Death of the Sweetheart- Marriage: The Beautiful Revenge- Proposed 2014/15 'Mini- L.P.' Release

Firstly, apologies for the layout of the 'Inset' design.  It is perfect in Word, but does not translate on Wordpress due to general lack of sophistication of the site; anyways...

'The Idea':

After many a year of writing words (13), and working on my voice (10+), it seems that- in spite of the lack of finance- that gathering together a worthy collection of representative songs would be in order. A lot of bands form in their late teens, and some have long careers; but many finish after a few albums, and there is always something lacking. Having been writing for years, most of my tracks, I have seen as a bit inferior; lacking in something, or not as strong as they could be. Having discarded quite a few, reworded others, and started new ones, it is decided that the 7 included on the planned future release, are the best I have done, and will work perfectly for a band, willing to play to their best, and experiment and be bold. Once a band has been assembled, it will require a bit of funding, in order to hire additional musicians, studio time etc. but is hoped that, through the use of memorable tracks, and a terrific sound, it will lead to future albums, and be ranked amongst the more impressive debuts.

'The Concept':

It is a concept album, but has a loose feel. There are no character names. The woman, who is becomes married and then divorced, is called Emma. The man, who is the husband, and becomes divorced is unnamed, but is the 'narrator'- the songs are first person and recall his side of the romance and events. Within the 7 tracks, there are other events and people alluded to. The songs do not follow a progression; there is no real story. The concept focuses on the formation of a relationship; the coming together-marriage, through to break-up and divorce. Most concept albums suffer as they feel too forced and cannot really pull of their ambition; and they seem like a novelty. The fact that the songs are more open, means that it is essentially a regular album, but has a theme and a flow; like The Streets''A Grand Don't Come For Free'. If you listen to an album like Rated R by Queens of the Stone Age, a great number of the songs are so tightly edited that they almost run into one another. This means that there is a flow, and there is no pause for thought, which means songs do not lose their force and momentum. This release will be like the 2nd side to Abbey Road; each of the songs will flow into one another with no pause. The only pause comes after the 6th track; there is a 15 second pause before the final track is unveiled.

The Band Ideal:

Guitarists * 2:

Male or female: preferably one will be a powerhouse; able to elicit the sort of force and electricity of Matt Bellamy, Van Halen, Page etc. They will be able to handle huge riffs, as well as create psychedelic noise and incredible solos (Hendrix; White). Looking for someone who has that ambition. The 2nd should have a similar flair, but display a talent for indie-style innovation and unexpected lines; thinking Johnny Marr, for instance. Not necessarily as hard and powerful a guitarist, but someone very intelligent, who can develop intriguing and fantastic riffs and passages to compliment the other guitar.

Bass:

A great bass player, who is able to fit the band, and has a flair for power and innovation.

Drum:

Powerful and primal for some tracks; in others more soothing and tactical. Think someone who has ambition to follow in the footsteps of Dave Grohl. Need to be able to handle that sort of pace.

The Writing Schedule:

2 of the songs have been entirely written; the remaining 5 will be completed during 2013; hopefully by the autumn, at the latest. The musical ideas for each track are in my head, but being unable to read or write music, will need a collaborator to flesh out the ideas, as well as translate them onto paper too. Plan to have every song written and as realised as possible by November at the latest.

The Planned Recording Schedule:

As soon as a band has been found, and gelling begins; financial issues will be next up. Provided it can be raised and budgeted so that each track can be performed, fully realised, recorded, and subsequently released, will aim to begin some time late 2014-early 2015. It may be a long way away, but comes around quickly, and obviously a bit of work and recruiting to be done before hand.

The Songs: Track-by-Track:

1. ------

Black Majesty Blues-

6:19

Beginning, as it will, with a huge riff it is quite a hard and heavy song throughout. The 1:00 intro tries to match the classics; and will hit and weave and be built off of a memorable and simple chord progression and pattern. The song itself deals with a woman that the hero has a thing for, but seemingly has nothing in common with. She is putting her life in faith, fate, spirits and things she has no control over, and gets knocked down and putting her good luck down to unreal forces and ideas. The protagonist is angry and saying that things are random, and cannot be predicated or assigned to a high being; that everything is in the control of the individual. The chorus is lighter and has a catchiness to it- somewhere between The Kinks and QOTSA's 'In My Head'. The song is a showcase for the band; the guitars will be huge and staggering at times, with terrific riffs, twisting tails and sharp punches. The drum will be pulsating and incredible throughout, and the bass will be outstanding and domineering. Vocally it will be pitched between a combination of Rob Halford, Freddie Mercury and Robert Plant. It goes from an authority semi-operatic rock belt, to wild high-pitched screams, except for the chorus, which will be more calm and composed. It is earmarked as a potential initial release, and is the heaviest track of the set.

2. ------

We Have Seen Better Days-

3:33

Being lead in by a subdued but exciting tail-end of guitar, the track has a shorter introduction, and is close in nature to a Beatles song; somewhere between Abbey Road's 2nd side tracks, and The White Album. It has a similar musical feel and ambition to it. The lyrics concern two people being drawn together by bad luck and bad days; both having hit a rock bottom, but trying to work together to get better. It has that '60s pop feel to the lyrics and sentiments, and is fairly romantic. The vocal will not be at the forefront. It will be impressive, but it is the combined band performance and sound of the song, which is king. There is a gorgeous and funky piano line, and the guitar, bass and drums, are not as heavy as the previous track, but are strong and tight throughout. It has a 2-part phase. It begins out as a subdued track, and has similar elements to 'You Never Give Me Your Money' and 'Golden Slumbers' before becoming more intense and building up the sense of motivation and fun; thinking more side one of The White Album. It has a terrific ending, as everything comes to an end; except for the sound of a radio dial being turned, amidst the sound of some feedback.

3. ------

Ultraviolet Robot-

3:51

This track again picks up from the end of track 2, and builds on it. In nature and style is has similarities with QOTSA and their work on Songs for the Deaf and Rated R. It is not as heavy as the opening song, but is scuzzy and metallic, and has killer riffs and a great melody. The lyrics progress from track 2, and now concern that rush of falling in love, and putting all the crap to one side. The title is referred to, and refers to romance; in the way that it can be quite mechanical, but changes direction, colour and has a hypnotic and sometimes dangerous radiation. The star of the show will be guitar, drum and bass. The guitar has a dirty tone, and there is an incredible riff at the intro, as well as a repeating coda. It changes style and sound; with the two guitarists weaving in and out, combining spectacularly for the choruses. The drum is savage and powerful in the verses, and combines and joins with bass in the choruses; being more controlled and inventive. The vocal will be more traditional rock, somewhere between Homme, Turner, Jagger or Morrison. In fact the aim will be trying to capture the raw power of Morrison. The song will end quite calmly, with just drum and a light guitar line, before an organ enters, and has a magisterial sway to it, bringing the song down to land.

4. ------

Emma Cool and the Boston Dance Party-

5:20

Intended as a potential standout, and a red herring, this will be different in sound and style to the rest of the tracks. The 'Emma' in the title refers to the girlfriend, but the song relates to a bad dream/nightmare: the most frightening and haunting thought imaginable. It reflects a deeper anxiety and comes after a wedding, and may spell that there are doubts underneath; or the fact that being alone is the worst thought possible. The lyrics tell of the man as an astronaut, who goes on mission to space, with a fellow crew member. They would set out to discover life and explore space, but when in outer space, find that there are problems with the shuttle. It is realised that he can never get back, and no way of being returned to Earth. There is a decision of what to do; he will spend his life in space, and is forced with a dilemma of how to live. With only a telephone communication with his lover, the final hours and days are spent with his crew member, planning on how to end their tragedy. It is not a morbid song, instead meant to be haunting. Church organ will be employed to elicit huge atmosphere, and will be an entire break with just organ and orchestra. There will be a 32-piece orchestra that plays, and conjures up emotion. The guitars, bass and drum will be exceptional, but play a back seat in a sense to the vocals, which will be varied and try to stun. It will be a mix of Antony Hegarty/Tom Waits style low and deep voiced wonder, with a higher and more ethereal feminine vibe of Eva Cassidy and Kate Bush. The vocals will combine towards the end, giving the sense of a duet between the stricken astronauts and the lover (Emma); and with the combination of strings, piano, organ and vocals, will have a combination of operatic pop and chamber pop; something like Antony and the Johnsons. As the vocal end, and the decision is made; essentially our protagonist wakes up, as the daylight comes, and the piano and acoustic guitar will play. These lines will begin the next track.

5. -------

Minnesota-

4:38

This song is the most romantic and tender song. It is aimed to be a sort of Jeff Buckley-cum-Blur track. Again the vocal will be fairly high up, pitched as a gorgeous falsetto; that is crystal clear and pure, yet reaches and has incredible power towards the choruses. There will be roars of pain and passion, as well as incredibly pure and stunning vocal holds. Trying to pitch it is a Hallelujah-cum-Something type of track, and because of this, the lyrics will try and steal attention. They will at once be romantic, and incredibly touching, but also tinged with regret and some sadness. In terms of the concept of the album, these will be the first cracks in the relationship as it is seen that the girl/wife is pulling away and maybe has her mind on someone or something else, and the protagonist is trying to save it, before there is any tension or explosion. The rest of the band will be at their most tender, with subtle electric guitar being secondary to sweeping and stirring acoustic guitars, classic and 12-string, and gorgeous bass. Again there will be piano, similar to To Build A Home/Let It Be, with a string section evoking the spirit of The Cinematic Orchestra. I am- somewhat ambitiously- hoping to create a modern romantic classic, that will not be too sad or sombre; conveying the right amount of emotion and balance. The end of the track will begin to build up with acoustic and electric guitar combining, as if to produce a huge swell, because the track ends.

6. ------

Hand-Tied Bouquet-

1:56 (with 15 second break)

This is the last track that will be in the medley-style chain; picking up from the last notes of the previous song, it will be a quick and fast song, that has touches of Dylan; sort of Subterranean Homesick Blues-meets- It's Alright, Ma (I'm Only Bleeding). It will have that pace, and will get faster, as the lyrics tumble out. The key component is the band who create a '60s blues/rock sound, and marry that to modern day northern rock/pop; it is awash with atmosphere, tension and momentum. The drum will be lighter, but will be constant and powerful, adding extra tension to the mix. The lyrics are about the breaking up and cessation of a relationship; the thoughts and scenes that are present, as well as words about dreams, thoughts, surreal images; mixing striking poetry with wordplay. The vocal has a similar Dylan edge, and will be breathless and focused. It is the shortest track of the 7, but has the most words, ending with the final line, followed by a short electric guitar/acoustic guitar coda, that is struck and holds. When the track ends, there is a 15 second silence; giving the impression there is a hidden track coming, and giving the listener room to breathe.

7. ------

Vanity Mirror-

8:02

This is the longest, and most ambitious track, and hoping it is the finest. It has ambitions to be a modern-day Paranoid Android, and consists of 6 or 7 different phases. It is going to be a bit of a monster, and will be the song that ties everything up, leaves cliffhangers and twists at the end. The lyrics focus on love breaking down, the recriminations and the scenes and chaos following self-destruction and inner tensions. The song will build, twist, turn and stagger; the guitars will be a mix of huge and memorable riffs, incredible little explosions and contortion. The vocal will be multi-part, going from gorgeous falsetto and romanticism, going to hard edged imploring and strained vocals, through to full-throated scream. There will be a huge vocal chorus and rise near the end of the track, employing several hundred different vocal lines that will build one by one, and rise and amplify, creating a crescendo and high point. The intro, riffs, phases and outro will be hiughlights, and the entire song has intentions and aspirations to be a modern classic. It hopefully ends the collection on a high note, and leaves the door open for future releases.

Music Video (For Lead-Off Single):

1. ------

Black Majesty Blues-

2 concepts or

2. ------

We Have Seen Better Days-

2 concepts.

Although I have a better concept for We Have Seen Better Days, I suspect that Black Majesty Blues will be a better options, but am excited about the four different concept. In terms of budget they range from several hundred pounds, to thousands, so will be dictated by economic logic. For each song there is one concept that costs hundreds; the other, thousands.

