

All this is evident on her debut album and is the fuel that will continue to burn strong and hard into 2017. After releasing a cover of White Christmas (available across Spotify and SoundCloud) she will be enjoying Christmas and taking some time to recharge and relax. When 2017 kicks into view, one imagines she will be looking ahead. Whether that is gigs in France and a new E.P.; studying and a few new songs or a fully-fledged campaign to get a sophomore album out I am not sure. Whatever it is will be exciting and wonderful. Many argue an album like Lemonade or The Life of Pablo (Kanye West) addresses modern desires and provides relief, release and guidance. I argue, conversely and at the other end of the emotional spectrum, an album such as Writing of Blues and Yellows should receive equal acclaim, demand and attention. It is gentle, tender and thought-provoking; comforting, brave and soul-nourishing. Even if it did not crack your list of best albums this year: at the very least it should be afforded a chance to shine and reveal…

PHOTO CREDIT: Harvey Pearson

ALL of its wonderful beauty and power.

_______________________

Follow Billie Marten:

PHOTO CREDIT: Danny Payne

http://www.billiemarten.com/

Writing of Blues and Yellows can be purchased here:

https://itunes.apple.com/gb/album/writing-of-blues-and-yellows/id1133221077

TRACK REVIEW: Yearbook - Faster, But Slow

TRACK REVIEW:

 

Yearbook

 

 

Faster, But Slow

9.6/10

Faster, But Slow is available at:

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

RELEASED: 1^st December, 2016

GENRES: Alternative-Rock

ORIGIN:

Hampshire, U.K.

The album, I Stop Somewhere Waiting for You, can be purchased here:

https://musicglue.com/yearbook/

RELEASED:

2nd December, 2016

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THIS is a review tinged with a bittersweet taste…

Not only is this, I Stop Somewhere Waiting for You, the first album from Yearbook – it will, effectively, be the last – as the band are looking to part. Before I get to the band and focus on one of the songs from the album, I wanted to look at bands and those that have made an impact this last year; the nature of the music industry in general and the importance of differentiating yourself from the crowd. Thinking about the Hampshire formed/based group has got me wondering about all the great new acts I have heard this year. As I have stated in (many) previous reviews: it seems this year has been dominated by solo artists and their albums. I defy you to open up a list of the ‘Best Albums of 2016’ and count how many band-created records are on there. I am willing to wager the majority of inclusions will be from solo artists. That is not to say bands are obsolete: it seems there is a leaning towards solo acts and what they are producing. Perhaps not surprising given the way music is developing. There seem to be more solo artists emerging and it is only natural they should be represented. Whereas your lone act has to shoulder the duties of myself by themselves; the band has a few members to share responsibilities. That said, the reasons why solo artists stop making music is often different to that of a band – I will touch on that more in a minute. I have loved reviewing all sorts of artists from the last twelve months and have been pleased by the great bands coming through. Even if poll-makers are preferring the sounds of the solo market, there are those fully engaged with the hottest and more resonating bands in the land. After all, the major festivals in this country rely on bands to headline their stages – that is the main reason people go to them. If the ‘mainstream’ festivals like Reading and Leeds have, rather predictably/boringly, chosen Muse to be their first headliners for 2017 – almost as obvious and uninspired as asking Foo Fighters to do it – then the lesser-known stages are going to be hosting some of our most promising young bands.

I mention this topic, not as an aside, but a relevant point pertaining to the Yearbook boys. Andrew Ian Halloway, Hamish Dickinson; Thomas Brooker and Louis Martin are the noble foursome that provides Yearbook its memories, colour and immense passion. I hope, were their current album to be the last recorded material as a group, they would at least consider a farewell festival. I know, as I will explain in the conclusion, a couple of dates set aside – it would be a tragedy to think they’d miss out on one or two summer dates next year. The boys have been playing together for a while now and in that time have cemented themselves as one of the most striking and immediate bands in the country. I have reviewed a lot of bands this year – few stick in the mind quite like the quartet. Being a fan of their Old Bones E.P. – which felt like digging up the past and surveying past memories – then their album is a documentation of the here and now. It is the freshest, most complete and stunning work produced: hard to think such a body of work could originate from a group on the verge of dissolution. Whilst it is sad to reflect on their premature departure; it provides one a moment to look at music and the challenges faced. It is true, modern music is defined by huge demands and a rather Herculean set of obstacles – tasks and practicalities one must navigate and conquer in order to succeed. I have seen too many great bands call time the last couple of years and it always creates the same impression: why is more not done to provide support to musicians? This is a question I posed in my last review and seems to hold firm in my consciousness. I have not quizzed the boys about the reason for their break-up but it seems to be, from a rather far-off vantage point, a mutual decision – free from acrimony and spite. In fact, the boys have just (if they’re not still there now), completed a tour of Europe and had a bit of a ball – including a rather misjudged/conversation-provoking status updated posted on Brooker’s Facebook page but a “funny” – read: I’m going to kick his arse – bandmate a few days ago. There is revelry and brotherhood in the ranks so it seems – and I will have to ask why they are calling time – there are other reasons why Yearbook are moving onto pastures new separately. Their band name reminds me of leaving school and having to go in different directions minus the friends formed and cherished at school – that fear and unhappiness that comes with facing a rather adult truth. Perhaps there is an issue with finance and demand; maybe the boys have different creative ideas or some members are less enamoured of the band life than they once were. I would not be labouring the point so fervently was I not so awed by the boys’ music and potential. When Old Bones arrived, I was certain the group would ascend to the peak of the new music mountain: future festival kings and those likely to be dropping into the studios of ‘6 Music to play a session for Steve Lamacq or Lauren Laverne. Alas, that is not to be, so it provokes a question in my mind: why are so many talented bands splitting up? Maybe there are ‘too many’ musicians coming through which can make it hard to A) get necessary gigs and regular spots and B) stand aside and persist. Yearbook has cemented a furious local following and a deep well of fans across Europe; they would have had the potential to transcend to the U.S. and take their music global. I just feel, in relation to them, there was so much they could have done and territory they could have carved. Today, and with the groundswell of new bodies emerging, it is harder to balance the realities of workaday life with the ambitions of being a musician. Venues are closing – and those well-established finding their foundations cracking – so it is with turbulence and uncertainty musicians are playing these days. Of course, this might be rendered moot were the explanation (behind the band’s end) to be something simple or unavoidable.

Whilst we mourn and debate the domesticity reality and capricious fate of modern music, we should never ignore the band in question and how they got to where they are now. So many bands are beholden to the legacy and sound of some rather obvious sources – Foo Fighters and Arctic Monkeys still the appetiser of choice for many young upstarts. Seeing how certain bands have climbed onto the festival circuit the natural instinct, of many bands, is to copy their sound in the hope of reciprocal attention. I have grown weary of the rather middling and spineless Indie bands whose subject book is filled with heartbroken clichés and clever-clever attempts at Turner-esque witticism. You know the kinds I am referring to: the clean-shaven lads with faux-attitude and the same sort of lines, impressions and snarl as Turner; guitars, bass and drum that are dedicated but hardly stand aside from the pack. Again, there are many that want to copycat the hirsute and chunky riffs of Dave Grohl’s gang: throwing together a collection of sub-Foo’ sounds with little imagination provided to originality and legitimacy. Those acts that have the intelligence, fortitude and ability to stamp out something unique and special should not be ignored. I feel too many of the former – the forgers and lazy – and being presented golden tickets and unwarranted airplay whereas the brave and strong are fighting too hard and becoming fatigued; tired having to get their voices heard above the parapet of the beige and average. Yearbook have a bit of Alternative and Rock but they incorporate so many different sounds and sub-genres into their psychotropic potions. The lads can muster up a Molotov cocktail of gnarly strings and bellicose beats; soul-infusing basslines and the sort of commanding vocals reserved for the most-celebrated bands around. Chuck in lyrics that rarely succumb to predictability, and are imbued with humour, savviness and literary intellect, and here is a band with all the components needed to triumph in the warfare of music. Alas, my protestations and supplications seem bereft of hope as Yearbook will be closing the doors and going their individual ways in a matter of weeks. It is sad to see such a strong and fine band separate but these things do happen. Against the 2016-appropriate sadness and tragedy we must not dwell on the negativities but celebrate the positives and goodness the band have left us. In terms of progeny: there are few finer than their L.P., I Stop Somewhere Waiting for You. The title alone beckons all sort of imaginative interpretations and speculation. The music, as I will explore in more depth, is as ripe, stunning and nuanced as you’d expect from the band. If this is, as it seems to be, their final statement: it is one hell of a legacy to leave.

Old Bones was rife with great tunes and promising moments but I feel the band have upped their game and created their finest work in I Stop Somewhere Waiting for You. I am sure they will admit the album is important and their best work yet. Old Bones is an amazing work and hard to believe it emanated from a band so young. In each song you hear so much detail and exceptional musicianship. More creative and inspired than their peers: this is emphasised through their debut album. In the eleven songs, the guys run through a variety of themes and concerns: each song sees them up the ante and turn the volume up. The band is not just noise-makers only concerned with force and aggression. They are a group who provide texture, beauty and refinement – counterbalancing the more assiduous fire and ensuring their songs are rife with nuance. That is something a lot of bands lack: the ingredient and kick that keeps the listener coming back for more; discovering each song in a new light and talking something new away. If I Stop Somewhere Waiting for You is to be the final thing we hear from the band then it is amazing finale. Let’s hope, somewhere down the line, they reunite and produce an E.P. at least. As they have shown, they grow stronger and more determined with each new release. It makes their album, not only an essential purchase, but a work that fully represents and defines what they are as an act.

Faster, But Slow is another catchy and intriguing title that warrants fond investigation. There are contradictions and quasi-philosophical impressions laid in the opening seconds of the song. It is a rather far-off and echoed introduction that sees the lead down in the mix and singing from a distant realm. Representing that feeling of confusion and dislocation: one imagines a confined vocal booth with very little space and light; such is the nature of the vocal performance. In terms of lyrics, we hear about life and death; defeat and success. The hero is, conversely, omnipresent and extinguished – almost like Schrödinger's cat – and provokes some rather vivid interpretations. It seems like something has caused this rather defeatist and somber mood. True, there is no overt cynicism and anger at the start: more a series of ponderings and oblique statements. Whether a romantic ruction has caused this or just a look at life around him: the listener is left wondering the genesis of the song. The band keeps the composition rather clean and causal as they score their companion in his quest. Mortality and ageing are subjects that have been addressed in previous Yearbook work – Old Bones’ archeological nominal provokes images of fossils and growing old – but here you get the most arresting assessment of the subject. The hero is growing old and his face can be seen in everyone around – also growing old and starting to slow down. It seems odd a bunch of twenty/thirty-something musicians should tease such a subject. Such thoughts are usually reserved for more ‘mature’ musicians of a different generation. I guess it is just the weight and imbalance of life that does mandate one thinks like that. Whereas other tracks across the album go in fast and burst from the lines: here, there is slow-burning smoke and a moodiness that is hard to shake. It is foggy and open; echoed and strange – all the components that sow seeds of curiosity and get the imagination and body prepared. Being a Yearbook song, there was never a doubt a volume shift would occur somewhere down the line. As it stands, that does not arrive until relatively late. In the opening moments, you get invested in the lyrics and the rather downbeat sound of the hero. One can interpret the song as an insight into the band’s mentality.

Some of the words can be attributed to their situation and what their mindset was like when recording. We often get carried away with interpretations of a song – look at issues of mortality when an artist has just died – and that can cloud the truth and individual feelings. It is interesting to note but you can apply some of Faster, But Slow’s revelations to the cracking façade of Yearbook. Whilst gilded and bonded in blood: the band knew they were going to come to an end and that must have weighed heavy. In other realms, one hears a young man growing older and seeing a world not as rosy-cheeked and innocent as it used to be. Given the growing threats and uncertainties around the globe; how many of us are as secure and safe as we once were? Maybe this is the truth of the matter but that is the beauty of the song: nothing is that obvious so one can scurry down all manner of different-sized rabbit holes looking for Wonderland. The band themselves have that knowledge but the listener is free to interpret. Just as you get comfortable in your thoughts and await the next verse: the band unleashes a Tyrannosaurus Rex – or Pachycephalosaurus maybe – that is stalking through the undergrowth and baying for a tiny little entrée. There is echo and reverb; there is an eerie silence and snarling guitars aplenty. You wonder what is coming next although you kind of realise the seduction and foreplay is done with. It is unprecedented just how exploding and bridled the revelation is. The staccato stabs and guttural bellows are greeted with multi-limbed percussion and insane bass work. The band step up to the plate and create a Mosher Symphony: a perfect soundtrack for those on-edge pit-dwellers to get their bodies flailing and their beer flying. I can imagine, when this is played live, there are some head nods and refinement from the crowds up until this point: that changes to an insatiable and floor-pounding stampede when those first guitar notes strike. By the end – providing you have not moshed across the room and lost yourself completely – there is more feedback at the end. The song has completed and the band are letting the instruments echo and buzz; giving just a little bit of reality and live presence to their songs. Whether, when/if this song is played in Brighton, instruments will be intact at the very end is hard to say. It is a song that provokes guitar-smashing defiance and like-minded rebellion from the capacity crowds. Faster, But Slow does what it says on the proverbial and delivers a jaw-smacking, body-juddering burst of heat and alcohol. It is drenched to the skin in flammable liquid before willingly lighting the match and racing around like a mobile barbeque. The hibachi-like nature of the song means it might take a few minutes before you embark on another listen. Anything thinking such a direct song lacks nuance will be sorely disappointed. It is a song of two halves and one that very much appeals to the senses as it does to the body. A perfect lead-off single from the album and perfect opener for I Stop Somewhere Waiting for You. The boys carpet-bomb the landscape and ensure every dwelling and citizen is immolated and crisp. You are helpless to resist the sheer force and pummel of the outpouring. The band show how tight and together they are. No performer misses a beat and you get a blitzkrieg of emotion and physicality. Faster, But Slow is, on reflection, just as advertised. Less a title for huge interpretation it is a spoiler and dynamic description. It starts slow and shows maturity and depth before downing some shots and deciding to destroy every stool and awning in the joint!

Before I wrap up – revisiting the points I made at the top of the review – it is prudent mentioning the merits of I Stop Somewhere Waiting for You. The Unreasonable Man, with its hero “washed away by the rain”, is a start-stop, quiet-loud beast that takes you by surprise and delivers a granite punch to the gut. It is one of the most rapturous and rollercoaster-like songs in the band’s cannon and instilled with gunpowder, blood and focus. I can hear the sweat flying from the walls and the unbreakable intuition and bond the boys share. It goes into a song, and the entire album, with effusiveness and undeniable authority. A majestic and festival-ready song that boasts one of the strongest vocals on the set – sad the song might not get an airing at a large venue. That said, the guys have played in Europe and I hope the track has been getting an airing out there. “That is not enough for me” is a niggling mantra running rampant through Holy Trinity. It is here you get more experimentation from the guys: the percussion and guitars seem more alive and rebellious; there are effects and fantastic little moments abound; a strong core and huge chorus that demands crowd unity and endless singalongs. A fiery and cracking mandate from a group completely in the groove – another album highlight that will see you replaying the song time again. All Dead provides, at first, more melodic and tranquil reflection. There is almost a contemplative element to the opening – and a rare appearance of female backing vocals – that marries beauty, tenderness and confusion in a strange and wonderful ménage à trois. Before long you get that rapture and primal scream from the lead; on the Yearbook Rorschach Test you wonder what has caused such furious discontent. There are loneliness and disconnections; a feeling of injustice and fear – deciphering and unpicking its origins is a fascinating task. One gets covered by a tidal wave of sound and irascible anger; a band that step up to the plate and provide their lead plenty of thunder, avalanche and electricity.

Only Love is one of the most real and conversational songs on the album. Stepping outside (“for the first time”) there is some confusion and questions being posed. Finding out what the hell is going on and what this is about: the hero implores with the girl not to listen to him; there seems to be some romantic disenfranchisement and strain. It is almost like a gritty and real episode of Made in Chelsea – minus the setup emotions and needlessly beautiful cinematography. The Yearbook boys can present relationship dilemmas and fraught emotions and concentrate it in a song that appeals for a number of reasons. Whilst it is another commanding and domineering band performance; the guitars stand out here. At once sterling, driving and gliding: they turn into bouncing, swaggering animals that register high on the fuc*-yeah-o-meter. This, like a couple of other tracks, seems destined for wider airing and one, I hope, will get a showing at their gig at Brighton’s Green Door Store. Wild Machine puts the focus on percussion and is almost Electronic/Electro.-Pop at times – reminding me of ‘80s Synth.-Pop and acts like New Order. The guys keep the electronic histrionics in the locker whilst the percussion and keys. As the foreground builds – and recriminations and self-doubt come in – that parabond of synths./keys and percussive hiss grows larger and more scintillating. Whilst Wild Machine seems dystopian and Lynchian in its manner and composition; the song has redemption and hopes against the tide. “Holding on” against the machine is the takeaway vibe: that central message that is the heartbeat inside the mechanism. That mechanical embodiment is represented by clanging pots and off-key metal; tender notes and all manner of surprises. The half-time substitution is a riot of hurricane guitars and percussion – rampant with impunity, indiscretion and engrossing ferocity. Props must be paid to the band who subvert expectations and deliver an amp-busting orgy that catches the breath and overwhelms the senses.

