TRACK REVIEW: Hollie Haines - Keep Moving On

TRACK REVIEW:

 

Hollie Haines

Keep Moving On

9.4/10

Keep Moving On is available via:

https://open.spotify.com/album/3Z9zwi0xMa9T0kUfp0QJYm

GENRE:

Alt-Folk

ORIGIN:

London, U.K.

RELEASE DATE:

23rd February, 2018

_________

THERE are some important things…

PHOTO CREDIT: George Yonge Photography

I wanted to discuss in this review – so it is best I get down to it, I guess! I will look at Hollie Haines and what she achieved but, before then; I wanted to address artists who are relatable and accessible; musicians who work hard and undergo changes – and come through it impressively. I will go on to document artists who provide music for the masses; give inspiration to others; looking at female artists this year and why things have to change – finishing with bits about future moves and capitalising on success. For Hollie Haines, her career is young but, so far, she has resonated with many. I get sent a lot of requests for interviews/reviews and, by and large, the artists I witness are grounded and easy to connect to. That seems a juxtaposition against the mainstream and popular music culture. You get a few bands/artists who are normal and ordinary but, largely, there is that mass who seem intangible and somewhere else. I am not saying it is easy for big stars to come across as for-the-people but, even those who are starting out seem to project a sense of the aloof and detached. I want to be able to connect with artists and feel like I am listening to someone who wants to get under the skin and strike a common chord. So many artists out there put the music into the ether and that is it – never really a chance to discover who made it and actually bond with the musician. You might say that is the point of such a profession: we are here to listen to the music and not socialise with everyone who makes it. I will grant you that but, as the industry crams to capacity – can we really afford to accommodate those who do not make an effort to connect with their public? Maybe you go to see an artist live and they will chat between songs; many will do interviews and you get a semblance of the familiar. What I am talking about are artists whose natural personality and demeanour suggest the human and nice. New music does things a lot better: artists who you can emphasise with and find some common traction.

Hollie Haines is someone who brims with life and smile; she has that accessible nature and, when hearing her music, she writes for her audience. The songs are personal but she consciously brings people into the music. My reasons for music vary but, largely, it is to find some comfort and companionship. That may paint me as a mad cat-man (if such a thing exists) spending his evenings by a gramophone hoping the birds will come to the garden so he has something to look at – whilst his cat pees on the rug and ignores everything I do. What I am referring to is music that gets into the heart and makes me feel less alone. So much of today’s music is sterile and broad. You never really get a chance to dig deep and one feels the artist is aiming for commercialism and popularity. Haines is an artist who writes about her experiences but wants to help people out there and remain in the mind. I have been in the game a long time and can detect musicians who are in the business for the right reason: those who are doing it to well-known and succeed on streaming sites stand out a mile away! Hollie Haines is in music for all the right reasons. It is an outlet and channel for her; a way of expressing her deep emotions and providing guidance to others. I will move on to other things but, for now, I want to end up with a recommendation: listening to Haines is a way of making sense of troubles and bonding with an engaging and warm soul. It is hard to fake the kind of sincerity and personality one senses on Keep Moving On. It is hard to get a rooting in music – even harder standing out from the crowd and becoming a big thing. Haines might take a while to get into the mainstream but she is someone we need there right now.

PHOTO CREDIT: George Yonge Photography

One of the reasons the past few months have been difficult for Haines is the fact she has moved. Her life has taken her from Leeds down to London. That might not sound like a huge shift for many – Leeds is a large city; its population friendly and warm…oh right! It is hard moving anywhere but, the fact Haines has gone that distance and assimilated with new people has brought it challenges and doubts. Many of us feel safe where we are and get familiar with our surroundings. I am not one who takes big leaps but I am looking to move to London very soon – get involved and closer to where the action is. It can be hard being away from the capital and seeing other people have fun, take advantage of the city and dive into the culture. It is a busy and stressful place but, for a musician, it is the place to be. Even so; it is scary for anyone going alone and settling there. I am not sure whether Haines moved with a friend or boyfriend but, in any case; it has been hard getting used to the pace and energy. A recent post – on Twitter – from Haines thanked her fans for getting behind her. She moved five months ago and, before then, wasn’t excited about music and her songwriting. It is easy to see why someone would become dissatisfied with their lot and need a change of pace. I am in a position where I am writing but want to be somewhere else and a need surrounding. You can be in a good place, physically, but not completely satisfied in other areas. Hollie Haines took action and did not want to completely lose the love for music. Coming to London might seem like a natural move but, for her, it was a very big one. Her story worked out well, in the end – and will give inspiration and guidance to those in a similar position.

That recent Tweet offers thanks to her fans and those who have supported her situation. I am glad she has come through things and is able to open up to her fans. It is clear they have provided her impetus and she, in return, has kept going and brings the world new music. That is what I was saying about musicians: few connect with their fans the same way and have that close relationship. It is wonderful seeing young musicians reveal themselves and feel comfortable opening up to their fans. Haines is in a safer and more secure space where she feels revitalised and fresh. It has been a hard last few months and that dwindling energy was dangerous. Many would have quit music or taken a long break: Haines decided to make a big change and keep that flame alive. Now, in 2018; there is a fresh assault and chance to take advantage of London. The capital is busy and hectic; there are so many artists doing the same thing out there. One needs to stand out and separate themselves from their peers. Haines projects some familiar tones but her personality and unique words come through. The fact her songwriting is so personal and honest means the music is stronger than a lot of what is out there. I am not sure what she has planned in terms of gigs but, in the coming months, there will be demand for new material and more words. Since her debut E.P., The Walls I Built, she has made steps – career-wise and personally – and she is stronger than ever. Keep Moving On is a call for positivity and hopefulness; it is an uplifting song that mixes County, Rock and Folk strands. There are many who would struggle to maintain a positive disposition given the move and dissatisfaction with the older life – failing to embrace a new way and having that hope. It is interesting looking at the musical blends Haines teases and how they absorb into the mind.

There is Rock and Country; there are bits of Folk and Pop and, when listening to her music, you get a confection of various sensations and ideas. I will write a piece later regarding innovation and how hard it can be breaking new ground. Some artists are trying to break barriers and create a new genre: others are happier to provide something more relatable and familiar. Haines, in a sense, is between the two fences. Her music rings the ear and has that impact straight off. You do not need to dig too deep or think too hard for the music to resound and compel. You hear the vocal and tones; the sonic strands go into the mind and it all sits very nicely. Haines brings her own ideas to genres like Folk and Country – the lyrics are the biggest standout and unique edge. In other ways, when writing, you sense an artist who is trying to shake up music and do something genuinely different. Haines is still transitioning and making herself known in London. The city is big and daunting but, for musicians, it is a platform and way to get their music heard. It is welcoming of those who have something original in their locker and want to step into strange territory. You listen to Haines’ music and it is hard to pin down. On the one hand; the warmth and openness put you in mind of other artists. On the other; you have a rare artist who does not deal with clichés and tropes. She does not want to make music to please a narrow audience or get famous. To her, this industry is a way of channelling her talent and drive – getting that passion out there and touching other people. Finding an artist who delves into the heart and creates such an effect should be encouraged and applauded. Keep Moving On is a deceleration for improvement and need for growth.

In 2018; there are many – myself included – asking where music will go and how it needs to change. Maybe it is harder breaking the mould and reinventing music – should that be a bad thing? You can create a wave of excitement and build a following by taking something already out there and adding your own spin. In many ways, that is harder to do: there are so many artists predictable and safe that it means new artists trying to stand out struggle for attention. Haines has been in the business a while and honed and developed her music through time. Starting from modest foundations and a great sound; the songwriting has grown in scope and confidence. All of this means Haines has the ammunition to do something genuinely fantastic this year. Her latest single is proof she has plenty of fire and dedication. The sounds have that personal aspect but they are designed to appeal to a wide audience. I am not sure what she is thinking regards marketing and getting the music out to radio stations. It seems Keep Moving On will enjoy a lot of attention and airplay. Haines is charged and determined; she is masterful when combining genres and elevating music. I think she will play festivals in years to come and, given the competition out there; this is no small feat! Her songs have an established base and, through this year, those numbers will increase and widen. The music will get out to other nations and see her stock rise. It is interesting how Haines has developed and where her music is taking her. London is a great city to get gigs in and has a very broad population. The busy and never-still nature of the city means Haines will have plenty of inspiration and drive. Being surrounded by eclectic people and scenes means the mind, hopefully, will be rejuvenated. I wonder how Haines can change music and help make real improvements.

There are so many great female artists around but, as ever, being overlooked in favour of the men. It is difficult getting your name out there regardless of gender – it is so much harder for women. The festivals are committed to creating something gender-balanced…not for another few years at least. I wonder why it takes so long for organisers and festivals to get their act together and create parity. It is 2018 and we should encourage a more gender-balanced scene. It is a shame there is so much imbalance as, in my mind, female artists out there are more engaging and appealing. I am not sure why people fee female artists are inferior to men. Maybe there is a commercial aspect to male artists, especially bands. They have always brought in the crowds and money – that is because women have not been afforded the same opportunities. Haines is not someone who fires against authority and the decision-making bodies – she must feel a bit aggrieved by what is happening out there. Her superb music will get rewards but I wonder, as I do with many female artists, whether she’ll get all the celebration she deserves. Sexism is present in music and it is something we all need to tackle. I worry artists like Haines will take longer to get onto festival stages because of their gender. You listen to songs like Keep Moving On and it warms the heart and soul. It is a fantastic sound and get the spirits lifted. In addition to all of that; you get energy and motivation – the body sways and the voice is compelled to chime in. These combinations would sound great on a large sound. Maybe Haines’ music is more suited to Folk festivals but she has a songwriting talent that could see her ably taking to any stage. I wonder whether we will see any productive and concentre changes this year.

Haines has played Sofar Sounds Oxjam; she has performed smaller gigs but, now she is in London; those ambitions will heighten and Haines will want to play bigger spaces. I feel certain genres, too, get overlooked and given shorter shrift. Maybe it is me reaching too far but there is less attention given to Folk and underground Pop/Rock. The mainstream still favours a certain sound and sort of music. It has to be huge emotive or energised; rousing and able to get crowds pumping. I can understand that from a headline perspective but, as you listen to a Hollie Haines song, the imagination wanders and the brain conspires. Her sounds would be perfect for a larger festival: a chance to inspire many and ensure her music gets out to the masses. I feel her gender holds her back in a way but I wonder, in terms of style, Haines will struggle a bit. It all sounds very bleak but it means, when she does get that recognition; the taste of success will be so much sweeter. I think she is looking to settle into London and acclimatise to the way of life. It is a huge city and will take a bit of time before all the gig demands come flooding in. People are responding to her latest cut – making me believe tastes and changing and folk are looking for songs that have more depth and quality. I am one of those people who feels quality and substance are more important than anything commercial and easy. Haines is an artist unwilling to compromise and settle for something so easy. That is another reason her music stands out: it is from a human who wants to be honest and pure in everything she does. She has battled indecision and taken a huge step in life. Having doubts and being lost could scupper and derail lesser artists: Haines has made changes and, now, she is putting her feeling onto the page. Keep Moving On is her paen to positivity and hope. It is a song that, once heard, remains in the head for an awful long time.

The swaying and delicate strings that open Keep Moving On get right into the brain. The embers seem Country-fried but there is a mix of Folk and Rock in there. A balance of acoustic trip and electricity gives the song romance and intrigue. You are caught by the swooning and straying Country tones but buoyed and moved by the Folk edges. It is a fantastic brew that leads to a wonderful vocal. Haines’ voice is pin-sharp and sweet. She pronounces her words precisely and lets her thoughts skip like a deer in the snow. The phrasing is remarkable: words flow and stop; they elongate and syncopate. The heroine subverts expectation by swerving away from love and that predictable source. She hates to disappoint but here, against the grain; this is not a story of forgotten love or finding ‘the one’. The heroine was with a boy but, it seems, things were not desirable and she had to make a decision. It is okay to step away and readdress life, as she says, and it is okay not being okay. We all get into ruts and feel we need to remain on a certain path. Maybe she had been living life for someone else and expected to do what everyone else wanted. The relations and passion has run its course and, in terms of herself; there was something missing. The spark had gone and the way she was living lacked desire and purposefulness. I was instantly connected with someone whose desire to change and improve leapt out. I talk in the past tense but, as the song moves on; I am discovering new life and ideas. Haines’ way of singing is poetic and real. Her accent comes through and it is all about the voice. She delivers her lines with such a sense of purpose and drama – in the sense it is physical and well-performed; never heavy and dark – that it is impossible to ignore what she is saying. Haines has been following a barren path and needs to assess the situation.

The chorus steps in and has more of a Country vibe – the verses are more Folk-based and sound differently. The multiple vocals and layers lifts the chorus and lets it be known you need to keep moving if things aren’t going your way. Changes are hard but, in a lot of cases, they are needed and important. I have been thinking of making changes myself and have been caught in a bit of a miasma. It is hard dethatching from one way of life and doing something completely different. Haines knows this but, rather than get caught in a funk and feel solemn; she has resolved to be stronger and get herself away. There is beauty in her life – Haines feels sad others do not appreciate what they have – and the song starts to race. I get hints of The Staves and First Aid Kit; Country acts like Little Big Town and Miranda Lambert. It is a fantastic blend that gets right into every pore and engages the senses. The song’s changing dynamic and bi-polar characteristics mean it is a more evocative and sentient than song than you’d imagine. The chorus is the deceleration of where Haines is now: moving on and in desiring a situation where she can fulfil her dreams. All is not lost and bad but, in essence, where she is now is not as comfortable and happy as it could be. Rather than retreat and admit defeat; she is keeping her head up and realising what she has in her life. I was excited throughout the song and amazed by the candour and quality. The phrasing has cuteness and charm but it strong and nuanced. You are hooked by every word and follow the songwriter as she lets the listener into her life. The Walls I Built (E.P.) released last year showed what a strong and special songwriter Hollie Haines is. Keep Moving On seems like the second phase of her career. It is the ‘London Chronicles’ and the documentation of her new life. I wonder whether there will be more material coming this year. It is clear Haines has new desire and keen to explore where she is now. It has been fantastic discovering an artist who does things differently but has seems familiar and relatable. You can connect with her songs and appreciate what she is saying. I am excited to see where she will go now and what she can come up with. If you have not discovered the colours and contours of Hollie Haines – get involved with her music and show her some love!

Haines’ Alt-Folk magic has entranced audience already and seen her get into the minds of fans and journalists alike. The weather is still pretty nasty – although, it is warmer and less harsh today – and it is a perfect time for people to connect with a brilliant artist. Keep Moving On is enough to warm the cockles and put one in a finer frame of mind. I am pumped and excited to see where Hollie Haines goes and what her next steps are. There will be more material, I assume, and that will lead to gig requests and appearances. She has played some gigs in town and had the single reviewed by websites. The word is spreading, and so, I feel this year is a very important one for Haines. She wants to get her music out there and now – in a better frame of mind and place – there is that compunction to reach the people and get the music seen. There are few out there who have the same determination and spirit as she does. There are loads of great small venues around London; some fabulous ones further afield she would be welcomed and desired. As the weather improves and warms; I feel the people will react and come out in force. I mooted the possibility of an E.P. – maybe that will come later in the year. I shall end things now but want people to investigate Haines’ music and discover an artist who has come a long way. It is going to be a very bright future for Haines and her sounds. I can see her touring internationally and playing larger festivals. She is a wonderful artist and makes music for the people. That might sound strange but it is the way she manages to resonate with everyone that stands out. Her music is not reserved for a clique and small audience. It is music for the masses and, because of that, more people need to get involved. Keep Moving On is a fantastic song from an artist who has struggled with doubts and problems but has come out the other side…

WITH emphatic resolve and desire.

_______

Follow Hollie Haines

PHOTO CREDIT: George Yonge Photography 

Official:

https://www.holliehaines.com/

Facebook:

https://www.facebook.com/holliehainessongs/

Twitter:

https://twitter.com/holliehaines

YouTube:

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

SoundCloud:

https://soundcloud.com/hollie-haines

Spotify:

https://open.spotify.com/artist/3TmWI5f479FgFtRzEcs6DA

TRACK REVIEW: Żabel - Sloane Square

TRACK REVIEW:

 

Żabel

PHOTO CREDIT: Alanisko Photography

Sloane Square

9.3/10

IMAGE CREDIT: @alanisko  

Sloane Square is available via:

https://soundcloud.com/zabel-music-696927161/sloane-square-zabel/s-ni7zI

GENRE:

Pop

ORIGIN:

London, U.K.

RELEASE DATE:

9th February, 2018

_________

WHEN trying to capture all the elements…

of Żabel onto paper; there is a lot to talk about. I will discuss artists who unite colours and strands together – collated from their past and present love. I will also look at Maltese artists who move to London and the way Maltese music is being overlooked. I’ll investigate creating Pop that has a mainstream nod but goes beyond that; stage presence and creating a persona for the audience; using credibility and popularity to do something good – ending with a bit about albums, influences and the future. Żabel, to look at, has the projection and candour of a modern-day Pop artist. I normally avoid artists who, I think, will stray too closely to the generic and formulaic. Artists like Lady Gaga and Rihanna appeal to me in one way: on the other; there is little beyond their music that captivates and interests any part of me. I am always fearful when addressing young Pop artists because there is always that risk you can find little to discuss and recommend. Żabel is an artist who has the brightness and energy of the best Pop artists out there but subverts expectations and goes beyond the ordinary. Whilst there are elements of Żabel’s look and fashions moulded around existing stars – the bright and colourful hair could have been adopted by Katy Perry or Kesha; the allure and playfulness by Dua Lipa or any of her peers – there is something unique we find. The projection and look, which I shall come to, is part of an artist who wants to make a change in music. The music itself, from Żabel, puts together the best of the modern bunch with older sounds and suggestions. One gets impressions of local Maltese music and the sort of thing she was raised on; those bigger, more commercial artists like Lady Gaga. There has been accusation that Pop music, these days, has lost any sort of edge and appeal. If one wants something deep, engaging and interesting – there are other genres out there.

Żabel describes her sounds as ‘Wavy Pop’ – a collation of sounds and textures she has found throughout the years. You get layers of Rock and Electro buzz; there is Pop core and Indie recollections – all stirred and patterned in a very vivid and smoky pot. You listen to Żabel and get this instant hit from her music. That might suggest something shallow and easily forgettable. A lot of modern Pop has that basic sound and, because of it, the music does not linger and impact. Żabel balances the urgency and hooks of modern Pop but goes a lot further than that. As a songwriter; she puts her personality onto the page and is unwilling to engage in hyperbole, boring clichés and the usual fare. I feel Pop is transforming so that young artist are being given more respect. There is less dependence and demand for those flavourless artists who create banging songs with processed vocals; hook-y choruses and easy-to-appreciate lyrics. There is some of that about but, in 2018, the likes of Sigrid (long-mentioned here), Mabel and Billie Eilish (ditto) are taking a lot of the credit. They are aspiring and fresh-faced but offer the listener something more personal, intelligent and nuanced. Maybe their music leans towards dour and anxious at times – relating to their confessions and personal struggles. Rather than race too far down the hole of serious and wracked: Żabel keeps things bright, uplifting and positive. That is quite a hard balance to strike: keeping the listener invested enough with the subject matter whilst providing something more engaging and spirited in the music. Perhaps that is what we will be seeing more of in modern Pop. What gets to me about Żabel is the way she can take quite ordinary/familiar and shine it up. Other genres are being proffered right now – away from Pop – so it is important the new breed of Popstars recognise what the public want and adapt accordingly.

The past few months; I have spent a lot of time looking at British, Canadian and American artists. It seems most of my time is split between the U.K. and North America. I have looked at Maltese artists in past years but it has been a bit of a while. Perhaps the biggest Maltese Pop artist I know is Chess. She has family roots there but is based in London. The same is true of Żabel. Many of us do not recognise there are industries and scenes in other parts of the world. We get fixated on North America and the U.K. but forget there is a wide and interesting music scene in other parts of Europe. The fact these areas do not have the same money, labels and radio stations as the U.K. – and venues for that matter – means they get overlooked. It is a shame there isn’t the opportunities for artists to remain on Malta and survive as a fully-fledged artist. That said; there is a wonderful music scene shaping up there. Most of the sounds you will hear are Pop/Rock-based – there are not many Hip-Hop and Rap artists there! – and it is influenced by the music of Britain and America. These tastes come from the radio stations and artists we have over here. The thing I have noticed about Maltese artists is the personality they put into music. There is something brighter, sharper and more heartfelt about the music. That might seem a cynical and dubious claim to make. A lot of British Pop artists aim their music at the charts or what they feel the radio stations are looking for. There is some of that pressure in Malta: the culture is different and there is not the same infiltration from the mainstream. The people, the sunshine and the geography enforce songwriting and lead to something more vivacious and alive.

I will move to look at other subjects but, when thinking of Malta, there is a clear link between there and here. Artists come to the U.K. because they feel they have a better chance of survival and recognition. It is unusual to see a Maltese artist remain there and grow big – so the transition and move to Britain is the next natural step. That said; one cannot overlook the importance of Malta and why the country is producing wonderful artists. There is less pressure on the island; the people are friendly and there are some great venues like Bridge Bar and Black Gold Saloon. The Garage and Casey’s Bar are hotspots; the Malta Song Festival and Jazz Festival is putting the country back on the map. There is a rising music scene inspiring young hopefuls to pick up a pen and get out to the people. I have spoken about Maltese artists before and always have the same takeaway: they have great talent but need more exposure and opportunity. That is no fault of Malta itself. The country is trying to build a bigger industry and open these venues for young artists to play. Żabel learnt a lot from her time over there. It was only a matter of course, after being spun on radio (more later), she would feel the pull and lure of the U.K. The young artist has made some big moves the past few months and one wonders what the next step is - I hear suggestions there is an album coming later this year. The big Jazz and Pop scene in Malta means it is a part of the world more of us should look towards. Żabel is the embodiment of all that is happening in the country right now: the colourful output and varied songwriting; that fusion of island-made sounds and mainstream-ready tastes. I feel Żabel will go further than a lot of artists from Malta. She has had a great music upbringing and grew up around some wonderful artists. All of that comes to the fore when you hear her tracks.

It has been a successful and busy time for Żabel. She has been played on Channel Radio and enjoyed a stint on the talent show, Don’t Stop Me Now; prime-time T.V. shows and some of London’s best venues. Although she has been in the industry for a few years now; this year is going to be one of the busiest for her. It is amazing to look at Żabel and how far she has come. Her days on talent shows (thankfully) are over – that was back in 2010. I am not a fan of artists who appear on talent shows but I understand it is important exposure. You cannot blame someone for wanting to bring their music to a national T.V. audience. One has to accept that those shows create temporary artists and are not the best way to find the artists of tomorrow. Fortunately, that experience has not affected the pull and longevity of Żabel. She has used it as a springboard and learnt a lot from it. Before her album, VITA, reaches us; we have the exceptional single, Sloane Square. People have already heard it but many more will want to see that song come to life. What strikes me about the song is the way it takes personal origins – mixing love and a rare meeting with more general themes – and fuses that with familiar sounds. The strong voice shines and there is a nice balance of gloss and raw energy. I find a lot of modern Pop still tries to put too much gloss and shine into the pot. You do get artists who take the layers off and let natural talent come through – it is rarer and less common than you’d hope. I have been looking for Pop artists who produce songs big and affecting but go deep enough to keep me invested. Żabel has affection for everyone from Queen and The Beatles to SIA and Eminem. That might sound like a difficult brew to coalesce and unify.

Before I look at Żabel’s stage mannerism and looks; I will finish by nodding to what she will produce in the future. I’ll end the review summing her up but, looking ahead to her music in 2018; it seems like there will be many opportunities before her. Already featured on great radio stations; it seems like many of London’s biggest stations would play her music – Manchester, for that matter. Żabel is unsigned and, to the best of my knowledge, there is not a P.R. company pushing her music out to the people. There is a lot of ammunition in Żabel’s locker. I have seen many Pop-based artists come and go: it seems Żabel has the staying power many modern artists lack. I have mentioned how there is an album mooted in the form of VITA. Sloane Square is a cut from that and, as we go through 2018, there will be more offerings from the record. One has to wonder, before and after that album’s release, where the Maltese artist will go. There will be gigs and, given her growing stature; there’ll be opportunities around the capital. In a busy and packed industry; the artists who want to remain and get gigs need to go further than your average artists. I am confident Żabel will get her music out to the people and build her reputation. Right now, she is doing sterling work regards the songwriting itself. Her music is appealing and can cross genres; it is accessible enough for Pop radio stations but had sounds that will engage the cooler side of the dial. Reacting to the industry’s changing demands regarding Pop artists: here is an artist equip to survive and build her portfolio as we move through 2018. I am excited to see which artists will break out and take the imagination. I feel personality and persona are the aspects that will win the race. That takes me to a very noticeable side of Żabel’s music.

Many of the biggest Pop artists of the day have their own fashions and looks. You think about SIA and Lady Gaga and they have a very noticeable and clear look. Extend that to Rihanna and Katy Perry – all of the major stars have some form of unique fashion and on-stage personality. Their shows are big and bold; they are trying to appeal to a mass audience and put something different on the stage. What appeals to me, in that sense, is the way they can create a character and identity that differs from who they are away from the stage. Isabelle Luca Borg is the woman behind Żabel. You get two different people when you look closely. Borg is the rather shy, yet ambitious songwriter who has grown up around music and integrates different shades into her own ideas. Away from that, you have Żabel. She has already performed at the 02 Shepherds Bush Empire and taken that captivating personality to the people. I am interested seeing where Żabel can take that bright and tantalising look. She has the clothing and make-up; there is a new person and confidence that comes out – someone many young listeners can take inspiration from. Many might think an artist like Żabel could not appeal to somebody like me – a slightly older, male listener. There are some aspects reserved to young girls and women; most of what Żabel does is targeted at a specific and tested audience. A lot of what Żabel does on stage is down to that identity she has crafted. It is difficult producing something bold and exciting without replicating the fashions of Lady Gaga and her peers. Żabel has her own identity but, if you look closely, there are some recognisable tones that will appeal to fans of the biggest artists out there. I have been mentioning the word ‘Pop’ a lot through this review. It would be unfair to see Żabel as a pure Pop artist. She goes a lot further than most modern-day Pop artists. You get, as I said, Alternative, Indie and Rock ideas mixed within the Pop. There is emotion and energy; colour and fizz – a nourishing recipe that has gained Żabel a lot of fans.

PHOTO CREDIT: Alanisko Photography

I will address the song soon but, before then, all of what I have already mentioned could be used to do a lot of good. Żabel has made an impact in Malta and brought her music to the U.K. Although the Pop tide is turning to artists looking inside themselves and going away from commercial avenues; I feel this is where Żabel can fit in. She has songs under her belt that are resonating with D.J.s, producers and fans. Sloane Square is a song that hints at bigger things. I am not sure how many gigs she has already played but there is every chance she will take her music up and down the country through this year. She has come a long way in the past few years and learnt a lot from her time in music. The music is getting stronger and her performances more rounded and striking. The way Żabel writes and delivers her music not only acts as guidance to new musicians coming through – it will inspire her younger audience and give them direction. Modern artists should think closely about what they are putting out and whether they are making music for themselves – or they have the aim to help their listeners and act as role models. Another fine aspect of Żabel is the modesty she has. There is no ego regards the musicians: humbleness and a hard work which means she differs to a lot of the mainstream artists around. Many people have been excitedly chatting about the young artist. She has crafted some excellent songs but, in my view, Sloane Square, is the most interesting and developed song Żabel has put her name to.

PHOTO CREDIT: Alanisko Photography

The vocal takes a while to come back in but, when it does, looks at Sloane Square and its relevance. It reminds the heroine of a special person and something deep and meaningful. I got impressions of a love affair or meeting that happened there – and how the two have drifted apart and cannot reignite that fuse. Prior to the vocal coming through; there is a build-up that creates impressions, imagery and ideas. The music is subtle and crackling. Occasional, mannered beats and twinkling electronics – darker and lighter ideas – mix together to provide images of Sloane Square. I heard twilight and moonlit suggestions come through in the notes. The song does not race in and takes its time getting to the listener. The introduction sets the scene and makes one think about the song and what it means to them. The electronic moments are seductive and intriguing; there is a softness and sense of expectation that puts you in the mood and gets the mind thinking. What resonated with me is the way Żabel let the music speak first and, when she does come to the microphone, there is a calmness and maturity. She is remembering this special place and what it means to her. I am not sure whether Sloane Square is a meeting spot for two lovers – their place and position in a busy city. Maybe it is the first meeting and where that date began. Whatever the reason and impact of the London location; every listener can relate to having a very meaningful place in the world. For an artist that has a bright look and bold personality; Żabel produces a song that puts its heart out there and does not feel the need to aimlessly embolden and run. That is a reflection about the changing nature of Pop and how artists are maturing. This rather adult approach to love does not mean the song lacks interest, memorability and fun.

The vocals harmonis and the composition shimmers and entices. The heroine remembers that meeting in Sloane Square but there is a void and need for someone to return. Home is where the heart is, she says, and there is somebody missing from her life. I am not sure whether the heroine is talking about a long-term lover who has left her or gone abroad; maybe she is referring to the way we can get caught up in the romance of a place and time but leave it all too soon. She is there waiting for her sweetheart to return but her words are hanging in the air – a supplication and plea that requires an artist. Before she gives in and thinks about moving on; we get an itinerary from the heroine as she travels home. She takes the Tube and negotiates the District Line; walking to her place and complete with a heavy heart. When she gets to her door; there is the man waiting for her. There is a vulnerability to the song, as well. It seems a lot of what is being talked about is theoretical and imagined. She wants the romance to work and find satisfaction but that longing and desire is being overshadowed by disappointment and a lack of respect. Maybe the man did turn up or he left her waiting – I think there is that dreaming and hoping but nothing tangible and real. When things go bad, the young woman still goes to her mum to find that comfort and solace. It has been a hard time for Żabel and she has put her heart out to someone who does not appreciate it. The heroine has waited and assessed her life. Home is most important to her and the recollections of Sloane Square seem to be rooted in the past. In a wider sense, Sloane Square is about belonging and where home really is. Thinking about the heroine’s travels on the Tube and trudging home makes me think about her life in Malta and adapting to a scary new life.

PHOTO CREDIT: Alanisko Photography

There is that connection to family - but Żabel has moved to a new nation and getting buried beneath feet and rushing bodies. I have seen many artists talk about transition and change and, when you look at Żabel’s latest cut; she is finding who she really is and needs direction. She is making music here and showcasing her stuff to the people. Maybe Żabel has a love/sex life and being social but there seems to be deeper issues and problems that are coming to the surface. That desire to return home is bubbling away and compelling her decisions.  I would love to see a video for the song as it would bring new light and insight to a song that has a personal edge but, at the same time, will connect with many other people. I got the impression Żabel was content in London but missed some of the comfort and familial wisdom she had in Malta. I am not sure whether her family are over here or in Malta still. It seems, in some form or other, there are those conversations that are keeping her level-headed and moving forward. The production and composition are never too intrusive and dominant. It is all about the vocal and letting the lyrics shine. At times, the song moves from Pop to Soul/Gospel – dropping the background and letting the vocal stand alone – and then it goes back to something hotter and more insistent. Sloane Square is a fantastic song from a young artist who puts an original spin on common themes. What position Sloane Square takes on VITA has yet to be seen. I am not sure what other songs will be featured alongside it but the latest track from the Malta-born artist has turned heads and captured hearts. It is a brave confessional from someone reacting to the challenges placed before her – the need to look at what’s important and where she feels home is.

Take a look at her social media pages and you see a young artist embracing music and excited to see what comes next. She brings a sexy and bold show to the people and has been performing around London. Her latest song has collected thousands of plays and getting to many new ears. The sets are well-received and critics are responding to an artist throwing her everything into music. Żabel has seen her music get onto the radio and pick up reviews. These steps are important for someone who has dreamt about success since a girl and worked exceptionally hard. It has been a tough road for Żabel but all her hard work and effort is paying off. Moving to the U.K. is a risky and strange move for anyone – not least someone who grew up on Malta and enjoyed a very different way of life. Żabel is settling into London and has been here a while now (about five years). The capital is welcoming to anyone who wants to get their music to a broad and hungry demographic. I have seen many artists come and go but, when thinking of Żabel; there is every reason to suspect she will be in music for many years to come. Her album is due later this year and she’ll want to see how Sloane Square does and what reaction it receives. The song is a lot deeper, more interesting and fresh than a song about love where the heroine gets her heart broken and regrets meeting the guy. I cannot wait to see what more is coming from Żabel. She has so many ideas and song brewing; some real passion and that desire to get out to as many people as possible. If you have not discovered the music of Żabel and what she is all about – make sure you remedy this and listen to Sloane Square. Here is a young star working in an industry/genre that has many players but very few who does things…

QUITE like her.  

_______

Follow Żabel

Official:

https://www.zabelmusic.com/

Facebook:

https://www.facebook.com/zabelmusic/

Instagram:

https://www.instagram.com/zabelmusic/

Twitter:

https://twitter.com/ZabelMusic

SoundCloud:

https://soundcloud.com/zabel-music-696927161

TRACK REVIEW: Darlingside - Old Friend

TRACK REVIEW:

 

Darlingside

Old Friend

9.6/10

Old Friend is available via:

https://soundcloud.com/darlingside/old-friend-1

GENRES:

Indie; Folk

ORIGIN:

Massachusetts, U.S.A.

The album, Extralife, is available here:

https://open.spotify.com/artist/3DkhgIw7lIyxekurpXNTrm

RELEASE DATE:

23rd February, 2018

LABELS:

More Doug/Thirty Tigers

_________

IT has been a while since I have featured…

a band on this area of the blog. I will talk about Darlingside very soon but, before then, a few points that seem relevant to them. They have a great and memorable name; a brilliant portfolio and a connection that seems to lift their music to the masses. They are an Indie/Folk band – which makes me think about the genres and what is happening on that side of music. I also want to look at Boston and Massachusetts-made music; how a new album can elevate spirits and take an artist to new heights. I will talk about the band market in general and, to end, a bit about U.K./U.S. bonds and how an international fanbase is vital at this time. I also want to look at song influence but, before I get there; I will speak about the way Darlingside operate and promote their music. I have used a few images in this piece – from the past couple of years – but it seems the band is due another photoshoot. That is not a shot at them – ironically – but a declaration of intent. They have a great look and bond; they are a wonderful group that has been around for a little while now. The guys have some biography out there and one can investigate who they are and where they came from. Their official website is great and they have tour dates up and all the latest releases. I will look at their new album, Extralife, soon but, right now, a chat about websites and social media spread. I have grown a bit weary regards artists who do not put a lot online and neglect that side of things. It is important getting the music nailed and out there but, in this day and age, imagery and looks are crucial. It is part of the machinery and shows the full range and look of an artist. If you have little information or few photos; it is not going to look good for those who want to know more.

I have seen plenty of acts who do consider everything but, as the market gets more competitive and busy; no artist has an excuse for neglecting any side of music. You need to be aware of what is happening and what the market needs. I feel bands like Darlingside are setting an example others should follow. Even though a post-album photoshoot would get them some more requests and coverage: they are pretty solid right now and have a great outlay. Every new fan can see what drives them and where their music came from; where they want to go and what drives them. Music is not only about listening and digesting music. The modern musician is a complete package and, because of that, every angle needs to be considered. As I said; I have seen too many artists who overlook the simple aspects of their online visibility. I will move on from this part but, before then, a nod to Darlingside and how they work. They have considered their social media channels and making their music as prominent as they can. There are great photos and snippets; one is informed of their every move and, for those who want to follow them long-term; they ensure there is an ample package out there. This is becoming rare: so many new artists feel music alone is good enough. I long for artists who think about every aspect and have that professional look. The band intrigues me for all sorts of other reasons. Their name is compelling and, almost, poetic; their sound incredible and tight – which I shall talk about – and their motivation and ambition incredible. All of this comes to the fore when you follow their plight online. I have followed them on social media and I am always stunned by their passion and openness. It is a great thing to see at a time when so many are ignoring simple considerations like this.

Their sound, though, is quite hard to define. It mixes in Folk and Indie but, in reality, it lacks the overall softness and stillness of Folk: there is not the simplicity of Indie and a sound that aims for anything commercial. The guys have been playing a long time and seen their music evolve and mutate. I have not heard anything quite like them: nobody out on the scene has the same mannerisms and motivation as they do. I have looked at other genres over the past few months. It has been a while since I have come to Folk and examined its many angles. Darlingside, one imagines, would have been raised on classic artists - supplementing that with the best modern artists around. Their blend of Folk is Alternative and modernised. It splices in other genres and does not keep it simple and predictable. I will discuss bands and why a certain T.V. show over here is due a revival. Before then; an examination of Darlingside’s unique fusions. There are many artists out there trying to put Folk together with other styles – the results are mixed. I am a bit saddened there are few who manage to concoct a perfect blend. I know my standards are high but, surely, there are artists out there capable of fusing the pureness of Folk with something exciting and new. First Aid Kit are one act that spring to mind: sumptuous vocals and rousing songs. I have a lot of faith and belief in Darlingside. Their album bursts with spirit, diversity and sensations. The songwriting is deep and their personalities come to the fore.  Whilst the subject matter christens areas like relationships and personal moments; the music is never plodding and routine. The band go a step further and push boundaries. Maybe Folk purists say (Darlingside) are too adventurous and wide-ranging to call themselves Folk artists: Indie acolytes feel the U.S. band are a little too pastoral in places.

What amazes me about the band is their connection and songwriting creativity. Choruses and verses spring from the page; the performances are consistently exceptional and the lyrics get right into the head. Their playing is excellent and the entire experience is one of education and amazement. I have not heard many bands that do things the same way as them. It is great hearing them on the scene; producing fantastic music that takes away the stresses and strains of modern life but makes one think and reflect. It is the harmonies that have been getting the critics fired-up. I have mentioned the vocals of First Aid Kit: Darlingside provide a male take that is no less beautiful and entrancing. The band is not content to sit still and repeat what they did at the start of their careers. Many get tempted to stick with a popular format or become too commercial. It is always sad seeing bands who stray from something authentic and sell their souls a bit. Darlingside have gained popularity but have not, on Extralife, stepped into the ordinary and obvious. Many still look down their noses at Folk and feel it is a lame and limited genre. We all get images of those older artists who strum and talk about the natural world. I have addressed this topic but the point remains: do we have a good view and understanding of Folk’s depths and complexities? I feel many are still naïve and shallow regarding the genre. In my view, we should all give more oxygen and attention to a wonderful form of music that is capable of seduction and incredible fire. Listen to Darlingside and you get immense beauty and sensational emotions bristling and conflicting in every song. I will pass on to new areas soon but, when hearing the band; I am compelled to look at Folk closely and how it has progressed through the decades.

PHOTO CREDIT: Lithophyte Photography/Vivian Wang

It has been a while since a U.S. band have been on the reviewing pages of my blog. I investigate American music a lot but, for the most part, it is interviews that come my way. I get to look at L.A. artists but, for the life of me, I cannot remember when a band in the Massachusetts area came to my ears. We all think of the state and gravitate towards Boston. Now, we see America and still stick rigidly to areas like Los Angeles, New York and Nashville – Texas might come to mind for some. These might be the most popular and fastest-growing areas for great music: how about those lesser-represented states that are producing fantastic music all of the time?! I feel Massachusetts is a part of the U.S. that has always held sway and influence. The Lemonheads, Pixies and Aerosmith all hail from Boston – The Breeders and The Cars are from there, too. It is a fantastic city but, when thinking about the state in 2018; there are a lot of great up-and-coming artists. I still think as Massachusetts as a band-heavy area these days: there seem to be fewer solo artists and other formations that stick out. Great acts like Nemes, The Drax and Speedy Ortiz are fantastic bands playing in the state right now. It is a shame the mainstream does not pay more attention to state away from the obvious. I know there are fantastic things happening in Massachusetts and Boston. Darlingside is a band that does not try to emulate anyone else but, at the same time, feed from all the colour and diversity in the state. They are attuned to the beat of Massachusetts but dip back into the annals of music and splice things together. I wonder whether, in years to come, they will remain in the state and continue to make music there. They are settled right now but, as the media still focuses on the bigger parts of America – is that driving bands away from home? I feel the band will progress and shift to somewhere like New York in years to come. It is a mighty trek but, as they become bigger; perhaps that desire for bigger things will get them moving. Massachusetts is a wonderful state for music but one that is under-viewed by big sources.

There is a lot of excitement and hype in the Darlingside camp right now. Their new album, Extralife, has been released and is already gaining positive reviews. Fans and followers have been eager to dig into it and see what all the fuss is about. It is a dependably solid and effusive combination of songs and sights that marks the band out as one of the best around. I have listened to the whole album but felt it best to focus on a single song – I would not be able to give every song proper depth and investigation. What I found – when listening to their record – is the way they have progressed and how confident they sound. There is excitement, energy and purpose in the ranks. That suggests Darlingside were lacklustre before: a new album always gets artists moved and pumped. The Darlingside boys have been promoting their album and excitedly sharing songs/reviews with fans. They are definitely amped and it is all with good reason: the latest record from the band is the best thing they have done. Many are dubious whether bands still hold sway and can appeal to people on a base level. We have some terrific bands around but the market is dominated by solo artists. I am not sure whether things will change in the next few years. It seems people demand band and proper examples – how many original and promising bands can you name at the top of your head?! I can name a few but, when I think about it; the solo artists are the ones that stay in the mind. Darlingside are among a rare breed that manages to summon huge quality and longevity. I know they have been around for a while but, looking ahead, I feel Darlingside can endure for many more years. They are able to project something swelling and epic but keep things intimate.