The Art, The Credits, The Insets:

Front and Back Art:

The cover is going to be as striking as possible. The image will be stark, memorable, but also humorous, too. The central image will be a person dressed as the Queen, being blown up. The image is not intended to be anti-establishment, as am a huge royalist myself; it is merely meant to be iconic. There will be the central image of the clothes being blown open, there is a comical bottom half of suspenders being seen, but mixed with shocking images; such as organs being blown apart, and blood. We will see the crown being blown off and hair (implying it is a wig), and every part of the explosion; from the crown, to the organs, will represent a song title or lyric. Little clues, items and objects will be mingled in the explosion that represent titles, lyrics and ideas. The shot will depict a London scene, possible shot near Buckingham Palace. The entire album will be concept, as well as a mystery: is it a dream, a film, or real? There are clues in the cover. In the middle of the image amongst the explosion will be a flash of light or fire, where the explosion started, and you can see the killer's face, or part of it. There is a mystery and lots of story within the cover; it is a murder mystery, a film, and has twists, turns and questions and odd little scenes. In the background will be commentaries on modern life, such as gun crime, violence, economic depression, and are little scenes and images which are striking. In the same way that Sgt. Pepper' has a collection of famous faces combined, in a section close to the top right of the image, there will be a host of current and past faces, together; ranging from politicians, and musicians. The entire 'scene' will depict the sun setting and will be a gorgeous landscape in itself; seeming like several images put together, and the entire cover draws your eyes in different directions, but there is one key image/clue/revelation, that people will miss, as naturally other scenes and areas will draw your attention away. In a tube train in part of the photo, there will be a homeless person with a sign that says 'Death of the Sweetheart'; surrounded as he is by drugs and a dead woman as he holds a gun and smiles, rather oddly.

The back cover mixes tragedy with comedy. It will show a pair of legs hanging from shot in the cold and rain, implying that the guilt party has been hanged. It is a man, but someone who is wearing high heels. It will be a rain-swept scene and will be at night, as we see siren lights, streetlights and various colours and fires, as again there is a lot going on in the background. One of the seven dwarfs is sweeping up, and there will be a mix of surreal and unusual images, as fantasy figures and famous faces mingle in various scenes, including one with Churchill being arrested. There again will be social commentaries, including scenes and images related to natural disaster, as well as unemployment, and hollow reality shows and celebrity. One of the bold and striking images will see two naked figures entwined and will be quite stunning, but also fairly sexual. There will be money handed from the woman to the man, maybe commentating on fame, or the nature of celebrity. The idea is that there will be clues to unravel the mystery if you look in the right places, and various characters and people will hold clues, and if you put them together, you can solve it. There will be a bride, with a ripped dress and her makeup running, who is stood looking to camera, and has a tattoo on her arm that says 'Marriage: The Beautiful Revenge'. There is a blood stain on her arm as well, and she gives a mysterious and striking look.

Inset and design:

Death of the Sweetheart- 'Marriage: The BeautifulRevenge'

(Mini L.P.)

1. ------

Black Majesty Blues-

6:19

In The Beginning:

dislike and hating the girl; a rally call to see science, not blind faith. 

3:33----- 2.   We Have Seen Better Days-

The Intrigue Unfolds:

Both down on their luck; mutual need for companionship; romance begins.

3. ------

Ultraviolet Robot-

3:51

The Passion, The Power, The Pride:

The thrill of pure passion; fall deeply in love and headspinning lust. 

5:20------ 4. 

Emma Cool and the Boston Dance Party-

Dreams #1-#3:

In bed and have most frightening dream possible; changes hero's views on his love.

4:38----- 5. Minnesota-

Things Go Wrong:

Both start to pull away and try to make it work; old times remembered.

6. ------

Hand-Tied Bouquet-

1:56 (with 15 second break)

The Break-Up- Divorce Ahead:

The anger boils to the surface and builds and builds. 

8:02------ 7.    Vanity Mirror-

Showdown And Grand Finale:

The petitions, court dates, emotions and split; to be continued...?

'Duration': 33:39 (Weeks; Days/Hours)

The inset will be over 2 pages. To the left will be the track listing. It will be designed as you see above, but is part of a wider image. The entire page will be a marriage certificate/divorce certificate. There will be phrases and paragraphs throughout, but the only words that are highlighted are those above. The song titles and words fit seamlessly into paragraphs are are part of sentences. The 'Beautiful' and 'Revenge' part of the title will be in different hand-writings, implying that the wife wrote one, and husband the other. There is a tear stain on the 'Revenge' word and cigarette burn and ash on 'Beautiful', as well as there being a red wine stain further down the contract. It is designed to be a very stylish and memorable image; one which could be an album cover in its own right.

The 2nd page of the inset will have the credits and have a look of a mix between a divorce contract and a film poster. The band members names will be listed and instruments played etc. but in the context of a film's actors/guilt parties. For instance one of the guitarists will have 'Strings' as a credit. There will be parenthesis by it that says (None attached) and (Heart Strings Also Pulled). Producer and Engineer credits are given similar attention with words added or crossed out, so it appears like amendments have been made by lawyers or the parties involved. It look quite stylish, and the Lyrics and Music credits will be given key scrutiny, and seen as the key 'guilty' players.

Photos/Designs:

Each track will have a separate page, that has a different photo or image for each one. It may be appropriate or stunning, and there will be different styles- colour, B/W, animated, etc. and will consist of the song title somewhere in the image; either as a street sign or worked in cleverly. There will be 7 images, and 3 others that would feature the entire band in some way. They would not be regular band photos, instead stylised; one would feature the entire group in a gripping and great image; and the other two would see two different sets of band members, each in different scenes or scenarios.

In Conclusion/Thoughts:

As well as funding and members required to add the colour to the black and white as it were, it is an effort to get the ball rolling, and lay out everything that I want and need to do for the first steps, of hopefully a long career. As soon as I have finance will be moving to London, and hunting for 3 other people to help me do this. From there it is about getting the necessary money to make it a reality. I am sort of fed up with lacklustre debuts and underwhelming debuts from acts. Whether it is because of innovation or finance, it shouldn't be that way, so aiming to buck the trend and begin with a bang, and never let up...

We Died At Sea- I Am Drinking Again- Track Review

We Died At Sea-

                        

I Am Drinking Again

Track Review:

9.5/10.0

The 'middle-class' men of Leeds, have the sound of working-class America; in spite of a modest following, they will soon appeal to more than the two polar sects.

Availability:

'I Am Drinking Again'

is available via:

http://wediedatsea.bandcamp.com/track/i-am-drinking-again

___________________________________________________________________________

Class is something, not often mentioned or explored, when pertaining to music...

Everybody is aware of the obvious bastions of the classes. The so-called 'working-class heroes', from John Lennon, through to Oasis, have always managed to capture a variegated and diverse sector of society. Their core message and aesthetic, at its core, is proletariat; but the abiding quality and nature of the music, is often not concerned with status or class. The words are never concerned with such meaningless issues. That said, there does seem to be- if not a scientifically-based- linkage between class and quality. In particular, with few exceptions, the most memorable musicians, greatest songs, and acts with the greatest longevity, seems to have emanated from the working, and lower-middle classes. Being in that group myself, I have always attributed the possible disparity in quality, down to the financial and emotional constraints. A lot of the all-time greats; especially the likes of The Beatles, most of the soul and blues greats, and the great majority of the modern troubadours, all have suffered hardship and oppression. From my perspective, if you have little money and are constrained by circumstance and hardship, you become more introverted, and focused upon an escape. For those of whom music is their main passion, the concentration is going to be on your art; your first love. It costs nothing to write and to 'create'; in fact some of the best moments and most inspired thoughts come when you are down in the depths, or else hell-bent on peaceful insurrection. There is no predisposed correlation as such between classes and talent; it just seems that limitations or constrictions can bring about the most concentrated and brilliant music. As much as anything the key lyrical themes: love, money, life in general, come from a real place and seem much more genuine and convincing. Many of the acts I have been focusing upon over the last few months, predominantly have suffered a hard road to future success, and have said that financial restrictions have been a major hindrance, as well as a key muse. It is perhaps not an equivalency that extends perhaps to acting, or main other sectors of entertainment, nor, unfortunately does it feature highly in the biographies of politicians. It's not to say, of course, that if you are, or were born under a more fortunate star, then you are going to be fall inferior under the Bayer designation. Many of the greatest and most spellbinding artists have managed to transcend and marginalise class barriers, by projecting themselves are likeable and worthy champions. In the '90s and '00s, there have been a greater number of examples of the undiluted and non prejudicial class. The fact that recording and distributing music has become more cost-effective and simpler than it has been ever, is encouraging a lot of less well-off musicians, to lay down their sound; in essence creating an unsubjugated, border-less mass unity, amongst all musicians.

I mention this rather contentious issue, as We Died At Sea, label themselves as 'middle-class'; yet have a fascinated split personality. For one thing, the bio/tag lines on their Facebook page, quote Dostoevsky. The quote concerns work, and the nature and meaningfulness of it. It speaks volumes about their devotion to, and passion for, music; as well pointing at an augmented intelligence and focus that few contemporaries possess. The Leeds-based boys, underneath the skin and clothing; have an American sensibility, that brings more to mind more Seasick Steve than Tim Rice-Oxley. The musical masquerade has been yielding curiosity and plaudit since 2012, and there is a pastoral charm to their look as well as sound. On the social media official sites, there are floral landscapes, Victorian industrialism, and the inescapable feeling of ease and tranquility. It is with great intrigue that I approached their music; wondering whether I would hear lilting folk guitars and lush vocals, or else a ramble of bluegrass and anthemic Detroit punch. They are quite under-subscribed at the present time, possessing as they do, a small, but respectable handful of fans. They are in the infancy of their developmental process and are taking the first exciting steps. From listening to the group's work there is no inscrutable noise; no basic level due diligence, and no attitudes towards the notion of 'playing it safe'. They have a bold and flammable spark to their sound; a positively out of left field surprise to their songs; especially their intros. The band consist of leader, singer, guitarist and accordionist Chris Wallum (whom is also the band's songwriter); violin and mandolin star Rob Bromley; double bass maestro Filipe Petry; and percussion and vox accomplice Francis Watson. Together they are We Died At Sea; a band that I am confident, will be a festival staple of the future.

'I Am Drinking Again' is, what the band calls, a '2-track album'. Whether that is pinpoint, or whether you see it as a double-A side, or mini E.P., one thing is for sure: it is fascinating. I have listened to the 2nd track of the two, called 'Wolves'. That song is a lush and swelling beauty, or gorgeous strings, beautiful vocals, and lyrics filled with vivid and frightening imagery. Please do check it out. I felt compelled to review the title track, as from the opening notes, I was captured. The intro. catches you quite unaware. It is not your standard acoustic guitar strum-cum-predictable linear crawl. It begins with Mediterranean strings. With some Greek wild sway; Spanish seductiveness and Italian passion, it is up and dancing; a mix of sounds are unleashed, with what sounds like a washboard being used as percussion. The final seconds of the intro have a flavour of France to them; it is romantic and invigorating. One imagines that the sound of America will be arriving some time a little later, as there is nothing but European brilliance and innovation within the opening seconds. When the vocal arrives, the voice that produces it is like none I have heard before. Ordinarily I can pick a voice apart, and assigned various tones, sighs and screams to other artists; essentially be a bit of a pedantic arsehole. When inking up my pen, ready to take the review in the direction of Bruce Springsteen, Bob Dylan, Neil Young, or any other U.S. grassroots pioneer, I was a little stumped. There is a pleasing everyman appeal to the voice; it has some familiar tones but is its own man. The words tell of drunken days and nights, and scenes of drinking "to pass waking hours away". The dark and open words are never delivered in any sort of morbid or depressed way. There is a matter-of-fact delivery, that suggests whether the words are autobiographical or not, perhaps our author has come to peace with things. The sense of emotional balance and restraint is enforced by the musical backing, which never lets up its charm and drive. It is a melodic and memorable dance; close to a waltz with a bit more of a spring to its step. The chorus arrives, and reminded me slightly of 'Up The Bracket'-era The Libertines, only less scuzzy and more mannered. It is a song that is destined to soundtrack a huge future film; maybe something of a gangster film- it has that flair and edge to it. It is quite an unnerving experience when listening to the music and vocals, and seeing them juxtaposed against lines like "If I die tonight", and "I shall not fear the end of the rope/Or the ghost". The protagonist seems to have a relaxed attitude to his mortality; whether that is the drink adding confidence, or taking away his soul, is tricky to fully understand. Whether too, the merrier and more jubilant background is intended as accompaniment to a drunken anthem, or offset the bleaker central mood, is also a tough one to call, but one suspects that the band are keen to create a fun skin to offset a darker core; in a sense making a more complete and pleasing whole. If you tie a weary and depressing musical coda then the overall effect is going to be exhausting. Leonard Cohen, Elliot Smith and Nick Drake could do it expertly, but in a modern climate, if you can match poetic and thought-provoking words with a romantic and invigorating backing, you are going to unite a lot of casual voters, and pull off quite a rare and neat trick. There is a hint of the brothers Finn to the vocal performance. There is a similar pattern and familiarity in the choruses, and a hint of eponymous album Crowded House when Wallum and Watson combine. As the second verse is unveiled and settles in, the sense of infectious sway cannot be denied. "So we laid coins on her eyes/To send her from life to new life" may not be up there with 'Hey Jude' or 'Karma Police' in terms of chant-able anthems, but damn it all if you don't sing along after the 2nd or 3rd listen. The entire song, and especially the repetition of the chorus (combined with wordless s chorusing), creates a woozy and dizzy charm, that will seep into your veins and intoxicate you.