The Great Destroyer was never going to be a Keane-esque piano ballad. As it is, it’s a divine swansong from Yearbook. Starting strong, but never too hot and intense, the track starts to build and show signs of impending cacophony. A brief interlude of Funk – bit of slap bass on the side, perhaps – has a Red Hot Chili Peppers vibe; that evolves into a stringently austere and imperious delivery that blows away any romance and clouds – a stunning and angered vocal that gets into the mind. Not only does the song bounce around the brain (like an ill-mannered and impudent child) it staples itself to the testicles. I am not sure what the lads have in mind for their final set list – I can see The Great Destroyer being a set-closing grandstand; one that will get the moshing crowds, even more spirited and unified. It is a song that switches between harmony – some delicious multi-part harmonies – and utter chaos. It is a nose-bleeding fighter that screams (literally) its name and demands respect. A wonderful and epic way to end the album.  I Stop Somewhere Waiting for You is a spectacular, surprising and complete album from a band that sound at their very peak. Maybe, knowing the end was nigh, they threw it all into the blender but one suspects the decision to split arrived during recording – maybe I am wrong. You would not be able to tell here was a band considering ending their partnership. The songs are so urgent, together and focused: like a band who had been performing for years and had more ahead of them. I have selected a few to review but the truth is there are eleven gems to be discovered. No players steal the limelight; no player is anything less than incredible and indispensable. At times, the guitars and bass seem peerless whereas the vocals are always dramatic, full-bodied and utterly commanding. Percussion is the heartbeat and backbone that drives the song and gives the album is guts and raw edge. The songwriting is stronger than Old Bones and a step up from their E.P. Here, there is less reflection and more direction; much more confidence and range from a band that could never be accused of being average and sound-alike. They started off on very solid foundations but have built a veritable People’s Palace here. Unlike the Romanian one; the British bands have crafted something imperialistic but socialist – oh f*ck it, I’ll dispense with imagery and metaphor. The album is immense and amazing and a record that ends 2016 with a huge high. Totemic and beautiful at times; carnivorous and violent the next – how many albums can boast these sort of dichotomies and emotions?

The band plays Brighton’s Green Door Store on 22^nd. It will be a pre-Christmas present that is unwelcomed as a pair of grey socks. Nobody wants to consider the band splitting up but in a way it is the perfect venue to end things – for now at least. You can never truly close the door on music, and as many legendary acts have shown, the lure of demand is too heady at times. Whether Yearbook does a Libertines/Stone Roses act and re-ignite the spark years down the line; it will be fascinating to see where the members head in the meantime. I Stop Somewhere Waiting for You is a perfect goodbye and album that shows just what music will be missing – a veritable vacuum that others will struggle to fill. The Yearbook story has been one of anger and stress at times; happiness and unbridled liberation with some rather unforgettable memories put it. They have a scrapbook they can proudly look back on and have, whether they realise it or not, inspired other bands to follow in their wake. There are few bands as original, emphatic and popular as Yearbook so I can predict a few like-minded souls entering music in the next year or so. 2016 has been a pretty crap one for a lot of reasons: Yearbook announcing their split//hiatus can be added to the list. It is like Death has got bored this year and decided he is a bit cheery: discriminately picking off the finest out there; ensuring there is unhappiness all around. Let’s not end things with a tragic reflection on a band’s end but celebrate a marvellous album that ranks alongside my favourite of this year. Faster, But Slow is the highlight (in my view) but there are many more (songs) like it across the album. Bands have been getting rather muted acclaim this year but I feel that will change in 2017. Few real and genuine groups have emerged which might be part of the problem. The likes of Yearbook show there is spirit, invention and promise in the market and that is a good thing. Yearbook is composed of multi-talented musicians so I am sure each member will find success in other groups – or go solo should they fancy that life. Being based in Hampshire/Surrey/East Sussex; they are in the middle of creative hubs that will provide chances for them to perform and grow. I cannot wait to see where they each head in 2017. In fact, I am sure the guys will perform again, but for now, this is them and this has been I Stop Somewhere Waiting for You. It is a jam-packed stocking of treats that will not only delight their existing fan-base but entice and allure new followers to their ranks. If you can make the Green Door Store gig, then you will be in for a treat I am sure. It will be emotion, no doubt, but with such fine and enduring songs in their arsenal, it is also going to be…

A night where incredible memories will be made.

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

_____________________

Follow Yearbook

 

Official:

http://www.yearbook.band/

Facebook:

https://www.facebook.com/yearbookofficial/

Twitter:

https://twitter.com/yearbookband

SoundCloud:

https://soundcloud.com/yearbook-1

YouTube:

https://www.youtube.com/channel/UCOYb5j_VIBCgMh9ggJYBfng

FEATURE: The December Playlist: 'The Best and the Rest'

FEATURE:

 

The December Playlist: 'The Best and the Rest'

__________________

I have resisted the temptation to launch into...

a full-blown Christmas selection. True, there are a couple of Christmas covers in the list but the idea was to lay out the new tracks – either from new albums or standalone – and the best songs of 2016. I have unified the songs that, for me, were the best from this year; those that have had a particularly profound effect. I am looking ahead to next year but there is still plenty of opportunities for great music to arrive. It is hard to say what the next couple of weeks hold but there are sure to be some fantastic tracks. Keep your eyes peeled and be aware of that. For now, it is time to look at the best songs from this week and those that have defined this year in music.

________________

 

Katie Melua – Oh Holy Night

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

Billie Marten – White Christmas

https://play.spotify.com/track/6E6OI395lJ3uQnz9w8bqTD

Reggie N Bollie – Link Up

[youtube https://www.youtube.com/watch?v=DjC0xeZDlZ8&w=560&h=315]

Circa Waves – Wake Up

[youtube https://www.youtube.com/watch?v=Wk6ALqQLits&w=560&h=315]

Dec 99^th – Tall Sleeves

[youtube https://www.youtube.com/watch?v=n-eUUYASs0Y&w=560&h=315]

Toothless – Sisyphus

[youtube https://www.youtube.com/watch?v=Z8b2mekAWWI&w=560&h=315]

Hodgy – Barbell

[youtube https://www.youtube.com/watch?v=TZb2Gw01tp4&w=560&h=315]

Crystal Fairy – Chiseler

https://play.spotify.com/track/4Kditv9rPRZmbWfJxDmzAO

Tom Odell – Silhouette

[youtube https://www.youtube.com/watch?v=zIDPPzCT4Ew&w=560&h=315]

G-Eazy – Vengeance on My Mind

[youtube https://www.youtube.com/watch?v=S3p6GQxnspw&w=560&h=315]

At the Drive-In – Governed by Contagions

[youtube https://www.youtube.com/watch?v=1-NYWzd7JW8&w=560&h=315]

J. Cole – False Prophets

[youtube https://www.youtube.com/watch?v=wvFDXV0VBg4&w=560&h=315]

Jax Jones (ft. RAYE) - You Don't Know Me

[youtube https://www.youtube.com/watch?v=PKB4cioGs98&w=560&h=315]

Neil Young – Indian Givers

[youtube https://www.youtube.com/watch?v=CM-NkM-dIDA&w=560&h=315]

Laura Mvula – Ready or Not

[youtube https://www.youtube.com/watch?v=PICk3EvKZBc&w=560&h=315]

Rebecca Ferguson – Superwoman

[youtube https://www.youtube.com/watch?v=hMoU5W5YDXY&w=560&h=315]

Afrojack (ft. Ty Dolla $ign) - Gone

[youtube https://www.youtube.com/watch?v=_on54HMZswI&w=560&h=315]

Kyla La Grange – Justify

[youtube https://www.youtube.com/watch?v=pBkJAzzLB4A&w=560&h=315]

Mahalia – Independence Day #DiaryofMe

[youtube https://www.youtube.com/watch?v=aJrTkAPRy5Y&w=560&h=315]

Jamie T – Tescoland

[youtube https://www.youtube.com/watch?v=VAOORzCqRa4&w=560&h=315]

Post Malone – Stoney

[youtube https://www.youtube.com/watch?v=vKnnxbciA1I&w=560&h=315]

Sara Hartman – From the Other Side of the World

[youtube https://www.youtube.com/watch?v=cV1RGpeZhww&w=560&h=315]

DJ Fresh vs. Diplo (ft. R City, Selah Sure and Craig David) – Like a Star

[youtube https://www.youtube.com/watch?v=pF2YgLEso10&w=560&h=315]

G.R.L. – Are We Good?

[youtube https://www.youtube.com/watch?v=3LDfxkqwr1I&w=560&h=315]

Izzy Bizu – Talking to You

[youtube https://www.youtube.com/watch?v=t1tYtNlcBOY&w=560&h=315]

Little Cub – My Nature

[youtube https://www.youtube.com/watch?v=Y6Vc6UfsJ9U&w=560&h=315]

Liam Bailey – Love My Neighbour

[youtube https://www.youtube.com/watch?v=SkNJfEUO4bQ&w=560&h=315]

Nadia Rose (ft. Red Rat) – Tight Up

https://play.spotify.com/album/4atPUp52kt5lL8tKZcwFmx

 

Julia Jacklin – Coming of Age

[youtube https://www.youtube.com/watch?v=WkF_d3f2MJo&w=560&h=315]

Radiohead – Burn the Witch

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

Billie Marten – Emily

https://play.spotify.com/track/3IqSUhhlnTjWfbahlMxvKP

Warpaint  - New Song

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

M83 (ft. Mai Lan) – Go!

[youtube https://www.youtube.com/watch?v=U3YZTYXftzg&w=560&h=315]

The Stone Roses – All for One

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

Bat for Lashes – Sunday Love

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

Beyoncé – Formation

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

David Bowie – Blackstar

[youtube https://www.youtube.com/watch?v=kszLwBaC4Sw&w=560&h=315]

Anohni – Drone Bomb Me

[youtube https://www.youtube.com/watch?v=aUEoic7ro_o&w=560&h=315]

Skepta – Man

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

Christine and the Queens – Tilted

[youtube https://www.youtube.com/watch?v=9RBzsjga73s&w=560&h=315]

Slaves (ft. Mike D) – Consume or Be Consumed

[youtube https://www.youtube.com/watch?v=05Q5akU8d7g&w=560&h=315]

Charli XCX (feat. Lil Yachty) - After the Afterparty

[youtube https://www.youtube.com/watch?v=OM33anTtEVE&w=560&h=315]

Jamie T – Tinfoil Boy

[youtube https://www.youtube.com/watch?v=TElBPcFIk0E&w=560&h=315]

Liv Dawson – Tapestry

[youtube https://www.youtube.com/watch?v=tklMdjQU7qk&w=560&h=315]

Laura Marling – Soothing

[youtube https://www.youtube.com/watch?v=eCS4OTgaHeM&w=560&h=315]

Rihanna (ft. Drake) – Work

[youtube https://www.youtube.com/watch?v=HL1UzIK-flA&w=560&h=315]

Michael Kiwanuka – Love & Hate

[youtube https://www.youtube.com/watch?v=AZzA2Ne0HSo&w=560&h=315]

Sia – Alive

[youtube https://www.youtube.com/watch?v=t2NgsJrrAyM&w=560&h=315]

Kanye West – Famous

[youtube https://www.youtube.com/watch?v=p7FCgw_GlWc&w=560&h=315]

M.I.A. – Borders

[youtube https://www.youtube.com/watch?v=r-Nw7HbaeWY&w=560&h=315]

The Wytches – C-Side

[youtube https://www.youtube.com/watch?v=I_BixyTrY7o&w=560&h=315]

Dua Lipa – Hotter Than Hell

[youtube https://www.youtube.com/watch?v=fEOyePhElr4&w=560&h=315]

Underworld – I Exhale

[youtube https://www.youtube.com/watch?v=4izZYfo58-E&w=560&h=315]

Car Seat Headrest - Drunk Drivers/Killer Whales

[youtube https://www.youtube.com/watch?v=ccztRby3FAk&w=560&h=315]

Paul Simon – Wristband

[youtube https://www.youtube.com/watch?v=9lJHVpH5v8Q&w=560&h=315]

Tegan and Sara – Boyfriend

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

Leonard Cohen - You Want It Darker

[youtube https://www.youtube.com/watch?v=v0nmHymgM7Y&w=560&h=315]

Emeli Sandé – Hurts

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

Frank Ocean – Pink + White

https://play.spotify.com/track/3xKsf9qdS1CyvXSMEid6g8

James Blake – Radio Silence

[youtube https://www.youtube.com/watch?v=TTglDb7qjvQ&w=560&h=315]

Bon Iver – 33 “God”

[youtube https://www.youtube.com/watch?v=6C5sB6AqJkM&w=560&h=315]

A Tribe Called Quest – We the People…

[youtube https://www.youtube.com/watch?v=vO2Su3erRIA&w=560&h=315]

Angel Olsen – Shut Up Kiss Me

[youtube https://www.youtube.com/watch?v=nleRCBhLr3k&w=560&h=315]

Jenny Hval – Female Vampire

[youtube https://www.youtube.com/watch?v=ZVaWc00aZ30&w=560&h=315]

The Avalanches – Subways

[youtube https://www.youtube.com/watch?v=bPIMfOIuEe4&w=560&h=315]

PJ Harvey – The Orange Monkey

[youtube https://www.youtube.com/watch?v=Dw1dj7tPvhc&w=560&h=315]

Kano – New Banger

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

Kate Tempest – Don’t Fall In

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

Solange – Cranes in the Sky

[youtube https://www.youtube.com/watch?v=S0qrinhNnOM&w=560&h=315]

Iggy Pop – Gardenia

[youtube https://www.youtube.com/watch?v=1m8TmlS20ZA&w=560&h=315]

Nick Cave and the Bad Seeds – Jesus Alone

[youtube https://www.youtube.com/watch?v=9iGxoJnygW8&w=560&h=315]

Fifth Harmony (ft. Ty Dolla $ign) – Work from Home

[youtube https://www.youtube.com/watch?v=5GL9JoH4Sws&w=560&h=315]

Chemical Brothers – C-h-e-m-i-c-a-l

[youtube https://www.youtube.com/watch?v=3yiVDrX6vG0&w=560&h=315]

Justice (ft. Morgan Phalen of Diamond Nights) – Randy

[youtube https://www.youtube.com/watch?v=hw3d9KTYHIE&w=560&h=315]

Glass Animals – Youth

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

Beck – Wow

[youtube https://www.youtube.com/watch?v=pyCkhPTU13w&w=560&h=315]

It is a great time of year not only to look back but look forwards. These last days of 2016 provide us a time to reflect on some wonderful music but predict what 2017 has in store. It is inevitable there’s going to be some cheesy songs making their way into the final Playlist from this year – you have to surrender at some point! Until rationale gives way fully – although there are some wonderful Christmas songs, for sure – it is only right to give this year’s best and brightest fair due. I am sure next year will continue in the same vein this one has ended: strong, determined and hugely exciting.

TRACK REVIEW: Talitha Rise - Invisible Fishing

TRACK REVIEW:

 

Talitha Rise

 

 

Invisible Fishing

 

9.4/10

Invisible Fishing is available at:

https://www.youtube.com/watch?v=4SFuiKifm3g

RELEASED: 1^st October, 2016

GENRES: Folk; Psychedelia; Art-Pop; Progressive-Folk

ORIGIN:

Lewes, U.K.

________________________

WHILST the tastemakers and musical tipsters are collating….

their list of this year’s best albums; there is something niggling at the back of the mind. I have scoured quite a few and a consensus is starting to formulate. At/near the top of most lists is Beyoncé’s Lemonade: other albums from the likes of Chance the Rapper and Solange are getting nods. There are some British acts in these lists but the majority – those lauded and celebrated – are U.S.-based and addressing modern times and concerns. If one looks at the polls you will see a wave of strong, defiant albums in the elite places. That is mirrored in features such as BBC’s tips for 2017. In their eyes, Urban artists are going to be making the loudest noises: those assessing the realities of the nation and what is happening; more relevant and raw than your average chart act. It is nice seeing a shift against predictable bands and rather wet solo artists. I feel political events and social confusion/anger has led to this dynamic shift. Yes, it is encouraging discovering a new breed of songwriter gain respect but that seems to come at the cost of another sector of music. I promised I would not mention her name until 2017 – been exhausting her music the last few months – but a certain B*lli* Ma*ten has had an incredible year: her debut album has been released and shown what a fantastic young proposition she is. Whether you have heard of Billie Marten or not, it brings to mind a concern: how many like-minded artists have been overlooked in this year’s ‘best of’ lists. I was somewhat aghast her album, Writing of Blues and Yellows, was not mentioned in any of the polls magazines/sites have released. Fair, it might not crack the top ten of most sites but the top fifty, surely?! Hmmm. Aside from being my standout of 2016, it has made a huge impact among the public and being taken to heart by stations like ‘6 Music – in their rundown of the year’s best albums I expect to hear it mentioned. Folk is a genre that often gets overlooked – something I have mentioned before but cannot explain why. Before I come to my featured act, and raise a couple of new points, I was to expand on that.