One of the problems with bands is that commercial aspect. Those who wield guitars and want to craft something immense often struggle to break from the formulaic and obvious. I hear too many bands repeating what is out there or, if they are unique, they get overlooked and struggle for acclaim. That might signal deeper issues in music but, thinking closely; can we really afford to let great bands slip underneath the radar?! I feel music is lopsided now; to the extent where solo artists are getting the majority of the pie. Aside from the rather wooden and forgettable bands; there are a lot out there who get in the head and deserve bigger shoes. Darlingside are fresh and have managed to captivate fans on both sides of the ocean. I was alluding to a T.V. show that has made a (one-off) return to British screens. The Old Grey Whistle Test came back last night and, with it, showcased archive footage and some great performances. Years ago; the show was a much-watch for those who wanted to see the best new bands perform in a rather modest and honest space. The performances were always urgent, memorable and special. You could tune into the programme and watch brilliant performances and a magazine-style show that differed from everything out there. There are few modern options that rival the magic and brilliance of The Old Grey Whistle Test. We have music shows but, in my opinion, there is nothing that rivals the bygone show. I am among a group of people who want the show to return on a permanent basis. The reason for this is to bring back the art of sparse and raw performance. So many artists go on radio and we do not see anything real or unpredictable. If they are on T.V.; the set is rather garish and everything is carefully planned. I want the return of a scrappy and wonderful show that has gone down in history.

PHOTO CREDIT: Robb Stey

The reason I mention this in this review is the fact Darlingside could perform on the show. Last night, on BBC Four; the performances were largely acoustic-based and tender. There were some brasher moments – mainly from the archives – but the show was focused on calmer and more personal outpouring. I would love to see Darlingside grace a show like The Old Grey Whistle Test and bring their music to the screen. Extralife is an album that could benefit from T.V. airing. The band has followed up their debut, Birds Say, and capitalised on a popularity rise in the U.K. The band has come from America and performed on big stages and Folk festivals. They have played Glastonbury and up in Cambridge; played in London and, at the end of last month; they performed a sold-out show at London’s Courtyard Theatre. The band use the new album to explore religious schisms and daunting themes; a look at a world falling apart and people who are struggling to make sense of things. The guys ask whether anything we do will make a real impact. That sounds rather bleak but, at a time when we need bands/artists to address what is happening in the world; this seems like an album that will answer a lot of questions. It is compelling diving into the music and finding beauty and optimism mix with bleak and tortured themes. Darlingside have grown since their debut and are pushing their music in new directions. They fuse Baroque-Folk with Indie and riparian sounds. They have been compared with The Beach Boys and Fleet Foxes; their charm and special bond has been noted by fans and critics – the group are definitely ones to keep your eyes on. It is hard, if you live away from the U.K. or America to get attention in the other nation. We have a lot of great British acts who struggle to get America listening: few of our critics go beyond the home-grown and represent U.S. forces.

It is, therefore, all the better Darlingside seem to have a natural home here. We have always loved great Folk and, with festivals set-up to promote the best around; it is no wonder the band were invited here and done so well. Establishing that important bond will see them coming back here quite a lot. I am not sure whether they are back in the U.S. or basing themselves back here at the moment. I assume they are back home but I have been thinking whether a U.K. move would be right for them. It is clear they have fans here and garnered great respect from festivals and critics. It would be great to see the guys over here and get them here on a permanent basis. Maybe that is years down the line but, right now, they are revelling in a sea of fondness and appreciation. Extralife is an exquisite collection of songs that will see them go very far in the industry. I will stick by them and follow them every step of the way. I will move onto Old Friend in a bit but I wanted to end this section by commending the guys on their rise and how they have been taken to the heart. I know they will be touring heavily this year – let’s hope they come to the U.K. and do some more dates over this way.

Old Friend has been online for a few months but is one of the standouts from Extralife. The strings come in fast and flowing. They trickle and stream - and the listener is enveloped in a world of calm and beauty. Other songs on the L.P. are sparser and more direct: here, there is an emphasis on beauty and fullness. From the first moments; you imagine scenes unfolding and swim in the warm waters. There is sunshine and moonlight conspiring with one another. I was helpless to refute the calm and tenderness of the song. There is definite passion and intention in the strings. You never feel like it is a lazy set-up or there to simply score the vocals. The guitars are essential and carry so much weight and glory. I was helpless to resist their immense power and potency. I was reminded of Nick Drake and his early work. There was the same sort of panache and wonder one would get from listening to Drake. The harmonies come in and it seems the song’s subject is remembered and in the mind. The oak bends into the night and there is talk of compromise. One can imagine scenarios and whether there is a literal person being assessed. I was thinking about a state of mind or state of the world that had gone by and was being remembered. It is hard to overlook the vocals and focus on the lyrics – the effect the voices have on the soul is immediate and strong. I listened to the song and thought whether a companion and trusted friend was key to the song; maybe there is metaphor being employed to address the world and how it is changing. Nature and the natural world play a part; at every turn, you feel like you’re out in the open air and walking alongside the band. The production is incredible and allows every note to reign and shine – without things being too polished and refined.

It is one of the less word-heavy and lyrical tracks on the album: the song relies on beautiful instrumentation and creating visuals with composition. Graceful, sweet horns mix with the more stringent strings; they gracefully converse and take the song in different directions. It is almost like listening to classic Folk artists at their very peak. The notes all seem so natural and pure; you never get the feeling the band has had to sweat and labour over the song. That might sound like a bad thing but, listening to Old Friend unfold; you find a band who open their arms and minds to their listeners. The composition is such a fantastic and nuanced thing. I had to listen to the song several times before all the embers and ideas sunk in and did their work. It is such a heady and rousing brew for the listener to comprehend. It is that tagline and chorus that gets to me: what are the guys tackling and mentioning when they sing the song’s title?! One could hear the composition and think a friendship is being talked about – all the complexities and how faith and commitment are playing alongside one another. The river bends and the wind breezes; one feels the spirit rise and questions come to mind. The listener is helpless to resist the insistence of the music – it gets into every nook and fills the brain with something truly wondrous. By the end of the song; you dive back in and are keen to reinvestigate the song. Old Friend is a typical example of how assured and talented Darlingside are. There are other songs that match Old Friend in terms of beauty: none have the same spine-tingling potency, in my view. Other numbers look more deeply at the world and have that unsettled heart. Here, as we hear; there is something more comforting and calm working in the heart. A marvellous song from a band that gets stronger with every new release! Let’s hope this album gets all the respect and acclaim it deserves – early reviews suggest critics are involved and responding to every single note!

I think Darlingside are coming back here in May and will take in the likes of Manchester and London. At the moment; the guys are preparing to take their latest record around the U.S. From California to Tennessee; Darlingside are going to cover a lot of ground and will see thousands of faces. It is just as well they have released a stunning album to keep the fans entertained. They have armed themselves with stunning new songs and produced something truly sensational in Extralife. I am pleased I have discovered the U.S. band and have looked back at their catalogue. It is amazing to see how they have come on and how confident they are now. They always were but, as time has progressed; new elements have come into their music – the guys are determined to make their mark on music! I will end things in a bit but, before then, would recommend everyone gets involved with Darlingside and seek out their new album. It is a relevant and contemporary collection of songs that frame those incredible voices and make the listener consider the world around them. That can be quite a challenge at a time when many of us are looking for escapism and something more light-hearted. You will not get dragged down or depressed when listening to Extralife. The album has positivity and wants to lift the listener and challenge their way of thinking. I will leave it here but, as I do, the notes and embers of Darlingside resound in the mind. A fantastic U.S. band that is a big name here and, as they tour this year, will reach new fans and areas. I am glad the boys are on a rise and getting great reviews. It is a sign that Folk – modern and classic mixing – has a voice in modern music and shows bands still have…

PLENTY of life left in them.  

_______

Follow Darlingside

PHOTO CREDIT: Tønder Festival (Official)/Morten Fog) 

Official:

http://www.darlingside.com/

Facebook:

https://www.facebook.com/darlingside/

Instagram:

https://www.instagram.com/darlingside/

Twitter:

https://twitter.com/darlingside

YouTube:

https://www.youtube.com/darlingside/

SoundCloud:

https://soundcloud.com/darlingside

TRACK REVIEW: Katharsis - Come with Me

TRACK REVIEW:

 

Katharsis

Come with Me

9.3/10

Come with Me is available via:

https://open.spotify.com/track/48TGLIrpw5WxfrSTnS7WQH

GENRES:

Pop; Electro; R&B

ORIGIN:

London, U.K./Karlsruhe, Germany

RELEASE DATE:

16th February, 2018

PRODUCED BY:

Katharsis and Oscar Neidhardt

MIXED AND MASTERED BY:

Tom Hill

_________

I am noticing a few things happening in music…

that I had not picked up on before. I will take a look at Katharsis in a minute but, thinking about her situation and personality; I am compelled to raise a few other points first. Although she is London-based; Katharsis has German blood and, in music, I am seeing more German artists come my way. I want to look at the debut stage and the tools for success; finding new love and how that can influence music and songwriting; playing in London and making the most of the city; providing a new insight into music and revealing bits about one’s personality; fusing sounds together in a new way – where she will head throughout 2018. I want to start with Germany: a nation that keeps coming to mind. Katharsis has done it the other way but, what I find, is that musicians are settling in Germany and making a life for themselves there – Berlin seems to be the most popular place for aspiring creativities. I am not sure what it is about the nation – I have never been there – but I am told there is a way of life that differs from anywhere else. Berlin offers the thrill and variety of London without the expense and crowds. You can live there for less and get about easier – it is attracting a lot of people over there. Other parts of Germany are appealing to musicians but, for the most part, Berlin is the place to go. One would forgive artists for going over there is the U.K. was that bad a place to live in – that is not true so, I think, there is something extra and special in Germany. That might sound like a lazy sentence (grammar got away from me there!) but it is the people and the warmth; the history and the diversity of the music scene. Whether you are moving to Germany or coming from there: there is something innately magical and appealing about the country.

Karlsruhe-native Katharsis has come to the U.K. and is living in London – she takes her German roots and D.N.A. to the capital. I wonder whether Berlin was an option for her along the line or whether, seeing others come to London, there was only ever one choice for her. Not only do we get a great artist in London making music for us: Katharsis provides the new scene here with something special and unique. I will talk more about that but, when seeing her story and listening to the music, I can hear elements of German Electronic fused with Pop/Indie of the U.S. and U.K. It is an intriguing blend which makes me wonder whether we should look more at Germany and why it is so popular. I have been a bit harsh on London, perhaps: there is a reason why so many artists come over here and make music. In the case of Katharsis; she wants the opportunities and venues here; there are great fans and different nationalities living alongside one another - the sheer inspiration and wonder of the city. Whether you view Germany as one of the fastest-rising nations for new music or not – you cannot deny there is something about the country that allures and attracts. Katharsis, and her German peers, think differently to other artists and have a fresh perspective to work. We all know there is that German reputation for efficiency and a hard work ethic: that feeds into the music and the way artists go about things. Katharsis (Freya Volk) has settled in London and fuses the best of Germany and the U.K. into her sounds. One gets stunning and focused sounds together with the freedom and experimentation of London – a swirling blend of genres with the passion of Germany. I wonder whether Katharsis will move back to Germany or spend some time in Berlin. That is not a suggestion or way of getting rid of her: with new music out; she could get some great gigs in Berlin and, when she has seduced there, come back to the U.K. and play here.

Come with Me is the debut of Katharsis. She has recorded other music before – and performed a live session video of the track, Apple Water – but this is the solo outing for her. It is quite nervy and scary having that first song out and trying to get to the people. I get annoyed at some artists because they feel putting out the minimum is okay. It does not matter whether you are on the first single or the tenth: throwing out a few photos and no information is not good enough. You can argue new artists do not have the money and opportunities to have a lot of photos – that is wrong: everyone can take their own photos and get them online – but the modern age means every artist can put up a professional and full social media spread without spending too much money. It is irritating hearing excuses and people shirk responsibility and visibility. If I were a musician; I would hire a photographer to take a dozen snaps or so – different poses or settings – and pay that money out. I have my own website so, apart from that, it is personal information required. That would not take much time so, before I have even released a song; everything would be waiting for listener and journalists. That does not seem too tough, does it?! I would only spend a little bit and, whatever the cost, it would be worth it – you stand out from the crowd and attract the eye. This is not a long-winded and cruel kick at Katharsis: she is one of the few people who understand there need to be images out there and something for her audience. She has a biography out there – would be good to know which musicians inspire her and what she grew up on – and there are some great-quality images. One gets a mix of colour and black-and-white; there are social media links and you can readily hear Come with Me.

I will move on to other things but, before then, I will remain on this point. I know there are a lot of considerations for artists when they put out the debut single. They have to launch themselves to the world like a job interview. All the information needs to be correct; they need to be smart and polite; say the right things and compete with so many other people. There is a lot to take in and understand – getting all of that right can be a real task! You might say the song itself is the most important thing to get right and hone – that would be right! There are other things artists need to consider aside from the material itself. The music industry is as much about the electronic, social media side of things as it is the core sounds. Artists need to launch themselves with as much impact as they can from the very off. Ensuring you have a solid social media outlay and keep your audience informed and updated is vital. I am seeing too many overlook this and struggle to compete with other musicians. Katharsis has been in music for a little bit and spent most of her life around music. It was only natural she would make music herself and choose it as a career. I am excited seeing how far she will go in the industry: this debut cut is a big step and the introduction of a world-class artist. I would understand if Katharsis put out a fantastic song but her social media was a little lacking and slight. She has considered everything and, as she looks ahead, that will only get stronger. Right now, she is in a better position than most of her peers. Maybe that harks back to her German roots and sense of structure – I do not want to go to national stereotypes and owe it all to Germany.

Finding new love and making it work is only easy in theory: the realities of making a relationship work and grow is a lot tougher than you’d think. We have all been in the situation when love has come into life and has affected us in a real way. I am seeing songwriters stray away from love and start to look more into themselves. Modern songwriters are becoming introspective and talking about their personal struggles and thoughts. Although many are moving that way; there are some remaining in more traditional areas and talking about their experiences of love. Katharsis’ Freya Volk, I’m sure, has been in the position where she’s had her heart broken and been screwed around – everyone will have faced this predicament at some point in their life. Rather than put down a rather harsh and suffocated romance onto the page (for the debut); she has penned something hopeful and inspired. I will talk about the song when I get there but, when thinking of Come with Me, there is a hopeful and positive outlook. You get impressions of a young woman who has a wise and practical approach to the music; she has an open heart and knows the listener wants to discover something with a positive bent. I am sure there will be more anxious songs through her career but, right now, she is in a better place. As more songwriters move towards their journal entries – and away from the pages of their diary – there is that pressure, for those who remain in relationship territory, to try something new and evolved. Sticking with the tried-and-tired approach to music means a lot of songwriters are ending their careers early. It is tough to write about something as everyday and broad as love and do so in a fresh and inspiring way.

Again; this sounds like me winding up my boots and waiting to punt Katharsis in the rear. In fact, like before, it is a compliment. She will record a lot more material and address other themes and she progresses: coming in with a song that talks about relations and love is, actually, quite a brave move. Modern Pop and Electro is changing and, because of that, it can be hard gauging what is required and what is ‘fashionable’. Rather than fit into niches and cliques; Katharsis is writing from the heart and mixing something personal and classic. You get something relatable and tangible but, alongside that, a new angle on love. My overall point is Katharsis has managed to produce something that can bring people together and strike the heart. Come with Me makes you think and it challenges the listener to consider their own lives. Even though her love life is personal and complicated; I can listen to her debut song and relate to Katharsis. She manages to project a song that will resonate with everyone who hears it but, after you have finished listening; there is a little mystery and room for interpretation. Few new songwriters can create something that complex yet simple – a trick I look forward to seeing in many future recordings. Living in London; there are ample opportunities for Katharsis; she has so many stories by her feet and people to interact with. I am not sure how influential love will be when it comes to more singles and an E.P. The reason why love songs are popular and commercial is because we can, in some way, relate. Even if the lyrics are generic and samey – which they are not in Katharsis’ case – one can take something away that has meaning. You might argue those writers who talk about love in a very personal way would alienate the listener. Somehow; Katharsis has managed to bridge the familiar and unique and released a song that produces new insight and revelation every time you hear it.

Later today; I will talk about the North and why music there should be celebrated and highlighted – the new breed and some classic artists. I said I would step away from London but, as I have concentrated on other areas recently; it seems like I am owed a return to the city. The same argument can be applied to other cities around the world. I wondered, earlier, why Katharsis would move from where she lived in Germany to the U.K. It is not as simple as saying, if you live in Germany, then Berlin or, say, Hamburg would be a natural next step. The same is true of anyone living anywhere else in the U.K. – and the thought they would go to London or Manchester. Whilst the city is not to everybody’s tastes; there is something about the people and culture that draws songwriters in. In the case of London; all the best art comes from here; there are fantastic musicians and wonderful venues to explore. Katharsis plays The Finsbury soon – a place I am very familiar with – and there are going to be so many other venues requesting her services. Not only does she have possible gigs in every corner of the capital: the people and day-to-day life will, surely, compel new music and ideas. On top of that; there is the multicultural aspect and cosmopolitan vibe of the city. It is impossible to spend any length of time in London and not be affected in some way. That sort of promise is why many songwriters come here and make a life for themselves. So many are concerned with rent prices and how hard it can be to make it over in London. The realities are clear: it is not easy to live and succeed in a city that gets more packed and expensive by the year! The negatives are there – and there for obvious reasons – but there are numerous positives for artists to concentrate on. Getting the best out of the city can be a hard thing to achieve. Katharsis has taken the leap and come to a country that could have swallowed her up. Rather than become scared and daunted by the city; she has tackled it head-on and immersed herself in the people.

I am sure she undergoes the same stresses as everyone who lives there – smelling butt on the Tube; getting hip-checked down Oxford Street; being stuck in a cab during rush-hour as the meter spins towards suggestions of bankruptcy – but the city is so huge…it is possible to get something wonderful from it. As a musician; she is in a fantastic place to find support, like-minded artists and willing venues. Getting the music right and honed – so that she gets those requests – is an important part of the business plan. That has already happened with Come with Me but, because it has only been out a couple of days; it is hard to say how what reaction people will afford it. I know it is already receiving press – excluding myself – and people are responding in some way. As spring approaches; I am sure Katharsis will launch new material and think about an E.P. That debut single is always daunting for an artist: knowing whether it will endure and prove popular; will it get airplay and focus from bigger sources? I do not think she needs to worry too much about that. The track is amazing and she is in a city that can provide that exposure and love. Katharsis is a hard-working artist who is always pounding and getting her music out there. It is wonderful seeing any new artist take their first steps into the business: those who do so in London have all that opportunity and area to cover. I am thrilled for Katharsis and know she will go a long way in the business. I will come to look at the song in a bit but, before I do; I wanted to end with a look at fresh sounds and fusions – that which the music industry needs to see more of.

Katharsis has come from her native Germany and has a Classical upbringing. She grew up around some of the Classical greats and had a very different start to life. Now, in London, she is more exposed to Pop and R&B; she ties in the Classical past with modern, commercial sounds but, rather than lazily throw them together; what one gets is an assured and dynamic combination that I have, for one, have not heard. Come with Me was produced by Katharsis and Oscar Neidhardt and exposes her dreamy, sensual and multi-layered vocals. It is fantastic hearing all those colours and ideas coalesce into something magnificent and unique. What strikes me is the confidence Katharsis has right from the off. The song gets right into the mind and compels you to play it time and time again. It is a fresh and summer-ready smash but one that has a beating heart and sensitive soul. I will talk more about the song’s origins and story when I review it but, looking back; I am affected by the complexities working away. It is clear Katharsis has grown up around music and it fed into her blood at a very young age – that passion has continue and heightened as she has grown older. The fact her track does not repeat what is out there is a because of a few things. Taking that German background and melting it into the eclecticism of London is one thing. Katharsis has a personality like nobody else and thinks differently – her music, therefore, will reflect that. She is someone who knows what it takes to succeed and will do everything it takes to make it happen. I love how there are strands of R&B and Pop working away but things never feel cluttered or predictable. You get fresh sensations and nuances from an artist who does not want to see her music lost and buried among the more average and uninspired sort.

Come with Me is all about dreaminess and taking things easy. The composition – light piano, finger-clicks and suggested beats – ease into the foreground and whisper like a haunted smoke. The heroine’s voice, therefore, has that same smoothness and seduction. It is arresting hearing it for the first time and discovering what it does to you. It quivers and echoes but there is that strength and passion that is hard to ignore. It seems Katharsis in a safe place and in a relationship where there is give and take. It is difficult adapting to a relationship but, from what one hears, there is a sense of comfort and assuredness in her bones. The song seems to emanate and tumble from her photos. You get images and impressions of late-night conversations and pillow-talk. There are all these suggestions tumbling and, mooring it all, is that superb and comforting voice. It is hard not to be taken and impacted by Katharsis’ tones and emotions. This is all new to her – the closest she has come to love – but there is a sense of understanding and comfort. It is strange and uncertain going into any bond but, right now, the heroine is solid and safe in her convictions. The early days can often lead someone to a feeling of longevity and security – the longer things go on, the more likely cracks are to form. That is not a shot at the relationship but the reality for many. There are piano flourishes and tiny little details that bring the lyrics to life and cause the listener to conspire and dream. Come with Me gets into the head like a drug and makes the heart beat a bit faster. Following the story; I see the lovers awake at night discussing life. The conversations, to me, are less serious and have a sense of fun to them. They are chatting about their days and what they want to achieve together.

Past the mid-way point; new revelations and ideas come to mind. The chorus sees the heroine tackle the future – everything needed is “right in front of me” – and look far ahead. It is encouraging seeing that clarity and positivity come to her eyes and set her on a course. I feel this love has come from a bad period where men have messed her about and made false promises. Rather than accuse and dwell on those times; you get a sense of a woman who has found someone solid and trustworthy that will lead her wherever she needs to go. I wonder whether this excitement and certainty belies the fact the love is in its infancy and subject to fallibility and entropy. That sounds sceptical given the facts: the heroine is happy and has no reason to doubt the guy. She is in a good headspace and is comfortable enough making plans and opening up to her sweetheart. The lovers waste the day away and are immersed in one another. Come with Me has a modern, breezy sound that can get people involved and reacting. It is simultaneously beach-ready and insular. There are washes of colour and energy but, like that, it contorts and turns the bedroom lights off. That contrast reflects the dynamics of sex and passion. The duo is free and happy enough to submit to one another but, away from the physical nature of love; there is a connection and depth that requires safeguarding and appreciation. The mantra of “We’ll be okay” is enforced and carved into granite. There is no desperation upon the delivery – it is sung in a rather uplifted manner – but I wonder what provoked those words. Maybe both have natural doubts and there is that feeling things are too good so soon – and things could go bad. Both might have bad track records and know how quickly love can go sour. The heroine might be reacting to her man’s feelings: assuring him they will be fine and she is a very loyal and dependable sort. The reverse might also be true. By the time the song trickles to the end; you get a better understanding of the heroine and why this song means so much to her. It is a heartfelt, passionate and intriguing song from a new artist who has a lot more creativity, life and promise inside her.

Katharsis plays The Finsbury tomorrow (19th) so, if you are in North London; make sure you get over there and see her play. It is a tiny venue but one with plenty of character and heart. I hope to get over there in the coming months and put a few artists up. It will be interesting seeing Katharsis grow and where she heads next. I know there is more material in her mind so, seeing what form that takes, will be interesting. I am not sure whether an E.P. is planned for this year but it is clear there is momentum and energy in the veins of the German-born artist. She will take London by storm and have so many chances placed before her. I know there is competition when it comes to Electro/Pop/R&B artists but that is not a warning: Katharsis has an edge and a U.S.P. that will see her get gigs and festival requests. As the weather gets warmer and we are all planning our festival diaries – will Katharsis be among those included in this year’s roster?! She might want to start local and get a few gigs under her belt but, after that; she will have ambitions and aims to go further. Come with Me is proof she is among the most exciting and promising new artists around. It is a song that lingers and remains lodged inside the head. I am thrilled she has come onto the scene so strong and know, with fans behind her, success will come easily. Katharsis works hard and is keen to get her music heard and appreciated. I will leave things there but, before I go, recommend people investigate her sounds and throw their weight behind her. In a packed and exciting music world; it can be hard deciphering which artists warrant approval – and those who are only here for a short time. Time itself will reveal that but, rather than weight; we all know, in our hearts, which artists are deserving and are the hungriest. Katharsis is someone you will not want to take your eyes off. Come with Me is proof she is off to a flyer and, if you follow the hidden meaning of the song’s title; those who truly appreciate her music will follow her…

WHEREVER she goes.  

_______

Follow Katharsis

Official:

https://www.thisiskatharsis.com/

Facebook:

https://www.facebook.com/thisiskatharsis/

Instagram:

https://www.instagram.com/thisiskatharsis/

Twitter:

https://twitter.com/thisiskatharsis

YouTube:

https://www.youtube.com/channel/UCElTIV8PbRuFAf-huxwB3mA?view_as=subscriber

SoundCloud:

https://soundcloud.com/thisiskatharsis

PHOTO CREDITS (unless credited otherwise):

Lidia Huerta (Colour) and Ben Mcconnachie (Black-and-White)

TRACK REVIEW: Weekend Recovery - Oh Jenny

TRACK REVIEW:

 

Weekend Recovery

Oh Jenny

9.4/10

Oh Jenny is available via:

https://soundcloud.com/weekendrecovery/2-oh-jenny

GENRES:

Garage-Rock; Punk

ORIGIN:

Leeds, U.K.

The album, Get What You Came For, can be heard here:

https://soundcloud.com/weekendrecovery/sets/weekend-recovery-get-what-you

RELEASE DATE:

17th February, 2018

LABEL:

Headcheck Records

_________

IT has been a bit since I looked at…

a band and investigated that side of music. I will come to Weekend Recovery in a minute but, before then, I wanted to look at a few things. Garage-Rock and its mutation is high on my mind; I will talk about Leeds and artists in Yorkshire; bands who go away from the mainstream and produce something lo-fi yet popular; getting the ear of big sources and how important that can be at the start of the career; where music might be headed this year – and how Weekend Recovery will go in the future. I have been thinking about Garage-Rock and how the genre does not really have a lot of representation in the present time. I guess Weekend Recovery mix in some Punk but, if you look at their influences, the likes of The White Stripes are in the mix. I am seeing more and more female-fronted bands come through and this gives me strength. We are still being buried in all-male bands and, when it comes to festivals, that seems to be the main commodity. It is a dependence we need to get out but, with bands like Weekend Recovery; it is providing range and new colour to music. I am excited seeing how music changes this year and what comes to the fore. Solo artists are being tipped but there is hope bands will have some say and make some headway. The past few years have been solo-heavy: bands have not really crafted anything unifying and overly-original. In the underground; there are some wonderful bands coming through but, in my mind, there are few that really rival the best solo acts. Why is this, then?! I feel there is an issue coming from the mainstream – I am wandering a little off course, I realise. There is still that need for big Rock bands and those who can fill stadiums.

Maybe it has been a long time since we saw anyone as massive as Oasis in music: modern bands are a different beast and few have the same ability and swagger as them. Bands, today, are bringing in other genres and taking music in a different direction: there are Alternative/Rock bands but few have the same genius and ability as the departed Manchester band. Critics are not really encouraging those artists who go beyond the expected and foster something deep. There are some wonderful artists in the mainstream but I am seeing few who splice Rock, Punk and Garage together – music that fills the heart, brain and lungs. The new breed is doing that much better: Weekend Recovery are among the most assured and appealing of the pack. New artists are keen to keep genres like Garage and Punk alive. The reason I am excited about Weekend Recovery is that they mix elements of legends like Oasis and The White Stripes. Garage artists like The White Stripes created some of the greatest music of the past couple of decades and perfected that under-produced, raw sound. Many artists – in the underground – are doing that but I have been searching for a band that mix the magic of The White Stripes (and their peers from Detroit) and bigger British bands. The guys have all grown up on classic Garage/Punk bands and those huge, anthemic British bands of the 1990s. My hope is bands assume a bigger role in 2018 and, in years to come, can show the same influence and dominance as they did in the 1990s. That might not happen if we rely on the mainstream alone. The new breed is the ones we should be looking out for, it seems. There are some terrific Pop and Indie bands – who are intelligent and inventive – but a part of me wants that energetic and exciting thrill; groups that make me think of past glories and acts – keeping my mind in the present and what is to come.

PHOTO CREDIT: Dave Heritage

Among the aspiring Garage and Punk bands is Weekend Recovery. Maybe they cannot reproduce the same sort of brilliance and angles as The White Stripes. The reason I keep mentioning them is because the Leeds outfit has that same spirit and confidence; they put some Blues and Rock into the blend; there is a lot going on that inspires the body to move and the senses to spike. It is no surprise a Yorkshire band should come to my mind. The county has always produced sensational music that differs from the norm and keeps older genres alive. I have heard Electro-Swing and Hokum in Leeds; 1980s Pop and Alternative-Rock. It is a busy city and part of a county that keeps on amazing and progressing. Strangely, it is the way Yorkshire artists look to the past that keeps music looking forward. I hinted how there are great bands around but there is a missing ingredient: something that may, oddly, be in Yorkshire. So many new bands are concerned with fitting into a certain mould and following the pack. One of the ways bands will have a bigger say, and development will be seen, is to think outside the box and take bold steps. Yorkshire is a county without fear; one that does things their own way and channels a unique spirit. Leeds is the centre of all of that candour, energy and motivation. I have always loved the city and feel the artists here are among the best in new music. The North does not get the credit it deserves: we still look to London and the South for bands and the best new acts around. I am not suggesting Yorkshire, along, can kick-start a revival and spawn the new generation of heroes: what I am saying is the county warrants more eyes and acclaim.

PHOTO CREDIT: Tim Wilson

Maybe it is the way of life there; the personalities and ethos of the people – something in the air means the creators and creatives go beyond the ordinary and sip from a different well. Leeds is a wonderful city bursting with hungry artists and strange minds. Weekend Recovery, and that great name, have made strides and are putting the county on the map. Yorkshire has always been there but I feel, with the advent and rise of solo artists; it is going to be harder for the county to gain the legacy and acclaim it deserves. Weekend Recovery have their heart and spirits in the current but have a love and fondness for the past and its wonderful music. Their music is fantastic and takes my mind back to when I started falling for music. Everyone looks for something different in music. For me; I want a combination of unexpected motions and embers of the past. That is hard to concoct – but there are some artists that do that. Many join sounds together lazily; others have some promise but cannot sustain that. I feel Weekend Recovery have all the ingredients and fabrics to ensure they remain and inspire. I am not surprised to see Yorkshire produce a band like this. Their new album, which I shall mention later, contains frustration and songs about modern life; fire and spunky vocals with great riffs and relevant lyrics. I shall move on in a minute but, to end this part; a final nod to Yorkshire and why its artists are so important. There is an originality and passion that strays from the cliché and mainstream. They push boundaries and tackle new realms; they move past the worn and do something genuinely new. Weekend Recovery are another example of this. They are a superb quartet who, I think, will make some big waves in years to come.

Before I come to look at a song from their album, Get What You Came For; a talk about sounds that go low and have that undercooked aesthetic. I am not saying the music of Weekend Recovery is lacking any polish and spit but, when listening to the music, you get a sense this band want to keep their music alive and alert. I mentioned The White Stripes – and shall not bring them back too often! – but the Detroit duo were masterful when it came to the eight-track-sounding songs that packed a punch and sounded wonderfully direct. Weekend Recovery project themes of dislocation and anger in a very genuine and unpretentious way. I keep saying that word, ‘genuine’, but that is a commodity lacking in music. There is so much fakery around and plastic sounds. Artists, for one reason or the other, are not doing anything new and seem determined to get streaming figures up – rather than hit the heart and break rules. That does not apply to everyone: there are a lot of artists who understand music lovers want sounds that do something special and unexpected. Weekend Recovery put me in mind of the 1990s’ Garage rise and the great British Rock of that time. I get hints of Punk from the 1970s and modern Alternative. There is a bit of polish in the music but, above all, there is that meaty and sweat-filled sound that bursts from every note. I am interested seeing how the band progress but, as they say, they are producing their most assured and mature sounds to date. This maturity does not indicate a dampening and distillation of their primal energy. What we can hear in their album is the same brilliance as before but, this time, there is depth and nuance that was lacking.

Those musicians who forgo the shine of the modern studio are to be congratulated. Weekend Recovery have a great live-sounding dynamic and that means the material can easily translate to the stage. It is wonderful hearing artists who can put onto tape music that does something physical and evocative. Maybe my words are not forming as eloquently as they could be: the firepower and brilliance Weekend Recovery put out gets one rather excited! There is nothing to suggest they will be here for a short time. It is a competitive and busy market out there, for sure. So many artists are competing and doing their own thing. Maybe it is the fact they are from Leeds; perhaps it is the artists they were brought up on – there is something that takes them above and beyond what one normally expects. The guys have won some important ears - so it shows their music is striking the right chords. I have seen some big Rock bands come and go; there have been Garage artists who have remained for a short time – none that have really endured and made that much of an impact. The fact Radio X and BBC Introducing have noted Weekend Recovery’s strength and promise tells you all you need to know. The band is picking up acclaim which, in turn, is giving them confidence and feeding into their sounds. It is great seeing artists get acclaim and putting that on their social media feeds. It shows pride and how much great predictions means to them. It is important to recognise why people rate your music and why it means a lot to them. Reviews and plaudits alone cannot make you or ensure a long and fruitful career: it shows there is a lot of love out there and people are supporting you. The reason I wanted to raise the subject of critical acclaim and support is how (because) we need to start supporting those bands that have the promise to remain.

I have talked about how bands have seen declining stock; their wonder and appeal is not as strong as it was years ago. Every time I encounter a band that has a list of high-profile sources in their corner; it lets me think they have the promise to remain in music and change the game. One cannot underestimate and ignore areas like Radio X and BBC Introducing and what their kudos proves. Weekend Recovery are turning heads and, with every listen, getting stronger and more assured. I hope the Leeds band continue to record albums and keep their spirits high. Get What You Came For is a wonderful album that is already picking up positive reviews and support – despite the fact it is released today. The band will get more respect and attention the next few days: it is going to be a busy and productive year for them. They have a release-show in Camden later – Camden Rocks Presents, in fact. It is a gig that will bring their new sounds to the capital; it will get them fresh support and add to that tally of impassioned praise. The band have played in big London venues and gained local support in Yorkshire. I will end the review by predicting where they will go and how far they can reach. The acclaim accrued so far means people recognise the brilliance of the band and the fact they are doing something new. Everything they do goes beyond the predictable and tired. 2018 will be the best year for the Yorkshire band to date. Not only is an album out; they will play some big shows and, as festivals start; that gives them the opportunity to get to large crowds and bring their explosive music to the masses. I will end things here but I hope I have managed to represent all the best sides and facets of Weekend Recovery. They are working in a busy market and will take a few more years before they reach the mainstream. Right now, things are heading in the right direction and people are reacting.

The opening has spirit and step but does not get too carried away. It is a rousing and punchy beginning that gets the feet moving and the fists tightened. Oh Jenny has that acceleration and energy but never explodes or gets too far ahead of itself. The band show how tight they are from the very first notes. Lori steps up to the microphone and gets her words out. Whether she is speaking about herself or another figure; subjects of loneliness and being left aside are in there. She asks – a subject or us – whether you have been left alone and know that feeling. I can hear the emotion crack in the vocal; the urgent need for answers and a demand for answers. The heroine does not mind if she is sitting (with the heroine) or miles apart – something oblique and mysterious comes out. The chorus bursts and there is a definite chant. The heroine questions Jenny and asks what she is doing; pointing a figure and giving her a dressing down. Maybe Jenny is a subject who has alienated her friends and lost her edge; maybe she has burnt bridges and is calling people out. It is hard to see whether the subject is a once-popular idol who has fallen from grace – or a cursed human that has caused damage and problems for the heroine. It is interesting speculating as the words pour out. The chorus, as said, is a big and emphatic thing. The guitars, bass and drums bristle and slam; the vocals get more active and spirited – a primed and ready charge that gets right under the skin! The band have always been great at crafting great choruses and instant hooks: this comes through emphatically in a song like Oh Jenny. Some of the words get buried in the mix – it can be difficult hearing some of what is being sung. It is not a surprise to hear that considering how uncluttered the production is. In order to project that Punk/Garage mood; the production and recording is fairly basic.

It is not really a problem some of the words get buried and overlooked: the sensation and energy override any issues with clarity and decipherability. There is death behind the eyes and a sense of patronisation. It seems Jenny is a figure that does not really care for anyone and seems to have a problem with the heroine. She has an agenda and is only looking out for herself. The anger from Lori suggests she has endured a lot of crap from Jenny. The vocals get bolder and striking towards the end. They come to the fore and are sharpened as the words reign and register. The band thrashes and creates a fantastic sound behind their lead. The ill-fated and accused subject is being labelled, poked and levelled. What strikes me is how the song manages to mutate and change directions without losing focus. The vocal comes from an under-produced background to an up-front thing; the composition changes course and the lyrics shift slightly. It all hangs together brilliant and the band never lose their step along the way! Few have the confidence and ability to create a song that covers so much ground and gets straight into the heart. It is less than three minutes in length yet creates a huge hit and stays in the mind. One can hear shades of singers like Chrissie Hynde and the legends of old – there is freshness and originality in there, too. Other tracks on Get What You Came For have a similar tune but, to my mind, do not have quite the same brilliance. Oh Jenny stands aside because it mixes the personal with universal. We all know a person who puts themselves first and does not really care for anybody else. If you have not heard Weekend Recovery and what they are all about – Oh Jenny is a brilliant start and perfect encapsulation of what they are all about.

Get What You Came For is out and, whilst I have not reviewed the entire album; it is a work that needs to be heard and celebrated. The ten-track record is a sumptuous and busy collection of songs that takes in various themes and inspirations. There is an abiding sense of anger and need for change. Songs like Why Don’t You Love Me? and Turn It Up are among the most urgent and instant songs the band have come up with. I wanted to concentrate on Oh Jenny because it struck me hardest and brings together all the strands and sides of Weekend Recovery. It is brilliant finding a band who can put together a tight artist that has so much passion and difference. There is that single, concrete sound: songs do not remain rigid and stick on the same course. Themes differ and there are fascinating little angles in each cut. The band's performances are uniformly excellent and professional. The production allows the raw Garage-Rock sound to mix with something a little bigger and bolder. What you get in Get What You Came For is a band vibing and creating some of their finest material. I wonder where they can head from here?! They play London today but, going forward, there is a lot of potential for the Leeds group. The country is huge and there are so many great venues they could play. I wonder how many of Leeds’ established spots they have already charmed. They could head to Sheffield and York; play over in Doncaster; get themselves to Wakefield and Bradford. I feel the North is a market that more artists should take advantage of. I feel Weekend Recovery could do well in Manchester and enjoy some success over there. The guys have a sound that could do really well over there. That will be in the minds of the band but, as they launch their new L.P.; many ears and eyes will come their way. I hope there are more London dates among their plans – so I can see them play and see what the fuss is all about.

I will end this by urging people to seek out and investigate Get What You Came For and get involved with every song. There are few that have the same power and potency as the Leeds band – many others band could learn from them. It is a packed and loud music scene where it can be hard to stand out and get your stuff heard. I have every faith Weekend Recovery will cure the hangover in music and ensure bands get more of a say. I am glad solo artists are finding favour but, for the past few years; there have been fewer standing out and remaining in the memory. I feel the new breed is the most promising when it comes to long-term success and invention. It has been a long time since I have really got behind the band market and seen something fresh. Newcomers like The Orielles are sparring with established greats like Field Music – there are plenty out there that give me reason for hope and excitement. There is still the reliance on solo acts, and so, it is wonderful Weekend Recovery are making strides. Get What You Came For shows the Yorkshire clan are on a mission right now. It has been a while, also, since Garage-Rock and Punk has got into my thoughts. There are some brilliant newcomers around but, for the most part, Rock and Alternative are favoured. Get involved with Weekend Recovery and take a listen to their new album. Try and see them play and understand why some huge names are throwing their weight behind them. In a year where the best solo artists will get most of the focus: celebrating wonderful new bands is really important. The intrepid and incredible Yorkshire band will be a familiar and stadium-ready proposition…

BEFORE too long.

 

_______

Follow Weekend Recovery

Official:

http://www.weekendrecovery.co.uk/

Facebook:

https://www.facebook.com/weekendrecoverymusic/

BandCamp:

https://weekendrecoveryofficial.bandcamp.com/

Twitter:

https://twitter.com/weekendrecmusic

Spotify:

https://open.spotify.com/artist/5G2EghUKgFfKXlghzyBVM6

YouTube:

https://www.youtube.com/channel/UClfw-KMCuoVBIthvKBx4OQg

SoundCloud:

https://soundcloud.com/weekendrecovery

TRACK REVIEW: RIDER - Hurts Me Too

TRACK REVIEW:

 

RIDER

Hurts Me Too

9.4/10

OFFICIAL RELEASE DATE:

23rd February, 2018

VIDEO RELEASE DATE:

12th February, 2018

GENRE:

Pop

ORIGIN:

London, U.K.