If you hear America, Europe or Australia in the song, let me know, as was caught between the three. It has a working-class appeal and conviction, yet is educated and confident. The group and tight and compelling from start to finish and I was impressed not only by the sharp and unhinged nature of the music, which I swear is probably the catchiest and most memorable example I have heard all year; but by every component. The lyrics are intense and mordant, yet are delivered in a way that will not pull you down or cause a tear to form; instead will sweep you along. Regardless of proclamations of social classification or any preconceived notions you may have, there is no denying that We Died At Sea are going to make huge waves (pun unintended). They have an appeal and professionalism that is impressive so early on, and although they have a small number of songs to their name, they will build upon it, and I cannot wait to hear the results. In a year that has provided a little too much generic acoustic music, too many similar guitar bands, and too few real noteworthy artists, it is refreshing that there are groups out there that can enliven and amaze. They may tell of tales of drunken mess and chaos, but there is no sobering alarm. They are a band for the people. I cannot wait for their next step...

And hope that we hear a lot more from them, in the future.

_______________________________________________________

Twitter:

https://twitter.com/WeDiedatSea

Facebook:

https://www.facebook.com/#!/WeDiedAtSea?fref=ts

SoundCloud:

http://soundcloud.com/we-died-at-sea

Gabriella Cilmi- Sweeter In History- Track Review

Gabriella Cilmi

Sweeter In History

Track Review

9.8/10.0

The Australlian-born wonder is still capable of confounding, intruiging and overwhelming, after 5 years, and a fascinating road to glory.

Availability:

'Sweeter In History' is available via

: http://www.youtube.com/watch?v=a4swJmvfTpo&feature=youtu.be

___________________________________________________________________________

IT has been a long while since I have been excited by an established female artist...

whom has also managed to inspire me, as well. One who has managed to blow the cobwebs from my daily routine, and bring about a creative about-face. I shall become less mysterious, whilst explaining more about the appeal of Gabriella Cilmi, accordingly, but wanted to begin by taking you 10,000 miles away. That would be Australia, of course, and it is a country, nae, continent, that has produced a hell of a war chest of stunning musicians. In spite of the fact that the country is a fresh-faced teen in history's long autobiography, the music stars of Australia, have made great leaps to supersede and confound expectation with a varied, and variable impact. There have been acts, that, in my view are not entirely indicative of the innovation and spirit of the country. Men at Work spring to mind. I never got their appeal; too gimmicky at times, and they seem to have built up a popularity, that has baffled me. That said, some of the best songwriters and bands have hailed from a land down under. Nick Cave is one of the greatest examples I can find. Classic rock bands such as INXS, AC/DC and The Easybeats, modern gods such as Silverchair, Tonight Alive, The Vines and The Avalanches are favourites of mind. Legends such as Kylie Minogue, Wolfmother and Slim Dusty hail from the hallowed turfs, and my personal favourites Crowded House do their country proud. Of course there is some rather bad fish amongst the filet mignon. Merchants of nauseating cheese such as Peter Andre and Delta Goodream do the nation no real service, as do the professional plagiarists (and the now defunct) Jet. There are vastly more positives in the mix, and the vast range of sounds, styles and genres, shows that even in a country where the T.V. and movie industry has a lot of catching up to do with regards to the U.K. and U.S., the music industry is arguable on a par. I know for a fact that there are a lot of great new acts bursting through, especially around Brisbane, Sydney and Melbourne. The cities, as well as the smaller towns are playing host to a raft of eager talent. It is down to the role that station Triple J, as well as festivals such as Big Day Out play in heralding and supporting this talent, but with bands like The Ruebens, After The Fall, The Shakeouts and Empire of the Sun providing a fervent patronage, existing acts are helping to further the cause of Australian music. There is still an insidious leaning towards soft pop and what is considered 'mainstream' or worse, 'radio-friendly'; but if you scratch at the surface, and prepare to be open-minded, then many treasures and delights are to be found. I have been blown away by the sounds that are emanating from the island. Some have been played on Radio 6 and XFM; others I have heard played faintly in the background of a scene during Neighbours; as others have come to my attention through word of mouth and association with other bands. There is no box social marketing and commercialisation; men and women of incredible ambition and talent are still preferred to those with no talent, teeth or guts, whom and are all cosmetics, plastic and 'ums' 'ahs', 'like' and 'you knows'. It is perhaps more prevalent in the U.K. and U.S.; because of a larger population and wider media, but I have been somewhat put out by a lot of new solo talent. Unless the women have common flavour notes of Laura Marling, Adele, Eva Cassidy, Jessie Ware or such, then the music proffered tends to be rather divisive and unsatisfactory. A lot of artists I have heard interviews seem incapable of stringing a coherent sentence together, and tend to be the sort of vomit-inducing crap you get from The X Factor: hollow, sob-story whiners, who have no talent to write songs, instead making existing songs worse. I don't know, maybe it is just a bad time, but there are very few genuine, intelligent, likeable and extraordinarily talent solo female artists at the moment, beyond the mass of vanilla boredom that seems to be a staple. It is a bigger issue in the male market, but I have found that it is in areas you least expect, as well as in parts where spotlights rarely shine, that the most prodigious solo artists lie waiting. I have been impressed by a lot of the existing crop of solo artists such as P.J. Harvey, but very few younger established acts have pricked my senses. It is those that are in the Ansoff matrix/cap and trade crossover stage in their careers, that seem less pervious.

Gabrielle Cilmi has long been in my focus since she arrived on the scene, back in 2008. Aside from goddess looks and a stunning sex appeal, she has a keen intelligence and brilliant songwriting ability, that has seen her on many people's lips and tips of tongues for 5 years now. In interviews she comes across as extremely down-to-earth and playful, whilst showing a great affinity for her contemporaries. In 2008 she scored big at the ARIA awards, and was nominated for a BRIT award the following year. Perhaps a sobering proposition was placed at her feet: how to keep the pace and strength this high, and manage to stay relevant and fresh. Her debut album, 'Lessons to Be Learned' was met with large approval, and predominately positive reviews. Publications such as BBC music and Daily Music Guide were perhaps lukewarm; the latter stating that there may be "too much gloss" to the sound. Allmusic were more positive, highlighting that the album possessed a great range of styles and shifts, and kept interest high. The lead-off single 'Sweet About Me' was a bit of an iron lung. In the same way that Radiohead's 'Creep' was the anthem of their early career and something they could not escape, it also gave them exposure that lesser songs would not have. Radiohead wrote 'My Iron Lung' in response to the mixed blessings that that song brought, and Cilmi and her collective back catalogue took a back seat to 'Sweet About Me'. It was- and is- a terrific song, injected with interlinked sounds of the U.S., U.K. and Australia, presenting its author as something of a mysterious vixen. It was a stylish and gutsy slab of pop and soul. It was written after Cilmi relocated to London, and was inspired by a trip to a record store in Paris. It was the most played song of 2009 in the U.K., was used in several advertising campaigns, ratcheting up a mighty 70,000 sales. It was written by its young heroine, who wanted to let it be known that just because she is young, doesn't mean she is inexperienced, naive or clueless. It was a song that was played a great deal, and brought exposure and plaudits to Cilmi. It was seen as the key cut from her album, but at the same time, brought some mixed blessings. Many critics and fans might have been looking for 11 or 12 replications or mutations of the track, and due to the vast spotlight the track received, many felt that the rest of the album may have not hit the same high notes. It is endemic of the industry and people as a whole, when they latch onto a particular song, and feel the need to hear the same type of song duplicated for the rest of the career of the artist. The debut album has a lot of diversity and the record's release came at an inopportune time. With the likes of Duffy and Adele on the scene at the same time, it suffered in an overcrowded market. The following release 'Ten' fared better. That exceptional voice was at the forefront once more. It is an instrument that has been compared to Amy Winehouse, as well as 'precosiously sparkling' by The Guardian. Songs like 'On A Mission' and 'Hearts Down Lie', brought in new fans and its sexier and funkier sound appealed to many reviewers. A few years have passed, events have unfolded. Cilmi has been more influenced by a blues sound, as well as artists like Dolly Parton and Tricky. Perhaps a little downcast following, what was seen as negative reception to 'Ten', Gabriella has been releasing songs; 'Vicious Love' was met with many questions, to which Cilmi has responded to, by stating that the song (as indeed the forthcoming album), will be more reflective and soulful, with the emphasis that the impending album will be made by her, for her, and the album she wants to make. 'Vicious Love' is about or heroine's view that in spite of any sort of vicious love and seeming dead ends, most roads in life are dead ends; so effectively, just go with it. It is a tantalising cut that shows that our protagonist is going to unleash a more mature, and more scintillating and evocative album, with tender, personal edges, as well as innovation and crackle too.

The suburbanisation of her musical landscape, has lead to a beautiful avenue: 'Sweeter In History'. It was Calvin Coolidge that said "Nothing in this world can take the place of persistence". Cilmi has shown a bag of omnipotence, with regards to her career and artistry, and it has lead her here. There is the simplest and briefest of introductions; with just a chime that announces the vocal. Cilmi displays her stunning voice; parts Macy Gray and Amy Winehouse; with none of the restrictions of the former, nor grave foreboding of the latter. It is soft and reverent, with a seductive and has some influences of the blues and souls greats. I could well imagine modern-day Billie Holiday or Nina Simone writing this sort of track. The tones are smoky and sexy, with protestations such as "It didn't taste as sweet/As it was meant to be", being early shots. There is initial dislocating; Cilmi wondering how she got "caught between two cities"; unsure as to how events have taken the course they have. The vocal trickles and caresses, giving the words a tender consideration, but also adding weight to the emotions. At around the 0:40 marker, the pace intensifies and a crescendo is born. Scenes are set and a tale of love-gone-wrong, or bad memories are exorcised; with Cilmi declaring that "Some things are sweeter in history". I guess that it seems events are easier to deal with retrospectively, and it is hard to lose a grip from something you do not want to. The verses are enveloped with a powerful conviction; the nature of the voice gives condemnation as well as acts as a spiritual ballast. If you watch the associative YouTube video in conjunction, it adds some credence to this summation. In it, Cilmi is painted in black and white; this classical look maybe ironically proves that the course of events and love is not black and white; but as much as anything it projects a filmic and cinematic epic sweep. Cilmi herself has dispensed with the long locks, sporting instead a shortened length; she is now a gorgeous woman, instead of a beautiful girl. There is a sense of ethereal whisper; a lot of imagery focuses upon faith, dusty rooms, seconded cloisters, and a crucifix being caressed by our protagonist. She looks from windows and wanders streets (sometimes under a veil), with a contemplative and deep in thought expression. You can tell from the song that there is a lot of rumination and looking back. Gabriella's former suitor has been cast asunder as she wanted to preserve a memory of him in a particular place and time; a time that was perhaps a more redolent time. There are pointed words with a little scorn. As much as anything our young heroine is recounting days past, and when there were times you used to lie "with your perfect design", and Cilni wanted to feel empowered and not enforced, it is perhaps prescient that the disgraced beau is recounted as someone who "didn't get what (you) came for". The vocal for the most part is traditionally reliable Cilmi: powerful and authoritative. I mentioned Winehouse earlier, and there is a little of her 'Frank' emotional cuts, as well as 'Back To Black's stronger moments. When the pace intensifies, the vocal spills and sparks; almost syncopated and rapped at times. It is tender and wracked at some ventures, and at others is quite composed and Socratic. She fears no god or consequence; instead her words tell of a woman who has learnt from an experience, and seems galvanised and together in spite of any misgivings or heartache. The composition itself is impressive and grand. The piano, especially is potent and heart-skipping; at times it is in accordance with ghostly vocal backing, and at others stand alone. In that respect there are parallels with Radiohead's experimenting emotionalism during 'Kid A' and 'Amnesiac'. The most prolific moments during those two albums employed the piano effectively; it was a flaming ace up the sleeve, and created evocative mood and tangible emotion. Cilmi, too, interlinks that, latching it to a blues and soul motif; creating a swelling momentum throughout. As the song climaxes (almost sexually), the tension and gravity pushes you further to the floor, and succumbs to entropy; leaving but a haunted cry. The percussion is exemplary, in the sense that it does everything it needs to do. It backs the vocals up perfectly; keeping the spine straight, and the back supported, but at the same time, elicits its own momentum; speculating and pioneering, and able to add extra depth to the proceedings. In the music video, Gabriella arrives at the foot of a marble (?) cross, after surveying some nearby gravestones. Perhaps it is a symbolic inclusion, but as the final frame arrives and she looks back, there are questions left in the mind. I was wondering if the song is inspired by a break up or turbulence in her past, and whether she has come to peace with events. There is a little mystery and curiosity in the lyrics; a lot of sharp-shooting and literal lyricism is displayed, yet there is some oblique and open-ended wording that means you can draw your own conclusions as well as emphasise and support the core theme.