If music fans and the media are favouring a more urgent, arresting and socially conscious brand of music; it is only right something should be done to ensure the preservation of refined, calmer sounds. It is only right the best of the best should be recognised but insufficient acclaim is being provided to the ‘best of the rest’. Having mentioned her-that-shan’t-be-named it brings to mind Folk and its variations. A much more intriguing and enigmatic genre than many give it credit for: listen carefully and you will find musicians pushing boundaries and adding new light to the form. Talitha Rise, who I shall come to very shortly, are archetypes of a new, more progressive brand of Folk. Whether you would label them as purely Folk – or Art-Pop for instance – that is up to personal interpretation. My point is that their basis – earthy and pastoral tones – are augmented by psychedelic elements and all manner of fresh tones and fascinating sounds. I guess it is just a phase music is going through – where different artists are being embraced – but quite a few albums this year, that spills over with quality and promise, have not been given proper recognition. Even if the compositions are not as hip-shaking and body-moving as that: that is not to say there is not immense power and pull to the music. I will continue on this point, looking at artists in East Sussex and new duos, but before I do, it is worth being introduced to Talitha Rise:

“Talitha Rise write songs of undeniable emotional depth and beauty. At times, more akin to a musical landscape than a song, their tracks journey hypnotically through evocative worlds of heart-breaking hope and the rawness of life's deeper realities with ethereal mystique.

Whether recorded or live, the combined alchemy of Jo Beth Young and Martyn Barker grab the listener from the first few notes and plunges them deep into a combination of diverse and haunting vocals, melodical journeys and beautiful instrumentations that makes you wonder where on earth you have been for the last 30 minutes.

It is hard to pin down what genre or influence is behind them: hints of Psychedelia, Art Pop, Progressive Folk, and World Music all shine through but above all they have done something rare in today's musical world....they have created a new one”.

‘Talitha’ is an uncommon feminine name meaning ‘little girl’ in Aramaic; given in reference to the Biblical story in the Gospel of Mark. It is an intriguing origin to a duo who create music instilled with power, tender emotions and gorgeous harmonies. I tend to find, when out of the capital, you get music a lot less busy and loud – that might change with tomorrow’s review subjects – and something rather different. It is rare I get to traverse out of London and investigate musicians from East Sussex. It is a county that contains one of Britain’s most prosperous and eclectic musical cities (Brighton) and not often mentioning in the hallowed pages of music’s coolest press bodies. It is a shame the cities (and obvious areas) get a lot of attention – at the expense of other parts – but it is encouraging seeing acts like Talitha Rise emerge. A more experienced, mature and rounded alternative to the worn and humdrum Pop sounds of the mainstream – you get depth, tranquillity and activity; serenity and intense emotion within the same songs. I mentioned a certain B.M. earlier because her music reminds me a lot of Talitha Rose. Based in Yorkshire – another area providing exceptional musicians – her album was acclaimed and highly praised. Music lovers and commentators want to discover musicians who offer a beautiful and graceful approach to some of the more aggressive and forceful options in the market. Perhaps there is no easy and quick way to ensure music’s finest get appropriate representation and attention – other than having to spend a long time working their way through the ranks. The Lewes-based duo has been performing locally but making a name for themselves in Brighton. That is an area that is still relatively untapped and a burgeoning market for new music. You only need to stick your head around some of the venues there to get a flavour and scene of Brighton’s brew. It is a heady and variegated one: so many different genres and a different approach to music and community. A more relaxed and less suffocated feel than London; perhaps finer new bands than Manchester – worth a lot more time and attention. I am wandering off topic but it is important to recognise not only the full spectrum of musicians around but look beyond media-tipped areas and obvious hotspots. If today’s music scene is to be as evolved and interesting as possible, we must be as broad-minded and invested as possible. This year, and as part of my reviews, I have come into contact with a whole gamut of weird, wonderful and wise artists: many I feel will be stars in the coming years and taking big strides. Talitha Rise is gathering local praise but are more ambitious and hungry than that. It cannot be too long before they get more time and opportunity to play around London and the U.K.; perhaps get their music out to international ears. As it is, East Sussex is quite a convenient and upcoming area for music. The proximity to London is good but there is less of the stress and over-populated rush of the metropolis.

Almost time to get to Talitha Rise’s music, but before I do, a quick glimpse into duos. I know I have rhapsodised prolifically on this subject but will keep this short. Regardless of genre – and how you label the Lewes two – there is no denying the simple chemistry and connection shared. Jo Beth Young and Martyn Barker have that (almost) brother-sister bond and a deep understanding of what each other is about. A duo, in a way, is like a relationship: one that is harmonious, solid and uncomplicated. A band can seem like an unwieldy and undisciplined unit whereas the solo artist can appear solemn and over-worked. In terms of practicality, load-sharing and longevity: the duo has everything and seems like just the right size. Maybe that is too simplistic but I am hearing some fantastic duos spring up and each has something new about them. Not only (is the duo) an exciting proposition but their music, I find, is a lot more intriguing than most of the band-made stuff around. Talitha Rise are just starting out and their debut cut, Invisible Fishing, is the sound of where they are. I always look at a sapling cut and get an impression of what the artist is about. With regards Talitha Rise, it is hard to define them and explain. If you had a band – that had similar ideals – they would perhaps aim for something more commercial and festival-ready; a solo artist perhaps more stripped, restrained and bare. As it is, Talitha Rise blends little bits of Folk and some left-field elements; bits of Psychedelia and gloss it all with sumptuous vocals. I am not sure what they would call this new-found genre (‘New World-Folk’, perhaps?) - however you deem it there are few artists providing anything as detailed and unexpected.

As this is the first step for the intrepid and ambitious act: it is quite hard comparing their single with anything else. The fact they are thinking about an album means there is a lot of faith in their future songs. That is all encouraging as few acts spring that far ahead this early on – favouring E.P.s and covers until a little way down the line. I know, from following the guys, there is a lot of excitement in the camp and hopes for the future. Rather than comparing them with another act or their older material: the best thing to do is assess the debut single (which I shall do shortly) and look ahead to the album. I am not sure what it will be called – whether they favour an eponymous title – but it is likely to contain similar songs to that of Invisible Fishing. I know 2017 holds many opportunities for the duo so make sure you follow them and keep abreast of all the happenings. Their debut single is a strong and emphatic one. Usually, I hear acts that release a debut single and it has nerves and is not their best work. Talitha Rise has gone in so strong and sure; they come across natural – like they have been together for decades – which makes it a solid and stunning song.

You get a sense of metaphor with the first line of Invisible Fishing. Before they arrive, one is treated to gentle strings a rather seductive opening. The acoustic guitar beckons and sets the scene; the song arrives gently and without too much force – the listener is given the chance to soothe themselves in and get comfortable. When the heroine arrives at the microphone, one gets images of lighthouses and searchlights being extinguished. It is open for interpretation whether words are directly attributed to the heroine or whether another subject is being described. There is that sense of lacklustre and hopelessness; maybe looking for love and companionship but having to come away with nothing. The idea lights have been turned off and there is darkness adds to that aura of invisibility and mystery – having to fumble in the waters looking for a catch. It is a clever way to bring the song’s emotions and themes to life: right away you are picturing what the song is about and what is occurring. The vocals from Young have a blend of firm and seductive. She rises into the stratosphere and provides angelic elements but has a grounded and gravelled side too. That is quite a range from a singer one that is exploited throughout the song. If some words get buried in beauty and passion – not always a bad quality – you are able to get a sense of what is unfolding. The narrative definitely becomes third-person and that sense of someone else hanging their line into the waters. That line/rod, in fact, is one that represents fear and trepidation. At once, I was thinking of love and lost chances: that inability to secure romance and searching (aimlessly) for someone. I mentioned metaphors and it seems like Invisible Fishing is that practice of casting the line and getting nothing nibbling. Maybe that is purely about love or just taking chances. The song, in the early stages, opens up so many possibilities and interpretations.

Throughout the song, and backed by the hero’s impeccable and finger-picked support, the heroine sings from the heart and ensures every word rings out. I was looking into the lyrics and picturing a heroine alone – maybe standing on the rocks and looking out to the ocean. Maybe it is not love being sought but some kind of salvation and hope. There is a voice ringing out across the distance but no reply. One gets a sense of dread and suffocation: where questions are going unanswered and there is a degree of loss. I may be over-analysing but I get the impression of someone who has lost love – once pure and solid – and is searching for a new way of life. Maybe this fear, employed as a rod in the water, is holding her back and causing this stress. That openness and free-for-interpretation flair of the song gets the mind racing and puts your thoughts in all sorts of directions. At the heart, you are captivated by the chemistry and bond of Talitha Rise’s two – they have that seamlessness and understanding. I dove into the song and tried to cast my mind into the images. You get gripped by the beauty of the vocals and how the guitar carries you away. The duo has their own talent and roles but very distinct. The musicianship and composition are stunningly evocative and rich: perfectly atmospheric and rife with emotion and nuance. The vocals swoop from low-down and calm to multi-layered and choir-like. You get shades of light and dark and it really adds to the song. As the track continues, the tense switches and applies to people as a whole. Gone is the personal focus; replaced with a look at the world at large. The angels and Muses have abandoned the people and not answering their calls. Maybe Invisible Fishing, by this juncture, looks more at society and what we are facing. Although the song was written a number of months ago, it seems to reflect general fears and anxieties we all have – maybe not. I just get the feeling of the unknown and what we are facing. Maybe the song is two sides to a love: the heroine and her doubts and the hero on the other side. One gets that sense as the song nears its end.

Holding tight and battling the waves; looking at the starlight and survival seems to underpin a tale of fortitude-against-the-currents. You never feel like there is negativity or a sense of defeat: always that spirit and desire to survive and battle on. Talitha Rise, in addition to other genres, employs Gaelic strings and there is an Irish flavor to the song. Pack that into traditional Folk and something more experimental and the song has so many ideas and sounds fused together. By the final seconds, you start to get a general sense of what the song is about but still ask questions. One of the key strengths of Invisible Fishing is its passion and pure beauty. Whether you take a clear message from the track you cannot overlook its sheer glimmer, transcendence and flight. Rich, sumptuous vocals and evocative backing – guitar lines sit with determined percussive patters – are a perfect pair and elevate the song to rarified heights. If it assesses a personal love and two sides overcoming the forces against them; a general sense of uncertainty and fear or something else – everyone will have their own ideas and take something different away. As a debut single, it is a strong one from the duo and sets out their stall. I hope subsequent cuts follow suit and contain the same ingredients and stories. I know Talitha Rise will sing about love and their own personal experiences but, as they have shown here, they have a real grasp of language and imagery. Never too obvious, unsophisticated or cliché: their lyrics provoke deeper understanding and impress with its choice language and wordplay. It is the performances of the duo that resonates longest. They sound like (and may have been) have played together for years; there are no gaps or any weak moments. Completely solid and entrancing throughout - a duo that is sure to do great business in 2017.

The Great Escape and a debut album are already on the docket for next year. It will be a busy and eye-opening one for the East Sussex residents who are taking their first swim in the clement (if busy) waters of music. As it is winter – and Christmas is nearly here – there the likes of Talitha Rise is much needed. The verisimilitudinous of their songs get into the heart and will resound with the listener. There is little in the way of avoidance and mystique with the two: they write direct, immersive songs nobody will be able to ignore. Invisible Fishing, on its title alone, provokes all sorts of metaphysical and quasi-philosophical interpretations. Whether you were expecting a lone figure in the dark – by himself in the tundra looking for life – or a metaphor for love and acceptance, you can take something away from the song. Its words and meanings are open to an extent but, broadly, look at relationships and balance. I hope my assessment has at least dented the surface and tried to gain an insight into the song. That is the beauty of a song like Invisible Fishing. Upon the first survey, you have ideas and possibilities but something new is revealed each time. The music and vocals are instant but the lyrics have that sense of nuance and complexity. Before I bring this thing to an end, and briefly returning to the opening concerns, it is worth predicting the arc and next few months for Talitha Rise. I mentioned how the duo will be playing The Great Escape next year: quite an accolade for a new act. The three-day festival is held in Brighton and in addition to being local, it will bring in new audiences and those based further afield. Media, reviewers and radio will be covering it so it’s an opportune moment for the duo to strike and impress. That is likely to be a rather easy task. Not only do they have the acclaim and positive reviews of Invisible Fishing but the flesh and bones of their album. Whether the L.P. will be out before that festival experience – it would be savvy releasing it a month or two before – it is going to be received with plenty of affection.

After that, and throughout 2017, there will be options and chance afoot. I am not sure (in 2017) just how trans-continental their music will become – or whether it remains indigenous – but I am sure they will get their songs heard outside the U.K. You just know, when hearing their music, there is more of the same coming; another batch of songs that have the same effect and intense passion. It will be interesting seeing what the duo decide and how they develop in 2017. I am sure, when their debut album is out, there will be a lot of people in their camp and following them. It is hard to get your name heard and survive in the modern scene. There is so much music out there – and so much competition – it can be intimidating for musicians coming through. The secret to success and longevity is originality and effectiveness. I looked at Folk variations and artists that have warranted more acclaim. In addition to Talitha Rise being among the most transcendent, captivating and hard-working acts around: they are on their debut stage and looking to claim a foothold very easy. Festival dates and a new album will bolster that but it is encouraging discovering a sensational act that emanates from outside the capital – we do not often get to celebrate artists away from London. East Sussex is upcoming and diverse with regards music and never fails to amaze me. Aside from the great bands there (The Wytches are from here) there are wonderful solo acts and duos. I have been, in the last few weeks, bemoaning how many artists do not expend energy into their social media and making themselves known. It is not sufficient having threadbare social media pages and not putting photos online – they do not cost a lot and should always be available. Talitha Rise is an act that gives me faith: they understand the importance and are highly visible and detailed. That gives the new listener insight and understanding of what they do; where they want to head and what inspires their music. The future will be bright and long for the Lewes duo and I am thrilled by Invisible Fishing. Become accustomed with a talented and busy duo that is on the cusp of something great. 2017 might be just around the corner but will be…

A great one for Talitha Rise

[youtube https://www.youtube.com/watch?v=4SFuiKifm3g&w=560&h=315]

_____________________

Follow Talitha Rise

Official:

http://www.talitharise.com/

Facebook:

https://en-gb.facebook.com/talitharise

Twitter:

https://twitter.com/talitharise

YouTube:

https://www.youtube.com/channel/UCgctenga8Vhhxj65Ap2-LSg

INTERVIEW: Greg from Cocoa Futures

INTERVIEW:

  PHOTO CREDIT: Sara Amroussi-Gilissen

Greg from Cocoa Futures

____________________

THESE end days from 2016 is a great opportunity to…

look back at the artists I have featured in this blog. It is good to chat with Cocoa Futures’ Greg about the year and how The Grey, the latest single from his London-based band, came together. He chats about the differing scenes in Scotland (where he was born) and London; the group’s forthcoming E.P., Blue – and what he will be up to this Christmas. In the midst of all that, the talented songwriter tells me about how he met his bandmates and what it was like working with Marc Withasee on the new E.P.

___________________

Hey Greg. How are you? How has your week been?

Hello! Good thanks. Tried to have a quiet week after our E.P. launch on Saturday – but Christmas celebrations have got in the way! We also had our label’s Xmas do last night so I’ve got a bit of a sore head :)

For those new to your music: can you introduce yourself, please?

We’re a band from London called Cocoa Futures. We make Pop music.

Fabric has just announced its reopening. Are you familiar with the venue and what was your reaction when you heard the news?

I think I’ve only been to Fabric once and saw a band that I really like called The Invisible there. Glad to see it’s going to open again!

The Grey is your new single and deals with positive, hopeful subjects. It implores strength and faith against harsh odds. What was the inspiration behind the song and was it quite a cathartic experience?

The Grey is inspired by someone I know having a difficult period in their life. It’s about the idea that they would get through it but would probably need some time.

I don’t know if it was cathartic for me but I was really pleased with how it ended up.

[soundcloud url="https://api.soundcloud.com/tracks/283929853" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The song has soaring vocals and plenty of bounce. It seems to be a staple of Cocoa Futures’ sound. Do you think too few musicians keep things light and what was the reason behind this approach to music?

I didn’t really have a grand plan as to how I wanted our music to sound - it just kind of ended up that way. I like a bit of bounce in music and have always been into rhythmic stuff. As for other musicians, I think people should write whatever they want.

Blue is the forthcoming E.P. Can you tell us anything about the songs included and what themes are being explored?

There’s four songs on there. The themes are about stuff that was happening in my life around 2015. There’s one ballad-like song called How Strong You Are which I’m probably most proud of. It’s not really that cool/trendy but I’m really pleased with how it’s turned out. Would love to hear what you think!

Marc Withasee produced the E.P. What was it like working with him?

Really great! He really pushed us in the nicest way. I found out more about myself - that I naturally wrote songs too slow and too high and going through the process with him meant that we all learnt a huge amount. He’s a fantastic producer, drummer and human.

PHOTO CREDIT: Sara Amroussi-Gilissen

Cocoa Futures brings together Dave, Zoe and Jack into the band. How did you come to meet the guys and what were the initial recording sessions/jams like?

I knew Dave from Scotland and then met Jack and Zoe later through mutual friends and other projects. They're all really, really nice people to be around and great musicians.

Playing with them in the early days was great - it was apparent, very quickly, that we all fitted together well.

The band has been releasing music since 2014. Do you think Coca Futures have changed a lot in the last couple of years? What are the main changes/differences in today’s songs?