LABEL:

Sapien Records Ltd

_________

I was pretty eager to return to an artist…

I last featured a year ago. I will look at RIDER’s new song, Hurts Me Too, but, before then; I will address sexual confusion and liberation; how confusion and depression can force an artist into making bold choices. I will look at those who have a positive outlook and optimistic bent on life; U.S. talent who move to the U.K.; spirits who are free and alive; musicians who can get into the public forum and have that special sound; channelling personal conflicts and hardships into music – a bit about this year and why RIDER will attack it and succeed. As it is Valentine’s Day on Wednesday; I wanted to bring in relationships and love. In the case of RIDER; her experienced and takeaways are much deeper than the sentiments one will see staring back from the card shelves. Hers is a very real and affecting time that has not only shaped her music but the way she lives her life. I am writing a piece concerning Valentine’s Day later and a bit about love songs – how they have changed and why they affect people so much. I feel musicians and creatives approach love and sex in a very different way. I will look at RIDER’s relationship conflicts in relation to Hurts Me Too later but, right now, it is interesting addressing things close to the heart. It can be hard, for those experiencing something unusual, to express that to family. For me; it is more about pining and wanting someone who does not reciprocate: for RIDER; her issues arose when she was in a relationship with a man. She was optimistic about the future and the fact they could spend their lives together. Maybe it was not as concrete as marriage and settling down: it was a stability and security that seems secured and assured. During this time, as I will venture; her heart split and her thoughts turned to a woman.

Raised in a family where the idea of bisexuality and homosexuality was seen as a sin and wrong thing – revealing this sexual confusion had a stigma and sense of fear. The young American artist was struggling to find who she was and what all of this meant. She sought help and therapy – I will come to that later – but maybe the fact RIDER fell for a woman did not signify a clumsy sexual transition: it was more, I feel, an unhappiness at her situation and wanting something she was not getting. Her life and sexual coming-of-age has a filmic and dramatic quality that could be put onto film: the struggle and realisation of a young woman trying to adapt to changing life and hard situations. I am not sure what her relationship status is now – whether she is seeing a man or woman; whether she is single – but her decision and realisation came at a time when depression and anxiety were at fever-pitch. Maybe the relationship she was in was taking away some of the string and struggle – it was not as enriching and medicinal as she would have helped. It was a Band-Aid, perhaps, that provided a physicality and sense of comfort but, when looking for something deeper, there was not the emotional and spiritual simpatico she sought. RIDER had to reveal to her then-boyfriend she had feelings for another woman; she had to tell her family and face judgement and discomfort. In 2018; we are starting to become more educated and aware of the fact sexuality is a spectrum and not a binary thing. Those who have ‘Christian’ ideals should show forgiveness and tolerance: many, unfortunately, are close-minded and feel everyone should be straight, white and obey the Lord – anything that stands outside their rigid circle should be neglected, isolated and eradicated. Addressing subjects such as sex and confusion will give heart to other people in the same situation; it will drive them to be brave and face their situation without fear of reprisal.

Depression and anxiety is a ‘taboo’ that affects many of us – myself included – and can be as big a motivator as a burden. It is understandable RIDER felt a sense of panic and strain. She was hiding a secret and not revealing it to a family who felt being in love with someone of the same sex was evil and unforgivable. RIDER turned to online therapy and, slowly, was provided the shoulder and understanding she was looking for. That, in turn, provided a sense of relief and emancipation. Through constructive therapy and dialogue; she picked the pen up and put her feelings down in Hurts Me Too. The song’s video is out tomorrow (12th) and showcases all the colour, drama and flair of the situation. Right now, for the purposes of this review, I will do my best to describe the song as best I can. Before I come to this, I wanted to look at depressions and anxieties that impact musicians. There is a prevalence in the community that is alarming and under-treated. In RIDER’s case; it was exacerbated by being in a relationship she was not committed to. I figure there was something else at play before the peak of her depression. The fact she was in a relationship with a man first, in my mind, was a way of delaying something that was deep inside her all this time – who she really was but could never reveal to the world. The carapace against imminent revelation was to ensconce herself in something others deemed ‘normal’ and conventional. I cannot imagine how hard it was for her to come out and reveal who she really was. The fact we are in a world where there is a stigma attached to sexuality and freedom of choice means depression rates are at an all-time high. The upside of this is the fact these topics are being addressed through music. Rather than hide her emotional turmoil; RIDER has put it all into her music and been able to find some sense of comfort and gravity.

I hope she is in a better place now but, thinking about her difficult time and conflicts; I hope her experiences can help other musicians. They might not be struggling with sexual identity and a relationship they feel trapped in – there are all sorts of situations where RIDER’s words can provide guidance. I am at a point where I need the same kind of bravery and answers as RIDER. I am not in the same place where I have to hide an attraction: my uphill battle is with location, profession and happiness. Being, physically, in an area of the world that does not appeal to me; the need to get to London is at a peak. I have been struggling to get to the capital and get more desperate and upset the longer I am away. The same goes when it comes to my happiness levels and lack of sociability. Being away from somewhere I have always wanted to be is causing a lot of damage and emotional stress. RIDER is, I hope, in the place she wants to be now but that sense of clarity has taken a long time. RIDER’s experience has compelled me to think of other options to get where I need to be. The method I am undertaking right now – conventional job-seeking and endless hard work – are not as profitable as I had imagined. I know exactly where I want to be and what I want to do: managing to get there and actually make it a reality is the thing I am unable to get past. Maybe undertaking therapy, online or physically, would be the best next step. It is not the same as career guidance but would help unlock some emotional and psychological tangles. I am not sure but, as I go further into 2018; the need to find happiness and live life my way is dominating my mind. I am looking out at music and trying to find positivity in the sounds and artists that are filling my speakers.

RIDER is the embodiment of Californian sun and vibrancy. She studied in Liverpool and is in the U.K. – she actually spent her early life in Pennsylvania. She has moved about and explored the world but RIDER manages to bring her experiences and life in the U.S. One gets the expansiveness and unique landscape of her home with the new elements of the U.K. RIDER takes what she has learnt in Liverpool and fuses that with bits of London. The concoction and blend is unique and it leads to some of the most spirited and uplifting music around. Her life has thrown up some challenges but, right now, she seems to be in a much better place. It is the optimism and energy that comes off the page that brings you in. Artists in a similar situation would funnel their words into more gloomy and lacklustre sounds. I am all for those who show emotion and reveal themselves but it can be quite hard listening to songs that raw and upset – and leads up to seek out something more hopeful and bright. There is no real need when it comes to RIDER. Hurts Me Too is a song that tackles the confusion and suffocation felt when RIDER was in love with another woman. She recognises the pains and heartache her boyfriend would have felt but lets it be known she hurts as much – this is not easy and it is a decision that is taking a lot out of her. Many would have been unable to commit these feelings to song: RIDER has not only achieved that but created something fresh, uplifted and productive. I am not saying her latest track is an explosion of sunshine but it will provide guidance and heart to many out there. Looking at RIDER and one gets this energetic and adventurous spirit that can do anything. She is artistic and sporty; she embarks on new challenges and embraces the world.

There is a positivity and hopefulness that many should try and emulate. RIDER, to the American, is all about embracing life and not being bound by rules. Whether that is snowboarding, climbing trees or going to a new country – there is nothing she will not stop at. She is an optimist, at heart, and is always looking for that new challenge. So much of modern music is about the conventional, obvious and honed. People do not really surprise you and it is easy to get buried in the endless marketing drives and gigs. Artists either lack the energy or the imagination to take an original approach to life. Maybe it is the American D.N.A. or the way she was brought up. Whatever the explanation; RIDER is a unique soul in a musical landscape that needs leaders. So many of us are bogged by workaday life and we struggle to get out of our comfort zones. RIDER has the same demands and struggles as anyone but, when music is done, she gets out there and attacks the world. I am not sure whether she is in a relationship right now but there is energy and a lot of life surging through RIDER. She has gone through a hard situation and has learnt a lot about herself. Rather than dedicate all her spare time to music and writing; there is that need to live life and detach from things. It might be easier to have that wild and untamed experience somewhere like the U.S. – where the landscape is broader and the weather better. Here, the young artist is getting out into the open and finding pleasures and possibilities in the U.K. I know she has settled and is playing gigs in the U.K. I wonder whether she’ll be tempted to return to the U.S. (briefly) and spend some time somewhere like L.A. or New York. I want her to remain here but wonder whether a ‘creative break’ in the East or West of the U.S. would give her some new musical impetus and provide an opportunity for fun. That is all ahead but, right now, she is preparing to put Hurts Me Too out to the world.

RIDER has channelled a lot of personal struggle into her music. Her debut single, A Little Light, got love from the U.S. and U.K. and saw her featured on T.V. shows and great radio stations. A lot was accomplished and her name is out there in the public. It is only a matter of time before she is a big name and commanding huge audiences. I know this because there are no musicians who have the same threads and personality sides as her. RIDER can go a long way in the industry and make some real changes. Hurts Me Too is a fantastic offering that will lead to more demand and popularity. Many will want to see an E.P. and more material from her. I am not sure what is in her mind but this year is going to be a very exciting one for her. One reason I know RIDER will go far is because of her spirit and sense of freedom. She is not bound by the same rules as everyone else and tackles the world with boldness and determination. There is that sunny disposition and boundless energy that sees her get out into the world and see what is waiting. Many of us cannot experience things the same way as RIDER. We do not know what she has been through, and so, it can be hard to get into her shoes. RIDER opens herself up through music and lets the listener into her world. It means we can get an impression of what she is about and how life flows through her. That immediate and near-physical connection is something a lot of musicians lack. Music is often detached and the listener experience somewhat cold. RIDER is an artist who wants her audience to take something away and feel differently about themselves. Every song you hear (from her) provides some new perspective and inspiration. It is wonderful being in her presence and hearing the music strike the heart.

The opening phases of Hurts Me Too bring in moody, starlit beats and electronics that put my mind back in the 1980s. There is something dark and subtle about the composition; there are shades and strands weaving inside one another and one projects images of the night and contemplation. To me, the music signifies that awakening and the first blossoms of revelation. It is a teasing and seductive entice that leads to the heroine’s first words. Her voice has a calmness and beauty that is quite unexpected. Her soft tones have power underneath them and, when speaking about the hope of change, clarity and sense. She knows she has put her man through hell and it has been tough. She has tried to find herself and make her way through life. It is a difficult time and there was never the intention of hurt and disappointment. Many singers would belt the words out and place too much energy and emotion into the mix. By projecting something soothing and tender; you get more of a hit and the song seems more meaningful. I was drawn to her voice and the sensations it causes. You buy into everything RIDER says and follow the lyrics carefully. The story unfolds and the heroine has been struggling with feelings that were false and meaningless. In every moment, there are tones of 1980s Pop and artists like Madonna. Maybe that was not a conscious choice but I get an impression of her when listening to Hurts Me Too. The chorus is a bright and strident thing that lifts the energy and elevates the background. The beats and electronics broaden and sharpen; there is explosion and fireworks as the heroine lets it be known she cannot be the girl she wants everyone to be. Her boyfriend will be hurt but RIDER cannot live a lie anymore. It has been a hard truth but, now she has this clarified, the desire to move on and address who she really is important.

You get sucked into the chorus and its big, wide-eyed energy. The heroine wishes she could provide everything her man needs. It hurts her having this confusion and heartache working away. It is not easy being in a relationship where her heart is really not in it. Rather than walk away and not challenge the feelings; she has offered apology and heart. That is a big move from someone who does not want to create heartbreak and anger. I hope the two managed to remain friends but, rather than feel bad about her former love; eyes are on the future and where the heroine is heading. Her love for another woman is not a passing fancy and idle fascination. There are concrete plans and the hope of solidity and long-term happiness. One cannot begrudge someone who has this sense of clarity and wants to make things a reality. Hurts Me Too is RIDER’s way of transitioning from a tough relationship and trying to adapt to new feelings. The stress and anxiety bubbling in her heart have caused her a lot of pain and discomfort. It is not as though the man she was with treated her badly and made her think of someone else. I guess the revelation and crystallisation was always going to come: the fact the man got caught in the emotional crossfire was not his fault. That being said; it is interesting listening to the lyrics and some of the thoughts that come out. RIDER discusses therapy and the fact (family) have told her she should not love a girl the way she should love a boy – there is something wrong and bad about loving a girl, it seems. The combination of rebelling against close-minded views and being who she is has led to this moment. Sexual identity and security is important when it comes to happiness. She was not in a good place and, rather than dwell and let that damage her; RIDER has explained everything and is not hiding away any longer.

The chorus has a vibrancy and restless energy that gets under the skin and will compel people to dance and sing along to. It will be a big summer hit and, when out in the live forum, get the bodies moved and crowds united. The heroine is happy now – having faced her darkest hour – and she cannot help who she has fallen for. The voice gets bigger and more impassioned as the song enters its final stages. Hurts Me Too can easily fit into the mainstream as there is that excellent production and catchiness that will get people hooked and invested. What I have noticed, in artists going against commercialism, is a return to 1980s sounds. I am not sure who RIDER was brought up on but the Pop sounds coming from the new single reminds me of the scene back then. There are some modern Pop ideas but, largely, I hear the 1980s and the brilliance from that time. It is evocative and stunning discovering an artist who can lovingly splice the modern and past sounds so effectively. RIDER is inventive and does not want her music to simply come along and sound like everything else. I am hearing more artists looking back and reintroducing near-forgotten times into modern music. Many deride the 1980s and feel it is a rather woeful decade. I have a lot of love for it and realise how influential artists like Madonna are. I am not suggesting that is the only influence here – I can hear the American idol in Hurts Me Too. There is modernity and boldness that means it will perfectly suit those who want something instant, big and evocative. You get that in spades from RIDER’s latest track. It is her finest moment yet and showcases a young woman at her happiest and most confident. She is more daring with her music (than her debut) and has that hunger to succeed. Sexy, strong and nuanced: Hurts Me Too is a track many will carry around with them for a long time. I can see the multifaceted young artist going a long way in the industry.

I have talked a lot about RIDER and how her life has changed recently. She will launch Hurts Me Too at Hoxton Square Bar & Kitchen on 21st February – two days before the track is officially released. That gig will give many new ears a chance to discover RIDER and what she is all about. The fashionable slice of London seems perfect for someone who has embraced the city and taking advantage of its cultures and contrasts. I know spring and summer will be an important time for her. I am not sure what her touring plans are but, when the single comes out; many radio stations and venues will clamber and be eager to see RIDER in their midst. It is only right the talented songwriter gets her dues and achieves her dreams. She has bravely fought against discriminatory voices and barriers. It is hard coming out and confessing something hard to people who do not share the same morals and sense of belonging. Few can deny it has been tough for RIDER but, rather than let it weigh her down; the music she is producing is strong, spirited – it has an emotional edge and is revealing. Who knows how far she can go this year. I predict there will be festival dates and some important London gigs. There is another market the U.S.-born star could exploit: the U.S. itself. I wonder whether she will perform there in 2018 and get her music out to the people there. She already had popularity and a fanbase there. Her new home has welcomed her and, as she gets bigger and better; the more she will want to explore the U.K. and possibilities available. Hurts Me Too is a fantastic single from an artist who will go a long way in the industry and change things. I know there will be more material and, maybe, that will translate into an E.P. Make sure you investigate RIDER and follow her progression. This is the start of things for her: it will only get bigger and better. Hurts Me Too shows there is an endless spirit, inventiveness and ambition…

IN the talented musician.

_______

Follow RIDER

Official:

http://www.sapienrecords.com/rider

Facebook:

https://www.facebook.com/RiderMusicPage/

Instagram:

https://www.instagram.com/ridermusicpage/

Twitter:

https://twitter.com/ridermusicpage

Spotify:

https://open.spotify.com/artist/5G2EghUKgFfKXlghzyBVM6

YouTube:

http://www.youtube.com/channel/UCb06p7O6K2FuCSMGGGAUCqw

TRACK REVIEW: Fifi Rong - Awake

TRACK REVIEW:

 

Fifi Rong

PHOTO CREDIT: Pako Quijad 

Awake

9.5/10

Awake is available via:

https://www.youtube.com/watch?v=247Pb9RRb28&feature=youtu.be

GENRE:

Electronic

ORIGIN:

London, U.K.

WRITTEN AND PRODUCED BY:

Fifi Rong

MIXED BY:

Max Dingel

MASTERED BY:

Leandro Muñoz

PHOTO CREDIT: Pako Quijada

The E.P., Awake, is available from 23rd February. You can pre-order Awake via:

https://www.pledgemusic.com/projects/fifirong-awake

_________

EVERY time I take a breath and review...

an artist; I hope, by the time I exhale, I can find loads of good things to write about. That might sound like a strange thing to say but, sometimes, there is a feeling the music will fade from my mind when I have completed. That s never the case with Fifi Rong. I have assessed her before and, each song that comes my way; there is a special burst of life and adventure that remains in the mind and compels me days/weeks down the line. I will talk about the special characteristics of Rong and what her new E.P., Awake, represents. I will move to talk about London and why the city is inspiring artists – and why the varied geography transplants into music. Then, for a bit, a bit about bringing the right personnel into music; marrying sounds from the East and West; why we need to embrace artists with more invention and colours – finishing by looking at image, striking figures and why Fifi Rong can go a very long way. Something about FiFi Rong really bursts my brain and gets into the heart. She has a way with music that blends the familiar and the strange. Awake’s eponymous lead-off single has elements of her previous work and displays the same ambitions and blends as her fans have come to know and love. What differs is the subjects and topics addressed. I will talk about Awake’s meaning later but, with each Fifi Rong song; one gets an exotic and passionate blend of notes and vocals. I can detach from my ordinary world and step into music that is a fantasy and dream. You submerge yourself in the music and let the imagination flow wild. That is not something you can do a lot in modern music. I often wonder whether artists, when writing a song, think about the experience and what the listener is getting from it all. Most seem to write from their own perspective and have their own motives. They want the song to connect, for sure, but there is little in the way of depth.

PHOTO CREDIT: Pako Quijada

Fifi Rong is a dreamer and unique songwriter who expend so much intelligence and colour into her music. She blends genres and fabrics; gets deep into human emotions and takes a new angle on subjects many others are writing about. Awake looks at waking up to the truth that you’ve hypnotised yourself and deconstructed the paradoxes of human nature. It is about subservience and subordination; pain and joy: the conflict of self-reflection and liberation. It is a deep and evocative song that signals what the E.P. will display. You never get the same sensation with a Fifi Rong song. Each movement has a fresh candour and dynamic that takes your thoughts in a new direction. I can listen to some of Rong’s earliest material and see how she has come on as a songwriter. There is more confidence and candour; there is imagination overflowing and the sound of an artist unwilling to rest and compromise. I will move on from this point but, before then, I have been thinking about artists and whether they make sufficient leaps. It is hard moving on from a sound if it is established and popular. The temptation is to stick with what you are used to and not really move on from it. You get bogged in a rut and never feel the need to evolve. Fifi Rong is someone who captured the public and critics early but, with each song/E.P., takes on new influence and pushes her music forward. I am excited to see how far she can go and, in years to come; I feel she will be a mainstream artist who can make changes and inspire other generations.  She has received support from publications like The 405 and CLASH – someone who has got to the big leagues already and is not taking anything for granted. She has performed around Europe and played with some big names already.

The capital of the U.K. is somewhere many artists are moving to and being inspired by – finding it a bit daunting and expensive when they get there. Not only has London got resources and everything a musician needs right there; it is the people and landscape that provokes the mind and gets music onto the page. I have seen a lot of musicians come out of London but there are none quite as vivacious and imaginative as Fifi Rong. She seems to take from all the avenues and streets of the capital. Not only does her music look at a range of human emotions and deep issues people go through: the sounds and production notes splice genres and different feelings. This is very indicative of someone who has moved to a busy city and is trying to discover what makes it tick and understand its complex soul. As opposed to towns and ‘quieter’ parts of the globe; London is a rich and enigmatic city that can change one’s personality. It is hard adapting to a new landscape – one as broad and busy as London can exhaust and wear someone down. The city brings people in because of its openness and sense of democracy. There are varied races and religions in the same place; you can move between areas and witness something fresh and colourful. Fifi Rong knows this She has opened her arms to the city but, rather than document all the positives and surface considerations: one gets a deep look at the people and what life is really like. You can say Awake is about general human experiences and something everyone goes through. I feel those contrasts and bigger emotions are more pronounced in the city. London is supportive and caring – despite those who argue otherwise – but it is quite hard discovering who you are and finding community. No matter how much of a struggle life is; you can find a part of London where you are welcomed and improve your life – Rong assesses all the angles and nuances of the city.

PHOTO CREDIT: Pako Quijada

It is fascinating seeing Rong mix her family background and upbringing with the diversity of London. She has Asian background and, of course, is inspired by the East. I hear modern, updated versions of traditional Asian music in her Electronic sounds. One gets a real blast of Asia and the scents that make it such a blissful and fascinating continent. I have never been to Asia but I know the sounds here have inspired musicians for centuries. Maybe music of the East is not as commercial and accessible as that in the West. Blending those two worlds together can be quite a challenging thing to do. London seems like the place you can do that. Not only is there a large Asian population here; the ultra-modern, bustling city means you are exposed to the contrasts of East and West. The beat and buzz of London bring these paradoxes together in a rich and effusive tapestry. It is no wonder, with her D.N.A. and background, fusing Asian and British/American sounds together was the right thing to do. Maybe there is more of a nod to the West: one can definitely detect the charm, eccentricity and strange allure of the East. I feel London is an area that has its ups and downs. Rong has studied here and built a life among the people. She has created a career and established herself as an artist to watch. I know she drinks in the city and its rush but, like everyone, there are harder times when things can get a bit too much and hard. She takes all this into consideration and channels it into the music. Rather than present a rather ordinary and commercial viewpoint of London; you get a heightened sense of the free and complex. It is difficult breaking away from more ‘popular’ and marketable sounds at a time when the mainstream still takes over.

PHOTO CREDIT: Pako Quijada

Fifi Rong knows people can pigeonhole artists and stick with the same kind of music. She does not want to be one of those artists who repeats herself and does the same song over and over again. I know there are those who do not really transform that much between releases. That might be because they have that talent and quality right away – varying and stepping away from that might be seen as commercial suicide. Others do not have the talent and mindset to do anything new and get involved with fresh sounds. Fifi Rong has released a trio of stunning singles – Future Never Comes, The Same Road and The One – that show she never sits still and is always keen to progress. Awake is another step forward and differs from anything she has put out there. There are electronic and natural strands mixing alongside one another; those poetic lyrics and a commanding voice that gets right into the soul. Her Asian heritage means we have a much bolder and eclectic sound than, say, a western artist. Those more homogenised and limited tend to remain in my thoughts for a shorter period of time. Maybe they can get a feeling of other continents through musical exposure and research – it never seems as natural as those who have spent time there. Rong is an artist who pulls the overlooked East into the modern and over-exposed West. Rather than lazily clash them together and hope they coalesce; she digs deeper and artfully weaves something stunning together. Awake is the next phase of her career and one that seems, to me, more personal and meaningful than anything else. Not only is the title-cut bold and impassioned: the E.P. is her richest and most astonishing work yet. This upward trend and arc is the result of continued curiosity and performance. I know, before long, all her hard work and creativity will pay dividends – and she will be a permanent fixture of the British scene.

I cannot talk about Fifi Rong without looking at the image and marketing at work. She has a P.R. representative and, like any artist, there is a very set of way of doing things. I have talked about this in a feature before. The precise and planned nature of release can take away the naturalness and spontaneity of music. That said, when planning a big media attack; one needs a certain semblance of organisation and calculation. You cannot fling a song/E.P./album out there and hope people get behind it. Because of that; artists tend to have set images for each release. Look at Fifi Rong’s social media pages and you get an arsenal of arresting photos! She is one of the most vivid and alluring characters in music. Naturally, one gets a real sense of the East – from makeup and pose to the fashion on display. Rong is someone who pops and comes to life on camera. You get the feeling we have a modern-day  Björk in our midst. The Icelandic legend created her own look and sound: an assortment of beguiling textures and asides; music that was/is so much more entrancing and original than anything else. Fifi Rong is not replicating Björk but, when looking at her images and the way she splices sounds – you get impressions of the legend in her work. Many artists out there have their own style and impression but there are none as immediate and intriguing as Fifi Rong. For her latest E.P.; the funding came from a source that has served her well: the crowdfunding website, PledgeMusic. There, one can pitch an idea and see it supported by backers. It is something more and more musicians are doing at this time. I think it is a fantastic way of raising funds but, more importantly, a way of getting fans involved with the process and the music itself – offering them rewards for being part of the project in addition.

I know Awake could not have happened without the dedication of Rong’s ardent fans. They have helped make it a reality and, as such, it brings the musician closer to her fans. I have stepped away from the tracks but that is one aspect of Fifi Rong that amazes me: how she brings fans into her music and makes them part of the machine. Put this together with a stunning image and the diverse music and you have a modern artist who is already ahead of her competition. She has created an identity at a time where there seem to be fewer genuine human figures. I get the sense (musicians) are keen to forge any reality and physicality and simply put out a rather bland and predictable projection. You are rarely drawn to a musician and everything they are about. That is not the case with Fifi Rong. Not only does her music inspire and motivate the listener to get more involved: the woman behind the music is equally interesting and meaningful. I am inspired to learn where she came from and how her family have impacted her music; why she studied in London and how she brings that into her music; why she writes about the subjects she does – what the future holds in store for her. It is impossible to resist the multiple sides and pleasures of Rong. She has contributed to albums by Skepta (Konnichiwa) and Yello (Toy). Not only has she been part of those albums: her impact on each has been highlighted by critics. She is appealing to other musicians and shows how adaptable she is in the process – something that helps bolster and elevate her own music. There is no denying Fifi Rong is here for a very long time to come. She is a modern artist who has managed to stand out from the crowd and inspire other musicians. There is little to stop her and, with Awake’s title-track out in the ether; we can witness the next stage of her career. She works with people like Max Dingel (who mixed the track, Awake) and Nick Ford (who co-wrote Attack). Sin City was mixed by Leandro Muñoz – who mastered the E.P. – and John Wlaysewski mixed a couple of tracks. Those incredible talents have helped make Awake what it is – Rong is the standout voice and the most impressive credit on the list!

PHOTO CREDIT: Pako Quijada

Right away; you get strident and firm electronic notes that melt into breathy and evocative sighs. The song, to me, seems to blend 1990s Dance with modern-day Electronic music. It is an effusive and compelling blend that gets you invested right from the off. Awake’s first lines talk about lights and cars on the street – people milling about and fated souls. There is rush and compaction; it is hard to sleep and stay awake. One can see the lyrics as a straight-out look at the city and how one is in a perpetual state of sleep. You are awake enough to walk the streets but worn by the rush and glare – maybe a new state that is neither sleep nor being awake. Maybe the song is a deeper look at human consciousness and the way we switch between alive and vivacious and numb. The track brings you into a new world and makes you feel every single note and ember. The beats and electronics provoke various visions and interpretations. When singing “Running and running and running don’t run and hide/There is a feeling inside that would never die”; the words breeze and trickle; there is a fantastic melody and catchiness to the delivery. Against the chorus – which is straighter and more strict – here is something more melodic and uplifting. The heroine is in a permanent state of loneliness – which she seems to like – and she paints her personality in blue. Documenting a situation of isolation and detachment could be seen as quite hard-hitting and difficult. Rong projects her words so that you feel calm, fascinated and invested - there is never any sense of bringing the mood down and looking for sympathy. There are jaded conversations that make out with the violin; there are contrasts and difficult choices. The heroine cannot push forward and finds it hard to keep going: she is unable to resist and halt her progress and sense of energy.

It is the contradictions and extremes of the human psyche that keeps coming through. The strange mystique of the city works alongside a woman’s viewpoint of modern life and reality. We are all in this perpetual mould where we are neither alert nor dimmed: like being in standby-mode all of the time. Our batteries are half-charged and we are always looking for answers. It seems Fifi Rong welcomes a degree of personal space and room to move. She has two sides to her personality but, against the bustle and hastiness of modern life – the need to get away and be by herself is evident. The song has that momentum and propulsion that means, after the first listen, it is in the head and committed to memory. Previous Fifi Rong songs have been more colourful and edgy: this is more calmed and melodic. That is a good thing, you see: repeating the same sound would wear a little thin for those who want to find an evolving and original artist. I feel, with Awake, Rong is looking at life in a different way and, rather than be the extrovert who wants to challenge the world and make her voice known – a bit of time away from the bustle and crowds is what’s needed. It is always fascinating hearing how she documents human relationships and the modern world. The phrasing and delivery is her own; the production and compositions constantly thrilling and different. It is the voice that, as always, makes the biggest impact. The way she manages to make every line sound so important and personal is a talent other songwriters could learn from. Awake is a stunning track and shows Fifi Rong is never keen to repeat herself or do what anyone else is doing at the moment. Here is an artist who has a long and bright future ahead of her – on her current single; she shows why more eyes and ears need to point themselves in her direction.

I have talked about Fifi Rong and aspects that make her one of the most sensational artists around. Awake is officially released on 23rd February but there is a pre-order release date of 16th February. You can go to her PledgeMusic link/campaign – at the top of this review – and get it a bit earlier than those on Spotify and iTunes. The eponymous single is out and gives a great representation of the E.P. and what it is all about. I am excited to see the E.P. come out and how far it can spread. Rong has already gained the ear of stations like BBC Radio 1 and BBC Radio 6 Music – some of the biggest stations around. The music appeals to the ultra-modern and those who want something vibrant, exciting and fresh: it resonates in those who want something deeper, calmer and more emotive. I feel there will be touring dates and chances for fans to see the new material come to life. This year will be another exciting and busy one for the London-based star. Awake is one E.P. you surely need in your life - and one that stands out from her previous work. I have not encountered anyone as daring, diverse and consistent as Fifi Rong. She is an amazing artist who has taken big strides but has more to do. I know, in years to come, there will be huge festivals coming her way. Take a listen to the newest cut from Fifi Rong and compare it with her oldest work. I am stunned by her work and can imagine this year being her biggest yet! Awake is a song that grabs you by the clothing and leads you into a magical and brilliant place. A fantastic song from an artist the music industry needs…

A lot more of!

_______

Follow Fifi Rong

Official:

http://fifirong.com/

Facebook:

https://www.facebook.com/fifirongmusic/

Instagram:

https://www.instagram.com/fifirong/

Twitter:

https://twitter.com/fifirong

SoundCloud:

https://soundcloud.com/fifirong

YouTube:

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

Spotify:

https://open.spotify.com/artist/64yPy2kBAhOJSRxOEtL3Qk

BandCamp:

https://fifirong.bandcamp.com/

TRACK REVIEW: Kirbanu - I’ll Take My Leave Here

TRACK REVIEW:

 

Kirbanu

I’ll Take My Leave Here

 

9.4/10

 I’ll Take My Leave Here is available via:

https://open.spotify.com/album/2cmjcB05PKlsYB166zqR1Q

GENRE:

Indie

ORIGIN:

Heidelberg, Germany/Adelaide, Australia

RELEASE DATE:

22nd January, 2018

The E.P., Echo Chamber, is available from 1st March. Pre-order via:

https://www.pledgemusic.com/projects/echochamber

_________

IT is rather fortunate I am able to review/feature…

more female artists right now – as my inbox was getting full with male artists! I do not mind interviewing and featuring the guys. It is good to include everyone but, when it comes to interviews, the same trend (in 2018) occurs as it did last year: there seems to be very few female coming through. Most of my requests are from labels/P.R. companies where they will have female musicians on their books. I know female artists like a sense of independence but I feel many are being overlooked and ignored – it is assumed they want to do all the work themselves and do not want their name put forward. The inclusion of Kirbanu into my blog is not a way to redress the balance and merely include a female artist. I have featured the Australian-born artists before – and know well enough what she can do! I will take a look at her current single but, before then, it is prudent to look at a few things that stand out; those characteristics that make Kirbanu someone to watch very closely. I will talk about Australia and Germany – artists moving from the former to the latter; the differences between both nations – and songwriting that embraces all emotions and causes shivers; personalities that can add so much to music; why we need to see Kirbanu travel the world and take her music as far as possible – why we need optimism in the present day. I will start by looking at Australia and ask the question: why would anyone want to move away from the nation?! I know every nation has its downsides and lesser areas. We think as Australia as this always-sunny, tropical climate where it is all beaches, care-free people and beauty. That is true in most cases – I know there are more boring areas of Australia. Adelaide, where Kirbanu hails, has produced some fantastic bands through time. From Bad Dreams and I Killed the Prom Queen; The Hot Lies and Funkoars – there are quite a few decent bands worth checking out.

I guess Sydney and Melbourne are the ‘big’ areas everyone looks at. We often forget there are other parts of Australia where fantastic music is being made. Brisbane and Perth are places I love. I can understand why some artists would move from Australia. I love the nation but Germany is luring many in. Kirbanu is finding new lease and fans in the nation; she loves the country and is settled there. I have seen many artists go to Berlin: the capital is productive and broad; it is less stressful than some areas and has a wonderful music scene. Heidelberg is, perhaps, not as rich as Berlin (when it comes to new music) but it has a fantastic landscape and people. The Australian songwriter has relocated and, for many, that might seem daunting and scary. I feel Germany is a nation that deserves more focus and acclaim. Most people gravitate towards the U.S. or U.K. when it comes to settling down. I feel it is somewhere I need to go in order to recharge and find a new musical lease. I have mentioned Berlin and how captivating it is. Kirbanu still visits Australia but she has embarked on a new phase in her life. I am not sure whether relationships and love brought her to Germany – or kept her there – but she is integrated with the people and finding great inspiration. I find Australia has a more notable music scene but it seems to be restricted to a few cities – there are other great areas but few tend to focus on that. Germany has a different way of life and there is fantastic music everyone. The type of sounds you get in Berlin will be different to Heidelberg; that will be different to Frankfurt or Stuttgart. It is hard finding songwriters who stray beyond the conventional and provide the world something new and beautiful.

One of the main attractions of Kirbanu is the way she brings the listener into a very special world. She has a spirituality and passion that nobody else does. Her songs look at love and adventure – like everyone else – but the way she writes about these subjects is amazing. Everything has a sense of calm and beauty to it. There are heartbroken moments and tense thoughts but, rather than project them in a very desolate and wracked manner; Kirbanu ensures the listener is not suffocated and scared. It can be difficult hearing music that has burden and pressure at its heart. I listen to a Kirbanu song and get taken away. It is an immersive and wonderful place to me, that is for sure! I will talk about where that style stems from but, look around music, and do you see any other artists like this?! Maybe there are one or two that have an ethereal and delightful way of working – Hannah Peel among them – but it is pretty rare. The German-based songwriter wants to provide something meaningful and deep and, at the same time, provide substance and meaning. Many might think a particular way of songwriting – impassioned and calming – would fail to resonate and remain in the memory. There is that dependency on urgency and addictiveness. We want our music to be firm, striking and physical. That is all well and good but, now and then; I want to listen to songs that go further and have real emotion behind them – able to entice me in and calm the spirits. When listening to a song like I’ll Take My Leave Here; you can hear emotion working away and something harder working underneath. It is a complex song but one that leaves impressions and does something wonderful to the soul. At times like these – where we are all a little more stressed and scared than we need to be – it can be hard to discover calm and direction.

I will move onto other areas but, right now; why we need to encourage and foster artists like Kirbanu. I have a lot of love for every artist out there and know how hard the music industry is. It is a challenging and difficult industry – creating a sound that sticks in the mind and lasts the test of times is really hard. In a zeal to be noticed; artists are trying everything they can. I feel the levels of innovation and motivation is at their all-time high. We all need the motivation to keep going; to find direction and reasons to keep plugging. That might sound grim but, when listening to an artist like Kirbanu; I have reason to look ahead and find a new perspective. Most of the new artists I see coming through produce emotions and wonderful music – few remain in the brain and offer something genuinely deep and affecting. It is hard to describe Kirbanu’s music and why it does something wonderful. One gets shivers and a sense of sigh when listening to her sounds; you drift off and imagine what the songwriter is singing. That breeze and calm do not come at the expense of physicality and passion. The songwriter has a hugely powerful voice that moves the body and brings every vision to life. She talks about, as I said, love and the pains of life. It is important to hear that from everyone but, when thinking of Kirbanu; you are left with a transcendent and captivating artist who makes the heart skip a beat and remains long in the imagination. I know there is an E.P. coming up (more on that a bit later) and that will give listeners a chance to see where she is now and what she is writing about. I look at how she has developed over the past couple of years and the new aspects coming into the music. Everything has heightened and the confidence in each song (now) is amazing. The songwriting has improved – it was always fantastic – and Kirbanu’s voice has new qualities and nuances. Tie that with the incredible music and stunning lyrics and you have an artist who keeps on getting better. For someone who was always fantastic; this new peak is a benchmark other artists will need to come up to.

I have talked a lot about her sense of entice and beauty. That is one of the first things one notices about Kirbanu. I look at the social media feed of the artist and she motivates her followers and sends out positive vibes. Messages are put online and videos produced. Not only does Kirbanu work in Germany; she travels around the world and will take her listeners with her. There are other artists who produce motivational speeches and posts; those who film videos from other parts of the world – few that have the same effect as Kirbanu. The way she speaks and what she talks about gets into the heart and provides motivation and solace. I message her now and then and, rather than a written message back; she will record something (spoken) to me. It is a lot more human and, in an age where we are disappearing into social media; she brings that sense of connection and realness back to life. That might seem strange but how many of us use social media and actually socialise with anyone?! It sounds like a bit of a misnomer, in many ways. I worry we are all becoming a bit too detached from one another. Kirbanu, in a quest to touch her listeners, will take her camera with her and produce these videos. One will see messages and quotations; there are pictures of the songwriter smiling and radiating – all very positive, encouraging and humbling. I often need the motivation to keep going and find hope. Music is busy and it is difficult discovering artists who produce fantastic music and provide something extra – that personality and sense of motivation that lifts the heart and enriches the body. This year will be busy for the Australian musician. With an E.P. due and touring dates booked; things are going to get busy and bigger. She will be traveling around the world and it will be quite a tiring experience. One knows there’ll be times where she feels down and is not always in that good headspace. It would be nice for her followers to throw back that love and sense of positivity – knowing her; she will keep going and, through it all, see the positive side of things.

There are not many out there who have that same determination and resolve. I feel the world needs to embrace her music and get involved with everything she does. I know Kirbanu will visit new areas and bring her music to fresh faces. I hope she comes to the U.K. and introduces her new music to the people here. There are few positive and exciting musicians who can calm our spirits and provide light. That is not the only reason we need her over here: the music provided differs from everything else and definitely needs larger airing. Every time I see Kirbanu produce a new video; she is in a different spot and narrates where she is. It would be good, if time permits, to see a travelogue from her. Getting her on the road and talking to the local people; embracing new cultures and mixing her musical messages with the varied and wonderful people of where she is. I am not sure what it would be called but there is something infectious and unmistakably positive about Kirbanu. She already produces videos – taking that a step further and having regular, longer videos would help a lot of people out there. Maybe there will not be time to do that with new music due. It is going to be a busy year for Kirbanu and she’ll want to find some rest and relaxation among it all. We are becoming less optimistic as a people and, with every year, things are getting harder. Politics doesn’t help that; the way the world is unfolding means anxiety increases and many of us are suffering because of it. Music is a great way of forgetting about those pains and finding something more encouraging and nourishing. There are few can listen to a Kirbanu track and not feel better about themselves and life. Her effusive and rich personality comes through in every note.

I shall come to look at her latest track in a bit but, before then, a final look at determination and why Kirbanu should be highlighted. Her most-recent message/post on Facebook talks about her move to Germany. She was keen to forge a new life and find opportunities. It is hard moving anywhere: going from Australia to Germany is a huge move! Not only is the distance daunting: the people differ vastly between Adelaide and Heidelberg. There are few brave enough to make that move at all. Kirbanu knew how hard it would be but did not let slammed doors and failed auditions hold her back. She always knew music was her vocation and, as such, has grafted and worked endlessly to achieve her dreams. She still wants more and, with each new phase of her career; you see that determination and desire come through. Success, as she says, is finding that crack in the wall and visualising what you want; staying strong and knowing it will happen eventually. It can be hard finding the patience to stick to your guns and believing you will make it. Most people have goals in life but, for musicians and artists, those are often loftier and harder to achieve. For people like me, too, there are those high standards and big dreams. I want to realise them all and get as far as I can in the world. I know Kirbanu seems like cheer personified and an endless ray of sunshine. She is human and has the same depression, pains and heartache as all of us. She has had bleak days and had her heart broken; she has felt tired and questioned her own words now and then. That is only natural. What amazes me is how productive and inspiring Kirbanu is. She is constantly speaking to her followers and giving them reason to keep aspiring. In her own life; the music gets better and stronger; the visions and themes widen – everything is getting richer and more attractive. That comes from a woman who has lofty sights and will always believe in herself.

It is exciting witnessing new Kirbanu music – seeing what it is about and what new sounds are brought in. From the very first moments of I’ll Take My Leave Here; there is something soothing and energetic, all at the same time. The electric strings remind me, in a strange way, of James Bay’s Hold Back the River. There is that same calm and sound you’d find in that introduction. Any suggestions of Bay are left at the sure where the rain starts to beat. The percussion comes in tough and stiff; it melts the strings away and gives the listener impressions of departure and transition. The beats tease and hiss and there is that sense of movement throughout. Whereas previous Kirbanu songs have been more pastoral and restrained; here, there is greater desire and adventure. It is appropriate given what she is discussing in the song. Words of being bound by hope and needing to leave come through. Maybe she is referring to her old life (in Australia) and how she needed to relocate to achieve her dreams. Perhaps she has been let down by a man and not been treated well. There is the desire to find fresh ground and sense of realisation. There are desires at heart and a passion for change. Previously; the heroine has been moored by hope and a way of life. Each change she goes through changes who she is. Those words and that sentiment make me think. Maybe that refers to relationships or a new city; the way life throws obstacles and how she must transition. The voice lingers and resonates. It is a big and bold performance that floats in the sky and creates colours and shadows at the same time. I have heard few more passionate performances all year. Although I’ll Take My Leave Here is about those harder times and adapting: the need and desire to reaffirm worth and find success is clear.