I shall not ramble for too long, in conclusion. For those fans that wander where the 'Sweet About Me' girl has gone, then the best I can say is that musical puberty has hit. There was never any petulance or naivety within that song, and as Gabriella herself stated, it was a song saying how wise and switched on she was. The rules have not changed and the posts have not been moved. The only thing different here is the sound. There is less emphasis on fun and swing, instead it is more introverted and a calmer beast. It is a stronger track in my view, and shows how far our heroine has come since her debut. She has always been a fine songwriter, but here there is maturity and a wise head on young shoulders. Whether you want to accept it or not, the sound of Gabriella Cilmi may well replicate the majesty of this track. There may well be a lot of left and right turns, and if you are familiar with her work, you know she does not like to stand still. For sure we will hear some fun, some lively kicks, and some blending of invigorating sounds and revitalised themes. She is a woman who knows what she wants, and someone who is able to play upon familiar themes, and put a stylish and impressive spin to them. Many may go to the Winehouse well when analysing the vocal and the sharp and thought-provoking lyrics, but the two are different artist. There will be no self-destruction or questionable morals in a personal or professional context, as Cilmi has stated that she wants to herald a sea change in her sound, and mix things up a bit. 'Sweeter In History' has been in my head for a while and have found myself humming the tune, and singing along; sometimes having my sanity questioned by passer-bys. I have been compelled to start a new song, and as I am working on a 'mini-L.P.' of my own and trying to focus my attentions towards a more personal plain, the 'honourary Brit' has given my food for thought. She has also inspired a few rather wonderful music video ideas that I am now desperate to harness, damned if I know where they will end up!

I am going to finish with a couple of points, that will include quotation and comedy. It was Friedrich Nietzsche that said: "The essence of all beautiful art, of all great art, is gratitude". Gabriella has has a long, and not always easy ride. She has fought off and overcome some critical doubts and has had to stay strong and focused in a busy market, that has had little sympathy for similar artists in the past. She knows how hard you have to work to be remembered and revered, and it is her refusal to stand still and compromise that has lead to the first steps of her forthcoming 3rd album. She has shown a musical shift filled with confidence, and little nerves. There are strong signs that the upcoming release will be her strongest yet, and will un-crease any loose edges. "The idea of writer as sage is pretty much dead today" is what J.M. Coetzee said in relation to his own work. Cilmi is going to be added to a short list of female artists, today, whom are able to write personal and relevant material, and have a level of conviction and talent that will appeal to all: regardless of age, gender or musical persuasion. In the middle of the pot is the voice, which is queen. Many would have to smoke 50-a-day and drink 50 gallons of gin to obtain something that comes naturally to Cilmi. Those who have trepidations about the upcoming album, will- I'm sure- not be disappointed. I shall leave you with some pathos- albeit, funny. It perfectly encapsulates the nervous voice of young artists; the shock you get from hearing an unexpected wonder of a voice, and the critical reaction; before the central figure turns burnt out critic. It is not something Gabriella should be fearful of (far from it)- but there are pertinent aspects: http://www.youtube.com/watch?v=uYgVYvc7Neg.

Enjoy; and prepare for what is sure to be a 'must-hear' album for 2013.

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Twitter:

https://twitter.com/gabcilmi

Facebook:

https://www.facebook.com/#!/gabriellacilmiofficial?fref=ts

iTunes:

https://itunes.apple.com/gb/artist/gabriella-cilmi/id268949601

SoundCloud:

http://soundcloud.com/gabriellacilmi

YouTube:

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

MySpace:

http://www.myspace.com/gabriellacilmi

Camera Obscura- Do It Again- Track Review

Camera Obscura-

'Do It Again'

Track Review:

9.5/10.0

They are a band with a huge social following and an exciting future; an essential addition to stereos and iPods.

Availability: 'Do It Again' is available via http://www.youtube.com/watch?v=JHryk07Rs_k&feature=youtu.be

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 The future and security of bands who have managed to make an impact...

is not necessarily cemented and solid. I have never believed in anything as trite as fate or destiny. It is part of a wider discourse of anger I have, relating to, what I see as a naivety amongst many people. It will cost potential romance and long-term prospects of contentment, but ultimately comes from a bedrock of intelligence, science and logic; as well as perhaps a pessimism. I only mention it, as there is a transferable lack of understanding within music. Many bands or acts allie any success to the notion that their righteous success is down to fate; a lot of newer musicians attribute good fortune or deserved plaudit to this notion. The music market is as fickle and cruel as any. The greater the number of new acts and artists coming through, the less likely it is that you will be noticed, unless you have something tremendous in your box of tricks. As a comparable to the burgeoning population, it is perhaps not simply advisable to be born, aerate with no ambition, go grey and simple be satisfied with your lot. It is as wasteful and baffling to be constrictive and narrow in life, as it is within music. Because of a wealthy chest of historical talent; new and exciting technology, and a whole host of possibilities, it is rather discouraging when groups or artists simply play it safe, or show timidity. Circling to my primary point, success and fortune is equivocal to talent, likeable personality and an original and stunning sound. I have been affronted by the lack of communication and appreciation I received from a well-established U.S. band recently, with regards to a recent review I wrote for their new song. My anger is hardly assuaged down to the fact that they are awesome musicians and are a phenomenal band. If you want longevity and the ardent gaze of society as well as music media, then you need to tie these sought-after qualities together. The truly note-worthy acts that are in existence have managed to claim a foothold because of this. It is not due to a prefabricated destiny; they have worked their collective arses off to get there. If I refer to my argument about the somewhat fickle nature of the business, there is a large sector of music that contains flaccid, plastic and vile bile; artists whom tick none of the boxes and achieve a great financial wealth and fan-base by appealing to lowest common denominators; who appeal to undeveloped musical minds, with only prurient interests and shallowness to their personalty. I have been fortunate enough to hear of a lot of new artists, whom I fondly believe will be tugging heart-string and challenging minds for many years to come. Something in the way they move; attract me like no other musicians. The abiding factor that has enforced this opinion is a number of different considerations. They all have terrific personalities; a humble nature to them as well as a set of tremendous and intriguing songs. Image has played a part, as well as a catchy or intelligent band name: one that excites you, and gives insight into the band's psyche, as well as what their music may well sound like.

This takes me, perhaps with not the composed neatness I was aiming for, to the shores of Camera Obscura. Screw it; it is a tidy segway. All of my aforementioned thesis will be rationalised and proved as I continue, and will bring evolution and depth to my conclusion. I must be frank first of all: up until this week I was not overly aware of the stylish beauty of Glasgow's 5-piece. Their name alone elicits a monsoon of curiosity and back story. The band name has a historical origin. A camera obscura, is a photographic devise, which projects the image of its surroundings, onto a screen. It has the appearance of an overhead projector, and is quite primitive in nature, yet an influential discovery that has lead to the development of a lot of equivalent technology, and can be seen as future forefounder muse. It also has a local relevance to the band. In Edinburgh the name is given to an attraction which has been in existence for 150 years, and gives the opportunity for people to learn about the history of the city, and displays huge images of the city onto a viewing table. It is an experience that ties in the basic, yet pioneering technology of the device, with a modern-day desire and shift. The band constitute Tracyanne Campbell, Gavin Dunbar, Kenneth McKeeve, Lee Thomson and Carey Lander. On their Facebook page, their profile page shows them shrouded and enveloped in smoke, dressed resplendently, and stern-faced and mysterious. The band mixes a bi-gender chemical composite, with a range of ages and experience. The men are variably intimidating and welcoming; the women are alluring, yet relatable. It is the way that the band blend history, modernity, science, technology; and a quadrophonic blast that hits you, and hits you hard. The group has an album, 'Desire Lines' just around the corner, and it promises to be a terrific listen. Having surmounted a bit of local knowledge about the band, and after a cursory listen to a lot of their previous work, I seated myself, eager to see what images and scenes would be projected forth.

The title is one that has been employed by a number of acts, including U.S. legends Steely Dan, but from the opening notes, one cannot help but be reminded of The Cure as the opening percussion rumble, leads to a mazzy and exciting guitar weave. Perhaps not a conscious choice on the part of the band, but it had me hooked. It has some introverted and transposed similarities with some of the band's songs, but the group here manage to make the sound fresh, and updated. They also create more curiosity and wonder than a lot of The Cure's work. I hear some '60s influences in the intro, as the initial carnivorous primitivity becomes anthropomorphised; it is an invigorating and sprightly combination of percussion, bass, and guitar and has sparks and controlled fires of bliss. As the voice arrives on the scene, it is calming but seductive. After a 17 year history, and with four albums to their name, Camera Obscura have not forgotten anything or missed a step. There is romantic build, and explosive reactions mingling in the lyrics. Traceyanne recalls that her beau has been given her number, and she likewise notices, "you're insatiable". The vocal melody has a soul flavour to it, as well as a loyal home accent; both modern and pleasing to hear. As the details and declarations are unveiled, Campbell asks: "Would you do it again?". The drums roll and crack to add extra point and clarity to the lyrics, as the band conjure atmosphere and excitement. The chorus of "Let's do it again", is repeated and given a celebratory tone, which adds to the positivist and joy of the song. The initial choruses are repeated, and the story is less linear and progressive as some of their previous tracks; instead it uses its strengths brilliantly, and creates a bluster of vivid scenes and sounds, and makes sure that it is imprinted in your mind. In a sense there is an appropriate nod to the title, in the fact that the same lines are repeated. It gives depth and meaning to the song, and makes sure that it does not wander or needlessly waste words. By the 2/3 mark, we are introduced to a musical break/middle eight, that, like the intro., has some classic punk edges, as well as modern indie youth to it. There are punctuated and dips and dives of guitar; the drum is steady and keeps the song's posture correct and upright. As it ends, and the chorus/verse structure comes back to the fore, the song builds back its sexual tension and frisson, before spluttering and collapsing with exhaustion.

After listening to 'Do It Again', I am confident that it will be bouncing around my skull for a long while. It has a catchy nature to it, and keeps the band's ethos and sound loyal and unwavering. It will be familiar to fans of the band, yet can entice and embrace new listeners, too. The song has sharp and interesting lyrics, that will be familiar to many people; there is a relatable intrigue to them, and a universal appeal. The composition is highly effective and it is a tight and professional song, that also has a nice loose smile to it. With strong vocals and an amazing band performance, it is a stunning window into what will be contained within 'Desire Lines'. They are a band who prove my earlier points. When they were brand new and released 'Biggest Bluest Hi Fi', critics and fans alike were on-board, and encapsulated. They managed to hold the attention, because of their talents, and honest approach to songwriting. There was no need for unfair attributions; the group have kept a level and unflinching quality, and 2009's 'My Maudlin Career', received a huge amount of praise, with many saying that it was assertive and addictive, and stayed close the band's colours and tried and tested formulae. The group know that their current album will be a success, and hope that it does not take long for them to gain a knew sea of fans. I am disappointed I have been out of their loop all of this time, and have dedicated a large amount of time to investigating their collective work. In a week where the word 'Spring' has a fungible and ironically flexible definition, seek out a song from a band who can bring it straight to your door. There is enough climate to appeal to the fair-weather and established alike. As a message to new acts, wondering how you become popular, and stay memorable...