I think I’ve got a bit better a finishing off stuff. Better to finish something off and it be alright than half-finish something and talk about how great it could be. I’ve also spent time learning to produce more which is useful for taking a demo. to a live set - also saves money so that someone else doesn’t have to do it for you!

Critics and fans have really latched onto the music (of Cocoa Futures) and taken it to heart. Why do you think this is and did you expect this sort of support when you started the band?

I’m not sure really. I’m really happy because we put a lot into the E.P. so it’s nice other people like it too. There’s been a good response that I didn’t really expect.

[soundcloud url="https://api.soundcloud.com/tracks/276329600" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Greg, you hail from Scotland. What is the main difference between the music scene there and down in London?

Scotland’s music scene is great. I love a lot of Scottish bands.

The main difference is the price of rehearsal rooms. You can get a rehearsal room for £4-an-hour in Scotland!

What are the plans and ambitions for Cocoa Futures in 2017?

Play some nice gigs; record another E.P. and stay vegetarian (I turned vegetarian 2.9 months ago – it’s great)

Are there any new bands/acts coming through you advise we keep a close eye on?

Stuff I’ve seen and really liked recently: Coby Sey. Dama Scout. Suitman Jungle.

[soundcloud url="https://api.soundcloud.com/tracks/283927558" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

It is almost Christmas so I have to ask: what is top of your wish-list and where will you be spending Christmas this year?

I’ll be spending Christmas in Scotland with the family. I’ve got my fingers crossed for snow so I can go sledging.

As for my wish list? Wouldn’t mind a new pair of trainers.

For any new musicians coming through: what advice would you offer to them?

I don’t really feel like I’m in too much of a position to offer advice. Music feels like this huge exciting (and occasionally frustrating) thing and when I’ve learnt one new thing it usually opens up a whole range of other questions.

But (I guess) something that I heard recently really struck me: that making, playing and listening to music are three different things. Splitting them up can really help you take an honest look at a song and get it finished.

Finally, and for being a good sport, you can select any song you like (not your own as I’ll include that) and I’ll play it here.

Roxy Music’s If There Is Something – got into this band more and more recently. What a tune.

[youtube https://www.youtube.com/watch?v=Ay4v7mhEh54&w=560&h=315]

__________________

Follow Cocoa Futures

PHOTO CREDIT: Sara Amroussi-Gilissen

Official:

https://www.cocoafuturesband.com/

Facebook:

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

Twitter:

https://twitter.com/cocoafuture

Instagram:

https://www.instagram.com/cocoafutures/

SoundCloud:

https://soundcloud.com/cocoafutures

INTERVIEW: Scarlett Saunders

INTERVIEW:

 

 

Scarlett Saunders

__________________

THROUGHOUT 2016 I have been seeking a solo artist that not only…

intrigues with their music but has a certain allure and originality to their personality. In terms of ticking all those boxes, Scarlett Saunders seems a perfect fit. Her recent E.P., Blue Again, has been received with praise and reflects on some hard times – relationship break-up and overcoming fraught emotions. Not only does one (when hearing Saunders) get a rich and beautiful voice but a songwriter with a unique and fresh bent. I talk to Saunders about her, some might say, unorthodox upbringing – where nature and art were favoured to distractions like T.V. – and how that affected her life today. She also chats about this Christmas and plans for next year; what it was like putting an E.P. together and how the reaction to it has affected her.

__________________

Hi Scarlett. How are you? How has your week been?

Hey there. My week has been okay: long and wintery, but okay. How’s yours been?

For those new to your music: can you introduce yourself, please?

Hello. I’m Scarlett. I’ve been writing songs since I can remember and I really hope you enjoy them.

I Should Know was released a couple of months ago and was received with praise. Has it been quite humbling hearing that sort of feedback?

Yeah. It’s been great actually!

It was a song I wasn’t going to put on my E.P. as it was very personal and I was worried how people might react - especially my dad as it was written about his relationship with a girl my age.

But I think there are so many interpretations you can take from the song. It was interesting to see what everyone’s slant on it was.

[youtube https://www.youtube.com/watch?v=JGCHr2bFwzk&w=560&h=315]

Circus – also released this year – is taken from the Blue Again E.P. Can you tell us about the rest of the E.P. and what inspired it?

The E.P. was largely inspired by the seaside town I grew up in, Felixstowe. And my first love who was, coincidentally, called Felix (haha). I was getting into that stage where I was reminiscing a lot about my younger life and how everything seemed so much easier then - a longing for the sea and a longing for home.

How hard was it putting the E.P. together? Had you been working on them for quite a while or were a lot of the songs written quite a while ago?

It wasn’t difficult at all actually. I did it with a friend and an amazing producer, Barnabas Poffley. Everything flowed pretty naturally. Most of the songs I wrote all around the same time with Barny’s help (apart from Windmill). I had written that on a train a year before and had been saving it up.

I believe, when growing up, you did not have a lot of exposure to T.V. and video games – your parents favouring art and literature. How influential was that style of upbringing to you with regards your ambitions to be become a musician?

I think it gave me a lot of scope to ‘think’.

Screens and technology seem to create an extra barrier for people to get through in order to be creative today. I think the more time you spend in your own head and company without distractions is a damn good thing.

It keeps you open, aware and malleable to ideas and possibilities. It’s what I hate and don’t fit into in the modern music industry though - the last thing I want to do is check my Facebook page or Tweet about my day.

You have quite a passion for art yourself. Do you get a lot of opportunities to indulge that and how does your music and art connect would you say?

I do love art. I don’t get a lot of time for it though I have to say - although my Christmas presents this year will definitely have to be painted and I am skint as hell (haha). I think all things creative connect. Sometimes just reading a poem can spark an idea or seeing people on the Tube.

A lot of new artists tend to come to the cities in order to find opportunity. You are based out of Suffolk. What is the area like in terms of the music scene? Are there quite a few promising new artists there?

There’s loads of stuff going on there! Ed Sheeran is from there (have you heard of him?). He’s rather good. But I never got massively into it. I suffer from terrible stage fright when I have to get up there on my own but am getting over it.

In terms of local talent or artists that have impressed you this year: which would you recommend we check out?

My best mate’s band Loud Mouth Machine. Great guys.

Who were the artists that influenced you growing up?

Bob Dylan was a massive part of my childhood. Nina Simone, Cat Stevens and Janis Joplin’s exploding energy. I always wanted to look that cool and sing that well on stage.

I have noticed the female singer-songwriter is coming more into view: a lot of this year’s best albums have been created by solo female artists. What, would you say, is behind this shift?

I think people are just starting to become more aware of new artists now as there’s so many ways online of finding them out.

But I’ve noticed female artists are leaning less towards the Pop/X Factor in-your-face thing and stripping everything down - so they are just writing and singing from real places that we can all connect to.

[youtube https://www.youtube.com/watch?v=s22KUAAyXYU&w=560&h=315]

Looking ahead to the future: is there any new music planned for 2017?

Yes. I have written a new E.P. for next year. Fingers crossed it all goes to plan.

This year has seen a lot of great albums and singles released. Which album and song would you choose as your favourite of 2016?

Adele’s 25 without a question. That album came out at the same time me and my flatmate were crying in our bedrooms about men. I don’t care if it sounds ridiculous - she sorted me out.

Is there any advice you would offer to new singer-songwriters coming through?

Just write what you like and don’t worry about what anyone else thinks.

It is nearly Christmas. How would you be spending it this year? Any gifts that you particularly want this year?9

I will be spending it by going back to the (Splitz) Bandbox in Felixstowe (voted the worst club in Britain, apparently) to hang out with old friends on Christmas Eve. Otherwise, I will be drinking tea and snuggling up. I actually don’t know what I want! (Who does?) That’s such a hard question.

Finally, and for being a good sport, you can select any song you like (rather than your own as I’ll include that) and I’ll put it here.

Raury - God’s Whisper

[youtube https://www.youtube.com/watch?v=bPt0LkdM8Bc&w=560&h=315]

___________________

Follow Scarlett Saunders

Facebook:

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

Twitter:

https://twitter.com/scarlett_sings

SoundCloud:

https://soundcloud.com/scarlett-sings

YouTube:

https://www.youtube.com/channel/UCOtT55JiBVXzHuLkAB1GldA

FEATURE: The December Playlist: Grammys Special

FEATURE:

 

The December Playlist: Grammys Special

__________________

IT is that time of year again!

I am not referring to Christmas but the whatever-number-we-are-on-th Grammy Awards. It is that occasion where some of music’s best – and those thoroughly undeserving – get recognised for their hard work. There are some notable omissions from the nominations (naming no names) but some great acts recognised. Beyoncé leads the list, and so gets one of her songs featured, but there are other great acts getting their music exposed – including Metallica and Frank the Rapper. Of course, there are some new releases from the ‘ordinary’ artists out there: those not in the Grammy sightline; going about their careers as always. As December starts to blossom, I will start leaning towards Christmas tracks: until that merciless moment arrives, enjoy some wonderful non-tinsel-infused songs.

__________________

Biffy Clyro – Re-Arrange

[youtube https://www.youtube.com/watch?v=_DTmvMsEbE4&w=560&h=315]

Joe Goddard - Lose Your Love

[youtube https://www.youtube.com/watch?v=q5j-IrPcwvM&w=560&h=315]

Bonobo (ft. Rhye) – Break Apart

[soundcloud url="https://api.soundcloud.com/tracks/296497286" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Justice – Fire

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

MUNA – I Know a Place

[youtube https://www.youtube.com/watch?v=3FagZ-KOBmg&w=560&h=315]

Emma Ballantine - Secret Tunnel

https://play.spotify.com/album/2JhebF4C8z8tsOEXFYtiAQ

Gurr – Moby Dick

[youtube https://www.youtube.com/watch?v=m3N8LW2srA0&w=560&h=315]

Gabriella Cohen – Downtown

[youtube https://www.youtube.com/watch?v=lR_SF2wiGMY&w=560&h=315]

The Rolling Stones – Ride ‘Em On Down

[youtube https://www.youtube.com/watch?v=qEuV82GqQnE&w=560&h=315]

Anohni – Obama

[youtube https://www.youtube.com/watch?v=pVD50Q114-s&w=560&h=315]

The Magic Gang – Only Waiting

[youtube https://www.youtube.com/watch?v=wkRwFao6x0I&w=560&h=315]

Elbow – Magnificent (She Says)

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

Imagine Dragons – Levitate

[youtube https://www.youtube.com/watch?v=z0a9k1gSMsw&w=560&h=315]

Parcels - Older

[youtube https://www.youtube.com/watch?v=hznxLHB0oy8&w=560&h=315]

Bruising – I Don’t Mind

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

Peter Doherty – Down for the Outing

[youtube https://www.youtube.com/watch?v=HXf5qu8jJ1Q&w=560&h=315]

PHOTO CREDIT: Nicky Kelvin Photography

Vaults – One Day I’ll Fly Away

[youtube https://www.youtube.com/watch?v=BCoZOAn_98A&w=560&h=315]

Jake Bugg - The Love We’re Hoping For

[youtube https://www.youtube.com/watch?v=3EyRbwZs7e0&w=560&h=315]

Fort Hope - Say No

[youtube https://www.youtube.com/watch?v=MmGfb22Ay7s&w=560&h=315]

The Shires - A Thousand Hallelujahs (Live at The Pool)

[youtube https://www.youtube.com/watch?v=RxkTFq6mgNI&w=560&h=315]

Angelina – Rose Cascade

[soundcloud url="https://api.soundcloud.com/tracks/290803961" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The Last Shadow Puppets – This is Your Life

[youtube https://www.youtube.com/watch?v=M7248jOewb0&w=560&h=315]

The LaFontaines - Release the Hounds

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

Beyoncé – Hold Up

[youtube https://www.youtube.com/watch?v=PeonBmeFR8o&w=560&h=315]

Adele – Send My Love (To Your New Lover)

[youtube https://www.youtube.com/watch?v=fk4BbF7B29w&w=560&h=315]

Sturgill Simpson - In Bloom

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

Chance the Rapper – Summer Friends

[youtube https://www.youtube.com/watch?v=rT4wUByldo4&w=560&h=315]

Drake – Child’s Play

[youtube https://www.youtube.com/watch?v=HBnI5QevaKA&w=560&h=315]

The Chainsmokers (ft. Halsey) – Closer

[youtube https://www.youtube.com/watch?v=PT2_F-1esPk&w=560&h=315]

Kelsea Ballerini – Peter Pan

[youtube https://www.youtube.com/watch?v=JmU0b8bxlG8&w=560&h=315]

Ariana Grande - Dangerous Woman

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

Anderson .Paak - Put Me Thru

[youtube https://www.youtube.com/watch?v=pK2-XuLByuQ&w=560&h=315]

Demi Lovato - Confident

[youtube https://www.youtube.com/watch?v=cwLRQn61oUY&w=560&h=315]

Flume (ft. Kai) – Never Be Like You

[youtube https://www.youtube.com/watch?v=Ly7uj0JwgKg&w=560&h=315]

Sia - Confetti

[youtube https://www.youtube.com/watch?v=bNdmBL2mdQg&w=560&h=315]

Underworld – I Exhale

[youtube https://www.youtube.com/watch?v=4izZYfo58-E&w=560&h=315]

Twenty One Pilots – Heathens

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

Sofi Tukker - Drinkee

[youtube https://www.youtube.com/watch?v=dlF1KxtArCg&w=560&h=315]

Metallica – Hardwired

[youtube https://www.youtube.com/watch?v=uhBHL3v4d3I&w=560&h=315]

Carrie Underworld - Church Bells

[youtube https://www.youtube.com/watch?v=N2-yVryNjUM&w=560&h=315]

Desiigner - Panda

[youtube https://www.youtube.com/watch?v=E5ONTXHS2mM&w=560&h=315]

Panic! at the Disco – Death of a Bachelor

[youtube https://www.youtube.com/watch?v=R03cqGg40GU&w=560&h=315]

Alabama Shakes - Joe (Live From Austin City Limits)

[youtube https://www.youtube.com/watch?v=0WV-MV18JCU&w=560&h=315]

René Marie - Sound of Red

[youtube https://www.youtube.com/watch?v=oJ64fMe0Xh4&w=560&h=315]

Blue Highway - Hallelujah 

[youtube https://www.youtube.com/watch?v=SX6xD-IWm2E&w=560&h=315]

Radiohead - Burn the Witch

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

Rhiannon Giddens (ft. Bhi Bhiman) – Freedom Highway

[youtube https://www.youtube.com/watch?v=DOs0fGWjSxE&w=560&h=315]

Cage the Elephant - Trouble

[youtube https://www.youtube.com/watch?v=lA-gGl6qihQ&w=560&h=315]

Ro James - Permission

[youtube https://www.youtube.com/watch?v=qp1Pq2Fuw30&w=560&h=315]

Maren Morris - My Church

[youtube https://www.youtube.com/watch?v=ouWQ25O-Mcg&w=560&h=315]

Leon Bridges - River

[youtube https://www.youtube.com/watch?v=0Hegd4xNfRo&w=560&h=315]

Jamie xx - Gosh

[youtube https://www.youtube.com/watch?v=hTGJfRPLe08&w=560&h=315]

Jill Scott - Can't Wait

[youtube https://www.youtube.com/watch?v=m5FDlbfnSVU&w=560&h=315]

Iggy Pop – Sunday

[youtube https://www.youtube.com/watch?v=tjSnrDikc4M&w=560&h=315]

PJ Harvey – The Wheel

[youtube https://www.youtube.com/watch?v=7ReW0jJkag8&w=560&h=315]

Rihanna - Kiss It Better

[youtube https://www.youtube.com/watch?v=49lY0HqqUVc&w=560&h=315]

Bon Iver - 8 (Circle)

[youtube https://www.youtube.com/watch?v=pPsBFPX_yU4&w=560&h=315]

Solange – Don’t Touch My Hair

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

Kanye West – Famous

[youtube https://www.youtube.com/watch?v=yOlf2eju0pI&w=560&h=315]

Lalah Hathaway – Angel

[youtube https://www.youtube.com/watch?v=wawY5WcPhf0&w=560&h=315]

Two-and-a-bit weeks to go and it is Christmas. I am noticing a decided slowing-down among music’s most prominent and prolific. Maybe there is less demand this time of year – as the awards have been handed and end-of-year lists cemented – so there is less impetus and demand. Be sure to brace yourself for a wave of 2017 music in a few weeks. Musicians will be racing out the blocks in an attempt to make that first, big strike – what an exciting proposition!