The heroine will take her leave and carve a path through unknown paths. The chorus is delivered with true meaning and intent. It is time to move on and transition to a new phase. We are all in the position where we want to change things and move on from an older way of living. Our reasons for change might be different. For our heroine; she has got all she can from her current life and needs to move along. You can sense that move and movement as the song progresses. The past has served her well and there are no big regrets in her mind. This existence has run its course and it is the natural moment to see what else is out there. The power of the voice gets right into the heart and under the skin. An endless sense of drama and flair means the song never sounds uninteresting or vague. Kirbanu commits to the lyrics and ensures every note means something. The subtle and gliding strings, fused with the beats and smash, gives I’ll Take My Leave Here mixed emotions and contrasting sides. On the one hand; you feel the heroine is in a good frame of mind where she can move on without any regrets. The tough beats and strain in the vocal make me believe the decision is quite hard. She has established a life where she is and it is going to be challenging disconnecting from that. I can emphasise with that and understand where Kirbanu is coming from. There is, above it all, a sense of relief having this realisation and clarity. Rather than remain trapped in a rut where she lives the same day all the time…now, she knows what she wants and is going out there to get it. The song gets more urgent and skipping towards the end. The vocals become wordless and the beats race. It is a spirited and energised ending that symbolises that actual movement and journey. She is leaving her current home and, by train or plane, departing and looking forward to the next phase. As the final notes/vocals take the song down; I wonder whether other songs on Echo Chamber (the E.P.) will address Kirbanu’s new life and that sense of evolution. In any case; I’ll Take My Leave Here is a stunning song from a restless and always-wonderful songwriter.

I will end things very soon but, before then, a look at where Kirbanu is headed. I know her E.P. is out until the beginning of March – it was funded through a PledgeMusic. Her last album, Drifting, was funded two years ago – another crowd-sourcing project that was successful and, because of that funding, able to realise all of Kirbanu’s visions. This E.P., as she says, is the most poignant collection of songs to date. She has travelled and played around the world since then and experienced new emotions. Drum pads and gritty organs are in there; big percussion and synth moments; lush and densely-layered sounds that take her music a step further. There are changes between the two projects. The album was a beautiful and spellbinding collection of songs with softer tones and that message of hope. Echo Chamber is a tougher and atmospheric thing that is an evolution and step from Drifting. It will be exciting seeing it out in the ether and getting an airing around the world. It is great to see Kirbanu build her music and incorporate new aspects into it. There will be German dates very soon but, after that, I wonder whether she will come to the U.K. and perform here. The U.S. will come calling and there will be big demands coming in. The successful funding of her E.P. means the people are behind it; she can create the best work possible; offer rewards to those backers and know she can rely on her fans to help create her music. That support and mutual respect mean Kirbanu will look ahead and think about possible albums and E.P.s of the future. There is a lot to be excited about for Kirbanu. I will follow her every step of the way and cannot wait to see how far she goes. If she does come to London; I will be sure to come see her and buy her a drink! It is the least I can do for all that wonderful music and supportive messages. Many others feel the same way – maybe a hug would be a healthier option considering the number of people who owe her thanks! I’ll Take My Leave Here shows what a treasure-trove Echo Chamber is. It is a slightly new direction for Kirbanu but retains all her fabrics and sides. Listen to the song; let it swim in the bloodstream and prepare yourself…

PHOTO CREDIT: Ulli Kiefner

FOR a wonderful and spellbinding E.P.

_______

Follow Kirbanu

Official:

http://kirbanumusic.com/

Facebook:

https://www.facebook.com/kirbanu/

Instagram:

https://www.instagram.com/kirbanu/

Twitter:

https://twitter.com/kirbanu/

SoundCloud:

https://soundcloud.com/kirbanu

Spotify:

https://open.spotify.com/artist/62PqCX8wie8TrevL39vMKq

YouTube:

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

PHOTO CREDIT:

ALL PHOTOS (except E.P. artwork and main image): Ulli Kiefner

TRACK REVIEW: Screech Bats: Get Better

TRACK REVIEW:

 

Screech Bats

Get Better

9.5/10

Get Better is available via:

https://soundcloud.com/screech-bats/get-better

GENRES:

Rock; Alternative; Punk

ORIGIN:

London, U.K.

RELEASE DATE:

31st January, 2018

The E.P., Wish You Were Her, is available from 30th March. Pre-order via:

http://screechbats.bigcartel.com/product/wish-you-were-her-screech-bats-ep-2

_________

SOMETHING wonderful is happening in music...

PHOTO CREDIT: @del-photos

at this very moment. In fact, there are quite a few wonderful things occurring that make me feel hopeful about the future. That might sound vague – so let me explain...I will come to the wonders of Screech Bats in a moment but, when thinking of them; I think about the great female bands of the moment - and how they attack stereotypes and discrimination. I want to investigate independent venues and how, especially this week, they are under the spotlight and being celebrated – and mean a lot to newer bands like Screech Bats. From there, I will talk about bands that have a rawer sound and write about meaningful subjects; a look at connections and closeness within the ranks; differing from the commercial grain to provide the listener something more exciting and prosperous; a small nod regarding heart-on-sleeve songwriting – ending with a chat about recording processes and adopting a new way of working. Esme Baker (Vocals), Lexi Clark (Drum); Rio Hellyer (Bass) and Kit Reeve (Guitar) compromise the exhilarating and explosive Screech Bats. It is odd how we categorise band and how, in this time, we do not seem that far evolved regards labelling and respect. By that; I mean many – critics, fans and the like – call any band without penises ‘girl bands’. That may be factually true: but what is wrong with dropping the ‘girl’ part?! I listen to a lot of music but, among my nostalgic favourites are En Vogue, Destiny’s Child and TLC. They are, again, compromised of women but there seems to be something rather patronising about the tag of ‘girl band’. They are seen as a homunculus and lesser; a cute and pink-coloured proposition that, bless them, are making music with the boys. Screech Bats (rightfully) refute that label and see themselves as what they are: a kick-ass band that can mix it with the best of them.

PHOTO CREDIT: Derek Bremner

That is something modern music needs to get out of: sexism and the way we, for no reason, compartmentalise women and men; so that the latter gets the spotlight and attention; the former still has to fight to gain parity (little sense of) and respect. I am avowedly committed to raising my voice in a quiet congregation. There are many male journalists out there but, in truth, how many are actively writing about sexism in the industry?! It is a topic I have covered in depth – but it always annoys me how now, in 2018, we are still lacking necessary progression and consciousness. A lot of great new artists are being overlooked because of their gender. Screech Bats address and confront a lot of issues through their music. They are getting gigs and recognition but I feel, because of the way the industry is set up; how long it will take them to ascend to the bigger stages – compared to a similar, like-minded male band. I will talk about some gigs they have coming up – and why everyone should come and see them – but I am seeing a lot of female groups that are producing exceptional material. Whether it is dreamy, Folk-led harmonies or delicate Pop fusions; harder, spikier Punk or the sort of U.S./U.K., Rock/Alternative concoctions of Screech Bats – there is a lot to be excited about. I have always preferred female musicians because there is a depth and sense of innovation the guys lack. That might be a generalisation but I listen to everyone from Hannah Peel to Sleater-Kinney and am amazed at their dexterity. There are female-only festivals available out there but I wonder whether the solution – when it comes to showcasing the best female artists – is a simpler one: dropping the gender tag and assessing music…and nothing else. We should have a gender-neutral, fluid industry that supports every artist on their own terms – regardless of their gender, sexual orientation or race. I am proposing a system/government for music and, without boring you with the details, would hire specific people to tackle everything from sexism to the threats placed on small venues. In any case, getting back on the tracks; bands like Screech Bats show how stupefying and unevolved sexist attitudes are.

This week is Independent Venue Week and, as such, there has been fevered passion placed on the best spaces out there. I have been tuning into BBC Radio 6 Music and their celebration of independent venues. Steve Lamacq’s afternoon show (1-4 P.M.) has been broadcast from a new venue each week including Boileroom - where Screech Bats have a special connection to – and it has been illuminating. I was tuned in yesterday when Lammo was at Liverpool’s Parr Street. He spoke with IDLES – who played a stunning set there – and the guy who runs the joint. They spoke about the need to preserve these spaces and how, for many, it is a sociability and sense of understanding they cannot get anywhere else. That goes for musicians and the punters who come down. I am fearful there is not enough being done to safeguard the great venues around the nation – going back to that government idea… - and it threatens to cut short the careers of some sensational artists. Screech Bats have some wonderful gigs coming up but the way they cut their teeth and develop their craft is these venues. They have enjoyed hotly-received gigs in venues designed to showcase and support upcoming artists. If their lifespan is questioned and they have to battle to keep the doors open – what sort of damage will that do to the music industry?! It is, in a way, a sort of global warming: the solid foundations and fauna that makes the world beautiful will wilt, crumble and melt. It is shocking seeing so many wonderful venues close because of various reasons – either noise complaints, underfunding or fewer people attending in a time where we spend our evenings on a laptop. The reason I raise this point is because Screech Bats are the sort of act you want to see go all the way. They have a live energy and set that blows the cobwebs away and provides a captivating memory. Led by the scintillating and nuanced voice of Esme Baker; the band are as tight and in-tune as any I have heard.

There is a closeness and understanding that makes every song strike and lodge in the brain. They will go to play some huge venues in time – and I know they will headline a major festival in years to come – but the only way they can get there is these smaller locations. I wonder whether our Government are aware of the live music scene and how wonderful it is. They are probably more into Classical music and spend their evenings cosied up with a nice documentary about Vera Lynn. Not that this is a bad thing – she is a legend! – but they are so detached from reality and why we need to do everything we can to secure live venues. Screech Bats are among the best live performers around and always treat their audience to a seriously awesome show. I wonder whether they fancy and lure after the openness and mass-capacity venues: maybe they will continue to bring their music to the best small venues out there. We need to get out of the mind-space of calling female bands ‘girl groups’ – the new Spice Girls ‘reunion’ will hardly help! – and offer more female artists time at these venues. I study the bills of the venues around the country and there is still the dependence on male bands and artists. I wonder whether there is that assumption male artists are more profitable and commercial. As their E.P. looms, more later; the exceptional Screech Bats will be plotting new moves and a fulsome, adventurous summer. I know their talent and determination will get them to the top but they raise issues more of us need to investigate and challenge. It is hard enough (for female groups) to get recognition on their own terms – and avoid being seen as lesser beings – but that is triplicate when you throw in the sort of threats being levied at small venues. In any case; the wonderful quartet gives me a reason to believe they will be huge fixtures in years to come.

PHOTO CREDIT: Derek Bremner

I have spoken about the tightness and sisterly bond within the ranks. Their sounds are raw and exciting but there is plenty of depth and intelligence in the music. I hear a lot of harder, dial-turned-way-up bands who lack substance and are designed to get crowds thrashing around and not take anything away. Don’t get me wrong: I love bands that can get the juices flowing and get the fists pumping. There is something primeval and unbeatable about that sense of belonging and community – everyone bonded in a venue; a helix of grit, swagger and imminent detonation bringing us to the point of ecstasy. If you can translate that to tape then that is something rather special. I am always drawn to bolder, louder artists but, as I get older; I find myself looking for something more meaningful and personal. I grew up listening to the likes of Soundgarden, Audioslave; Nirvana and Ramones: bands who could create something timeless without being shallow and commercial. They penned songs that addressed deep and important subjects – sometimes harsh and dark – and, as such, resonated hugely. Now, as I mix in classic acts and newer bands (most of them female/female-led); I look to Screech Bats and see a reason why we should highlight them above their peers. Not only do the four-piece have closeness (more on that in a bit) but they manage to blend suggestions of older-days and the new. Bands like Against Me! and Siouxsie Sioux and Ramones; Jimmy Eat World and Cayetana (the Philly Punk band are fairly new onto the scene). I grew up in the 1990s – started life in the 1980s – and was exposed to a mixture of the 1970s Punk pioneers and the Grunge/Alternative legends of the 1990s. It was a heady and revealing education that has stayed with me. I get a sense Screech Bats have a similar authority and passion. You can sense embers of Punk’s past but they have a fondness for U.S. Alternative/Indie bands and fuse that with their own D.N.A. and conjecture.

I know they provide a great live sound: the sound one hears on record retains that raw excitement but brings in other strands and textures. You cannot deny they have a clear connection and respect for one another. The band began life as a side-project – Hearts Under Fire was the band that went on hiatus and, before long, saw them form Screech Bats. Other artists might have drifted apart and lost contact; gone separate ways and formed other groups. That was not the case here. Screech Bats is the result of four women who love spending time together. Baker notes how the rehearsals were a thing of relief and love; they would all look forward to getting in that weekly space and jamming – determined to get some incredible music down and toss ideas around. You know, when hearing them, they will always be together and continue to evolve. There are bands out there where the relationships are quite strained. I can hear it come through clearly. If the members are not all together and focused; it leads to material that sounds sloppy, insincere and distracted. The bands that keep in the mind and propel the heart are those where the members are a unit. There is no weak strand or half-hearted member of Screech Bats: every player has their role and the democratic nature of the group means each is free to express and evolve. Bands who recruit a dictatorial/undemocratic regime means the frontman (usually it is the male bands who are most rigid) and the other members are mere pawns. It is good having a lead songwriter but, if the other members are not allowed a say in the composition and future work – how long will they happily play together? Screech Bats are led by Baker’s creations but, at every stage, there is discussion and assimilation. Clark, Hellyer and Reeve are not shills and silent partners: they are integral to the sound of Screech Bats; helping bring those vital and personal messages to life. The girls have a real love for one another and treat their band as more than music – it is a safe space where they can be open with one another and channel frustrations and revelations through something wonderful.

I will come to the song itself but, before then, I want to look at Esme Baker specifically. I have been reading P.R. material regarding the track, Get Better, and their upcoming E.P., Wish You Were Her. If the latter reminds me of a joke on The Simpsons – Homer sending Marge a bawdy postcard when he was away; cheekily suggesting the busty woman on the postcard is a more attractive spouse – it is a collection of songs that stem from harder times. I will focus on the song in more details soon but, when looking at the tracklisting for the E.P. – it seems like romance, one-night stands and death are working alongside hope, rebuilding and tackling the taboo. The Valentine Song and Just Like You suggest something romance-based and personal; Blood in My Hair and Get Better have their own themes – Every Good Thing, maybe, more redemptive and spirited. The band is not here to be chart puppets who write about love in a very lacklustre and ordinary way. They are unconcerned with the boring, cliché and tired: their music is much more candid and interesting. Baker, herself, has battled with mental-health issues (as have many; as do I) and, in a sense, revealing it through music is brave confession and therapy. She wants to break the taboo and address topics that are cloistered and hidden from the mainstream. As more and more musicians reveal their mental-health struggles; more listeners are seeking out revelation and dialogue through music. She does not write about it in a very disturbed and accusatory manner: the songs are real and open; her heart is out there but, above all, you get truth and guidance from a songwriter who will give heart and hope to many. The same goes for the rest of the band. Their experiences and lives are interwoven into the songs and movements. Throughout the E.P., there will be assessments of one-night stands and relationships running their course; life and death contrast; everything is done with a positive message and sense of renewed purpose.

Wish You Were Her is out on 30th March and follows their 2016 eponymous E.P. Their latest material is their mist confident, mature and impressive. One of the reasons is the way Baker takes off her clothing and reveals scars. She has gone through turbulence and harrowing times and emerged stronger and more resolved. I am not sure whether she is in a much better place now – my interaction has been brief – but I bonded with the songs and the messages coming through. Music is here to heal and educate as much as it is to provide escapism and physical relief. Although my experiences with love/sex are different to those of the band/songwriter – the former more frustrated and dwindling; the latter more monastic and theorised – I can relate to those lines about mental-health and battling demons. I have been walking the black dog for sixteen years and, as much as I want it to do – I know it as much a part of me; a reason why I am creative and live life differently to others. The horrid, sh*tty side of depression might be good for writing and creating: when it comes to relationships and everything else; it can be quite lonesome and hard. Experiencing the worst aspects of the illness – I have been at the point of death a few times – and trying to get people to understand how hard is a constant fight. I know Baker’s experience is different to mine: we have a lot in common, in a lot of ways. I hear her perform personal and troubled lines in a very earnest and unencumbered way. There is too much stigma and taboo attached to subjects like anxiety, depression and mental illness – there is a certain amount of reservation when it comes to sex and passion, for that matter. Music is not an innocent virgin who reads a book by candlelight and is chaste and pure – artists are free to express themselves and not be fearful of repercussion and judgment. As the mental-health crisis expands and becomes a burden – I wonder whether we should still treat the subject as a sitting shiva. We throw drapes over mirrors and, when it comes to ill health and death; we discourage people to look at their reflection – we prefer them to focus on something more ‘dignified’. Massive respect to bands like Screech Bats for providing oxygen and light on the subject.

The thing that hits me about Get Better is, well…the hit. Backed by production values that mean the words are decipherable and passionate – clean enough so they are not mixed down low in the track – but keeping the instruments and microphone dirty; it is a song that takes you by surprise. A lot of Rock/Punk-natured songs are either too lo-fi and undercooked – making it difficult to hear what is going on – or, even worse, it is polished and prim. Production that wears Prada and drinks a mojito is not going to bond well with a (male) core than prefers tattoos, ripped jeans and the work of The Clash – there might be some good sex and fun; it will never lead to anything real and long-lasting. I am going off-track but my point is this: the production perfectly supports the band’s aesthetic and adds new dynamics, layers and colours. Backed by stunning support and incredible musicianship – the percussion is tight, evocative and tough; the bass holds it all together and adds melody and bounce; the guitar is tussling, bruised and snarled – Baker is up-front with a vocal that mixes deeper tones with painful words. It is easy to fall for her voice right from the off. It is so expressive and instant; it is beholden to nobody else and carries so much weight and wonder. The “emptiness” in her soul was part of a conspiracy and crusade loosely tied with string and fraying at the seams. Against the tide and rip-tide notes; Baker lets her voice bounce, protest and crash. Right from the start, she reveals her pains and shows how tough things have been. Rather than dress things in tinsel and project metaphor and innuendo – things are direct, unadorned and direct. Skies once sunny and romantic are black and cloudy; doors once golden and open are black and closed – there is a bit of metaphor, sure, but it is meant to convey the troubled past and how bad things were. One instantly projects themselves into the song and follows the heroine. It is the way Baker projects and delivers her lines that (gets the words) into the head. There is a distinct accent – a slight London twang with, I think, Americanisms in places – that differs from what is out there.

Rather than copy the rather stilted and limited vocals I hear in so many bands: she brings my mind back to the halcyon days of Punk and some of the best new bands of the moment. Whether speaking about herself or a general malaise; there is this figure adorned in white who meets a subject in a nightmare. Maybe it is a therapy setting or a troubled conversation. The heroine casts a tragic and despondent figure that used to possess a certain hope and alacrity. Now, through circumstance and ill fortune; she is a shadow of her former being – tried to battle through the smog and find supportive voices. Whether seeking a softer, tender kiss – a relationship that provides hope – or answers to the quandaries spiralling in her mind – she is pleading and imploring to the ether to deliver clarity. Talk of needles and revelation gets me thinking of medication and counselling. Maybe the injection of medication has brought some stability; the conversations have led to semi-conversion. Know what Baker does for a living (a tattoo artist and studio owner); maybe her work and the way she expresses who she is – through art and design; bonding with like-minded people and etching something profound to the skin – her profession and passion have provided that stability. There is talk of absence and a departed figure. Whether it is a representation of her former self (and a happy guise) or a guy – their loss is causing tears and anxiousness. I feel there is a mixture of the two. The heroine has seen romance go and been let down by men – perhaps the type who do not appreciate who she is and all her wonderful points – but the depression and numbness that she feels requires a more medicinal and productive remedy. The band are incredible throughout and provide ample support for their lead. The strings snap and bark; the percussion and bass work alongside one another and elevate the vocal. Baker is like a “grain of sand lost in the galaxy”. She is keen to reveal her shortcomings – she is not perfect and has been in a bad place – but that is part of being human.

Baker is beating herself up to an extent. Maybe she has been withdrawn and a bit off with people who are there for her. That is understandable given her illness and struggle. Now, with clearer sight and a more positive psyche; she is an available friend and improved – those who have left her have reason to come back and provide another chance. She is, as Get Better implies, improving and determined to get through the storm. She is special and worth a damn; she followed a darkness through corridors and avenues – taking pills and resisting the lure of darkness means things are starting to look up. There is melody and uplift in the composition. The chorus lifts the spirits and, after one listen, sticks in the head. The effusive and positive coda means people will register an instant hit and feel lifted listening to the song. Baker has traversed the quicksand of ill psychology and lost people along the way. Her way with words and images makes the song a more physical and real thing. It is that sentient quality that means you go into the song and follow her every step of the way – letting her know things will be okay and she is closer to perfect than she things. Get Better provides background and revelation; it goes to the confessional booth and does not hold back for the priest. The heroine is brave and resolute through every machination and phase. Whilst an exceptional writer and unique, compelling lead voice – the song depends as heavily on Reeve, Hellyer and Clark. Their support is not a minor role: they heighten every line and provide each emotion Baker sets out to deliver. They have been performing together a long time so know how to connect and deliver a wonderful song. The bass works with the drums and drives the vocal; the guitar works with all three but takes the song in a new direction. It is a four-way unification that not only provides Get Better the strongest, most alluring skin it can – the nuance and depth means listeners will keep coming back for various reasons. The song is indication Screech Bats are among the finest young bands around – and that everyone should get their E.P., Wish You Were Her, on 30th March.

I have talked a lot about the band and what makes them special. Their E.P. was recorded in a Blackpool rehearsal space with James T. Boom (of Sonic Boom Six). Sessions would often start and run through the early-hours and, in a lot of ways, provides a more realistic impression of the E.P. It is harder to convey pain, urgency and a need for rebirth when the sun is out and there are people milling about. After the sun goes down, and the peeps are tucked in bed; the bands plugged in and started work on Wish You Were Her. Get Better is, to me, the core and gravity-centre of the collection. It is a song that will relate to many - but provides others something they have not experienced before. There is too much commercialism in music. This means issues like mental-health and distilled into a cocktail of heartbreak, self-doubt and generic pomp – it is not as raw and focused as it should be. Screech Bats want the positive to override things. They want their listeners to realise things will be okay: that does not mean they turn the listening experience into a PG-13 thing with censored words and softer tones. They talk about sex and men in a very human and honest way; they tackled life and death without being off-putting; the way they look at mental illness will help many and encourage other artists to do likewise. I have talked about sexism and gender labelling in music. I feel we need to get out of this mindset and calling female bands ‘girl bands’. That might sound like a narrow distinction but there is something Pop-based and juvenile about the word ‘girl’. Bands and are bands, mate – we should not separate and divide artists because of their gender. I urge everyone to get Wish You Were Her when it arrives. I have provided the pre-order link at the top of this review. Get Better is a fantastic track that shows how much the band has developed in the last year or two.

The band play Boileroom (Guildford) tomorrow; they head to Nambucca on 23rd; back in Boileroom for 5th April – there are a couple of gigs between them. They are splitting their time between Surrey and London but, as I hope, London will be their future basis. They have careers and lives that cannot be uprooted but, when it comes to fostering and developing their careers; being based full-time in the capital might be the solution. I have a lot of affection for areas like Brighton, too – I wonder whether they will pull gigs at Green Door Store or Sticky Mike’s Frog Bar. I mentioned Brighton because I have limitless respect and love for the people. They are much more open-minded and accepting than many – naming no areas/people – and are a lot friendlier and compassionate than others. I feel Screech Bats will be welcomed and taken to heart. The same goes for those in cities like Manchester and Leeds – the former, especially, is somewhere they should aim to play this year! They will stick to local spots but, knowing these areas; I feel the band could find popularity and huge acclaim in other cities. They hit Camden Rocks Festival on 2nd June: one of the (if not the) biggest gigs of their career! That festival seems natural-born and designed for them. In the hot and scented air of Camden; they will thrive and strike. I know they, in time, will get U.S. dates and gigs further afield. I know promoters, labels and venues in the U.S. – from New York and L.A. to Texas – and Australia that would love to house their kind of music. How far ahead they are looking is up to them. I know they will go all the way and, right now, we have the wonderful Get Better. To paraphrase The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band classic: “I have to admit it’s getting better/A little better all the time…

(AND ever better it will get!).

_______

Follow Screech Bats

PHOTO CREDIT: Mace Maclean Photography

Official:

https://screechbats.wordpress.com/

Facebook:

https://www.facebook.com/ScreechBats/

Instagram:

https://www.instagram.com/screechbats/

Twitter:

https://twitter.com/screechbats

SoundCloud:

https://soundcloud.com/screech-bats

Spotify:

https://open.spotify.com/album/4IVRb713csqEFeR4Tv6NZ5

YouTube:

https://www.youtube.com/channel/UCiRvmqKbWZn-7F68SbzLs9g

TRACK REVIEW: Aisha Badru - Bridges

TRACK REVIEW:

 

Aisha Badru

Bridges

9.3/10

Bridges is available via:

https://www.youtube.com/watch?v=D6i_yBPvDgg

GENRES:

Alternative; Folk; Singer-Songwriter

ORIGIN:

New York, U.S.A.

RELEASE DATE:

October 2017

5th December, 2017 (Video)

_________

THERE are similarities between my review subject…

of yesterday and today’s inclusion, Aisha Badru. I will return to New York – taking a different angle on the state – and look at the realities for young artists; what opportunities there out there for someone with a unique air. I will move on to looking at music that soothes and have a plaintive edge – imbued with soul and heart. Then, a peek at songs that address those relationships that have obstacles in there – even if they appear perfect and secure. I will move on to philanthropic artists and those who go out their way to help others; a bit about personal needs in regards music – and finish looking at possible icons and why we need to encourage certain artists. Mind on Fire, a previous track from Badru, hooked me in and has led me to her current track – the beautiful and heartfelt, Bridges. I looked at New York when addressing Rivita yesterday. She has moved there and is studying. It is the first time for her there and a real experience. She has relocated from London and is now in a state that is expansive and scary. It is a wonderful place to be and somewhere many young artists are moving to. What excites me about New York is the sheer choice. I noted, in the review yesterday: there is a wide and expansive geography in the state. It is not all rush and hectic move. New York is like any other state out there: you get calm and peace away from something more built-up. Rivita, to me, seemed to embrace the most alive and frantic nature of New York. Her music had that urgency and, whilst looking at bad love; it was a busy and bold track that drew me right into where she is. Aisha Badru occupies the same state. She has penned a song that is more romantic and alluring. It seems to take the listener to a scenic and picturesque situation – a place where you can unwind and get away from the bustle.

Bridges has plenty of emotion and pain at heart but, in terms of sounds, it is an engaging and exciting track. There is so much working away at the core. When I first heard it; my mind and body were moved and I was determined to learn more about Badru. It seems like she has embraced New York and tackled it from a new angle. That is what we think about when it comes to New York: it is all smoke, rude bodies and noise. That is deeply unfair. In musical terms; some of the finest artists are playing there. I feel New York has advantages over London. Its five boroughs are very different and one can notice huge differences between, say, Staten Island and Brooklyn. It is an exciting part of the world and one that will produce legends of the future. Badru is one of the most engaging and creative artists I have heard. It makes me want to look deeper into New York and investigate the complexities of the scene. Before I move on, and look at a new side; I wanted to recommend Badru pushes her social media more. Right now, her numbers are good but they could be bigger. There are few images available online – a conflict and problem that almost made me avoid review – and there is little information available to the casual observer. Her official website is impressive but, again, there is not much in the way of photos. In an area teeming and competitive; she has a sound that deserves lots of respect and success. That will come but a way of fast-tracking that is to get more of herself out there. She has a few great snaps but, right now, there is not too much to go on. Maybe it is a case of hiring a photographer for a day in N.Y.C. They could set Badru in a few locations and take, maybe, a dozen shots. That would be more attractive to the observer and would not rely on a new single – a lot of artists coordinate new shoots with a single. That is one of the things I object to in modern music. It is always wise having photos and information lined-up regularly. Journalists are looking for choice and information to go on. In terms of her music; there is plenty to write about – it would be good to accompany that with visual aids.

I will move on now but, as I feature more female artists for review, it allows me a moment to reflect on young female artists. I know there are struggles for every musician in the world but the female artist has a much tougher time. Music is a big, bad wolf and can chew people up. I feel there are too many obstacles for young artists at the moment. It is hard getting your voice heard and, regardless of your quality; artists who are more commercial and radio-ready get ahead quicker. Badru is a stunning artist whose songs get into the mind and make the listener feel better – maybe not ‘better’ but more enriched, at least. The industry is sexist, I am afraid. It always has been and will stay that way for a little while longer. Before any real changes are made; I wonder how a young, black American female artist fares in the modern music world. Badru lives in a part of the world ruled by an idiot President; her style – Soul and Folk – is not as mainstream as, say, Pop; she is doing things her own way – all potential drawbacks in the industry. That may seem harsh but music is not perfect: there are a lot of changes that need to happen. Luckily; the New York-based artist is in a state that fosters diversity and equality. Her sounds are incredible and the songs one witness stays with you long after they have finished. I know Aisha Badru’s rise and progression will be a little slower than a similar-minded male artist. I know the industry has a long way to go but, until it catches up with evolution; we must take action ourselves and force change. I listen to someone like Badru and notice she is a lot stronger and more appealing than Ed Sheeran. He is a mainstream artist who is as popular as he is because his music is unchallenging; his personality pretty basic – appealing to those who do not want to think too much or engage with anything real.

Aisha Badru, on the other hand, is a very complicated and alluring artist who challenges the listener and provides something deep. It seems strange she would have to fight harder to get herself seen than an artist whose music is inferior. I guess that is the reality of the modern industry. What I do know is she will succeed and grow in time. It will not be overnight but I know she will get there eventually. It is exciting because I am hearing few musicians like her. There is that Soul/Folk backbone but, riding high, is an original angle that amazes me. On paper, it might seem like she is like any other artist out there. Her songs feature the same subjects (love and life) and there is not anything ground-breaking or paradigm-shifting. That is not her fault: it is near-impossible making anything revolutionary in the current times. I will move on but I wanted to outline the truth about modern music. Badru knows this but, in spite of the challenging view; she is producing music that is meaningful to her and differs from what is out there. That might be a gamble but, when one hears it, it all makes sense. I am going to follow her this year and see how her music progresses. It is the uniqueness of it that bowls me over. Her music, Bridges especially, has that sense of calm but there is power and panache working underneath. It is an amazing song and one that makes the listener reflect and think. There are a lot of songs about love on the market – Badru’s latest track is a very different beast.

The title of Bridges suggests a path to safety and new lands. In actuality; it is about building bridges and making compromises. There are challenges in every relationship: things are never as smooth and flawless as you’d imagine. A lot of artists are approaching love in a very negative and ordinary way. There are so many artists out there right now – finding one whose heart beats a different way is vital. I get annoyed at musicians who have that hostile and suffocating approach to relationships. It is understandable they have pain and the need to vent. The listener wants to relate to a song but, in most cases, they are looking for productive answers and a new dynamic. They, themselves, are hurt – musicians need to offer something more positive and comforting. Badru does that but does not avoid the struggles and bad points. The reasons one feels an intimacy in the song is (the fact) Badru records out of her bedroom. She is sharing songs online but, until recently, she recorded in private for herself. The fact the songs are penned in such a closed-off and homely environment mean they have that authenticity and romance. It is not impossible to think she recorded and penned songs like Bridges in the same house she shared with a lover – where the memories and lyrics came to life. Maybe that is quite a dangerous thing: you are unable to detach from the situation, and so, the music is too subjective. I feel recording at home and having that familiar space means songs are richer and more natural. If Badru recorded in big studios and wrote with other people, her music would seem artificial and forced. She is creating in her own space and, a lot of times, producing material for herself. The fact it is out in the world means it connects with her – there is something in the music that, she feels, needs to be shared with the world.

Bridges is an amazing song because it does not idealise love and neglect the negative aspects. In the same manner; Badru does not scorn and castigate her sweetheart; portraying life as a miserable shell and a lonesome beast. There are too many artists who come out of troubled relationships and pour their blood all over the speakers. I am not sure which is worse: those who do that and artists who soppily and gratingly over-egg love and elevate it to the level of perfection. Badru is a pragmatic and grounded woman who knows what a relationship involves. There are hard times but, regardless of the reason; there are practical and workable solutions. That is a healthy and impressive attitude to take. As such, as a listener, I am more invested and curious. Whether you are in a relationship or not; hearing a balanced and smart approach to love is going to be much more palatable. The song itself is a terrific thing. There is so much working away and wisdom running throughout. I will come to the song itself but I wanted to congratulate Badru on a wonderful work. The song is taken from her forthcoming album. That L.P. will feature Mind on Fire – it has accrued more than five-million streams on Spotify – and is a highly-anticipated work. I am interested seeing what other songs accompany these tracks. It is clear relationships and the complexities of the soul are important guides. Badru is experiencing life and New York. She is making her way through the world and trying to make sense of everything. Her music is hard to categorise but maybe that is her edge: someone you try to figure out as the music is playing. In a music world with too much simplicity and predictable music; there is something wonderfully intriguing about Aisha Badru.

I wanted to feature Badru because there is another aspect to her personality: a philanthropic drive that motivates everything she does. Badru self-released an E.P. in 2015 and her song, Waiting Around, was used in a Volkswagen viral campaign. She has had success so far and, with an album looming; that is going to increase and multiply. I am excited to see how far she can go in the business. There are few that have time to record music and live their lives – and have the energy to help others, too. Aisha Badru has travelled to Bali, Indonesia and other parts of the world. She has given her time and efforts to help those less fortunate. She donated a portion of the income from the Volkswagen commercial to rebuild a home for a local poverty-stricken family. Maybe Badru is connecting with her roots and has greater affinity with those from less-well-off climates. It is her heart and indomitable spirit that means she has that charitable edge. The fact she has given so much of herself to others makes me wonder whether more artists should take this approach. Badru is someone who is keen to help others and does not want to be shut away. She knows other struggle and there are many out there in need of help. She cannot aid them all but, when she receives a bit of wealth; she feels the desire to give it to those in need. That impressive and commendable attitude needs to adopted in the industry. There are big artists who have wealth and fortune and do not donate any to others. A lot of musicians are not in such a fortunate position: they make meagre sums and need that money to fund their own music. One cannot assume every artist should give a percentage of their money to worthy causes. I am determined those bigger artists should do their part and set an example. The likes of Badru are inspiring because they could easily shut themselves away and hide.  

Music is a tough industry where few people can actually make big sums from it. If you are lucky enough to make a bit of money; where is the first place you ate putting that cash? In every community; there are causes that require extra capital. Maybe it is down to the government to fund and rescue those who need it most. In nations where that is not always possible – developing countries who are struggling – and, so, who is there to assist? I feel Aisha Badru is doing a lot of good in what she does. She is charitable and loving; her music is speaking to many people and resonating in the heart. Everything she does is motivated by a need to give back. So many artists are selfish and out for commercial gain: those who cast their wealth (spiritual and actual) to other people need to be highlighted. If bigger artists see what the likes of Badru are doing; maybe they will then take a more productive approach to philanthropy. The way we can get that message out to them is to promote Badru – the way to do that is to share her music and messages on social media. I am excited to see, when her album is out, how that will affect people and give. The music will nourish and stun; the messages will connect with many people out there. She will get money and profit when it is out to the world. People will come calling and advertisers will look to use her music. I wonder where her next project will take her. It is clear she wants to change the world and help people who have less than her. We need to back Badru and what she does for many different reasons. Her way of working is what the music industry needs. That charitable dynamic and the way she writes; how original her songs are and what her voice can do – all components that can make the industry richer and more human.

Bridges is a song I read a little about before I heard it. I know it tackles love and the barriers that come in the way. I was not sure how it would begin and what sensations would be registered from the very start. One might think of a Folk/Soul singer and feel they are going to be classic-sounding and soft. In fact, when you listen to the opening moments of Bridges – there is physicality, toughness and modernity that is unexpected. The tough and tense beats crack and punch. You get a real hit and sense of emotion from the very first seconds. That voice is something that gets under the skin. The video finds two lovers embracing and locked in a kiss; in the night’s air, they seem very happy and together. In actual fact; you can see some struggle and testing times come through. The heroine smiles but the hero, with a slightly glum face, needs lifting and reassurance. Badru, in the song, has a velvet and chocolate-rich voice that is impossibly engaging and sensual. It is rough and smoked; there is a ravaged and pained quality that means every note explodes like a firework. The heroine “fell from the stars” and, in order to find herself, she travelled far and long. I wonder whether that exploration concerns love and betterment or a physical trek. It has been a hard path for the lovers – but it seems a lot of work is needed. You get caught in the sea of warm embers that come from Badru. It is impactful and instant; a song that will mean something to every listener. You are graced and buckled by the entrance and soothe. Our girl followed the man’s spark – inside of the darkness – and accepts he has qualities. There is that deep connection but, even in the best times; the two have differences and harsher times. The need to maintain that love is paramount. Badru will not lose the flame and knows there are compromises required. She realises there are mountains to climb; the sun will not always shine. She will stick with and swears by her commitment.

Beats come through and there are keys and sweet sway. Physical metaphors are brought in to outline the gulfs and realities of the relationship. Each conflict and cross word seems like an oceanic distance and earthquake. Surviving these troubles and coming through resolved is what is required. Rather than let every quarrel and quandary rupture the heart; the sweethearts are resolved to remain true and strong together. Love can be a rather cruel thing but, rather than let every dip and bump ruin things; it is a lot less damaging opening discussions and remaining firm. That might sound impossible from the outside but it seems Badru has found someone worth sticking with. The video’s inter-racial couple are locked in clinches and seem happy but, as the video develops, there is an unease and imminent trouble. The boy is taken away and the girl is left shocked and lost. The vocals, in a way, remind me of a similar-named artist: you get a touch of Erykah Badu and, actually, Macy Gray, coming out. It is that clash between modern and classic that reflects the dichotomies of the attested relationships. The heroine melts her gorgeous voice with a composition that brings the song right to the current time. She has soul and endless passion but, sparring against those tense beats; something complex and multifaceted emerges. That is the way the relationship is brewing. Things are not easy but you have, on the one hand, heartfelt love and commitment – the ever-present strikes and winds of change are interwoven and assimilated into the song. It is impossible to listen to Bridges and not be affected by it. Whether you fall for that video and the filmic development; the staggering vocals and what they exert – or whether the entire thing gets to you. It is a fantastic cut that takes a bit of time to seep into the skin. The first time around; one takes all the threads in and lets it get into the brain. Once there, the desire to understand every moment and angle is pressing. I have heard it a number of times and am still finding new potential. It is a stunning and mesmeric cut from a New York artist unlike anyone else.

I hope Aisha Badru continues to push and record as much as she can. I feel she is making big steps and, if she can get more images and information on her pages – that will lead more people in and get journalists here busy. I know she will have gigs in the diary and plans cemented. Badru is someone who connects with humanity and people’s struggles. The fact the first song she learnt on the guitar – when she spoke with Acoustic Magazine – was The Beatles’ Blackbird cannot be a coincidence. That song is about civil rights struggle and the need for freedom. Badru has visited Africa and donated her time to help people. She wants to, this year, make documentaries and record more. She wants to get out there and bring music to the people. This humanitarian ethos and desire to better the world will entice crowds to a destination near Badru. I hope she continues to strive and plays a lot of gigs around New York. It is a state that fosters the most ambitious and original. Bridges is a tantalising insight into her forthcoming album. I wonder whether that L.P. will address love in all its moods or tackle the plight of those less fortunate. She has come a long way the past year and I feel things are going to get even better – this year will be the best one for the young American. She experimented with various effects and subjects on her album. I cannot wait to see what comes out of it. Make sure you keep abreast of all her going-ons and happenings. My biggest desire is to get Badru over to the U.K. I feel there is a lot of potential for her over this way. Few have the same desire, sound and personality as she does. London would provide ample gigs and there are many other areas she could explore. That might be a little way away – it would be quite expensive coming here – but I hope that is part of her diary. I shall leave this now but, with Bridges in my mind; I have found a new star…

IN Aisha Badru.

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Follow Aisha Badru

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TRACK REVIEW: Rivita - Tribal Love

TRACK REVIEW:

 

Rivita

Tribal Love

9.3/10

 Tribal Love is available via:

https://soundcloud.com/rivita/triballove

GENRE:

Pop

ORIGIN:

London, U.K.

RELEASE DATE:

18th January, 2018

The E.P., Tribal Love, is available via:

http://hyperurl.co/TribalLove

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ONE of my favourite recent discoveries is…

the wonderful Rivita. I will talk about the title-song from her E.P., Tribal Love soon but, right now; I wanted to address a few areas of the songwriter that allure me. I will talk about New York and studying – how the city entices and attracts musicians – and those who mix the sounds of the East with Western flairs; how important it is bonding with music at a young age; original angles for songs and themes; those artists who go further and put their all into their art; why being unique is more important, now, than ever before – how London continues to amaze musicians looking to spread their wings. Rivita is in New York right now and, alongside her studies; she is able to exploit the city’s rich live scene. I have never been myself but I know there are many new artists relocating to New York to get their music to more people. London is great – as I shall state soon – but there is something special about New York that cannot be overlooked. Spread between its five boroughs; there is a variety of live venues and options for the ambitious musician. In the case of Rivita; she is there to learn more about what she does and get her sounds to fresh crowds. I reviewed Rivita last year – for the track, While the Love Is Gone – and was amazed at the confidence and talent on display. I have been keeping abreast of all her N.Y.C. developments and the way she has bonded with the place. Many assume New York is this bustling and overcrowded city but there is an entire state on offer – one that is rich, complicated and mysterious. I can understand why other areas draw musicians in: New York is that vast, opportunity-laden place whose beauty never dims. Rivita, I feel, has gained a new creative lease being in New York. I am not sure whether it is because of what she is being taught (in terms of academic pursuits) or the environment she is in.