... this is how it's done.

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Official:

http://www.camera-obscura.net/

Twitter:

https://twitter.com/camera_obscura_

Facebook:

https://www.facebook.com/#!/CameraObscuraMusic

iTunes:

https://itunes.apple.com/gb/artist/camera-obscura/id17885376

Spotify:

https://open.spotify.com/artist/5gInJ5P5gQnOKPM3SUEVFt?ref=atw

iHeart Radio:

http://www.iheart.com/#/artist/Camera-Obscura-39057/?ref=atw

Transition, Baby!- Lost- Track Review

Transition, Baby!

'Lost'

Track Review:

8.6/10.0

A keen sense of humour; and a keen eye towards the art of tune invention (of the highest pedigree), combine stock in your brain; courtesy of a band, 'knee deep in pudding'.

Availability: 'Lost' is available via http://www.youtube.com/watch?v=SxmJ_itF8PA

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First moves are always some of the most nervous and fascinating, when it comes to music...

Well, I say fascinating; it doesn't always 'good fascinating'. A lot of debut albums or first songs from any given artist, tend to stray close to a safe a prefabricated model or mould, where they can thrash and stretch, but not look too longingly at a dark moon or bright sun. There is the odd glimmer, or moment of intricate complexity; more inscrutable and baffling as Beals conjecture, and just about as influential as well. There have been a lot of riffs; a fair deal of wordy posturing; and a whole lotta verificationism. In the rubble and backrooms you get some survivors and stayers. There does seem to be a lot of more or less of the same, and whether one has legs to run in the future, depends primarily on the initial moves made. I have been lucky, and have born receipt of many exciting and captivating songs, from many wonderful new acts. There has been some derision and beige amongst the swell, but by and large I have been deeply impressed. This seems to be a reflective malaise of a larger fallibilism in the industry. It is assumed by a vast majority that the acts that are heralded and held aloft by the music press, and mixed within citrus zeal of commercial press, that will produce the greatest music. It is a false equivalence, as to my mind, the best new music is- and probably will always be- largely undiscovered; contained to back rooms and small clubs of the north. Take a trip down the streets of Leeds, Manchester, Liverpool and an interconnecting train line of bands, and you will be straining your ears to doorways, emanating smoky siren calls, brutal The Doors-esque '70s majesty and rollicking Yorkshire punch and spit. In a lot of instances you have only to travel a few miles from one act, to hear a completely new landscape and palette. Whether there is a lack of awareness within the record labels and such, as to the existence of such happenings, is a mystery. I would say at the least, there is a willingness not to travel too far behind the bright lights of Camden and the surrounding 10 miles. In terms of column inches, there have been few groups or artists revered in fond tones, that have hailed that far north of the Midlands. A lot of American and European interest has been proffered recently, but there are still huge patches of untapped coal pits of gold, that have yet to have their recesses investigated. I mention it, not as a gripe or a general moan, but more of a need for a recession; a change in attitude and energy. Social media and music sites have given every new act an outlet on which to get their music heard, and if you look hard enough and are willing to open your ears for long enough, treasures are uncovered and new infatuations are liberated.

Today, however, there is going to be more love poetry dedicated to the north, as the combustible 4-piece Transition, Baby! are based in Audenshaw. The band have a growing and impressive following on Twitter and Facebook, and are burgeoning into a serious band to watch for 2013-2014. Regardless of your defaulted musical orientation, the boys project a lovable and rarely-matched humour. They claim that one of their key influences is Steve Coogan. Jeremy Irons is also an important figure for them, and I could never imagine these two actors being in the same production or room, let alone the biography of an upcoming band. The bands, shall we say... secondary causation (?), is a intercontinental gut rubmler of McDonald's and Eva Green. I am hugely enamoured of Eva, and have occasionally been partially to a bit of corporate fast food, but never had these ideals or appetites in my mind simultaneously. Bobby Davro is a comic muse for the band, and a mere cursory reading of the band's Facebook page, puts in my mind, strange cabaret and night clubs, where Davro chatters on, Coogan gets drunk, as Irons looks around crestfallen. McDonald's remains lie strewn under chairs, and a local approximation of Eva Green serves behind the dimly lit bar. The band themselves loves people to see them, and have a bit of a sing-song, and dance; so it perhaps unsurprising or without irony that these seemingly disparate icons co-mingle within a communal space. The band are, as it happens, James Cotterill, Joe Dobes, Dan Arrowsmith and Andy Forshaw; four likely lads and blood brothers of a brilliant sound, that is going to cause some tremors and tectonic realignment, closer to the capital. The lads have been pioneering and playing for a few years now, and amounting an impressive collecting of sharp and memorable songs. As to elicit- I hope- a deeper retrospective appreciation of the band, I had my eyes focused upon 'Lost', which was the band's first song, and written by Cotterill.

Starting out with a tumbling but taut guitar line, there is an instant sense of authentic Manchester; one can hear slight strains of the classic bands as well as the more recent '90s wonders. In spite of everything, there is a great deal of originality, and was not drawn to an existing band or forced to compare the intro to an existing song. Maybe my ears are a bit off today but maybe there were little sparks of R.E.M. as the drums joined the beat and added heartbeats to the guitar. It is a harder, more youthful sonic approximation than the Georgia legends, but the sound builds and kicks slightly, as the vocal arrives. The tone has a lot of urgency and power to it, at times causing some indecipherable quality; not through lack of technique, but as an emotional punch as our hero is "Lost inside this lonely town". Between the repetition of the aforemention line, there is a hint of Alex Turner-esque enunciation, but the vocal as a whole seems less weighted down by the world, able to have a fresh '60s sound to it. It is admirable that the band keep the mood lighter, given some of the subject matter and there is no needless distortion or heavy guitar work; they are able to weave a pleasing and intelligent sound together that supplements and supports the vocals. Between the chorus and verse, are little constellations of guitar, bass and drum, that draws in sounds of the U.S. as well as little nods to 'Good Times Bad Times' in the tail end. Or maybe it is early The White Stripes; whatever comes to mind, it is a seamless link to the next verse, as again there is a strong and youthful vocal, with a vigour and weight behind it; not hamstrung, simply affected. I suspect that there is a little revocation of happiness; of soul or purpose as words such as "It is with my every day"are sung. The ensuing vocal play has a little of Turner and associated artists, but again sound fresh and incomparable to a large degree, which is pleasing. The sonic snatches are at once scratchy and fierce- complete with pummeling drums- and the next soft and still. By the 2:20 mark, the mood goes down and the atmosphere builds up and up, as the vocal comes back in. All the while the message remains true to the idea of being unsure or dislocated, but it is never a message that is hard-hitting or divisive; there is a warmth and comfort in the voice as well as the music. It is a hard truth or a unwanted realisation, but it is never weighing our protagnoist down too much, capable as he is, of creating a lively and electric mood, with the assistance of his trio of cohorts.

As I said about new bands: you just have to know where to find them. I have been focused on the north for a while and seems to be where the reservoir flows at the moment. Transition, Baby! are a band with a bright future and will improve and galvanize year by year, as confidence grows. They have recorded a set of brilliant tracks over the last 7 months which has illustrated their growth and powerful evolution. I will hopefully review one of those tracks another day, but wanted to see and hear how it all began for the band, and how much potential was there from the first notes. A lot, as it happens. There is a rare confidence and playfulness, and 'Lost' is a song with a focused and unchanging message that is simple and effective. The words and music will stay with you, and the entire band are tight and impressive throughout. The result is quite wonderful, and puts no doubt in my mind, that next year may see them playing large festivals and headlining, in fact. They are worth getting excited about, because, if we're honest with ourselves...

... there are few new bands that can achieve so much so early on. 

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Twitter:

https://twitter.com/transitionbaby

Facebook:

https://www.facebook.com/#!/pages/transition-baby/259062655460?id=259062655460&sk=info

SoundCloud:

http://soundcloud.com/transitionbaby

YouTube:

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

ReverbNation:

http://www.reverbnation.com/transitionbaby

MySpace:

http://www.myspace.com/thisistransitionbaby

Night Beds- Even If We Try- Track Review

Night Beds-

'Even If We Try'

Track Review:

9.8/10.0

If you debunk over-earnest comparisons; Night Beds will capture with its rather incongruous beauty.

Availability: 'Even If We Try' is available via http://www.youtube.com/watch?v=7iljkaDZvyw

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Today- in lieu of any brand-spanking new music- will be dedicated to an awed retrospection...

Although it is a retroactive review that is timely, as well as it is pressingly urgent. Night Beds is touring London through April, and is featuring heavily in the press as well as on the tongues of many native and international fans. Before I get to the more important business of reviewing the young man behind the moniker, I need to discuss a matter of some delicacy. It is concerned with a subject that is dear to my heart; as well as one that plays on my nerves, daily: comparisons. It seems like the first thing that a music reviewer or press source does, when tasked with critiquing a new artist, is to make an instant comparable. I am guilty, to an extent. I do it to draw comparisons, and, should an artist stray too closely to an existing one, urge caution and future consideration. I am more concerned with the tendency for journalists to refer to artists as 'The Next ...'; whether it is Adele, Amy Winehouse, The Killers, or whomever, it is always a bone of contention. It is quite acceptable to hint at possible influences, when reviewing a track, album or voice. If it is obvious then you can't get away from it, and as much as anything it helps to interlink and conjoin fans of the artist in question, with the new idol. It is 2013, and there has been a raft of new music that has strayed, at times, too closely, with other artists. It is hard, I guess as there has been so much music since the '20s and '30s, that nearly everything there is to be said, has already been said. The greatest acts, artists, albums and songs, have- rather regrettably- already been recorded. It may be a rash statement, but am aware that the best releases, have already been recorded. All the best singers have come, and put their marker down, and the finest acts in history have been and gone. The issue facing any new artist, is how to be original, but not too bland or divisive. Those who manage to avoid any obvious comparison tend to fade quickly, or are seen as a curiosity. Those who are too close for comfort in terms of originality, are rightfully criticised and rebuked. There is a growing core that have superseded expectation and pigeon-holing; managing to stay fresh and pioneer a truly unexpected and incomparable sound. It is the media reviewers who hear a few seconds of one song, and instantly lump them in with another artist or band, that is going to be the death of creativity. If you do this, then people expect too much from you, or dismiss you as a second-rate wannabe. As much as anything, it says that that musician has no creativity or transferable talent, and your attention or appreciation is instantly dragged away, before you've even heard a note of any of their songs.

I mention it, because Night Beds have been strongly compared with two, rather different artists. American solo artist Winston Yellen is the man behind the name. The back-story of this intriguing star can be traced back as early as 2006, when, with a friend, conversations and ambitions were discussed. Two years later the first workable Night Beds song was formulated- called 'You Were Afriad'. Subsequently, there was a lot of mountain air, drinking, pontificating, and dreaming, before Nashville was designated as Yellen's new home. The parable and scenes of cabins, isolation, love splits, heartache and loneliness, many have pointed out the similarities with Justin Vernon (A.K.A. Bon Iver). Yellen is not a child who has read all of the Bon Iver tales and decided, rather than seek a path of city lights and endless joy, he'd rather plump for a story of bleakness, a Emerson-cum-Hemingway blend. The fact that the U.S.A. is a huge and diverse country with millions of people and 50 states with very little in common, doesn't seem to have registered in the minds of lazy reviewers. Statistically there are going to be quite a few singers and bands who have similar issues and circumstance as that of Vernon; and Yellen is not going to be the last artist who has a similar hard road to glory. If you put the first pointless diversion out of your mind, there is a second one. This is the comparison to Jeff Buckley. It began in 1994, when Radiohead recorded The Bends. Yorke, inspired by a performance by Buckley, rushed to the studio, where the staggering 'Fake Plastic Trees' was laid down. It was said that the softer and more elegiac moments were inspired by Buckley. It certainly played a huge part in the bands career, and it is argued that without the influence of Buckley, they may have never recorded many of their greatest tracks. Although there are some influences in Yorke's vocal he already had the voice before he heard Buckley; the epiphany was not to alter his voice, more write more sensitive and spellbinding songs. Since then critics and music-lovers alike have lazily compared the two, and in fact any artist now that pertains the wisp of falsetto, is referred to as 'The Next Jeff Buckley'. It is galling, as no-one will ever get anywhere near to Buckley's range, power, potency and tone. If they do then they are mimicking him, and is not something to commend. Buckley was a forefather for modern man; an icon that showed that sensitivity and an amazing voice were not to be frowned at or feared. He is not a synonym for 'falsetto' or 'sensitivity', nor is he someone who should have his name associated with artists who are not worthy or have no aspirations to be him. If you disassociate these lazy comparisons from your mind, the listening experience is a much more transcendent experience. Night Beds blend a majesty of autobiography and purpose, with incredible atmosphere, topped off with an atomic cherry of stunning vocals. The album 'Country Sleep' has been available for a little while; garnering effusive and celebratory reviews from a huge following, that has not only earned its figurehead Yellen a second home here in England- should he want it- but also a huge worldwide fan-base.

