The Ruckus- You Only Like Me Coz I'm In a Band- Track Review

The Ruckus-

'You Only Like Me Coz I'm In a Band'

Track Review:

8.8/10.0

Halifax boys have a familiar sound, but are a very different kettle of fish.

Availability: 'You Only Like Me Coz I'm In a Band' is available via http://soundcloud.com/the-ruckus-band/you-only-like-me-coz-im-in-a

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Don't let the band name, or familiar tones ward you off...

because a quick Google search may provide fruitless, at the best, partially successful. There is a band in the U.S. with the same name, as well as companies and other such avenues. It is a good name for a band, but wish there was a sophistication amongst search engines, where you could narrow searches down to bands, locations and such. Anyway, I shall get more into the band, shortly. For now I am going to be a musical Michael Palin, as I go on a rather curious- albeit unambitious- traversing of a special part of England. More specifically Yorkshire. There has been a commodious outpouring of super talent from the west of Yorkshire. In such a large county that comprises vastly evocative countryside, and breathtaking beauty; a lot of the inner cities have had a hard time recruiting followers and converting people to a musical cause. There is terrific music talent in the likes of Leeds and the stables of Cuckoo Records. I have harked on about and flapped my gums many a time about the merits and profitability of the charming record label. But people bang on about Rough Trade Records, and there is as much diversity and potential to be found at Cuckoo, as there is within the London label. Cuckoo has the alluring sexiness and infectious jazz of Little Violet; the Detroit blues-cum-Yorkshire grit man Jonnythefirth; right through to the pastoral folk of Amber States; it is a brooding cauldron of magic, mystery and intoxication. Over in Bradford, there is the talents of Abi Uttley and Marc Otway. Marc is a stunning songwriter and guitarist, and has the potential to be a huge talent, imbued with a Jake Bugg/Alex Turner grip on the modern pulse, and the surging guitar chops of Johnny Marr. Abi is an alluring and stunning songstress with a staggering voice and heart-melting looks; together they are going to be a massive future proposition. 21 miles to the south-east, is a charming, and metropolitan district of Wakefield.

Humorously- or perhaps with quiet reserve- the band of men The Ruckus, shyly state that they hail from that "small town" of 76,000. One suspects that there is an international naivety. A lot of American and foreign T.V. networks and record labels are stunning naive and stereotypical when it comes to England. They assume we are all either Danny Dyer/Dick Van Dyke rabbits in the hat; either sweeping chimneys and dancing on Victorian rooftops, or surveying the streets of east London, looking for some slags to teach a lesson. It is all billiard halls, Union flags, and Guy Ritchie films. The other side is the majority viewpoint that we all have butlers, have concrete upper lips and talk like Keira Knightley and Helen Baxendale. We all say 'gosh' and 'golly' too much, stand in red telephone boxes and go down the local ale house for a game of arrows, before sitting round a piano singing WWII knees-up tunes. It is a nice image but one reserved for bad (read most) Hollywood interpretations of England and the English. People get shot, stabbed and join gangs here. A lot of the U.S. have no ideas places like Leicester, Brighton and Wales exist. They have no idea where Canada is, either, but that is a damning indictment on the U.S. education system. My point is, that people who live farther afield than the north of England, and certainly live overseas, are unaware of what Wakefield is, exactly. There will be a time, I hope before I die, where there will be a global awareness of the hot-spots, bustling towns and countryside wonders of our island nation. We have produced the greatest musicians in history, so the world needs to catch up. Whilst I wipe the angry spit from the screen, let me introduce The Ruckus. Aside from residing in a historical town, the boys are, Greg, Patrick, Darren, James and Jack. They have a classic 5-piece formation, with each chap taking on an instrument and owning it with authority. They are fresh-faced and curate a mixture of "high energy dance" and "sing along songs". They have an E.P. due very shortly, and have spent this year writing a load of new material, from funk-driven gems, to monster-riff beasts. They have toured the local circuit, and won approval from local radio stations. Following on from the fervent approval of Yorkshire, their sound has been noticed and premiered by BBC 6 Music, and the band have been touted as future festival headlines, with fans left in wonder by their memorable songs and energetic and captivating performances.

I have been tasked with giving a review to their new song, 'You Only Like Me Coz I'm In a Band'. It has a sense of Juvenilia and northern late-night street spirit in the title, and the song and band name, and your reaction to the song, will be subject to Munchhausen Trilemma, and the circular argument. I shall explain more, in the conclusion, but for now; on with the song! Before I point out some obvious influences, the band themselves are keen fans of Oasis, Bloc Party and The Who. The intro, however suggests, a debut-era Arctic Monkeys, with slight edges of Queens of the Stone Age's eponymous album. It is the Monkeys that the boys sound most similar too. With fastidious myoclonic jerks of guitar, there are early shades of the near-neighbours. The intro ducks and weaves, punching out at intervals. The guitar is heavy and brooding. It has a jumpy and loose feel, injecting a youthful vibe to it, as well as a mature authority too. With hints of 'When the Sun Goes Down', 'From the Ritz to the Rubble', and 'Riot Van', it will cause a simultaneous curious intrigue as well as an outpouring of ambitransitive verbs amongst the educated and uninitiated, alike. It is a powerful and potent intro, that also a Michael Jackson 'Beat It' kick to it. As there is a mutated fleck of Queens of the Stone Age's 'Misfit Love', the drum clatters and gleefully bounces, as the band pull out the effects pedals, and a beautiful wailing 'wah' is brought into the mix. It is the mix of funk, northern indie rock and U.S. stoner rock, that blends wonderfully to lodge the song into your mind, without a word being sung. Luckily there is no Alex Turner drawl, when the vocal comes. It is a lot fresher and more energetic, with a keen edge. The lyrics are spat and tumble, almost with a rap/hip hop pattern. If you imagine Sugarhill Gang's 'Rapper's Delight' with a flavour of mid-career 'Stone Roses' psychedelia, then you are half way there. The lyrical tread a modern minefield of cultural and social divides. The band speak of someone who is not exactly an oenophile, seeing as they "only know what (you) see around town". There is a lot of Liam Gallagher-esque swagger to the vocal. The Yorkshire accent does come out quite convincingly. Most bands would try to inject U.S. accents or try to distill their own voice, but it is admirable that Greg doesn't; he sings as he finds, and sounds as he means. He can live up to Nero's dying words, without a hint of irony or over-exaggeration. There is a sense throughout, that, whoever this hanger-on and fake ligger is, they are not appreciated. They are keen to be disingenuous and hang out with the boys, but only do so because they are in a band. Whether the central figure of this tale is a male friend, or as I'd suspect, a potential girlfriend, they have been caught out. The band combine an infectious and scuzzy kick in the nuts of a riff; with some ragged swaying psychedelic bliss. The drums are fierce and powerful; it may have been nice to hear them more in the foreground, as they are potent and have a grunge rage to them, when required. As the song progresses, it does so without dropping pace, or easing up on any ministerial finger-wagging. When our villain is seen in rather suspect circles it is asked "Do you want to have fun?/So leave them behind", but seems that that will never happen. Just after 1:30, the anger seems to be too much, as the percussion thrashes and drives; the guitars and bass ramps up and begins to kick, like Zorba the Greek in its crescendoing latter stages. With a group/gang chorus of "get 'em off for the boys"", that is chanted fiercely, again with Arctic blasts, the vocals capitulate and there is a guitar/drums/bass battles as they tussle, collide and wrestle, as we come to an end.

There are no real negatives to suggest. I have yet to hear too many of the band's past and present, but on the basis of this song, there are a lot of similarities with Arctic Monkeys. This is okay in small doses, but there is a heavy leaning at times, especially in the intro, and chanted passage near the end. The Sheffield boys' debut was released in 2006, and there has been a cloying raft of late teen/early 20-something bands, looking to cash in and counterfeit the cachet and sound of Turner and his boys. In the same way that The Libertines suffered a same fate; they are now dead and buried. Arctic Monkeys have a new album coming out, and I hope that there will be experimentation and a widening of the sound, for future releases for The Ruckus. As it is likely the two bands will go head to head (although in different venues, circles and radio stations), the comparisons will come thick and fast, and being mentioned too frequently with existing bands, could be a first nail in a creative coffin. In the same way there are shades of The Stone Roses too, but it is less obvious. Th vocal is well produced and has a great clarity, but I would like to see as much focus given to drums as there is to guitars and bass. Jack Spencer is a powerful and future sticks master, and would be good to hear more of his voice in the mix, as well as that of the other 4 boys. That said that is about it. Less reliance on certain influences and perhaps a little more emphasis on the percussion section.

Those are the only real gripes. I have an attuned ear for such things and have a savant ability to be able to detect the geneaological roots of vocals and guitar. In the same way too the guitar sounds have a lot in common with Arctic Monkeys and Oasis. The band as a whole have a huge confidence. I would not have given the song such a high rating, were I genuinely concerned that important long-term career considerations had not been taken into account. The lyrics throw a cheeky wink to The Libertines' 'Boys in the Band', and run similar lyrical themes. The words are modern, sharp and have a northern wit to them, and suffer no ill comparison. The lyrics are sharp and genuine, and are kept simple enough to be appreciated by a large number of people. The riffs and composition is catchy and will drive into your skull, as there is a lot of power and guts, combined with a rare beauty lurking under the skin. The vocals are refreshingly heterogeneous and unique. There is clarity and consideration given so that the lyrics can be heard, but also breathless enough, so that you are swept away with them. In essence the band need not worry, as I know full well they have a growing and beloved fan base, that will bolster their confidence and ambition. They have a lot of tricks and aces up their sleeve, and can mix styles effortlessly. It is also rare to see such an authority from such a young band, as most bands currently getting similar airplay and credit are a lot older.

If you are unfamiliar with the music of Yorkshire, then liven up. Manchester, Liverpool and London get a lot of attention, but new bands that emanate from any other town or city, sometimes have a hard struggle trying to capture a similarly excitable collective imagination. The future of exhilarating and festival-headlining bands and acts will be coming from Yorkshire, so it makes good sense and is a solid investment to place your chips on this part of the map. Listen to The Ruckus, and delve a bit deeper into their annals, and see what all the fuss is about, as they are going to commanding a lot of air time when their E.P. is unleashed. Years, time and confidence will steer them to the right of Turner's crew, as they collate memories, stories, and fresh inspiration. If you are wise enough to give the guys a good hearing and a lot of time, then this is the perfect place to start. It was Friedrich Nietzsche who said: "The surest way to corrupt a youth, is to instruct him to hold in higher esteem those who think alike, than those who think differently". Have no fear, though...

this year will see them defy all expectations.

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Official:

http://www.theruckus.co.uk/

Twitter:

https://twitter.com/Theruckusband

Facebook:

http://www.facebook.com/ruckusbandmusic

YouTube:

http://www.youtube.com/ruckusbandmusic

MySpace:

http://www.myspace.com/ruckusbandmusic

The Cornerstones- Smack Me In the Face- Track Review

The Cornerstones-

'Smack Me In the Face'

Track Review:

9.6/10.0

West London quartet have a sterling ethos and Wildean wit; they're capable of kicking from the gutters... and hitting the stars.

Availability: 'Smack Me In the Face' is available via http://www.youtube.com/watch?v=En5V6knnje8

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Following a somewhat fruitless and unappreciated/unseen review...

of Queens of the Stone Age's new single, I return to the reliably nice, and appreciative market of the new act/band. They are predominantly filled with thanks and kudos, and most are touched that someone takes the time to listen to their music, and write down their thoughts. It is invigorating, and makes up for that small number who never both to get in touch- compelled to do beneath the absolute bare minimum. No matter; you can't please everyone, and there is rife egotism and cold shoulder personalities within the music industry. I prefer to remain a casual listener, and judge on the strength of music, alone. Personality often spoils good acts. Although the nicest and sweetest people, make you feel proud, and I was compelled by the friendly banter, all-inclusive spirit, and bros-before-foes attitude. I shall speak more about the band, shortly. It is a turbulent tide that sweeps bands in, and a cruel and unforgiving sea, that can pull them under. There is- at the moment- a dissipated range and girth of bands. They are like colour samples. There are your base colours; the obvious blues, oranges, greens, reds, purples etc. But, being the 21st century, people in the paint industry got bored and decided we need 250 variations of each colour- each with pretentious or stupid names. It might be a man's perspective coming through, but although choice is good; there doesn't need to be so much choice. Sometimes, when you offer too much of a similar colour or product, instead of making things easier, it can just be confusing and needless. If we extend the colour parable, to the music industry, there is an even more fervent extension and continuation of the principle. For every original or established act, there are clans of new, eager bands, essentially who say the same thing, but in a muted or subsidiary way. If you are influenced by, or similar to a classic or established act, you need to subtract or equate a proportion of their aesthetic, in order to become new and unique; simply restating or painting on a similar canvas, with lighter transmutations is not enough.

Refreshingly, there is no karaoke sub-par referencing, or too-close-to-the-bone fakery amongst the ranks of The Cornerstones. Oh no; far from it. Richard, Daniel, Karl and Ryan, are the collective, and have been gigging and gelling and cementing their sound for a while, now. They are based out of west London, and are one of a few bands currently emanating from these parts. For all the diverse geography and areas of prosperity in the west of the capital, most of London's music originates from the south or east. With thousands of followers and fans between Facebook and Twitter, they have had some prestigious radio play, exposure, and a lot of people talking about their music. With a comparative scarcity of personal information about the band members or their influences, they keep some cards close to their chests; choosing to let the songs themselves do the talking. They are a group who understand the importance of substance and style over any social media celebrity or over-exposure- they are at once mysterious and populist. The boys already have a full-length album to their name: 'Begin To End- Vol. 1' It displays a mixture of their trademarks sound, with a relentless energy and experimentation, and gained them many new supporters, eager to sea the tracks performed at a venue near them.

The first thing that thrills you about 'Smack Me In the Face', is the thrill. The intro builds from a slight echo, that leads to a riff that is hard and has some scratchier, tougher metal tones to it. It is the sort of thing Nirvana, Soundgarden or Judas Priest might produce. There is a lot of blood and sweat, and a whole lot of intrigue and danger. The rumbling guitar capitulates as a softer electronic and drum duet begins. The guitar is pointed but rhythmic; it is kept simple to set the mood, and provide a stark counterbalance, from the hectic and bustling atmosphere. The drum thuds at intervals; every 3 seconds or so; employed, one suspects, as a metaphysical punch, or sense of violence. As the guitar mutates, to a more confident and strutting beast (it remains soft, but audibly skips and walks; skips and walks); the vocal comes in. There are imploring tones in some of the initial words: "Take me from this place". There are tones of Mancunian legends Brown, Gallagher, Ashcroft, and as well as a hint of The Bluetones. I also picked out hints of Lennon in places too. Above it all the vocal is a hard one to pin to any other singer; it has its own strong independence, whilst infusing some edges from some of the greats. The combination of emotional and strong vocals, combined with effective lyrics and a classic rock/hard rock musical template and curiosity, it is an invigorating and exciting start. Curiously there may be a hint of Bowie, as at 0:35, as the studied and consistent arpeggio of guitars, turns to a romantic flourish. Any tension that was there, has been breathed out, and the musical mood is more of a meditative mantra. I detected a sound of, perhaps, Crowded House, when the words: "Is this really love?/Is this really life?". After the melodic and choired pre-chorus hum, the signature and structure changes; as we are back with "smack my in the face" protestations. Our protagonist has intentions and ambitions to be taken far away, and get away from the mess and sheer chaos that seems to be unfolding. There is never any brooding or violent mood; everything is kept level and composed. The music switches from a '90s pop/'60s-'70s classic template the one moment, before seamlessly swapping it for the more haunted simplicity. The tone of being isolated and being suspended, helplessly in space; a metaphor for emotional uncertainty and loneliness. When the words "I hope I find my way back down to Earth" are sung, they are down so with elongation and syncopation; it increases the sense of longing and hope. Things are in a little disarray, and whatever preceded the heartache and sadness, there is a sense of wanting to return to status quo; or what is considered 'safe' or 'secure'. It is a refreshing tactility that the band employ. There is no needless cluttering when it comes to instrumentation and articulation. The vocal is strong and endeavouring, and the band support that, conjuring a combination of classical, pop and rock. I mentioned elements of Crowded House; there is a little bit of their populist and heart-warming spirit, circa-'Woodface'. There are little bits of 'It's Only Natural' and 'Chocolate Cake'. There is a pleasing edge of the brothers Finn in the harmony vocals, and The Cornerstones manage to employ an Antipodean warmth and live up to their band name, by being able to bring together and intersect a tri-continental influence; with shades of the U.S. being heard previously during the verses. When the line "send me into space", is unfurled and impassioned, there are smacks of Suede in the vocal belt and sway. It is exciting the way that so many slight hints of classic singers can be incorporated so deftly; there is never any sense of misappropriation or pilfering; that voice is pleasingly original and fresh, in a time where there is too much mimicry and senseless second-rate tribute. This is an exhausted bliss; a drop, after 2:15, when the sound of- I am wondering if it is electric guitar or piano- plays romantically, with intention. There is some echo and effect, and the drum tees up and heralds the arrival of an emotional and sonic obsolescence. The ghostly, broken machine howls, as the vocal returns and takes us into land- or leaves us floating in space?

I have known of the existence of The Cornerstones for a while. A friend of mine has been promoting and extolling the virtues of the band; compelling me to have a close listen to 'Smack Me In the Face'. It is a track that will stick in your head for a while. Whether it was the band's intention, but it is the music itself that hits hardest. The combination of percussion, guitar, bass and piano (if there is no piano, forgive me!). It the simple but effective composition that grips me. It changes pace and style, but always moves the song along, and holds you in its grasp. The vocals are strong, memorable and extremely modern and authoritative, yet has shades of past masters and legends as well. The band have a kinship and tightness. They know each other so well, that there is no sense of nerves or mistrust. They emphasis one another, and blend their sounds and parts together superbly. The structure of the song is unexpected. Most bands may plump for a verse-chorus-verse style, but here there are shifts and changes. A lot of words and phrases are repeated, and is the decision to focus on the quality of a few lyrics, rather than fill the track with several verses, that hits the high notes. They have a combustible energy, as well as a tender soul, and know how to pattern a song so they can be as potent as possible, in the shortest times. I have said that many bands rely too much on a lot of guitar noise, attitude, and a hailstorm of lyrics. Effectively making sure that they throw everything against the wall, sacrificing quality and discipline. I have listened to the band's catalogue and a lot of different song. It is stunning to see the range of sounds and moves they make with each track. If you are a new fan, or simply are unaware of this song, check them out today. Because it's safe to say...

original and memorable bands are a rare commodity.

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Official:

http://www.thecornerstones.co.uk/

Twitter:

https://twitter.com/TheCornerstones

Facebook:

http://www.facebook.com/Thecornerstonesuk

SoundCloud:

http://soundcloud.com/the-cornerstones

Reverb Nation:

http://www.reverbnation.com/thecornerstonesuk

iTunes:

https://itunes.apple.com/gb/artist/the-cornerstones/id362754516

MySpace:

http://www.myspace.com/thecornerstones

Queens of the Stone Age- 'My God Is The Sun'- Track Review

Queens of the Stone Age-

'My God Is The Sun'

Track Review:

10.0/10.0

Legendary desert, stoner rock gods, end a 6-year creative hiatus. Safe to say it is very much 'business as usual'.

Availability: 'My God Is The Sun' is available via https://itunes.apple.com/gb/artist/queens-of-the-stone-age/id857919

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I will aim for a well-measured objectiveness...

here; being as they are, my favourite band. That honour used to belong to Radiohead, but too many electronic diversions; too few guitar numbers, and not enough of Thom Yorke's undiluted, unprocessed golden voice, left my frustrated. My attention span was at its peak around track 9 of 'Hail to the Thief'- the glorious career high of 'There There'. The remainder of that album was a mixture of sub-par wandering, and facile effects and bluster. The guys performed an about-face on the successor, 'In Rainbows'. That was an album, filled with fascinating and intoxicating guitar songs- classic Radiohead. The baffling need to change the formula, and replicate the 3 worst songs from 'Kid A' 3 times for their next release, lost my vote, and love of the band. Whether they will have the sense to bring the quality back, or simply be ghosts in their own broken machine, remains to be seen. Either way, they have been pushed into the Champions League spots. Formed in California, back in a time when Blur and Oasis were still at each other's throats, and the charts were a mixture of the sublime- The Bluetones, Bjork, Rage Against The Machine, to the god-awful- Gina G, Gary Barlow, Peter Andre etc.; something magical was happening. 1996 was a superb year for music, all in all, with a staggering turnover of stunning hits from classic bands. Formed from the embers of defunct stoner rock pioneers Kyuss, Queens of the Stone Age, helmed by Corporal Josh Homme; the album was a mixture of phenomenal, fascinating rock slices (Regular John; Mexicola), to the brilliantly-titled and brilliantly compulsive (Give the Mule What He Wants; I Was a Teenage Hand Model), the album fared well, and, in an era of Britpop and Grunge stayer-ons. It was "robot rock", that Homme created with former Kyuss drummer, Alfredo Hernandez. With a bolstered and changed line-up the only constant was Homme, who preceded over the glorious Rated R. With his long-term friend Nick Oliveri, the album was a incredibly tight, sometimes songs ran into one another. It was a more thrilling and faster ride than previous and with a stunning 1-2 of 'Feel Good Hit of the Summer', and 'The Lost Art of Keeping a Secret', Rolling Stone crowned it as the '82nd best album of the decade' (1990s), and it is the most critically-acclaimed album of their career. Perhaps not the fan favourite; it is still underrated, and is certainly my favourite album of theirs. With the mix of drug-induced whimsy, good humour and bitch-slapping Alpha Male strut, it is a masterpiece. There are short and catchy gems (Leg of Lamb; Auto Pilot); unhinged, headcase scream fests (Quick and to the Pointless, Tension Head), and the mesmeric and unpredictable monster of 'Better Living Through Chemistry'. My favourite song was the disco metal crawler of 'Monster in the Parasol'. If it weren't for the misjudged, sonorous dirge of 'In The Fade', with its baffling initial recall of 'Feel Good' it would have been flawless. Any album that can end with a cacophony of brass and horns insanity ('I Think I Lost My Headache'), and have you drooling like a moron, is quite a feat. The fan favourite and- in my mind 3rd best Queens' release- Songs for the Deaf, arrived. The lads have lost none of their genius for unique and memorable album and song titles; throw in a line up that now included the modern-day John Bonham, Dave Grohl, it was a stunner. Obvious wonders like 'No One Knows' and 'Go With The Flow', dripped with sex and tension; the album itself, was a jokey concept, with sounds of radios being tuned, rapid-fire Spanish radio hosts babbling and jocular, smarmy U.S. radio hosts, announcing the prophetic songs. It was labelled as a epoch-defining collection by NME and Uncut, and with lumbering beats ('The Sky Is Fallin') and stoned stunners ('God Is in the Radio') it kept the pace high. To my mind, there was too much Lanegan, and too many fillers (about 4 in all); there were the statuesque stand-outs, but also wonderful avenues. After Oliveri was fired from the band, on the back of stories of domestic abuse, there was a fractious and uneasy air that preceded 'Lullabies to Paralyze'. With a crepuscular sound and druid-cum-night crow might and fright to it, to my mind it was superior to 'Songs'. Losing Oliveri was a shock, but sharp, short shocks ('Medication'), nestling with catchy crowd-pleasers ('In My Head'; 'Everybody Knows That You're Insane'), it was dizzying array. It clocked in at just under an hour, and was a record stuffed with short blasts and crawling animals. Aside from the horrid 'Little Sister', impotent 'You Got a Killer Scene There, Man...' and hard-to-adore 'Skin on Skin', the remaining 11 tracks were glorious. Some were intro riff-heavy ('The Blood Is Love'), whilst some were consistently engaging ('Tangled Up in Plaid'; 'Burn The Witch'). Homme has always been the genius of the group and proved his muscle and songwriting prowess. The album fared less well than the previous two albums, but Allmusic hit the nail on the head when they highlighted the album's "serious sexiness" and a "late-night cinematic masterpiece". It married the artiness of 'Rated R', with the tough as shit smack of 'Songs for the Deaf'. Hopes were high; and then 'Era Vulgaris' came along. This is going to be a court case of a summation, so will start with the offensive. There was a certain spark missing, somewhere. Perhaps fatigue had set in, or there was a lack of ideas, but the whiny 'Into the Hollow', predictably drab and horrid Lanegan-featured song 'River in the Road', and sub-par migraine 'Run, Pig, Run' lived up the negative hype. Out of the 11 tracks there are about 5 that really grab you. A lack of memorable hooks, coupled with unusually listless lyrics from Homme, resulted in a bit of a mess. It is somewhat top-heavy, with perhaps the finest numbers in the first half. That is all I could fault about the album. Although it should have been track 1, 'Sick, Sick, Sick' is a scuzzy, muscular, filthy fighter. The bouncy riff is infectious; the drumming is ferocious and pulsating, whilst Homme and Van Leeuwen were at the front, leading the riot. The vocals were raw and passionate, which was shown in 'Misfit Love'. It has a ducking, weaving and robot-rock pulse, and sharp and hard-tongued lyrics. Unimaginative and pointless video aside, 'Make It wit Chu' is a sexy, sensual and sun-drenched dessert road driver. 'Suture Up Your Future' is an underrated gem; stunning chorus, evocative lyrics and tight performances. For any other band, this album would be seen as a sterling- although albeit inconsistent- fare. With a curious and endeavouring 'Them Crooked Vultures' album keeping appetites whetted, and showing that Homme had a talent beyond Queens', there was an agonising, upsetting and tantilising silence... until now.