In my mind; a change of setting can do wonders for music. I am in the position where I need a flash of motivation and new people. It is hard breaking out of a mould – and climbing out of that rut – but I can understand why people can get ‘comfortable. Rivita took a chance and moved across the ocean to settle in a new nation. It is scary going out alone but, surrounded by like-minded people; she has set her mind free and opened her heart. She is performing in Syracuse right now and, in that wonderful part of the city, picking up new fans and followers. If you are in New York; you can see her play Funk ‘n’ Waffles on 24th February. From there, she will be planning her next move and how she will attack. Tribal Love is an E.P. that could only have come from a hungry songwriter in a busy city. It explodes with colour and life; it is born of flashes of inspiration and a new perspective. I am thrilled Rivita has managed to write such an evocative and original E.P. I have listened to all the tracks – but it is the eponymous cut that sticks in my mind the longest. I am tempted, reading about Rivita’s time, to go to New York and embrace the state/city. I am in a bit of a personal hole so, with that in mind, maybe a change of scenery is the answer. I get a real sensation and taste of the city when reading about Rivita’s time there. She seems in love with the place and seeing her music elevate and evolve. She will come back to London but, whilst she is there; balancing studying with performing is adding so many new ideas to her palette. It is wonderful watching a brave and exciting artist build and plan. Rivita has her E.P. out and, as we head into spring; she will look to play further afield and see where her music goes. New York is a vast state so it is difficult to cover every inch. I feel she will have demands coming in from other states, too. The colourful and spirited music means Los Angeles will come knocking. I hope she can afford a flight there because Tribal Love will float and fly through the country; pricking ears and spiking minds as it goes.

You do not often see a clash of Eastern and Western sounds in music. Maybe it is more common in Asia but, in the U.K., things are too westernised and limited. One can exult a lot of brilliance from Western music but I yearn to hear other cultures brought in. Artists like Tune-Yards splice African rhythms and vocal tones into their music – meshing East and West. How many new artists piece together sensations from Asia and the West? It is rare and I think I know why: many have stereotyped notions of what Eastern music consists. They think it is quite atonal and jarring; reserved for a particular time and taste. That is wrong. What you have, in nations like India and China, are sounds that are not too detached from ours. It can be hard balancing the two because of the dominance of Western sounds. I am aware genres like Hip-Hop, Grime and Rap are more adept and willing to tangle East and West. In modern Pop; there are fewer going out their way to defy convention and try something exciting. The spice, multifariousness and delight you get from Asian music is a natural bedfellow to the music we are all used to. Tribal Love is an E.P. that brings the upbringing and early life of Rivita together with her adult experiences: living in London and studying in New York. She is not an artist who moves to Europe/the U.S. and forgets where she came from. Her family and heritage are always in her blood. She found music young – I will come to look at this in a bit – and learnt a lot from her parents. Surrounded by Asian D.N.A./music and experiencing Western music at a young age meant her mind was more open and nourished than most of us. It can be confusing having fairly disparate waves simultaneously playing in the mind. Rather than bulk and scare: the music that Rivita discovered compelled her to discover music and put her own stamp on it.

It is going to be interesting seeing what comes through this year. I am seeing a lot of promise and original music surface. Each week brings fresh proclaim and quality. Musicians are becoming bolder and new artists, knowing the scene is packed, are upping their game and doing something extraordinary. There are those who continue to stick to commercial sounds: people who take the time to subvert the game are being rewarded with radio love and promotion.  Even when you go beyond the call and create stunning music; it can be tricky standing out from the crowd. The music scene is like New York itself: vast and expansive but filled with feet and bodies. It is crowded but, if you move in the right direction; you find there are fewer competitors around you. Rivita performs Pop/Alternative but does not do it in a restrained and familiar way. There is that incorporation of Eastern riches; modern production and bold Western proclamation. She integrates the modernity and familiarity of our music with the purity, endeavour and scent. It is a heady brew – and has not become more distilled and tempered since moving to the U.S. Rivita is not someone to dispel her foundations and lose sight of what makes her special. I feel she will inspire other artists to mix nations and continents together. Africa and Asia are vast and exciting plains for discovery. Few look into South America for light; there are brilliant artists playing in Australia. If the average musician takes a bit of time to discover and search; they will find their creative mind is fevered and blown. It can lead to some truly wonderful music. You do not need to be a part of a continent to understand its unique heartbeat and timbre. Rivita brings us a genuine and passionate portrayal of where her roots are and where she is now. The young artist is looking forward and embracing new teachings but, above all, maintaining her base and upbringing.

Without pressuring a child and pushing music on them; opening their eyes to it from birth is beneficial, to say the least. Not only does it boost their personality and mind: it can lead to a career and that endless curiosity. I am not certain when it came into Rivita’s life; but I can imagine she was listening to music from a very young age. It helped her discover more about the world and learn about herself. She started performing in a choir aged five and then, as a teenager, she picked up a guitar – the rest is history. It is the way she mixed performing with studying that meant she could get her music to more people. Learning at the British and Irish Institute of Modern Music meant she could fuse an academic vantage with personal intuition. The fact she was exposed to music early in life meant she pursued the form and wanted to see how far she could go. I am not sure why it struck her and captures her heart: for me, it is about finding something that understands me; a voice that says what I want to – without being able to say it. It can be tricky articulating thoughts and emotions to those you need to say them to. Music can offer solution and suggestions; it is the constant companion that guides us all. I can understand why Rivita fell for music and wanted to add her stamp. I have covered her music a lot but, each time I hear a fresh song; I sense a development and new input. With America at her feet; there is new lands to explore and fresh sensations. Every time she makes a move – discovering new people and lands – that will aid the music and give her more to write about. I can only imagine how exciting and eye-opening New York is. As I said before; Rivita does not lose sight of where she came from so, with each new song, that distinct Eastern sounds can be heard working away. Other musicians should take note: not only in terms of sound-fusion but how travel and study can enrich and heighten the creative mind.

PHOTO CREDIT: Ronojoy Sinha Photography

Rivita is a songwriter who can address love and its complicated nature but not do it in a predictable way. Her sounds and compositions are, naturally, different to what you hear out there. There are few like her – that goes for the lyrical content, too. One gets a real personal view and perspective on love that gives pause for thought. I will look at her D.I.Y. ethics and how she chairs so much. Right now, it is worth looking at the way she approaches writing and why she deserves wider acclaim. I will assess Tribal Love when I get there but, hearing the E.P., and there is that assimilation of near-commercial content and unique embers. You are never too distant and disconnected from the songs and their meaning. By that; one never feels confused or alienated. The writing is personal and heartfelt but it ensures the language is understandable and relatable. That means, for broadcasters and D.J.s; the songs will resonate with their listeners. It is important, when launching songs, to ensure they connect with the listener. If it is too wayward and unexpected; it will be harder creating support and enduring. That said; if you are too safe and unambitious – it will appeal to many but you will be like everyone else out there. The balance is hard, for sure, but it is worth the effort. Rivita’s music looks at personal struggles and thoughts but there is something…dreamy about it. I feel the heartbeat and strain; I can hear her voice ring true but, working inside all of that, there is something magical and unusual. Maybe it is the way she phrases her lyrics or the fresh melodies employed – there is SOMETHING that goes beyond what one might normally expect. There are few out there who address common themes like passion and heartache with any new insight. I am hearing (the best) new acts do it: there are not many mainstream artists attempting it! Rivita’s diverse upbringing and youth means she has moved between areas and had her eyes opened to all sorts of people.

It is that area we spoke about before: travel and the mix of cultures. If we are too homogenised and homeward-bound; that means we only have a limited view of the world. Our experiences of love and life will only stretch so far. I am not suggested one travels the globe endlessly and abandons where they live. What I mean is, without that curiosity and bravery; music, and life, can be very boring. I am passionate about London and there is a reason for that: you get so many cultures and contrasts working together. With that; you are familiar with different peoples and millions of unique angles. If you are confined to a town/smaller city; I wonder how much you are getting out of love. So many writers, away from busy cities, are learning about love and life from the media and television. They only have a certain amount of tales in their heart. The city can be demanding and scary but, supplemented with travel; it does so much for a young and agile mind. Rivita is still very young so, as she grows as a songwriter; there will be opportunities to perform in other nations. I know she will have her heart broken (we all do) but those experiences will teach her new things. She is receiving a first-class education and, in the endless potential of New York; she is receiving wisdom many of us dream about. All of this means her songwriter is stronger and more dynamic than most out there. Even if (as a songwriter) you cannot afford to travel and live in another city – I feel a degree of boldness and adventure can lead to wonderful things. The better and stronger the material is; the more demands come through. I will talk more about this in the conclusion but, right now, I want to address Rivita’s most impressive facet.

She is someone who takes care of her music and ensures she does not let too many others control it. Sure; she works with other talent now and then but, above all, it is that personal input that shines through. Modern music is a challenging industry for those coming through. It can be very difficult getting a record label and finding instant success. Expense is at the heart of everything: recording a single song can be quite eye-watering. Artists have to put so much finance into their art that it is leading to problems and stresses. There is an alternative available: being D.I.Y. and using as much modern technology as possible. Rivita is in the same position as many of her peers. She does not have extraordinary wealth and, ambitious as she is; there are barriers and boundaries she is aware of. Her mind and songwriter is unlike anything out there. She is a lot hungrier than most artists I have come across. The temptation to race and dream is always there. Rather than worry about financial concerns and limitations; she embraces her talents and puts her everything into what she does. Rivita does not need an army of personnel to help get the music to life. Some musicians do not have artistic talent – in terms of design – so they need others to design their covers and artwork. Rivita has artistic and photographic flair; producing ability and multi-instrumental potential. One of the reasons Rivita’s music sounds so fresh and original is the fact she has a say at each stage of the process. She does not need an expensive studio and loads of writers to get her to the people. It is amazing seeing her produce such captivating and astonishing music. I can only imagine how the process comes together. Starting with that germ of an idea; she then grabs various instruments and tries various ideas and takes. From there; she will get down a basic recording and then, from there, comes the layering and augmentation. Even when the song is finished; the songwriter is thinking about the look of the E.P./single cover and the music video.

Her videos are experimental and bold; she has filmic desire and ensures the physicality and adventure of each song is beautifully realised on the screen. I am always compelled each time a song comes through. Not only are the sonics new and enlightening; the videos and designs are exceptional. Being unique, at this time, is more important than ever before. There are few artists who take real risks and approach music in a new way. Rivita is someone who has little desire to fit into a generic mainstream. Her music and thoughts are much more important than that. We have just lost one of music’s true innovators (Mark E. Smith). The Fall’s leader inspired so many and, in death, revealed what a singular talent he was. I hope artists learn from him and realise why his legacy is so treasured. I am always seeking artists who go beyond the usual callings and do something unique. You get a very fresh and exciting experience with Rivita. She brings us into her world: one that explodes with life, smells and rare sights. Her D.I.Y. ethic and determination, coupled with the need to stand out, means the music is much more enriching and long-lasting than most. One could argue her attachment to London is responsible for that. The capital is that ever-enticing area where artists feel they need to move to. The opportunities available are immense; there are so many different races and people living in the same city. Rivita has bonded with London and all its avenues and dimensions. I was going to talk about it more but, with time ticking on; I feel I should come to look at the big event: the wonderful and exciting song, Tribal Love.

I recommend you check out the Tribal Love E.P. in its fullness to get a proper viewpoint of Rivita. I wanted to concentrate on its title-track because, to me, it is the most striking and complete documentation of the E.P. There is a certain delight and quirkiness that comes out in Tribal Love. Right from the off; one gets suggestions of teasing beats and unfamiliar, unique ingredients. The signatures and projections are not your normal thing: there is something delightful and original coming out. It is an exciting introduction that leads to a passionate vocal. Maybe that is not the right word: ‘accusatory’ might, strangely, be more appropriate. The heroine is looking out at someone and wondering whether will go if they have no hands to hold – if someone does not have their back. Right then, I was thinking about infidelity and mistrust. Perhaps the hero has been insincere or not as loyal as he should be. Our heroine is asking him questions and revealing what his future could be – if he takes an unwise course and continues to act this way. The song’s title might suggest something explosive, sexual and enflamed. There is another aspect to ‘tribal’: something rather basic and unevolved. You get a little of both definitions as the song progresses. This rare love (tribal love) can fix her; it is the only thing that will give her satisfaction. Maybe that is a proper man and someone who opens her eyes; the possibilities of the world and the music industry – there is a passion in her heart that is being fostered. Little beats and tumbling electronics mix physicality and with breeziness. John Webber mastered the song but the production and sounds is from Rivita. The production balances polish and homely; you get a real intimacy but, when called upon, the song expands and opens its wings. It is the vocals that really get to me. There are few singers who have the same stylistic approach to singing. There is a clear accent and a fresh personality; something that goes beyond the predictable and boring...

PHOTO CREDIT: Monica Goyle

As Tribal Love progresses; my projection and interpretation changes. There is that need to get out of the hole she is in and nourish her soul. The heroine does not need a man to make her feel empty and bad. That might sound strange but, with him by her side; problems are increasing and things are too hard. Rather than suffer the same pain as before; Rivita is looking for a new form of love that will get her in a better mood. I am looking at music and the arts and possible sources for revitalisation. Maybe New York and her new setting have compelled the need for change. The buzz and variety on display means she does not need a bad lover to enrich her. There is a whole world out there and, with music ringing in her soul; there is something proper and purposeful to grab onto. The chorus is catchy but has sweetness to it. This rare and enflamed love will fix her. It can, I guess, mean different things depending on how you approach the song. Whilst there have been more overt fusions of East and West in her music: Tribal Love goes beyond what one normally expects and fuses unexpected sounds together. There are wonderful synths/percussions and brilliant vocals – that switch between emotional and strident – that all mix into a stunning pot. By the end of the song, you are keen to lay out predictions and interpretations. It is a song that reveals new light and truth the more you hear it; something that warrants proper time and focus. Tribal Love shows how far Rivita has come and the new influences she is putting into her locker. It is an extraordinary song from a brave, open and honest songwriter - who will have a very rich 2018.

I hinted at the wonders of London a bit earlier. Rivita is busy studying in New York and lining gigs up there. I know she has gigs coming but, as the weather warms; she’ll want to get out there and seduce as many people as possible! I feel the state is vast and scary. Where does she start when it comes to gigs?! She will speak to a lot of like-minded artists who have tips and suggestions for her, I am sure. When she completes her education; I hope she returns to London and gets involved with the local scene. There are so many spaces that would love to house her music. The city is always teeming with ambition and possibility. We need more artists like her in London. There are some great artists here but there are none like Rivita – that same sound and sensation! I am excited to see how she develops in 2018 and what she brings to music. You get can Tribal Love (the E.P.) from iTunes and Spotify (link below); listen to her music through SoundCloud and keep abreast through social media. It is a busy and important time for the young artist. I hope to see her sometime soon but, for those lucky enough to be in New York; keep informed with all her goings on through Facebook. There will be more announcements in due course. Rivita designs her own merchandise – look at her official website – and it is something you want to get your hands on! She is a complete artist who manages to make extraordinary, original music and link that with incredible products, designs and promotional videos. Rivita is the definition of what a modern artist should be: a multi-talented proposition who needs very few others to make her ambitions fly. All of this means her stock will grow as we head through 2018. I am excited seeing where can go. I am sure she is thinking about academia at the moment but, in time, she will look to see how far she can go in music. Maybe the mainstream is a few years away but, on the basis of Tribal Love, I believe she can go…

ALL the way there.

_______

Follow Rivita

Official:

https://www.rivitamusic.com/

Facebook:

https://www.facebook.com/Rivitamusic/

Instagram:

https://www.instagram.com/rivitamusic/

Twitter:

https://twitter.com/rivitamusic

SoundCloud:

https://soundcloud.com/rivita

YouTube:

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

Spotify:

https://open.spotify.com/artist/6mNplee0qiXx9dtNN28ekN

TRACK REVIEW: The Ries Brothers (ft. Ted Bowne) - No Place I’d Rather Be

TRACK REVIEW:

 

The Ries Brothers (ft. Ted Bowne)

PHOTO CREDIT: Matthew Stocke

No Place I’d Rather Be

9.6/10

No Place I’d Rather Be is available via:

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

GENRES:

Reggae; Pop; Alternative

ORIGIN:

Florida, U.S.A.

RELEASE DATE:

13th October, 2017

The album, The View from the Outside, is available via:

https://open.spotify.com/album/1ZUi48Ss5kFMjUnik0WfZO

_________

THERE are a lot of questions on my mind...

PHOTO CREDIT: Matthew Stocke

I need answers for. I have been looking around the world of music and am looking/yearning for something to direct me. In terms of jobs; I am seeking something music-based that will allow me the chance to get into London. Until I get there; I am hunting around for new artists to review; sounds that are different and I have not encountered before. The Ries Brothers are not what I would traditionally look at – their sounds are a departure from the type of act I normally investigate. I am a bit late to their music. I was meant to review them last year but, because of the wait and list of artists before them; it has been pushed back to now. That does not really matter. The music they are putting out is fresh and relevant – regardless of when you come to look at it. I want to talk about a track from the brothers but, before then, I will look Florida and music from outside the big areas of the U.S. I will come to look at music whose messages look at self-comfort and finding hope out in the world; young and talented artists who are prodigious and already gained acclaim and incredible gigs – despite them being fairly new (a few years or so) in their career. I will also look at artists who play awesome gigs and get their name beyond their local area; where The Ries Brothers go from here; how they will progress this year – variety and sonic range on an album. It has been a while since I have looked at an artist from outside of Florida. It is hard to depart from areas like L.A. and New York. I have become too involved with those parts of the U.S., and so, I wonder what is available in other regions. One might think of Florida and struggle to name many artists from there. Rob Thomas (of Matchbox Twenty) is from Florida but there are some great upcoming acts that are worth a look.

PHOTO CREDIT: Matthew Stocke

Ecostrike and Pull the Plug are two new artists from the state that are getting people talking and showing promise. The latter has the odd demo here and there but it seems this year will be a bigger one for them – as they look to get into the studio and make their Hardcore music a reality. That genre has a lot of competitors in Florida. Put It Aside and Final Say are other acts to watch: their blistering live sets and original take on Hardcore means they will have a very busy year. It is amazing seeing all the great Rock and Hardcore coming through. Florida has a healthy Blues scene and there are terrific Pop artists emerging. Orlando is producing artists like Tiger Fawn, Chandler Strang and Fiona. There is the Laney Jones & the Spirits and Sales; Panther Camp and The Pauses. Jacksonville, where The Ries Brothers hail, has seen some fantastic artists emerge from the area. Lynyrd Skynyrd and Shinedown are from there; Burn Season and Evergreen Terrace; Limp Bizkit and Yellowcard. It is a varied list of artists but it seems the heavier side of the dial is favoured in Florida. There are artists playing every genres but the folk of the state favour things a bit sweatier and harder. The Ries Brothers have a great Rock sound but they are capable of performing softer and more rounded music; colourful and varied sounds – ranging from Folk/Pop meltings and something funky. I will talk about their exposure to bigger stages and other states but it seems the Florida duo are continuing the fine legacy of the state. They have performed a lot of local gigs; played with some like-minded acts; learnt a lot from the music around them. Maybe Florida is not as bustling and productive as California or New York: it does have some incredible artists who are going to get into the international consciousness years from now. The Ries Brothers are among them, for sure. They have come a long way and made changes as they have grown more popular. I feel they will come out of the state before long – not before they play a lot more gigs and show the state why they are such an incredible proposition.

PHOTO CREDIT: Matthew Stocke

I will come back Florida in the conclusion but, before then, I wanted to have a look at The Ries Brothers’ music and why it departs from what I assumed. They are a young duo who, one feels, would play Pop music or something commercial. Their sounds are alluring and complex but there is simplicity and accessibility that means every listener will get something from them. On View from the Outside; the boys talk about isolation and feeling overwhelmed. They want to look at struggle and finding a place in the world. Regardless of what is happening, how talented you are and how far along you are in life – we all struggle with issues of sadness and fitting in. The boys are very young – Kevin Jordan is still a teen – and the guys are looking at their lives and seeing the darker sides come through. They are a successful act; but they still experience heartache and struggles. That might sound weird to an outsider – everyone, I think, assumes musicians are happier than most of us – but there are the same issues and problems inherent. It is inspiring listening to music from young writers that look at deeper topics. They could have gone for something cheap and commercial: instead, they have created an album that looks at self-worth and isolation. That does not mean things are dark and relentlessly strained. The music has plenty of freedom and uplift; there are wonderful moments throughout and each song gets into the head. The sounds range from calmed and reflective to something more strident and knuckled. They began playing local shows in Tampa Bay (where they are from) and were playing to a few hundred people. Things have got bigger for them but they still perform around Florida and have not forgotten where they are from. What amazes me about their music is the maturity and depth you get.

One could forgive some cliché love songs and ordinary vibes: the boys ensure every song gets under the skin and they focus on something more meaningful. The music on their L.P. ranges from Reggae-Rock and mainstream Pop to Blues and Folk; they cross into Rock and Alternative territory – all of these movements are natural and assured. Wherever they go; the boys do not lose any focus and authority. If the music skips and steps into different avenues; the themes do not stray far from the meaningful and important. There are suggestions of love and youth in the album but the most important thing is giving the listener something more meaningful. That sense of meaning is lacking from modern music. We are still hearing too many songs of love; songs whose lyrics are predictable and boring. The Ries Brothers are more concerned with connecting with their audience and ensuring they have someone looking after them. They have been through the mill and faced challenges; their worth and place in life have been tested – throughout it all they remain dogged and determined. The indiscriminate nature of ill fortune and luck means we are all vulnerable to it. Their music provides common sense but there is a carapace and comfort to be found. I will move onto a new subject soon – but it is worth noting how different the young duo is to everything out there. The fact they sound so confident and committed must come from the opportunities they have been afforded. Their talent has got them a long way so far. Few artists get to share the stage with such big and important names. One of the most impressive names on the C.V. of The Ries Brothers is CHICAGO.

The music legends shared the stage with The Ries Brothers for two hours. Allman Brothers’ Butch Trucks is another name they have been alongside; REO Speedwagon and even Sly’s The Family Stone have seen their music fuse alongside the Florida duo. They are merely a few names that they can boast about to their family and friends. They have not got ‘lucky’ and been ‘in the right place at the right time’. Their talent and ability have got them that far; the music they are putting out means they have been able to perform with a varied list of musicians. Their album cross-pollinates and covers a number of genres. I feel it is important, for every artist, to show invention and not be confined to a single source. If The Ries Brothers were all about Rock and representing the ‘typical’ Florida sound, then that would mean their chances would be few. They might get a chance to play with a few bigger acts - but the fact they have played with an eclectic assortment of legends means they are doing things most other acts aren’t. You can hear Funk and move in their sounds – which is why that Sly’s Family Stone gig came about – and the CHICAGO gig, I feel, is because the boys are inspired by the band. You can hear elements of the epic U.S. band in their own music. The young lads are contemporary and modern but they look back to the past and some of the artists they grew up on – and the tastes their parents acquired. It can be quite nervous and pressuring having those high-profile gigs under your belt that soon. They have certainly deserved them but many might feel some cracks will come in. I have seen bands who have shared the bill with big bands before. They have relished the chance but, when it comes to subsequent gigs; they fail to match the giddy heights. The initial glory fades and, before long, those bands are playing smaller shows and unable to rekindle that same stature and wonder.

I am not saying this will happen to The Ries Brothers but they have a wonderful opportunity to learn from these gigs and go forward. It is clear the music world is reacting to them; there is a great vibe coming from Florida – few are immune to their brilliant music. I feel there is a chance for the guys to play other stages in the U.S. and the U.K. They have, as I will mention, played New York. That is a state they could really clean up in. I would be interested to see what sort of reception they could accrue if they played The Big Apple or somewhere like L.A. There are some fantastic mainstream artists out there, I think, would benefit from having The Ries Brothers support them. The bands they have already performed with are older and more established. As the duo are current and fresh; maybe a combination of established and new artists would be a good mix – meaning they could reach new audiences and learn something from legends. I am not sure what form that would take but, I guess, the underlining message is for the guys to get their music as far as they can this year. They will play Florida and local areas but, if they want to get it to national ears; their gigs might have to see them travel further afield. Maybe they already have this cemented but I wonder whether Florida, in the long-run, might be the best state for them. The guys, between them, have studies and family in Florida. They will want to stay there for a bit but I feel New York is a better fit for the boys. They can get further chances to share the stage with big names but, in somewhere like N.Y.C., The Ries Brothers can flourish and hone their music.

PHOTO CREDIT: Matthew Stocke

The fact they have played Arlene’s Grocery means they have been in one of the most venues in New York. That is a space the late Jeff Buckley performed in – it was one of his final gigs. It is a modest spot down in Station St. and one of the finest music venues in New York. It has a rich heritage and legacy. So many incredible musicians have performed at the venue through the years. Not only has Jeff Buckley played (and owned) there; a lot of new artists are cutting their teeth there and getting a great reception. The Ries Brothers have already performed at the venues. Not many can claim they have played Arlene’s Grocery! Not only have they played at Arlene’s Grocery but at another legendary New York institution: Iridium. The performance they put in there was lauded by critics and, with Vini ‘Mad Dog’ Lopez in attendance; many people are still talking about it. Lopez is a founding member of the E Street Band – not someone you would ever turn your nose up at. The guys have played some Florida gigs recently but I know those New York dates will be ringing in their ears. There is something alluring about the bigger cities that means musicians are compelled to lust after them for years. New York is somewhere the guys could thrive in. Maybe it will take a little while to get to that point: they are still relatively new and will want to carve up their local scene as much as they can. Even though their alum is two months old; the music from it is still being played on radio and getting them gig requests. I would like to see them push more towards New York because, I feel, that will see them get into the mainstream. They remind me of another insanely talented duo: The Lemon Twigs. Brian and Michael D’Addario make up the duo. There are other musicians as part of their live sets but, what you here on record, is the chops and voices of the brothers.

They have amazed critics with their genre-fusing sounds and utter confidence. They are really young themselves and, on Do Hollywood, showed they are one of the best new acts around. Charlie and Kevin Jordan have the same sort of spread and audacity as The Lemon Twigs. They recorded their album in St. Petersburg, Florida under the watchful eye of Ted Bowne (of Passafire). He guests on No Place I’d Rather Be and helps make the album a huge success. The only exception was Street Lights – that was recorded in Los Angeles by The Jackie Boyz. That track is more Pop-based and is a departure in terms of their sound. It fits into the album but you notice the production differences. The brothers have been writing for over five years and collaborate with a series of musicians on their L.P. It is an arsenal that, I feel, can see them get into the national spotlight before long. Maybe they can get a shot if they are in Florida: moving to one of the bigger cities would get them where they need to be earlier. L.A. is another option they could explore. Neon Signs’ Jazz sounds; Road Map’s look at growing up and transcending from childhood is an emotional number – they could thrive in the bustle and incredible scene of L.A. I feel they are stronger than most of their local peers. Many of them are too limited and keen to uphold the great Rock/Hardcore sound of the state. The Ries Brothers can do anything they set out to do. This year should be the moment they grab that chance and go as far as they can. With a successful and popular album out there; there will be international ears that want to discover their sounds. I will look at where they might head but, before then, a look at a song I was compelled to write about: the incredible single, No Place I’d Rather Be.

Among the thirteen tracks on View from the Outside is the wonderful No Place I’d Rather Be. It is a song that features the talents of Ted Bowne – although, it is the voices and input from The Ries Brothers than stands out. The song starts with pops and island-vibes. It is a tropical-sounding song that has that Reggae vibe and laid-back attitude. You get the modern production polish but, unlike most mainstream songs; there is not that endless repetitiveness and hollow sound. The sounds build and the mood is crafted and chiselled. The guys ensure the song grows and lets the listener imagine and wonder. You hear the opening notes and are relaxed but intrigued. It is a bright and physical start that gets the eyes bright and the voice ready. Before you slump into the beach-side hammock with a rum in hand – not a cliché view is it?! – you are seduced by the bliss and cool that comes from the guys. Using electronics, simple beats and guitars – one experiences that colourful wash and warm ocean. Your mind is definitely on a beach and, to me, the song puts me in mind of the fading light. Maybe the sun is going down and people are starting to head out for the night. The sun is still hot but the beauty of the night begins to draw in. This all swirls around the brain and, with that force and beauty in the bones; it is hard, for me, not to think of something more sexual and sensual. One’s inhibitions are lost and the mind does wonder. When the vocal kicks in; the sound matches the composition. It is a high-pitched cool-as-hell performance that is soulful and smooth. Our hero is in the van and hitting the road. It seems the need to encounter a fresh destination is on his mind. Maybe me abandonment of love and sex is a little hasty. The drumming hero lets his voice swoon and implore.

He is thinking of a girl and a way of escaping the day. He wants to get away with her and succumb to the moment. I know the song is about, to an extent, isolation and feeling alone but, when you consider the lyrics being laid down; I could not help but imagine two lovers escaping somewhere private. Given the Reggae kick and sunshine-spice of the composition; the vocal is impossibly chocolate-rich and sensualised. No Place I’d Rather Be impresses because it is not trying to follow the huge songs of the mainstream. Rather than go in with phat beats and over-polished production; aimless choruses and something cheap and tacky – the guys take time to create a song that has genuine heart and quality. The beats are a mixed of processed and natural. That combination works wonderfully; the guys throw in electronic sounds and a few piano notes. The song flows constantly and is a sumptuous, rich affair that gets the body winding and grooving. Bowne enters the fray with his vocal – adding a genuine Reggae soul and captivating touch. “We can take a slow ride/in the sunshine” he attests. His vocal is faster and more freewheelin’ than our Florida hero. Instead, against the slowed-down and lover-boy soulfulness sound; here is a vocal that adds urgency and rush. Ted Bowne has many years’ experience and uses all his skills on the track. He fits into the ranks naturally and ensures The Ries Brothers’ single has enough zest and physicality. They are in no small danger of sexuality and oomph. You get that leaking from the speakers and emanating from every note. It is a wonderful brew of smoothness and intent. Our boy wants to release his pains and get involved with the girl. He wants her to himself but it is not only about sex. The hero wants to be happy and find solace with his girl. The song’s chorus brings the sunshine and gets right into the head. It is impossible to ignore it and deny its powers. I was gripped from the first time I heard it: by the n-th time around; I was drugged and hooked for life! No Place I’d Rather Be is a stunning song from the Florida brothers – a standout cut from their album, View from the Outside.

There is a lot to recommend about the Florida duo. I have had the review request in my diary for a while but, with things getting in the way; the chance to fulfil it only came about today. I am glad I have arrived at their feet: they are one of the best new U.S. acts I have encountered. The multi-genre, pioneering music is getting them a lot of love in Florida. I feel the national market calls and, beyond that, they could come to the U.K. I think they would do well here and get a lot of gigs. Their album is already out there but that does not mean they need to wait until the next release before coming out here. They will, I assume, release more singles from the record, and so, that gives them the chance to play them here. We could feature them on our radio stations and get them to the media. I am not sure what their plans are but they might want to think about that in the future. I am impressed by their music and know they are working really hard to get it out there. The only suggestions I would make regard their photos and worldwide ambitions. They are covering a large state (Florida) but, as they grow and broaden their horizons; other parts of the U.S. will a better fit for them. I know they are thinking ahead but I wonder whether they will consider a trip here. I know money and demand will limit what they can do – but getting their music to the press here will create that demand. I am excited to see how far they can go and which U.K. venues they can play. It is all good right now. Another way they can get their names out there is getting their faces out there. There are a few press photos included – I have grabbed a few others from their Facebook – but I would like to see a lot more from them. More professional shoots would give them a better chance of getting featured. It does not need to be anything extravagant and bold: a few local shots that are good-quality and varied would entice writers and win new fans. They have a lot of photos but most of them are live snaps – they are not great quality and not the kind of shots journalists want to use. It is a small thing but something a lot of musicians are overlooking. I know they will rectify this but, in reality, their music is strong enough to see them succeed. View from the Outside is a wonderful album; No Place I’d Rather Be a strong and compelling single. As this year warms up and gets underway; I expect the Florida natives to…

MAKE a gigantic impact!

_______

Follow The Ries Brothers

PHOTO CREDIT: Matthew Stocke

Official:

http://www.riesbrothers.com/

Facebook:

https://www.facebook.com/Riesbrothers/

Instagram:

https://www.instagram.com/RiesBrothers/

Twitter:

https://twitter.com/RiesBrothers

SoundCloud:

https://soundcloud.com/ries-brothers

YouTube:

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

Spotify:

https://open.spotify.com/artist/3n5TbZCCU3rnDcDy5n49nG

TRACK REVIEW: Ferris & Sylvester - Better in Yellow

TRACK REVIEW:

 

Ferris & Sylvester

Better in Yellow

9.4/10

 Better in Yellow is available via:

https://www.youtube.com/watch?v=mbCW4e4T4FI

GENRES:

Folk; Singer-Songwriter; Blues

ORIGIN:

London, U.K.

RELEASE DATE:

17th November, 2017

_________

I shall not obsess too much about…

PHOTO CREDIT: Daniel A Harris Photography

the fact Ferris & Sylvester are a duo. I have spoken a lot about two-piece acts – so I shall not go back to that well too much. What I do want to look at is the bond between Issy Ferris and Archie Sylvester. I will also talk about sounds that reflect New York’s Greenwich Village/the 1960s; pairing two distinct personalities into a cohesive whole; how a consistent act can ensure they are kept in the mind; why the likes of Ferris & Sylvester should feature on the big ‘ones to watch’ lists; how the London-based duo will progress from here – and how their visual aspects aid and heighten their music. You only need listen to the music of Ferris & Sylvester to know they have a deep friendship and understanding. I am not going to speculate whether the connection runs into a romantic territory – I am not a tabloid journalist – but you can see a real affection and love between them. You know they are committed to one another – but that respect and bond are all to do with making the music as good as it can be. Every new act I look at; I explore the sound on offer and how it came to be. The duo met as solo musicians and, over time, established this ingrained partnership. Since early-2016; the stunning duo has made big steps and changed their sound. They have a solid foundation but it has taken in new shades and influences over time. Every song of theirs I hear; I can hear that kinetic energy and the close ties Ferris & Sylvester share. They are always on the same page and have a democratic working process. If it was a duo where a passion/sexual relationship was involved; perhaps there would be fewer compromises or fewer risks would be taken. The fact the London duo produce music that flies and flows leads me to believe they place the songs themselves above everything else. Sure, they are close-knit and together but the deepest connection they have is the need to get their music out to the people.

What amazes me is how complicated and simple the relationship, at all once. The duo produces music that sounds easy and accessible but, when you listen hard, you can hear the work and effort that goes into it. There are layers and different angles; it is a heady brew that throws so many colours into the pot. It is an intoxicating and arresting spread that, I imagine, is the result of a lot of conversation and experimentation. I might be wrong but I feel there are a lot of extensive rehearsal sessions and that pursuit of excellence. That is the hard part of the bond: the easy part is how the music flows and sounds effortless. You know the duo has that trust and comfort at the heart of their bond. The music runs free and both players have the chance to express their identities and truths. Both, as I shall explain, come from different musical backgrounds; they are motivated by separate genres so, when coming together, lesser duos might lazily and sloppily combine those sounds. Ferris & Sylvester have those discussions and ensure there is an even balance. When in the writing/recording stage; the two converse and make sure there is no imbalance. There is equal weight and a sense of fairness so both performers are happy and able to express themselves. When you hear the songs come out of the speakers; you get the view there are never any cross words or frustrated debates – although they may flare from time to time – and nothing gets in the way of the pursuit of excellence. I hear a lot of duos and the two are either in a relationship or friends. The former, usually, means a lot of familiar, samey music – they do not make huge sonic leaps early – whereas the friends are more wide-ranging but less intense. Ferris & Sylvester manage to achieve both sides: they can produce heartfelt and deep music but it has a sense of emancipation and playfulness. It is a hard balance to get right – one the duo manage to nail and own.

I want to talk about the Greenwich Village-inspired sound a number of artists are utilising today. There are a few acts, like First Aid Kit, who put together some of Bob Dylan’s Folk sound and infuse their own beauty and direction into the music. There are few who overtly employ the sort of sounds one would experience in New York’s Greenwich Village in the 1960s. There are Blues and Folk licks; a passionate wave and exceptional guitar-work. The songs have melody and bright choruses but there are intelligent verses and richness. It is interesting to hear a contemporary British twosome tackle a distinctly American sound. They deftly take from the classic-era of New York Folk and bring in the colour and rare energy you get from modern-day London. One hears their music and their hearts and bodies stay in the U.K. – the effervescent and colourful buzzes, rushes and shades. New York’s Greenwich Village, to me, is symbolised by something more passionate, intellectual and pastoral. You get the history and heady sensation of older-days Folk; the modernity and urgency of the current times. It is hard listening to modern music and casting your mind back to the past: summoning scenes and visions that are eye-catching, filmic and romantic. You get that with Ferris & Sylvester: they have that affection for classic sounds and a time that kick-started a revolution. It is not only, with them, about 1960s Folk and revisiting that era. The guys, on Better in Yellow, show they are willing to keep that classical sound but put in a lot of modern colours and ideas. It is hard to achieve that balance of old-and-new but, throughout their career, I have seen them evolve and blossom. I will move onto other subjects but, before then, a look at why the New York/Greenwich Village dynamic is one more acts should be exploring. I have been listening back to bands/artists who are either inspired by that time or were part of it in the first place. Dylan is the one that springs to mind; Jeff Buckley, in the 1990s, updated Dylan’s sounds and, in New York’s East Village, seduced crowds with his stunning covers and modern Folk/Rock brew.

Movies have looked at musicians like Judy Collins, Peter Yarrow and Tom Paxton: idols who ruled Greenwich Village and changed music forever. They were seen as ‘protest’ artists but that is a lazy label for acts who were doing something meaningful and showing a conscience. The need to transcend celebrity status and project ego was a result of the shared community and respect that scene had – artists who were affectionately driven to do something new and brave. The gigs were human and open; they were about bringing people together and articulating something deep within everyone who attended. We do not really have a scene like that anymore: many argue we should do something to revisit a time when there was a bond between musician and a sense of rebellion. We have artists who protest now - but there isn’t really a solid and distinct movement like the one in the 1960s. Ferris & Sylvester are not politicised, as such, but they are inspired by the sort of love and harmony that was being created back then, there. They have the desire to produce music that casts one’s mind to the N.Y.C. harmony; the spirited gigs and the sort of possibility that hung in the air. I want to see more modern acts assume this mantle. Times are tough so we need attempt to forge a movement that can address what is happening around us in a very honest and productive way. I feel, through time, artists like Ferris & Sylvester will be able to do that. They clearly know their music history and why movements like that – the 1960s Greenwich Village scene – made such a difference.  

I have mentioned how Ferris and Sylvester (very formal with my naming!) have distinct personalities. Issy has softer tones and takes more from Folk. She puts me in mind of modern artists like Laura Marling and legends like Joan Baez. There are bits of Joni Mitchell and Carole King – some of the greatest artists who have ever walked into music. Archie’s Blues background provides a more spirited and electric edge. The mix of acoustic and electric was daring when Bob Dylan took to the stage in the 1960s and faced a divisive and unsure crowd. It is not quite that risky now but, in terms of quality, there are few acts around who can mix soft and energised and keep the music fresh, developing and original. I am interested looking out at the world of music and how it is developing. We look back as much as we do forward: artists are splicing together embers of past decades and allowing their own music to parabond with their influences. That is how much has been since the start but, the more artists that come into the community, the harder it can be deciphering which are worth sticking with – and those who are merely promising. Ferris & Sylvester get into my ears because, when listening to their music, I am transported back to the 1960s and '70s. I am planted in the modern time but get all those classic sounds racing into the brain. There are a lot of duos were the two players are very similar and samey. I hate to go back to Royal Blood but I think, when considering how little they evolved between their two albums, it is their like-mindedness that is responsible. They are unwilling to break from the meaty riffs and stadium-sized sounds that put them into the public forum. Others, away from the mainstream, are similarly stilted and limited. The best duos – and bands – are those who can bind two distinct personalities and channel that into a cohesive unit. I have mentioned, musically, how Ferris & Sylvester’s members differ. In terms of personalities and ambitions; they are on the same page.

I am interesting thinking about their childhoods and which artists were played on their parents’ stereos. I can imagine Ferris was subjected to a mixture of 1960s Folk and some of the idols of the 1970s. There would have the classic, everyone-heard-them artists – The Beatles and The Rolling Stones – but the progression of Folk (from Bob Dylan and James Taylor through to the examples that came through in the late-1970s) and changing face of Pop would have inspired the young hopeful. She would have felt a connection with those artists and felt a simpatico. We often fall for certain artists because they speak for us; their mind and hearts align with ours and there is something about their sounds that runs deeper than any personal/human connections. Sylvester would have engaged with the more vibrant and raw artists of the Blues. Maybe the 1940s examples – more acoustic in nature – would have played a minor role. I feel artists like Eric Clapton and people like Jack White would have made their mark. The way the duo come together and unites their influences is the stunning part. You would feel distinct players would struggle to find an understanding and sense of cohesiveness. Because of their sense of respect and affection; you get music that seamlessly tangles and conspires. I am fascinated seeing where they go from here: Better in Yellow is the sound of now and one of the strongest songs the two have ever created. Since their early work, The Yellow Line EP, they have made big steps and assumed greater confidence. They were working with producer Youth in those days – a pretty big name to have on your side! – and were recording in Spain. Now, their Made in Streatham E.P., shows a geographical and sonic change. Its title is very much of London; the sounds and more developed and eclectic – the result of increased performances and greater creative imagination.