FEATURE: The Five Best Tracks of 2016: Radiohead – Burn the Witch

FEATURE:

 

The Five Best Tracks of 2016:

  

Radiohead – Burn the Witch

___________________

IT is not favouritism/nepotism my favourite band should find themselves…

in the gold medal position of my rundown – that which looks at 2016’s best songs. I feel they are deserved winners. With other, and many, sites plumping for something like Beyoncé’s Formation or a track from The 1975 – I have chosen a song that created one of this year’s biggest reactions. Following Radiohead’s previous album – the superb but flawed-in-places The King of Limbs – there was speculation the Oxford boys may have downed tools for good. That was an alarming proposition. The fact they are, in my biased opinion, this generation’s most innovative group would have been a huge loss – were such rumours to have been believed. A Moon Shaped Pool’s lead-off single wasn’t so much a release as it was an event. Like an opera about to begin: the curtains were closed and the lights off; there was an awed hush and expectation – before the stage lit to a bright and impassioned performance. Radiohead shut off their social media sites and created a blackout: what the heck were they up to?! As it happens they had just pulled off another unexpected and marvellous hype move – or P.R. stunt depending on your philosophical bent (Yorke has since been interviewed and said he wants to return to conventional releases/promotion). An historical look at Radiohead’s locker would tell you they are not a band that does things by halves. Burn the Witch’s discourse of immigration, finger-pointing and scapegoating – a wave of faux-panic and cold-hearted communality – was only matched by the song’s video. In it was depicted a village of Camberwick Green-referencing figures: an envoy/council representative inspecting a village only to find red crosses on doors and an ominous Wicker Man-style figure – in which he was entrapped and subsequently torched in (only to make it out at the very end). Thom Yorke’s vocal is typically gorgeous, dynamic and dramatic: a symphony of beauty, control and underlying fear. Throw into the mix a sensationally creepy-cum-tranquil string articulation – the album was orchestra-heavy and moved the band into more ethereal/Classic territory – and some incredible band interplay and you have a song of immense proportions; life-giving bailment. There is no denying just how spellbinding and nuanced A Moon Shaped Pool was/is. From Daydreaming’s somnambulistic tones and provocative lyrical suggestions to Ful Stop’s jittered punctuation – one of the freshest and most exciting tracks the band have levied in years. That is not to mention the much-needed inclusion of fan favourite True Love Waits and the encore-ready desires of Identikit. Burn the Witch is the opener. The Daddy. The Boss. It is the Big Bang of their 2016 creation and a song, once sampled, provides a witch’s brew of exciting highs and brooding, foreboding lows. If the song’s “low-flying panic attacks” do not inspire vivid scenes then the apocalyptic, nihilistic outcries – Yorke sticking it to corrupt governments and those looking for sacrificial lambs – surely will. Burn the Witch is almost a foreshadowing of the Trump presidency; the Brexit horrorshow and subsequent fall-out. Burn the Witch may be seven months old but its messages and relevance is as current as any song out there. Strip away interpretations, expectations and personal preferences and you have a song indisputably stunning, intense and utterly beguiling. In short: just another day at the office for The World’s Greatest Band.

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

 __________________

Follow Radiohead:

http://www.radiohead.com/deadairspace

 

The album, A Moon Shaped Pool, is available at:

https://itunes.apple.com/gb/album/a-moon-shaped-pool/id1111577743

FEATURE: The Five Best Tracks of 2016: Michael Kiwanuka – Love & Hate

FEATURE:

 

The Five Best Tracks of 2016:

 

 

Michael Kiwanuka – Love & Hate

___________________

MOST of the ‘Best Songs of 2016' lists, I have found, have…

included Beyoncé’s Lemonade standout, Formation. Perhaps that is a reactionary decision: given Trump’s success – and frightening presidency – the song’s messages of hope and fighting injustice are being heralded and beholden. That song fights against the white-on-black racism and the need to be recognised (especially women and the need for sisters to stand firm) – make hateful perpetrators aware of their evils. In so much as it promotes an abolition of tyranny and imbalance; it does not make my top five. For one – even though it is a great song – Beyoncé is not the sole writer – I feel there are too many cooks in a kitchen that should be hers alone. My choice, and an equally affirmative and inspiring song is Michael Kiwanuka’s Love & Hate. The title track from his Mercury Prize-nominated album: “You can’t take me down” is a mantra as scintillating, spine-tingling and powerful as any across Lemonade. Love & Hate (the album) is a huge spiritual and creative leap from the young master. His debut, Home Again, was well-received and applauded due to its singular visions and astonishing vocal performances. Perhaps, in a few songs, the Soul ghosts of old were too intrusive. On his sophomore release, there was more Kiwanuka – less in the way of the Reddings, Gayes and other assorted kings. Black Man in a White World was the first taste of the album – and a song, like Formation, that addresses racism and solitude many black people can feel – but the title track is the first real ‘epic’. From the slow-building introduction and burning guitar solos; the aching, tremulous strings and consistent, defiant beats – a symphony of emotion, fortitude and defiance. Kiwanuka seems entranced by his words: floating over the composition like a pastor; crashing over the waves and desperate to get his message heard. There is funky, tripping bass; we get some cool backing vocals and stop-start dynamics – explosive orgasms of sound; contemplative and shy at various interludes. Whilst the composition is contradictory, unexpected and shape-shifting: the central message-and-vocal combination is single-minded and precise. Four years after releasing his debut album, many would be forgiven for thinking Kiwanuka was struggling for inspiration and completion. That doubt and assertion are overhauled by an emphatic album of personal statements: ranging from questions of race and equality to love and discourse; right along to crucial introspection and societal injustices. The title track not only recognises vital topics and addresses them with insight and intelligence: you are arrested by the staggering composition and heartfelt vocal. Less a song and more a symphony: something you submit freely to and let it carry you away. I hope there is more music from Kiwanuka next year – he is growing stronger and more confident with each passing year. Even if you do not recognise Love & Hate as a year-defining album – judgement for those who do not – then few can overlook the tremulous, divine title track. It is the work of a musician on top form and showing no nerves or fear.

[youtube https://www.youtube.com/watch?v=AZzA2Ne0HSo&w=560&h=315]

 _________________

Follow Michael Kiwanuka:

http://www.michaelkiwanuka.com/

 

The album, Love & Hate, is available at:

https://itunes.apple.com/gb/album/love-hate/id1094772322?app=itunes

FEATURE: The Five Best Tracks of 2016: Jamie T - Tinfoil Boy

FEATURE:

 

The Five Best Tracks of 2016:

 

 

Jamie T – Tinfoil Boy

___________________

ONE of the biggest surprises from this year…

was hearing Tinfoil Boy drop. I use the word ‘drop’ as that was the effect it had: like a comet falling out of the sky. Jamie T has always had a reputation for being one of our finest and most consistent songwriters. 2014’s Carry on the Grudge resounded in the critical mindset and was heralded as one of his (if not the) finest album of the Londoner’s career. Tracks such as Zombie and Rabbit Hole are instant and highly memorable; the twelve-track album bristles with energy and innovation; Jamie T’s personality and expertise shining through. Fast-forward to this year and Trick arrived with a lot of expectation and hype. Whilst it did not gain the universal acclaim as its predecessor: Trick still packed a meaty punch and kept the ball very much rolling. A lot of critics noted obvious influences – Arctic Monkeys on Power Over Men and other moments; The Clash coming through in Tescoland and Police Tapes – the Combat Rock-era ‘Clash. It is the album’s opening tracks that resonate hardest. Drone Strike has a bit of Dizzee Rascal (strangely) but ignites and explodes in the chorus. If, at times, the Wimbledon lad has adopted a Sheffield accent – baffled by how many people want to copycat Alex Turner – then Tinfoil Boy (with a little Yorkshire fleck in it) differed from anything Arctic Monkeys have created. The creepy and unsettled video stole focus for a bit but nobody can deny the potency and power of the song. The hero is “tricked into waking up” and there seems to be an air of fear and depression in the song. That fatigue and uncertainty are destroyed by the swaggering, bangin’ chorus that, when I first reviewed Trick, reminded me of Underworld. It has that clubland vibe and Trance/House vibe. Whilst the verses sees Jamie feeling like a child and under foot – it is that indelible chorus that rattles around the brain. When the single came out June, I feared the chorus would never get out of the brain – it wasn’t until November it started to fade out. An immaculate and memorable song that stands as Trick’s highlight - Drone Strike, Tescoland and Sign of the Times completing the best of the rest. If critics were not hot to the entire album: there was more consistency and love aimed towards Tinfoil Boy. Radio stations could not get enough and it was a clear sign Jamie T had lost none of his surprise and talent. In the cold and wintery days, we need songs like Tinfoil Boy to get us jumping and uplifted. Let’s hope there is another Jamie T album down the line. If he can dispense with his Arctic Monkeys tributes – no qualms about The Clash’s inclusion – and claw back some of that Carry on the Grudge magic – he will gain a foothold atop the mountain. Still a geezer king and mouthpiece of this generation: a successful and busy year for the thirty-year-old. Having revisited Tinfoil Boy, there is a stark danger it will be in my head for the rest of this year – perhaps it can silence the sickly-sweet cloy of Christmas songs. Tinfoil Boy may be my fourth-favourite song of 2016 but it is by far the catchiest.

[youtube https://www.youtube.com/watch?v=TElBPcFIk0E&w=560&h=315]

 ____________________

Follow Jamie T:

http://jamie-t.com/

 

The album, Trick, is available at:

https://itunes.apple.com/gb/album/trick/id1132752971

TRACK REVIEW: Helene Greenwood - Flat Roof House

TRACK REVIEW:

 

Helene Greenwood

 

 

Flat Roof House

9.5/10

Flat Roof House is available at:

https://www.youtube.com/watch?v=MrtnZplnlM4

RELEASED: 5th June, 2016

GENRES: Ambient; Alternative

ORIGIN:

London, U.K.

The album, Exquisitely Hopeless, is available via:

https://itunes.apple.com/us/album/exquisitely-hopeless/id1134613767

TRACK LISTING:

This Is the News Today

Flat Roof House

Dream Horses

Crystal Vase

Exquisitely Hopeless

Madame Marina

I Say a Little Prayer

Ripples

…Travelling Inside and Travelling Out

To Live In the Moon

Chorale 

RELEASE DATE:

28th October, 2016

________________________

ONE of the things that linger in my mind as we approach...

the coming year is how many great solo artists have emerged. I will come to looking at my featured artist soon, but before I do, I wanted to look at the female solo sector – and why they are outranking their male counterparts – a little about ‘unique’, expected sounds and the emotions music provoke. It is worth (first) addressing the sort of artists that have defined this year. I have mentioned, with repeated fervency, just how much tragedy and loss we have encountered in 2016. Titans like David Bowie and Leonard Cohen have left us in addition to some other musical stalwarts. That is not to say 2016 has been a cursed year – it was always probable we’d lose a few great musicians given age and prolificacy of illnesses like cancer – but it seems rather unfair. What has been born out of this black velvet movement is a need for celebration and reflectiveness. I hear many already looking ahead to next year and the sort of artist they will be investigating. Over the past few days, I have completed my compendium of musicians I feel will be prominently shining in 2017. Whether you call is ‘Ones to Watch’ or something else: it has been interesting collating the names and putting everyone together. What I found, and as I did last year, the majority of my tips are female. This is not a reaction to imbalances in the industry – men getting more money and focus – or reverse-sexism: this is a truthful outlay of the strongest artists we have in the world right now. The fact the majority of them are women is actually a positive thing. Too long, and not long ago, male-only bands were the toast of the media world.

You’d often see these end-of-year lists and read nothing but male bands being lauded and elevated to the status of kings. I suppose the proliferation of bands at the time – Artic Monkeys, Foo Fighters etc. – first of all started the rush of male band but also directed critical minds. Over the past couple of years, there has been a change in the wind. I am seeing more female artist come into focus and being proffered by the mainstream media. Given the shift of tastes and sounds – the band market taking a bit of a dip – seeing female artists being given their due is encouraging and heartening. There is, as I’m sure they’d agree, a long way to go to redressing the imbalance and a gender-blind scene being created. Years ago, around the time male bands were ruling, I was seeing a lot of sexism and injustice towards female artists. I am not suggesting that has been eradicated but things are changing. Maybe there is that determination and resolve to be noticed: the women of music are making big indents than the boys. A lot of this comes down to the solo market – there are far fewer female bands than male; there are more mixed-gender bands – and the sort of sounds being proffered. It is hardly a surprise artists like Billie Marten – the final time I shall mention her this year – and Laura Marling feature on my end-of-year lists. It is also not a shock to find so many other female artists feature highly – innovation, passion and talent reigning proud and strong. Helene Greenwood fits into my argument superbly and prompts other topics too. She is one of those musicians that has a Marling-esque quality: the consistency and innovation; the stunning delivery and exceptional lyrics. It is not going to be long until Greenwood transcends into the mainstream and starts getting big recognition. As she says herself (on the Facebook biography) she writes everything from Lynchian-Utopian contradiction to ‘60s-influenced gangster scores; Japanese soundscapes and odd, incongruous meshing of genres. Having been recording music since studying at Stanford University – and before that one imagines – I have seen her grow and blossom into one of the most individual, strong songwriters in our midst. I have explained how female songwriters are taking charge and I have a couple of theories.

For a start, there is – among them – an innate sense of ambition and experimentation. I am not saying male artists lack that sense of chemistry – James Blake is someone who does it in spades – but the female artists seem more daring and skilful when it comes to subverting expectations and pushing through boundaries. Also, one gets something more captivating and beautiful – again, the boys can bring this to the party when they feel like it. This is all distilled marvellously inside Greenwood’s music. She is someone who creates her own mini-universes and takes the listener into strange and magical realms. At every step, there is a realism and sense of tangibility to the music. It is never as out-there and strange as that but is never completely grounded and conventional. In a sense, Greenwood reminds me of American singer-songwriter Joanna Newsom. Here is someone whose writing blends quirky and honest: a talent who can bare her soul savagely but elevate the consciousness into a far-off, safe world filled with all manner of characters and situations. Greenwood has that flair and sense of endeavour; her compositions mic Folk, Classical; Pop and so many different strands. At no point do you get a sense of an artist following the pack of replicating anyone else. Helene Greenwood is her own woman and a songwriter who is impossible to classify. I feel one of the things lacking from this year’s best is that sense of magic and strange. You do not find many artists that blend genres and push the envelope readily. The more traditional musicians have created sensational work and are rightly being celebrated. I briefly mentioned Laura Marling – who we will hear more of when her new album is released in March – but someone who touches the surface of what I am saying. She can create some truly sensational music that is hard to define and has a dizzying, life-affirming quality.

That is something we do not often find in music: sounds that create escapism and enrich the senses; provoke serious reaction and take the imagination somewhere special. Too many musicians are so direct and unnuanced it is hard to rev the senses through the gears and get any sort of speed going. Talking about relationships and sex – often rather animal-like and carnally – is not something that mandates repeated listens and any thorough investigation. There is still that prolificacy of relationship-mentioning songs and issues of sex. Few songwriters cast away from those shores and explore something more original, nourishing and enriching. That is a shame because music, some sectors of it anyway, are in danger of stagnation and extinction. Helene Greenwood is someone who is doing things her own way, and in the process, inspiring others. Her music digs deep and gets the listener thinking and imagining. There are songs that look at love but never in a crude and simplistic way. An imaginative and intelligent songwriter inspired by more honest, charming themes: all this is funnelled into her beautiful and immersing work. I am sure we will be hearing more from Greenwood into next year and more tour dates for sure. Her current album, Exquisitely Hopeless, has been picking up positive reviews and amazing critics. It is that hard-to-define sound and colourful songwriting that has compelled so many people. Across the album, you get the sense of a woman not only discovering herself but urging the listener to search themselves and think more deeply about the world around them. Perhaps that is me over-interpreting but that’s the feeling I got. I wanted to focus on Flat Roof House – a song that she recorded a little while ago – as I feel it best represents the album and leaves the biggest impression in the mind. I am sure Greenwood will be making strides in 2017 and building on the success she has accrued. That will be exciting to see and discovering just how far she can go.

In terms of assessing how far Greenwood has come as a musician, one must look to the past. The fact Exquisitely Hopeless is her first, full work is not to say she has been idle for the last few years. Greenwood has been busy since studying in California and recording music for a long time. Songs that feature on her album have been in gestation for a while. I have known about her for a long time and know she is a prolific musician that should not be overlooked. Exquisitely Hopeless is the best way to judge and assess Greenwood as an artist and what she is about. Throughout the eleven tracks, you get a real sense of a young woman who likes to watch the world go by and documents that like no other. One imagines her people-watching in cafés and parks; casting her mind to new worlds and transposing the people in it. It is clear Greenwood has a rich imagination but she is never too flighty or surreal. With every song, you get that heartbeat of realism and relatability: a woman who has real emotions and concerns but does not portray them in any obvious and predictable way. That is what separates her from her peers: that ability to transcend expectations and blend the extraordinary with the ordinary. I feel we will hear a lot more from her in the coming years and some terrific albums. I have never seen her perform live but can imagine it is quite an unforgettable experience. More of next year will see me interview musicians and really getting into their mind – seeing what makes them tick and learning more about them. Helene Greenwood’s world is one I want to become accustomed to and learn more about. She is an enigmatic and intriguing human whose music is among the most arresting and memorable I have heard in a long while. Anyone new to Helene Greenwood should immerse themselves in Exquisitely Hopeless and its myriad themes. It is dreamy and floating; raw and open and times but never too wide-reaching and unfocused. Everything is anchored by an incredible vocal and authoritative command; the compositions always layered and gorgeous – a musician who you are loathed to compare with anyone else. I have mentioned artists like Joanna Newsom and Laura Marling: perhaps there is a smidge of both within Greenwood. That said, she is someone whose lyrics and stories are inherently her own and immune from easy categorisation and assessment.