Right from the get-go, 'Even If We Try' dispels and eradicates any post hoc ergo propter hoc journalism and narrow-minded naivety. It is the voice that greats us first. It is a haunting and spine tingling sound, that- if you wanted a comparable vocalist- resembles an early-career Rufus Wainwright. There is a similar majesty and theatrical power to the voice; able to hold steady and powerfully, amidst a hail of emotion and heartache. The opening moments are largely acapella; the vocal is right up front, crystal clear; as if the author was alone in a candle-lit studio one night, just his own soul for company, and was so close to the microphone that it may have needed to be wiped clean after the take. This means that you are drawn in and cast under by the beautiful voice aching from the speakers. The delivery is quite unique. Certain syllables are emphasised and punctuated; which creates a swoon and flight. It also creates an impactful jolt as well. The musical titration is in the distance, and the decision to focus primarily on the vocal is wise; it is the strongest suit and it means that your attention is captured immediately. The lyrics, I suspect, have a deeply personal relevance to our hero; and are direct and poetic alike. Early samples such as: "Well all the rivers rage/Descend upon this age", shows mature signs of Neil Young, Nick Drake and Joni Mitchell. There is a sense of the influence of the '60s and '70s; the words are a cross between a confession and a eulogy. There is never a sense of the morbid suicidally of Drake, nor any evocation of wanting to get away from it all. There is honest and a summation of a scene that has left many stones unturned with broken bones and blood. There is a Gothic windswept imagery to the words; one suspects the likes of Bryon, Poe or Stoker would tackle, were they songwriters. It is the sort of track you could imagine being performed in a church or cathedral. There is silence, except for the sound of the vocal, and I could well imagine that the congregation would keep a respectful and hushed silence for the duration; keen to learn about the woes of the young Yellen. There is a wordless chorus and the sound of plaintive and evocative strings, that transcends the sonic and emotional shift. From deeply personal doubt and heartache, we swim in a calmer lake, where we can be alone and reflect, before the next verse is upon us. The structure of the verses remains unabated; the same pace and sway of vocals, except they are accompanied by strings and sweltering audio lust. Where as the first verse was intended to grab and implore, the remainder of the track, instead is designed to elevate the senses and have all your hairs standing to attention. The lyrics remain unimpeachable in their reverence and emotional sacrament. When it is said "Remember what is true/As you watch the colors (sic.)", it is true that our protagonist has seen too much, and forgotten too little. He is wise but hopeful of a regression and remission of his current malaise. It seems that there is perhaps some sense of literary license some of the later lyrics such as "Come on Johnny, please won't you speak to me?" and scenes of late-night debacle: "And wailing on the doldrums/Had ourselves a lonesome night". I wonder if this is a song of broken romance, of a tumultuous friendship, or a conglomeration of the two; there is a sense of mystery that leaves many of the words open for interpretation. Around 2:50, there is a distorted and haunting vocal choir- a mingling of purity and machinery in tone; it gains momentum, gets louder, and washes over you. It is a startling bookend all in all. We go from tender and divine vocals at the beginning, to a wailed disorder to end. Imagine a combination of the end of Radiohead's 'Fitter Happier', and the sound of a B-52 bomber being shot down into the sea, and you're sort of half-way there. Just when you think that that is going to be that, it ends, and there is a brief, but fascinating vocal call; that is wordless but evocative, and brings the track to a close.

The male market, and especially the solo end of it, is one of the most overcrowded and competitive sectors. Every week there is some new 20-something-year-old, each equip with guitar, songbook, and a voice of some sort. It is very rare that a voice comes along that can overwhelm or inspire so much. Night Beds achieve a mean feat of projecting such a voice, but teaming it with a set of concise and memorable lyrics; a beautiful composition, and some unexpected twists and turns. If you are listening to the audio alone, I would suggest watching the accompanying video on YouTube, as it is a curious video. Whether it is a juxtaposition, or commentary it is quite stark, strange and unforgettable; filled with odd scenes, and harrowing moments. I was initiated to the wonder of Night Beds as recently as three days ago, and have been bowled over by the effects and joys of the music. If you explore more of 'Country Sleep' there is a palette of diverse themes and sounds, and is not merely an album of duplicated versions of this track. I have been inspired to write a song, rather annoyingly. I had settled on a set of songs for a 'mini-L.P'; contented at 6 songs, but have started another, after listening to 'Even If We Try'- the bastard! That is what great and tremendous songs should do: activate you into picking up a pen and following suit. Yellen will be back in the U.K. soon, I hope, as he has just finished a residency here. I thought there were more dates, but think he is in Sweden today, wowing the northern peaks of Europe. It is free to listen to, and will bring rich rewards, that keep on giving. If you are bored of the vast sway of soulless, stale and androgynous solo artists out there at the moment, and are seeking something quite special..

... check out the YouTube link at the top of the review, and be overcome.

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Official:

http://www.nightbeds.org/

Twitter:

https://twitter.com/NightBeds

Facebook:

https://www.facebook.com/BandNightBeds

iTunes:

https://itunes.apple.com/gb/artist/night-beds/id378369900

SoundCloud:

http://soundcloud.com/deadoceans/03-even-if-we-try

Jingo- Same Without You- Track Review

Jingo-

'Same Without You'

Track Review:

9.8/10.0

It's that combination of voice, music, and subsequent augmentation that sends the song over the edge.

Availability: 'Same Without You' is available via http://soundcloud.com/jingomusic/same-without-you

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It's not a valedictory speech; more of a pre-sabbatical review ...

as I search around for new and exciting songs, and deal with things close to home. I hope to be singing the praises of a new song, and or band, by Tuesday, but for now, I am excited to be inspecting a band, I have been fascinated by, since getting a hold on their track IQ84. That has been bouncing around my brain for a while, and my faith has been cemented and has not been inculpated, since. I will return to the band in a little while. For now it is worth returning my focus to the matter of bands and their relative quality and ambition. There is something oddly ''The Hound of the Baskervilles'-like, with regards to the music business. It appears that every time the innocent citizens are rested and relaxed in their world; contextually the good-natured music lover is contented with the band scene, something arrives that terrorises and strikes fear; whether that is a metaphysical beast of market force or an enforced burden of commercialisation; or it is a certain band(s), that arrive, and leave their stench all over the place. I have been tasked with reviewing a fair few bands over the past month. I am always impressed by the depth and conviction of the music. It is clear that the respective members all take very seriously what they are doing; as well as have an intimate knowledge and respect for the business; thus they are capable of enforcing their own style, as well as integrating colours to the palette that the public will find pleasing. It is that last point that grind my gears, somewhat. It is wise, I suppose to fit some way of 'fitting in' with the current scene; although that often comes at the expense of individuality and original thought. Bands- and indeed many solo artists- seem hell-bent on creating a recapitulating of an existing or defunct band, that they come off as a second-rate tribute. I have heard several groups lately whom have put forth some impressive and conquering songs; riff-heavy, sharp and powerful, with all the right intrigue and swing to it. There is one big problem: it has already, largely, been. The second I have heard some songs, I have been able to detect other bands so clearly, it is as though I am listening to a 'lost track' of theirs. Some groups or acts manage to stray from the path of mimicry, but suffer from an equally inexplicable faux pas: predictability. I know where the lyrics are heading; where the music is going to take us, and ultimately, where I have heard it before. It is reserved for a select few that I proffer the following adjective: barn-storming. Colloquial, yes, but prescient. They have included HighFields, The Open Feel, as well as Dead Sea Navigators: two bands I was amazed by; in no short part due to their bold and exciting sound, not concerned with sounding like anyone else; instead dominating an under-valued patch of land, where few have broken ground. That's not to say I haven't been hugely gripped by every band I've reviewed- I have, and feel no need to exaggerate or give false praise; it is just my brain looks for and loves new and different.

I reviewed Jingo a little while ago, and was genuinely impressed and in awe of their original sound. I would never cheapen the mood by saying their music was jingoistic (although I may have in the review, thinking about it), but there was a strong sense that in a non-political sense, they were pervading a strong national identity and passion, as well as a disregard for any bland or uninspiring compatriots. It is the combination of playful publicity photos (part Presidents of the United States of America; part Pixies), that gives them a very credible air of relatability. Like Fleetwood Mac it is the combination of U.K. and U.S. band members and close kinship, that makes the group memorable and solid. Katie Buckett is the sole American, and in charge of keys, vocals and guitar and is married to Jack, whom is also on vocals and guitar. In no ways a Mick Fleetwood, is Joseph Reeves. The band are fairly newly-formed (they are 4 months old), and at the moment, are building a steady fan-base. They are quite self-deprecating in relation to their appeal, and are fun and good-humoured. It is rare to see a band display these qualities, as most get caught up in being all serious/nervous; afraid that if you smile or do not compare yourself to the greatest artists of all time, then people will not bother listening to your music. It is clear that the fledgling group are going to big and unexpected places; they sure are making big waves with only a couple of songs and have a keen observation and realisation of how they can fit in and show other groups how to go about things. As I settled down to listen to 'Same Without You', I was expecting a cinematic treat...