That E.P. departs from the glamour and sunshine of Spain. It was laid down in their South London flat and shows new influences and direction. They are taking a lot from the people and city around them.  Every change and rumble gets into their head and inspires their drive. I can imagine the two – whether connecting as lovers or friends – listening to a lot of old music and discussing their tastes. They would put that together with current sounds but you get a sense the pair have that deep love of what came before. I can hear that come through in the E.P. and, as singles get closer together – they are recording more and putting out material much more readily – it seems they are becoming more determined. I have seen a lot of ‘ones to watch’ polls come out the last few weeks. There are predictions arriving that tell us what we should be listening to this year. NME is the latest to release their one-hundred chosen acts for the year. Their cover features the likes of Shame, Banks and Pale Waves. There are a lot of cool and vibrant acts out there but one feels there should be more artists like Ferris & Sylvester on the list. Maybe their rundown is based more on fashion and chart potential – although each act mentioned is very good and has their own sound – but I feel there is too much emphasis on profitability and commercialism. I am excited by the likes of Shame and feel they are one of the few acts – like Pale Waves – who cab genuinely put something unique into music. I hope they do not chase the Spotify dollar: artists often obsessing more over streams and figures than making inspiring and progressive music. I see something in Ferris & Sylvester that leads me to believe they can be staples years from now. I feel the London-based duo will make big steps and, in years to come, become headline favourites.

They have already achieved much but, as 2018 unfolds, that will only get better and strengthen. Their music is getting into some important ears and, with each single; they are bringing something new to the plate. I was going to review London Blues but, seeing as I asked them a few weeks back, they have a newer single out. There are differences between the songs but both have a real sense of potential and unity. They can bring festival crowds together and inspire new musicians. Each track (Better in Yellow) has its own direction and shows how far the songwriters have come since their debut. The Made in Streatham E.P., to me, will be about the realities of South London and hopeful musicians making it in the modern world. One of the reasons I feel the duo will be among the best artists to watch is the fact they take care of the visuals. Their music videos are fresh and imaginative; they are scenic and compelling. The same can be said of their photos: they cast the duo in different settings and are always colourful, bright and alluring. There are a few dodgy shots – a few blurry ones that have, somehow, slipped through the net – but most of them are clear and interesting. I feel a lot of the artists being tipped for greatness lack the understanding and appreciation of visuals. If they are being elevated and primed for greatness; one feels they need to consider the necessity of visibility and imagery. That might sound shallow but journalists and fans will connect deeper with a musician that is willing to show their face. Ferris & Sylvester are out in the open and give information away; they put photos out and want their followers to see what is going on. This year is a big and important one for the duo. They have some great gigs coming out and, with that E.P. dusted, they will look to embrace the summer and attack the opportunities up for grabs. I know they will think about more material but, right now, it is about getting their names heard and discovering channels they can exploit. I know they will be championed and heard but, with so much competition out there, it can be hard to stand out and effect. I know their hard work and creative ethics means, before long, the tastemakers and stations will connect and (lovingly) play their music.

PHOTO CREDIT: Daniel Alexander Harris

The teed-up percussive sticks lead to a countdown – or count-up, more like – that leads to leads to some slightly off-kilter vocals. They are wordless but have a distinct ‘sound’ that means they are urgent and a little off-tune; infused with plenty of emotion and curiosity. The duo comes together to tell a story of someone who looks better with their hair down. The focus – seemingly female, you’d imagine – does not suit that bowed-down, shy look being projected. They are wearing dark and boring clothes and hiding their face away. Our heroes know (they) will look better in yellow: something more engaging, alive and confident. It is the story of someone who, for some reason, has shied away from people and had their confidence knocked. Although you get the sense an individual is being addressed: it is a more general song that compels those who are down-trodden to open their hearts and let the light back in. If greens and blues and calming and nurturing: yellows and more expressive, energised and frenetic. I get the feeling both of our performers have been in the same position. They are not willing to share their pains that personally but, in the form of a central heroine; they seem to vocalise some of their own pains and insecurities. The composition retains their blend of Folk and Blues; it has a peppiness and spirit; it is lifting and melodic. The vocal blends – Ferris had a deeper and sensual voice; Sylvester slightly lighter and softer – give the song so many different strands and complexities. You get loads of emotions and sensations when hearing the duo blended in harmony. The ill-fated and suffocated girl does not suit black and that downturned smile has been there for too long. The London duo is choosing a new wardrobe and suggesting a fresh emotional dynamic.

PHOTO CREDIT: Sam Rookes

The girl has thrown her clothes away and, rather than it being a teenage tantrum; this is a crisis of confidence and identity. You get a real blast of festivity and energy when the chorus comes in. There are horn blasts and strummed guitar; percussive rhythms and a real groove. The vocals are light and strident; it is a catchy and incredible sound that gets into the head and compels the mind to wander and imagine. That is what all great songs should do: put the listener somewhere else and get them to envisage their own story. I was thinking about the reason why the girl has been feeling down and hiding away. You sense someone who used to have such a flair and hope - but maybe love and a bad time has dented her sense of worth. There are Blues riffs and stunning solos as the duo urge the girl to keep the yellow on – not sure why she dispensed with that colour and followed a darker path. Maybe she feels a lack of self-assurance and is not sure whether she can come back. I said the song has a more general tone: one can implant themselves in the scene and extrapolate something relevant and meaningful. I was caught out by the changing music scene and fabric. We go from horns and Folk to something Blues and sexy. As the video’s heroine – responsible for those opening vocal notes – has yellow paint poured on her head (managing to smile, despite the fact is must have been uncomfortable!); there is that transformation and realisation. She is awakened and knows things have to change. The chorus keeps coming back as the duo are keen to enforce that message and let the truth be known. Nobody will come away from the song without some form of reaction. It is a track that puts a smile on the face and shows what a solid and engaging presence they are. Ferris & Sylvester have come a long way – and will continue to do so – and, as this year goes on, have the chance to play Better in Yellow to a lot of people. It is another terrific song from a duo who are among the very best in the country right now.

Before February; the guys play OMERA (30th January) and will perform at Green Note on 15th (February); hopping to The Magic Garden on 25th. Those are some important London gigs – and it sees them perform alongside some great acts. They sold out Battersea Arts Centre and, by all means, had one of the best gigs of their lives. It is clear there are eyes and hearts being thrown in the direction of Ferris & Sylvester. The likes of The Guardian, Rolling Stone and MOJO have paid tribute to the band – declaring them geniuses and artists who deserve mainstream success. They headline Camden’s Green Note and, from there, will have their sights set on big success. There is momentum behind them and, with every song, they are getting bigger and more noticeable. Better in Yellow is another stunning song from the duo and an indication of where they are headed. I imagine there are going to be a lot of big gigs and good times for them throughout 2018. I wonder whether an L.P. is the next step from them. That might be a good way of ensuring they pick up more reviews – the media is more interested in albums rather than E.P.s – and getting their music featured on radio. They have a couple of E.P.s under their belt and will be thinking about the next phase of their careers. I cannot wait to see where they go because, with every move, they are getting more assured and confident. This year has just begun but there are those racing out to provide their hot-picks and recommendations. There are familiar names coming through – Sigrid, Tom Grennan and Billie Eilish among them – but there are those, like Ferris & Sylvester, that deserve to be among them. They provide a more refreshing take on the sort of acts being proclaimed right now. The biggest music magazines and newspapers can see the potential: let’s hope everyone turns onto their music before long! Better in Yellow is a bright, stylish and incredible song from a duo that is very much…

IN fashion right now.

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Follow Ferris & Sylvester

Official:

https://www.ferrisandsylvester.co.uk/

Facebook:

https://www.facebook.com/FerrisandSylvester/

Instagram:

https://www.instagram.com/ferrisandsylvestermusic/

Twitter:

https://twitter.com/FerrisSylvester

SoundCloud:

https://soundcloud.com/user-362621295

YouTube:

https://www.youtube.com/channel/UCnwh5bFthR6r-X0jQTZuFcA

Spotify:

https://open.spotify.com/artist/1LnhhjMNydIGawXsnfNhCf

TRACK REVIEW: Blushes - Honey

TRACK REVIEW:

 

Blushes

PHOTO CREDIT: Ellie Merridale

Honey

9.6/10

 Honey is available via:

https://www.youtube.com/watch?v=eaNqE_0Sl8o&feature=youtu.be

GENRE:

Alternative-Rock

ORIGIN:

Buckinghamshire, U.K.

RELEASE DATE:

12th January, 2018

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THIS review not only allows me the chance…

PHOTO CREDIT: Ellie Merridale

to step outside London (again) - but feature a band who are turning a lot of heads right now. Before I look at Blushes and their latest single; I wanted to address groups who have male-female vocals; a special year in music and how, I feel, great bands/artists are picking up on a need to revisit that time; tight and solid acts who boast incredible musicianship; making the most of opportunities presented to you; how 2018 needs to promote artists doing things differently – how the Blushes crew can develop and strike this year. I will, as I say, look at Honey soon but, before then, I want to look at bands in general. There is a smattering of decent options in the mainstream but, for my money, it is the solo artists that is king/queen. I have talked about this a lot but the point remains: what has happened to the band-market in the U.K.?!  I will come to look at a year in music when bands ruled the roost but, in 2018, it seems the solo artist is still being tipped for greatness. We have had some half-decent attempts at a unifying band – The Amazons gave it a go; IDLES seem like they are in this for the long-run – and the best groups we have are in the underground. I really like PINS and The Big Moon – two female-led acts that are showing why we need to look at sexism in the industry. That is another point but, the reason I love these groups is the fact there is real invention and originality. I find the Rock/Alternative sounds of Royal Blood dull and limited – the guys not changing things up between albums – and I long for artists who go beyond the obvious and provide something sensational. PINS, especially, excite me and, yeah, there are a few other great bands (False Advertising and Yonaka; Anteros are another great act to look out for) but it seems, when you look at all the lists of ones to watch – it is the solo artists that are favoured.

PHOTO CREDIT: Ellie Merridale

Maybe I am painting a bleak picture but I am glad there are bands emerging that have the chance to overhaul the dominance of solo artists. Blushes excite me because, like the bands I have mentioned; they go beyond what is ‘expected’ of groups and have that sense of quality and dynamism. They can easily fit into the mainstream but, rather than compromise their ethics and settle for something easy – they produce music that gets you thinking and sticks in the mind. I suppose it is quite hard creating music that truly distinguishes itself – as there has been so much recorded! – but the guys do it with aplomb. You get (with Blushes) Alternative muscles and melodic touches; lyrics that paint beautiful, captivating scenes and inter-band connections that allow the music to fizz and pop. I do not think bands will completely reverse the (im)balance but I am confident the likes of Blushes will make headway. There is a need for a group who can fill larger venues but do so without producing aimless riffs and generic sounds simply designed to get the body moving. In order to compel the mind; one must take the initiative and expend more thought – that can be quite a chore for a lot of acts! Blushes have been together long enough to know what the industry expects. They are among the hardest-working bands around and have a style and sound that is hard to overlook. You can look out at the mainstream and discover the odd band that is worth a shot but that desire to foster a genuinely fantastic act is palpable. There are contenders working underground and I feel, in a few years, Blushes can ascend and exert a lot of influence. I have alluded to the songwriting and originality of the band (as reasons to watch them) but there are others, too: the connection within the ranks and the fact they are not your typical all-male band.

PHOTO CREDIT: Ellie Merridale

I have highlighted a few great all-female acts up-top but, like False Advertising; Blushes have that blend of male and female – In fact, like those groups; it is mostly boys but, happily, they have that single female voice. I am not sure why this composition is proving popular but I am glad to see a shift away from the all-men groups we grew up on. There is nothing wrong with them but I feel something extra comes through when you mix in a female voice. Many assume bands with being male; you have female solo artists/duos but, really, the guys are the ones in bands – that is a perception that continues to this day. Look around and we can see the fantastic female-only/female-led groups worthy of time and affection. One of the reasons I prefer my bands gender-balanced is the relationships and songwriting differences. Whether compelled by a brotherly spirit; you see a band like Blushes and there is something quite sweet and charming about their performances. They are all tight and professional but, I don’t know; you know their friendships are different. Whether a female member adds discipline or rules to a band: things feel different and it is pleasing seeing a mix of genders in a band. Blushes are very close but it is the way they come together on stage and in the studio that impresses. A lot of all-male bands tend to be in competition with one another. You get a sense there is a bit of friction and a struggle for power. You get a feeling the songwriting process is not as democratic and focused as you’d hope; there are fraught and tense moments in the ranks – without a sane, more rational voice keeping things level. That may sound like gender stereotyping but, with a female member; you have that more mature and calm spirit that can keep the members together and ensure things do not get out of hand. Blushes are not your stay-at-home-watching-Netflix kind: they have rawness and energy that, like Yonaka and PINS, means they enjoy life as much as anything.

PHOTO CREDIT: Lauren Keir

I digress, of course, but it is interesting exploring the sonic and interpersonal differences between all-male bands and those who have female members. That will not matter to Blushes but I think that is one of their strengths. It means the songwriting can be more varied and allow different emotions in. I hope these great male-female bands get the attention they deserve this year because I think the days of the all-male band owning the scene are long-gone. I am a big fan of solo artists but they are gaining too much focus and celebration. Blushes will make some big steps this year and are already preparing themselves for a busy time. I mentioned I would come to a special year in music: I am listening to a selection of songs from 1994. Just now, I heard a one-two from Hole and Nirvana: Beauty Queen (Hole) and About a Girl – MTV Unplugged in New York (Nirvana). There is, on my list, Pearl Jam and Weezer; Portishead and Oasis – some Blur and Pulp to spice up the pot! Rather than list a selection of artists from my favourite year in music: I wanted to show why artists should look back and take note of that time – as Blushes are, to an extent. You can quibble it was a better time for music and things were easier then. The reason why bands were popular and dominant during that time was what they were saying; the sounds were original and they were breaking ground. It is harder to break ground this many years down the line but, those new acts who do not have commercial pressures, have an invaluable treasure-box of sounds to source from. Look at 1994-released music and listen to the variations and quality! I admire artists unwilling to repeat the past but I feel too many are copying what is already out there or creating music that lacks real wonder and memorability.

PHOTO CREDIT: Toby Henley

Blushes, I sense, have one eye on the present but keep their mind trained on the past. I am not sure how much 1990s music they have in their collection but I can hear the same innovation and spirit present back then. Maybe there were fewer limitations and hurdles in 1994 – fewer musicians and streaming was not available then – but I yearn to hear bands that take from that time and update the sound. I pick up on some of those U.S. guitar strands – Pavement and Hole – but there is a pleasing layer of melody and populism – Blur and Pulp-y in places – with some jagged edges that remind me of the Grunge/Alternative artists of the time. Whether this various strands and patterns will coalescence into something biblical down the line, I am not sure. I hear the band and get that sensation of old and new; the way they can stay rooted in the current-day but remind one of finer days. Let’s hope this business ethic continues in 2018 as they make plans and charges. Honey, as I will get to, is a song that announces their place in music and singles them out for great things! I have alluded to the male-female tones present in the ranks but, another reason they are so celebrated is their musicianship. That is a component that is not often highlighted when talking about bands. Blushes are exceptional musicians who throw their all into every song. Their songs are tight and ordered but there is room for rougher edges and some interesting diversions. Every note and idea packs a punch and there is so much richness in their music. I am not sure how much time they spend rehearsing but I can tell a lot of effort and work goes into their songs. In an industry that demands artists are prolific and always-visible: Blushes take time to craft music and ensure they are putting out the best possible product. The Jazz notes of Tiffany Marie add something magic; the electro-acoustic rhythms are sublime; it all comes together in a wonderful, heady brew.

PHOTO CREDIT: Peter Capstick

It is good discovering a band who works outside of London – the guys are from Aylesbury, Buckinghamshire – and I am glad they are getting gigs there. A part of me knows, in time, they will settle in London and take full advantage of the scene here. The fact they are so close-by means there are so many options in front of them. They do not have to struggle with the stress of the city but have it near them when they require gigs. Buckinghamshire is a county that gets overlooked – many assume it will be very quiet and dull. There are some great artists working in the county and it shows you should not judge somewhere until you visit there. The Green Man and The White Swan are a couple of smaller venues/pubs where local bands can cut their teeth; Coopers and The Aristocrats are reputable spots that are proving popular with musicians. Aylesbury is one of the more thriving parts of Buckinghamshire but there are great towns/villages where musicians can get gigs. Blushes know this but, as they grow larger; one feels they might relocate to the city. They have had some great opportunities and accolades presented to them in the past year. Since their formation in 2016, actually, they have been invited by producers of both London Live and BBC Radio 1 to feature on their platforms. Their debut E.P., Private Viewing, went down a storm and they have had tracks – To the Bone and Voices – featured on the radio station, Mix 96. With producer Ian Flynn; they have co-opted a nuance, yet organic, sound that emphasises the percussive boom and introduces a range of other instruments. I know they will continue to develop and progress but, so far, the band have achieved a lot. There are few who have a sound quite like theirs – something many radio stations and platforms are fully aware of!

PHOTO CREDIT: Ellie Merridale

2018 is here and, unlike last year, we need to start promoting a new type of artist. Last year provided some treats and great new acts but I feel we should take a different route this year. Bands, as I said, need more focus as there are some really good ones out there – differing from what has come before. The mainstream needs to recognise those artists that do things differently and are willing to add something fresh to the scene. We are seeing too many overly-familiar artists who too eager to get streaming figures high and appeal to a certain demographic. That is fine, to a degree, but it is creating a rather stodgy and dull scene. Blushes mix in cheekiness and Pop melody with strange instruments and some tough-strut. They are unafraid to venture into foreign territory and, because of that, are being earmarked as a band to watch. I know there are fellow groups who expend the same invention and, alongside Blushes, they warrant more acclaim and boost. This year is going to be marked by the solo artist once more. All the polls and rundowns are putting the focus on sole acts: what happens to all the bands who are keen to make a success of things? They might have to work harder but, I think, those who take the effort to stand out will find reward. I am not sure what Blushes have planned but I know they will continue to gig and get new material out there. It is a great time for them and who knows how far they can go. They continue to evolve and change; their music does not stay still and there is that insatiable and tangible energy and passion present. If this year is going to inspire listeners and suggest real change and growth; we should put more emphasis on those artists who have the ability to remain and inspire – even if it does differ from that is favoured in the mainstream.

Some crackle and eerie sparkle give Honey a slightly unnerving and disconcerted beginning. I was not expecting such a sound to come out from the introduction. It puts the listener in a certain mindset and you are looking at something quite dark and shadowy. An announcement comes out – “Good evening, ladies and gentlemen/ (and) Welcome to Saturday night” – and it is the band’s version of Top of the Pops. The male announcer tees the band up and it leads to a pleasingly Oasis-like drum thud. I mentioned the Manchester legends before: Honey’s first beats put me in mind of Oasis’ track, Live Forever. It is that mule-kick start that gets the blood running and, before you get settled in; that changes to something more swaying and seductive. Keys and fuzzing guitars give the song a mix of 1980s Pop and Electronic experimentation. It is a swooning and swaggering brew that subverts expectation and brings another layer into the song. The lyrics paint pictures of popcorn on the hob; the romance/domestic lifestyle that needs a bit of sugar sprinkled in. Whether referring to a new love or the weary state of a current relationship – there is a note of caution and unhappiness in the hero’s vocal. Backed by that wooziness and original bent; he lets his voice flow and investigate. Honey is a song that differs from Blushes’ previous material but has that relatable and familiar core – a band that are always on the same page and throw their all into the music. “You’re that honey/on my lips” the frontman explains – an addict who seems happy with his drug of choice – and is a lounging lizard ready to snap up and seduced the girl. In the song’s video; the band are cast in their own spoof/show – each member gets their own identity (Tiffany Marie is ‘Stacey’) and a Blushes-themed show unfolds.

PHOTO CREDIT: Ellie Merridale

There are newscasts and bulletins; a range of scenes that give the song a more dramatic and visually-arresting angle. The chorus is an energised and breathy thing that melts male-female vocals into something soothing yet intense. One of the problems I have noticed with my recent reviews is a degree of indecipherability. The words come out but it is quite hard understanding them. They get buried a little by the composition and are a little too breathy – more about the sound rather than clarity. That is okay – the verses are really clear – but it is a struggle picking out all the words. What strikes me most is the sound: a melange of sweetness and low-down; a conspiracy of honey and silk. It is a pleasing coda that emanates various emotions and gets into the head. Comestibles and foodstuffs are used as metaphors and similes. The hero can make the relationship last so long as the milk does not sour; the honey-scented girl is his ideal but he knows there is a risk things can go bad – the need to please her and not rock the boat is evident. The composition never gets too hot and intrusive: the vocal is allowed to shine and, instead, the instruments push the song forward and add interesting little colours here and there. One gets impressions of 1960s Pop with the lyrical sentiment. There is an innocence and child-like nature that is reflected in the video. The huskier female vocals have croak and sensational passion; the male vocal is more relaxed and lighter – the combination gives the song huge vibrancy and allure. The hero does not know what to do or think anymore – the heroine expresses the same sentiments. Voices build and the entangled emotions give the song a sense of confusion and urgency. The chorus, as the song nears its end, becomes clearer and you piece more of the story together.

PHOTO CREDIT: Ellie Merridale

What one notices by the end of the song is how quickly they want to repeat things. You listen again and are hooked by all the vocal and instrumental elements. It is an addictive song that, given its themes and ideals, should not come as a surprise! The band has created a song that will prove very popular and do fantastic business in the live setting. It is an intoxicating and wonderful song that has an insane degree of catchiness and seductiveness. You keep coming back to and are keen to explore every nook and avenue. Few bands have crafted anything as sublime this year – even though we are only a few days in – but that benchmark will be hard to top. Rather than go for something easy and commercial; the guys have crafted a song that means a lot to them. There are elements of the 1990s’ best; the joys and Pop of the 1960s – modern Alternative tones that keep things current. Even though the song is around four-minutes-long; you wish it would last a bit longer – so one can experience that chorus one more time, perhaps! Let’s hope there is more material from Blushes and, on the evidence of Honey, they are on a hot streak right now. The Buckinghamshire band ensure this year has begun with a dollop of warm, sweet and nourishing goodness.

PHOTO CREDIT: Ellie Merridale

The Blushes guys will still be adjusting to the introduction of the New Year. Honey is a great way to kick off their 2018 and I am excited seeing where they go from here. Whether there is an E.P. or album arriving, I am not sure. They have momentum and fans behind them; radio stations are aware of them and it seems like more and more eyes are trained the way of Blushes. I am pumped and cannot wait to see them explore and conquer. They will get local gigs but, owing to their new stature; I wonder whether they will explore the spectrum and bounty of London? The city has so many great venues so, as spring emerges; they will take the time to get their music out to the capital-folk. I have mentioned bands like False Advertising: a Manchester act that is performing at some of their city’s biggest spots. I wonder whether Blushes will consider Manchester as it is a rich market ripe for tapping. These are all speculations and suggestions: how they progress and move in 2018 is up to them. It is the spirit and mutual respect that gets me; the way the band melts and fuse with one another – an intoxicating ballet that has led to some sensational music. I would like to see Blushes wipe the crimson from their cheeks and widen their scope. I know money is an issue and they will not want to race up and down the U.K. just yet. Their music is hitting the hearts of many so, in that spirit, there will be many people out there who have yet to see the band perform live. Let’s hope the band spend some time visiting other cities and counties through the year. It has been an exciting and successful past couple of years for the group – 2018 is the year, I feel, they will make the biggest strides. Honey is where they are now and, if it is an indication of where they are heading; I feel they will get some very good festival invites. That is another region they could explore: the fabulous festivals, small and large, that seems perfect for them. If you have not got involved with Buckinghamshire’s Blushes rectify this and discover a band who will soon become part of…

PHOTO CREDIT: Ellie Merridale

YOUR regular rotation.

_______

Follow Blushes

PHOTO CREDIT: Ellie Merridale

Official:

https://www.blushesbanduk.com/

Facebook:

https://www.facebook.com/blushesband/

Instagram:

https://www.instagram.com/dontmakemeblushes/

Twitter:

https://twitter.com/blushesband

SoundCloud:

https://soundcloud.com/dontmakemeblushes

YouTube:

https://www.youtube.com/channel/UC03rJ06VmYTkf1jtr8LVnpw

Spotify:

https://open.spotify.com/artist/2AqDF6Q74Ri1WBf7t5ZPXt

TRACK REVIEW: The Rigs - The Hunted

TRACK REVIEW:

 

The Rigs

The Hunted

9.2/10

  The Hunted is available via:

https://www.youtube.com/watch?v=79XXVAkFo8I

GENRE:

Electronic

ORIGIN:

Los Angeles, U.S.A.

The album, World on Fire, is available via:

https://open.spotify.com/album/7552oTDbCvFPlBNpngSrIR

RELEASE DATE:

17th November, 2017

_________

THIS will be the last review of an artist with…

so few photos. That is not a shot at The Rigs – I accepted the review before my New Year’s embargo. That being said; it is nice to take my mind away from London and over to Los Angeles. I vowed to get away from our capital for a bit but, inevitably, the London-based reviews have come my way! This changes now and, in a bit, allow me the chance to talk about Los Angeles and the music of California. I want to return to the parapet of duos and why their connection is unique; a bit about standing out in a competitive market; how The Rigs’ music continues to evolve and strike; ways they could further evolve and stand out; playing in the U.K. – and why this year will be a busy one for them. I do not review albums – I keep telling people this – but I have been interested in The Rigs’ music and how it gets into the head. I will allude to their album, World on Fire, but have highlighted previous single, The Hunted, as the one to focus on. There are so many different and bold tracks on the record: picking one to highlight is hard – the limitations of my own rules, I guess! No matter because, as I shall explain, it is an intense and fascinating track from the L.A. duo. I want to come back to L.A. and why it is an area that continues to fascinate. Last year, several times, I mooted the possibility there are differences between the two big music areas of America: Los Angeles and New York. Historically, New York has always fascinated me more – I find the Hip-Hop and Rap that has come from the state has been stronger and more enduring than anything from the West Coast. L.A., through the years, has managed to rival New York in terms of style, variation and strength. We get that impression (Los Angeles) will be all about sunny music and Electronic sounds. The Rigs, to be fair, prefer their music electronic but, in keeping with the state’s ever-changing motifs; they fuse in other genres and sounds into the palette.

I have never been to L.A. – something to tick off the list for this year – but I know its vivid landscape and amazing people are enough to compel the creative mind and lead to stunning music. London is a fantastic city – as I shall argue later in the day – but it is becoming crowded and, in terms of its music scene; perhaps it lacks the same innovation as somewhere like L.A. Perhaps that is to do with the scenic splendours of Loa Angeles; the space available and the kind of artists playing there right now. The Rigs’ TJ Stafford and Caitlin Parrott have a very immediate and sexual connection. You can feel a passion between them, and so, when they record and perform; there is that understanding and bond. Everything is deep and immersive; the music has a more alluring and complicated quality. I will come to look at that advantage but, in terms of where they are based – I feel New York is starting to lose a bit of headway in the coastal race. I have looked at the five boroughs and the music coming from there and, whilst striking and strident; there are fewer standout artists than previous years. Some fantastic new Hip-Hop artists are intriguing, for sure, but L.A. hooks me with its width, colour and excitement. Other areas of the U.S. – Nashville and Austin – are producing wonderful music: to me, there is nothing quite like L.A. Who knows how the city will progress but, with the likes of The Rigs producing strong and always-changing music; I have no doubt the duo will continue to rise and conquer the city. The fantastic venues (another point I will explore) and a strong neighbourhood mean the music coming from here means it is at the forefront of the musical consciousness.

Great duos have always been on my mind but I feel 2018 will be a big year for them. Solo artists are dominant and, with bands not quite able to exert the same influence as they once did – this year will see smaller formations take some initiative. To me, bands succeed and remain when they produce people-uniting, popular sounds. A lot of the new bands coming from either possess little clout or unable to compel the mind. At times like this, for bands, I want songs that bring the masses together and stray away from the demands of the mainstream: something that gets the voice singing and talks about what is happening in the world. Solo artists and duos do not have that burden. They are able to explore more and, because of that, are proving more popular and mobile. Duos could, in theory, easily succeed. If they tried to force the same aspirations as bands – and go for something big and generic (not all bands sound like this: there are those who differ) – then that could be risky. Most duos, I have found, prefer to stick with electronic-based music. I am not sure why but, I guess, it is harder to produce a proper-full Rock sound or summon the command of a Punk band. Electronic music has a flexibility other genres do not and is free to assimilate all other genres. The Rigs have noted this and, on their debut L.P., sprinkle in all kind of sights and fabrics. It is a fascinating blend and comes with that rich vein of emotion and physicality. There is a very real and urgent relationship from the players. I am not sure what their status is but, when you hear the music; there is a deep understanding and flow that can only come from two people very close and connected.

Duos are either composed of good friends or lovers. That might be true of every act but, compared to bands, there is little wiggle room for anonymity and distance. A duo is like a relationship and, if you do not have complete faith and affection for one another…that will show. Even if it is only friends making music together; you are recording, writing and performing together – and any sign of weakness is more evidence than, say, a four-piece band. Stafford and Parrott could tire of one another and argue for control and influence. Instead; they have a solid foundation and respect and, as writers, are on the same page. Since 2014, the L.A. duo has managed to compel the city and get into the critical mindset. Listening to their album, World on Fire; I can only imagine the recording and writing sessions. It is wonderful hearing them work with each other and weave their magic; bring that intimate and vivacious connection to the forefront. If the music The Rigs was producing was weak and insincere then I would overlook the relationship connection and suggest they were not right for one another. There is a clear and unbreakable chain that unites the two and, when it comes to their music, they allow one another to experiment and express. Another reason why I feel duos will make a stand in 2018 is because of the lacking role of bands. We want to discover a solid unit that can provide a fulsome sound and songs that get into the brain; music that keeps on producing and providing wonder long after you have heard it. There are, I know, some awesome bands but there are few that lack real bite and endurance. Duos seem to feel that gap and, those like The Rigs, can clean up. The guys have the intensity, intelligence and force of a band but, unlike a lot of the groups in the mainstream like now; they want to earn credibility as opposed money and streaming figures – some of the worst lures of modern music.

The Rigs could easily fade into a packed and busy market. Many are noticing the quality of duos and, as a reaction; that is seeing others form and come into the music world. I have mentioned how electronic-formed music forms the basis of most duo music – because it has that nimbleness and chance for endeavour. This is true when you listen to The Rigs. If they were to copy everyone out there then that could lead to a very short career. The fact they have been performing together for four years means there is a demand and need for what they were providing. I am hearing a lot of like-minded duos that are performing variation of Electronic music but are not showing much originality and determination. They seem happy to stay in the rut many have assumed and never think about going any further and making any real impact. This is true of duos in the U.S. and U.K. and I wonder whether one of the biggest shake-ups needs to be quality control and skimming. There are loads of duos and, whilst they are leading the bands; there are so many that do not really resonate and stun. The Rigs have seen the market build and change and, realising how the average duo operates; they have taken a stand and spent much more time on their music. What amazes me is the way you imagine a fully-fledged band when hearing their sounds. It is fulsome and dramatic but, when needed, it dips down and puts the lights out. If they were to produce a one-dimensional sound then that would be foolhardy: the guys take in so many other sounds and always ensure their music is disciplined and on-point. So many other duos throw loads into the mix without thinking about formation, consistency and nuance. I am worried commercial trends – more people lusting after duos – means many are rushing into the market and not considering the importance of quality and depth.

Maybe I am being a bit too severe but, with music being so busy, there are no excuses for taking shortcuts and playing it safe. Up-and-coming bands like Confidence Man are showing duos where they might head. That may seem like a strange angle but, if you listen to their sounds; they are producing music unlike any other four-piece and playing around with electronics. There are a few duos who match their innovation and colourful hues but, for the most part, one gets something more muted and restrained. The Rigs, in their own way, have the expansiveness and quality of Confidence Man but I feel, as their music progresses, they might take on some of their sound. Many might assume The Rigs are a very serious and emotive duo. There is venturing into playful territory but, given the comfort and faith Stafford and Parrott have (with one another); maybe they will explore a fizzier, bubblier brand in the future. I am not trying to lead their career because, as we hear with songs like The Hunted – they are among the most impressive duos out there at the moment. My point is the best and most necessary duos are those who can provide quality and effectiveness without compromising. Of course, you need to grab the ear of the mainstream but not compromise and settle for something easy. Too many in music are bargaining quality and innovation for something muted and unspectacular. There are duos who fail to register - but I feel the best out there are much more affecting and appealing than the best bands around. The Rigs take from the surroundings of L.A. and dip into the past of music. They, I imagine, grew up around an array of artists – one hears that in everything they do. The connection and relationship help but that need to stand out and impress is the strongest facet. Here are artists who do not want to play to small crowds and be seen only as local heroes.

The Rigs’ music has evolved and built since 2014 and I am impressed by that. They could cement a sound and then repeat that for years to come. World on Fire is their debut album but they have produced a couple of mini-albums since their formation. I notice, with each one, you get different influences and aspects. They are such an eclectic duo and, with every move, improve and add new elements. Because of this, the guys have seen their music come to the attention of the T.V. industry. True Blood, Parenthood and Pretty Little Liars are a few shows that have featured their music. That is no small feat and, given the success of these shows; who knows how many people would have heard their tunes?! Their album, produced by Michael Smith, is solid and extraordinary. Smith has worked with the likes of Britney Spears and Kesha but you never get a sense of either artist in The Rigs’ album. There is a big sound and experimentation but nothing bombastic and Pop-based. The music (of The Rigs) goes deeper and has a more enduring and endearing skin. I will allude to certain tracks and their standout characteristics but, with that T.V. exposure and great producer under their belts; you have a duo who have taken steps to outlive and stand aside from their peers. Talent and passion account for their success but making that bold move in terms of producer mean they have a man who has worked with some of music’s best names. Providing his insight and experience into the mix; one gets a combination of young and hungry artists and an older hand. I wonder whether they will work together on future music – or whether this is the only pairing we will see. The production is never too shiny and plastic and, whilst it has sheen and polish here and there; the emphasis is on bringing out the true personalities of The Rigs’ creators. It is a stunning concoction that means every song gets under the skin and has its own identity.

I wonder whether the duo will come to the U.K. because, as I see it; they are on the rise and creating their best music right now. Their debut album is not the first thing we have heard from them, I know. The E.P.s did good business and seen them accrue a band of fans and supporters. Reviewers and journalists are behind them and the California scene is buzzing and responding to their sounds. I am excited to see how far The Rigs can go but, as we are in 2018, I wonder whether they will come over here. I am not sure whether they have played the U.K. – I can do more research, I guess – but it seems natural they would want to appear here. Whilst we do not want President Trump stinking up our country: a trip from The Rigs would be welcomed and much-needed. We have a big and expanding Electronic/Pop scene and duos who would support and play alongside The Rigs. The venues and spaces we have here would put them up so maybe, let’s hope, there is a mini-tour of the U.K. planned. It would be wonderful seeing the guys here and hearing their music in the flesh. Now, with an album out, there is a demand and desire for the music of The Rigs. They will be busy playing their local area but I wonder whether U.S. dates will take precedence. The nation is huge so it is understandable should they want to remain here and cover as much (national) ground as possible. International dates cost a lot of money and it can be quite a struggle affording that kind of ambition. With their music popular with producers and the entertainment industry; I feel there are shows and directors here who would like to experience The Rigs’ music close-up. Let us not get ahead of ourselves and put words in their mouths – I hope they think about us in the months to come…

“They come with bows and arrows” the heroine speaks. It is a chilled and slightly wary vocal that points to possible chase and anxiety. Maybe she is being stalked and love, in all its cruelty, is ready to take a shot. Perhaps it is more a feeling of general unease and the way life can close in. The first few moments see the song exult shimmering synths and a mix of warm and cold. It is a cinematic and rousing introduction that manages to project stir but keep restrained and controlled. The teasing and softer vocals mix with the more spirited instruments to create a juxtaposition. Our girl is the chosen one and hunted; she is being chased and selected for this special ‘honour’. The video sees lovers in bed and, as the heroine awakes; the head is sore and the eyes wary. She touches her man and then, as she gets out of bed, there is a ringing in her head. That might be a niggling doubt but one suspect it is something that has been there for a while. Intangible yet raw and persistent; a voice that resounds in the brain and creates a feeling of stress and worry. I am not sure whether this hunter has discovered infidelity and transgression from the pair – maybe they are cheating or not being as pure as they could be. Perhaps it is the clock of love telling (the heroine) things are going to end. Whatever the origin; you bond with her and the pain she is enduring. That always-soft voice never explodes but, instead, investigates and poses questions. She is being pursued and is not being given time to rest. Why is she being selected and hunted? What does this all mean? Will it end soon? These are considerations that need answers and, as time goes on, that pain and fear come to the surface.

Other songs that appear on World on Fire have a more spirited sense of attack but this is one of the more emotive numbers. The instrumentation creates a storm and sense of drive but it is that impactful and meaningful vocal that stands out. You are brought into the songs troubles and turmoil. Rather than stand aside and plea with the heroine; the listener is motivated to take action and explore. The song gets steamier – the video certainly does! – and, against the bowing and weapon-priming; the lovers are racing and arm-in-arm. Some of the words, unfortunately, get buried in the composition and production. Rather than put the vocal higher up – making them more intelligible and clear – they are drowned, at times, by the electronics. That might be for dramatic effect but it means some of the words get drowned and swallowed. Perhaps that is to create a certain sense balance but it would have been good to pick up a few more of the words. It is a shame because Parrott’s voice is so full of life and contours. It expands and flies as the song progresses and shows the determination to overcome and succeed. The duo’s erotic and passionate kiss – as one sees in the video! – is in the foreground as, behind them, protestors are holding signs and trying to break the glass. That might suggest what the song is about: people not approving of their love and trying to undermine it. The sense of impending violence is there and, with Smith’s production turning the tension all the way to eleven – the listener is compelled and hooked right up to the last note. The closing moments of the song bring in rapturous notes and snarl; the song comes down and those questions and declarations are left there. I wonder whether the sweethearts were afforded peace and whether they managed to evade the chasing hunter. The Hunted is a stunning song that showcases what a tight bond Parrott and Stafford have. They ensure the song remains fascinating and emotive from the first to last – not many artists can do that with such ease!

The Brave is a perfect, carnival-like way to open World on Fire. It is an instant and explosive song that sees Stafford’s vocals howl and build; rapture and explore. Parrott’s alto creeps through and ensures every chorus is bolstered and electrifying. Runaway is a synthy track that has a Pop edge and can be seen as one of the more ‘traditional’ and accessible tracks on the record. Fall or Fly, a standout, sees the duo combine and blend their differing tones into a harmonious whole. It is a sumptuous and emotive track that really does remain in the heart. Exploring issues like broken relationships seems, to them, have a very personal and emotive edge. I know that sounds odd but it seems like, on that song, they are speaking about their own relationship and how close they are. Maybe they have taken from separate relationships but one can see an assessment of The Rigs’ connection and how they are joined together. White Flag – not the Dido song, fortunately! – frames a powerful Parrott vocal that hits their gut and creates one of the biggest emotional reactions on the album. It is a reflective and emotive song that differs from the brighter and physical tracks. That contrast means listeners are enriched more than an album that took a more linear and predictable course. I have summarised the album but that is what one can expect if they delve in. These tracks, mentioned, are among the finest but, to be fair, that is only skimming the surface. World on Fire is a rich and rewarding record that warrants some serious time and attention. Make sure you align yourself to L.A.’s The Rigs and experience the full breadth of their new album. I know the duo will go far and continue to exert influence and produce fantastic music. 2018 has only just begun but, with their album out in the ether a couple of months; attention is still coming and the desire to see them perform is strong. Were they head is up to them - but there is no part of the world who will be…

IMMUNE to their charms.

_______

Follow The Rigs

Official:

https://www.therigsofficial.com/

Facebook:

https://www.facebook.com/therigsofficial

Instagram:

https://www.instagram.com/therigsofficial/

Twitter:

https://twitter.com/therigsofficial

SoundCloud:

https://soundcloud.com/therigsofficial

YouTube:

https://www.youtube.com/channel/UCxVEZAWfCAeGotldk5bbI0w

Spotify:

https://open.spotify.com/artist/4QrBV4OBjd798x3Aov1Yjy

TRACK REVIEW: Natalie Shay - This Feeling

TRACK REVIEW:

 

Natalie Shay

This Feeling

9.3/10

 This Feeling is available via:

https://soundcloud.com/natalieshay/this-feeling-natalie-shay

GENRE:

Indie

ORIGIN:

London, U.K.

RELEASE DATE:

19th January, 2018

_________

I am determined to get this year kicked off…

PHOTO CREDIT: @elsiematilda

with some great female artists on these pages. That is not a measure of reverse-sexism or a need to cater needlessly. I am excited by the variation of talent around and, when it comes to excitement, passion and quality – it is the female artists who are sticking in my head. I will talk about Natalie Shay and her latest track very soon but, right now, I wanted to explore a few subjects. I will return to a couple of topics I investigated last year: artists with a mix of classical training and music school education; young female artists and growing up in a pulsing city. I will look at artists who defy convention and expectation; musicians who get to share the stage with bigger artists (another theme that has been on here); grasping opportunities and the results that come from a confident and electric performance; talking about love and desire in a very fresh way – why 2018 will be a very successful one for Shay. I am excited seeing her release music because, looking back, she has had a very productive and successful career. Still a teen; many would forgive her for taking an easy route and performing music that did not stretch the mind too much. It is interesting, as I will explore later today, whether new artists/music-curious are picking up instruments and really interested in music. I have heard reports the traditional music shop is in decline. Some might report sales increase but I wonder whether the Internet is taking over? By that, I mean people are either buying instruments online or finding software that replicates them. There seems to be a drive away from the old-fashioned method of going to a shop, playing instruments in-store and buying them. I fear music, in many ways, will become more insular and turn to electronics (and instruments that can be replicated electronically). I mention it because, if we want to encourage the best new musicians to come through; one would feel the visibility of music shops should be a high priority. It might be a hard problem to fix but I know there are those who prefer the older ways; bond with music’s traditions and are not willing to recklessly forgo everything older for the brand-new. Natalie Shay is someone who could easily cling to the electronic revolution and have her music processed and machine-made. That is not the case: her songs employ as many live instruments as possible; get the room buzzing with a collection of musicians.