Initial seconds of Flat Roof House put the vocal at the centre. There is little waltz of seduction: the song gets underway and the heroine is in view. Almost child-like in its purity and sound, the vocal has a sweetness and sincerity that is filled with innocence and hope. You are imagining the scenes unfold and following what Greenwood is singing about. There are highways “zooming past” – something the heroine can hear at night – and you imagine a rather busy, built-up scene of traffic and sound. In a way, there is a romance to the words. Not necessarily documenting pollution and stress: there is a feeling of life happening around her and a simple, honest life. One imagines, when hearing about the flat roof house, it is about someone else rather than the heroine. Perhaps a friend or character of the imagination; one envisions a simple girl lying by white kitchen goods – as Greenwood sings – and wondering whether it is a dream from yesterday. There is an oblique, dream-like quality to the lyrics that make you wonder what is being talked about. You see the girl in the house – rather honest and traditional – hearing the traffic race by and trying to find solace. The detail and mention of kitchenware could make it, in lesser hands, perfunctory and run-of-the-mill. Greenwood laces her words with something quite extraordinary. It is hard to put it into words but that voice is compelling and sensational. The compositional ‘interlude’ matches zooming, spacey electronics with more composed, balletic piano. There is that mix of gravity-defying and level-headed: blending supremely and creating a rhapsody of beauty and possibility. In a way, the composition best represents the contradictions and complexities of the lyrics. On the one hand, you get traffic noises and nods but there is an oddity and far-off quality that could represent dreaming and the imagination taking flight.

The “Milky white skin” and “Thousand possibilities” that arrive in the next verse bring about new interpretations and thoughts. Greenwood’s vocals – and composition in fact – are inspired by Japan and Japanese music. Her delivery has that calm and unique delivery one would hear from a Japanese artist. You get sounds of the Far East in the composition and vocal – quite still and slow but graced with tenderness and eccentricity. Greenwood’s voice is pure and precise; her words are pronounced with the utmost care in order to ensure they hit the mark. It is unusual hearing an artist with such an expressive and pin-sharp voice. In terms of the lyrics, you wonder what is happening in this segment. We have stepped fully away from domesticity and the ordinariness of life and have transcended somewhere more scintillating, unexpected and magical. The song’s heroine is lying on the floor – or floating in the atmosphere – and letting her mind conspire. I have been loathed to look at any interpretations about the song (Greenwood explaining its origins) as the words provoke different reactions and explanations. These possibilities have “Captured my breath” – the narrative seems to shift to first-person and be about the heroine. Flat Roof House keeps you compelled and guessing; the music and vocals so singular and enticing. At times, one gets glimmers of Icelandic queen Björk and her music. That same sort of delivery and intense (but safe) world where nothing is normal and anything is possible. It would be remiss of me not to mention that legend but incongruous to compare the two directly. Greenwood is her own musician and employs little touches of other artists. In fact, it is that cuisine fusion of Japanese and Icelandic (Súrir hrútspungar sushi, perhaps?!) that makes the song so hard to nail. At every stage, you are captivated by the beauty and softness – Greenwood the narrator and guide who takes somewhere safe and secure.

In a way, the song is like a recollection of past times and childhood memories, perhaps. Having a flat roof house where everyone has a room; there was simplicity to life and a purer time. Against the patterning, tribe beats and shivering, opulent string you ensconce yourself in the scene and spectate. It is hard to refute the majesty and divinity of the voice – something that continues to amaze and impress at every stage. There is a sparsity to Flat Roof House that makes the song more powerful. You are left to paint your own pictures and come to your own conclusions. Songs that provoke that are rare but rarer still are tracks that float into the imagination and calm the senses. In the final minute, you get the conclusion and wrap up. The voice takes a step back and you are left to swim in the electronics and strands; the whispers and echoes. At no point are you anything less than hooked and spellbound. Despite there being few words, Flat Roof House keeps you coming back with its unexpectedness and strange beauty. At the heart of the song is a reality: one that is special to the heroine and one we can all relate to. Even if you do not fully immerse yourself in the song and relate to the sentiments; there is enough beauty and refined grace – plenty of emotion and passion to get you involved. It is that sense of involvement and activity that makes the song so special. Unable to idly sit back, you spend the closing moments assessing what has come before and continuing to follow the story through. First thoughts looked at a fictional heroine who was in her simple house listening to traffic. That changed to ideals of our heroine casting her mind back to times at the house – where there were possibilities in life and everything was ahead of her. Upon further study, I got the feeling of a woman looking back to when she was young and the simple innocence of the time. Perhaps that view will change again but Flat Roof House never stops with its intrigue and fascination. A stunning song from Helene Greenwood that is a pretty good starting point when listening to Exquisitely Hopeless. That album is rich with bounty and marvelousness. One marvels at every song and casts themselves in Helene Greenwood’s world. Flat Roof House is that seraphic gem that keeps on shining and demonstrates what a talent Greenwood is.

I started by looking at Greenwood in the context of the modern scene. There has been a real surge of female artists doing some extraordinary things. This year has seen a lot of tragedy and stress and we are starting to rebuild and evaluate at the moment. Given the unusualness and extremism of 2016, it is understandable many people are willing to put it to bed and forget about it. It is true we can do without the tragedy and death that has been stalking the landscape – and the political insanity – but we cannot overlook just how many great musicians have laid down markers this year. In addition to the mainstream artists and their work: a whole host of new artists are doing great work and showing they can rub shoulders with the best of them. I have been hearing a lot of quality but finding the female artists are making the biggest impact. I am not sure what the reason and rationale is but I suspect there is a general move against the samey, predictable music that has been stalking the landscape for a few years. You still have those female acts – who shall remain anonymous – who are producing sexualised, relationship-heavy songs that are more boring than titillating. Even if they were the latter, you do not want to hear that for too long – the brain starts to rot and the imagination is almost forced into hibernation. Against this rather ill and primaeval movement is a counter-culture of sophisticated, intelligent music.

I have mentioned examples like Laura Marling but Helene Greenwood represents what I am talking about. I feel, is she were male, she would not have been able to create music quite like this It sounds rather odd but there is something innately beautiful, sensual and, almost maternal, unfolds. Among the men of music, I have been impressed by everyone from Radiohead – A Moon Shaped Pool is my album of the year and James Blake; Michael Kiwanuka and Jamie T – but have the most affection and time for female musicians. The girls have been leading the way: this is especially true when you listen to the new/underground musicians of the moment. Greenwood is an individual and special talent who is not following the herd and producing the same old music about the same old things. You get familiarity and relatability but there is that magical quality and entrance. That is in no small part down to the vocal-and-composition coupling that runs riot throughout Exquisitely Hopeless. Ripples and Dream Horses have been available for a short time and invested with something quite transcendent and mind-altering. It is that voice that elevates the songs and puts the words (at times relatable at others mystical) right into the brain. Flat Roof House is the standout and a song, I feel, best represents the album. Of course, the entire work is brimming with quality and beauty – many critics have noted that – but you get the biggest hit on Flat Roof House. I am not sure how Greenwood will capitalise on Exquisitely Hopeless into next year but feel there will be more work and perhaps another album. I have been thoroughly impressed by her album and it is one of the most interesting and detailed I have heard all year.

A stunning and busy work that introduces us to a range of characters and situations – just what we need in music right now. At times, one or two of the songs sound alike, but the abiding impression is of an album perfectly balanced and immensely impressive. The production is rich and polished – without being too so – but it is Greenwood’s assured and intelligent songwriting that stands proudest. Throw in a special and captivating voice and you have one of the best artists (and albums) currently operating in music. We need music that provokes hidden emotions and takes us somewhere special. A lot of the time, when hearing the mainstream’s best, you get some of those emotions uncovered. Whether relief, release or joy: musicians that can enrich and lift a listener is to be congratulated and encouraged. Too often musicians go for the gut and are incapable of producing anything with depth and nuance. Those that go the extra mile and really do something amazing are those we should be concentrating on. I urge you to get involved with Helene Greenwood and a musician with a definite future. I am not sure what her touring schedule looks like next year but she is likely to be performing around London and further afield. She has international quality and that demand should follow: an artist that could hold court around Europe and make a name for herself there. Exquisitely Hopeless is certainly exquisite but its author is far from hopeless. In fact, it that contradiction (in the title) that is reflected in the music. You get a sense of someone discovering themselves and pouring her heart out – a sense of realism and honesty – but that otherworldly effectiveness and stun. Make sure you get the album and investigate it thoroughly. If you are feeling like many out there – exhausted and confused by this year – Helene Greenwood is the person who can banish those bad memories and replace them with something purer and more positive. I have been listening to her album for a few days now and finding new insight and nuance every time I do. It is Flat Roof House that reverberates loudest and creates the biggest reaction in me. After a rather fraught and tempestuous year, it is such a relief…

HELENE Greenwood is among us.

[youtube https://www.youtube.com/watch?v=MrtnZplnlM4&w=560&h=315]

____________________

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FEATURE: The December Playlist: Vol. 1

FEATURE:

 

The December Playlist: Vol. 1

______________________

ARE we in December already?!

The year is certainly flying along and is almost at the end. Before it is, and the inevitable nausea of Christmas songs are cascading through every shop you visit – let’s give ourselves the chance to hear some real, decent music. In honour of BBC’s ‘Sounds of 2017’ longlist; I have included a song from each nominated artist. Also, due to ‘6 Music’s celebration of 1989 yesterday, a list of some terrific songs from a remarkable year. In addition, I have collected the best of the rest: the new tracks coming out and showing just what 2017 holds in store. Enjoy the spoils and relish the last few days before we are witness to the onslaught of Christmas ‘favourites’ – the mind does boggle so!

__________________

PART ONE

Anderson Paak – Celebrate

[youtube https://www.youtube.com/watch?v=5SKpOW_o8Do&w=560&h=315]

Cabbage - Kevin

[youtube https://www.youtube.com/watch?v=9hah4_gj-Bs&w=560&h=315]

Dave – Six Paths

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

Declan McKenna – Brazil

[youtube https://www.youtube.com/watch?v=39r0QFD1oPM&w=560&h=315]

Jorja Smith – Where Did I Go?

[youtube https://www.youtube.com/watch?v=meP1neJrguw&w=560&h=315]

PHOTO CREDIT: Katia Temkin

Maggie Rogers – Dog Years

[youtube https://www.youtube.com/watch?v=a0jXvW1ZS2M&w=560&h=315]

Nadia Rose – Skwod

[youtube https://www.youtube.com/watch?v=Ns_0zp00UQk&w=560&h=315]

PART TWO

Rag ‘n’ Bone Man – Human

[youtube https://www.youtube.com/watch?v=L3wKzyIN1yk&w=560&h=315]

Ray BLK – My Hood (ft. Stormzy)

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

PHOTO CREDIT: Hanna Hillier Photography

Raye – Bet U Wish

[youtube https://www.youtube.com/watch?v=U9Zp8ShoNlg&w=560&h=315]

Stefflon-Don – Hot Prop

[youtube https://www.youtube.com/watch?v=Z_nDO00UpWQ&w=560&h=315]

PHOTO CREDIT: Dan Harris

The Amazons – In My Mind

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

The Japanese House – Still

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

Tom Grennan – Something in the Water (Live)

[youtube https://www.youtube.com/watch?v=fjDKC4YGSdI&w=560&h=315]

Beans on Toast – 2016

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

PART ONE

Beastie Boys – Hey Ladies

[youtube https://www.youtube.com/watch?v=Naf5uJYGoiU&w=560&h=315]

Pixies – Gauge Away

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

Nine Inch Nails – Something I Can Never Have

[youtube https://www.youtube.com/watch?v=WAGAoy5WZWY&w=560&h=315]

De La Soul – The Magic Number

[youtube https://www.youtube.com/watch?v=YZoYEr6NdmE&w=560&h=315]

The Cure – Pictures of You

[youtube https://www.youtube.com/watch?v=UmFFTkjs-O0&w=560&h=315]

Tom Petty – Runnin’ Down a Dream

[youtube https://www.youtube.com/watch?v=Y1D3a5eDJIs&w=560&h=315]

The Replacements – I’ll Be You

[youtube https://www.youtube.com/watch?v=n3XMC_Sk3QE&w=560&h=315]

The Rolling Stones – Mixed Emotions

[youtube https://www.youtube.com/watch?v=loNey3n6uuE&w=560&h=315]

New Order – Fine Time

[youtube https://www.youtube.com/watch?v=MYwNLlTt3AQ&w=560&h=315]

Faith No More – Epic

[youtube https://www.youtube.com/watch?v=ZG_k5CSYKhg&w=560&h=315]

Neneh Cherry – Buffalo Stance

[youtube https://www.youtube.com/watch?v=JWsRz3TJDEY&w=560&h=315]

PART TWO

Janet Jackson – Rhythm Nation

[youtube https://www.youtube.com/watch?v=OAwaNWGLM0c&w=560&h=315]

Soundgarden – Loud Love

[youtube https://www.youtube.com/watch?v=j0xosEFe8Ik&w=560&h=315]

Nirvana – About a Girl

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

Soul II Soul – Back to Life

[youtube https://www.youtube.com/watch?v=TB54dZkzZOY&w=560&h=315]

Midnight Oil – Beds are Burning

[youtube https://www.youtube.com/watch?v=ejorQVy3m8E&w=560&h=315]

The Bangles – Eternal Flame

[youtube https://www.youtube.com/watch?v=PSoOFn3wQV4&w=560&h=315]

The Beautiful South – Song for Whoever

[youtube https://www.youtube.com/watch?v=2XyzLp06Etc&w=560&h=315]

Queen – I Want It All

[youtube https://www.youtube.com/watch?v=hFDcoX7s6rE&w=560&h=315]

The Stone Roses – I Wanna Be Adored

[youtube https://www.youtube.com/watch?v=4D2qcbu26gs&w=560&h=315]

10,000 Maniacs – Eat for Two

[youtube https://www.youtube.com/watch?v=8BBff-cStE4&w=560&h=315]

Madonna – Like a Prayer

[youtube https://www.youtube.com/watch?v=79fzeNUqQbQ&w=560&h=315]

Black Box – Ride On Time

[youtube https://www.youtube.com/watch?v=M0quXl_od3g&w=560&h=315]

PART ONE

Izzy Bizu – Mad Behaviour

[youtube https://www.youtube.com/watch?v=OA_E6udchlM&w=560&h=315]

Jean Watts – Spirit Animal

[youtube https://www.youtube.com/watch?v=Bk86CNdw8Ag&w=560&h=315]

Peter Doherty – Kolly Kibber

[youtube https://www.youtube.com/watch?v=qUUbpeBXse0&w=560&h=315]

Laura Marling – Soothing

[youtube https://www.youtube.com/watch?v=eCS4OTgaHeM&w=560&h=315]

Anohni – Marrow

[youtube https://www.youtube.com/watch?v=Rb9XECErMlc&w=560&h=315]

Fractures – Fall Harder

[youtube https://www.youtube.com/watch?v=dohR84xFak8&w=560&h=315]

Sia – Angel by the Wings

[soundcloud url="https://api.soundcloud.com/tracks/295708929" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

PART TWO

Beyoncé – All Night

[youtube https://www.youtube.com/watch?v=gM89Q5Eng_M&w=560&h=315]

Emily Smith – Find Hope

[youtube https://www.youtube.com/watch?v=tSCEk9vdZzU&w=560&h=315]

The xx – On Hold

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

Frank Carter and the Rattlesnakes – Wild Flowers

[youtube https://www.youtube.com/watch?v=1T-loVIOj6Q&w=560&h=315]

The Big Moon – Formidable

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

Jessie J (x Make Up Forever) – Can’t Take My Eyes Off You

[youtube https://www.youtube.com/watch?v=JViDEPJBBq0&w=560&h=315]

Joe  Goddard – Lose Your Love

[youtube https://www.youtube.com/watch?v=q5j-IrPcwvM&w=560&h=315]

Tall Ships – Day by Day

[youtube https://www.youtube.com/watch?v=2jF4D4DuPPY&w=560&h=315]

Mary Spender – She

[soundcloud url="https://api.soundcloud.com/tracks/284498479" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Rosie Crow - Charlotte's Song

[soundcloud url="https://api.soundcloud.com/tracks/274549283" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Wayne Woodward – Numb

[soundcloud url="https://api.soundcloud.com/tracks/283793428" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Emmi – Couldn't Care Less

[youtube https://www.youtube.com/watch?v=mWM0ek2o3Ms&w=560&h=315]

PHOTO CREDIT: Katie Craik

CHILDCARE – Film Club

[soundcloud url="https://api.soundcloud.com/tracks/290207427" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

PHOTO CREDIT: Ugo Petronin Photography

Stephanie O – Love's Made a Fool of Me

[soundcloud url="https://api.soundcloud.com/tracks/285243545" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Kat Kenna – We're the Same

[youtube https://www.youtube.com/watch?v=ODhiP2lJDrY&w=560&h=315]

Lady Leshurr (ft. Wiley) - Where Are You Now? 

[youtube https://www.youtube.com/watch?v=WLFd6xaRLN0&w=560&h=315]

GIRLI - Girl I Met on the Internet

[youtube https://www.youtube.com/watch?v=SLZxQDr8jk0&w=560&h=315]

XY&O - Every Single Second

[soundcloud url="https://api.soundcloud.com/tracks/275739192" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Jasmine Branca - Lilly

[soundcloud url="https://api.soundcloud.com/tracks/295999339" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

I am not sure how many more December Playlist entries there will be – there are fewer new releases as the year cools off – but I am sure the next edition will feature the odd Christmas number (be forewarned). It is amazing seeing so many great tracks still arriving: new artists hoping to be prominent and active in 2017; making bids for attention and focus. It is with that I bid another festive-nearing edition of my Playlist series down and look ahead to the new week – just what songs might be dropping and what surprises lay ahead.