There is a familiar, solid opening in the song. The piano is dark and a little heavy; there are hints of Beethoven and a lot of the romantic composers. There is a bit of 'Moonlight Sonata' in the tones, and at once evocations of a romantic night and starry skies. In a contemporary sense, maybe it a sound that the likes of Elton John sometimes employ, as well as a truncated and slowed-down sound of the likes of U Say USA. The vocal that elicits emotion, is suitably classic and heart-warming. There are tones of blues legends such as Billie Holiday in Katie's voice. It is a little Madeleine Peyroux; a touch of Joan Wasser, too. It is style of vocals and sound that is much unheard of today, mostly reserved for U.S. solo artists. Although as Katie is American it is perhaps unsurprising. Peyroux is from Georgia; Wasser from Connecticut. Both are along the eastern coasts, and perhaps is a style of vocal that has been picked up or influenced by the villages and jazz and coffee clubs of New York. Anyway, the point is that it is a stunning and calming voice. One that hinges the black blues women, with that of modern-day jazz and soul. The lyrics have scenes and scores of the '50s and '60s; all smoky siren and street-lit avenues: "What if I called your bluff..." and "Please don't lie to me", are early cuts, and paint the picture of a woman who has either been wronged and is seeking validation, or is in search of honest. Before you have a chance to let your thought wander to the alleys of a U.S. city, where there is black and white sensuality and a variegated tension, there is a sonic kick that takes decisions out of your hands, and controls your hands and thoughts. The piano skips and bounces, as an echoed reverb lingers and vibrates, as the percussion waits, watches and kicks when needed. The tricolour of audio innovation has a baroque/pop sensibility. In the same way Rufus Wainwright is able to expertly tie in blues, jazz, pop and classical influences, and create an intriguing symphonic punch, Jingo do the same, albeit it more brooding. The passage continues for a fair few seconds, creating its own gravity and momentum, and takes its time to capture you. There is no need to fill every second with lyrics; the band know that it is just as important to project beautiful music in order to create a stunning effect. When it subsides, it is told that our heroine "never made you feel sad". The voice becomes harder and stronger, showing all of its lungs as a crescendo is unleashed. Katie possesses a similar belt and force as Adele; you can practically sense the hordes of record label bosses running towards the band, with a wardrobe, hair scissors and cosmetics in hands, perhaps thinking they have a U.S. Adele on their hands. Unlike our countrywoman, Jingo's feminine tones posses a subtlety and consequential soul that has been sadly lacking from a lot of Adele's recent numbers. In spite of all the pertinent and heartfelt words; imploring questions and contorted emoticons, whether it is a good or a bad thing, our heroine is "the same without you". Past the 1:30 mark, there is a clattering and dance of guitars, percussion, with bits of Muse in there (before they started phoning it in). It is at once foreboding and heavy, but also melodic and planted firmly on Earth. It is another shape-shift and takes your consciousness to another place, once more. Lesser acts may plump for a steady and rigid composition that conveys the emotion through a linear mood and doctrine, that seems a little too anxious to change course or be adventurous. It is the pioneering and playfulness that the band readily posses, that also does wonders where their music is concerned. It is that transferable quality that adds emphasis and credence to an already gripping song. The track mutates into a skiffling and shuffling jazz/swing little number- but the vocal is still powerful and impassioned- as the piano punctuates sternly; around it, a motivating and searching juggernaut is unleashed. As our heroine says that "I am trying to stay true", the accompanying composition, tied in to the audio of the previous 10 seconds or so, reminded me of the adventurous and bending philosophy of Bjork. The Icelandic princess is constantly capable of dragging you to dark and magical woods, where fairies and monsters cohabit with little qualm. She also- sometimes with David Arnold- creates sweeping and emphatic sound-scapes that are bristling with introverted passion and Brothers Grimm scares. In a similar and prudent way, Katie's voice has a touches of 'Debut' and 'Vespertine' Bjork; youthful and sweet, yet capable of ripping your head clean off if you push her too far. It is quite electrifying. As the chorus ends again, there is an echoed vocal; as though we have reached the rooftop and through a bullhorn, our heroine is shouting her message, not just to her disgraced beau; but to anyone else who is within an ear's reach. He is not within sight, and with amplification a second thought, the operatic and full-bodied passion is back. The voice crackles, rips and tears asunder as there is a trickling and flailing guitar weave, that to my ear had some traces of Jack White. Think solo album, mixed with the majesty unveiled during his 'Get Behind Me Satan'/'Icky Thump' regency. I smelt a flavour of Steely Dan in there as well circa-'Can't Buy a Thrill'. It is a most unexpected sonic diversion, and again adds a layer of U.S. influence to the melting pot. Bits of Santana, Slash and Clapton are heard in the D.N.A. as the sound of piano comes in. Instead of being romantic a hand is run across the keys with verve, as a ghostly and unstoppable snowball hurtles towards the village. Holmes and Watson can stop looking for a strange beast, as it seems that the hurtling ball of impending doom is going to cause instant catastrophe. The guitar gives out cries and anguished yelps, as the drum beats with vermilion fury, never out of control, but keeping a very sharp and mythologised spine. Katie comes in to restore some semblance, as she lets it be known that she is the same without her man (not Jack, obviously). The chaos abates, and a lilting and romantic piano ends the track, and brings sunshine to the stormy and harsh night, previous.

No bones remain in the ravaged and picked carcass of emotion and mood, and no bones about the fact that it is one of the most impressive new songs I have heard in a long while. There are some hints and patterns of other artists in bits of the song, but it is the fresh originality of all of the elements that gives the song a credible and fantastic edge. No one player is the star of the show. Katie demonstrates a huge vocal range and prowess; capable of switching from a mannered restraint, through to an emotional and powerful belt. There is no needless posturing or ululation: she is filled with genuine passion and conviction. Jack demonstrates an ability to be able to create a calm mood, that keeps the song level one moment, and at the next he can infuse a sense of electricity and danger into the mix; able to whip up a storm with his guitar. Joseph shows some real power and panache when armed with sticks. He can bolster and avalanche, as well as keep a steady and dedicated beat. This, couple with intelligent and memorable lyrics, brews together beautifully and provides an intoxicating and over-powering kick.

I have been impressed by the band since I heard '1Q84', and was compelled to keep an eye and an ear out for the group. Although they are young, and still looking for fans, followers and ears, it will be a matter of when, not if, based on the evidence. They are incredible songwriters, who are forging a path to uncharted and still waters, where few other bands or acts are daring to sail. In a scene and set where there is an undeniable sense of 'playing it safe' and keep to a rather muted and unambiguous sound, it is quite frankly about time that a group comes along, and has a sound of a classic era- '60s and '70s U.S. and U.K.- and shines the rough edges, whilst injecting a lot of modern gleam and fashion. Regardless of your musical political tastes; whether it be to the left, and quite conservative, or more right-wing: intense and rebellious, or somewhere in the middle-ground, then there is no need to fear, as it is an ubiquitous and universal sound that can unite any balkanised clans. And for any undecided voters or fence-sitters, unsure of what sort of music should be lodged within their brain for 2013. It is definitely fair to say Jingo should be near the top- if not at the top of- your list. They may be in their infancy; absorbing sounds, sights and smells. But as undervalued or under-subscribed as they may be at this moment in time; they...

... will be familiar to a lot more ears, very soon.

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Facebook:

https://www.facebook.com/?ref=logo#!/jingomusic?fref=ts

Freddie Dickson- Shut Us Down- Track Review

Freddie Dickson

'Shut Us Down'

Track Review:

9.6/10.0

Being described as a "male Lana Del Rey" is not an especially flattering comparison, to my mind. Luckily, Freddie has the vocal prowess to overcome sloppy journalism.

Availability: 'Shut Us Down' is available via http://soundcloud.com/freddie-dickson/freddie-dickson-shut-us-down

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I'll take a different slant, when describing the solo market...

because a few hours ago, whilst extolling the virtues of Johnny Sands, I covered a fairly conclusive patch of land. I have noticed an indelible corkscrew currently wedged in the blood-brain barrier of the music industry. For every solo artist worth their potential weight in gold, there appears to be an insurmountable obstacle that is in place, stopping them from truly being appreciated widely; and by an audience who are unslaked, and hungry. Historically, at least, the most memorable voices have resonated from those who have a disregard for what corporate minds required, and what is seen as 'fashionable'. In that regard, they have a hereditary attitude of contumacious rebel. The likes of Freddie Mercury, Aretha Franklin, John Lennon, Robert Plant and Stevie Wonder have always made music to inspire and enthral fans, as well as stay true to who they are, where they have come from, and where they want to go. It is this unbridled authenticity and desire not to compartmentalise fans and sectors; instead draw people together, that has meant they have had their names carved into the eternal public consciousness. With few exceptions, the greatest singers tend to be part of a band. There are enough solo artists who have managed to ignite the senses, but, whether it is down to the combined talents of their cohorts, or something else; it has always worked better when there are 3 or 4 other people with you, bringing the best out of your voice. In the last 15 years or so, coinciding with the death and marginalisation of the Britpop movement, there has been a renewed focus on the solo artist, and going it out alone. It can be a lonely and tough environment. Great singers write their own music, and if you are on your own, there is that extra pressure to be good, as well as the burden that comes with having to shoulder any expectation or critical benchmark. To be fair, there are a lot more solo artists than there needs to be. It is admirable that so many want to be involved with music, and each want to have their voices heard. Although the fact of the matter is that so few actually have any discernible voice at all. I have heard a lot of songs used in commercials over the last few months. Ranging from promotions by John Lewis, B&Q and various mobile network providers, each has featured some reedy, pointless voice, in need of palliative care. Most are- unfortunately- from female artists, and is staggeringly depressive that it is felt simple being able to sing in tune and be vaguely human are criteria enough to be able to create music. They are not. Far from it. To add an injurious cherry to the top of the kick in the nuts cake, a lot of the tracks have been covers. 'Don't Stop', 'Please, Please Let Me Get What I Want' are two fairly recent examples, and made my skin crawl each time I heard them. It is- as you can tell- a bug I have about singers. Being someone who has been honing his voice for 14 years, and writing original material for several years longer, I get sick and tired when I hear of some 'next big thing' being thrust forward; only to discover they are a dismal dirge of an artist.

The male market seems to have suffered from the same fate. I have never got the appeal of, or been interested in Ed Sheeran. He has an average voice, and is a dreadful songwriter, who has garnered a sea of praise, for reasons inexplicable. This seems to be all too common, in an industry where the public can be reduced to performing seal by the mere mention of a guitar and a healthy head of hair. It was George Orwell whom wrote: "Man is only creature that consumes without producing". It seems pertinent as far as music goes. I have a lot of time for the likes of Justin Timberlake, and artists who can write and perform a decent set of songs, but they are in a vast minority. The worrying hypochondroplasia seems to endemic of a wider malaise: fickle and immature market force. The pre-pubescent and teen market is a burgeoning one, and those largely responsible for the popular rise of sub-par artists. There is, however, a loyal core of solo artists that are truly mandible-dropping. Some of female (Jessie Ware, Laura Marling); some male (Matt Corby, Bon Iver); but it is the upcoming talent, where most eyes are focused. I was informed of the existence of Freddie Dickson, by a very wise and cultured fellow music lover, whom has steered me to some notable artists recently. Freddie is brand new; he is 24-years-old; he is English; and has been collating a small band of followers for a little while. '405' compared Freddie to Lana Del Rey. That is the first thing that annoyed me. I like Del Rey as a human; take away the controversy, the endless commercialisation, and such, and underneath is a genuine and sweet woman. She comes across as someone who is a normal woman, and is aware that her career may not be as long as most. Musically, however, there is little to recommend. Her debut album contained, at best, 3 great songs, with a lot of filler. The hoopla and press around her, perhaps gave false promise. As much as anything she is a marketing tool; a creation; a commodity that can stand next to a sports car, where a cardigan, and flog whatever the hell a company needs her to sell. She has a few aces up her sleeve: a great voice, the odd sharp lyric, and an ability to conjure mood and melody with unequivocal aplomb. If you are to compare the two, it would simply be down to the fact that they have an equal love of conjuring stirring soundtracks, and not solely relying on their voice to do the talking. I can see the two of them becoming close; like characters from 'Naked Lunch'; they could collaborate. But I feel that there are few linear adjectives that can be shared. There is a vague procedendo between their musical relationship, but nary else. I'll take a better stab at this...

The opening seconds of 'Shut Us Down' are awash with re-verb and strange sounds, that could be a sample of sound reversed, or a mutated snatch that has been elongated and altered, to create a dizzying hum. There is a lot in the way of Radiohead's 'Kid A' experimentation in the opening. I was reminded of 'Treefingers' quite a lot, as well as Yorke's solo work (and recent work with Atoms for Peace). There is that same sort of electronic mood and pout, that at once can enthrall and sedate. The first moments, bring to mind, dark city scenes and buzzing neon signs. It is an audio sample that would fit as much at home sound-tracking a Michel Gondry film, as it would being as an emotional ballast piece on Breaking Bad. Just after the strange organ/machine-cum-early '00s Oxford has time to sink beneath the waves like Resurgam, a beautiful voice enters. This would be roughly what I was referring to by 'mandible dropping'. In the same way that Jeff Buckley did when he first opened his mouth to sing over 20 years ago, or Antony Hegarty did (back before 'I Am a Bird Now), there is an instant and visceral reaction upon hearing Dickson's honeyed tones. To my (slightly) trained ears, I was hearing a little of Patrick Watson (whom himself is a small doll inside of Chris Martin, whom is underneath Jeff Buckley matryoska foundation). There are some familiar comparable that can be traced in the vocal, but nothing so obvious as to dilute the potency at all. Like the Canadian Watson, Dickson manages to elicit a majesty of beauty, not from soulless penile displays like so many male singers, but by allowing a sensitive and delicate whisper guide the notes. The verse is awash with barely contained emotion, as one can only imagine the atmosphere of candles and hushed silence when the song was recorded. When the mantra: "Just don't/Just don't hide away" it is a once a truncated chorus, as well as the first stunning punch, that will elicit a mesmeric calm amidst the soul. From there, the music gives a little tribulation; in the same was as Massive Attack did for 'Teardrop'; Dickson lets us know his pulse is still there, underneath the heartache. There is a pleasing and emphatic backing vocal, that sounds like a choir of the Lonely Hearts Club Band. Perhaps past the one-third mark there is a similar melodic sound to that of Del Rey's 'Born To Die', but with a much greater emotional impact. It is said that, Dickson's sweetheart, has become scared "of what I've become". There is a definite need for depannage; hearts have been broken, which have caused bleak causality; the body and soul is starting to fade, too. Dickson is "numb" and keen, it seems, to have his projection subjected to a beta test, and for his rattled spirits to be safely ensconced. The refrain returns, to add credence and weight to what is being said; it has a simple and forceful pull that can simultaneously be chanted at festivals, or whispered in dark bedrooms. "If only/We could start again", seems to be the bedrock and business plan; the lyrical territory may be safe and familiar ground, but the way that the raw and worn out mood, combines with the ethereal and tender vocal, is a spellbinding treat. Shakespeare wrote in 'King Lear': "Nothing will come of nothing: speak again". The song seems as much as an exaltation as it does a plea. The unwavering plaintively then is replaced by something much more cannibalistic. A vocal crescendo is unleashed, almost indicative of a breakdown; the words "I should have stopped", are almost wailed; as if the young man were drowning, performed a sin of omission, or was simply at the end of his rope that hangs from a ceiling rafter. It is tornado that comes after the calm before the storm, and drags your head and heart in opposing directions. As one would expect, the effect and aftertaste is something quite profound.