It is important to get a lot of back-story to this track, in order to initiate new followers or old fans, alike. For those that are milk toast music lovers, in adoration of a calmer song, QOTSA have been pioneering and mastering those types of track, throughout every album. Perhaps 'Era Vulgaris' insistence to lean heavily on these scared some hardcore fans away, but for those seeking a return to the 'Songs for the Deaf' hard and experimental manliness; 'Lullabie to Paralyze's dark, pagan undertones, and 'Rated R's knack of burrowing into your skull, sighs of relief and smiles of disbelief will be unleashed. With Grohl back on sticks duty, his presence shines through. It is the opening introductory riff that strikes first. There is a bit of Blue Oyster Cult, but at its heart it is classic 'Rated/Songs' Queens'. The guitar loads the barrels and delineates staunchly, in the same manner that solo artist-cum-'Icky Thump' Jack White, White Stripes does. There are no scary detours and slow-burning; it is straight to the bone axe-wielding. The guitar employs a musical Doppler Effect, being heard loud and clear; going off into the distance, before circulating its arpeggio. It is a exhilarating and for newer but no less hardcore fans, it is a mixture 'Lullabies' riffage ('The Blood Is Love'; Burn The Witch'), complete with the same stunning, yet slightly slower conglomeration of 'Go With The Flow' and 'No One Knows'. With Grohl completing a quadruple syncopated punch after each guitar passage, it is a beautiful courtship with an immense pedigree. The pace picks up, as cymbals enter the fray, as that guitar line keeps pulsating forward. There is a brief alternation and injection of harder, darker guitar, before it blends into the mix, before the tempo and riot calms slightly (sounding curiously like a 'Nevermind' cut). Homme's vocal is a waltz of recollection and ambivalence as it is said that "far beyond the desert road" it is good to be in an open space and to "erase the given". The chorus has a similar signature and pace, but the words are more punctuated and forceful so the words: "Healing, like fire from above/Kneeling, my god is the sun", really hit home. There is a mixture of Californian open road bliss and occult worshiping. Homme intones like a minister, presiding over his congregation, wielding a baptism of fire; bass in the middle of the axis, keeping things together, as Grohl drives the blood through the veins. Before the next verse there is a break/coda, as guitar threads weave and pioneer; then a quiet gap with a feint hint of percussive smoke, before a fiery blast of guitar storms in. The next verse is the most fascinating and noteworthy; Homme plainly stating that he didn't know time it was, as "I don't wear a watch". Whether Josh is the human being, one of 7 billion, comfortable to go with the flow and chill; or seeing himself as a comestible insect being tossed through the sky, the lines: "So good to be an ant who crawls/Atop a spinning rock" make you picture, theorise and wonder. One suspects that it is the former: he is moving with the beat, and has no time for stress, driving as he is down a highway, in awe of the heat, making Helios and Shepesh, look down jealously. There is a hint of their debut and 'Hangin' Tree' when the scratchy and cosmic guitar struts and reflections and followed by ghostly and vampish vocal coos and a flailing, rictus of drums and cymbal. The chorus follows; repeats and hits hard, as the electric atmosphere continues unabated; Homme slips into a falsetto howl and cry towards the end, singing with an air of deranged beauty and creepy whisper. There is a little gap- an effective trick employed in the 'Rated/Songs' era during a number of songs- where you may think that gravity has beaten you, and the tension and storm is over. Then the intro riff comes back, as Homme enunciates a 'No One Loves Me & Neither Do I'-esque grunt; the riot kicks back up, and then... it ends. We are- it is safe to assume- overwhelmed by the end?

Before I sign off with a paragraph or so on the new album, it is worth noting that this track is a complete return to form. I have always felt that Queens of the Stone Age have had the quality. And even in the middle ground and bogs during 'Era Vulgaris', they never forgot how to inflame the sense. There is a chorus-verse-chorus structure that is deployed effectively. The messages are fascinating and entrancing, whilst the chorus is memorable and reminiscent. The song is a glorious blend of 'The Blood Is Love' and 'Everybody Knows That You're Insane'. It has a similar sound to both songs: the former during the verses; the latter during the chorus. It is a track that could fit into the sister album, 'Lullabies to Paralsyze'. It has that smell, sense and savagery. There is the concise, tightened instrumentation of 'Rated R', mingling with the sprawling lasciviousness of their 'Era's' finest moments. There is the fan-pleasing strike rate of Songs for the Deaf, and, with Grohl back where he should be; Queens' are a galvanized, insurmountable tower. Chuck in some flavour notes of their debut, as well as 'Them Crooked Vultures' flecks and sparks, a neat magic trick has been performed: they have taken bits from each album, managed to keep the quality so high it will appeal to fair-weather fans and the hardcore alike; as well as having a bold and exciting originality and strength. It will drag back any misguided fans who wandered from the good path; spitting on about how the boys had committed a musical sin of omission. It will keep the loyal fans happy and drooling with anticipation, and can also pull a lot of new fans and bands in; who perhaps had not heard much of their stuff (which in itself, is deplorable). QOTSA are the greatest band in the world for a reason, and they do this, with no real peers to challenge them. It has been a huge, and exhausting wait, but if it is time that was needed to get the quality and spark back, then who cares? The lads are not repeating or trying to recapitulate and reinvent their past; simply keep their sound solid, and go into new and fresh directions. The track did what any phenomenal song should: it inspired me to write. Written 2 verses inspired by 'My God Is The Sun'- which I won't bore you with. It will be track number 5, when the album is released. It sits in the middle of the album, which is curious. Historically QOTSA usually releases as their first single, a song within the first third of the album. 'Sick, Sick, Sick' was track 2 on 'Era Vulgaris' and it is quite bracing. The fact that this song is in the middle of the album, yet has the authority, huge quality and memorable aftertaste, to make eyes water. If track 5 is this good, what the hell will the first 4 tracks sound like?! That said, it could be a commercial move. If the remainder of the album is a cross of mind-bending experimentation and far-out nerve-shredding, releasing a song that has more in past with their previous singles, might be a wise and studied move. Who knows for sure, of course? I suspect both scenarios are true; which would mean that the forthcoming album has the promise to be their best yet. Worth waiting 6 years, after all, eh?!

As has been documented through fan sites, word of mouth, and in hysterical tones in the likes on NME; it has been a... lengthy wait for a new record. There was rumblings and rumour a few months back that the new album was going to be called 'Ultraviolet Robot'. That would have been kick-ass, and as they're not using it, I'm totally stealing it for a future E.P.! Disgraced former comrade Oliveri is back in the fold, which means more scintillating and life-affirming screams. Grohl is back. It is axiomatic to say that he is the best drummer in the world, today, and he will bring his usual blend of monstrous talent, and primal power to the fold. Apparently Trent Reznor is making an appearance. Lanegan is back, one suspects lacking in conversation; wanders into the studio, records his vocals, and departs without a word, screeching off into the suburban and sunny shine of a Burbank day. Elton John and Jake Shears are involved, perhaps lending vocals to an enthralling and charged disco-soul-pop beast; whether together or individually; taken lead vocals or doing backing, is yet to be revealed. Alex Turner is on board; one hopes lending guitar as well as vocal. There is some hesitant voices that say it could be a case of throwing everything into the mix to get results, or throwing a certain excremental substance against a wall, to see what sticks. From a band who have produced 5 albums with little abstract experimentation or huge collaborative spirit, it is just an evolutionary step. I shall post the track list, and release date, below; but as you can see, there are some bloody exciting and odd titles. I have in my head, assigned the various collaborators, to the various songs. 'I Appear Missing', HAS to be a song featuring Lanegan?! The band need not my honey-words or apoplectic lust to see them shift units, delight and unite the fans, and show the rest of the scene, how the hell and album should be done. Although with a huge number of reviews about this track, and so little depth or back-story, I felt compelled by the niche. Listen to this gorgeous explosion here, and lick your lips in anticipation, as the album is just over 3 weeks away, and I for one, will be doing it the old-fashioned way. Waiting outside of H.M.V. at 9am the day it is due to go on sale; smashing a defenseless 13-year-old out of the way, skipping to the till like a moron, and playing the bad boy all the way home. For the purposes of that day I will be living in Scotland. The boys are back in town, and holy crap...

... they are as fresh, astonishing and brilliant as they were in 1998.

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Matador Records

is listing June 4th as the release date for '…Like Clockwork' (as well as a pre-order link), with the following track list and info:

1. Keep Your Eyes Peeled
2. I Sat By The Ocean
3. The Vampyre of Time and Memory
4. If I Had A Tail
5. My God Is The Sun
6. Kalopsia
7. Fairweather Friends
8. Smooth Sailing
9. I Appear Missing
10. …Like Clockwork

'…. Like Clockwork' was produced by Joshua Homme and QOTSA, recorded by Mark Rankin with additional engineering by Justin Smith, at Josh’s studio, Pink Duck, in Burbank, California.

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Official:

http://www.mygodisthesun.com/

Facebook:

http://www.facebook.com/QOTSA

Twitter:

https://twitter.com/qotsa

YouTube:

http://www.youtube.com/artist/queens-of-the-stone-age

Sound Cloud:

http://www.youtube.com/artist/queens-of-the-stone-age

MySpace:

http://www.myspace.com/queensofthestoneage

The Bedroom Hour- Submarine- Track Review

The Bedroom Hour-

'Submarine'

Track Review:

9.6/10.0

London 5-piece have a bi-generation Mancunian adoration in their chest of influences, but produce a sound that is creatively emancipated and singular.

Availability: 'Submarine' is available via http://soundcloud.com/thebedroomhour

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Reverberations from London, seem to be few and far between...

in music equivalency, for certain. I guess there are a lot of established and well-known acts based in the capital; but so few new acts seem to emerge from there, in comparable terms. As Greater London is the most densely-populated and prosperous county in England, and the financial and administrative hub of the U.K., one would imagine that a comparable wealth of eager new music would be nestling in the various boroughs and postcodes. I guess if you are actually a resident of London, you will hear about quite a slew of acts, but for those of us in the home counties and further afield; we have to rely on music journalism and social media to hear about quite a few of the bands and artists. This, in itself, is not a bad thing. Utilising social media for networking purposes is one of the only thing that is credible about the likes of Twitter and Facebook. It is far better to be able to connect with wonderful new music and discover new and daring songs. From there you can adopt altruism and share the sounds to other people, and build up a wave of fans for the associated talent. In a period where social media is predominantly used as a template for pretension and self obsession; as as a format used to display boilerplate nonsense, and appalling grammar and spelling. Until I find the funds to get my music website concept (which is growing hair in all sorts of exciting places) up and running; it is a frustrating and fruitless quest trying to find a site that does all the things you want from a music website. God forbid you want to form a band or find musicians; lest you be condemned to the murky recesses of Gumtree and generic basic music sites, it is virtually impossible. When trying to launch music video ideas, find collaborators, or get songs or acts reviewed, it is a quagmire of ineffable frustration. I mention it not as an inconsequential rant, but as a relevant issue we have. If you know certain people, get lucky or have your wits about you, how the hell do you ever hear about certain music? It is 2013, and there are a proliferation of aimless and banal websites; pointless and moronic 'smartphones' and flawed, problem-riddled and ironically-named 'social media' websites. There must be someone, other than me, who has a bit of cash and can put together a multifaceted and all-inclusive music website. It is mind-boggling and makes me all the more angry.

Anyway, I shall get to the matters at hand. There is an auspices of sonic proportions, campaigning with the commitment of a hydraulic tappet. They are a band of brothers, with parabolic talent, who have been working some magic in Hillingdon, West London. It is a lovely avenue of bucolic and historic splendor, a positive Russian Doll of hidden and multitudinous mystery. It is quite rare and refreshing to hear a band like The Bedroom Hour emanate from there. Clapham or Brixton, maybe. I was instantly won over by their history as well as their ambition. The band consist of the magic vocals of the hirsute leader Stu Drummond; bass slapping vox-assisting sergeant Dan Rider; the juicy, compelling licks and vocal tricks of Rob Payne; percussive majesty from Ryan Pincott, and keys master Mark Dudley. Their aim is simple: to put the 'credible' back into 'incredible music'. Seems simultaneously, a tall order and a short mission. The guys bowled me over in about 10 seconds. They need to expand their ambition and focus their sights on a coveted and glistening prize: future Mercury Prize success. It is a vehicle of multi-axle stealth, and one that is picking up some steam. They are photographically well represented, and have a very noir projection. Formed as a conglomeration of two previous bands, the 5 boys fell in love, based on a shared love of similar music, and ambition. They are ardent fans of much-underrated Cheshire boys Doves, as well as monosyllabic near-neighbours Elbow. As well, they are fans of fellow Mancunians Joy Division, they manage to combine elements of their influences into a rather delicious picnic of sound and wonder. They label their sound as a sort of 'psychadelic syth-cum-guitar, melodic, harmony-based band'. Remove the 'synths' part of the description and what might come to mind is a new mutation of The Coral. I love those guys. They never had an easy road. Even when their spellbinding career-benchmark Magic and Medicine was unleashed, a lot of critics were tepid and critical. Most were scared off by their somewhat unorthodox and daring combination of guitar sounds and psychedelic sounds and oblique lyrics. Any album that contains 'Eskimo Lament', 'In The Forest' and 'Don't Think You're The First' is pretty bloody special. Check it out, if you haven't already. I loved 'Nightfreak and the Sons of Becker', too. It was a delightful 'mini album' with psychotic gems such as 'I Forgot My Name', 'Migraine' and 'The Sorrow or the Song'. Critics were pretty lukewarm and unforgiving with that collection. It annoyed me mostly, as they had missed the point. There were a few weaker numbers there, but the way the band combined humorous and interesting lyrical ideas, with strange and wonderful sounds, barks, effects and twangy Liverpudlian weirdness. If there was any sign of that within the walls of The Bedroom Hour, I would likely have to marry them all individually. With their open-for-interpretation band name in my sights, and my finger hovering on their SoundCloud page, I prepared to hit play.

I was going to review 'X Marks The Spot' but feel that that will be getting a lot of attention rather soon. 'Submarine' starts out, as a gorgeous sigh, I was reminded initially of 'How To Disappear Completely'. That is, perhaps Radiohead's most tormented track, and one of the most affecting songs of the last 15 years. I was expected to hear some electronic whale noise, and far-off echo, and the sound of Thom Yorke unleashing his demons all over the studio floor. There is a fraternal nod to the Oxford boys, as well as a serving of Kingdom of Rust-era Doves. The Spanish Steps and emotional recourse of acoustic strum, percussive hard heartbeat, melting to a sobbing and exhausted electric guitar feed, means that the intro is bidirectional and uplifting. From a sense of romance and foreplay, builds a sexual kick, as the whole atmosphere is submerged into a warm ocean, and sinks, submissively. My mind was- perhaps intentionally- taken to an aqua film set; I was alone in a patch of the Mediterranean Sea, in the pre-evening, when the sun is starting to yawn, and all I have for company are some inquisitive blue whitting and spiny dogfish. I am in a dream so can breathe under water; compelled as I am to explore the depths. As I near the bottom, I hear a voice in my ear, as the intro ends. There is a little of Garvey in the edges of the vocal, but is sweeter and more transfixing; maybe Thom Yorke is a fair comparison. Drummond has a rougher hue and a bit more manly emotion, to Yorke's sensitive femininity. It is quite a whispered and when lines such as "trapped inside my head", and "my skin's volcanic/I'm hot to touch" are proffered; the resultant combination of imagery and musical backdrop is quite startling. It is confident and chastened; confessional and honest. When the rejoinder is declared: "when I erupt/It's always you I blame", one feels that there is a tormented and vivid back-story. It is a lyrical topic that Joy Division could and have employed; mixing the bleak with the oblique. But instead of a ravaged and haunted voice, the touch of ethereal shine that emanates from the cloud, keeps the mood level, and the waves will not pull you under, simply crash above you. The Doves-cum-Elbow-via Liverpool guitar sound, emphasises and elongates the mood. The guitar floats and swims, with a hint of kick to it; the percussion keeps the beat and remains solid, as the boys create a glorious soft and supportive sound. It has D.N.A. of 'Kid A'; with the likes of 'Everything In Its Right Place', 'Motion Picture Soundtrack' and 'Treefingers' nestling in the mix. There is a bit of Caleb Followill in the vocals when it gets a bit pained and raspy. The metaphors of water and submarine, are used to depict an unease and emotional sinking stone. The music at times envelopes and swallows the vocals; there is a very real notion of sinking and hopelessness; the sound and sonics crash indiscriminately, threatening to claim our hero, and bury him asunder. By the 3:00 there is a more redemptive coda and thread weaved, with it implored that you need to keep "your head above the water". There is a piano and drum sway and an echo in the background. It is an invigorating punch and hug, which is rousing and inspiration; and it will put a smile on your face. The melody that runs through the majority of the song, sways and bobs, dances and twirls, gathering a momentum and glory as events progress. At one point there is a drum rattle; part marching band; part gunfire, that injects urgency and a rush of blood into the strum and drang. The sound continues and evokes a huge amount of mood and emotion; it allows your mind to wander and imagine. My story continues, as I swim and chase the submarine, trying to catch a glimpse of our protagonist and cohorts, trying to discover where they are heading for; whether is a sunny climb, or a darker recess. As the song ends, I head to the surface and go back to shore, wondering what is in store for our band of Londoners.

I was very impressed by the song and band as a whole. Anyone scared by any sort of The Coral-esque psychedelia, have no fear. There is a lot in common with Elbow, Radiohead, and parts Joy Division. The track is stunning and evocative, and the vocals are brief but potent. The vocal is unique and sterling, with only small traces of any influence. The band are solid and stunning, able to infuse a huge amount of depth and spark into the sound. The fact that a majority of the track is musical, it is an impressive achievement that the track is so stunning. The lyrics are heartfelt and raw, with a lovely and stirring reverse around the half way mark. It is a song that shifts and moves; swims and rises, which keeps you on the edge and makes you close your eyes and try to imagine what The Bedroom Hour imagined when writing the song. I have been inspired to listen to their back catalogue and investigate a lot more. They are a 5-piece whom have potential to upend and conquer current Mercury Prize holders Alt-J. They do not need oddity or a huge guitar sound and noise. Instead they manage to create the maximum amount of resonance and evocation from a brilliantly structured and memorable composition, with intelligent depth and a beautiful heart. If you are looking for a new band to capture your imagination and feelings for 2013 and far, far beyond...

check them out, and I deplore you to challenge any of my claims and words.

__________________________________________________________________________________

Official:

http://www.thebedroomhour.com/

Facebook:

http://www.facebook.com/#!/thebedroomhour?fref=ts

Twitter:

https://twitter.com/Thebedroomhour

YouTube:

http://www.youtube.com/user/thebedroomhour?feature=watch

MySpace:

http://www.myspace.com/thebedroomhour

Reverb Nation:

http://www.reverbnation.com/thebedroomhour

Brooke Borg- 'Something That I Said'- Track review

Brooke Borg-

'Something That I Said'-

Track Review:

9.1/10.0

Nothing that you would expect from looking or reading about her, will be true. Maltese-born artist has a desire to be remembered.

Availability: 'Something That I Said' is available via http://soundcloud.com/brooke-borg

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There seems to be something quite special happening within...

the solo market, of the female variety. For us men, we know the score, with regards to the configuration and mandate: one man; one guitar; one Jeff Buckley-cum-Damien Rice voice; lyrics about love, heartache, and the usual fare. It may be an overgeneralizing, but this description applies to about 90% of the material I have heard from the men's market. Not that there is anything wrong with that, in small measures. There is a definite market for that type of artists, but after it has been done once, what's the point in hearing it again? Matt Corby is probably the most credible and authoritative male solo artist, who could be considered 'underground'- he is certainly not a hugely recognised name outside of his native Australia. Above ground, people like Ben Howard are doing a good job to inject mystery and intrigue into the genre. It is not a snooty, dismissive attitude on my part, it just seems to be a saturated market that does not need so many patrons. Unless you have a voice like Antony Hegarty; can write intriguing and oddly poetic numbers, and inject a sense of majesty to the composition, why bother? I can heard an equivocal quality of artistry at Green Park underground station; and I usually just walk past them without blinking. Of course there are the occasional few, whom manage to linger in the mind, but such is the improvidence of the naive type of specimen who enters the scene, that they are largely buried and forgotten about. When it comes to the female market, there seems to be a more sustainable and memorable brand of song, being produced. Don't get my wrong, with the likes of K$sha are allowed to mew at a microphone tunelessly, all (bizarrely unsettling) image, controversy and scandal; they have no talent, teeth, point or purpose in the music scene. They pertain and appeal to a precocious and uneducated market of pre-teens, who probably don't know who Aretha Franklin or Janis Joplin are. Music is possibly the only industry in the world, where there is an indiscriminate open market, where everyone is free to play. Although historically the greatest singers ever have been considered male; and it has been the men who traditionally have the greatest technical and, largely, emotive range, it is the women, who are displaying a bombastic facility and relentless fascination.