That brings me, rather un-neatly – I shall continue with my subject soon… - to the musicians of the past who should be cherished and remembered. I was writing a piece about Steely Dan yesterday – and their debut album, Can’t Buy a Thrill – and vacillated at the musicianship rife throughout. The sumptuousness and incredible physicality of the record blew me away. There are artists today who project the same ambitions and affinity to players (as Steely Dan) but, as I get more involved with popular music – I wonder whether it is too expensive, time-consuming and difficult? Natalie Shay is someone, one suspects, grew up in a household when some serious vinyl was being played; some legendary artists filled her young ears – mixing that alongside the more commercial Pop artists of the day. That is the same as me and I can always tell, deep down, when an artist has been brought up ‘right’. That leads me, again, un-neatly, to the theme of education. Shay was taught the guitar as young as five and, whether motivated by visions of heroic musicians or urged by her parents to foster a gift – she bonded with music as a child and was determined to make that her career. It is always wondrous seeing someone so young, with a precocious talent, have that clarity and determination. It is the envy of many (myself included) when things are crystallised. I am always fearful of artists who go to music schools and want to follow in the footsteps of Adele and Ed Sheeran. I have nothing against these artists – in terms of their place in the industry – but I worry they (fans) are chasing money and want to be commercial. One of the problems with those artists is they are reduced to figures and honours. It is all about Spotify figures, records and chart sales: nothing is spoken about the training, work-rate and music itself. Those who go to music schools to cultivate their talent and actually learn music are the ones I support most – and have a wariness to the percentage who want that commercial success and get a lot of cash in the pocket. When I say the BRIT School on her C.V. I took a step back and wondered: was her attendance motivated by a need to follow the likes of Jessie J, Adele and the like?! I do not mean to put them down but I consider their talents limited when you look at some of the other artists out there. They (BRIT School alumni) have a more mainstream edge that lacks real depth. Luckily, considering her classical training, you get an artist who, I suspect admires those artists, but does not sound like them.

Instead, with Natalie Shay, you have someone who has taken from the facility and learned all she could. Rather than copy them and aim for that chart-ready sound: what you get is an artist who aims for absolute quality but has one ear for the demands of the mainstream. I have hopes, unlike some of the graduates from the BRIT School; she will push against rigid commercialism and easy sounds; go beyond the obvious and appeal to a broader, more appraling demographic. Shay has learned a lot – and continues to do so – and would have gained insight and training from some fantastic tutors. The most effective way to build a solid and promising career, I feel, is to have that majority desire for instruments and unschooled objectivity and supplement that with a music school. That way, you get the best of both worlds but, when it comes to it, are driven by a desire to inspire and change music – rather than own Spotify and rake in streaming records! Natalie Shay is already making dents in the music landscape and, at nineteen, is facing the pressures impressively. The BRIT School teaches artists to adapt to the social responsibilities of music and stand on their own two feet; to go into the world with that knowledge and passion stoked. Shay has learned a lot and, with the schooling she has under her belt, is based in a wonderful city. It can be hard adopting the London life and living with the constant pressure and rush. Whilst it can be hard to deal with the rush of people and the sheer volume of the place: the amount of venues and musicians playing means there is always something to do; always somewhere to play. With the BRIT School coda and ethics ringing in her ears; Shay has bonded with artists in London and taking advantage of the opportunities put before her. Among the venues she has already played there is The Roundhouse; Ronnie Scott’s Jazz Club and Brooklyn Bowl.

There are a lot of stunning venues in the capital but few artists get to play them. The competition is high but, with Natalie Shay’s talent and desire hot; she has won awards – The Guardian’s Music Award and Best Undiscovered Talent (London Music Award) – and gained acclaim. Whilst I have stated I am not adverse to what the likes of Ed Sheeran; I always worry when artists/P.R. companies put his name alongside someone like Natalie Shay. They are entitled to – as she is entitled to like him – but there are so few comparisons between the artists. Aside from the inevitable, and slightly depressive, mention of iTunes chart success (never a mark of true credibility and depth); the teenage musician has her own path and is distinct from the likes of Sheeran – I really wish artists/organisations would stop mentioning his name as a mark of quality/what music is! I shall not rant about Sheeran and what he stands for but, if you look at how he came into music; he started at humble lows. He busked and struggled for gigs and, when thinking of Shay; she has not exactly had everything handed to her on a plate. The effort she has expended, and the gigs she has performed, means the rewards have come. There is no plangent strumming and bland Pop songs with Natalie Shay: she is a colourful and eclectic artist who appeals to people like me - those who grew up with the best music and rebel against the worst traits of the mainstream. Natalie Shay prides herself on the live instrumentation and authenticity of her music. I feel London has played a part in that. The urgency of the city, and the great live music one sees daily, has got into her bloodstream and affected her. I shall move on but, with London before her, the young songwriter has embraced the challenges and obstacles. There is so much about Natalie Shay that defies my perceptions of what a modern Indie/Pop artist is all about.

I have mentioned how, with that BRIT School education, she might be a generic chart act who will not stay in the mind years from now. There are few modern artists who have the potency to create nuance and durability. One could look at a young and beautiful female artist and feel, in terms of sound, they will be another lightweight artist who aims for the chart positions – refuting anything challenging and taking risks in the industry. Natalie Shay has subverted perceptions of what a young songwriter now is all about. That early affinity with music has given her a hunger for success and credibility. The individuality of Shay means she does not remind you of other artists; there is not that feeling she is in things for fame and money; the mind bonds with a real musician who has gained the ear of some of the music world’s biggest names. Whatever you attribute it down to; you cannot deny the hard work and endless graft of Shay has got her where she is today. The quality on display comes from the lessons learned in the live environment; the artists she was raised on; the teaching she has received – and the artists she has shared the stage with. Soul II Soul, JP Cooper and Glen Matlock are a few of the names Natalie Shay has shared a stage with. Those are some varied and extraordinary names, for sure! Not only has Natalie Shay shared the stage with big names; she has been inspired by the work of Sundara Karma – and had music produced by Pete Dowsett (The Vaccines). I have a sense of regret and pain big artists get to gig alongside legendary artists. I often feel they have only earned that right because they are successful and popular – rather than good and worthy. Natalie Shay has earned her honours because of the way she attacks music and the authenticity she puts into every note.

I worry when certain artists go into music with a limited soundscape. Their lyrics are all about love but each line has a cliché, generic feel. There is no real excuse for taking a lazy and limited approach to music. There are too many dead-headed writers who witlessly write about relationships and provide nothing more than plaintive guitars and bland production. This year, as we are seeing, there is a prediction: the Pop market will replace the more sterile and commercial sounds with something a bit more expansive, rich and original. There are tipped artists who will come through and splice genres into a more colourless pot; break conventions and shake things up. Natalie Shay has taken opportunities and has the great live reputation. People have bonded with her and come to her shows to be moved and affected. I am keen to promote those great live performers who put the audience in the palm of their hand and do something exceptional. That is the case with Natalie Shay. She has been playing for a few years now but, as new material comes out, it seems to strengthen her performance skills. There is a close relationship between the live performance and studio recording. Shay has learned a lot from gigs and put that into her new material. Likewise; when she has a song out in the ether; the demand goes up and that confidence boost produces more gigs – and that experience compels and improves the next release. I mentioned how Shay prides instruments and a live-sounding and making her music as real and tangible as possible. Another reason she has accrued a great reputation is the way she approaches love and common themes. She does not, on This Feeling, employ tropes and stereotypes. The song is about the passionate desire one has for someone – we can all relate to that feeling. It would be hard, therefore, to project a song that spoke to the individual. That overriding and inescapable passion is unique to everyone; it is a complicated set of emotions with that one core: to get what you crave and keep it safe.

PHOTO CREDIT: Grace Benita Photography

I will come to the song in a minute but, looking at the layers and sides of Natalie Shay; it would be easy to predict and put her in a box. I have mentioned how some get the impression (some people) look at a young female artist and consider them ingénue, attractive and shallow – not able to offer any real quality and remembrance. Those are not my feelings but one does see a lot of that in music. It is an attitude that needs to change. Whether you feel all female artists with a certain look/sound are going to sound the same; not produce the same energy and strike as the men – there is sexism still present and it is something we need to eradicate. Natalie Shay’s raw vocals have soulfulness to them and manage to balance bigger artists like Adele with more credible acts like Amy Winehouse. The punchy drums and gritty guitars have electricity and body; the songs are superbly produced and the songwriting is consistently strong. This Feeling is a song that, days after its release, has gained a lot of praise and love. It is the strongest offering from the songwriter and will lead to more material. This year will see her build her foundations and gain huge applause. I am excited by what is to come because Natalie Shay is an artist that does not fit into conventional holes. She can balance the needs of the mainstream/commercial outlets but has the personality and underground-hero vibe that will appeal to those who prefer their artists less mainstream and more authentic. That ability to reach all the people is what will see her grow and reach new heights this year.

This Feeling does not start the way you’d expect! Rather than a very Pop-minded strum or a calm breeze; the song teases and beckons you in. There are faint chords and electricity suggested. One gets the hint a storm is on its way but not exactly sure when. The percussion and guitars unite and there is a race afoot. The beats stiffen and then pound; the guitars ramble and climb. Although the hero is not by her side; he is with her and taking her a long way. Mathematical equations and terminology is used to describe a relationship/imminent bond that is going through some trials. Maybe the lovers have been together for a while but it seems they are apart now. The heroine’s voice is pumped and passionate as she keeps time with the composition. The song has blood-rush strength and swagger that manages to employ some mainstream strands (big production and anthemic appeal) but the lyrics and vocals go a lot further. The wording is original and bold; you get a sense of a mercurial mind who approaches love in a different and fresh way. The entire composition is a huge and epic thing. There are light and spacey notes that melt inside the stringent beats and swelling guitars. You are compelled to move alongside the music and get involved with the sheer physicality of it. Buoyed by the passionate flames that burn through; the chorus sticks in the mind. It is about the feeling of love and hot desire and how it remains strong. Things are more complex than that. You can put love in the cold or go through challenging times but that overarching sense of desire and love comes out. I listen to the song and feel it is a lot more personal than it is commercial. The first-half of the song makes its mark and gets the feet and arms moving. You are bonded to the electricity and energy of the composition – you also start to imagine where the song came from.

I know we all go through love and pining but there is something special about This Feeling. Shay explores the gambles of love and how it can be unpredictable. She urges the boy to take a chance on her and ignore the usual pitfalls. It is hard to explicitly understand where she comes from – as each experience is different – but the determination and force one gets from the vocals hooks you in. There is never a moment when the song comes down and descends into dreary territory. Many might say that endless pressure and sound is a desire to get to stadiums and into the charts. Maybe that is true of some artists but Natalie Shay is a musician who places credibility and inspiration above commercial demands. You get sucked into the wonder and sheer vitality of the music; it is singalong and anthem-promising but has that quality and nuance. You want to listen to it after the first spin and know it will not evade the memory. Anyone who cynically feels the big chorus and edgings towards Pop means it is aimed at a certain market. This Feeling is not a song for the traditional Pop market. The dominance of Indie/Alternative sounds mean it goes much further and will appeal to those who have their ear attuned to the more credible side of the dial. By the final notes of the song; you still have the chorus ringing in the ears and have the vocals resounding in the heart. It is a solid and impressive song from an artist who has made improvements and steps – whilst retaining her sound and personality. It is going to be wonderful seeing how she grows and where her music goes from here.

I am confident Natalie Shay will grow as a performer and gain huge success in 2018. She has already gained a lot of ground and shared the stage with some big names. The BRIT School education has prepared her for life in music; the ability to cope with the pressure and some useful networking skills. The teaching she has gained, too, has collaborated with her childhood passion and knowledge. The skilled musician could have taken an easy approach to lyrics. Rather than pander to the needs of the mainstream charts; she has followed a personal path and done things her own way. In a year when the unique and pioneering artists will take a stand: it is a perfect time for Shay to come through and clean up. This Feeling is a song that sets out her stall and shows what a talent she is. I know there will be more gigs and, the better local reputation she gains; the more demanding venues from other parts of the country will be. I would love to see her tour widely and bring her music to other parts of the nation. London gets a lot of credit and focus but there is a rich music scene throughout the U.K. Plenty of people would leap at the opportunity to see her play near them and get that first-hand, close-up experience. She is still young but, in the past year or so, has managed to stick in the heart and make an impact. It is hard to say how far she can go but you only need to listen to This Feeling and you know 2018 will be a very strong and successful one for Shay. Make an effort to get involved with her music and dig deep into her catalogue. It is still early days for Natalie Shay but the development and material I have heard suggests she is here for the long-run. Each song has its own vibe but all the material is defined by quality, personality and depth. I have mentioned that word (‘depth’) a lot but I do so with good reason. There are few songwriters that manage to create songs that stay in the mind and compel you to keep coming back. Natalie Shay is one such musician and someone who has a lot more to say. This Feeling might take some time to embed in certain people’s brains but, give it enough time and you will…

FALL in love with it.

_______

Follow Natalie Shay

Official:

http://www.natalieshay.co.uk/

Facebook:

https://www.facebook.com/NatalieShayMusic/

Instagram:

https://www.instagram.com/natalieshaymusic/

Twitter:

https://twitter.com/natalieshay_

SoundCloud:

https://soundcloud.com/natalieshay

YouTube:

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

Spotify:

https://open.spotify.com/artist/6pDapjUwN36LXMdYk0WKuQ?autoplay=true

TRACK REVIEW: MALORY - Nuclear Brandy

TRACK REVIEW:

 

MALORY

 Nuclear Brandy

9.6/10

 Nuclear Brandy is available via:

https://soundcloud.com/malory-official/nuclearbrandy

ORIGIN:

London, U.K.

GENRE:

Alternative-Pop

RELEASE DATE:

15th November, 2017

_________

YOU need only look at the title of MALORY’s latest song…

before bad memories and visions come flashing into the mind (the hangovers of recent celebration)! I will talk about titles and visuals in a minute but, right now; a hint at some trends and scenes that will define 2018; bonding with producers/others; getting big names before you; making your identity seen in a packed market; how to keep momentum going – and why I am focusing on female Pop artists for the first reviews this year. I said, last year, I would stray away from London and concentrate more on the North. My sights are definitely set on areas like Manchester but, as the year begins; the artists from the capital are pitching and shouting loud. MALORY’s latest single arrived at the latter stages of last year but she is already making waves and plans for the coming weeks. There is nothing to suggest northern artists will not take ground and make a big stand in 2018. I am hopeful the balance will shift and there will be a greater movement away from London and up to the North. I will talk, actually, about that now and why I am in London now. MALORY is an artist drawn to the city and compelled by all the colours and vibrations one finds. I am drawn to it and fascinated by all the mix of people and the variations you can discover. It is the place a lot of musicians go to find that spark and get their music heard. MALORY stands out because of the way she evolves her music – I will come to that later. Whilst I hope MALORY performs in the North this year; I know London is a place where her creative juices can flow. Although there are some great artists doing work in other genres; I am looking at the alternative vibes of Pop and seeing what is happening right now.

Pop is going to take a big slice of the pie and it is interesting seeing how the genre will shape and develop. Last year, there was that mainstream dominance and need to foster the traditional, unerring themes that have persisted for a long time. Of course, there were some great songs and original angles but there was not a big explosion to suggest things will change. The likes of MALORY suggest things are changing. There is an appreciation of the mainstream and popular tastes – in her sounds – but much more identity and intelligence than most music. One gets big production and radio-friendly swing but overriding everything is a determination and innovation impressive to see. Female artists have, in my mind, always provided more depth and beauty than their male counterparts. In modern Pop; the way female musicians are fusing other genres and sounds into the pot is deeply impressive. MALORY is someone who picks up little shades here and there and knits them into her own quilt. She knows what it takes to fit into the mainstream but realises how a fresh and unique dynamic will get her there quicker. There are too many who throw in a plastic song with aimless hooks and generic choruses – without realising that will only appeal for a short time. The songs that resonate and persist take risks and challenge the mind. London, in a way, is more practical and better suited (compared to the North) for modern Pop artists. Areas like Manchester have some great Rock/Alternative acts but London seems to be the place the hottest new Pop/Alternative-Pop acts are performing. Not only can the primed and hot youngster make a stand and inspire people: her music has that special ingredient that is hard to put the finger on. I have been looking around music for artists who will remain in the mind and compel me to remain with them. I hear great artists who have a brilliant sound but it starts to distil after a while. MALORY is flexible and creative enough so she can retain her identity and focus but change her style and lyrics between tracks. That means there is always something fresh and intriguing for the listener.

Titles and visuals are an interwoven and integral part of music. I ranted enough about photos last year – how few artists have them available; how music is a visual medium – and why acts who do not consider visuals will struggle to get attention. As a journalist; I look for acts that have an appreciation of the visual side of music and put out regular photos. MALORY has great press photos for Nuclear Brandy that demonstrate what the song is about and stand in the mind. Her previous single, Rapture, has its own look and style; the switch and change between songs extend beyond sound and influence – the visual aspect of each has its own skin. I love artists who throw themselves into photos and create something imaginative. I will come to this more in the conclusion but, if one can hone and create a great song-title; that can open the window in terms of visual creativity. I am hooked and interested in titles and wonder how much effort artists expend with regards the wording. Rapture has that familiarity to it, I guess – Blondie is a band who has that title in back-catalogue – but Nuclear Brandy is very much its own beast! I look at a title like that and am already interested and compelled to dig deeper. What amazes me is the title is not the only interesting thing about the song. The music is deep and interesting; the words are clever and simple at the same time. It is down to the listener to project their own images but the song has a physical and instant sound. MALORY creates that title and, when one sees the images of her swigging from a brandy bottle; you trip into your own mind and imagines what is to come. The song, as I will investigate, is not simply about alcoholic dysfunction and disorder. The Stranger Things-meets-Blast from the Past story of two lovers caught in a 1950s post-apocalyptic bunker is not your average tale! One would see the photos and press images and assume it was going to be a hangover story.

The pictures suggest revelry and chaos; a certain abandonment and reckless side of youth. Given the approaching Christmas and New Year – when the song was being conceived – maybe that was a sign of what was to come. Instead, and what makes it stand out, is the fact you have those impressions going in and are subverted. That is one of the reasons why modern Pop female are interesting: there is more energy and intellect expended when it comes to their stories and lyrics. A lot of modern artists are writing about love and relationships in a very rigid and boring way. That has been the case for a while but I wonder whether the scene is getting too hung up on commercial avenues and predictable songs. MALORY is part of the new breed that goes the extra-mile and pens something wonderful. The 1950s-set story and the brilliantly candid images make her pop and burst from the page. That sensation is continued from the speakers and, when one thinks about it; it is not only her titles that stand out. The whole story and nature of the song emanate from a daring and bold voice in music. It is hard and a gamble projecting something original and fresh and get into the heads of popular radio stations. Even though things are changing; there is that demand for accessible and common sounds. MALORY knows this and has taken the risk, regardless. Her upbringing, musical tastes and influences have guided her own style; she knows the best artists go against the pack – there is that huge possibility things can wrong and people will not react. The reason MALORY has succeeded and is getting acclaim is the fact she covers all the bases. The music and lyrics are fantastic; the images and look is striking and fresh; the production is incredible. An artist who has a lot more to say and sense of desire – this will be rewarded in a very productive and promising in 2018.

Jamie Evans is the studio wizard much on-demand and has been picked up by a lot of artists. I was watching a film about The Beatles last night (Ron Howard directing) and it looked at the way the band evolved and grew. From the leather jacket-clad scruffs to the suited Pop band who changed the world. It was not only the music and genius of the boys that got them that far: it took an outside voice and another body to help get the music promoted and the look just so. I am not saying there are connections in terms of sound – nobody will ever match the heights of The Beatles – but the way the guys were inspired by Brian Epstein (their manager) and producer George Martin got them from local hero status to the platform of rulers. Evans has taken the terrific ammunition from MALORY and helped load, lock and shoot. The way he has brought out little angles and suggestions from the music; his own impressions have gone into the palette and there is that close bond between artist and producer. I am not suggesting Evans has taken over and is the dominant force – MALORY is very much in command – but the hook-up has worked wonders. It is a fresh perspective and the trust between them shows. If she had self-produced or gone with another producer; maybe the song would lack that magic and intoxicating. Nuclear Brandy, on paper, is a challenging song with a lot going on and so much detail. Getting that right and ensuring it all hangs together is not as easy as one might envisage. It takes a lot of care to ensure the lyrics flow and the vocals stand out. The song relies on the dynamism of the composition and the production has to ensure things are crisp and clean – without being too polished and commercial. On top of that; the artist needs to feel comfortable and free to express their own thoughts.

The two have worked closely and concocted something heady and scintillating. The distorted synths and melodic stabs parabond with tribal drums and beautiful vocals. Evans and MALORY have that professional friendship and respect for one another. I can only imagine the conversations that occurred during the recording. The same way the hungry and excited Beatles rocked up and wanted to change things: there is that agility and excitement in MALORY. She has found a producer who recognises the immense talent and vision and has managed to channel and hone that into something remarkable. The natural talent of MALORY blends into Evans’ experience and affinity. I hope they work together again because, when one finds that free and easy relationship; that is not something that should pass by. I am not certain whether there is an E.P. coming in the approaching weeks but let’s hope MALORY and Jamie Evans continue to work together. The reason MALORY has managed to grab the hearts of producers and the public is the fact she wants to deliver music that has its own skin and colours. That words ('colour') seems rather pertinent when it comes to her sounds. It might sound a bit odd and pretentious if one associated songs with certain shades and tones. One might assume there is a bit too much brandy being consumed when talking about purples and greens. Those are the colours that define the new track. If Rapture was, in MALORY’s own words, blacks and reds; this is a more positive and colourful approach. The black-and-red motif might suggest blackjack, gamble and hatred. It is interesting because, when we see colours put together (I know, technically, black is not a colour…) each of us has our own views. We could think of cards and casinos; bloodshed and depression; newspapers and the media (that old joke about what is black-and-white and read all over…) or something to do with the heart – the redness being darkened by impurity. It is harder to broaden when it comes to purples and greens.

There are easier couplings with red and black: green and purple do not sit together as easily so it is interesting finding out why MALORY suggest those colours. I guess there is less to do with the thematic associations and emotions: it is about the sound and something more adventurous, free and less suffocated. It is more welcoming but, I guess, complicated at the same time. It is something to dissect; that is for sure. I have listed to Nuclear Brandy a lot and can hear suggestions of love and togetherness against the possibility of destruction and dissolving hopes. That seems very appropriate for a time when it seems like we are all living in a bunker. If the song is a post-apocalyptic look at past decades: now, we are at a time when the button can go off and the world can change in a heartbeat. That constant fear and nervousness is not something the globe has witnessed since the Cold War – back in the 1950s and 1960s. That battle between communism and capitalism; the division and not knowing whether a bomb was going to be dropped. Now; we have two made leaders baiting one another with no real reason. There is not an ideological imperative or a struggle for power. It is petulant and immature personalities boasting, fighting and poking – almost like two guys at a urinal comparing penis sizes! Green is envy and jealousy; purple suggest flowers and something romantic. Purple is a secondary colour of blue and red - so depression, love and blood can stem from that. A greenish-brown comes from mixing green and purple. That provokes other possibilities but I am pleased MALORY uses colours to define her music. I wonder what colours will come from her next track?! Will we see oranges and pinks? Will there be a brew of white and yellow? Nobody can tell but that, in a way, makes it easy thinking about songs. If you have an idea of colour and scheme; that can get the mind working and lead to something different.

ARTWORK CREDIT: Taylor Torr

I have gone off-track a bit but Jamie Evans, knowing how MALORY works, has helped paint the room and get the colours on the wall. That means we get a very imaginative and detailed song that comes to life from the very off. Before I come to look at the song itself; I wanted to look at why it is important to get music out to the big names. MALORY has struck the heart of tastemakers like Chris Hawkins, Sir Terry Wogan and John Kennedy. The great taste and influence of these D.J.s should not be taken for granted. Wogan might be gone but he knew a great artist when he heard one! The current influencers are not here to suggest commercial acts who are easy on the mind – they do not challenge it – and do things like everyone else! They look for something special that will remain in the mind and public consciousness. It is hard knowing what D.J.s and critics want but, looking at MALORY; she has managed to strike a chord with a broad taste and mindset. I have been looking ahead and wondering what it is that will define 2018. I mentioned Pop and how it will transform; why female artists are going to take more of the acclaim. MALORY has her own voice but she follows in the footsteps of innovative artists that have managed to change the face of music. I love the way she fuses sounds and takes a different approach to lyrics. It is no surprise prolific D.J.s have taken her to heart and realises what a potential force she is. That acclaim and kudos have reached The 405 and Metro; it has got the Radio X and BBC Radio 2. The momentum she got from Rapture has continued and, with Nuclear Brandy, more eyes and ears are trained her way.

Not only has MALORY got the ear of D.J.s and tastemakers there; she has supported George Ezra and played BBC Introducing Hype Park. The twenty-three-year-old has made big moves already and is not taking it for granted. It is a great time for her and I expect that love to expand as we go through the year. Who can say what the mainstream wants but, from polls and articles; I feel there is going to be that desire for intelligent and new Pop artists. Something colourful, bright and inventive is required at a time when we are still pushing generic and commercial sounds. MALORY will get more bodies behind her and see her stock rise. That will take her to new places and I cannot wait to see how far she can go. The fact she has some big names behind her should give her the confidence to keep recording and experiment. She has something that gets into the mind and creates fascination. She does not need to conform and change anything about her music. What I feel will happen is a slight tweak when it comes to production. Jamie Evans has brought something unique from the music. I hope they work together and, when it comes to the studio, push technology and fuse new ideas into the pot. The vocals and lyrics are sublime; the colours and visuals are perfect. The studio and sonics will be the only changes, I feel, as we progress through the year. Female Pop artists will be a big currency because they are daring and looking to get their name out there. There is sexism in the industry so the need to get acclaim and not be overlooked is paramount. That will manifest in huge sounds and some of the most inventive and nuanced tracks we have heard in years. I am confident MALORY will be among the chasing-pack and defining where music is heading.

The initial seconds are cosmic and transporting. It is like aliens are communication and satellites tuning; machines translating and electronic notes reaching out to the stars. I listen to the mad-for-it beats come into the fray and back the balletic and nimble vocals. I hear bits of Tori Amos, Kate Bush and Björk in the delivery and style. MALORY has her own brand but I can detect the influence of these artists. The same beguiling mixture of sweetness and passion; the way the voice skips and contorts – ensuring the words get straight into the heart and head. It seems the heroine is witnessing a dead-end town where people are going underground. Rather than a literal underground: the people seem confined to narrow ambitions and their normal way of things. It is a rather placid and unimaginative routine that numbs the soul and fails to foster any sense of hope. MALORY can see this and discover the folk who are not quite what they seem. There are paranoid liars and those tying up their two left feet; a sense of unease and idiocy that might extend beyond suburban confines. I am, as I can imagine MALORY is/was, living in an area of the country where minds are not exactly sharp and there are no dreamers – people who want to be exciting or have any real hope. We look at news stories of impending doom and think the inevitability of destruction is not as bad as the boredom and horror of a suburban life. Even though Nuclear Brandy has its heart back in the 1950s; the lovers and observers of the track seem to connect directly with the present. The young songwriter has cast her mind back but, in many ways, has one part of her brain in the current climate. I was fascinated diving into the words and the sort of visions. Maybe there is a sense of people wanting to retreat and hide from life. They are doing that without provocation and destruction: squirreled and sequestered from anything vaguely interesting.

Perhaps the overarching mantra is getting out of that toxicity and brain-dead boredom. The people are outside sipping on the lethal nectar; the candy is being eaten and the teeth chipped – the words swoon, fly and hum. Building in some backing vocals to emphasise certain points makes the song an endlessly inventive, romantic and pioneering song. They may sound like odd words to use but I immerse myself in the beauty and am helpless to resist the charms coming through. The production heightens every note and brings certain instrumental elements to the fore. Nuclear Brandy continues to work the mind and get the imagination conspiring. The beats start and stop; there are twinkling notes and the song seems to go through phases. It is a restless thing that has an anxiety and desire to change. Colours are fading to grey and the lovers dance for one another. Maybe they are trapped and feel constrained by their environment. There are so few options and places to go; uninspired and trapped by the unadventurous and disengaged nature of the people. The landscape is not compelling any drive and I can feel the heroine desperate to embrace something real and promising. There is a bliss hiding out below and, perhaps, escaping from the worst of it. Maybe there is that comfort in being in a rut and not having to engage with an exciting world: perhaps it is the proximity of the city and the way we can all get there and run from the miasma of the suburban lifestyle. The sirens blare and the flowers “never die” – we’ll “always smell the roses”, it is said. That contrast between the beige and boring; to the vibrant and vivacious; the bunker-life safety and the need to run from it and go to a more promising environment. I can relate and many can connect with the depression and lifelessness that comes from living somewhere closeted and limited. By the end of the song; you are provoked to listener again – there is a lot going on and it has that addictive quality. Not only does Nuclear Brandy get you thinking and considering your own life; there is an instant weight and authority that means the song gets right into the head and stays there. You will be singing the track and taking it wherever you go.

MALORY has made big statements with Rapture and Nuclear Brandy. I am excited seeing where she goes from here and whether more material will arrive. I feel an E.P. is the next step and a way to get a body of work out there. The singles have gained radioplay and opportunity but, from here, there is a chance to make a big leap. The momentum is with her and there are many making predictions. I feel MALORY will mix it with the biggest newcomers and lead the charge of female Pop songwriters. There will be gigs around London but I feel a larger remit is on the cards. She will get to other parts of the country and take the music further North. The current single has that imagery of suburban life and whether it is worse than nuclear fall-out – the way it deadens the mind and people learning to die; rather than learning to live. It is a viewpoint and reality we can bond with and, in the song, that last cocktail, the nuclear brandy blend, is the way out. Rather than succumb to that miserable eventuality; getting out and doing something in life is essential – making a break and doing something exciting is key. I get that from the song and can certainly appreciate the sentiment. Many will also relate and, when MALORY starts touring again; many will flock to see her. I know she has a date at The Finsbury on 19th February; where she will be playing alongside some incredible new talent. Check her Facebook page for that information and make sure you get down there! It is going to be a great year for her and I, for one, cannot wait to see how far she goes! The music already out there proves there is nobody quite like her. Nuclear Brandy blows the mind and, whether you capitalise her name (I chose ‘MALORY’), she stands out and is someone who will not pass by the biggest tastemakers. She’ll hit the road, record new music and prove how in-demand her music is. Even though we are only just in January; I am confident we are listening to an artist who can be…

ONE of 2018’s breakaway stars!

_______

Follow MALORY

Facebook:

https://www.facebook.com/maloryofficial/

Instagram:

https://www.instagram.com/maloryofficial/

Twitter:

https://twitter.com/maloryofficial

SoundCloud:

https://soundcloud.com/malory-official

YouTube:

https://www.youtube.com/channel/UCZZsrK19ss3bCTVnN3iuo1Q

Spotify:

https://open.spotify.com/artist/7lvI3xLIepHdLT85UbGWmi

TRACK REVIEW: Control of the Going: Love You More

TRACK REVIEW:

 

Control of the Going

 Love You More

9.3/10

Love You More is available via:

https://open.spotify.com/album/5px18PDv2WCbWFuDcW5b0v

GENRES:

Alternative-Rock; Psychadelia

ORIGIN:

Manchester, U.K.

RELEASE DATE:

8th December, 2017

The album, I Love You But It’s Going to Rain, is available from 23rd February, 2018

LABELS: 

Sister9; Cargo Records

_________

THIS is my final review of the year…

so it is a good opportunity to mention a band I think will do some great things in 2018. Control of the Going, with that odd name, intrigue me with their approach, music and make-up. I will talk about the guys’ new music soon but, right now, I wanted to look at bands and whether next year is going to be a more successful one (for them); Manchester and why focus should be placed there; mixing Rock and Psychedelic sounds together; interesting promotional ideas; the debut album and why it is such an important thing; why music needs to embrace those who have the passion and energy to succeed; getting music to the American market early on – and how that can make a big difference. I have been a bit reluctant to promote bands this year because the solo artists have been having such a good one. I am looking at what is out in the mainstream and not really blown away by anyone. I have been banging on about IDLES and Wolf Alice – but they have been going for a couple of years, at least. I have been approached by a lot of bands but it is the solo artists that have made the biggest dent. The solo artist has the freedom to express themselves how they wish and are more flexible with regards sound and mixtures. I feel bands are more rigid and have to adapt to a prescribed sound. Many are going for a Rock/Alternative sound that fits into the mainstream whilst others are mixing genres without much success. I am not saying all bands are worth ignoring but it is an easier life for solo acts/duos etc. I feel they can play Hip-Hop, Electro or Pop without having to compromise too much. With that being said; I have heard a lot of promise coming from various corners and hope there are some terrific bands shaping up to make 2018 a fantastic one!

Control of the Going are a group that have the promise and ammunition to make a dent and impression on the scene. There has been a call to promote good solo music and ensure genres like Hip-Hop and Rap are giving more exposure. Pop has been transforming and a lot of the heat has been put on the commercial artists. This means new bands have not really had much of a say and we have seen little to suggest mainstream bands can challenge the established order. Efforts from Foo Fighters, Arcade Fire and U2 have been quite disappointing; records from Queens of the Stone Age and The xx have fared better. The majority of the most-celebrated albums of this year have been from sole artists. Everyone from St. Vincent and Lorde through to Thundercat and Sampha have produced stunning work. Maybe it is the lack of inspiration from bands or the changing demands of the public. The only way the new breed of bands are going to get fired up and compel is if they have guidance and support from the mainstream. Control of the Going have been looking around and sourcing from the coolest, most credible and pioneering bands around. They take from the past but, above all, have stepped away from the predictable path and created a song that is all their own. I think too many bands are replicating what is already out there – that is leaving people cold and meaning solo artists get a bigger say. The Manchester-based band has taken the trouble to sprinkle original elements into the mix and have been playing a lot of gigs. All of this honing and performance means their material is solid, tight and deep. I feel they can get to the mainstream and, whilst it might take a couple more years; they are going to inspire others are settle very well there.

It is hardly a surprise I am excited to see a Manchester band come through. I have written pieces about the city before and have been keen to explore the acts from there. Everyone from False Advertising to Pale Waves are adding their own magic and angles to the rich Manchester scene. I feel London has been getting a big say and we have centralised and localised the music industry. What annoys me is the assumption that, because most of the big labels and radio stations are down here; that means all the best artists should be. It is not the olden days anymore: radio stations can broadcast further than a few miles and we have communication tools that allow us to listen to artists from Manchester and other parts – that means influential stations in London can hear that music and play it. I have also talked about Glasgow and Leeds: other cities that are making incredible music and should gain more focus. Manchester has been inspiring and world-class since the 1980s. The legends like Joy Division and The Smiths; The Stone Roses and other 1980s local folk inspired the 1990s’ idols like Oasis and The Chemical Brothers – you might even lump Take That in with that category (although they are not ultra-cool!). Something wonderful was happening around that time and it seemed like the working-class innovators were reflecting greater desires in society: people were yearning for truth and prophecy that was not being provided by the government. Now; Manchester’s tones have changed but the quality has not dipped too much. The city deserves acclaim and coverage because it is among the most eclectic and quality-focused parts of the country. I have grown a little weary of London’s sounds so have been pining towards Manchester.

Control of the Going are part of the new movement and show what can be created when you buck trends and do not rely on the capital for motivation. That might be counter-logical and a way of delaying success: I feel they are going to get to the big-leagues quicker because they are taking a more impressive and uncharted route. Maybe 2018 will not be The Year of Manchester but I am confident the shift will start to shift from London to the North. Later today; I am going to write a piece about Oasis and why many are desperate for the Gallagher brothers to unite and get the band going again. It is not a case of a nostalgia hangover and yearning for better days. I feel there is a chasm in music that is not being filled - let's hope that is remedied very soon. Alternative/Rock music is out there but there are not many fresh and addicting young bands coming out. Manchester, as mentioned, has some quality bands who can fit the bill – PINS and False Advertising two of the better-known and acclaimed. Maybe their sound is a reaction to that Oasis need but, in the case of Control of the Going; they are able to summon some of the epic grandeur of Oasis but no copy what they have done. The sextet project immense power and swagger but they blend that with subtler, colourful strands. I feel too many bands race in with gnarly sounds in the hope excessive adrenaline and shout means people will take notice. A more intelligent and refined sound comes from Control of the Going. Maybe it is a rebellion against the worst instinct of mainstream bands – I feel it is the ethos and philosophy of the Manchester scene. Artists here are more engaging and reflect the personality and candour of the people. If London-made music is defined by cosmopolitanism and urgency: Manchester is about warmth, intelligence and risk-taking. That is why I feel Manchester is going to take more of the media next year – we know how warm and inviting the city is; we want a bit of that in our musicians.

Perhaps that is a vague and odd assumption but I am confident Manchester will do well in the battle to gain the mainstream media’s ear. I have been reluctant to focus on Rock and Alternative sounds this year because of the relatively damp offerings from the mainstream. Aside from The War on Drugs, Wolf Alice; Phoebe Bridgers and their ilk – there have been few standout Alternative albums from the year. You can quibble with terminology and genres all you like. Maybe there have been some impressive Rock/Alternative albums but there have been far fewer than one would expect. Consider the quality coming from Hip-Hop, R&B and Soul and you have to ask questions. From Mercury-nominated artists like Sampha and Loyle Carner; U.S. treasure from Kendrick Lamar and SZA – one has to wonder whether music’s shifts and demands have given up on Rock. That might sound depressing for Control of the Going but it is actually a positive. They are not an out-and-out Rock band but they are, in essence, they inject passion and older-times glory into their work. I listen to their work and see a blend of innovative new and classic Rock. One gets a hit of the 1990s-Manchester with the innovation of the modern scene. It is a complex and difficult time for Alternative/Rock sounds. There are few guiding lights and other genes are taking the majority vote. The reason I am excited by the likes of Control of the Going is the lack of commercial lure they have. They are not compromising and taking an easy route. A lot of Rock bands think replicating the best of the mainstream is the way through; they have the guts and patience to listen to the local scene and put their ears to the ground – detect what the city demands and what is happening around them.

Maybe it is a risk ignoring what is happening in the charts and taking a longer route to the mainstream. Control of the Going want to succeed and build their own reputation and have a wide range of influences. I feel the plain and direct brand of Rock – Foo Fighters and Royal Blood – has been done to death and lacks necessary innovation and variation. The more successful Rock/Alternative artists of the year – Wolf Alice included – blend other genres in and are making music for the smaller crowds and finer venues. Royal Blood and Foo Fighters (other bands included) are too focused on stadiums and making something city-sized and charmless. Those who speak to the common man/woman; get under the skin and think about nuance – they are going to do better in the long run. I am hopeful there will be a Rock revival but I do not think the current ‘best’ will be responsible for that. It is the new breed of hopefuls that will spearhead a rebellion and movement. London will be a part of that but, given the strength and community happening in Manchester; I am more hopeful the North will be at the forefront. One can look at Sheffield, Leeds and Glasgow and realise those who reside in largely working-class areas are attuned to the foundations and mandate of true Rock – sounds that have a blue-collar heart and a compassionate mind. The development and new success of Control of the Going mean they are definitely doing something right. Most of their acclaim is local at the moment: national success will arrive when their upcoming album is released to the public. That comes in February and it will be interesting seeing how it is received. I am looking at their single and can hear the passion and quality in the music. The guys have hit a rich vein and look set to make a name for themselves next year.

The debut album is an important and difficult one in a lot of ways. You have little idea what critics want and whether the public will react. Control of the Going have performed a lot and showcased their material to the public. They gauge a reaction and see which songs get big love and what they want to hear. It is a different case when you push that music out to a wider audience. It is hard appealing to everyone and getting it ‘right’ the first time out is a real enigma. You have to go with instincts and have faith in the material you are making, Whilst it is important to have an original bent – and not copy the mainstream acts you like – you have to take a little bit from the popular sounds of the moment. Getting that balance right is tricky but one a few acts have achieved. I know Control of the Going will continue to rise and appeal. Their music has a universal vibe and can stick in the hearts of the majority. That taken into mind; I hear a lot of new strands that are unique to them. The boys bring in Psychedelia and the kind of experimental edges one will recognise from some of the most pioneering acts from Manchester – the likes of Stone Roses among them. Whilst the kind of trip and colour the Control’ boys are brewing is not quite the same as Ian Brown’s crew; they have a potent and exciting palette that differs from traditional, boring Rock. All of these components and considerations mean the band are primed to impress with their first L.P. They have worked hard on it and know the challenges before them. They are not racing ahead and assuming they will be stadium kings in a couple of months. They have put in the hard graft and will continue to plug and pervade through next year.