TRACK REVIEW: Loud Mouth Machine - Honeycomb

TRACK REVIEW:

 

Loud Mouth Machine 

 

Honeycomb

9.6/10

Honeycomb is available at:

https://soundcloud.com/user-573866498/honeycomb-mix

RELEASED: November 2016

GENRES: Indie-Rock; Jazz

ORIGIN:

London, U.K.

The E.P., Shades of Blue, is available via:

https://www.youtube.com/playlist?list=PL2OMewoJwI9sWiQj_2DKGGu0HBzVElvPn

________________________

WE have arrived at the time of year when most of us start to reflect…

on what has come before. If one tries to distill and define this year, in music terms at least, it is a year of two halves. On the one side, we have had a lot of fantastic music come through – both new musicians and established acts producing incredible sounds. On the other side, there has been a lot of tragedy and loss – some of music’s legends have departed us. In essence, 2016 has been one of the most eventful and turbulent in living memory. In that respect, many are looking ahead to 2017 with higher hopes – let’s keep our fingers crossed there will be less tragedy and even more fantastic music. Before I come to my featured act, I want to look at the sounds of 2017 and the artists that deserve bigger respect; a bit about unsigned acts that are on the verge of getting acclaim. Looking at the boys of Loud Mouth Machine and you feel they should be starring in these end-of-year polls that are starting to emerge. I, like many music lovers, waited with baited breath for BBC’s ‘Sounds of 2017’ poll: their assessment of the artists that will be defining next year’s music. Out of the list, you have Grime/Rap and Urban acts – they make up a large proportion of the list. I will not name/dissect every artist on the long-list but there is plenty of foreign talent; a great mixture of male and female – that leaning towards street-wise, hard-hitting solo artists. Last year, winner Jack Garratt was BBC’s choice and someone (they deemed) would make big steps in 2017. Whilst he has released material and produced some incredible live sets – he has just to fruition into the star we thought; it might take a few years to materlaise. Other artists (on that list) including Izzy Bizu were hotly tipped, and whilst her debut album showed glimmers of promise, it was not quite as heady as expected. This year, there is a straying away from chart-ready, radio-friendly acts and emphasis on something more daring, exciting and ‘relevant’.

Turning away from artists who talk of love and personal demons – towards those who address societal issues and what is happening in the modern world. Perhaps that is indicative of the necessities and demands of the modern consumer: they want music that documents what is unfolding and provides guidance; less heavy on personal revelations and more towards politics and street reality. Of course, the 2016 BBC longlist has a few Pop/radio acts that we could be hearing more of – it is hard to say just who will rise and whether any of the acts will make big statements. Last year, long-list includes like Billie Marten impressed me a lot more. She is someone who not only deserved to be shortlisted but, out of the entire longlist, has made the biggest impact this year. That is the way things can go: artists that are not in the ‘top five/ten’ often fare a lot better. My point is it is great seeing these lists – I am in the process of completing a trilogy of feature pieces; the third will feature Loud Mouth Machine – but they should be taken at face value. Even though BBC’s was conducted and compiled by a host of industry experts and musicians – there is a degree of subjectiveness and limitation to the poll. I feel artists like Loud Mouth Machine are worthy of inclusion. Not just because they have been featured on BBC radio – more on that later – but because the band market has taken a critical backseat the last couple of years. It has been a while since BBC-like polls have featured bands – the prominent trait is spotlighting solo talent and duos. Given the talent and originality of some solo artists coming through right now, it seems like kismet tastemakers are featuring them. The public clearly has a taste and affection for these artists so it is only right this demand is reflected appropriately. One should not de-prioritise bands and assume they are less deserving of focus. I have seen few mainstream polls and end-of-year lists that are tipping bands. You get the odd one but it is still solo artist-heavy. Such is the swell and proliferation of musicians emerging it is challenging capturing the best and limiting such polls – which is why I do expansive multi-part ones. The Loud Mouth Machine boys are technically a duo – whether you class that as a band or not – and are one of the sharpest and most determined London acts around. One of the reasons I am featuring them, in addition to promoting their latest material, is to draw attention to a group/duo that WILL be making marks next year. It is not a case of hit-and-miss and trial-and-error: these boys have already been lauded by influential D.J.s and are on a golden course.

I feel, with a pinch of chagrin, musicians like Loud Mouth Machine are not being included in ‘ones to watch’ lists – they are deserving of inclusion for sure. The Camden-based boys have all the ingredients and fabric needed to build a fascinating and sustainable career. Their music has already caught the ears of prominent D.J.s – including Radio 2’s Dermot O’Leary – and gained a lot of praise. It cannot be long until the two-piece is being mentioned in the same breath as the new crop of BBC recommendations. Before getting on to their music, I wanted to look at unsigned acts and how they might fare in the coming year. Over the course of my reviews, I get to look at a lot of unsigned artists. It is hard getting noticed in modern music with the sheer weight and volume of competition. Those that keep resolute should be commended for their tenacity and spirit. Such is the temptation to denounce intentions and retreat from the hot glare of music – the demands and realistic rigours placed on the shoulders of the young and hopeful. Whilst getting a record deal is not the be-all-and-end-all: in order to progress and develop a career, the backing of a record label is needed. In conjunction with my reticence regarding end-of-year polls – how detrimental is non-inclusion to artists looking for a record deal? When it comes to the boys of Loud Mouth Machine, one feels there is a bright and prosperous future awaiting them. Whilst there is scant biography and music online – their current E.P. is their fullest and debut work – the lads have been self-promoting and doing their hardest to get their music heard. In reality, how crucial is securing a record deal? Is an act less likely to get gigs and success were they to charter their own careers? There is a valid argument to suggest those who fly solo are just as likely to realise their full potential. The reason I mention it is because it seems galling Loud Mouth Machine have not been snapped up by a local label. Maybe there are fewer labels or less space available in their ranks – unable to adopt quite as many artists as they’d like. One feels, given a little more time and room, the London act will come to the attention of a label. Their music is as direct and instant as any you care to mention. When dissecting Honeycomb – noted as an E.P. highlight be many reviewers – you get where they are coming from and what they are about. It is a song not just reserved for lovers of Alternative/Indie stylings: a universal revelation that ably seduces every listener. The guys are not making music for the charts and trying to fit into holes – as unique and individual as any. Perhaps I am being a little bias – in a position where I am reviewing them positively – but you feel the guys deserve a record label deal. They will survive and grow with our without it but, and for any P.R. companies reading, shoulder a lot of the promotional duties would free them up to focus on recording and performing. The two-boy, one-man band approach to P.R. is impressive to see – let’s hope they have the energy to keep the momentum going next year. I am thoroughly impressed by the boys’ attitude and faith; the way they put themselves out there and, most importantly, the quality of their music.

Shades of Blue is the best (and only real) record one can assess from Loud Mouth Machine. They have been performing together for a while but their current E.P. is their first, full exploration – and one that has been capturing ears and impressing critics. I will be focusing on Honeycomb but the remaining three tracks are exceptional too. The title track reminds me, like a lot of the E.P., of Steely Dan. It is not a comparison you hear made in modern music and that is a shame. Steely Dan are one of my favourite acts – and authours of my all-time favourite song – but you hear elements of Walter Becker and Donald Fagen throughout. The lead vocal has the same blend of cynical cut and lusciousness Fagen was famed for – that stern and, at times, sarcastic edge; underpinned by a warmth and gracefulness. When you get to the chorus – and the vocals layer into a cascading river – there are hints of Steely Dan’s Aja-Gaucho-era work. Whilst the composition has a comparable Jazz-Rock sound to it, the London boys are very much their own artist. If you dig hard you can hear the odd fleck of other artists but the overall impression of a duo who owe a debt to nobody. The title cut sees a hero (and heroine) bathed in sunshine and woken by the dawn light – almost a rhapsody to the sunlight and crisp morning. Perhaps the boys have another interpretation but the song has that uplifting and magical tone. There are not many original lyrics – the emphasis is on composition – which gives the music a chance to grow and shine. Funky bass and spacey synths.; tight beats and all manner of contrast go into a song that requires multiple investigations to fully click. It is a such an atmospheric and beautiful song – one that few other acts are capable of. Similarly, History in the Making has that same effectiveness and grandeur. Opening with a tenderness and subtlety; the song documents a relationship with a peculiar dynamic. It seems like a certain lack of discipline and messiness are appealing to the heroine.

Maybe the two have been together a while and used to umbrage, eventfulness and a certain oddity in this relationship – you get a unique insight into a modern, if different, love. There is a need to relax and take things slowly: perhaps the two are rushing and there is miscommunication; a lot of baggage to work through and a lack of understanding. Again, it is a song that begs for an individual interpretation but puts fresh spin on avenues of love and relations. The chorus, like the title track’s, is luminous, gleaming and rousing. Female vocals add a sense of beauty and etherealness – once more, I hear a little bit of Steely Dan but less pronounced than before. History in the Making is a more relaxed and considered track than Shades of Blue – that reconciliation-cum-mediator tone, and as such, the vocal and composition have a cool edge and a genuine calm. Always hooked by the imbalance – heroine liking a mess and forcefulness; the hero more debonair and restrained – it gives charm and character to the song.

You can picture yourself in the scene; trying to referee the situation or standing back and watching it all unfold. The final moments of the song put the composition into the spotlight and conclude things with a Jazz-like, odyssey of cosmic synths. and a weightlessness – perhaps the most appropriate conclusion to a song that deals with fraught emotions and a certain friction. Addictive is the closing track and one of the most instant and unsettled. The song is, in essence, a dialogue – or monologue to be more accurate – from the song’s heroine. It is the only track where the duo steps away from the vocals and allow another person to tell the story. The narrator – whose name I shall have to obtain – recounts a conversation/moment when things turned from pure to sour. The two – heroine and hero – were fine and enjoying each other’s company. Then, and with little provocation, things started to unravel and it all hit the rocks. There is jealousy afoot and it seems as though that green-tinged emotion has created a split in the relationship. It is not said whether another man or woman is to blame but the hero has heard chat – recalling a conversation or hearsay – and is taken it as gospel. The confusion and urgency in the narrative show what emotion and tension there is.

The duo, whether the heroine and one of the Loud Mouth Machine clan, were screaming all night and arguing. Before long, there is a hug and sense of resolution. The heroine’s voice cracks and strains at some moments but that hug was welcomed and needed. The ‘addictive’ part of the song is that mix of explosion and hug – going from near-break-up to being alright. Whether the actual process of arguing is addictive or that comforting feeling of reconciliation, I am not too sure. It is one of the most affecting songs on the E.P. despite it being the shortest and sparsest. The delivery is perfect and it is a track that drips with emotions, drama and evocativeness. A perfect way to end an E.P. that shows what a unique force Loud Mouth Machine is. I have mentioned influences like Steely Dan – Pink Floyd too – but the boys are not to be compared with anyone. Such is their skill and talent you immerse yourself in the music and are stunned by what unfolds. Few other acts/duos are providing that mix of everyday romance and Space Age composition. Each track tells a story but the compositions are so atmospheric and fascinating, you find yourself listening to (the E.P.) time again.

Honeycomb is the track I wanted to focus on as I feel it is the highlight – and best representative of the E.P.’s sounds and themes. The opening seconds of the song have a calm, tropical sentiment to them. Island-themed strings beckon you to a sunshine island and an alluring Paradise. Not only is a contrast to the more weighted and serious tones of accompanying tracks; it is a welcome contrast and a song you instantly bond with. Honeycomb looks at a relationship and is the song where you get a real sense of the E.P.’s title. Of course, shades of blue attests and documents sadness and upheaval – there is quite a bit of that running through Honeycomb. The hero admits he was wrong and is seduced by her “escalator eyes” and allure. There has been a fall-out and misjudgement but our lead confesses his indiscretions and wants her back. Beckoning back to his place, loneliness is not a desirable option. You feel like there was a solid relationship but an event has caused a brief fracture. Maybe the E.P. acts like a suite or concept: you track to the previous tracks and follow the story to this point. Whatever has happened you get the sense there is an imminent repair. Such is the heartfelt and gentle delivery it is easy to get lost in the song and hooked in the breeziness. In terms of the vocals, there is a lot more (London) access than before which gives it a cheeky-chappy appeal and, rather oddly, gives the words more gravitas. You always believe the hero and what he is saying. Never fully revealing the circumstances behind his apologies: the listener is free to examine the story from their side and one to their own conclusions.

There is a mix of oblique and literal in the words which means some of the sentiments are clear whilst others are not so obvious. The lead does not want to be alone and seems to be seduced to by the heroine but there is certain wariness. You get caught and addicted by the earnest vocal and the occasional rush of beauty and unexpected composition. At its heart, Honeycomb relies on those simple, energised strings but throws in some lush rushes and sweeping touches. “Can’t keep fighting the kindness in your lies” may be a line I have semi-misheard but grabs me with its contradictions and individuality. Throughout the E.P., you hear the story of two lovers who are going through some storms and turbulence. The final track is a stark and honest story of argument and comfort: that destructive moment followed by the calm (after the storm). For that reason, I see Honeycomb as a precursor to that night – the lovers, perhaps, at their most tense, whether sexually or personally. The hero does not want his honeycomb stolen: whether that is a euphemism or representation of his purity and honesty. Maybe he wants the girl but on his own terms; does not favour the stress and unpredictability and wants a simpler, straightforward relationship. There has been deceit and lies and the hero seems willing to fall into that trap. Such is the power and allure of the bond – like a bee summoned to nectar; a spider weaving its web – there is no way to avoid it. Our man has been experiencing loneliness and solitude and is looking for human touch and comfort. The girl, whether a long-term love or new attraction, is providing a beauty and allure that is hard to resist. Like I said before: the composition and vocal interjections provide rush and mislead; catching you off guard and getting into the heart. What Honeycomb provides is an earthy and pure testament of a relationship but has some many beautiful and divine edges. From lush and rousing vocals to compositional rushes – you are always invested and stunned.

That is highlighted by the brass parable that acts like a relief and further chapter of the story. At once yearning and tremulous; the next stately and dignified – a swaying and touching sound that infuses the senses and elicits smiles and comfort. When listening to the composition (at this point) you hear influences of Miles Davis. There is a mix of Kind of Blue’s reflectiveness and mood and spritz of Birth of the Cool’s suaveness and shade-wearing strut. That together with the rum-flavoured sound of the acoustic strings and you have a new cocktail: The Honeycomb. It is the invention of Loud Mouth Machine and, once sampled, provokes images and flashbacks of love in all its dichotomous balance – the heart-racing heat juxtaposes against the spicy and edgy downs. The closing seconds take the composition down and replace the near-jubilant skip of the trumpets with echoed sounds – almost like floating in space or succumbing to the night. It is a fantastic end to a song that stands out proud. Shades of Blue is a fantastic and unique E.P. that could not have come from any other act. Honeycomb is its sweet and sticky highlight that proves what an appealing, alluring and sensational proposition the London duo is.

It will be interesting watching Loud Mouth Machine blossom and strike throughout 2017. I say this about a lot of bands but it is true of the guys. Before I properly conclude with a bit about Loud Mouth Machine’s likely success; it is worth coming back to important points given what we’ve heard from the boys. Cabbage are a rare exception in a BBC long-list for 2017 that promulgates and emphasises the solo artists coming through. Not just confined to British acts: there are American artists included in the pack. I am not sure why there is a proliferation of Urban acts on that list – and many other polls will mirror this – but perhaps it is a reaction to the world around us. Whereas most bands and ‘traditional’ solo artists address other themes – relationships and personal concerns – Urban acts look at the world more carefully and detail the struggles and realities occurring. Perhaps there has been, in previous years, a leaning towards certain artists and safer acts – you can hardly accuse Adele and Sam Smith of being edgy and cool. Polls like BBC’s are reacting to a contemporary desire for artists more savvy, authoritative and interesting – not your run-of-the-mill Pop stars and samey acts. For this reason, there is a lot of attention being taken away from bands. In the coming weeks, we will see more polls come forth. From magazines and musical websites: each site will be publishing who they feel will be making strides in 2017. I have done it myself and, aside from the Loud Machine Boys and a few others, it is predominantly solo artists included. I am not sure why there is a trend towards sole artists but bands deserve their acclaim and proffering. I opened by mooting (the fact) Loud Mouth Machine should be on end-of-year lists. There will be band-heavy polls conducted and it is only right the London duo are included. They have worked hard and have a sound that is very much theirs. I witness many bands who still stick too closely to others and are unwilling to try something new. It is disheartening hearing bands that go through the motions and seem indistinguishable from every other one out there. Loud Mouth Machine have already captured the hearts of many critics are look set to build on that acclaim next year.