Take Brooke Borg. To be honest, perhaps an artist I would have normally passed by. Her Twitter account states that 'nothing is impossible'. Although the statement is factually null, grammatically incorrect, and just plain untrue, it shows less of a literal philosophy, but more of a personal proclamation. Borg has managed to make quite a name for herself, and has an ambition and drive that is hard to ignore, and she has the desire to ride the- rather choppy- musical waters for many a year to come. There is a clandestine mystique and posturing rhetoric to many new artists. If you take away the desire to instantly compare an artists to such-and-such, and hear what they have to say, and what they want from music, it is easier to admire them and root for an eventual victory. There is a lot of male-minded shallowness when it comes to women in music. Brooke Borg may suffer from that, initially. It is hard to get away from the fact that she is beautiful. Not just a little, but breathtakingly so. She is Hollywood glamour and a staggering delicacy to her beauty. It can make hearts flutter, and cause a beatific drool amongst many- not just men- people. In a way many women in music have suffered because of their extraordinary beauty, with many fixation on it, and giving little credence or consideration for their words and voice. It is unfair, but it is not a fate that Borg will suffer. She was born in Malta, and like her colleague, and country mate Chess (Fran Galea), has a similar power, potency and alluring stillness to her voice. She is a skilled pianist, and took up the instrument, possibly in response to her love of jazz, and artists such as Stevie Wonder. Although Malta is possessed of allegorical and mythical beauty, it is not possible,. one would think, to remain there and gain a popularity and fan-base beyond the island itself. Borg relocated to L.A., where she spent a lot of time honing her talents, and making a name for herself. She has won my attention, in spite of the fact that she is 'influenced' by a number of rather one dimensional acts. My heart drops and my brain tends to wander when I see- mainly women- say they are 'inspire by' or indebted to Rhianna, Katy Perry, or Jessie J. Borg claims to be inspired by these artists, and if one were performing a cursory reading of her Facebook page, and saw those names mingling with Etta James and Michael Jackson, there would be a mixed reaction. If you can pull of a neat track or displaying feathers of Jackson and James, then you have my attention for sure. I can understand why m,any women are in awe of Beyonce- she has an inspiring, or that said misguided and confusing notion and ambition when it comes to being seen as a 'feminist', and subsequent attitude to her role within the movement. That is another rant fro another day, because I have a lot of home truths and reasoned arguments for her. Her voice though cannot be argued against. I respect that side of her hugely, and she is as close to a modern-day Etta James or Aretha Franklin, as one could hope for. When it comes to the Perry/Rhianna/J side of things, my face tends to turn puce. Setting aside the fact that between them they have had alarming and distrubing personal lives; Rhianna especially, I am not sure what kind of message they are sending to people. Jessie J seemingly has no sense of quality control when it comes to speaking, and Katy Perry is a plastic raven-haired Barbie doll who is buried under 5ft of make-up. Setting aside their personal proclivities and suspect personalities they are belie and disgrace the memories and reverence of Franklin, James, and Simone. These were women who did not rely on tabloid publicity and a hailstorm of controversy to get them heard. They were intelligent women who knew they were gorgeous, without the need to be hide that cosmetically. Beyond everything, they were the last of a generation who let the music solely do the talking. Although Michael Jackson had a staggeringly controversial private life, he is rightfully seen as one of the most influential and greatest voices of all time. In terms of lyrical ability, stand-out and unique vocal tones and musical talent, there is nothing to recommend about Perry, J and Rhianna. I'll leave the disgusted rant for another review. Luckily (my bedrock point is), these influences seem to be skin deep, and a primary source of inspiration. Borg is in a different section of the Venn Diagram, with more in common with the soul and pop greats. In an intersection of the opposing and divisive camps, is an intersection of grand quality. This is where Brooke sits, belongs, and will remain- one hopes.

Setting aside, for now, my benighted and qualitative summation of the 21st century female crop, I shall judge Borg on her voice and music alone, and leave the social media details and mixed bag of influence stand alone, and take note. She has been igniting the music scene for over 4 years, and doesn't need her staggering beauty to do the talking. Beginning its mutation, as a plaintive and gorgeous piano lilt, 'Something That I Said' is instantly evocative and draped in nocturnal luminosity. There is a hit of classical Romanticism, with knees-bent ardour. It has touches of Wonder, 'Off The Wall'-Jackson and Alicia Keys. It is a short passage, but sets a seductive and calm mood; letting you know that whatever follows with regards to vocal prowess, will be augmented by conviction and quality. The voice that arrives is haunted and arresting in equal measures, with corners of soul, pop, jazz and easy listening. It is hard to pin initial influences- as loathed as I am to label- but to my ear there are no direct comparisons. It has its own power and stunning beauty to it. The song talks of broken hearts, and caution: "Take a step back from all around us" is an early pleaded implore. The early chapters build a sense of relationship tension, and questions in need of answers. There is no oblique lyricism or toned-down vocals. The lyrics are direct and to the core, whilst the voice is pure and crystalline. The trope is familiar, thematically, but the combination of an authoritative and superior voice, combined with simple but striking resonancee from the composition, elevates this song beyond any comparable contemporary songs. She is performing a reconnaissance of her situation and decided that she needs to know what happened; was there something that she said., the caused the love "to fall right out of you". Borg is tremulous with shades of early-Jackson, and a modern air of Keys and Jessie Ware, as well as Laura Mvula. The piano passages need no dysmorphic trickery; it is gorgeously composed and instilled with a cultured, classic edge. As Borg sits alone "in the corners of my mind", her voice, once more, is passionate and does not let any emotional heavy weather or putrefaction weigh her down. It is elegiac and veritably close to tears, with Borg questioning her nature of trust, vocals rising, employing a darker shade and slight wisp of male gravel. When the chorus hits at the 2:05 mark, the vocal rises and belts, with fond embers of Mariah Carey and Leona Lewis. As the song continues, the uncertainty principles reach Heisenberg levels of fascination. A man has done her wrong, and let her down, and she is curious as to what, and where it went wrong. It is a stable and unflinching party line, and through the employment of sparse but highly effective piano, a constantly engaging and beautiful vocal, questions in my mind are answered, but one wonders, whether Borg will ever know the truth.

I am an anti-Iconiclast when it comes to music. Any negativity or anger from me, comes from a good and educated place. Having been someone raised on, and influenced by the greatest singers, songwriters and bands of all time, any fake or empty talent, does make me wonder why I should bear them any kindness. Music is a market for those willing to put in the hours and come onto the scene with something worth listening to. Doesn't matter if you can't play an instrument; so long as your music is on point and you are likeable and a huge talent, that is all you need. With so many solo artists being hugely unlikeable and a God-awful role model for women and men alike, one has to tread cautiously. The problem with social media is that too much can be given away. If you take away the subjectiveness and remove any background information from your view; just judge the music for the music. I was, and have been worried by, some artists' icons and influences, thinking that their music would be similarly remedial and irritating. If you scrub away and get to the core then you find out the truth, and can judge music on the song itself. I was fascinated by Borg a few months ago. She has the looks of a Greek goddess and could spent the rest of her life in Hollywood if she wanted. She is young but has a maturity and a musical sophisticated that exceeds expectation. She has a maturity and conviction that supersedes and goes beyond what most produce. The lyrics are focused and do not cloy or suffer from cliche or facsimile. Borg has an enormous potential. If she is able to keep the quality consistent, and keep her sound true and undiluted by dubstep, electronics or R 'n' B fakeness, then she will be brushing shoulders with the stalwarts of the scene. Listen to her today, read her story, and imagine where she is going to go next. The future is exciting, and so long as she remains more legend than pop puppet, then she will be fighting labels...

fans and venues off with sticks.

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Official:

http://www.brookemusic.com/indexin.html

Facebook:

http://www.facebook.com/#!/brookemusicfan/

Twitter:

https://twitter.com/BrookeMusic

YouTube:

http://www.youtube.com/user/brookechannel

Last FM:

http://www.last.fm/music/Brooke+Borg

MySpace:

http://www.myspace.com/brookeborg

Whispery Club: 'We'll Get By'

Whispery Club:

'We'll Get By'

Track Review

9.1/10.0

Speakeasy fascination, or arrested development? Or just a plain riot of elliptical wonder?

Availability: 'We'll Get By' is available at http://soundcloud.com/whispery-club

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Today has not been a good day, thus far...

and I have been awake only for 5 hours. Between useless employment agencies, not paying me what I have already earned; a government body being typically lacklustre and useless- again stiffing me out of a lot of money. That coupled with the fact I entered my favourite coffee spot this morning, and was greeted by a Germanic table of teenagers, lacking common courtesy. For some unbeknown reason they were bashing on 6 or 7 empty takeaway coffee containers, like some peculiar percussive tabernacle. When the patrons and I had the sheer impudence to glare at them, as if to say that their brand of travelling festivity, was de classe and unwarranted, I was greeted with a cocky smirk. Having been a loyal customer for 3 years, I couldn't well grab them by the testicles and give them a damn good slap. Returning home and facing more annoyance, I decided to immerse myself in the creamy, cosmopolitan splendours of Whispery Club. Before I was condemned to explode like a pigeon filled with rice, I got down to business, and focus on something that actually matters. I will not entirely forgo my ruminations and finger-wagging on the state of music; because today it is as relevant as it was yesterday. The 'band market' is one that has been busting and bursting from the seams, and has been since the '70s and '80s. The ratio of quality to quantity is fungible, with many competitors having a geosynchronous lifespan, burning into the ether, and forgotten about forever. Being, perhaps the most subjective and fickle industries in the world, music have to conform to a lot of high expectation, feint praise and creative recessions. If you think about the band that still exist, and have been going for some years now; it will be a short list. Whether due to acrimonious splits, a natural entropy, or a response to market forces, it is an uncertain life. I guess young blood, fresh ideas and an inherent zeal are the rare spices sought by a rather picky, and some times pernicious, public. Of the current stable, the likes of Queens of the Stone Age and Radiohead cause the most anticipation and fever in me. Having seen Muse stumble drunkenly one too many times, Soundgarden being shadows of their former self, I am somewhat pinning my lust for the established bands on Homme and his crew, when they return for action in June. Because of this, you are forced to feed your soul any other way possible. Who of the new guard, are really, actually worth your attention?

Having been humbled by a potential vanguard of electricity, I have had good reason to be excited by the band market, once more. From Dead Sea Navigators, through to The Open Feel, there is a lot to get excited about for 2013. It is not just the songs themselves, and any face value that is causing me to smile, but the range of sounds. A vast proportion of the new talent is north of Liverpool, yet the inherited sphere of influence and diverse projectiles being launched are staggering in their scope and confidence. Perhaps with one of the most curious and image-provoking names in history, Whispery Club, leave everything to the imagination. I'd like to join their club, but would probably be castrated and cast asunder for being 'too damn quiet'. Aside from the likes of The Proclaimers, Deacon Blue, Annie Lennox and a few other legendary acts, the flapping St. George's Cross has been flying a lot higher than St. Andrew's Cross. I would say that the last notable well-known act from these regions have been Biffy Clyro. I don't care for them (Biffy), but that is for another day. Our three-piece heroes are intent on, and have the quality, to match any band currently circulating social media and the electronic super highway. They are a fresh-faced brethren, with a band photo (on Facebook) that is like the cover of Let It Be, only George's face replaced by the company logo. They claim to be formed from the ashes of an ensemble of Glasgow-based bands, who deftly "beget melody from melancholy". Sounds good, consider yourself up a member. A couple of their photos has them posed like Muse, but unlike the Devon trio, they haven't lost their edge, and will not disappoint with any dubstep misfiring or plastic pretentiousness.

Settling down to investigate 'We'll Get By'; the merry bonhomie that I was hoping was evident from the first few seconds. Any memories of Teutonic apartheid were blown away by the tribal and savage drum slaps that greeted my ears. It is a similar one used during Bohemian Like You by The Dandy Warhols, but more menacing, meaningful and, just plain cooler. It is an impressive power that the likes of Dave Grohl and John Bonham would have started out playing, and sets the mood instantly. There is a bit of danger lurking within the luminous glow, and the rain and wind of percussion, are given breath and light by a rainbow of electric guitar. There is a little bit of a U2 influence, as well as a smattering of indie here and there. It is endeavouring and exploratory, which rouses the senses, and leaves you curious as to what the vocal will sound like. There is a certain breathiness and seduction to the tones. There is a distinct accent that comes through, with a bit of Gorbals and south-west Scotland coming through. Most bands native to certain parts may try to incorporate a trans-Atlantic drawl, or dilute their true voice, in order to seem 'relatable' or polygamous. It is admirable and necessary that Whispery Club are true to their home and roots, as it literally gives them a unique 'voice' and tone, that separates and distinguishes them from peers. The lyrics are delivered with tenderness and consideration; there is no stuttering, over or under annunciation or ululation. When the lines: "The radiator/Melts my shoulder" are sung, it is done so with Socratic reverence and an ellipsis between the lines, as if you let you absorb the images, and feel what the band feel. There is a lot of reading between the lines, tension, and an anonymous female holding our hero's reflection in her Aviator sunglasses. Maybe in the way the band can blend cocktails of poetic imagery with tonics of modern, and hard life, owes as much to the shores of California and New York, as they do to Scotland. There is a small crew of rock and indie purveyors from the likes of San Diego, Manhattan and Burbank, who I know have been writing similar themes; but it is the way that Whispery Club imbue a distinct flavour of Anglo Saxon, that marks them apart from their State Route 1 journeymen rivals. Our protagonist is a modern-day Samson; weighed by the gravity of the world, and not liking it one bit. He is crumbling and thrashing against the waves. In the eyes of his female attention is a mere "child who's lost his mother"; infantilised by a sneering and uncompromising beau. Whether this woman is a former girlfriend, a mate or common muse, she is causing much chagrin. The percussion and guitars never intrude on the moment'; instead keeping the pace charged and exciting, adding coloured feathers to the landscape: little sparks here, considered heartbeats there. It gives a new soul, to an old woe. The sound and sacrament of lyrical and sonic blend, straddles U.S. and U.K. without blurring lines or leaning too heavily on the former. The baroque guitar sparkles have a worthy hint of The Joshua Tree. After the 1:20 mark, there is an extended instrumental break, that has transposed classical influences, as well as shades of early '90s rock pioneering. When the words: "And the kisses we catch/And the kisses we blew" are proffered, aside from some clever wordplay, there is an emotional longing. Our front-man may not show it in his voice, but there is regret and painful reminiscing in his tones. There perhaps is a bit of Biffy Clyro; perhaps unsurprising, as the Biffy boys hail from Kilmarnock, which is about 24 miles away from the shores of Whispery Club. The vocal balance is similar, but our chaps have more restraint and romance in their blood; closer to Crowded House in stylistic terms. As our protagonist crumbles "like a flower", there are nebulas of light and dark in the composition, whilst the vocal remains definitely strong and impressively stoic. There is a defiance that runs through the blood of the song, and positivist spirit amidst the downtrodden memories.

The music of Whispery Club will appeal to those in need of a relief of stress and in need of a burden being lifted, which, if my maths is right, is about 95% of the planet. There have an air of light-hearted happiness to the music. It never intends to overwhelm or be the aggressor. The sound is intended to alliterate preemptively. The vocal hides its scars bravely, but a listen to the lyrics shows that there is heartache lurking beneath the surface. There is emotional upheaval and sadness for sure, but whilst many would emphasise this with moody guitar and pulsating percussion, the boys instead juxtapose the emotions in order to not only poll for a cross border, and mass appeal, but inject intrigue and an added level of quality to the song. The value of great music, is equatable to the ability it has to elevate you from a sour mood, and invigorate and compel you. Having been harangued by a tiny Devil on my shoulder, and generally annoyed by the human population to the point of explosion, I have instead been calmed and softened by the force majeure of spirit here. There is a lot to recommend, from the sharp and unique lyrics that mix modern life fables with ubiquitous romantic thematics. The band are tight and brilliant throughout; never jostling for superiority, instead they are a galvanised unit who unleash maximum velocity and force from a 4-minute track. I would advise a more detailed and studious listen to Whispery Club, as they have produced a variety of songs, with variegated themes and sounds. With future releases imminent, their stock is going to rise, and they will find themselves being references on T.V. soundtracks and mentioned in fervant and excited tones. If you like your music to be thoughtful, intelligent, melodic and memorable...

... you will want to apply for full membership to this fledgling club.

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Official site:

http://whisperyclub.com/

Twitter:

https://twitter.com/WhisperyClub

Facebook:

http://www.facebook.com/WhisperyClub?group_id=0&filter=3

YouTube:

http://www.youtube.com/whisperyclub

iTunes:

https://itunes.apple.com/gb/artist/whispery-club/id605058207

Abi Uttley: 'Like You Do'

Abi Uttley:

'Like You Do'

Track Review

9.7/10.0

You may recognise her from Coronation Street, but don't think that the music is anything short of brilliant.

Availability: 'Like You Do' is available at http://soundcloud.com/abi-uttley

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Let me start with my daily overview of modern music...

because I know people would cry themselves to sleep, if I ever neglected to include it in any review. I am taking a different angle today. I have been curious about, and involved with, the female solo artists market for a few months. I have witnesses a great deal of young, fresh, and varied talent making a mark on the music world. Some have been up-and-coming Surrey talent, and there has been another sector of female wonders, who have combined jazz/swing, dark pop and rock. Each time I have been involved with reviewing the individual artists, it has staggered me what a range of sounds and sights are to be found. Not just with the lyrics and voices, but the incredible soundscapes that have been imagined and realised. Not that it should shock me, but compared to the male counterparts, the female market is so far ahead. Ironically two of the female solo artists I have reviewed in the last 2 months have been the least appreciative or enthusasitc about reading a positive review of their music. It is a fickle and unceratin industry anyway. I don't review music for personal pludit, or kudos. It is as interesting to see how people perceive having their work written about, as it is hearing it in the first place. I feel that if one wants to know where the most intruiging and fascinating music will be eminating from over the next year or so, I would first concentrate on the female market. Although, historically there has been a tendancy for male bands to be amongst the greatest music of all time, into the 21st century, where it easier and more accesible now to record music, than ever, the shift will change, and future historians should look at 2012/2013, as a time when the change began to happen. The band market is general is a crowded and murky lake. It is where the most demand emminates from, with every band hoping to acheive stardom. The solo artist, or those in smaller bands, have less of a pressure. They are not subjected to quick entropy or friction with bandmates. Nor are they tied down with variable and interchangable commitments and relationships. That market is like a marriage. About 50% of bands end with divorce. If you fly solo, or have a casual relationship, there may be loneliness or you may have to work harder and more determinedly, but at the same time, you have freedom to express yourself; work your own hours, and make your own success.

Let's get the unimportant point out of the way, first. Abi is extraordinarily beautiful, and not just in an everyday way. In a Hollywood, eye-watering way as well. I say unimportant, because it does not pertain directly to success, and has nothing to do with music. That said, it is probably due to a narrow-minded attitude in society, that stunning women, are given less thought and consideration, when concerned with music. In the current scene, those that are as stunning- Cheryl Cole for instance- are flyweight and plastic, and do not have the talent or personality to really win votes or credibility. Abi Uttley defies any glib characterisations and pigeon-holing, and lets her voice and music do the talking. She has had a varied and interesting acting career. As well as playing the somewhat arresting and vixen-like Cherry, in Coronation Street, she has enjoyed plaudit and recognition due to her roles on stage, screen and beyond. She is a multi-talented dancer and performs with Marc Otway, as part of acoustic duo Marc and Abi. They formed in 2011, and have been wowing Yorkshire and the north for a couple of years, recording a number of tracks, and gaining a sterling reputation. I could imagine if The Guardian, The Times, or the broadsheets were to be in my position, there would be imperious eyebrows and a lack of truth to their review. The fact that Abi is an actor would instantly cloud their thoughts, unaware that she is as capable of blowing people away with her music, as much as she is with her performances. For those like me, who are far more tolerant, and cultured, could not wait to hear her voice. It has been described, by freshonthenet.co.uk, as "a voice that melts chocolate".

The intro is not what anyone may expect. There is a remarkable confidence in it. The likes of Jessie Ware and new Leeds-based talent like Little Violet and Rose and the Howling North would employ a similar punch. For anyone, so far, who was dubious as to the ability and potential of Uttley, are well and truly corrected and shut up within a few seconds. There is a toe-twinkling, balletic piano dance and twirl, combined with jazz accompaniment. It is a sound of swing, combined with soulful pop-cum-'60s and '70s jazz, all in one. The effect is disarming and awesome, and put a smile on my face straight away, and straightened me in my seat. It sounds like something that could soundtrack a stylish and mysterious indie film, injected as the song is, with a similar smile and style. The voice that comes through has a Laudate Dominum affect on the senses. There is no twee and processed modern pop vocal; no bleated histrionics. Instead there is a smoky, seductive and gorgeous calm that emanates forth. In keeping with the sonic tone of the intro, the vocal is reminiscent of the jazz and blues icons of the '40s, '50s and '60s; there is a black and white, film noir scintillation to the atmosphere. Speaking of "silky thread of words you spin", Uttley whispers and tantalises with her entreaty. The scene, one might imagine, could be set at a curious and romance-worthy bar such as The Mayor of Scardey cat Town. There would be low lights, quirky tableauxs, and a lingering tension. Our heroine is sat alone, ruminating, drink in hand. Whether we are in London, Bradford, Paris or New York, a man enters. Whether he is a boyfriend, friend or stranger, it is said that: "You catch me eyes/Just to watch me fall". The vocal is at once teased and lured, before it is syncopated and felled by gravity. The lyrics are delicious wordplay, intelligent and witty, and the way the vocal delivery and words are close knit and apropos is clever and wonderful. As 0:30 mark passes, the vocal switches from sweet knee-tremble to powerful, yet controlled swell. The backing is delicate and low enough in the mix so it adds to the beauty and mood, yet never interrupts or steals focus. Uttley's voice has pleasing tones of Chrissie Hynde (at her most composed), as well as Christina Aguilera, Yorkshire lass Cherie Gears, as well as shades of Eva Cassidy. There are a lot of Cs there, but they are all appropriate and well-informed. There is a wide appeal and universal brilliance to her vocals: beautiful and seductive enough to appeal to the stuffy media sect, metal-heads and pop/jazz/soul lovers, alike. When the song ramps up, and the pace quickens and bubbles, Uttley feels: "Maybe/I am just a fool", unsure, as she is as to whether "the rhythm of your words/Beats to the rhythm of your heart". There is a shift of temperament, as well as signature and sound. The brilliant words meet with beautiful little musical changes and avenues. Between 1:07-1:08, there is a pause, that comes after a fast-paced and energetic performance. From 1:08 on, the vocal again purrs, and licks its lips, as the piano and drum have a similar reverence and steadfastness. The tale of regret and heartache continue: "Feelings/That you stole from me". It is delivered with an Aguilera-esque growl and gutsiness. It seems that the path of ill-gotten or forgotten love is never smooth or straight-forward. There are bumps in the road, but our leading lady is adept at surveying and beating the blues. When the chorus comes back in and it is claimed that: "When you sing it like you do/You make me feel it's true". The former-beau has a lot of never, and the lying skills of a sociopath; he has a way of fibbing for his own cause and making our heroine feel like any anger and regret is well-deserve or even unwarranted. It is perhaps not surprising that the song is so tense and sharp of narrative, seeing as Uttley is an (impressive) actor. There is an authentic conviction. Believing the words is half of the battle to win fans and minds, and Abi is already half way there, within only a few lines. As the chorus comes to swing back for another punch, there is another unexpected shift. There is a little sprinkle of piano/percussion, and a line; followed by music; followed by vocal. There is a call and response thematic that runs through. It is unexpected and pleasing, and keeps the song turning, twisting and fascinating. Not many artists would change the pace and composition of a chorus. The chorus is your U.S.P. and most memorable part of the track, and by changing the tone, it adds an extra layer of quality and conviction. When the mantra is repeated again, the vocal powers up, trills like a bird song, and hides any inner turmoil with a sexy and swaggering display of power. With a few glistening notes of Eva Cassidy/Kate Bush ethereal beauty, the song ends, and so does our film piece. The lights are down, the night is over, and all that is left is to retreat to bed, and take stock of life, love and the future.

Let's get all the good vibes completed first. Uttley is indeed a startling and intoxicating beauty, with a variegated and varied C.V. In a modern market, sometimes that is all it takes to shift units, and gain drools from a fickle male mind, and gain jealous female bitchiness. If you go into the song, predisposed to be judgemental and narrow, you will ultimately look stupid. I was not expecting to be so bowled over as I was, but there is a tonne to recommend from such a tight and sharp song. The music acts like a heartbeat and blood flow; it ushers the song along, and supports it where needed. It acts as a ghostly chill and warm rain, that adds atmosphere and beauty in equal measures. The lyrics are capable of stealing the show completely. I am not stereotypical in saying that well over 90% of modern lyricists are incapable of penning intelligent or engaging words. Even in the solo market, a vast majority of lyric sheets lacks soul, wit, sparkle, sass and heartache. There may be an odd memorable line here and there, but 'Like You Do' never lets up the pace or quality. It is noteworthy and quote-worthy from start to finish. An impressive and wonderful achievement. As a songwriter of 11 years myself, I have been sneakily jotting down some of the lines, in the vain hope I can come up with anything quite as good. The vocal, to me, is the true wonder here. In spite of the fact that the song has a singular theme- in the sense that it is about a single subject- the vocal shifts styles, genres and time signatures at various intervals. There are nods to jazz, the blues and folk. At 1:16 there is a little hit of South London/Amy Winehouse. Abi's voice dips and rises; tabulates and bursts, making the song ecstatic and gripping. She has an incredible power in the softer edges. She can match Aguilera, Bush and Cassidy when it comes to hushed and spellbinding stillness, and has the ability to project a huge belt and beat when required. In fact the voice keeps moving and electioneers thoroughly. It is impressive how the vocal delivery matches the lyrics, and certain tones and shapes are employed to bolster and highlight what is being sung about. Uttley has a clear understanding of emotional impact and impressing casual listeners, as well as 29-year-old music obsessives such as me. The track will appeal to nearly everyone, as there are no gimmicks, auto-tuning or pointless sampling. It is a straight talking and captivating little number, that never overstays its welcome or wander aimlessly. I am currently in love with the Cuckoo Records stable, based out of Leeds. They are producing a large crop of varied and staggering artists, and if Abi would be snapped up I am sure, should this track be sent to them. It is an impressive feat and memorable track. I even caught myself singing it just now, and sure I will have it bouncing in my brain and feet for a long time.