I Love You But It’s Going to Rain is going to be one of the most anticipated albums from a new act in 2018. I know it will succeed because the guys have been gigging and working for a long time. They have been monitoring how crowds respond to their music and adapting it to get the biggest reaction possible. Their patented blend of Rock, Alternative and Psychedelic sounds stirs together and elicits a heady smoke. You listen to the sounds and get a mixture of familiar and unexpected. The guys know how to hook the listener in – expect their debut L.P. to get some positive and impassioned reviews! I will talk about where the guys can head next year but, right now, they have been going about things the right way. There have been local gigs and a lot of support from Manchester. They played Gorilla – their biggest-ever show – to four-hundred people and got the chance to play their material to an enthralled crowd. The boys have played gigs in the Northern Quarter and go public support from Clint Boon. The band hosted three nights to preview the album at PS; there were seven screenings where fans eagerly packed in to hear the new album come to life. Also; Torrside Brewery – a local brewery – developed a bespoke beer called …It’s Going to Rain. All of these ideas and events have helped promote the band and got their music out to the people. Getting local reputation and hype is essential for any new act. I have seen few with the same drive and innovation as Control of the Going. It is clear they are a popular and extraordinary live act; companies want to lend their support; radio stations and journalists are behind them – all bodes well for a bumper year ahead.

The guys have a rare and endless energy and sense of motivation. They are always looking to build their work and make it as strong as they possibly can. Not only have they captivated the local fans: their music has been played on American radio. KEXP has spun their music and paid tribute to an album that has the promise to own the year ahead. I know I keep making predictions about 2018 but it is exciting seeing artists emerge who can change music as we know it. The guys of Control’ are going to take the initiative and ensure they keep the pace up. Getting that American respect this early on is vital. They already have a market over there and means, as it turns out, they get U.S. dates. The boys will promote the new album over there in February and bring their local accent and popular sounds to the American faces. I will speculate how far they can go (in the conclusion) but getting an American ear this soon means they are in a better position than most of their peers. I think the guys can build on this and spread their music right across the U.S. One wonders how long it will take before they are worldwide names – able to command acclaim right around the world. That might be a few months off - but it is clear I Love You But It’s Going to Rain is a stunning work that connects with the people. It will be exciting seeing how they go down in the U.S.A. I know radio stations there are reacting but taking their sound to the live circuit there will be a different matter. There is a different pace and geography compared to the American market. The boys are used to the Manchester flavour but, getting experience playing in a nation like the U.S. means they can take those skills back home and strengthen their gigs – that will lead to bigger, bolder material.

Snarling, ‘ave it large strings open the song and project images of debut-era Oasis. That is not a lazy comparison but a piece of praise. The guys summon the same quality and instant intrigue but do things their own way. You get a rousing and boozed coda that has control and focus but a sense of adventure and mischief. The song kicks out of the gates but never gets too heated and rambunctious. The skill and composure of the band mean you have time to bond with the introduction and build up the imagination. I was thinking of various scenes and possibilities. The lengthy opening means images will flood and the listener conspires right from the start. The song is one of dedication and fond passion. You imagine the hero with the girl and having that sense of comfort and safety. Given the fact their album title seems to suggest contrast and changing fortunes; I go into the song assuming there is fracture and imminent shift. That might be premature but one gets a sense of hazard and caution in the vocals. The song impresses with its blend of haziness and strength. The band is very tight and together but there is room for experimentation. One of the only problems with the song is a lack of vocal clarity. The composition is too high up the mix and the vocal a bit too low. A lot of the words are either muffled or drowned by the instruments. Whilst some words are detectable and clear: there are quite a few that pass by because of the way the song is projected/mix. That is not a big drawback because one can extrapolate the mood and direction of the song. You are gripped by the composed and calm vocals – yet, the impression one gets is a man who has some troubles brewing in his heart.

You get a sense that, although there is love and connection between the sweethearts; the girl should not believe him all the time. Maybe there are harsh words or false promises; some regretful times and occasions where the mind and heart have not been connected. The swagger continues and you are gripped by the cool-as-crap lust and Psychedelic underpinnings. Past the half-way mark; there is a chance for the instruments to stand out. The guys combine and project a vivid and physical phase that carries on the song’s messages but creates new wonder. The hero proclaims his love and (will love her more) than she’ll ever believe. That loyalty and belief is strong and should not be taken for granted. The middle section is a chance to clear the head and consider what is happening. The tinge of caution and reserve makes me thinking there is deep thought and pondering. The vibrancy and affection leads the mind in the direction of the sexual and sensual. It is a curious contrast and blend that gets the mind working in different ways. It seems the girl has been wary and not believing the hero – the lyrics become clearer as the chorus takes dominance and place. It is nice to see that audible focus and clarity in the latter stages. That mantra – disbelief and a one-sided love – makes me wonder whether if the bond is near an end or the hero’s dedication is being tested. Whatever the roots and origins; one gets inside the song and makes themselves a spectator. It is fascinating to watch things unfold and mutate; the way the song twists and emanates new possibility and avenues. By the final seconds; you have to take it all in and wonder how things turned out. I feel the relationship will survive and continue but there are definite obstacles and differences. The girl might lack real conviction but the hero is determined to change her thoughts and keep things in the black. Love You More is a fantastic offering from a band that will accrue more fans when their album arrives in February – expect 2018 to be a very special and exciting one for the Manchester band!

Make sure, in February, you get I Love You But It’s Going to Rain. It is an L.P. that has already garnered positivity and praise. I am sure that will expand and explode when the record is unleashed. Love You More is a tantalising glimpse of what to expect. The song demonstrates what flexibility range and quality the band already have. One hears them and gets a great blend of live-sounding freedom and the studious discipline one learns in the studio. The material gets straight into the head and gets the heart racing; the body activates and the blood surges. Those reactions are not what you get from all albums out there. The six-piece have been working long and hard to create an album that speaks to the masses. That is what has been missing from music this year. I have not heard too many records that get under the collective skin and stays with you long after listening. I am hopeful the underground will show the mainstream how it is done as we head into a new calendar year. The Manchester band are preparing for a series of gigs to promote their debut album. They will head to the U.S. and have the opportunity to gain a foothold there. I am not sure what dates they have lined up but I can see them doing well on both coasts. The West Coast looks for that dreamy and colourful locker – music that fuses sunshine and granite into something complex but liberating. The East wants something with urgency and sounds that match the bustle and complexities of the street. Maybe that is a generalisation but one notices differences between the two coasts. I feel the boys could gain success anywhere they travel and have that open and malleable music that does not exclude and isolate. They end a fantastic year with a single and promise to suggest they will have a storming 2018. It is a song that bounces around the head for days and keeps the mind working and the voice singing. I know that will happen and they will rule and reign. Love You More is a stunning song that provides a sensual kiss: I Love You But It’s Going to Rain is an album that rips off the clothes, puts a limp in the step…

AND a smile on the face!

_______

Follow Control of the Going

Official:

http://controlofthegoing.bigcartel.com/

Facebook:

https://www.facebook.com/COTG1/

Twitter:

https://twitter.com/@cotg_

SoundCloud:

https://soundcloud.com/cotg1

TRACK REVIEW: JoAnna Lee: Drinking by Myself

TRACK REVIEW:

 

JoAnna Lee

PHOTO CREDIT: Alex Hopes 

Drinking by Myself

9.5/10

Drinking by Myself is available via:

https://www.youtube.com/watch?v=BRh2GAdn5kM

GENRES:

Soul; Pop; Country; Folk; Singer-Songwriter

ORIGIN:

Austin, U.S.A.

RELEASE DATE:

27th November, 2017

The album, So Free, is available here:

https://open.spotify.com/album/0N9yLdATHTm9zSiF7qZd4Q

_________

THE penultimate review of the year…

takes a looks at JoAnna Lee and her fantastic music. I will speak about her soon but, right now, there are a few subjects that come to mind. She is based in Austin, Texas – so there is that eagerness in me to explore the state. I wanted to look at singers who combine Country and the Singer-Songwriter sounds; the songs that warm the heart and provide comfort in the winter; the right mixture of artists when growing up; the way songwriters like JoAnna Lee can evolve and make an impact; why the U.S. is providing more range and fascination – a bit about taking a chance and going for it. It has been a while since I’ve looked at a Texan artist. JoAnna Lee has been in the state for a while but it is the perfect place for her. I have reviewed a lot of L.A. artists but it has been a long time since diving into Texas. Most of my reviews – when looking at Texas – concentrate on Austin. It seems like a place many gravitate towards and provides the right mixture of passion, opportunity and intrigue. Local sources like Austin Monthly have named their artists, they feel will make a dent in the coming months. Earlier in the year, the publication listed Bee Caves, Jackie Venson; Otis the Destroyer and Tele Novella as artists to keep an eye out for. You can do your own research but each of those artists has an eclectic and varied sound that sticks in the mind. One of the common threads is originality and power. You do not get anything predictable and safe when it comes to Austin-made music. ‘Older’ bands from the city, like Spoon and The Octopus Project, have inspired the people and showed what Austin is made of. Many of us, when thinking of cities outside L.A. and New York often head to Nashville. It is a Mecca for Country stars so one might assume JoAnna Lee would head there to hone and expand her sounds.

I am interested in her music and feel she is in a better place. There is more variation around her and a broader scene compared with Nashville. Not only does she get those great local musicians around her; there are incredible venues and scenes to compel the mind and provoke the pen. One listens to the voice and hears the music flow and knows the people, surroundings and music of Austin seep into her bloodstream. I have been waiting to discover an artist that differs from anything out there; gets into the mind and motivates the senses. Austin is a wonderful city to expand your horizons and hone your skills. From Red River District’s The Mowhawk through to Parish in Congress Ave District; Strange Brew in South Manchaca; the wonders and reputation of Antone’s – so many different spots to cut your teeth and get people talking. I am not sure whether JoAnna Lee has played these spots but possible venues she could visit in 2018. Unlike areas like Nashville; there is not a dependence on one genre and flavour: you get every genre imaginable sparring and interweaving. That means musicians are more confident when it comes to writing and their music is deeper and more nuanced. JoAnna Lee has moved from smalltown U.S.A. and developed into a strident and ambitious artist. I hope she remains in Austin - and does not feel the need to go somewhere like L.A. or New York. One of the best things about Austin is the fact you have California located on the West Coast not too far away; New Orleans and Nashville are fairly nearby – not walking-distance but an easy flight. Texas does not need to rely on close-by states because, aside from Austin, there are cities like Houston and Dallas – big areas that have their own music scene and characteristics. Austin artists have that freedom because they can tour conveniently in big parts of the U.S.; they are situated in a warm and multicultural region; there is the rich history and reputation many take to heart.

I am not usually a big fan of Country and Singer-Songwriter unification but, if done right, it can result in some terrific music. JoAnna Lee is someone who has a broad palette – more on that later – but her new single has that ache and soothe – one is put in mind of contemporary Acoustic/Country artists and some of the legends of music. I am not sure how much of one’s upbringing enforces their own music but there are distinctions between JoAnna Lee’s childhood fascinations and what she is making now. I have been listening to a lot of her older material and can see how the music has shaped and grown. There is more confidence and colour in the present tense; the ability to switch between genres and assimilate more passion. Drinking by Myself is a track of loneliness and reflection; it has plenty of charm and emotion but it never wallows and sinks into a pit – energy and kick are at the heart of the track. Modern artists who combine sounds like Country and Singer-Songwriter are still sourcing from the older icons but are ensuring the forms are pushed forward and kept relevant. It is always hard breaking barriers and trying to compel those whose tastes are quite rigid. Rather than compromise ethics and sell out your instincts; artists like JoAnna Lee are blending in modern production and big choruses with gorgeous vocals and lyrics that can be understood by all. That might sound quite vague but they are components that mean that people like me, who do not usually go for such sounds, are drawn in and hooked. I feel one of the big problems with certain genres/sounds is we get this stereotyped impression and do not really venture too much into things. That would be a mistake with regards JoAnna Lee – she is someone who has a very modern and broad sound; she never loses focus and mixes her own D.N.A. with that of Austin.

Maybe it is a bit narrow referring to JoAnna Lee’s music as Country. She has Folk strands and puts together some Pop undertones to create something fulsome and evocative. What strikes me is the way one is transported into a safe world and drinks in all the tones/layers. I have heard too many predictable and safe sounds this year: the fact JoAnna Lee broadens our horizons and has a unique flair means one is more invested and sustained. I am eager to see where she heads next year and whether her music will continue to build. I will talk about her album in the conclusion but I have been digging into Drinking by Myself and what could have compelled the song. There is a desire to find sanctuary and companionship but a certain sense of clarity. The words and themes of the song are familiar to anyone who is a fan of Country but there is a wider remit. It is about a woman going through some tough times but dealing with them in her own way. If one listens to other songs in her cannon; there is a lot of personal revelation and exposure. The young songwriter is unafraid to reveal her pain and let the listener into her heart. That is a commendable attitude and reason many of us should turn her way. This year has been important and successful. She has accrued a local base and getting attention from other parts of the U.S. That is in no small part because of the way she reminds one of some music greats but fuses that with something unexpected and fresh. The electricity, physicality and drive one hears in JoAnna Lee’s music is enough to get the body moving and the brain working – the songs stay rooted in the head and you are fascinated to hear the next song. I will speculate where Lee will head next year but, right now, it seems she is near her peak.

That sense of quality has not arrived overnight: her upbringing and incredible music past means she has changed her style and incorporated new elements over the years. One of the things that stands out regarding Drinking by Myself is the way it infuses the heart. The song has some hint of isolation and desire but there is a sound and flavour that gets one warmed and smiling. The track never lets up its yearning and searching; it smiles and dances but there are harder, darker tones working underneath. All of this is a potent brew from a talented young songwriter. She never drags the listener into a shadowy, tough place but, at the same time, gets them thinking and looking at myself. The most memorable aspect of JoAnna Lee’s music is the voice. It is a sumptuous bouquet that has love and tenderness but has that sharpness and independence. Lee is a musician that cannot be pegged and defined easily. I am curious about her beginnings and will explore that in a minute. What drew me to her current track is the way it hits you the first time you witness it. The song is a big and anthemic number but one that reveals more stories/possibilities later down the line. The year has been challenging for many of us and the weather is turning. In the remaining days of 2017; we will look to keep warm and safe; make sure we are happy and insulted. Music is a great way to ensure that and, if you are looking for an artist who can inspire all of that, JoAnna Lee is your girl.  Reviews and media opinions share my sentiments and have backed her for big things. What, then, is the reason behind such a rich and variegated sense of songcraft? We can talk about the modern scene but we rarely look at where artists came from in terms of their musical tastes.

Stevie Wonder is a name that has been associated with JoAnna Lee. She was raised on his music and, whilst her classmates were listening to Pop and the chart sounds on the radio; the aspiring songwriter was digging into crates and listening to older records. She grew up in a household with the legends of music. Wonder is an artist that made an impression and spoke to a deeper part of her. That blend of Soul, Gospel and R&B can be heard in the work of JoAnna Lee. She has elements of Stevie Wonder and projects a similar sense of confidence and bravery. Although Stevie Wonder’s lyrics look at different areas of life, I can hear the way he has inspired Lee and made her music stronger and hungrier. If she was to follow the same path as her peers; one would hear something more mainstream and generic. The music would be quite flat and try too hard to get into the charts. That would leave me a little cold but I would still give the music time. Instead, the music one hears from JoAnna Lee is full of life and rich imagination. You get a glimpse of Wonder’s music but that is a stepping-stone to explore other avenues of music. JoAnna Lee crafts her own path and explores ground few other songwriters tread. I wonder whether upbringing and the exposure to good music when young is, at all, partly/entirely responsible for the route songwriters take. You could argue a musician changes their sound and style over time but there is every evidence to suggest what you listen to as a child dictates the way your music will come out. I wonder, too,  which other artists were present in the varied household of JoAnna Lee. With Stevie Wonder as a base; one imagines other Soul artists and contemporaries were played alongside him. For a youngster growing up in a fairly isolated part of the U.S. – not close to major cities in terms of music – a lot of her education and exposure to life would have come through music.

I can hear shades of Etta James in JoAnna Lee’s sounds and feel she was quite an important guide. Motown, Soul and R&B all swam in her head; she used this foundation and has put all of these aspects into her music. After those big artists got into the soul; she performed in wine bars and coffee shops around Oregon. It might be unfair to class JoAnna Lee’s music as purely Country and Singer-Songwriter. There are Rock elements and Pop suggestions; a bit of Folk and some nods to Motown. Nurture and the earliest memories of music are vital and can make a huge difference to a songwriter. I was brought up with so many different decades and genres; that has made me a more curious and open-minded writer – the reason I explore various parts of the musical world. If JoAnna Lee had a narrow and strict musical education then that would reflect on her own music. Regardless of the influence of Austin; the sounds would be less interesting and fail to stand out from the crowd. Instead; there is that fusion of new and old; all these sounds working around one another; an artist who has learnt so much from music – willing to give her all to the world. She graced the stage at the age of three and was raised in a family who played instruments and had that love of music. Her grandmother played piano and grandfather played the harmonica. Generations of the family took to music and that motivated JoAnna Lee to investigate and follow in their footsteps. It is clear there is a certain sense of inevitability when it comes to the passion that flows through the Austin-based songwriter’s soul. Having all sorts of instruments and artists in her mind as a child; there is no way she would follow another career and not be affected. That important and glorious exposure has made her a much stronger writer and more inventive performer.

It is because of all this past education and modern desire that means JoAnna Lee will be a big fixture of 2018. I feel she will continue to aspire and build what she does. I have mentioned a few artists that have got into her mind and helped forge who she is. We have a mainstream scene that has little of the magic and potency one hears in JoAnna Lee’s music. I think we should proffer and celebrate artists like her. Here in the U.K., we are talking about Pop and how the tastemakers are backing the newcomers to do sterling work. Grime and Hip-Hop were big last year and it seems like tastes are shifting. I am not sure what the predictions are regarding U.S. music but I feel the mainstream will change and incorporate new ideals. What I hope is the best new artists (like Lee) are given more oxygen and chance. She has carved out a name for herself in Austin but there is a big country out there to explore. The only way she is going to get into the consciousness is for the big publications and stations to do their part and realise potential when they hear it. Few would argue there is anything more the young songwriter can do. Her current L.P. has so many different sides and pleasures that every listener will find something they like. She has been playing local gigs and pushing her work out there; making sure every song has a different sensation and vibe. In terms of promotion and work; one cannot ask any more from her, for sure. I feel that determination and dedication is why JoAnna Lee will do wonderful things in 2018. It is hard predicting what sounds will rule in a year and which artists will stand aside. We can only take the word of journalists as a guide – it is not an absolute and sure-fire thing. I have been listening to U.S. music and the new artists coming out. JoAnna Lee is in a wonderful city and part of the U.S. that can foster her needs and hopes.

PHOTO CREDIT: Alex Hopes 

The first notes of Drinking by Myself as the vocals from JoAnna Lee. There is soulful strength and intensity but the sound is very much that of JoAnna Lee. If anything, I caught a glimpse of singers like Dolly Parton. That might be me leaping to conclusions but the initial seconds are a curious blend of Country, Soul and Motown sounds. It seems the heroine has been drinking alone and getting drunk. “If I only knew what men were thinking” she tells us. It seems too many have let her down and, through her life, offered little promise and faithfulness. The vocal instantly goes from that strident introduction to something soulful, soothing and classic. One hears that influence of Etta James as the heroine lets the lights down and asks these searing questions. I was invested straight away and compelled to see where the song goes. The heroine does not let the tears roll: instead, we get a mature and resolved woman looking around and asking where things go from here. If the man was honest from the start – and he was taking the relationship seriously – then JoAnna Lee would not be sitting by herself. It seems he was playing games out the trap and one of those guys who feels the need to lie his way through a relationship. That has created the cracks and distance; sees the lovers estranged and disconnected. It is a sad and emotional revelation but one that can lead to revelation and clarity. Although the heroine is drinking alone; one feels it is not a destructive measure: she is looking for company and would be drinking with her guy if he were straight and open with her. He is cowardly but she is not going to let that gets into her flesh. She is standing strong and determined not to let it fell her. The boy has been ostracised but she still has respect for him.

It is sad to imagine the heroine get drunk alone and envisage the man cheating and playing around with other girls. She is kicking herself for not seeing the truth right away. Those foolish moments of trust disguised the lines he fed her. I get a lot of Etta James in terms of the melody, vocal delivery and composition. This might be JoAnna Lee’s version of I’d Rather Go Blind.  That song looked at the heroine declaring her love and saying she’d rather go blind than see the man walk off with another girl. Here, there is less trust and dedication but the same intensity and emotion. This was no ordinary, shallow love: the two were stronger and deeper into things; it seemed like things would run longer and remain. I was following the story and – even though I watched the video – imagined the way she paced the floor and looked around. JoAnna Lee is in the room drinking wine; she is questioning her decisions and wondering whether other girls are being hurt by her former suitor. The strings wind and twang; there is something Folk-like and soulful about them – they entwine and delicately move around one another. The heroine is getting drunk and thinking about the men who have done her wrong. The need to find direction and discover why things have turned out the way they have is urgent. The melody and chorus is gorgeous and sublime. One cannot help think of classic Soul artist and modern Country. It is a fantastic combination that gets right into the heart. The gravelled, whiskey-soaked vocals unite with tender, soft tones and give the song two sides. You have the pontificating, passionate woman who wants to make changes and stop trusting those who cheat on her. On the other hand; there is the sense of loss and heartbreak that sees her medicating that pain with drink. By the end; you are on the side of the heroine and hope things work out for the best – the song is a sobering experience and one that will enforce the way she goes forward regarding men and trust.

So Free is an album as liberated and unshackled as its title suggests. One gets the feel of a young woman unburdened by the strains of doubt and love. Maybe there have been relationships that have dragged her down and caused too much sadness. I know she has gone through trials and chores but has emerged a stronger and more rounded human. It is worth listening to the record to get an idea of where she grew up and the sort of people she encountered. Based in Austin; the people there have inspired her to keep working and aiming high. The album looks at love and life in new ways and, in terms of sounds, draws from the childhood appreciation of Etta James and Stevie Wonder with all the sparks and sides of Austin. It is a compelling brew that one cannot ignore or argue with. I might not have done the album full justice but that is because it needs to be heard and properly investigated. Take some time out – on a cold and damp day – to get into the record and see what it is all about. Even if JoAnna Lee has experienced heartache and hardship: the music aims to warm the senses and get the listener into a safer space. That is what all great music should do I guess. We are all fallible, finite beasts and not immune to the unpredictable aspects of life. Because of that; we look for nourishment and stability wherever we can find it. I am not saying JoAnna Lee can cure all problems and fears with her music alone! She makes things a little easier to cope with. Drinking by Myself is a song that, on the surface, sounds quite exposing and lonesome but never damages the mood. You hear a song that looks at a transitional time and the strength that comes from realisation. It has been interesting reviewing it and how it all came together.

I would like to see the U.S. media take more time promoting JoAnna Lee’s music and taking it to new audiences. I am not sure what her touring plans are but she has the chance to get to various part of the country. I hope she gets to L.A. and Nashville; explores wider afield and ensures the country falls for her sounds. Maybe she will come to the U.K. next year? That would be great and I know she will get plenty of attention here. Perhaps money and a lack of time mean she will stay in America but I feel she could find new fans over this way. We do not have artists like her here – who do the same thing – so we could benefit from her presence. That will be down to her but 2018 is a vital year and one where she will get big focus. So Free is an album that proves what a stunning talent JoAnna Lee is. I have every faith she will transition from a celebrate Austin artist to one of the brightest musicians in new U.S. music. Ensure you support her music and dedicate some time to see what she is all about. Few artists like her exist in modern music so we need to preserve and promulgate them as much as possible. It has been a busy and exciting year for the young artist: the next year will see, I assume, more music and that drive to get to as many people as possible. A passionate and modest talent who wants people to involve themselves with her music; a striking voice and unique star in the music sky…

WE all need to follow.

_______

Follow JoAnna Lee

 Official:

http://joannaleemusic.com/

Facebook:

https://www.facebook.com/joannaleemusic/

Twitter:

https://twitter.com/joannaleemusic

SoundCloud:

https://soundcloud.com/cutmorerecords/sets/joanna-lee

YouTube:

https://www.youtube.com/user/JoAnnaLeeVEVO/videos

Spotify:

https://open.spotify.com/artist/5XafLLr98rg0ANFPv12KFK

TRACK REVIEW: Little Sparrow (ft. Robin Dewhurst) - Tender

TRACK REVIEW:

 

Little Sparrow (ft. Robin Dewhurst)

Tender

 

9.6/10

Tender is available via:

https://www.youtube.com/watch?v=W21bt7TJDWE

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Manchester, U.K.

RELEASE DATE:

7th December, 2017

_________

THERE is something appropriate about…

reviewing Little Sparrow’s latest track on Christmas Eve. Featuring Robin Dewhurst; it is a song that talks about familial importance and putting things into perspective – it is almost like I know what I am doing! I will mention the song’s origin in a minute but, before then; a look at a few different subjects. I want to look at the collaborations one finds and the perfect blend; the support of radio stations and getting important bodies behind your work; I’ll talk about inspiration and how real-life is still the best source of inspiration; Manchester and how it is an area I am more and more excited about; Folk songwriting and how the voice is an asset that cannot be overlooked; music in 2018 and launching a fresh assault; how the best artists always develop and overcome anything that comes their way. I am tired of scrolling through Spotify of a Friday – when I am collating the songs together for my weekly Playlist – and seeing all the songs that cram as many bodies into the pack as possible! There is such a nauseating, commercial aspect to songs that bring artists together. Gone are the days of Kiki Dee and Elton John; Kirsty MacColl bringing something magical to Fairytale of New York: some classic duets that have lasted through the years. Even if it is an instrumental incorporation; I feel too many artists, these days, are joining forces so they can get a credit on a song – and, therefore, get some heat on streaming services and a bit more recognition. The best collaborations, whether vocal or instrumental, is when there is a great story behind it – or when the artists bring something unique into the song. I am not sure how Sir Elton John and Kiki Dee found one another; whether Kirsty MacColl knew The Pogues before stepping into the studio – the way the voices connect and blend is sublime. We do not really get a lot of collaborations now that are essential and seem perfectly-suited. Some are quite well-judged but too many suffer. It is odd we have not seen a modern-day classic, in that sense.

I am seeing new music fare much better in this respect. Little Sparrow (Katie Ware) is synonymous with her voice and the way she can own a song. Bringing someone into her magical and heady world might seem like a problematic transition and modification. Could anyone, regardless of their bond with Little Sparrow, adapt and assimilate their talents into the fold?! That is something that has been answered by Robin Dewhurst. He is a pianist and composer and, as I shall talk about, met Ware in a very special situation. Although the predominant element of Tender is Little Sparrow: one gets something different and unexpected coming out in the song. Those used to Little Sparrow and her Folk-cum-Singer-Songwriter machinations might take a little while to absorb something I have not heard from the young talent. It is not a huge departure but one can hear new angles and inspiration coming into her music. With more material promised for next year – more on that in the conclusion – I wonder whether the Little Sparrow/Dewhurst unity will provide further progeny?! That would be exciting to see, for sure! Their meeting is a rather special and unusual one; they work together really well and they seem natural and comfortable together in a musical setting. It is wonderful seeing them collaborate and produce a song that has a very personal message – one that can be understood and appreciated by everyone out there. If you hear two artists come together (or more) that sound completely in-tune and brilliant; that can lead to something remarkable. Against the proliferation of aimless hook-ups and jam-packed songs: finding something pure and perfect like this – with Little Sparrow and Robin Dewhurst – is a breath of fresh air. Not only, in Tender, do we get two musical talents fuse their voices (literal and musical) into a great song; there is something ultra-Christmas and wintery about their names alone (we have a Little ‘Sparrow’ and a ‘Robin’ flying together!).

I am a huge fan of BBC Radio 6 Music and one can only imagine Little Sparrow is, too! She has been backed by the station and I have heard her current single played by them. One of the biggest names who has thrown his weight behind the Manchester artist is Chris Hawkins. I know we have bird-overload here (Hawkins is referred to as ‘The Hawk’ – seeing these three birds fly together is an odd sight!) but it is great something like Hawkins invested in your work is no small honour. I have heard him talk about Katie Ware and pay tribute to a remarkable artist with a voice like no other. I know, as more material comes from Little Sparrow, we will see the station get behind her and more of their D.J.s add their praise. Hawkins is someone I have a lot of time and respect for – the fact he is so excited about Little Sparrow should give her camp a lot of pride. The station is one of the most influential in the country and I think, once you get kudos from BBC Radio 6 Music, you can pretty much sit back. Not to say Little Sparrow will but I know 2018 will see her music taken to heart by them and spend a lot of time on the station. Hawkins and Radcliffe are two D.J.s who have realised the majesty of Little Sparrow but, knowing the kind of music played on the station, other D.J.s will play her music very soon. Maybe we overlook radio and see it as a thing of the past – given the power and dominance of streaming services – but it is still the most important way of getting your music to the masses. Many overlook it or pay comparatively little focus to the medium. It is all about streaming figures and getting (a song’s) figures wracked right up. Something as simple as contacting a radio station or making it more visible to them is a lot more important, in my opinion.

The radio is where most of us discover music – or have done, at least – and its appeal and lure will never go away. More and more of us are tuning in so, if you get your music noted by a big broadcaster, that is something you can be very proud of. Naturally; Little Sparrow will look at the streaming sites and get her music out there but the fact she has some big names invested in her music shows she realises how important radio airplay is. I know this will continue into the New Year and we will hear a lot more of her music in our ears. All of this celebration and BBC Radio 6 Music-backed applause is not as a result of one song or chance: Katie Ware has been crafting her music for years and has built up a solid reputation. One can chart her trajectory and realise she has put her heart and soul into everything released. Since Wishing Tree (the album released in 2014), I have been following the progress or a fantastic songwriter. It is no wonder she is getting into some prominent ears and has gained that appreciation. As I look into 2018; I know Little Sparrow and Shay Rowan (who works with her) will look at stations like BBC Radio 6 Music and BBC Radio 2 and see how her music is received. Hawkins has thrown his weight behind her work and I know he will continue to back her into the coming year. I know local radio – through Manchester and down in London – will turn onto her songs as will some of the big national brands. I will end this review by looking at international possibilities: the overseas market is somewhere I would expect Little Sparrow to explore very soon. Radio, for all its accusations of being a relic of past days, is as relevant and popular as any time in recent memory. With digital options like BBC Radio 6 Music bringing people in; artists need to understand that it is the most important platform in terms of promotion and exposure – Little Sparrow fully understand this.

I said I’d mention how Robin Dewhurst and Katie Ware came together – how Tender came to be, as it were. Last year, she (Little Sparrow) was given a late offer of the chance to play at Kendal Calling festival in the area known as Tim Peaks Diner. Tim Peaks is the brainchild of Charlatans frontman Tim Burgess and is, in their own words: "...is somewhere where - in addition to the scheduled list of quality live artists, D.J.s; book readings, food and coffee - those in attendance can expect the unexpected with surprise treats and secret performances". Hosting the day was BBC Radio 6 Music and BBC Radio 2 presenter Chris Hawkins. Pianist and composer Robin Dewhurst had also been invited to play there. (Robin is the father of Blossoms guitarist Josh Dewhurst). Both Little Sparrow and Dewhurst were then approached by the Tim Peaks F.M. team with the idea of working together to cover a classic Pop song in a totally original style - and then make a recording of it which would be made available as a limited period download from Kendal Calling. The track they were given was Baggy Trousers by Madness! It is a big challenge by anyone's standards but Ware and Dewhurst (assisted by Ware’s cello player, Sarah Dale) produced a wonderfully original reworking of it. They were then asked to perform it together live at Tim Peaks Diner - which they did to great response. They really enjoyed working together and said how it would be nice to do something more - but timing wasn't on their side at that point as the arrival of Katie's baby boy was imminent. They picked up on it again this year, however, and Tender (her own composition) was born. One can see the scenes and imagine that first meeting between Ware and Dewhurst. Having that wonderful setting and magical occasion; it was only natural they would make material together.

The song itself is about the importance of family and the memories they provoke. Ware asked her family and friends for their memories; to provide photos and snaps that they felt were special. Ware compiled them and, with her own family in mind, produced a song – alongside Robin Dewhurst – that summoned up the role of family. It is quite appropriate, at this time of year, the song should come to light. It is a time when people are congregating and we are thinking more about our homes and hearths. In a wider sense; Tender provides perspective and realisation; it is a moment that makes you reflect and look at your own life. Too many songs deal with love and personal concerns: this is a much more open and involving track that brings the listener in and makes them consider life, family and their role. That unique and exciting coming-together of Dewhurst and Ware is something that, I hope, will see fruit blossom in 2018. I know there is an E.P. coming but let’s hope they continue to conspire past that release! We often see bands and songs formulate but never really ask about the formation and inspiration at all. I am interested in how music is written and why artists pen what they do. If a solo artist brings someone else into the fold then it is always good knowing how that happened and where it will lead. So many artists neglect that and do not tell the listener anything – they are supposed to piece it together and discover it for themselves. That is not the case with Little Sparrow and Tender. Real-life inspiration is, to me, the most effective source. From the classic bands of the 1960s through to the present-day acts; those songs that lodge in the heart come from personal backgrounds – it makes a big difference and means you are much more likely to return to that song.

I have spent a lot of 2017 involved with London and the music coming from there. We often forget there are other areas of the country and why it is important looking at other parts. Manchester, as I will write about tomorrow, is becoming more and more popular. The city has always produced world-class music – from The Stone Roses to Oasis – but, in modern times, the focus has been put elsewhere. New acts like PINS and False Advertising are offering female-led Rock/Alternative sounds and could really shake-up 2018. There are some great Pop artists coming from Manchester and brilliant Folk sounds – as typified by Little Sparrow. It is the variation and quality that really amazes me. Consider Katie Ware and the sort of sounds she combines. It is a fulsome and colourful experience that has a trembling heart and swooning high – it takes the mind and body somewhere special. Listen to the likes of False Advertising and you get something more instant and physical. It is a city that always provides the goods and has that astonishing legacy behind them. I love the classic acts of the 1990s and how they changed music - but I realise those days are long gone. The attention is shifted to London and you know Manchester has less of an impact/role than past days. That is no fault of the artists but the way the media is addressing music. The city’s people are different to London and you get something different with Manchester. I know all the biggest labels and radio stations are in London but we overlook the North and how crucial it is. I will expand more on the subject tomorrow but hope more eyes cast the way of Manchester (and Northern cities) later in the year. Little Sparrow shows the quality and variety that is coming from the city; why we should be excited and keen to focus on this part of the U.K.

Before I look at the latest track from Little Sparrow; I will look at Folk and how the voice can get into the head. Katie Ware is a singer you listen to and do not forget! She has that immediate effect and, when you hear one of her songs unfurl, it is only a matter of time before it resounds in the heart and stalks the memory. I am not sure whether she had any formal training but there is so much natural intuition and passion in the tones. I am obsessed with the voice as, I feel, it is the most important element in any song. It is the instrument we ignore and, I wonder…are there any modern-day voices that can rival the legends? There are some modern stars noted because of their vocal prowess but there are far fewer than the past. Maybe it is more difficult standing out from the crowd and adding anything new to music. That said, with artists like Little Sparrow around, there are some that have immense grace and potential. I am loathed to compare her to anyone else because there is the distinct and unique air to her presentation. (Maybe Eva Cassidy or bits of Stevie Nicks?!). It is a blend that, as said, gets into the heart and makes your mind wander and float. Little Sparrow’s music can be considered Folk-based or Alternative. She has strands of classic Folk artists like Joni Mitchell but has a very modern aesthetic. There are acoustic strings in the mix but Little Sparrow employs piano, strings and, as we can see with her latest work; she has joined forces with a fantastic composer/pianist. The song itself follows on from her previous work but there are new elements in terms of lyrics and music. Tender is one of the most personal songs from Little Sparrow – past songs have looked at fantasy and dream-like situations – and I wonder whether a future E.P. will go down the same lines. Katie Ware is someone who can take any song and really make it shine. The way she approaches music and her performance talents are far superior to most artists out there. She takes the basis of Folk and adds aspects of Classical, Soul and Singer-Songwriter to the remarkable blend.

Aching cello and far-off, haunting vocals open the track. One hears Ware wordlessly eliciting and stunning from the shadows. Her voice floats and glides; it gets under the skin and amazes with its beauty. The cello adds something striking and stern. It is a great contrast that means, rather than creating split in the early stages, provides a complete whole and sense of unification. One gets a real emotional hit before any lyrics have been sung.  It is no surprise the recording of this song inspire more material – you can hear how involved and committed Little Sparrow is. Alongside cello work by Sarah Dale; Robin Dewhurst comes in on the piano and provides something balletic, romantic and touching. His performance is as beautiful as Little Sparrow’s voice and gives the song impossible tenderness and grace. It is a shivering and tremulous coda that makes the listener reflect, react and buckle. The heroine comes to the microphone and is in a patient mood: “I sit and wait for you to take your time” is a wonderful line that has a contradiction and clever wordplay. It is oblique and intriguing; the heroine does not mind waiting because of the subject. Maybe it is a family member or someone who is struggling. From the bird-like, angelic sounds of before; Ware’s voice is more concentrated and deeper. It has a conversational, empathetic sound but maintains its beauty and incredible spirituality. The song’s subject goes into the room (of the heroine) and sits upon her bed. They put their hands on head and you can get an impression of what is happening. Whether an older relative or parent; going into that room – I imagine a lot of white and autumnal colours; something quite English and modest – and sitting on the bed. Maybe memories flood back or it is a sense of sitting in a quiet place and absorbing everything. No words are exchanged but one gleams a lot from the movements and footsteps in Little Sparrow’s room.

Tender words cannot say “what I’m dreading to hear from you” – life is “too short for this”, it is said. The subject is too good for this, whatever that may be, and it seems the world is not ready for their sense of dignity and respect. The way Little Sparrow’s voice reaches a high reminds me of Joni Mitchell. One gets the sense of albums like Blue and For the Roses. One hears the spirit of Mitchell swim in the veins of Little Sparrow as she sends shivers up and down the spine (and places you did not know you could get shivers!). The song, as it progresses, is about loss and someone who is not long for the world. They have, perhaps, gone too soon and there is a definite sadness coming from the song. Dewhurst’s piano is respectful but adds raindrops, tears and a comforting shoulder. It is amazing hearing the textures and fabrics unveiled in the piano. So many different emotions and ideas are expressed; they fuse perfectly with Little Sparrow and the extraordinary vocals one discovers. Maybe it is an elderly relative but that bedroom scene gains more relevance – maybe the last time they will sit on that bed and be in that house. It is a raw and heartaching consideration but the song is never too full-on and exposed. If Little Sparrow exulted too many tears and pain from the voice – and from the piano – then that would make the song too forceful and intense. She balances the sorrowful with the serene. You get a nice mature that means you are sad and supportive but never feel oppressed and too depressed. Tender is a fitting title for a song that looks at realisation and age. Little Sparrow is young so was not expecting something so harsh and unexpected to come her way – one learns truth and lessons when they are older. Ethereal backing vocals melt with the foreground and create layers of beauty and light. It is a song that affects you upon the first listen and shows Katie Ware has lost none of her skillset, quality and songwriting ability – it might be the best song she has created! Robin Dewhurst adds his talent to the song and helps produce a song that is as rapturous and epic as it is pure and emotional. I, for one, am looking forward to more material – if it is as good as this then it will see Little Sparrow richly celebrated by the nation’s biggest radio stations.

Next year is going to be a very important one in terms of changes and consistency. I feel new genres will come to light and Pop will mature and alter. I feel Folk has a big role to play and artists that have a more contemplative and soft dynamic. Little Sparrow will release an E.P. early next year and it will be her first release since giving birth. Family commitments are important but she has had to incorporate motherhood and those duties into her regular life. Some women, who work in music, might change their course and priories when they become a mother. Maybe newfound happiness means their music features family heavily and departs from what they usually create. Although Tender has family connections and base; it is a song that includes everyone and does not depart too hugely from her past work. I guess maternal roles and the changes in life will come into the new E.P. but I know Little Sparrow is someone who will not change who she is because she is a mother. It is a nice way of asking whether the music will become too soft and child-obsessed – I know she will continue to produce material that takes the listener into her bespoke, mystical world. The year ahead provides the opportunity for fans and followers to discover new acts and get behind artists who will make a big impact. Little Sparrow has a great and growing fanbase – and fantastic support - and will see her music get out to the people. It already has the support of names like Chris Hawkins - so I expect that sense of ambition to continue. Tender brings Robin Dewhurst to the fold and he adds something very special to the song. I am excited to see where Little Sparrow flies and what she can accomplish in 2018. Here is an artist that entrances with her voice and weaves stunning, original songs that place emphasis on visions and imagination. You do not get the ordinary and run-of-the-mill with Little Sparrow!

I wonder whether international dates will be part of the plan for 2018. Obviously, with a new son; Little Sparrow cannot take the music too far for a long period. I know she will be excited to get her new music out there but how much of a radius can she impose? Will she be able to spend time abroad for any period of time? I know there are plenty of sources and venues in Manchester she can explore but more time further this way is a possibility. I feel she could play at a few London venues and areas like Brighton. There are many fans in the South that would love to see her so I wonder whether that is a possibility. The North is teeming with quality and possibility so she will put a greater emphasis there. I feel nations like the U.S. and France – seems random but they respond well to the sort of music Little Sparrow is playing – would welcome Katie Ware in and give her a home. It is always a case of timing and money when you embark on international dates but is a time where she can strike and clean up. Maybe she will wait for a while longer before going too far but the U.K. is a huge area where she can make an impact. I am pumped and ready to see Little Sparrow grow and come back from a slight break – if you can call pregnancy and giving birth a ‘break’. I shall leave it there but am very glad Tender is out and we are hearing new stuff from Little Sparrow. That meeting with Robin Dewhurst, and what he brings to the song, has provided new impetus and drive to Little Sparrow. 2018 will be another big year for her and one where she can make some serious headway. She is a hard-working and dedicated artist who puts her all into everything. Tender is a beautiful and wondrous song that means, with Robin Dewhurst, Katie Ware’s Little Sparrow…

IS truly back in business!

_______

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PHOTOS (except the single cover): 

Shay Rowan