The guys are unsigned and it gets me thinking how long before they secure a deal. Again, this is something I debated near the top and it is interesting whether it is a vital thing. Sure, artists can see their careers grow and develop without a record label but (that deal) takes some of the stress and anxiety away. It is not only a thumbs-up and backing but another pair of hands. With a label in your corner, there are greater possibilities and avenues opened up. So far, the Loud Mouth Machine has been generating plenty of attention, hype and focus. They conduct their own P.R. and expending a lot of time and effort getting their music in the hands of the media and radio. Shades of Blue is a tight and focused E.P. that is complete killer and suffers no fatigue or modesty. Every tune stands out and has its own character; there is a lot of life, energy and candour among reflectiveness and emotion. I have called Loud Mouth Machine a ‘band’ but are technically a ‘duo’. In that market, they have plenty of support but will still have to fight for attention. I have long-held the belief duos are among the finest and most interesting musicians on the planet. However you classify and configure the London act; there is no denying how ready and spirited they are. Having been played by Dermot O’Leary and getting their names known across (some of the) most influential stations in the U.K. it is all going well. Regardless of whether a record deal comes next year, they will carry on and continue to battle hard. Their work ethic and determination is to be commended, but in reality, the boys needn’t sweat too hard. They will be enjoying success and continue to see their music exposed and played. Honeycomb is a song tipped by many reviewers and one I feel best represented the E.P. Rather than give an in-depth review of each track – and expend thousands more words – it was prudent focusing on the one and giving an overview of the rest. I would urge everyone to hear the E.P. and let its magic work; stick it on and evaporate the winter freeze.

Let’s hope the boys remain resolute and steely in 2017 as they are making terrific progress. Shades of Blue has heart and emotion but enough defiance and conviction to unify many. There is nothing to suggest the guys will not be included on ‘best of’ lists this time next year. I can see them unveiling a new E.P./album and performing right across the capital. London is starting to resurge and breathe following Fabric’s survival – not just great for the venue but a faithful gesture that suggests London’s music scene is not as endangered as first feared. There are still steps to be taken – to ensure there are not closures next year – and a lot of work ahead. Loud Mouth Machine are among a swell of musicians calling London home and centering themselves in the city. I am sure they will be getting more gigs throughout the U.K. and international demands; airplay across more BBC stations (including ‘6 Music, perhaps) and a lot more fans. Their social media numbers are impressive and continuing to climb by the day. It is a sign of a terrific duo/band that want to remain in music for years to come. Given the reaction to Shades of Blue – that might not be such a far-fetched ambition. A record deal will come and due diligence paid to two guys who have a tenacity and talent few others possess. In addition to being one of the acts I am tipping for 2017 success: they will inspire others and get like-minded musicians engaged and involved in music. They are relatable and everyday chaps that bring personality, soul and charm to their music. Honeycomb is a song that gets inside you and reverberated around the mind – the hallmark of a truly great song. The days are getting colder and the year is starting to wrap itself up. Against the constant wave of new acts and tipped artists, it can be hard deciphering which acts will genuinely remain in music past next year. A lot of polls (including BBC) have heralded artists either unworthy or such acclaim or lacking necessary longevity and originality. This year might be different – depending on who wins – but we must not forget the honest, hard-working acts that fly under their radars. Loud Mouth Machine will remain semi-anonymous for a very short time before they are festival headliners. Get your ears around Shades of Blue and…

HEAR what all the fuss is about.

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_____________________

Follow Loud Mouth Machine

 

Facebook:

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

Twitter:

https://twitter.com/LOUDmouthmach

Instagram:

https://www.instagram.com/loudmouthmachine/

SoundCloud:

https://soundcloud.com/user-573866498

YouTube:

https://www.youtube.com/channel/UCBKgV0PdRpkWfEzwWL9GJ_w

FEATURE: The Five Best Tracks of 2016: Laura Marling - Soothing

FEATURE:

 

The Five Best Tracks of 2016:

  

Laura Marling - Soothing

_________________

THE remainder of this feature will showcase 2016 tracks by…

the boys of music. I mention gender because a lot of the best and memorable music of this year has been made by female artists – in fact, the vast majority. There are few out there are as consistent, skilled and astonishing as our very own Laura Marling. Not to say Laura Marling’s inclusion is an unexpected thing: any year she releases music and she’s going to be on a ‘Best of’ list. Short Movie was her last, extraordinary, album released last year. Ever since her debut – Alas, I Cannot Swim in 2008 – she has been overwhelming critics and producing genius work. In fact, her five albums to date are all immaculate: the work of a mature and intelligent songwriter who has few peers; never stands still and is one of the, if not the very best, finest songwriters of this generation. I was unsure whether we’d hear anything from Marling in 2016: the fact the lead-off single from Semper Femina – her next album scheduled for release in March – is among us is an early Christmas treat. The reason it makes my list of favourite tracks of this year – my fifth-favourite, in fact – is because it is both ultra-Marling-esque and somehow not. Anyone expecting a re-derivation of Short Movie’s sound will be a little disappointed. Soothing is all manner of twanging bass and edginess; an underlying mood of sensuality – if that is the right word?! Before assessing the new track – and why it makes my elite list – Marling said, in a press release: “I started out writing Semper Femina as if a man was writing about a woman,” going on to say: “And then I thought it’s not a man, it’s me — I don’t need to pretend it’s a man to justify the intimacy of the way I’m looking and feeling about women. It’s me looking specifically at women and feeling great empathy towards them and by proxy towards myself.” The latex-clad, self-directed video is almost as intriguing as the Jazz-like twangs that beckon a sweet and beckoning vocal. Marling castigates a man who doesn’t live “here anymore”. One of her most beautiful and tender performances yet: the heroine’s lips “aren’t moving” – someone who needs soothing against the fractious vicissitudes of the world. Maybe an open-hearted confession of lost love or loneliness – you are entranced by the voice-and-string combination. Enigmatic, vivid and dramatic: another instant and memorable Laura Marling song. Compacted notes and taut strings seem at odds against a calm and floating vocal: the combination not only works wonderfully but elevates the song and makes it completely inescapable. By the end, you want to play it again and witness that vocal one more time; another chance to hear that alluring composition; another chance to picture what the song is describing. It is a song that not only proves Marling is one of the most productive and staggering songwriters around – still in her 20s - to all you upcoming songwriters – but how versatile she is. Whether Semper Femina’s remaining tracks have a similar feel and sound is yet to be revealed. Its lead-off single shows Marling has not lost a step and will produce yet another world-class, beat-her-if-you-dare album.

[youtube https://www.youtube.com/watch?v=eCS4OTgaHeM&w=560&h=315]

 ___________________

Follow Laura Marling:

https://live.lauramarling.com/

The album, Semper Femina, will be available in March

FEATURE: The Ones to Watch 2017: Part Three

FEATURE:

 

The Ones to Watch 2017: Part Three

___________________

IT has been pretty interesting and emotional putting together…

the artists I feel will be finding success next year. Included in the final part are musicians from Belgium, South Africa and the U.S.; Norway and Australia – plenty of British representation. Across the list there is a multitude of genres and styles: it will be fascinating seeing which of the artists climb highest. In truth, they all have immense potential and the impetus to go as far as possible. I have had a great time binding together great musicians together and discovering some new artists – quite an eye-opening experience. Sit back and enjoy the remaining acts I feel will be contributing vastly to 2017’s musical landscape.

________________

 

PHOTO CREDIT: Lauren Marsh

Nina Schofield – Pop/Alternative, London, U.K.

[youtube https://www.youtube.com/watch?v=RpuDknvB2-U&w=560&h=315]

http://ninaschofield.com/

Cryptic Street – Alternative/Art-Rock, Malta

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https://www.facebook.com/crypticstreet/

Blayre Mic – Rap/Soul/R&B, Oakland, U.S.A.

[youtube https://www.youtube.com/watch?v=YwKddS8IL-w&w=560&h=315]

http://blayremic.com/

AYO – Alternative/Soul, Brooklyn, U.S.A.

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

http://www.ayomusic.com/

PHOTO CREDIT: Jose Martin

Cabbage – Alternative, Mossley, U.K.

[bandcamp width=350 height=470 album=1014024610 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2467752735]

https://www.facebook.com/cabbagelechou/

PHOTO CREDIT: R. Cleveland Aaron

Lisa Marini – Dark-Folk, London, U.K.

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

http://lisamarini.com/

PHOTO CREDIT: Arnab Ghosal Street Photography

Albert Man – Alternative-Pop/Rock, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/283855999" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.albertman.com/music/nonm/

Alexandra Jayne – Folk/Alternative, Shropshire/London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/273927265" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.alexandrajaynemusic.com/

Stefflon-Don – Rap, London, U.K.

[youtube https://www.youtube.com/watch?v=0fcbJzKmTm0&w=560&h=315]

https://www.facebook.com/Stefflon-Don-166710903403474/

Nadia Rose – Rap/Hip-Hop/Grime, Croydon, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/239223500" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.nadiarosemusic.com/

Skott – Indie/Pop, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/275565563" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://twitter.com/skottpeace

Weak13 – Post-Grunge, Kidderminster, U.K.

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

http://weak13official.com/

Luk – Indie-Electronic/Experimental-Rap.-Wave, Merthyr Tydfil, U.K.

[youtube https://www.youtube.com/watch?v=VqaTC18TudA&w=560&h=315]

https://www.facebook.com/00000Luk/

PHOTO CREDIT:  Irina Kolesnikova

ALA.NI– Soul/Alternative/Pop, London, U.K.

[youtube https://www.youtube.com/watch?v=k7PJxrNEvFc&w=560&h=315]

http://www.ala.ni/home

Braver than Fiction – Lounge/Rock, Sheffield, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/290373731" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.braverthanfiction.com/

Laura Roy – Pop/R&B, Toronto, Canada

[youtube https://www.youtube.com/watch?v=3po7psEfBTc&w=560&h=315]

http://www.lauraroy.ca/

Savannah Dumetz – Soul/Singer-Songwriter, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/244936891" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://soundcloud.com/savannahdumetz

PHOTO CREDIT: @ritchienevillephotography

Mi’das – Soul, London, U.K..

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

http://www.officialmidas.com/

PHOTO CREDIT: Sara Amroussi-Gilissen

Cocoa Futures – Pop, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/283927558" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://www.facebook.com/cocoafutures/

The fin. – Indie/Shoegaze/Cinematic-Pop, Kobe-shi, Japan

[soundcloud url="https://api.soundcloud.com/tracks/254786396" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.thefin.jp/

PHOTO CREDIT: @alex_cameron

Gypsyfingers – Cinematic-Folk, London, U.K.

[youtube https://www.youtube.com/watch?v=epDEtBmth0I&w=560&h=315]

http://www.gypsyfingers.com/

Universal Thee – Alternative/Indie, Edinburgh, U.K.

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

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

PHOTO CREDIT: Ben Cope Seven Artist Management - 7AM

Silver Rose – Shoegaze, Dream-Pop, Los Angeles, U.S.A.

[youtube https://www.youtube.com/watch?v=84SnhePoOY0&w=560&h=315]

http://www.silverrose.mx/

Ivy Mode – Pop/Indie, Belgium

[youtube https://www.youtube.com/watch?v=qy12GvnBRCM&w=560&h=315]

http://www.ivymodemusic.com/

Chaos Jigsaw – Rap/Hip-Hop, Stoke-on-Trent, U.K.

[youtube https://www.youtube.com/watch?v=2reUOpulRK8&w=560&h=315]

https://www.facebook.com/chaosjigsaw/

Michael Jablonka – Alternative-Rock, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/284645502" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://www.facebook.com/michaeljablonkaofficial/

Helene Greenwood – Alternative/Singer-Songwriter, London, U.K.

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

http://www.helenegreenwood.com/

Liv Dawson – Pop, London, U.K.

[youtube https://www.youtube.com/watch?v=vMM41JIs0UA&w=560&h=315]

http://www.livdawson.com/

Buzzard – Grunge/Punk/Rock, Stourbridge, U.K.

[youtube https://www.youtube.com/watch?v=2WK73DbchLg&w=560&h=315]

http://www.buzzarduk.com/

PHOTO CREDIT: Phil Tubbax

Alice Avery  – Pop, New York, U.S.A.

[youtube https://www.youtube.com/watch?v=PXhobLN8LtY&w=560&h=315]

http://www.thealiceavery.com/

Ina Reni – Pop, London, U.K.

[youtube https://www.youtube.com/watch?v=JICnowcuYP8&w=560&h=315]

http://inareninow.com/

PHOTO CREDIT: Luke Novak

Natalie Bouloudis – Blues-Folk, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/283334088" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

 https://www.facebook.com/nbouloudis/

We Are the Catalyst – Alterative-Metal, Gothenburg, Sweden

[youtube https://www.youtube.com/watch?v=9qDMX6k25FE&w=560&h=315]

http://www.wearethecatalystofficial.com/

Quiet Quiet Band – Country-Folk/Art-Rock, London, U.K.

[youtube https://www.youtube.com/watch?v=Zf52lXzSm0A&w=560&h=315]

https://quietquietband.com/

PHOTO CREDIT: Carla Boecklin Photography

Robyn Cage – Pop, Utah, U.S.A.

[soundcloud url="https://api.soundcloud.com/tracks/220337090" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

 http://www.robyncage.com/

Hunter & the Bear – Rock, London, U.K.

[youtube https://www.youtube.com/watch?v=J3uXOwV9c74&w=560&h=315]

http://www.hunterandthebear.co.uk/

The Soap Girls – Rock/Punk/Grunge, Cape Town, South Africa

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

http://thesoapgirls.com/

KMF – Indie-R&B, Bergen, Norway

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

http://www.kmfband.com/

PHOTO CREDIT: Hypatia Angelique Porter

Jude Perl – Comedy/Pop, Melbourne, Australia

[youtube https://www.youtube.com/watch?v=BtyGU1HUloA&w=560&h=315]

http://www.judeperl.com/

RAY – Cinematic-Pop

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

https://www.facebook.com/LISTENTORAY/

PHOTO CREDIT: Melanie Tjoeng Photography

Eliza Shaddad – R&B/Soul/Alternative, London, U.K.

[youtube https://www.youtube.com/watch?v=G23RRTDU0hk&w=560&h=315]

http://www.elizashaddad.com/Eliza_Shaddad/Home.html

Sian Cross – Pop/Rock, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/291192915" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://siancross.co.uk/

PHOTO CREDIT: Lee Houston

Deliah – Contemporary-R&B, Liverpool, U.K.

[youtube https://www.youtube.com/watch?v=4mQN-O8DD8A&w=560&h=315]

http://www.deliah.io/

Joy Oladokun – Rock-Soul, Los Angeles, U.S.A.

https://play.spotify.com/track/0e3qDRIDK5tGN5e8g9jNO7

http://joyoladokun.com/

HALEM – Eletronic/Dance, Liverpool, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/293623276" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://www.facebook.com/halemmusic/

PHOTO CREDIT: Adam Battaglia

The Federal Empire – Los Angeles, U.S.A.

[soundcloud url="https://api.soundcloud.com/tracks/286665818" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.thefederalempire.com/

Loud Mouth Machine – Alternative/Indie, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/286665818" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

[youtube https://www.youtube.com/watch?v=LENdkYzMT0M&w=560&h=315]

PHOTO CREDIT: Chloe Newman

Jorja Smith – R&B/Soul, Walsall, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/293616850" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://www.facebook.com/jorjasmithmusic/

FEATURE: The Five Best Tracks of 2016: Billie Marten - Emily

FEATURE:

 

The Five Best Tracks of 2016:

 

PHOTO CREDIT: Danny Payne

 

Billie Marten - Emily

___________________

AFTER an album that recently featured in my ten favourite from 2016…

(it is actually my standout) it is only natural a track from Writing of Blues and Yellows should appear. Now that Laura Marling has announced Semper Femina – her sixth studio album due in March – Billie Marten seems like her protégée-elect. Many critics, when reviewing Marten’s debut album, noted the comparisons to Marling – in terms of age, sound and stunning lyrics. Emily could easily have featured on Marling’s finest albums but is doggedly the work of the seventeen-year-old Ripon native. Its lyrics talk of burdensome stones (being tied around the heroine’s throat) and rivers “too wide” – the song’s heroine feeling the strain and battling against harsh forces (either physical obstacles or personal demons). Whilst the lyrics immerse the listener in; the mind wonders as to the origins. Marten has stated, in interviews promoting Writing of Blues and Yellows, Emily was inspired by the forename-sharing Brontë sister. There is that literary edge and sense of impending tragedy: one wonders whether the song’s heroine will be able to traverse all before her. What stuns me about the song – and has kept it in my brain for weeks – is the phenomenal composition. Unlike anything else on Writing’, there are wave-crashing, sensual electronic strings; piano flourishes and aching cello. If some has made comparisons with early-career Laura Marling: it is Nick Drake’s masterpiece, Five Leaves Left, that spring to mind. Similar to his peerless string-and-voice sermons River Man and Way to Blue – you get a little of both in Emily. Marten’s voice is pure and resolute but, in the background, transmogrifies into a metaphysical, spectral things: aching and yowling like an ill-fated figure standing atop a wind-strewn cliff-top. It is impossible to listen to the song uninvolved: it drags you in and cements its heart in the hippocampus. By the final tremolo-affect guitar you are stunned and awed by what has come before – all from an artist still making her first steps. Audacious, spellbinding dramaturgy, at times beautiful, at others devastating: a clear reason – if one were needed – to investigate Writing of Blues and Yellows. Let’s hope Marten considers the song for single release as, not only would it reach a wider audience, but is sound/composition provokes a truly staggering music video.

https://play.spotify.com/track/3IqSUhhlnTjWfbahlMxvKP

_______________________

Follow Billie Marten:

http://www.billiemarten.com/

 

The album, Writing of Blues and Yellows (Deluxe Version), can be purchased here:

https://itunes.apple.com/gb/album/writing-blues-yellows-deluxe/id1133221178