There are literally no real negatives; more constructive suggestions. I feel that Abi has such a strong voice and set of lyrics, that perhaps the music needs to notch up and challenge for superiority. If there was a bit of brass, a few strings or a guitar lines in the mix, it would add weight. If you listen to Little Violet, Rose and the Howling North, or even Jonnythefirth, who are based just down the road from Uttley, they have utilised this. None of those artists can match the lyrics or impact that Uttley puts forth. Little Violet has jazz/swing-era brass,m trumpets and sway; Rose' has ghostly and dark guitars (the sort you hear on a Tarrantino soundtrack), whilst Jonnythefirth has White Stripes-esque blues guitar, alongside Jake Bugg/Arctic Monkey-style clout and electronic drawl and hammering. Whether there is a fiscal constraint, or a lack of willing and available musicians, but Uttley has the talent to employ these elements, and lift a song like this into the stratosphere. Marc Otway took care of guitar and piano, and does an incredible job. Just imagine how powerful and resonant the song would be with a few more elements. Whether too Uttley wants to keep it simple and showcase the lyrics and her voice, may be a reason too. It is the only thing I would suggest. If there is any sort of fuller band sound in the works, or keeping the sound faithful to what is displayed here, I for one will be encapsulated. There doesn't need to be any sort of additional sound to make the sound or song come alive; maybe more instruments would clutter the song or distill the potency.

Abi has been performing with Otway for a while and they blend talents beautifully. I hope three things. One; that they keep working together and blending their abilities and tones, as they work wonderfully. I am keen to hear more songs. Uttley will be required soon enough to produce an E.P. This is not subject to public opinion. There will be a massive appeal and fan base waiting to pounce and embrace any new songs. She could fill a few E.P.s and a full album will little need to deviate too far from her personal and effective template. If this is in the works, or back of her mind, it is something that she needs to consider, as there is a definite market and hole to be filled. Thirdly, I am hoping that in the future she stays loyal to her hometown and part of the world. There is a temptation, usually- well you hit it big- to move to London or a bigger city. It is a bit cliche, but felt by those artists that that is where the money and contacts are, and where, ultimately, your market are waiting for you. I have mentioned Cuckoo Records, but there is a swell of Mancunian talent bursting through. The north is where the talent is, and Uttley will find many collaborators, labels, cohorts and supporters much closer to home. That isn't to say that the lights of London will not call for her; they will. It is just that she can do a lot of huge and promising work in Yorkshire. There is a modern scene filled with female talent that only tick a few boxes on the checklist. In terms of the balance of quality and quantity, she has more in common with the likes of Jessie Ware, Laura Marling and Adele- guys that are making huge waves, getting a load of airplay, and selling a magnitude of records. On the basis of one track, it is difficult to say what the next step is, and whether the quality can be maintained. If you can produce a number like this so early in your career, then there will be little chance of a dip in impact. I cannot wait for the next move. I hope that there will be a lot of fans waiting for Uttley, because that will give her the confidence and ammunition to get into the studio again and make some beautiful music. For now, have a few listens of 'Like You Do' and check out what she is doing right now. Spread the good word, folks. Abi Uttley is a name you will be hearing for a long time, soon enough. I'm pretty sure...

... you will not disagree.

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Official site:

http://abigailuttley.com/

Facebook:

http://www.facebook.com/#!/MarcAndAbi?fref=ts

Twitter:

https://twitter.com/AbigailUttley

The Open Feel: 'Kiss, Kill (Back to Love)'

The Open Feel:

'Kiss, Kill (Back to Love)'

Track Review

9.6/10.0

'Alternative, dreamy' 2-piece U.S. rock band pervade a beautiful sound. Don't expect any comparisons with a certain Michigan pair.

Availability: 'Kiss, Kill (Bang to Love)', available at: http://theopenfeel.bandcamp.com/

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It was the modern-day philosopher Robert Zimmerman, who said...

in his seminal romance piece 'Absolutely Sweet Marie', that "well, anybody can be like me, obviously/But then, now again, not too many can be like you, fortunately". These are not just well-spun words on love, and the nature of romance and kinship. They were written by a wordsmith of inherent genius and foresight, who was in the middle of a huge wave of a creative firestorm. Dylan had just produced the two finest albums of his young career, and had just completed a terrific trio, when 'Blonde on Blonde', was produced. The legend that is, was on a creative streak of unparalleled precision and drive, and, bolstered by the likes of The Beatles and The Beach Boys (whom were perhaps friends as well as rivals); the lyrics, mention above, had relevance on a personal level in 1966, and have a historical and modern importance now. Outside of love, in the cool waters of the music scene, there is little individuality. In the undergrounds and 'alternative' radio stations, much diversity and quality can be heard. In this country, the predominant mainstream is a beige murk of similar sounds, lack of imagination and purulent egos. Even if one were to have their ears, pressed intently against the rumbling concrete, and their eyes strained whilst looking into a neon night, it is difficult to find bands and artists who are truly captivating and peerless. I have been fortunate enough to have been directed to a number of rather special northern bands, by a rather special person. Short of that, there has been a bit of word of mouth publicity, that has alerted me to top talent, as well as a few rebels who have fallen from a band wagon; deciding to beat the dusky desert road, with little more than a pad of words, and a bag full of old clothes. There has- perhaps ironic to the key context here- been a few artists who have tried to capitulate and emulate Bob Dylan's sound, Jake Bugg is one of them, and grabbing at his coat tails, is a veritable army of 20-something wannabes with guitars, vocals, lyrics, and... let's be honest, little else. Circling to my primary point, whether the lyrics were intended to be ironic or a genuine declaration of passion, lives some mystery in the listener's mind. I have seldom heard or seen any artist or talent who has been able to convey the same potency of Dylan. In the U.S. there is a clandestine room of talent, who have been trying to mount a counterweight trebuchet, and have their artistry embraced by us here in the U.K. I have heard little word of any key emerging talent across the pond... until now.

Following on from a liquidation of some bands and acts, it is invigorating to read about the history and folklore of The Open Feel. For one they have a unique, and rather open-to-interpretation band name, and striking band silks. The artwork to their 2011 E.P., as well as their new single, contains mauve, purples and pinks. There is a femininity as well as a striking romantic endeavour to them. It is not since The Coral's 2004 'min album' 'Nightfreaks and the Sons of Becker' that violet paintwork and dreamy and startling music, has been married so successfully. On their bio page, there is a fever-dream of a line up that included Muse, The Cure and The xx It is estimated that their balance of tones would effortlessly fit in at any venue or festival that housed these artists. Instantly there is a sense of ambition as well as quality. You get the sense that, whatever is lying in wait, is going to be something quite wonderful. It is this hypothetical aggregation of cohorts, as well as a fascinating back story, that demands you sit up and take notes. Vocal/guitar queen Katie Harris joined with her Byzantium band-mate outside of L.A. a little while ago, now. Drum and bass warlord Tom Brayton and his musical sibling embarked on a string of local gigs, before recording music. The couple have been with each other for a number of years, and Katie states that the reason The Open Feel came into existence, was due to a shared desire to see where they could go as a band "with no judgment". Tom explained that the two had been in other bands, and were eager to see what beautiful and unique music they could produce. Having not seen the duo live, I was wondering if there is bass as well as percussion; I was curious if there was any sly flirtation and romantic bi-play between them, and then thought it would be best to curtail any preconceived comparisons The White Stripes. That Detroit pair has a similar allure. Aside from their bizarre insinuation that they were siblings (Jack and Meg used to be married), as well as a militaristic red and white band uniform, the pair had an unadulterated knack for producing fierce, primal blues rock, circa 1930. Aside from a gender-instrument switch around, and a slightly similar influence here and there (as well as a shared love of colour as a metaphor for their music and personalities); there are few similarities. For one, the band embrace technology and social media, instead of wanting to live in the '50s and use the most dust-covered and antiquated recording equipment possible. Katie is blonde, gorgeous and (from corresponding with her a bit recently), approachable, down to earth and very appreciative to anyone willing to crtique and embrace her music. She is a fret wizzard without being aloof and mythical. She is honest and a skilled songwriter with a flair for brilliant titles, sharp and stunning shades, as well as a passion for being unique. Tom is a little less photographed, but no less alluring. He is not a near-mute like Meg was, nor sublimated or subjugated to the supporting cast; swept into a shadow and destined to play the pantomime role of The Heliotrope Sticksman. Since their eponymous release, and a spell of dates around Los Angeles and Los Vegas, the pair superseded the musical gentrification with their staunch work ethic, before they hunkered down to record, what is to become their knew album, 'The Thunder Underground'. With a business plan that includes new singles every 6-8 weeks; a purple-toned paint chart, that would even have the mauve homonculous Prince green with envy; as well as a dynamic and cohabit a combination of intelligent lyrics, memorable tunes, and a noise that will stick in your skull for months to come, the pair are a giant prospect. The infinite regress, American bourbon and Baby Ruth flavour notes, and the intoxicating beauty, intelligence and surge of their front-woman, and mega talent of her male muse, means that the clubs, bars and hideaways of Orange Country may be a past curiosity reserved for prosperity and future homecomings. They are going to be embraced and pulled across the ocean by inhabitants of Landan (sic.) Town. From there Europe will catch on; Asia and Africa will fall lustfully enamoured, before the Australasians take them against their bosom and promise a safe and loving home.

The Open Feel, in itself, is a curiously interpretative name. Equivocal to their sound and sex appeals, the bank moniker could either be a self-help guide or a sex position. It has an undefinable curating of the sensual and spiritual. The duo have created a sonic Butterfly Affect. They are a winged insect with a shotgun; graceful and pure, yet armed with an arsenal of potential fury. They also, can cause a chain reaction of biblical proportions. When the music is more widely-heard the resultant snowball will roll; creating new songs for bands, as well as influence existing acts. 'Kiss, Kill (Back to Love)', has a reliably striking title, and spares no time in getting down to business. There is but the briefest intros- and electric and drum combination that swings and rollicks with the intent and strength of an icebreaker. Katie's vocal has honey tones, but also some authoritative force to it as well. The drum is a gun fire, and is punctuated; which elevates and supports the vocal brilliantly; it is fun and loose at the same time. The lyrics are wonderfully oblique, poetic, and intelligent: "It's like I'm walking on a wire/Above a two-sided face" is the opening gambit; and one of the sharpish and most interesting lyrics I have heard all year. Our heroine is able to take your mind somewhere else, and picture the words she is singing. I get the sense there is anxiety and fear in her heart, as well as an interchangeable emotional shift. She is, as she attests, "one breath from a smile to a cry". The vocal tones have a pleasing originality. There is a little bit of Fleetwood Mac, a tiny bit of Alison Mosshart, The xx to the way the sultry is mixed with fiery. The chorus has an uplifting edge, and with some backing vocals, I am reminded of early career U2, as well as the guardians of the female solo market: Patti Smith, P.J. Harvey and Laura Marling. The chorus lifts the pace from the verses and adds a rawer and harder edge. Like U2, who used the words 'kiss me' and 'kill me' to great effect, it is safe to say that "Kiss me, kill me now/Break me down to dust", is more thought-provoking and sterling than anything Bono penned for his song. The guitar and drum combination has an edge of Radiohead and Jeff Buckley. There is a edge of the former's 'The Bends' experimentation, and the latter's self-penned songs around the time 'Grace' was being toured. There is energy and a soulful kinship between the two; they are well rehearsed and completely in tune with each other, and create a splendid sound. I can hear influences of Patti Smith during the verses. There is a similar punk edge and smoky seductiveness, yet Harris has more sweetness and vulnerability. In spite of the forbidding and haunted edge to the lyrics, there is never any depression or horror to the mood. The sound is lighter and more uplifting- sort of Keane-cum-lighter xx-cum- The Pretenders. The entire track is under 4 minutes, and it manages to employ a verse-chorus-verse formation, yet rise above the current crop with ease. This is down to how the song is delivered. The music is engaging and well structured. The guitar is hard-edged and strong, but has a softer sensibility as well. The percussion is solid and intriguing; it aids and abates the mood of the track, yet never tries to steal focus. The lyrics are stunning throughout, and sway between saddened: "And the tiny light that remains in my heart", mingles with redemptive ("Bring me back to love"). The chorus is memorable and will stick in your head for a while. This is a band who know how to send a message and be remembered in a short time, and combine lyrics, music and vocal to huge affect.

In a black market of music, there is little since of authenticity, quality or fair pricing. Musical ambition and success runs perpendicular to market forces and trends. Longevity relies upon being able to remain at the top of your game, yet able to move- if necessary- with any fashion changes. There is a sense of free-spirit mixing with neat (pun intended) intoxication. The song, ensuing album, and band will ensure a trickle-down, cobweb affect. Other bands will be invigorated and new acts will be inspired and revitalised, too. It is not an 'aeroplane version', Disney-esque, straight-to-DVD of a production. This is genuine, and plot-driven, with no holes or hollowness. If Pontius Pilate is the metaphysical representation of the fiscal strain and harsh force that operates and hovers over music, then it is bands such as The Open Force, which will force about a salvation, and Resurrection. Before I sum up, I'd like to use myself as a study in context, contradictions, juxtaposition and ill-fate. Aesthetically and looks-wise do not do too badly for attention or endeavour, yet hated by the camera and always self-deprecating and neurotic when it comes to assessing my looks myself. In terms of love, am single, yet fascinated and in awe of two different woman, neither of whom will ever be obtainable, or mine. I'd consider myself pretty smart, all-rounded and have great advantages over most people, yet am out of work, and unhappy. Vocally I have an odd, eidetic, 'freaky' ability- not boasting, I just disturb myself. Yet, have not the money nor sheer confidence to record, and the audio equipment has a similar disdain for me as the camera. Seemingly everything I should do or could do, I can't or won't achieve. Yet everything I already have or seem to posses, or subjected to modesty, personal uncertainty and lack of confidence and money. I do not believe in fate, destiny, karma, 'everything happens for a reason', astrology, psychics or any untested, improvable or sheer illogical or woeful concept. Yet at the same time I have a huge faith in the potential of bands who deserve it. I mention this parable, as the band have no agenda, or no personal contradictions. Anything they want; they will get. Any pains that are reflected in the song, will be blown away and validated by the like-minded and those in awe. They can do all they set out to do, and are not encumbered by personal demons. They can embrace them and employ them to beautiful affect.

In the words of Troilus and Cressida: "Fear not my truth: the moral of my wit is "plain and true". The twosome have an honest and bare honesty, with a lot of truth, but also some fiction. Within their sharp and studied lines, and pioneering intelligence, there is nothing to be afraid of; it is all-embracing. There is a highly unique and original air to 'Kiss, Kill (Back to Love)'. I am sure that there will be cross-Atlantic appeal and fanfare awaiting. I hope so anyway. Churchill said that "the English never draw a line without blurring it". I shall do my best to get my countrymen and women on board, and spread the word. It is free to listen to, so listen to them...

... and fall in love with them.

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Official site:

http://theopenfeel.com/

Twitter:

https://twitter.com/TheOpenFeel

Facebook:

http://www.facebook.com/theopenfeel

You Tube:

http://www.youtube.com/theopenfeel

MySpace:

http://www.myspace.com/theopenfeel

Steve Heron: 'Picturesque'

'Picturesque'

Track Review

9.7/10.0

Over-precise, nervy promotion, and the marble sheen of the modern market, could do well to follow the charming, everyman appeal of this sagacious Scot.

Availability: 'Picturesque' is available at: http://www.youtube.com/user/steveheronofficial?feature=watch

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His existence began more-or-less the same time as mine...

but Steve Heron trajectory is a lot more prosperous and fascinating than me. He is a veritable James Dean, to my Steve Guttenburg. It would be too easy to be jealous of the lucky son of a biatch (sic.); but a little lesson in context, may go a way to steering away from any mythology and giving the (slightly) more mature statement, a thorough appraisal. No iambic tetameter; no glib NME-esque brevity; we need to delve deeper. First off, it is worth noting that once upon a time, music used to be imbued and defined by a marked maturity and professionalism. Not to come off as a premature old man, but back- I would suspect- in the '60s and '70s, bands and acts did not have to be subjected to any analytic vetting. The market was a lot more freewheelin' and all-inclusive; there was little common cause or rash generalisations, when pertaining to age, ambition, spirit or talent. The demographic and creative shift, has moved perpendicular with an advanced technological age. If it weren't for wistful retro-active needs to relive a past age, or a fervant underground, then the narrow brackets and narrow-mindedness of the music industry, could well neuter anyone over 30. The greatest lyricists alive today are in their '70s; the finest and most pioneering bands are over 35, and the most noteworthy and revered examples of the breed are a lot more experienced than the likes of Ed Sheeran. Heron is a young man, with an older gent's quality and integrity. He is able to come across as cultured and well-informed without the need to pander to the stuffy core. I mention age not as a study of longitudinals within music, nor as a study of the correlation between mortality, success and lifespan either. I do so because it is a sad and sorry state of affairs that what is considered trendy or fresh is seen as equivocal to deserved spotlight and focus. It is a false equivolency and should cause much shamed head-hanging amongst a somewhat fickle and discriminate public and media. It is a pleasure to discover acts and musicians with genuine personality, an innate understanding of the needs of the music-buying public, whom have no credence or time for pointless memetic epidemeology or sarcastic addendum.

Which, rather aptly, leads to be to a curiously-named Mr. Heron. Like the powder down monophyletic birds; Steve has a similar cosmopolitan appeal, he has a carnivorous hunger, and yet displays beautiful and striking plumage- brilliant sounds and fascinating insights are to be found. Unfortunately, there is also a rather indigenous and narrow colonisation to his influence and legacy. That is going to change, very soon. Let me give you a little biography, to set the scene. His Twitter account, rather colourfully and playfully begins: "You can stuff it up your arse for nothing..."; showing that our man has a refreshing proletariat appeal. He is no tabloid editor, as his assorted social media pages are professional, detailed; giving a great depth and appreciation for his lot in life, as well as where he came from; and, where is going to. A lot of southern contemporaries- and being from Surrey, I am as white bread and reserved as they come- are rather stuffy and conservative. Steve is a guy, and intent on having a bloody good time, taking his music to the masses. Angus McGuire, Simon Gibb and Alan Lamb, are noble comrades, adding colour to Steve's songs. That said, Steve is a positive one-man-band, playing a range of instruments, including guitar and keyboard. He is, as attested to on Facebook, the creator of "Melodramtic Popular Song". The chap enjoys Jeff Buckley, The Smiths and The Boss. But don't go looking for scars and bruises under the clothing; Heron has a rollicking glee and reckless abandon to his sound that is quite infectious and joyful. I like him already as Buckley is my musical icon. Furthermore, Independant Music News praised him for "pushing the indie sound"; "Catchy as hell" is how The Buzz Stop described his sound, whilst "Edinburgh's prodigcal son" impressed Bainbridge Edinburgh. Having released a successful and much-celebrated album 'Honest One' in 2011, Heron has gigged with the likes of Razorlight, The Cribs and The Marvels. It is through a staunch and imperious heads-down work attitude that has earned the guys a loyal following, and to be whispered in the same breathe as some world-class acts, is no fluke. It is the combination of such concentrated and stunning influences; coupled with a savvy utilisation of the local scene as well as social media, that has lead to such fevered anticipation for the new track. It will be nursed to the public bosom, and create a frenzy of speculative legions to drop their Beady Eye and East India Youth C.D.'s, and listen hard!

First impressions can- in the wrong hands- say little, or can be seen as a second sight. For me, being used to writing; and having been a devotee of many genres for nearly 3 decades, feel that I had an intuitive and informative edge, when listening to 'Picturesque'. There is a rousing, closeness centrality, almost Motown-tinged blast to the intro's initial stage. The percussion slams and kicks with steel to-capped boots, as the swirling audio feast unfurls, capable to exhume the deceased in its potent crack. There are shades of The Zutons- a lot of their debut album contained a similar energy and sound. With the breathless brass proclamations, combined with 'Human Touch'-era Bruce Springsteen majesty and fun, it is an invigorating and mazzy dance which greets the eager listener. There is still a sense of the sound of funk, soul and blues in the style and sound. It is a wandering and friendly beast. The sway and dance continues with little sign of exhaustion or strain, as the vocal arrives to chaperon. There is a fleeting, yellow teeth grin to Kevin Rowland, in the rawer edge to the vocal. There is a similar undertone of merriment and revelry to the pronunciation and hew, yet plenty of sweetness, with a smidge of Robert Smith punk bite too. It is during the elongated, flighted vocal hold during "I don't want/Anything else", manages to transition between the '80s parable with punk and pop, and elicits a little OK Social Club-cum-Ryan Adams hybrid. Steve displays a strong and unquenchable power and pureness to his voice. It is unaffected by the modern age, and balances a soul-tinged heartache with an Alpha Male rock swagger; never pitting the two against one another, instead infusing them; with combustible consequence. There is an indie sensibility, with modern-age tableuxs about false start sexual endeavour, clashed personalities and an inherent passion to have you hooked by its catchyness. In spite of the fact: "Hearts are like jaws/Sometimes they get broken", there is little malice or ill intention. It is a matter-of-fact equation, and is the sort of lyric Adams might well pen. It is hard to shake off the perpetual motion of energy and excitement. There are relentless blasts of horns, subtle endeavouring guitar licks, hiding in the back, but holding the mood upright. The percussion is a combination of steady rolling and a forceful avalanche effect, which gives a solid and determined backbone to the track. The sound and innovations are definitely those of a broad-shouldered Scot. There is no androgynous, Lilly-sniffing, bootcut jean-wearing, hair-gel wasting feminine whimpering. Our man Steve has power in them there lungs, and could belt this song from the terraces, and be heard and respected. In spite of the fact that he a young man, with an educated, mature and developed mind, he has not lost the knack of being able to weave child-like glee into his notes and notation. "Your sorries/Get you caught" are the words of a man who has seen it before, and been there. With experienced conviction and perhaps a few scars for his troubles, the lines seem commonplace in his mindset. After the 3/4 mark, there is a musical interlude, complete with charged and focused drums and guitar, before we come back into the streets. There is some proffering from a wise heart, and a Newton's Cradle of Motown/soul, before we end, and are given chance to sum out.

I am a new listener to Steve Heron, immersed as I have been in the sounds of Manchester, as of late. He has an impressive and stunning back catalogue, and a wide arsenal of sounds and shifts to his style. He has a rock heart and hard fists when he needs them, but is a lovable, gentle giant one would suspect. Based on the stylish flair and smile of 'Picturesuqe', he is imploring you to love him and his music. The lyrics can be sharp, but always witty; capable as he is of being able to blend Morrissey's sharp barbs, and Marr's curious and intelligent sense of music and sound. If you are not familiar with Mr. Heron, wake up...

... and make yourself happy.

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Facebook:

http://www.facebook.com/#!/steveheronmusic

Twitter:

https://twitter.com/stevejheron

SoundCloud:

http://soundcloud.com/steveheron

YouTube:

http://www.youtube.com/user/steveheronofficial

iTunes:

https://itunes.apple.com/gb/artist/steve-heron/id414581880

Reverb Nation:

http://www.reverbnation.com/steveheron

BandCamp:

http://steveheron.bandcamp.com/album/honest-one

The Autumnkind: 'Temporary'- Track Review

'Temporary'- Track Review

9.3/10.0

The arrested development of seasonal change, provides a chance for well-considered electioneering from barn-storming quartet.

Availability: 'Temporary' is available now at: http://theautumnkind.bandcamp.com/album/cartography

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4-piece bands are probably as old as Tom Jones' chest hair clippers...

and like the rather put-upon follicle trimmers, the nature of musical quartets has been subject to prosperity, entropy and hairy times. The '60s is probably when the beautiful baby boy was born forth. There were some rather sticky formative years; prepubescent struggle occurred at the arrival of the 1970s. During the 1980s, with one or two exceptions, it went completely off of the rails, before finding love, growing up, and settling down during the early '90s. Time, fortune and fashions have passed, and over the last 10 years or so there has been a somewhat mixed bag of success in the market. The most successful and memorable wards of the state, tend to err on the heavier side; force and conviction are favoured over melodic and demure.

The circadian rythms of the scene have scene a lot of movement happening towards the north- particularly the Manchester and Leeds areas. There has been a lot of a much of a muchness. With all the faux-heartbroken front-men, swooning precociously about their disgraced former-beau, dragged asunder by the forces of melancholy and ill-fate. To be honest there is a little bit of a stale smell forming in the kitchen. It is about time someone cracked a window, and breathed some fresh life into the mix. Aside from the proclivities and swaggering there is something happening elsewhere.

The Autmnkind, are, in their own words a "melodic leftfield rock" assemble; and consist front-man Marc Ozall, drummer Simon Treasure, guitarist Adam Lunn, and bass player Martin Bradford-Gago. They released debut E.P. 'The Shipping Forecast' way back in 2009; following an impressive period playing some of London's top venues. They managed to toppled Michael Jackson and Robbie Williams in the Amazon download charts, and following on from their second release 'Words and Sounds', they entered choppier, rockier waters. Following some tumultuous band changes over the next few months, including the departure of their bass player. After some negotiations and good fortune, a new, strengthened band was created, and a new lease of life and invigoration provided. In 2012, the band headed into the studio to begin work on their E.P. 'Cartography'. It was unleashed into the public domain in August of last year, and has been gathering new fans, steady press and repeated plays amongst a loyal base. New followers have flocked to see the band perform, and it seems that the solid and revitalised group have an extraordinary confidence and ambition to them. They have a keen eye for names and design as well. I often have postulated in my head what the 'Autumnkind' refers to. It sounds like the kind of name, Hollywood whackos such as Tom Cruise would name their daughter; were any woman foolish enough to let that happen. A much cooler scenario would be former-Detective Autumnkind. I'd imagine a grizzled rogue cop, drummed out of the force for not 'playing by the rules'. He would while away many a day, cigarette hanging from his mouth, staring from his London window, surveying the citizens below. Any day now, he would get the call from a desperate band of computer hackers, duped and tricked into a sticky situation they did not envisage. If only there were a man who could pound the streets, shake the lapels of all the loyal scum, in a noble, fervent bid to get results and answers. He would have his own show, and a suitably kick-ass theme song. Anyway, I digress! I'll let the songs, or in this instance, song, do the theatrical, filmic talking.

With the intriguing and mysterious E.P. cover, and curious batch of awesome tunes, I am focusing my attentions on the ironically-named 'Temporary'. I say 'ironically', as the indelible impression the track will leave in your hippocampus. The song is the penultimate track of the E.P. and begins with plaintive and explorative strum, it has an instant, subcutaneous allure. It is an intriguing and sweet guitar call. It reminded me of Jeff Buckley, and his early days wowing stunned audiences in the New York coffee house of Sin-e. There is also some The Bends-era Radiohead, and that influence, complete with an updated and cutting edge, adds authority and a huge credence to the intro. It is dreamy, with a country edge; beckoning with a soul fleck; an intertwining polygamia in its rock ambitions. The pulsing, break dance of guitar that enters the fray, shakes the cobwebs away, and invigorates a rush of blood to the head. It is the band's Socratic Method of teaching their contemporaries, how to create a simple and effective intro. It runs a similar line, curiously, to that of Queen of the Stone Age's 'No One Knows'. It has that same bounce and pogo punch to it, albeit a little less muted. We have whizzed and perambulated from '90s New York, to '00s California, via '70s London in the space of a short, few seconds. Perhaps there is a little bit of 'Chelsea Dagger' to the closing stages too. There promises to be a forthcoming singalong afoot, and the musical tapestry defies you not to throw your chair across the room and dance, regardless of how crazy it makes you look. Marc has a smooth and mature edge to his voice, and enunciates with clarity. The issue I have with a lot of bands is that they garble words, or bury them under a rubble of noise and chord progression. If you can't well hear the lyrics, you only are aware of, and able to evaluate about half of the song. There is a pleasingly credible pop tone to the delivery as well. There is no brutish barbed-wired delivery, which so many employ, needlessly. It means that the sentiments and home truths resonate much clearly and with more heart, thus creating a more potent emotional response. Take the following: "... I can't get it through to you/My petal/You're not going to get your way". The context suggests disharmony and a rather painful and complicated back-story between out hero and and out-of-favour former sweetheart. The content suggests a sharp tongue and a sarcastic wit. There has been a dissapropriation in the home town and our front-man is sending a clear message to our anonymous heroin(e). The vocal tones have, I'd dare say- and not in a demeaning way- elements of McFly. Those bobble-headed pop bozos were demonstrative and ineffectual to a tee, but had a knack of being able to convey a pure, populist manifesto, and make their irrelevant sentiments, stick. Marc and the boys have a mature, intelligent, and bon-mot infused wit, and are able to punctuate their sentiments, with a glorious simplicity and effectiveness. In the same way that there are stoner rock knuckles, able to cohabitate with genuine '90s U.S. rock, they also can co-mingle classic British rock with a modernised pop-rock template. When it is said that "I could tell you that I'm sorry/But you know that it's a lie", the atmosphere is light and melodic, supporting the earnest and honest sentiments, profess. The sound manages to stay within the borders of '60s pop, and modern rock; displaying no inferiority or signs of weakness. The band support their brother with fraternal understanding. The percussion is not too heavy-handed; instead it keeps an emotional heartbeat constant, and keeps the track level and straight-thinking. The guitar and bass work are statesmen-like and solid. Between them, they manage to conjure a sonic transmogrification that shifts the mood, from 1:20-1:28. The energy and strut keeps going hard, never missing a beat, and as the intriguing-cum-mysterious lines, "I'm only/A metaphor/For your direction" are stretched and syncopated, it adds another colour to the palette. The lyrics are not phoned in or given little consideration as to their pronunciation and delivery. Certain words and lines are infused with energy; others allowed to relax; alliteration here, modulation there. This means that there is a constant thoughtfulness and shape-shifting. The chorus is breezy and tinged with sunshine, which combined with the lyrical theme, gives it a white and blue collar appeal, and brings a smile to your face, whether that is the band's intention, or not. The entire track is a little under 3:50, and it seems much shorter when listening, making it memorable, tight and a little bit of a tease.

'Temporary' is a fine and noble cut from the E.P. It is usually the track 'Glasshouses' that gathers most attention and plaudit (and it is a similarly brilliant track). 'Temporary' is neatly placed at the 3/4 mark, and acts as a propulsive and fresh sound, following 'Glasshouses' more serious and emotional nature; and comes before the harder, trippier sound of E.P. swansong, 'Time Will Tell'. I was thoroughly impressed by The Autumnkind's creative annals. They have endured a tough upbringing, with a changeable roster of members, and a bumpy road. They have a bright, promising future, and have a sound and popular edge that will see them transcend the boundaries of rock and pop, and unite and invigorate any tired camps, hungry for new tones and a fresh impetus. If you have a few spare moments, then they deserve a lot of attention, and based solely on the strength of 'Temporary'; they will be gaining...

... a large, new following.

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Facebook:

http://www.facebook.com/theautumnkind

Twitter:

https://twitter.com/theautumnkind

iTunes:

https://itunes.apple.com/gb/artist/the-autumnkind/id318192876

YouTube:

http://www.youtube.com/theautumnkind

MySpace:

http://www.myspace.com/theautumnkindmusic

Reverb Nation:

http://www.reverbnation.com/theautumnkindmusic

Anna von Hausswolff : 'Deathbed'- Track Review

'Deathbed'-  Track Review

10.0/10.0

It is the combustive sound of a modern and agile talent, and the pleasing tones and childlike beauty of Kate Bush.

Availability: 'Deathbed' is available now at: http://soundcloud.com/cityslang/anna-von-hausswolff-deathbed

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There is another shift happening in the female solo market...

at the moment. Well, maybe not a shift as such, but a definite segregation of tonality and quality. There is a- unfortunately majority- section of female singers who have quite fey and listless voices. I'm thinking of the like of Ellie Goulding and Lucy Rose. There is a mutated subsection, that begins evolution along the same aesthetic lines; then layers of makeup is applied, garish clothing is adorned, and purulent nonsense, and meaningless fluff is emanated forth. I am referring to the likes of Katy Perry, Lady GaGa and their ilk. Within that subsection there is a little redemptive quality, such as Little Dancer. The other, less subscribed group comprises the powerful and intriguing. Reigned by current head of state Adele, there are successors to the throne such as Jessie Ware, Laura Marling and so forth. The former have an inherent planned obsolescence. They suspect they will not be on the scene for a long time, choosing to spend their sojourn of creative existing creating high-energy and so called 'feminist' and 'empowering' songs. They are fooling no one. For anyone who can read or hear, the songs and combined discography amounts to seldom more than sub-par Madonna posturing. The latter fare better; possessing impressive and diverse vocals, able to write provoking lyrics, with a keen ear for simplicity and effectiveness. The one thing I would say about this crew is that there is little.... shock. Good shock, that is. Rarely do you drop your head with exasperation and awe; eyes watering and mouth a rictus of catatonic glee. Of course that sort of visceral reaction is hard to come by; but when it does occur, it is worth talking about.

Having garnered some recent positive press from The Girls Are and The Quietus, Anna von Hausswolff is a seductive siren, with a business plan that contains a very promising profit and loss statement. She hails from Sweden, as you may have guess from the fore, and surname. She is incredibly striking, projecting a safe and seductive aesthete of a girl-next-door, but gorgeous and alluring as well; one suspects she could make men drop to their knees, from a shy look alone. Having just been signed to City Slang records, she is riding a creative and professional high. This label houses the likes of Arcade Fire, so you won't need me to tell you that her music, is not exactly going to be sound-tracking an episode of One Tree Hill. She is a 26-year-old goddess whom has wowed and intoxicated her native land with her beguiling voice. That is something I will get to anon. Her debut E.P. 'Track of Time' was released back in 2010, and followed it with the album 'Singing from the Grave'. Critics and fans were a combined mass of admiration, with notable comparisons made to Kate Bush and Antony Hegarty. Obviously there is a ferbile approximation to the latter, but it is the Bush comparisons that are most relevant, and spellbinding. I will add more depth to the analogy within the main body of the review, but you cannot help but to shake off that same breathless wonder you receive after witnessing a Kate Bush vocal turn. There is the same accumulative super-naturalness and infantile innocence, that strikes you hardest. Anna's new album 'Ceremony' will be released on June 17th, and promises to stagger, bludgeon and woe you with an eclectic and heady mixture of that voice, fertile and inspirational compositions, and acute and memorable lyrics. As you may have guessed from the subsequent and previous album and E.P. titles, there is a funereal motif and uniformity to Anna's work ethic. Don't go expecting any Joy Division morbidity or suicidality to her personality, or ambitions. She is more than the sum of any predefined and prejudged parts. There is a parts Nick Cave, P.J. Harvey and Elizabeth Fraser to her, and the lead-off single 'Deathbed' promising, perhaps more than anyone would or could possible expect.

Any sort of safe and common adjectives that I was going to use, in order to give my initial impression of the track, have been struck through, and repatriated. The opening notes are produced by an ominous, yet intense. It is a church organ, that holds and floats magisterially above the congregation, and there were a number of avenues, perhaps, the song could take. The sound of the organ hold is similar to that heard on Wild Beasts' track 'The Fun Powder Plot', only invested with darker, smokier flavours. I was curious if there would be a similar nimble vocal performance forthcoming, or something more restrained. With only a minuscule hint of quasi-modulation the organ holds for well over a minute. It is haunting, intergalactic, and reverent, in the way it shifts, confounds, intrigues, ennoculates and aneasthitises. Just after the 1:1o marker, there is a trippy and odd sounding guitar blast. If you listen to the end of Queen of the Stone Age's 'Make It Wit Chu', it manifests a similar romantic stoner echoing. With a running time of 8:38, the track has the ambition of a '70s rock classic. The guitar throbs appear as a counterpointed punctuation to the organ, which, although possessing less volume now, is an unerring and emotive element. Switching from emotive-less and monotone, the guitar becomes an ambiotic and more distressed animal. It wails and howls; cries and calls out to you. If you were to visualise the therianthropic brood of the track, I, for one was transported to a dark and damp street. There is nobody around, aside from the occasional passing car. The streets are dimly lit, and there is a noxious tension in the air. I am minded to clutch tight to my meagre possessions, in fear that they will be absconded. The tension is nauseating, and there is a relentless smell of tobacco smoke in the doorways. As I walk towards a familiar neon light, nestling between a closed bar and a theatre, there is a narrow alleyway, protected by a beaten and sturdy blue door. A pale woman stands by the door and nods with familiarity. The weather is becoming more hostile; the rain beating savagely, the wind is numbing and totalitarian. The sonic sound-scape really does conjure a myriad of strange and nocturnal scenes. There is an unpredictable and swaying aroma of dis-calm; tattooed with converse virtues of puritanical respect and voyeuristic bravery. It is what Byron would have created if he were a musician, rather than a poet. Around 3:20 there is the hallucinogenic buzz saw sound of flat organ; as a marching band drumbeat, with no consideration for the laws of the Doppler Effect, heralds a sea change. There is a lightning buzz of electrics, infusing the song with a Pirc Defense of structure. There is fuzzy, scuzzy guitar; withdrawal effect of organ; an ellipsis before a bullet hole drum slam. The guitar becomes more cohesive; there is a bluesy, beautiful string articulation, building a sense of Prog Rock-cum-'60s psychedelia. The vocal then arrives, and the unquestionable Bush memisis is an axiomatic tautlogy. It is evident there is influence, but the previous musical orgasm, combined with an alliterative lyrical tone, suggest that face value overrides skin deep, in any stereotyped summations. There are elements of 'The Dreaming/Hounds of Love'-era Bush in the vocal style and adventure. The fusing of vocal balletic and musical pioneering is similar to P.J. Harvery and Massive Attack. The words employ a sense of emotional fatigue and love-gone-bad recollection: "I gave all/I gave in". Anna has a glorious sweetness, but also a gymnastic and supple elasticity to her range, capable of portraying an anagrammatical array of emotions and shades. She can growl, and sigh; scream breathy, and dominates the mood with omnipotence and conviction. In the same way that Wild Beasts' front-man Hayden Thorpe combines tenor and countertenor; barking, trilling, screaming, angelically growling, Anna has a similar talent, able to operatically summon up a riot of passion and pain. After the vocal passage, there is a gorgeous swim of organ and drum which is parts Groove Armada, parts The Doors. The organ continues to ride and purge, carrying the song to its exhausted conclusion.

It is not just the song as a whole which overwhelms you entirely; it is also the general unexpectedness of it all. I have written an 8:01 song called 'Vanity Mirror', in the- somewhat ambitious- mould of 'Paranoid Android'. It consists of 7 distinct phases and parts, and combines interchangeable music and a lot of vocal. If you were to look at the running time of 'Deathbed', you'd imagine that there would be: a short but building intro; a traditional chorus-verse-chorus structure, complete with a large proportion of vocal and musical interplay. Anna's masterpiece consists of 90% music, compared with a fleeting, yet ecstatic vocal interjection. The song is all mood, build, intrigue and eliciting the maximum amount of emotional resonance, from sparse organ and drum (and guitar of course). There is a sense of humour at the wake, and never a sense of dirge, depression or self-flagellation. It, instead, is magisterial and empirically stupendous. Anna proves that she has a remarkable voice that can blend influences seamlessly, yet never leans too heavily. It is one that is full of mystery and wonder, imploring you to fall still under her spell. The star of the show, may even be the music itself- which is unexpected. It is consistently engaging and hypnotic, leaving you spellbound and sweaty after the first listen.

Iceland produced Bjork, and near-neighbours Sweden have not produced a huge amount of similarly fascinating and gripping artists over the last 15 years or so. Anna is going to be hot property very, very soon. She may have gained a predominately localised fervour and adoring fan-base, thus far; yet has shown on the evidence here, she can deftly conquer and crush the comparatively meagre competition. She shares only a collegial relationship with her counterparts, and in a media scene with such much schadenfreude present, I am going to be one of the first to proclaim that her forthcoming album will be on the lips and tongues of many reviewers, critics and fans alike come June. If my proclamations and words have seemed like rank psychologism, I apologise, but rare are the occasions when one is presented with such a stunning piece of music. Perhaps it is a subjective viewpoint, considering my combined love for the likes of P.J. Harvey, Nick Cave, Kate Bush and the like, but the song spoke to me, and has genuinely inspired me. My pet projects and much-amended songs have been infused with new relevance and inspiration, and I personally cannot wait until the album is released. In fact, I may explode before then. For the time being I shall calm my nerves with a dose of liberal, restrained U.K. artists, and only dream of what Anna's album will contain. If you are skeptical as to the perceived popularity that Anna has gained, I will referee. It is by being bold, different, and outside of the nucleus of modern music that herald the most incredible long-term rewards. To those uninitiated and virgins to this style of chamber music-cum-progressive pop, then it is quite normal to be afraid of the dark. It is perfectly normal, but I shall leave you with a quote from philosopher Herodotus: "Great things are won...

... by great danger".

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Official:

http://www.annavonhausswolff.com/

Facebook:

http://www.facebook.com/annavonhausswolff

iTunes:

https://itunes.apple.com/gb/artist/anna-von-hausswolff/id351852229

MySpace:

http://www.myspace.com/vonhausswolff

Last FM:

http://www.last.fm/music/Anna+von+Hausswolff

Spotify:

http://open.spotify.com/artist/1eiXrvua27VlWgZ9kiaIn6

Dead Sea Navigators: 'Actors' & 'Crellin'

'Actors' & 'Crellin'

Track Reviews:

9.8/10. & 9.9/10.0

They modestly claim to be '"not everyone's cup of tea". If that were true, that is going to change very, very soon.

Availability: 'Actors' and 'Crellin' available now via: https://itunes.apple.com/gb/album/uncharted-ep/id479659088

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A lack of innovation, personality and concern for design...

pervades a majority of the music scene right now. There is a lot of wayward egotism; a fervency towards the predictable, and a generalised fear of being labelled as 'outsiders' or 'rebels'. This summation is garnered from an empirical evidence: there is a multitude of new acts, few of which tick every box you would like them to. If they have a barnstorming musical template and divine ecosystem of talent, they loses points when it comes to personality or ubiquity. Music works under an umbrella of the Law of Causation in the Law of Tort. There are a lot of great acts and artists who can project an air of confidence, and produce a cracking set of songs. Often that hard work is underpinned by the arrogance, and sometimes plain loconisism of the participants. They often seem unappreciative of any support, promotion or helping hands; purely concerned with recording, gigging and sleeping. For those whom value kindness and support to be tantamount to paramount, come across as the most worthy bands. In a hazy climate of mixed metaphors, profiteering and fickle fandom, there is one thing to be said. If you use music as a way of externalising your base desires, proclivities and negatives; your career will be brief, but will have moments of spark amongst the black skies. If you see music as a way of dramatising and turning your interalisations into something more fascinating, you may see fewer sparks; but you will stick around a lot, lot longer, and build up a more appreciative and awe-struck fan base. The bedrock of my point is, that you need to have a likable personality, as well as good music. If you treat music as a vacation and something that is inalienable and easy, you will be disappointed. I am always more intrigued when the facile element are subjugated and taken to task. Because when a band comes along that are instantly loveable, and have terrific audio samples to boot, the resultant rush of endorphins, brings about a bright expression that is impossible to lose.

This brings us to Dead Sea Navigators. I was made aware of their pure existence by a female friend. I shall leave her anonymous, as she is modest to a tee, and knows that the reason for the introduction was to make people aware of the band's wunderlust; not self-promotion or kudos. I have been in communication with vocalist/pianist Steph Naylor. What impressed me most about him was he was so down-to-earth and modest. On behalf of his band-mates, he admits that the musical template may have detractors, or may be a slow-burning flame in many people's souls. He comes across as warm, friendly, and genuinely thrilled to have support and appreciation for what he is doing. The band consists of Steph, alongside bassist Nik Williams, and drummer Claire Brock. The band have an inter-gender kinship, and a diverse geographical intinerary to their name. Steph hails from Sheffield, whilst the band themselves spent their formative years close to home, where it was said they started life sticking to a rigid and overpopulated guitar sound. They felt that that scene and sound had grown stale; balling the paper up, tossing it in the bin, and starting afresh. Deciding to break from the parable of 'what every other band ever boringly does' they were clear about their agenda: avoid falling into the quagmire of boring lounge bar music, the sort of thing you hear pipes like anesthesia into caffeine quads and wine bars, around the globe. They were determined, instead, to fuse melancholic piano with "distorted bass", which consequently, would be a fitting discography for "the entertainment of late night drifters". Music label The Animal Farm loved what they heard, and committed to record an E.P. with the group; subsequently a spiritual rebirth occurred and the ensuing 'Uncharted' was amassed. The band's obvious, early epiphany follows the story of 'Archimedes and the Golden Crown'. It is stunning how they have modernised and abridged that Greek genius's fable. The glorifying "Eureka!" was not emoted by the protagonists- but instead by music critics. Time Out hinted at worthy comparisons with Nick Cave; Artrocker noted that they sound "bloody huge". Before I refrain and focus on the songs, I would like to bring two more things to your attention. The band wrote "what they wanted to hear", according to them; which, if you look at their Twitter page is "gob dribble"; Facebook (page) goes with "piano-led indie lounge". They balance a sense of humour with a business-like didacticism, cleverly making you laugh with them, and infantilise and chide them for their modesty. Lastly, they have an artistic eye for simple and striking imagery. Their E.P. cover is a gorgeous sunset image, depicting what appears to be an industrial/railway landscape, which juxtaposes, beautifully the band name and E.P. title. They are Navigators of an 'Uncharted' Dead Sea. Whether the nautical christening is a cheeky insinuation that the current music scene is an ocean, rife with listless, floating bodies, unable to sink (but contented to lay artlessly atop a stale water); or whether they are explorers looking for new lands, spices and treasures is open to ambiguity. They inspire thoughtful rumination. One thing is crystalline: they are captaining a formidable Dutch Clipper; surging through the waters, guiding the listeners to a waiting and much needed nirvana.

Okay then, folks. I have selected a couple of enlightening cuts from 'Uncharted', which I feel best express and define the sound and philosophy of Dead Sea Navigators. The opening plaintive piano notes of 'Actors' has a little bit of Radiohead's 'Pyramid Song'. It introverts and syncopate's the Oxford boys' haunting cry, stirring in some mid-career Kate Bush magic, and adding a little of Elton John's 'Rocket Man (I Think It's Going To Be A Long Long Time)' - before the modulation. This all follows after a spectacularly eerie, and almost psychotropic chorus of spirits. Whether it is a music recording played in reverse, or a linear progression, metomorphosised is curious. Just from the first few seconds your mind and soul have balkanised, refereed by a fast-beating heart. It is simply stunning. The swaying, almost Waltz-like piano punch, capitulates to a point mutation of percussion, that leaps from the waters and pirouettes gracefully. I can hear a Radiohead influence as the signature changes in the intro. There is an audible rise and fall of acceleration. The vocal interjection, however, contains little falsetto or femininity. Instead it is a classic baritone delivery, with nods to The National's Matt Berninger. Like him, Steph has a similar velvet glory, yet does not suffer from Berninger's oft-crestfallen depression. There is more light and lyricism to be heard, and when the words: "There's no trickle down/No upside to this/That I've found", it is spoken, backed by an almost Romantic-era piano accompaniment. The drum moves with supaventricular urgency, creating an emotional balance to the baroque/ballroom sway in the foreground. In the same way that Rufus Wainwright has blended golden vocals successfully with artisan, lush musical backing, 'Actors' has a similar ambition and quality. Naylor is able to invoke a little of the spirit of Gerry Rafferty too, possessing as he does, with a voice that is capable of tremulous quiet and televangelist power and passion with ease, never indebted to any influences; instead possessing a unique and soulful set of pipes. Beginning just before the 1:30 mark, is a brief call and response between vocal and piano. The former restrained and fatherly; the latter augmented and purring. The lyrics are consistently engaging and literal; seldom succumbing to axiom or obliqueness: "And if you had the nerve/You'd do your shopping underground" and ensuing couplets have a modern and wisps of dark fantasy and "hospitality overload". With a backing of sighing vocals and a pointed and punctuating piano, the drum holds its nerve and keeps order as the mood and tension grows. Just then, a creeping electric guitar, probing stab of piano and vocal-cum-organ trip, both atmospheric and ghostly, bring the song to a close.

Completing the duo is 'Crellin'. It pupates amidst a romantic and tender piano line, that again has hallmarks of Kate Bush, but also with the classical greats as well. I am not sure about the etymology of the song title. There is a Yorkshire-born actor called David Crellin, who has appeared in Emmerdale and Cornonation Street. Whether it a love letter to the soap bard, or has its origins elsewhere made me smile. I am sure there is a plausible logical to the title, but in my head it is a siren call to a 52-year-old Sheffield-born actor, who resides in Manchester. The romantic foreign indie film gives way to a gangster romp, as the piano is accompanied by a gutsy and bulging guitar and slapping percussion kiss of death. Our hero is telling his story, of how he has not written to Crellin, "in so long". Hey, perhaps it is about him after all! Anyway; the tone of the track is quite reserved and scene-setting musically, letting the vocal and lyrics to keep your focus. The Berninger comparison seems apt, in the sense that the song manages to combine poetic and thought-provoking, and often humorous lyrics, with a cultured and consistent musical aesthete. As you'd expect with Dead Sea Navigators, there is a twist afoot, as there is a romping up of tension and atmosphere. Strangely it seems like an updated version of 'Stan' by Eminem, except with less psychotic undertones, and a transposition of key players and pertinent plot points and twists. Again the lyric's wardrobe and attitude is modern and sharp; there is a tangible and coherent story that runs through the song, and is like a truncated version of a nervy film noir. There are slowing sways of piano, coupled with darker tones, as once again one thinks of 'Amnesiac'-era Radiohead, and Nick Cave as well. Naylor employs a similar strange theatricality that Freddie Mercury did on 'I'm Going Slightly Mad'. The repeated and shortened chorus mantra: "Would you throw us a bone/Now you're out on your own?", is effective and studded. Naylor's voice soars and infuses a reverent and mannered tone to the track. If you picture the scenes that the track pertains, then you may imagine a kidnap scene, or creepy playlet. It is because of the commendable vocal, as well as driving and searing backing, that juxtaposes the palpable strain and adds an extra depth and intrigue to the track. Before the 2:00 mark, the vocal is held, and combined with the piano, drum and intelligent bass reminded me of 'Muse's coming-of-age gems on 'Absolution'. There is a comparable authority and quality, which, when combined with the lyrics, gives the track a meritocratic punch. What follows is a beautiful intermission, which takes the form of sterling bass, powerfully emotive drums, and a transcendent and altered-voltage piano switch. The music dances in the rain, with its sweetheart in its arms, as the moon shines bright. The chorus coda comes back up, as a final few words are proffered. The vocal elongates and twists with a wordlessly, with operatic undertones in its power and conviction. There is a apocalyptic ending of the War of the Roses, as the piano is hammered violently for a brief moment, before there is calm, and we are in safe waters.

I am not a vengeful or spiteful human, but any person who is still credulous in their belief that a lack of huge guitar sounds, means a lack of appeal, I hope now has irrefutable cause to shut their mouths and open their minds. I have been reduced to a mess of intransetive verbs and a messy stupor after hearing the tracks. I am ressembling a special needs dog at the moment, tongue hanging from the corner of my mouth. It is hardly an over-exaggeration to say that Dead Sea Navigators are music's best kept secret, as well as your new favourite band. They have been most modest in their assumption that they will be heard only in clandestine dens. They have a quality and might to their work ethic and results that suggest they can break a huge Berlin Wall of misconception and divided opinion, and ignite the current music scene. I have been staggered by the recent surge in quality acts and the diverse mix of sounds, palettes and voices. To my mind there have been too many guitar bands, and a small few have managed to distinguish themselves from the pack. Most climb and reach for heaven, instead they precipitate and fall to ground, cruelly subjected to the accelerated and fickle gravity of the music scene. Steph and his comrades said that they wanted to break away from the overcrowded and predictable guitar rabble, that has threatening to stagnate for some time. Instead they manage to fuse a classical elitism with a ubiquitous and indiscriminate modernity to their sound. The drums and percussion are authoritative and keep the other two in check. They elevate and punctuate the mood when needed, and when the lyrics, vocal and bass bend, the percussive spine remains strong and unbreakable. The vocal of Naylor is impressive and inspiring throughout, able to employ a range of emotions and shapes; ruminating and pulsating within the space of a few words. I'd like to sum up the review, by mentioning a couple of quotes from The Taming of the Shrew; which I feel lend weight to the group's appeal. The first is: "There's small choice in rotten apples". The noun would refer to a small sector of the current music scene. The closer you traverse to the capital, the fewer quality acts you will find. Around London and certainly within the 'mainstream' or within what is considered 'popular' there is little variation, and plenty of 'rotten apples'. I have never cared much for chart music, and the acts that pull in the biggest bucks. They are often bland, plastic and lacking teeth, guts or balls. If one wants revelation and a fulfilment of the pursuit of glory, you have to look hard, and search in all the right places. The location- if you are wondering where to find such hallowed acts- is the north of England, especially Greater Manchester and Yorkshire. This is where the healthy and ripest crop reside, and I believe that Dead Sea Navigators are the cream at the moment. The last quote concerns the sequestration of all of the finest and most worthy acts. In my exchange with Steph, I have been overwhelmed by his gratitude and appreciation at having his band's work highlighted and given a thorough review. It has inspired me to do- what I hope will be- justice to the group's talents. At the same time, I am sad that it has taken so long to hear of them, and hope that the forthcoming album, will see them elevated from the shadows, and brought firmly into the light, because I was blown away by both songs, and the E.P. as a whole. In respect to the cloistered nature of this fantastic trio, I cannot say it better than: "My tongue will tell the anger of my heart...

... or else my heart concealing it will break".

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Official:

http://www.deadseanavigators.com/

Facebook:

http://www.facebook.com/deadseanavigators

Twitter:

https://twitter.com/DeadSeaNavgtrs

BandCamp:

http://deadseanavigators.bandcamp.com/

MySpace:

http://www.myspace.com/deadseanavigatorsuk

Sound Cloud:

http://soundcloud.com/user6085507

Bauer: 'Sky Turns Black'

Bauer:

'Sky Turns Black'

Track Review

9.7/10.0

Near Google-proof Manchester mob, have a curiously analysable name, and an even more mystical track.

Availability: 'Sky Turns Black' is available at http://www.youtube.com/watch?v=Qtaibf8GUWk

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I'll desist with any prefabricated ramblings on the state of music...

like I perhaps would on any other day. I have slowly made peace with the Devil on my left shoulder, who has an unquenchable desire to have the likes of Bieber, JLS and Ke$sha dunked slowly into a critical volcano. It is with lamentable misty-eyed regret that I am announcing that I will take a brief sabbatical from reviewing bands from Manchester. There's nothing I like more, but feel that their superiority has been established and etched into the record books. Or I may return next week. I'm a bit like a '70s band that way. I am quite pliable and interchangeable when it comes to music. I'm not quite sure if there is something in the water up that way, but I will take a sip of whatever bands are sipping. It is always curious and fascinating when keeping an eye on the migrating epicentre of musical sp0lendor. Like a meteorologist or storm chaser, there is little way to predict where the next storm or hurricane will emanate from; and one is always on ones toes trying to predict the changing tide. There is no fate, destiny, true love, ghosts, God, astrology, true love, love at first sight, someone for everyone, perfection, psychics, or any other associated vague science. Music does not rely upon spiritual declaration or a fungible mindset. There is always factual pride and a simple truth, whether the act or artists is terrible, terrific or ego-laden.

Bauer are a veritable life raft in a vast ocean. There is always trepidation and anxiety when approaching a new act. They are most tricky, when trying to collate their collective. There is a lot of Bauer intrigue. Big companies, obscure little avenues and boring irreverence. I was wondering whether there name derived from an amalgamation of Berliner Mauer (German for 'The Berlin Wall'). Perhaps it was taken from the series '24', and the central figure, Jack Bauer. They are seductively elusive with regards to their nominal origin. It is a tantalising nugget I shall have to coax from them at a later date. The band themselves consist of Greg, Lee, Neil and Michael, and are a newly formed powerhouse of song. Since their creation last year, they have been purging and innovating, both speculatively and physically- managing to transcend any reticence or fallibility within the closed ranks of musical circles; bringing their infectious sonic chemtrail through skies, over horizons, and to the ears, radios and homes far afield. There have been a small handful of tracks present on Sound Cloud and the band's site, for a little while now. It is clear that they have a proletariat work ethic, and have put their heads down, and focused hard on mastering a number of memorable songs that defies you to listen and becoming enamoured. Now they have an album out, called 'Sleeping Giant'. The title is, one suspects as much a political manifestation as it is a name to a face. The tracks that lie within the gentle beast, are Calvinist and pioneering. I shall do my uttermost to do true justice to the album, by examining its lead off single.

The initial vitals are promising, and give me little to become concerned about. In fact, the soothing and colourful synthesising and electronic Jacuzzi has some stature to it. There is a little bit of Queen, strangely. If you imagine the intros to 'Radio Ga Ga' and some of the more epic numbers from the associating album 'The Works'. Happily, Bauer's flammable energy produces a more satisfying and intelligent effort than 'Radio Ga Ga'. There is a strum and drang pulse, as well as a cooling breeze to the tones, before a cursive drum beat prostrates to the sparkling guitar haze that opens the track up, and gets the blood flowing. It puts you at ease, and puts you on the edge of your seat; unsure of what direction the lyrics and ensuing vocals will take. Before we get there, the introduction strides and twirls girlishly, the solid percussion joining and annotating the electronic threads and creating a combination sample that is both 'radio friendly' and independent, all at once. It is a sorcery that has been employed by the likes of The Killers, U2, Kings of Leon as well as contemporaries such as Keane. The drive is neutered to allow the vocal to share spotlight. There is a cross-gender appeal to the vocals of Greg Matthews. There is a masculine sensitivity to the delivery, with hints of Thom Yorke and Matt Bellamy. The sweetness lingers too in its mellifluousness, permeating smiles and sighs in the same breath. There is a soulful croon, which is backed nobly and professional by the rest of the band. They infuse enough energy to put a yellow highlighter through all of the lyrics, yet kneels as daipher, majordomo, falconer and almoner. The cohorts all play their parts and blend science with spirituality, as "the darkness in your eyes" is intoned softly. As the chorus come into force and our front-man proclaims that: "I can make the sky turn black", with impudent irony, there are new colours and shades in the sound and structure of the song. We shift up into 4th gear, the pace quickens, and there is a stadium-ready accessibility to it. I have closed my hearts and tries to glimpse for adjectives within my subconscious. I hear shades of Boy George in the vocal, but being uniquely attuned to the subject of vocal genetics, I am hard-pressed to hint at any other comparisons. That combination duo of historical quality and a fresh and youthful. I was struck by the evocative strum of electrics. Maybe a little bit of classic '80s and '90s Manchester (The Smiths, The Stone Roses etc.), twinned with a singular and circular indie/rock snap, the ensuing British melting pot mothers a beautiful child, with prime D.N.A. With a repetition of the chorus- instigated and apportioned one suspects to elicit an emotional surge and bring the listener 'up- there is a mood shift of tranquil somnambulist. There is a sprinkling of 'Dance of the Sugar Plum Fairy'-piano, that trips on tiptoes, and taps its crystal Morse Code into the musical Hippocratic Oath. If you think we are settling into a balletic intermission- think again! Revving its engine is the sound of synthesisers, and a repeated plea of "feels so easy now". The chorus reinstates itself, hovering like a black angel, unfurling his wings over the fair city. Although there is a pervading sense of muted maturity and realisation ("Been wandering/'round your town too long"); the thematic elements consist of changes in romantic feeling; mutated landscapes, and doubts, there is no sense of depression. The music is always invigorating, and often highly-charged, whilst the vocals are impassioned and strong. We touch down in the land of the delta blues, flanked by a balanced buzz of guitar feedback, a little in the same way Radiohead's 'Sulk' did on 'The Bends', only it is more empathic here, a bit more Queens of the Stone Age-cum-Muse.

I'll sum up, without analysing what is already out there and where Bauer fit amongst their peers, in the grand scheme of things. On the evidence of this track, I am super keen to hear the album, and if there are more songs like this, regardless of the weather, this Summer will be bright and very hot. They have a talent for creating tight and stunning songs, never straying too far away from the genuine sounds of Manchester, yet integrating American and London tones, to bolster and feed their hungry monster of a curiosity. The vocals are unique and pleasing; strong, supply, wide-ranging and tender. I was impressed by the guitar and synths' electronics, which never showboat or posed for photos, instead aid the swing of the song, and infuse it with curiosity, drive and emotion. The overall effect is one which will stir everyone who listens to the song, and will implore you to seek out other Bauer nuggets. There will be- I hope- heady anticipation and expectation with regards to the album. Manchester is producing a sterling squad of players, akin and equivocal to their football overlords Manchester United. I do hope thgere is a unity and brotherly loyalty amongst the slew of local bands, instead of any needless rivalry, as there is no need. Together, the associated talent can join forces and dominate the U.K. as well as take their sound across the Atlantic, and show the U.S. what they should be doing. Turns out I did end on a pontificating and historical note...

... Oops!

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Facebook:

http://www.facebook.com/#!/bauersleepinggiant?fref=ts

Twitter:

https://twitter.com/bauermusic_

SoundCloud:

http://soundcloud.com/bauermusic-1

Tumblr:

http://bauermusic.tumblr.com/

MySpace:

http://www.myspace.com/bauermusic

Project Dirty: 'RollerCoaster'

'RollerCoaster'

Track Review

8.2/10.0

Today's musical marvels hail from the U.S. Curiously their sound seems to emanate closer to Europe.

Availability: 'RollerCoaster' is available at http://www.youtube.com/watch?v=YUofC23LHKg

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Social media seems to be one of very few ways that you hear about...

music and musical talent more than 20 feet from your front door. As I have documented, almost daily, there is a lot of exciting and varied acts proclaiming themselves forth, and ready to be absorbed. A lot of my recent attention has been drawn to music from the north- most especially Manchester, Liverpool and Leeds. Originating from Surrey, I have been acutely aware of the summation and outpouring of youthful talent, spilling from the walls of the A.C.M. A lot of twenty-something solo artists, mainly female, each equip with a divine and powerful set of pipes, and all of them with an individual and personal set of lyrics and songs. Beyond that you get lucky I guess. I have a few well-placed and well-informed chums who can point me to the shores of refreshing musical lakes. There are a few websites- The Guardian, The Girls Are and NME- who have 'new bands' sections, that I can study and chase the selected stars; eager to see if I can review them. There is little forgiveness or bedside manner beyond these sources, for anyone looking for trans-continental talent. Twitter has come to my rescue. I have been in awe of a couple of Australian acts as of late, but very few originating from the U.S. of A.

This is where Project Dirty, fit into the parable. America, in their undefined role of 'Masters of the Universe', are a mass of contradictions. They have an unabashed frankness in their foreign policy and political agendas, an appalling attitude towards guns and violence, and yet have produced the most astonishing creative talents ever. As far as music goes, Bob Dylan, Neil Young, Nirvana and Queens of the Stone Age, alone, prove my point. Obviously the U.K. is a fledgling sparrow in terms of size when compared to the U.S.'s vast and multitudinous geography, but in comparison terms, they have us beat. As of late there has been little whisper of any new talent emanating from the Pacific or Atlantic shores. Emphasis still remains on established acts. I am confounded, as there seems to be a segregated nature to the media, where, if you don't live in America, you don't get to hear of their new music. Let's put a stop to this, shall we? Sorry. Our duo, were formed 11 years ago, when vocal and keys man Rhett Fisher, and his associate Micah Faulkner happened upon their shared talents and musical template. They have a slightly fractious and bi-polar back story. Spending their formative years playing in L.A. to the west, and Miami in the east; they then went on to record an album and were signed to a label that sound capitulated and succumbed to bankruptcy. At a loss as to what to do next, the friends decided to take a hiatus (or were forced into it). They decided to stuff relying on band labels, and ventured ahead by themselves. Creating an E.P. ('E.P. 1'), and imbued with a renewed confidence, they pressed forward and battled for a solid fan-base. They have been tantalising fans and followers with the perhaps predictably-named 'Act 2' E.P. The twosome themselves are an intriguing proposition. The fellas have the looks and raw edge chisel of Hollywood playthings such as Gosling and Franco, yet have a down-to-Earth readability and close kinship that supersedes any narrow expectations. One slip of the finger, too, and a harmless Google search can become a rather humiliating court case. They are a sort of updated Project Manhattan, yet less secretive. Their hard upbringing and unhappy childhood, means that you are rooting for them before you hear any of their songs. It is impressive that when so many new acts throw the towel in, after the merest of critical scoldings, the boys have a hard backbone and a fervent inclination to succeed and impress.

I was, I'll admit, a little concerned when their music was defined as being worthy of the top 40. There seems to be a contradiction in terms between 'credible' and 'top 40'. The two are mutually exclusive. I shuddered at the prospect of a monstrous hybrid of The Script/Ed Sheeran/Maroon 5 and their ilk, and positively projectile vomited blood when I saw the word 'commercial' presented, without irony or facetiousness. I prepared to ink up my quill and write a big fan '0/10' on this review. Being a devotee of rock, heavy metal, gorgeous soul and '60s pop, I'd rather be trapped in an elevator with Danny Dyer, after having suffered a prostate exam from Edward Scissorhands, than witness the audio horror-show of anything that even reassembled 'mainstream'. Luckily, once I had actually investigated the dynamic duo's bank of songs, I was relieved and smiling. I think they may have undervalued and sold themselves short. This is why 'RollerCoaster' is a perfect prefect to have stand in the front of the school hall, and inspire the rosy-cheeked new students as to how to succeed in the modern world. A rictus of guitar punch sparks and ignites the song in the opening seconds. It has a pan-European evocativeness, and spirit. It churns and lunges, before the vocal comes in. Whilst ordinarily I would be adverse and affronted by anything resembling the current sound of R 'n' B and rap, there is an elemental nod to it in the delivery and atmosphere. The lyrics siphon a little bit left-field of an associated artists. They stick closely to the themes of roller-coasters and fairground fun, employing metaphors and sexual imagery to make their point. "Hey girl/I'm shaking/'cause you're taking me on a ride"; is one of the first things we hear, and sets the tone for the track. There are a lot of things to recommend within the song. There is a propulsive and consistently upbeat swagger and positively to the song. This is reflected by the electronic beat and multi-track vocal. The guitar work is quite sterling, injecting a rock spirit to the proceedings as well, which works well with the vocals. The metaphysical imagery is continued, with our protagonist expounding that his companion is sending him into a spin, and causing him all manner of consternation and emotional turmoil.

There are a lot of plus points, as noted. The track has a surging swing to it. The pace and attitude never lets up. In a market of predominantly downbeat or ambivalent-toned tracks, it has an infectious and sunshine smile to it. It has a lot of charm and spirit to it, and as the lyrics sometimes point towards grey skies, that is never reflected in the music or vocal drive. It is also a tight and well realised number that does not overstay its welcome and wraps up its political message in expeditious and impressive fashion. The two-piece have a staggering amount of charisma and warmth to them as well, and will win fans amongst the young and old alike. It is hard to be critical of a song that is relentlessly pulsating and promising.

If I were to suggest any constructive changes, then they would be few. Sometimes the lyrics do stray towards the simplistic. It would be nice to hear a bit more depth and sensitivity. It is understandable that the song has ambitions to be heard on dance-floors, but the guys have enough combined talent to inspire dancing feet as well as get people thinking as well. I would have liked to have heard some depth amidst the excitement. There is a tendency, too, to stray dangerously close to mainstream. Whilst the boys manage to earn a credibility that few of their peers do, there is a sometimes over-produced and too-polished edge to proceedings. It would have been great to have heard more of the guitar sounds, and perhaps less of the electronic derivations. When it comes to reviewing there is always going to be subjectiveness, no matter what. I like what I know, and know what I like, and I like the duo. If they can score a succession of hits from 'E.P. 2' and work towards a multi-faceted palette of sounds and themes, then that will help them make strides between the pop market as well as put their footprints in the underground scene as well.

'Project Dirty' have had a difficult transition from their creation to today. They deserve to be heralded and gain a new following, and cement the one they have. It will be interesting to see where they go from here, and what moves they make next. 'RollerCoaster' is the sound of a duo who...

... have a renewed confidence and ambition.

__________________________________________________________________________________

Official site:

http://projectdirty.com/

Facebook:

http://www.facebook.com/pages/Project-Dirty/232898160082368

Twitter:

https://twitter.com/ProjectDirty

Sound Cloud:

http://soundcloud.com/projectdirty

MySpace:

http://www.myspace.com/projectdirty

Mutineers: 'Infidelity' & 'Shadow Kisses'.

'Infidelity' &'Shadow Kisses'.

Track Reviews:

9.6/10.0 & 9.5/10.0

Manchester's 'soulful pop craftsmen', present an intriguing duo of mood-capturing songs.

Availability: Tracks available athttp://www.youtube.com/user/armstrongthomas?feature=watch

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Geographical locality and a burgeoning local scene can work for or against...

a band from Manchester in 2013. I have reviewed a fair few of Mancunian wonder kids over the last week, including Turrentine Jones. I was blown away yesterday by the spirit, ambition and pure rock and blues spirit of Turrentine'. The 3-piece project an air of revelry and quality rarely-seen within the current climate. Today I am blown away by Mutineers. The comparisons, however, will be mutational. Although the two camps may be based within mere miles of one another, their styles, paths and futures are very different.

Formed back in 2011, they consist of Nicholas, Michael, Iwan, Charles, and Thomas. From their forenames, alone, you may be expecting a perhaps middle-class men, with an intuitive spirit of classical and jazz music. It is the diverse banners of REM, The Killers and The Smiths that are more likely to come to mind, when listening to their incredible body of work. Through a multifarious mandate of Internet and digital promotion, as well as tireless groundwork via gigging and door to door word-of-mouth, their reputation has been made, cemented and built upon. They are now the architects of a new musical Atlantis. As well as supporting slots in the company of Wintersleep and Pete Doherty, they are growing into something quite immense. Their album 'Friends, Lovers, Rivals' boasts a wide array of sounds, and shifts; with not undue comparisons to the likes of Neil Young and Echo and the Bunnymen being levied in their direction. The fact that they are not more widely-know may cause many an ostentatious interrobang, in minds and on paper. Having listened to the entire album, there is a ubiquity and ageless appeal to their tunes. It is not just the 'sound' that will cause your ears to prick up; they have a cannon of lyrics that is able to storm and conquer a pub load of Vikings. The likes of Alex Turner and sirs Dylan and Cohen, should watch their backs. The pioneering 5-piece have the words to ensure they have their names sculpted into an elite and hallowed history book. They are able to invoke and summon an array of synonyms, emotions and thoughts with a mere few words; so with that said, it is best to get down to business.

The pulsating electronic and percussive jurisprudence that begins 'Infidelity' is litigious and justice-seeking. It protests that you listen and wait for what is to come. The evidence is compelling and indisputable. With echos of the Bunnymen, as well as Depeche Mode, the mood is autumnal and exciting. When the vocal enters, you get the sense that something of an informal fallacy is beckoning. With recollection of self-doubt, feeling blue, and "all the years of self-abuse", there is perhaps a shade of black, juxtaposing the lighter mood in the background. The vocal from our front-man has a light and lyrical edge to his voice. In the manner that Neil Young can counterbalance fragility, with angelic strength is in evidence here, and there are also hints of early-The Smiths' Morrissey, with John Lennon nestling near, as well. The tale of woe and self-examination continue unabated. Anyone thinking that Ian Dury and Kurt Cobain have been exhumed, and were gatecrashing a rather formal dinner party, need to reassess any misgivings and stereotyping. The vocal- as expressed- is light, and unique as well; it alludes to musical heroes, but never becomes too similar. The lyrics are all wittily portrayed and apportioned. Nicholas manages to craft thought-provoking lines and startling paradigms of wit, that make you sit up and take notice. "It's not my infidelity/It's just you never suited me", it is proclaimed, displaying a Turner/Morrissey composite of failed love and laughing it off, tongue firmly in cheek. You feel if those lines were ever to be uttered to a tear-stained girlfriend, she may be too conquered by the cheeky wordplay to kick you in the nuts with stacked stilettos. Maybe, but not a guarantee. It has soul and heart, but a little bit of sharp-edged de-humanisation. Our hero is caught in purgatory, and explains that, with regards to his lack of social skills: "My tired lines/They're over-used". This unfettered abundance of quotable tristesse, could adorn T-shirts, and cause music reviewers sleepless nights, haunted by over-analysiation and theorising. The protagonist is not a one-man army. The band envelope the mood with a clock of sonic innovation and fraternal shoulder patting. I am reminded most frequently of The Smiths in this track. Not in any way as a sobering detraction or to suggest the boys aspire to be them. They have the same abilities and characteristics: a magic box of sharp observations, an endeavouring and spellbinding guitarists, and a supportive crew of audio mould-breakers, who can provoke the most striking of emotions and outpourings from a mere few notes. The vocal bubbles and over-enunciates in Morrissey/Brett Anderson-fashion; it dips and pitches on its knees, and spins, exhausted in the rain. It is a solid, yet dizzying trance of a voice. The song grabs you, and provides an insight into the socialisation of northern love-gone-wrong. If you are lovestruck, single or without inclination, the words will lead you to an euphony, with a much-needed slow-walk. Whether our hero is remorseful of the situation and his state of mind, or at ease with events, is hard to say. The articulatory and astuteness suggest that there will be few regretful nights, and with a sharp tongue and self-assured assignation, suggest there will be few lonely nights in the future. Mutineers may take their name from an old French word meaning 'the act of mutiny', but on the evidence provided forthwith, they are on dry land, and happy to surge and leaves the townsfolk un-harassed. The retro and invigorating electro swirl and professional and stunningly tight group performance, sets this song apart from the swathes of rank and file drones who infest the charts with witless, toothless tales of reapproriation. One Direction, Bruno Mars and Jason Mraz take note! These are the sort of lyrics and music people want to hear, so do us a favour, and back the hell down!

Cracking on with the cocaine-fuelled, limb-flailing energy of Ace Ventura, I give 'Shadow Kisses' a good spin. It has been fabled that Mallin wrote the lion-share of the band's lyrics whilst working in a Manchester book store. There is a contemporary romance, as well as an old-fashioned charm to the story, and one can only wonder whether it was the fortress of literature around him, or passing boredom that inspired the poetic brilliance. As impressive as 'Infidelity' is, 'Shadow Kisses' is no latch-key child. The intro may have a hint of incongruous disarmament with its paramour. The sound is that of '80s electro, and a veritable heart monitor of interchangeable shifts. The electronics rise and fall; pull and push. Before you think we are settling in to a contemporary Enigma Variations, there is a clattering and stuttering drum blast that awakens the senses, and shackles the wrists. It is a confident periapt, that teams with a end stage-Smiths Johnny Marr guitar weave. It sounds like a hidden track from 'Strangeways, Here We Come', sans electronics. The vocal interjection, again has a reliable mix of sweetness and cautious reverence. Our protagonist paints another Art Deco landscape, complete with tales of a former flame being "easily concerned", who was "an architect" of her own destruction. The band are reigning high in their own meritocracy. As well as another sharp set of lyrics, the music itself is equally intriguing and rousing. The guitar contorts and slingshots, shooting furtive glances and raising its blood pressure. The percussion, bass and surrounding environs of sound, grab, tug and hug gleefully, as our hero spins home truths, witticisms and fearless declarations. If you are looking for a tag-line for this motion picture I would suggest: "Death, love and squalor/The sorid details were removed/Straight from the heart/Of a suicide girl". It encapsulates and defines the aesthetic of our front-man's intent. On the subject of films, this track has a fully-formed omnipotence to its utilitarianism. It could score a charming northern drama, or a large-scale Hollywood film noir. There is a structuralism to its ambition, yet the track has a simplicity to it as well, that could see it becoming a firm fan favourite. Pessimism has not entirely been jettisoned from the track. There are reminiscences of tension, omitted details and painful confessions. There is no arid scorched-earth earnestness to the words; the sentiments are well-observed, challenging and intellectual. 'Shadow Kisses' has a heavy leaning on its chorus. But is anchors the narrative as well as propelling it. It is the core theme, and is repeated several times. Perhaps an additional verse would have salivated some somewhat dry mouths. It is another strong and critic-proof track, and leaves you wanting more for sure.

Okay, then, we are at an end. Manchester is becoming the U.K.'s capital for music culture, and is producing some fine and curious specimens. Mutineers may still have a sense of being a well-kept secret. Whether that adds weight to their legend and eventual legacy is to be seen, but it feels that there is still a large gap in an expanding market for the chaps. They can muscle to the top, establish their dominance and show other bands how it should be done. For a more complete and encyclopedic representation of the band, I would suggest you delve into their album, and take comfort and joy from a band who produce thrillers, and no fillers. The combination of epoch-defining and adventurous lyrics is a rare quality in the current climate. Away from the likes of the solo songwriter tribes, and the establish guards such as Arctic Monkeys and the '60s pioneers such as Neil Young and Bob Dylan, there are not been comparable wordsmiths. The music is eclectic and worldly and has a conviction and impassioned drive throughout. Coupled with powerful and encapsulating vocals, that have a uniqueness and freshness to them; creates a group that should be on the tip of your tongues for a long while to come.

If you are a virgin to the sensual delicacies of the Manchester music scene, or a well-travelled supporter of their team colours, put Mutineers on your iPod. Morrissey is practically retired; Dylan, Young and Cohen may not survive more than 10 years, and it begs the question: who will take the diamond-studded crowns from their temples? Look no further. Nowadays there is a divisive split between rock and pop, R 'n' B and soul, and little intersection, Mutineers provide semblance and a sense of mature authority and guiding light. Do yourself a favour...

... and listen up.

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YouTube:

http://www.youtube.com/user/armstrongthomas?feature=watch

Twitter:

https://twitter.com/Mutineers__

Facebook:

http://www.facebook.com/mutineersofficial

MySpace:

http://www.myspace.com/mutineersofficial

Tumbrl:

http://mutineersofficial.tumblr.com/

Turrentine Jones: 'Slam The Door', 'Candy Snake' & 'Della May'- Track Reviews

'Slam The Door', 'Candy Snake' &

'Della May'.

Track Reviews:

9.8/10.0, 9.9/10.00 & 9.5/10.00

Our Mancunian Candidates proffer no brainwashing, occult or assassination fantasies. In a cold time, they are bringing a beautiful war to your doorstep.

Availability: All tracks available at: https://itunes.apple.com/gb/artist/turrentine-jones/id496859281

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Time for my bi-daily diatribe on the state of music, today...

I'll make it brief, mind, less I be condemned to play the role of the old man bemoaning the state of the world, factually narrow-minded in his assumptions that things were better in 'the good old days'. I can see where the largely-octogenarian patriots are coming from. Things were less stressful in the '40s and '50s, to be sure. However, there has been global warming since the dawn of time; major wars and economic catastrophes in abundance since then, too. The increase in population numbers is responsible for the acceleration of modern heartache. On the flip side, because of an increased populous, we have a wealth and variegated music scene; each participant proclaiming sternly and with diverse, and often divisive shades. For some beguiling reason it has been the stream of talent over the last few months that has captured my imagination, more so than at any other time during my tenure as a music lover. It is in the confines and broad streets of Manchester that has born forth the most virulent and pugnacious rebel-rousers. Something is happening in the Greater Manchester area, that is causing much ear-pricking and renewed consciousness amongst those attuned and educated. Today is no exception.

Special mention first goes to Turrentine Jones's website. Social media can be a double-edge Excalibur when campaigning for followers. What the boys have done is to create a professional and engaging website that compels you straight away. It is informative, beautifully designed, and fascinatingly striking and appealing. From their site, I learnt that the trio consisting of guitar-vocal wizard Julian Neville; organist Thomas Scotson, and aptly-named percussion master Rich Watts. I was brought to their attention by a much-loved and wonderful Twitter friend, who expounded the virtues of the band, promising me that they would be something rather special. The band themselves claim to be influences and compared to The Doors, as well as that they "juxtapose the structural and chordal simplicity of '50s and '60s rock". This concise and cerebral deliberation is apropos and I could not have said it better myself. I am here to try to do so, so onwards and upwards, friends. Before we do, it is worth noting that the band were put together with a freewheelin' aesthete; the boys met, fell in love and got down to business with little regard to pre-conceived paths to Rome, or any needless sabre-rattling. They are the antithesis of an overtly cautious and chaste music scene, and are electioneering to win your hearts, minds and soul. They want to transcend the age barrier and get their music heard by an inter-generational audience. Through the inserting of tight, composed schematics, and a refreshing lack of caveats, they are not wearing the emporer's new clothes; they are smart casual, and all the better for it.

The first track to my ears was 'Slam The Door'. Perhaps with an ironic nod to the title, there is an influence of The Doors embedded within the intro. There is a gloriously galloping and jubilant organ passage. It is a little bit of Canned Heat's 'On The Road Again', and a little bit of Morrison Hotel, The Doors. It is invigorating, and the drums slam with reverent alliteration and resonance. It is off to the races and puts the hairs on end before any vocal input. It is easy to see why T.V. shows and advertisers have knocked a path to the band's door, as the song has a sound that is not commercial; it supersedes that, instead it is the most authentic evocation and replication of the glorious bonhomie and experimentation of the '50s and '60s. The intro dances and wander; it has a pioneering and buoyant abandon. When the vocal does arrive, I was aware of a few things. It has- despite the front-man being an Australian- northern tones. I could hear a bit of messieurs Gallagher and Brown to the elongation of the words and the juxtapositions inherent within the delivery. It is soft and cultured, yet has an amber hew. There is a little shade of Iggy Pop as well, but quite a bit of Lou Reed. I know the band are in awe of The Velvet Underground, and I can detect a note of influence in the vocal as well as some of the lyrics, too. "When I close my mouth/Right before you/Slam my door", proceeds and perpetrates vivid scenes of disharmony and romantic misadventure and strife. There is a pleasing, Marc Bolan-esque lick of the lips when the word "baby" is delivered. Not to hark (on about) the herald angel sang, but Neville has the talent and authority to be seen as a worthy reincarnation of Morrison. He has the same lascivious Alpha Male stride, but also is playful, sensual and pure as well. He is his own Venn Diagram, and within the intersection, is this track. There are cautionary tales of "teenage revenge", and the guys are surveying the scenes and putting the world to rights. The drums and organs purge and drive forward, electrifying the mood, as our hero holds the notes, belts with authority and gusto. Around the two-thirds mark, there is a bit of a cold shower; reigning in the chest-pumping rawness, and providing an unexpected mutation. The guitar does a quick jive and jump, as the vocals come back in; this time insurmountably cautious and studied. The percussive drive swings back in and we fade down, left exhilarated and, quite frankly knackered, with a post-coital smile on our tobacco-stained lips.

I spent about minutes prior to hitting 'play' on 'Candy Snake', wondering where they got that title from. Not sure I'd want to eat it or have it crawling up my toilet U-Bend. It has an adolescent cuteness, as well as a sugar-coated venom in its syllables. It sounds like the start of a 2-minute elevator pitch from Quentin Tarrantino. Would we be hearing a synopsis filled with guns, blood, tough chicks; or something more rom-com? It is certainly a song I could have seen on the soundtrack to Kill Bill or Pulp Fiction. It is allergic to glutton, and at the same time evolves and grows with every listen. There is quite, a, funkay (sic.) organ beat in the intro, that suggests scenes of envisages images of smoky streets, pimps with hoes, gangsters with hoes, and all manner of curiosity and homonyms. Before Pan the Satyr shakes his head with confusion, the voice enters. The 'Candy Snake' "tastes like poison", and is a saint and sinner all at once. There is a bit of Peter Frampton wah-wah effects; muted in the background but teasing as it does. Julian is more reserved but also more playful so far. He gleefully over-pronounces certain syllables to add increase impact-fullness; he stands suited and booted, weaving some glorious guitar tones as he walks by. The organ and drums and predictably star-gazing and assured. The organ skates and shimmers, and our hero 'ch-chookers' rather Antipodean-like. Julian is down by the candy store, ringing the bell but told by the- I'd imagine grey-haired proprietor- he has to earn a right for those "candy treats". The way the lyrics insert so many crystalline and wonderful mini-scenes in your brain is wonderful. The music mood is a potent anti-depressant, and above all is kick-ass, swaggering and a peerless slice of je ne sais quoi! The largely-musical mid-section provides a calm after and before the storm, and is an inspired decision. Lesser bands would employ musical diversions at the end of the track- aimlessly wandered until it fades; or deploy it at sporadic intervals. Both methods are okay in their way, but the length and positioning of the passage from the band gives the song a greater depth and intelligence. Instead there is vocal interjection, in the mould of Iggy Pop and Lou Reed, before another terrific musical break brings us back down. I have heard 'Candy Snake' referred to (by Towers Music), as a "sexual blues cake". Keeping with the food analogies, I think that is a good summation. The lyrics are witty and inspired by great literature- shades of Jack Kerouac and William S. Borroughs- with elements of the 'Beat Generation', co-mingling with witty bon mots and min-dramas. The vocal is again inspired and assured, but I feel it is the musical composition that shines. It is a close associate to the sexual blues revolution proponents, but not indebted to it. Instead it updates and modernises the template and through the usage of effective chord structures and stunningly orchestral intermissions, combined, creates a heady rush that will be hard to shake off!

I struggled to find a third song to review. Not for lack of choices: there are many, many great tracks left! 'Della May' is what I plumped for. I am not sure if there is an ancestral link with regards to the name, but it promises lines of romantic longing, and pining for an unobtainable sweetheart. There is a lovely little blues tinge to the guitar sound, at the start. It is the sort of melody that Jack White played with during De Stijl-era The White Stripes. Here the mood of White's mandate is transposed. It is less Detroit-via-Holland, and more the 1960s-via-Manchester. There is some Jeff Buckley 'Live at Sin-e', guitar sound: there is a similar hushed reverence. As the organ pulls up there are scented smoke signals of The Rolling Stones and '60s/'70s blues-funk. The sense of ensuing intrigue is pathological. ("We can close our eyes/And watch the sun turn blue"- see!). In contrast to the previous two track's rather louche and energetic kick, there is a form of reciprocity in 'Della May'. In every little isotope of heartfelt temperating and romanticism from our front-man, or Steely Dan-esuque weaving organ, there is conviction and purity. It is a gorgeous number, that I could see Dylan writing today. It would fit in, as well, during his 'Time Out of Mind'/'Love and Theft' regency. If he could write lines like: "Red butterfly/Tell me:/Do you wanna ride?" without questioning the age-appropriateness of the sentiment, is hard to say; but at the same time, it contains the right amount of soul and spirit to make him pick up pad and pen. Again- as with 'Candy Snake'- we are treated to a much-needed organ donation. Here it whistles and hums with the wind in its hair, Highway 61 in its rear-view mirror, and an Amazonian muse fiddling with her shades on the passenger seat. There is an incidental quality to the Hammond organ; it lynch-pins and moves the story along with aplomb. And just as we are about to get sentimental and drift off, the song comes to and end, and wraps up proceedings with efficiency.

In a media scene where The Guardian can toss off a 5-line review for an entire album, without consideration for the fact that they get paid a butt-load to essentially summarise a band's cannon of work; it is liberating not to be affiliated with them. Whether those chaps have a strict word limit or have better places to be, music like this deserves more than a fleeting glance. It requires investigation, analysis, and fond appreciation. Whether I have done the boys full justice, is up them, but feel that the words displayed here, are as true as possible, in every sense. They are a 3-piece but achieve the might and work ethic of a 5-piece. Modern artists like Beyonce- when she's not rabbiting on about being an icon for female equality- is unaware she is a millionaire, married to a millionaire, who seems to be irony-proof and permanently dumbstruck. She's not bloody Emmeline Pankhurst- she's an above-average artist who is unaware that there is not gender inequality in music, and anything outside of her realm, she has no influence on, and has no business being involved with. I mention because the things Turrentine Jones profess to being: original, fresh, and better than their contemporaries, is not full of rhetoric or pretentiousness. They are genuine, and back up their words with results. They play instruments, they sing great songs, and they are not pantomime dames, thinking they are social innovators. They are a terrific band of tight-knit friends, who have a passion and great ear for terrific vote-winning music, that will sound be embedded in your brain, and will not shift.

If you haven't heard of these guys- do so! They are the purveyors of a new wave of energetic and scintillating blues and '50s and '60s glory, and want you to listen up and support them. Nothing else. I have been blown away by their ambition, sound and quality, and one thing's for sure...

... these chaps are going to be owning the rest of 2013.

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Official site:

http://www.turrentinejones.co.uk/

Facebook:

http://www.facebook.com/TurrentineJones?filter=1

Twitter:

https://twitter.com/TurrentineJones

YouTube:

http://www.youtube.com/user/turrentinejonestv

SoundCloud:

http://soundcloud.com/turrentinejones

Martha Bean: 'A Piece Of This World'

Martha Bean:

'A Piece Of This World'

Track Review

9.1/10.0

Golden-voiced chanteuse has a huge voice, huge talent, and an ambitious drive to succeed.

Availability: 'A Piece Of This World' isavailable at http://marthabean.bandcamp.com/

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The female solo market is one that is readily quantifiable...

and one in which, quantity doesn't automatically equate to quality. For all the self-assured and acclaimed artists such as Adele, Jessie Ware and Laura Marling, it is counterbalanced, and drowned by a sea of mediocre jobsworth attempts at trying to project credibility and something that sets them apart. It is not simply good enough to turn up, sing the songs and that is that. Should you want to remain in the public consciousness for a long while, there needs to be a profitable and original synopsis laid out. There is not the inequality and discrimination within music as there is within business and society as a whole- everyone is free to play. And although it is bands that seems, by and large, to garner the majority of plaudits and close inspection, the life of the solo artist is just as curious and valuable. I am a big fan especially of the female variation of solo talent. Mainly because the subject matter can be more intriguing and variable, as well as the fact that the voice that enunciates the esprit de corps csan be more spellbinding and charged, makes the overall experience more wondrous and scintillating. Kate Bush and Eva Cassidy are two of my all-time favourite 'voices'. Between them, they are able to evoke wistfulness, peace and tranquility, and do what the best singers manage to do: stop you in your tracks.

The road travelled by Martha Bean, is a triumphant one. It has been said (by Leicester Mercury) that she has managed to win over the most rambunctious of audiences with her "fingerpicking wizadry and pitch-perfect falsetto". A Cassidy/Bush sized hole is already starting to be filled in. A counter-proposal to those resigned for the fact, that what they will hear is going to consist of insubstantial personal heartache and inconsequential oddity, will be in for a kick in the teeth. The songs of Miss Bean are introspective, as well as illuminating, her tones comparable to Ella Fitzgerald and Joan as Policewoman. She is gorgeous, sweet-natured and striking; synonyms most commonly reserved for the more hollow variety of female singer. Add to the mix the fact that she has already released quite a bit of music, including her current E.P., 'State Of The Art'.

The latest offering from the electric songstress is 'A Piece Of This World'. The interview to find out whether it will be good enough to captivate wholly, is a mere formality, arriving as it does with processional and plucked guitar strings. They are low and rain-addled, but portray a romanticism, and provide an instant disambiguation to any myths one may have as to the term 'singer-songwriter'. In a way it is a tonal 180 degrees of Nick Drake's track 'Horn', from 'Pink Moon'. It shares genetic material and is as misty-eyed in its mystique. Following a brief pause, the voice peaks from the clouds. I can see where the Joan as Policewoman comparisons emanate from. Bean has a similar husky stillness and sex appeal to her voice. There is also a touch of Bjork (at her most relaxed); with a shading of Feist. The best way to get the full flavour from the song is to close your eyes and picture the song and the images it weaves. Your mind becomes an intoxicated povitika of mixed emotions. I can understand why Radio Cardiff heralded her voice as "hauntingly beautiful". Any erroneous thoughts are evaporated as Martha speaks of heartache and doubt, imploring the audience "to open up/Once in a while/When you're lonely/And feeling blue". It is a thematic premise that is pertinent throughout, and emotional relevant to most people. Martha has said in interviews that the E.P. and songs are quite commercial-sounding (but in a good way), and her greatest time of inspiration, is when she has more of a frown on her face. The mood of the song- far from being morose- is relaxed and seductive. There is a pleasing assuredness to the track, and when the falsetto reaches it augmented high, the comparisons to Eva Cassidy and Ella Fitzgerald are warranted. When she sings "it's real love", her voice holds and floats, all at once, entrancing and pure. Martha, too, has an impressive affinity with acoustic guitar as well. She is nimbly able to evoke maximum emotional resonance from a few notes; deftly weaving a tapestry of low-angled curiosity, which compliments the vocals, and transcends the overall mood. In the same way the likes of Nick Drake and Joni Mitchell were able to illiterate their words and substantiate their mandate; Bean is equivocal in her talents. The inclusion of cello and viola around about the 2:00 mark, aggrandises the song, and adds an extra layer of beauty and evocation. Martha has found love, and a foothold of hope, but hopes that it will "see me through". As with all the most memorable and truest love songs, there is always a sense of heartache- whether it is secret or not. The song is terrifically assured and pioneering. It has echoes of past masters, but is imbued with such a modern and tangible freshness, that it is sure to speak directly to everyone.

I share a similar reticence to Jon Dodd of The Monograph. In relation to the flotilla of female solo talent, there is a lot of conjecture thrown around, proclaiming that 'Miss-so-and-so' is 'the next Adele/JessieWare/Rhianna' (delete as appropriate). 90% of these statements are crass hyperbole and send repulsed shivers down my spine. Few artists, full stop, have as much potential as hyperactive and under-educated media reviewers say they have. Dodd stated (in relation to Bean's E.P.): "is, and will continue to be, in my eyes, a local classic"; adding later that (the E.P.) was "enigmatic and sobering". I agree with those sentiments. 'A Piece Of This World' stands firmly above its multitude of kissing cousins. The voice that whispers from Bean's lips is one of the reasons. It has the sweetness, stillness and plain wonderment that Cassidy does. At times I was thinking about her (Cassidy's) rendition of 'Fields of Gold'. That song is viewed as one of the greatest cover versions of all time, and - coupled with one of the greatest voices of all time- is certainly in my top 5. To compare Bean to Cassidy is not false economy. She has the potential to create a legion of adoring fans, and whilst many classic female songwriters gained a tributary of adulation posthumously, it will take only months for Martha to achieve a wide fandom. The fact that she writes her own material, and is a skilled lyricist, as well as musician, works well in her favour too, and she has a keen ear for the contemporary need, as well as an intelligent appreciation of artists past.

Bean has a wise and ardent appreciation for the supply and demand's topography and intimate diary entries. She knows that simply 'being' will not be enough, regardless of how gorgeous, ambitious or genuine a human she is. She has complied a tight and ecclesiastical number that ruminates and sweeps. The E.P. will be a timely reminder, to the multitude of forthcoming talent, on how it should be done. The E.P. is gaining a few fans in the media, and even more wider afield. Having listened to a couple of Martha's song, I can attest that 'A Piece Of This World' is no epithetical fluke. In time more songs will be created, and albums and tours will be a very real prospect. For now, enjoy Bean whilst she is in the infancy of her career. She deserves a lot more attention and plaudits, and it is free to listen to her tracks, and costs nothing to get in touch and let her know how awesome her voice, music and words are. So do it. In a climate where 'ten a penny' is a term that can be appropriately twinned with 'singer-songwriter' say hello, and congratulations to a talent, who will soon be defined, proudly, by the following saying:

... 'The next Martha Bean'.

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Official site:

http://www.marthabean.co.uk/

Twitter:

https://twitter.com/marthabean

Facebook:

http://www.facebook.com/marthabeanmusic

MySpace:

http://www.myspace.com/martha.bean

Sound Cloud:

http://soundcloud.com/mrhbean

iTunes:

https://itunes.apple.com/us/artist/martha-bean/id282447718

The Castellers: 'To The Gallows' & 'Five Days Time'

The Castellers:

'To The Gallows' & 'Five Days Time'

Track Reviews

9.9/10.0 & 9.8/10.0

They have some familiar Mancunian tones, and look poised to be as big as a certain northern band...

Availability: 'To The Gallows' and 'Five Days Time' both available at http://www.youtube.com/user/TheCastellers?feature=watch

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There is actually another track of theirs on YouTube at the moment...

but I feel obliged to save it aside for another day, lest this review take 20 minutes to read. The fact that they have but a small sprinkling of tracks, yet have managed to sparked and captivated my imagination so much, is a stunning testament to their focus, youthful vigour and combined talent. The Great North is fast becoming a veritable cauldron of Gothic ingredients. There are spells, potions, curious body parts and credulous talisman, all bubbling ominously; combined creating a hallucinogenic and overwhelming smoke. There has been a lot of recent activity from Leeds and Yorkshire; bands, artists and acts have been bearing forth thick and fast, from the likes of Jonnythefirth, to Rose and the Howling North. I have been vastly impressed by the range of sounds, from such a homogeneous geographical area. Further west, there has been a, perhaps less vociferous, but no less impressive outpouring of declaration. Just recently I came across Rubberbear, a great new band that look positively flammable; curating a sound that could well be ardently played 'til kingdom come on all of the most credible and noteworthy radio stations.

We get to My New Favourite Band of 2013. I have kind of being remiss in giving props to a lot of new bands. There is a lot of secrecy and limitations around new music. I have been lucky enough to connect with people who have made me aware of great new talent. I often wonder, if it weren't for them, when at all I'd ever hear about their existence. It is such a shame, but seems to be a contradictory and laudable sign of these times. Social media focuses too solely on personal gratification and self-obsession. Unless you are promoting a charity or whatever, there seems to be a confusing sublimation and rationing of altruism. Music is a huge, burgeoning market, and it is important to promote worthy talent breaking through. I hope that reviews such as this will invoke a sea change and reappropriation amongst the social masses. The 4-piece gang, The Catsellers, are respectively, Paul, Alex, Ryan and Russell. They have the classic aggregation and formation: one singer, one drums, one on bass, and a guitarists. In an era where there seems to be a trend towards a front man picking up a guitar or expanding bands needlessly to include too many instruments, there is already a focus and classic attire to the group. This gives Ryan a chance to concentrate on singing. Some of the most historic groups of all time had a singer who did just that- The Rolling Stones, The Doors, The Smiths, Queen (to a large extent). It is perhaps not a coincidence that they happen to be some of the greatest bands of all time. The band are influenced by a lot of these groups, as well as The Jam, The Coral, Bob Dylan and Jake Bugg. The unintentional elephant in the room is Oasis. After viewing publicity photos of the group, many may well draw direct comparisons without hearing a note of The Castellers. I shall go into more detail in due course. They have an ambition to recreate and recapitulate the sounds of the classic '60s bands, and their mandate is to create a "rapture for the beholders of enlightened musical soul". Poetic and tough words. These contradictory bywords, are intriguingly weaved within their coda. In spite of having a sound of Manchester, they hail from Liverpool, and manage to integrate the two clatches together in their songs as well as infusing a little bit of London in there as well.

To business, then. With a mere 964 views on YouTube, which in itself is enough to make me vomit blood in rage, comes 'To The Gallows'. With a few seconds of silent seduction, the atmosphere is ignited by a wandering and speculative guitar parable. Already there are tones of The Who, The Jam, and yes, a little bit of Oasis. I mention the latter again, but only in the sense that our boys have the potential to overhaul and overtake Oasis in terms of quality and potential. There is a brief steel toe-capped stomp of drums, before a guitar line weaves in merrily, with the spirit of The Beatles, Rolling Stones and REM. There is a real '60s spirit being unleashed. It is evocative and authentic, and captures you straight away. The rollicking glee of percussion co-mingles with symphonic guitars, bubbling with static, magic and psychotropic trippyness. The vocal is incomparable to the trained ear. There is little of the expect Liam Gallagher snarl, or Paul Weller growl. If I were to draw initial comparisons, I would suggest a young, somewhat less sybaritic version of Jim Morrison can be heard. There is a similar lust and bare-chested intent. The lines are fed to you, give you time to digest, before another is delivered. This mannered and unexpected delivery is striking. It gives you time to absorb the words, and enjoy the music, without having to separate the two in your head. The lyrics speak of weariness and boredom: "You know it's all been said", as our hero surveys the scenes of love and relations as well as personal doubt and revocation. There is a wonderful harmony and spirit elevation as the line "I've seen it in her eyes" is repeated and crackles with a nod to 1960s Liverpool. In the guitar break that follows, there is a smattering of The White Stripes as well as The Hives. Maybe a bit of Iggy Pop as well. This audio polymath kicks up your arms and feet and will roll back the years and tension without need for surgery, medication or rebirth. It gives you spirit and confidence in equal, un-abatable measures. The vocal is passionately delivered during the verses, imbued with tension, manful pride as well as evocating scenes of broken lives and emotion. It is told that when our protagnosist goes to the gallows; "she always follows". The salient literature and effusive and youthful vigour of the percussive backing gives the song a combinative youthfulness as well as maturity. There is no autocracy: each member is on a par, and the 4-4-2 formation of delineation works perfectly. Around 2:30 the guitars and bass splutter and pull over for a power nap, as the drums roll and flail beautifully. There is a bit of 'Moby Dick' Led Zeppelin at one point, where the drums roll and bait. Then the conjoined revelry is reinstated, perhaps a bit of The Who's 'Substitute' masquerades under the song's skin. The riff is continued to the end, as a partnership with a pontificating and eager guitar line, forms. The sonic trail starts to dissipate, and with a canned chuckle from our front man, this a killer peacock, is provided an intriguing swansong.

The atmosphere is congregated and resplendent, as an 'Omm Papa' guitar thread weaves its reverence and ecumenical authority over the initial stage. Were one to close their eyes and think what comes to mind when hearing the proceeding few seconds, a couple of things pop to mind. There is an evocative spirit of the '60s for sure, but also a bit of The Stooges and Jake Bugg in equal measures. When the vocal begins I am reminded a little of The Coral, curiously. There seems to be a similar pace to many of the tracks in Magic and Medicine. There is some of James Skelly's mystery and the likes of Jake Bugg and Miles Kane have already adopted this style and pattern. It is much under-used and under-appreciated, and at the same time as having a genuine Northern heart, it also possesses a ubiquitous soul. The words are treated tenderly, as it begins with a syncopated wink during "Ask me a question", before transmogrifying to a punctuated tone during "I'll give you an answer". One sense there are ellipses on the lyrics sheet within "In five days time". During the formative years of this song, there is a bit of 'Oliver' to the tone. One suspects that this track could be a show tune. It has a similar understated theatricality and dramatics to it. The music pirouettes and kneels, back up and back down. The vocal continues in its quest, with its waltz time signature. I can imagine the track appearing on 'Magical Mystery Tour' or 'The White Album'. It has that flavour and incandescence to it. Prior to the one-third mark, the pace changes, as there are little The Coral guitar stabs, and the vocal swoons and elongates, as there is a palpable sense of impending change. It is only brief- a sort of deep breath on land, before we go back under water. The psychedelic transgression begins as it started tonally. The lyrics display wit, and the modern Canterbury Tales evoke priests and "cauldrons of peace", before noting how, in this town: "The youngsters/Have not a place to go". Sure there is Bugg, Turner, Lennon, Gallagher and Kane, but that the north. That is what people sound like. It as great as the sum of its parts, and does not try to mimic; the band employ their influences perfectly without succumbing to any sort of copycat ideals. It is a modern song for a modern age, and one that will break boundaries and barriers for any undecided voters. In the background there is an arabesque twirl to the percussion and bass. In fact the two enter a non-compete clause and support each other: they punctuate, rise and fall, twirling in a waltz in a smoky, beer-stained street. The errant guitar manifesto has had a lot to drink, and is shouting in doorways and shouts indecipherable non-sequiturs to passers by, before The Filth arrive, and restore jurisdiction. The chorus repeats and we are done here.

A wide girth of a review, you'll admit. I have been transfixed and spellbound by the tracks. The band show a staggering confidence. They sound like they have been doing the rounds for 10 years or so, but these adolescent savants are nary but saplings. I have been unable to get a word in edge ways into my own summations. I adore the bands that The Castellers are influences by- The Beatles, Oasis, The Jam etc., and perhaps there is a sense of subjective bias in my proffering. There is a universal and unquenchable lust and respect for these groups. On the note of 'influences'. The band do not ape or wear the colours as fancy dress. They are their own 'real thing'. I have quite an intuitive ear and write and sing myself, so could spot little snatches of other songs. I did not feel I was listening to anything second-rate and there is no sense of the boys hopping on the bandwagon. The likes of Jake Bugg and Miles Kane are huge and cutting edge vogue right not. Singer Ryan Healy has a bit of Alex Turner to his pronunciation and delivery but it does not stray too close for comfort. The boys have a rare understanding of the past, and are making the near-forgotten-at-times sounds retro and reinvigorated. They have the quality to live up any hyperbole or hype. I am predicting big things for the lads as 2013 progresses. In a current scene where having an acquired taste of a sound may ruin a career, the group have just that. In the sense that they supersede and rises above their peers. There is no auto-tune or vague bland pop nonsense. There is, instead, a leather-clad rock flair, and spirit, and I cannot wait for a future release.

Give these northern guys your full support. In an era of ill-advised political coalitions, admist a rather 'shaky' and variable music scene, it is refreshing and enlightening to hear such a stable and unwavering dose of quality and consistency. They make promise and keep every one; they swagger but are not anti social. Above everything else...

... they are bloody wonderful.

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Official site:

http://www.lisamarini.com/#home

Facebook:

http://www.facebook.com/?ref=logo#!/TheCastellersMusic

Twitter:

https://twitter.com/thecastellers

Rubberbear: 'World of Modernity' - Track Review

World of Moderninity-  Track Review

9.6/10.0

Anglo-French musical sovereigns set aside the woes of modern life, and create music with a beautiful entente.

Availability: 'World of Modernity' is available on the E.P. 'Let's Move Somewhere Else'- both available at: https://itunes.apple.com/gb/album/lets-move-somewhere-else-single/id605417575

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There is a weight of expectation to the duo's rich pedigree...

but there is no burden of proof on the shoulder's of this virgin horizon. I shall mention that more anon. A lot of new music tends to consists of brand new ventures. Band and acts assembled, are for the most part, fresh-eyed and filled with restless intent. Whether graduating from the underground of London; having battled through the bar scene of the north east, or emerging bleary-eyed from the cavernous halls of local music academies, there are several options. Ordinarily a few cursory songs are recorded, redefined, polished and published on social media. Some give up the ghost when projected subscription supersedes net profit. The more industrious manage to gain a toe hold in the first divert of the giant mountain that is the musical hierarchy. Some are even lucky enough to be plucked from near obscurity, given a record deal, and maintain a grasp on public attention for years to come. Oh, and there are the, for want of a succincter neologism 'bearth of enations'. These are the bottom-feeding talent show 'hopefuls'. I would gleefully beat a tramp to death with a Victoria's Secret catalogue to see the entire species extinguished forthwith. Their subcutaneous, disjointed form of phenakistoscope charm, is the slow ruination of new music. I digress. There is a small demographic that exists within a minute intersection of the tesseract. These are the more 'mature' collaborations. Some are equated due to the disablement of a existing band; some spread themselves between several projects, whilst other unions occur because of mutual interest and respect.

In the intriguing case of Rubberbear, the genesis of this musical Alcyoneus is a curious tale. They formed late last year, and are Tom Chapman of New Order, and former member of The Fall, Steve Trafford. They are based in Manchester- not exactly a slacker, when it comes to churning out musical genius. They manage to fuse multi-layered psychedelia, with baroque orchestrations to create a lush and symphonic wonder. Already the duo have laid down several tracks, and gained a steady and dedicated band of followers via Facebook, Twitter and beyond. I am a fan of both of the detective duo's portfolios of work. They arrive from two different landscapes and skylines, with regards to their sonic influences and back catalogues. I was fascinated to see whether the two men would blend harmoniously, or would simply electioneer separately, on different sides of the political spectrum. I was soothed and relaxed when I began listening to the E.P. 'Let's Move Somewhere Else' as the music is imbued with the respectively glories of their former employers, whilst retaining a fresh and unipolar popularity. The 3 track, 12 minute long E.P. is fascinating and assured, and despite possible concerned about its brevity, it manages to pack a huge physical and emotional punch into such a short amount of time.

It is with keen and trembling ears that I hovered over the associated 'play' button of E.P. swansong 'World of Modernity'. It would be counter factual to say that you should investigate just one track, but I felt that by focusing my obtuse intentions of one song would do great favours to the E.P. as a whole. The opening salvo of the introduction's build up, drifts and carries you mind to a peer. Possibly Blackpool, possibly Morecombe; the geography is not essential. What you do feel is a great sense of juvenile reminiscence; fond memories, slot machines, ice cream vans, and low-swooping seagulls baying for fish and chips. It holds and glides for a couple of seconds. It is uncertain what direction the track will take. Before you can ballot accordingly, there is an electronic percussive overdrive, that helms the fort and sets fire to the pitchforks of the marauding villagers. There is no misstep in the cross-pollination; no sentiment is lost in translation. The conjoined mythical beast that captivates and conquers, has a happily familiar sure-footidness to it. There are perhaps swathes of Depeche Mode; maybe a little bit of Kraftwerk's Teutonic buccaneering. Although saying that, Kraftwerk are as professional and reliable as they come when it comes to their type of music; and similarly Rubberbear show no nerves or signs of deviation. The electronic thud and witches' brew of skiffle, gravitational pull and meteorology is compounded, as the vocal enters the fray. The lyrics are homespun and effectively simple at first: "I've been looking for a place/In a world of moderninity". The final word being given polysyllabic caress; poured forth like a libation. What the word 'moderninity' means, is quite another matter. Whether it is an archaic term that has fallen from literary consciousness, or another neologism, is another matter. One suspects that it has some meaning, and I will be a whirlwind of O.C.D. neurosis, trying to track down the word's etymology. Our hero may feel a little weathered by age, or the age we live in. He seems to be a human scale, balancing Finagle's Law in one hand, and Murphy's Law in the other, and wonders which way he will fall. There is not an overwrought pessimism, but a knowing sense that the pace is quicker and more frantic than the '80s and '90s, and it is tougher to stay ahead of the rat race. It is said that there is a world outside of his door "that calls (my) name". The biopic's story arc is sound-tracked by a scratchy, pulsing and bullet-ridden mesh of electronics and orchestration. It is though the component adjectives are metaphors for functionality of the human body. There is blood flow, heart beat, oxygen expulsion, and a perpetual breathe that expands and contracts to sublimate the vocals. The Dirac's coup arrives at the 1:10 mark. The vocal and sonics solemnisation and create a tenable electricity. Just then the pace slows, as a more contemplative and deracinated subjection comes to the fore. The words "Isn't it strange" are repeated, sewn together and stretched, sounding a little like The Byrds mixed with Think Tank-era Blur. The guitar sounds are more revered, satisfied to whisper plaintively. The vocal metamorphoses to a more tender and longing refrain, before pitching and delivering a switcheroo, with the introduction, once more, of the chorus. The effective colour scheme is present for the remainder of the track, and brings us to a pontificated and superb end.

Given the strength of the rest of the E.P. it would be folly to suggest that Rubberbear will be looking for a standout or linchpin from the release. 'Steamroller' has initial touches of Noah and the Whale and Gorrilaz, but goes all punk and new wave, and is a multi-directional beast, whilst the latchkey child 'Let's Move Somewhere Else' begins life similarly to a Wild Beasts song, but then vocal touches of The Coral and is a shimmering and intriguing number. The tracks have commonground and shared tactics, but contain coded messages, secrets, universal sentimentality and pure emotional resonance within. It is a successful and self-assured music venture that we have here. Both of the guys have a clear mutual respect and great knowledge of each other's background and strengths and compliment these beautifully throughout 'World of Moderninity'. A new album is afoot this year, and judging from the strength of the E.P.'s tracks there will be no fall from grace or any measure of under-appreciation. The fan-base will swell and the sounds and scope pertained within will be revered and studied. I am not overly-familiar with either New Order or The Fall. I have heard more of the former, but probably relate more to the latter's business acumen. Whether you want to label them a 'super group' or a 'French-Anglo partnership' is up to you. Give equal judicial review to each song and draw your own conclusions. I think you'll agree that if you are an ardent fan of the respective genres, or fit somewhere subducted of each, the music has a non-elitist and populist agenda. It wants you to be inspired and sing along, remember the words, and relate to the sentiments and universality of the message. Tom and Steve are fresh blood brothers, and soon will find that they have a very busy schedule. Take a listen to the track, and consequently the E.P., and...

... let the loveable Rubberbear into your home.

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Facebook:

http://www.facebook.com/#!/pages/Rubberbear/198038603674851?fref=ts

Reverb Nation:

http://www.reverbnation.com/rubberbear

Twitter:

https://twitter.com/Rubberbearband

Sound Cloud:

http://soundcloud.com/rubberbearband

E-MUTE: 'Clock Moves Forward' - Track Review

'Clock Moves Forward'-  Track Review

9.3/10.

The band name intrigues, and the songs themselves simply out-stand.

Availability: 'Clock Moves Forward' is available on the E.P. 'Too Proud to Say Loud'- both available at: http://www.emute-music.com/release/too-proud-to-say-loud

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Sounding somewhere between Franz Ferdinand, Muse, Foo Fighters, and Depeche Mode, is how the E.P. has been described...

Which is quite an uncommon mix of D.N.A. It promises wealthy and prosperous progeny, capable of possessing the brains, brawn and sensitivity to supersede the benchmark of Alpha Male, and show the musical world how it done, once and for all. There is much promise afoot, to be sure. I have been faced with a full squad of variably-talented musical players, each one promising to play their socks off, but only a select few proving to be worth their weight in gold. There has been some fascinating flicks, volleys, mazzy runs and stunning finishes, but I have been searching for that 'special one'. Perhaps fiscally-conditioned, or reflective of the season and mood, I have been immersed more deeply in classic '70s rock and the likes of The Rolling Stone, Led Zeppelin and Queen for a little while. Between them they bristle with tension and sexual intrigue; they ignite, punch and rouse the spirit, invoking a defiant grin. In modern circles there are few direct comparables. There are one or two bands on the nucleus of the mainstream, who has flecks of the greats, with a little bit of 'that certain something' thrown in for fair measure. However, there has been a scarcity of bands and acts emanating forth, that are truly inspiring, and implore you to pick up pen, paper and guitar and get writing.

A new treat to my ears, E-MUTE seem likely to steal a little breath and cause exciting twitching amongst your devotees of a classic era, and those hunting for a fresh and vibrant new sound. The band is an inter-gender mix of London friends. The members. have between them, previously worked with the likes of Moby and The Drifters, and note that their sound is a mixture of "great melodies, dark edgy rock, electronica, and philosophical lyrics". Seems like an intriguing and impressive mission statement, and one that they are able to live up to. Their E.P. arrived last year, and has been gaining steady following, and much plaudit from music lovers and critics. There has been a fervent stretching of combined arms from the general music populous, in awe of the group's 5-song wonder piece. The entire E.P. is a little shy of 16 minutes and is impressively tight, focused and a beautiful homunculus. I was bowled over and blown away by the consistency of their sound, and the impressive pitches, turns, surprises and knock-out punches. 'Clock Moves Forward' is the first song on the E.P. and their latest release. With an apropos title and infectious drive, I was captivating and buckled myself down prepared to experience the magic of E-MUTE.

There is a little chaos and unrest within the intro. The percussion enters expeditiously, presenting an electrifying and pragmatic mood to proceedings. The guitars join the sway, and between the two set the floor alight with merry abandon; clicking heels, kicking up dust and forgetting how many drinks they've had. If anything there is a slight air of an Irish Jig to the rhythm and pattern. It slower and more syncopated but has the same sort of canter to it. There is also a appropriate sense of time keeping to the intro too. The seconds count down quickly, and inject a palpable excitement and urgency to the track. There is a little bit of The Smiths, a smidge of early Muse, as well as a slight nod to Queen of the Stone Age's 'Run Pig Run'. Before a single word has been sung, there is an instant and instantly likable sense of fun, misadventure and metaphysical storytelling. As the gay swing and dance abates, the vocal enters the room. It is smooth and luxurious; a most pleasing and assured tone. Maybe a bit of Depeche Mode at first, but perhaps enamoured with a lighter and more uplifting hue. There is a steady and endeavouring bass-line, backing up our front man and waiting to wade into action. The simmering electricity that has been bubbling and spitting above the parapet subsides for now, and the lyrics do the talking. There are ruminations of mystery and intrigue?: "Who can tell/When the game begins?", the vocal becomes almost acidotic in its lip-licking super-villainy. Our hero almost winks as he sings, proffering a smooth and interchanging bow wave of emotion and wonderment. The chorus shares some common ground with the chorus in terms of time signatures and temperament. There is a slight elevation as the words: "The clock moves forward/As life goes back" are brought forth, the band producing a punchy tick-tock in the background, before choppy and energetic guitars leap forth. For the repetition of the verse, the percussion is king, presenting a sturdy and self-fulfilling prophecy of mood bait and switch, that supports and counterbalances our protagonist where appropriate. As the chorus comes back full circle, there is a slight scene change, as a repeated mantra of "don't worry" is offered up. The words here are elongated and weighted, allowing extra resonance. The band are up to the challenge and are not immutable at first, staying consistent and studied. Then, as you are expecting a repetition of verse, or a guitar break, the chorus is reintroduced unexpectedly, proving quite efficient in its ambitions: to propel the mood and momentum, but at the same time catch you off guard and fire up the senses. It does just that, as you are expecting a slight sedation, but instead are gifted with the chorus, and as the vocals, that beautiful and curious intro is repeated to the end.

Having been a new follower of the band up until last week, I had no preconceived notions or expectations. I was fascinated by their colours, fashion and style, and was keen to listen with open ears. Where they have pointed at possible influences, you can hear bits here and there. The vocal has a little Depeche, but as noted, it is a more mercurial, lighter and honeyed when required. The band as a whole have the inventiveness and intelligence of The Smiths, and have a similar sense of sonic exploration. The lyrics are clever and memorable, and very much on message. There are perhaps fewer individual words than you'd expect. It is the way E-MUTE employ and disseminate the lyrics that provides the focus. The chorus is repeated to great effect and provides a great twist towards the end of the song. On that note, the bookend guitar piece provides great consistency and foresight and means that the tracks does not veer or continue to run for longer than it needs to. The entire song is 2:48, and it feels tight, leaving you wanting more after it has ended.

The modern music scene is obviously very busy. There are different coloured corners and avenues, and depending upon which direction you walk, will determine what you hear. There are a few indie/rock bands who have an intelligent design, and a professional and exciting sound, but there are not as many as there should be. To that end, there are also not many who reach the heights that are displayed on 'Clock Moves Forward' and indeed the sister E.P. 'Too Proud to Say Loud'. The band have a lot of ideas and different stories to tell, and I am looking forward to another E.P. or album, already. I would suggest you listen to their E.P. and find out what all of the fuss is about. They are young, brave, stylish and recession-proof. If you like your music with doses of fascination and wit, as well as pleasing shades of the masters of the genre, then check out E-MUTE, as they will be on the rise throughout 2013. As the sun is shining, and Spring may well not be a distant memory after all, what better time than to check out our London lot...

... and warm your heart and mind.

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Official site:

http://www.emute-music.com/

Facebook:

http://www.facebook.com/electricmute?v=wall

Twitter:

https://twitter.com/emutemusic

MySpace:

http://www.myspace.com/electricmute

YouTube:

http://www.youtube.com/user/emutemusic

Reverb Nation:

http://www.reverbnation.com/emutemusic