I am filled with praise for Dickson. At times there were large chunks of Patrick Watson, and similar troubadours in the vocal sound and enunciation; that same smoky falsetto. I can imagine that Dickson's voice is much more utilitarian, capable I'm sure of being able to scale the demanding peaks of hard rock and metal, as it would be of matching many modern-day chanteuses. The lyrics are obviously whole-heartily relatable to anyone who has even suffered the fall out from a break-up, and there is no mordant self-flagellation; merely bare-boned proclamation and earnest soul-bearing. The sonic landscape is awash with tension, calm and metamorphosis. The resultant Big Bang, is sure to win many a fan, the world over. There are so few genuinely intriguing and exciting solo artists, that are capable of penning impressive songs and hanging gorgeous vocals on top of them. For any anyone who feels compelled to slovenly label Dickson as a male counterpart to Del Rey, they need to listen to both in isolation and see that there are very few comparables. Aside from a similar talent for atmosphere and stunning emotional resonance, the voices and biographies are worlds apart, and Del Rey appeals to very few male music lovers. For someone who is always on the hunt for scintillating and enrapturing talent, I will be watching Dickson, with a sweaty and fervent brow. There obviously be a lot of new music coming soon, from the young Londoner. For now, play 'Shut Us Down'; play it again, and let it wash over you, and better yet; let it inspire you to pick up pen and paper and unshackle any demons that are lurking in your heart, eager to escape. In a year where the most stunning albums will arrive in May and June, and the majority will be from established and populist acts, it will be exciting to see how Dickson's forthcoming release will be received. I hope open arms will greet it, as well as open minds. Seldom few arrive from seemingly nowhere, and achieve a spectral mandate which goes against the current tide. I'm not 100% sure, but I think that Dickson...

... may have just pulled it off.

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Official:

http://freddiedickson.tumblr.com/

Twitter:

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Facebook:

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Johnny Sands- Getitforfree- Track Review

Johnny Sands

'Getitforfree'

Track Review:

9.1/10.0

As well as being a model and music promoter, he is quite adept at producing slices of intriguing lo-fi beauty.

Availability: 'Getitforfree' is available via http://johnnysands.com/music.html

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It is a return, of sorts, to the parable of the solo market ...

but there is something quite nontraditional and classic about Mr. Sands. I shall explain more in detail soon, because the male solo market is a bit of an undervalued currency, still. It is a genre or sector, which has been present since the birth of the music universe. The second that the first notes were sung by the legendary blues artists, back in the '20s and '30s, a strange and wonderful evolution began. Blues was little more than solo artistry. The likes of Robert Johnson, Sonny Boy Williamson II and Elmore James were some of the earliest pioneers, and paved the way for a host of subsequent blues artists, all keen to pay homage to, and best the previous generation. When the '60s arrived the band market was more prevalent, and seemed to overhaul the solo market, and maintained a foothold right through to... well... now, really. It appears that being part of a band and having a sort of musical comfort of 'safety through numbers'; is the pervading methodology when trying to obtain success and longevity. It is not entirely factious, as with the exception of a few legends (Bob Dylan, Aretha Franklin, Elvis Presley etc.), the greatest number of hallowed singers, and celebrated songs have emanating from groups. This is still the case in 2013, but perhaps there has been a marginal shift in musical directionality. It is true that some of the most reviled and hated members of the music world, are solo artists. Naming no names, but you, as well as I, know full well whom they are. There is a lot of critical attention levied at bands too, but it is in the underground, as well as on the fringes of public consciousness, that the most exciting and furtive music is taking place. I have been excited by the news of a forthcoming album by Laura Marling- to my mind, the most exciting solo female artist currently making music. There is a lot of speculation as to whether the likes of Lily Allen, Adele and Jessie Ware will be releasing material in 2013/14. Beyond the aforementioned names, there is a small number of notable female talent in this area, but most of the incredible music made my women, is reserved for certain areas of the country; most of which is either largely unheard of, or fledgling in its infancy. It is an equal share market, but the scarcity of bright female talent is not indicative of a lack of participants; more a sign that the proliferation of bands emerging at the moment, are elbowing solo artists out of the way, relegating them to an intellectual sub-section in most people's minds. The male market has fared slightly better since the '50s and '60s when the earliest examples of the breed were greasing their hair, strumming their strings, and winning hearts. Sadly there has been a bit of a dirge of male solo artists; each seemingly convinced that strumming an acoustic guitar and sounding vaguely bored in the key to unequivocal success. Again, no names shall be proffered, but there are far too few. If you dig a little deeper beneath the skin, and under piles of rubble, there is shining light. Matt Corby and Ben Howard seem capable of keeping a torch of glory lit for a few years more; but again, there seems to be a startling case of quantity over quality when it comes to the male market. If you want to be captured and fascinated, you need to steer away from the main road, take a detour, and stop off at charming little rural environs, and take in the sights and smells. It is there where- one hopes- the future good live, and I am confident that once a greater attention and distribution is given to the genuinely talented solo artists, there will be a much more balanced and diverse scene. This takes me some way to explaining Johnny Sands...

He may have a name that lends well to vivid imagery of spies and suave C.I.A operatives, but there is a similar intrigue and romantic within the biography of the Liverpool musician. Johnny seems like he was born in black and white, and he has a rather vintage and bygone mystique. Sands is as enamored with the 1950s and typewriters, as he is with motorcycles, Bob Dylan, old watches and E-type Jaguars. It seems that he would have been more at home 50 or 60 years ago, and it is very rare that in a highly modern and electronic age, that there is someone in music, who has such a passion and respect for a classic time. In photographs, Sands is predominantly shot in black and white, and has a style that is Gaelic handsomeness, Brendan Benson-cum-Nordic warrior. It is unsurprising, perhaps, that Sands is also a model and a fashion icon. With a sharp wardrobe and sharp features, he has featured in the likes of GQ (whom crowned him their 'Best Dressed Man' in 2010). Sands is fascinated by linguistics and European beauty; he has an Icelandic-worded tattoo on his arm, and a similar one on his chest, which is French. It is no shock that Sands told GQ that he considers his style and look to be largely indebted to the cinema of France and the U.S. of the '60s. It is an interesting back-story, but somewhat of a secondary appeal, considering we are here to talk music. There is a relevance and transferability between his style and noir lifestyle to that of his music. In various songs Sands sings in French, and manages to juxtapose foreign influences with the homespun majesty and history of his native Liverpool. It is a rare combination, and one that has served Sands well. As well as lighting up his local hangs, he has captured a mostly wider attention, in no small part due to his brilliant 2012 debut 'mini album', 'Postcards'. Subsequent plaudits followed, which earned him support slots with the lofty kings Wild Beasts, Django Djano, and Alt-J. I have longed been protesting how a lot of the great new music and future stocks are reserved and held in the north-west, and north-east. It is perhaps unsurprising given the rich musical heritage of the areas. When critical eyes and drooling record bosses look to London for potential stars-in-the-making, they should stop being so narrow-minded and turn their diffuse attention-spans towards a geographical area that is deserving of more than localised praise, and feint ardor.

I was introduced to the talents of Johnny Sands by a fellow musician, who resides in the north. I was surprised that his name had not been mentioned in the social media circles and to a wider degree, the music press. It is the codification of talents such as Sands, that has angered me quite a bit; but my boiled blood is mollified when I hear the opening moments of 'Getitforfree'. There is an electronic drum pulse that pecks and taps with stylised punch. In the same way as the cinematic chef-d'ouevres capture and seduce with smoky monochrome kisses, the track builds atmosphere and mood with a simple and concentrated lust. There are modern tones to the intro; in places I was reminded of Wild Beasts, Thom Yorke's solo work, as well as tones of The xx. When words are spoken, there in a lo-fi echo to them, and I was reminded of The Strokes and Casablanca's trademark vocal sound. It is quite an unexpected pleasure, and there are shimmering colours of French eletronica. The lyrics are purging and inquisitive, as Sands poses the following to a departing sweetheart: "... Why do you want to get when you get it for free?" The programmed beat is consistent and not modulated, which keeps the emotion in check, and provides a level-headed drive, that propels the song. The focus is on vocals and words, and the vocals are clear and high in the mix, free from any distortion or overproduced epidemiology. Sands' vocal lifts slightly past the 0:40 mark and shows a bit of tender restraint, before the abated noir soundscape, returns to the fold. The unnamed and unmanned former-paragon seems to have run from Sands' home, and into a Tarrantino film, as it is asked: "Why you wanna stall/When the men got a gun?". Whether this nervy imagery as deployed metaphorically or literally, it is an evocative and striking scene that is being set. Sands has a talent for painting tension and palpable emotion throughout. There are a lot of questions being asked by our hero, fully aware that few will be answered by the outlawed beau. It is perhaps unsurprising that there is little sympathy in the words, or any sign or redemption or Stockholm Syndrome in the future. It is a sharp tale of love-gone-wrong and the consequential effects on the various parties. Sands seems concerned mostly with the fate of his woman, rather than portraying any sense of self-doubt or insularity. It is a composed spit-ball, carefully subjugated so that no venom or bile taints the song. It is fitting, at this point, to mention Bob Dylan. Like the sainted Mr. Zimmerman, Sands has a solid blues conviction to his voice, that has as much in common with the black blues of the '50s, as is does with the biddable suburban heartache, that is the tapestry of a lot of The Strokes' work. The style of the song has a lot in common with Dylan, circa 1963/'64. Where as Dylan's focused had a politicised and philosophical bent, Sands' heart and storytelling has more relevance in the modern streets, and modern times. Where as a lot of male solo artists opt for a bleeding heart sensitivity, which matches falsetto musings with a Beta Male mandate; Sands does a reverse. The vocal is strongly masculine, with flecks of east coat America. The lyrics are honest and a maelstrom of pointed words and pertinent questions. He wants to know why his former girlfriend has fled, when he can give her all she wants for free. There is a little longing in the lyrics when it is said that (she) is "what I need". When there is an introduction of hand-clapping (and the tonal mood shifts), there is an invigorated passion employed. Sands vocal has a lighter edge of Ray LaMontagne, when he implores: "Out there, out there, out there/It's me". He is making a scene, and seems to be some regret or lamentation in his words, although damned if he shows it in the vocals, keen to play the role of stoic James Dean/Marlon Brando.

As the song comes to an end it is surprising to learn that it has received under 300 listens on SoundCloud. Sands has a very modern and relevant sound, and one which fits perfectly in the credible Mercury Prize-worthy sector. The song is tight and focused, and the music itself switches from metronomic electronic pulsing, to romantic blues. Sands' vocal has a pleasing consistency to them, and have little directly in common with the likes of The Strokes' front-man, to be honest. There are little whispers, but by and large it is highly individual. This is perhaps not a shock, given what we know about him; his background, and his enviroment. It is a great song that stands up to repeated listens, and is at once instant, and slow-burning. With so little credence paid to artists whom are willing to break from the overstuffed modern mould and create something personal and relevant to them, it is refreshing that the track is not a commercial or bloated number. Sands has a fascinating mystique and variegated style about him, yet has a tangibility to him, that adds weight and conviction to his music.

Just this morning, Sands Tweeted that he was deciding on the most expeditious way of charging around Liverpool, in the hope of curating as much talent as possible for this year's Liverpool Sound City festival. As much as he is in love with music, art, and sound; he is also keen to further and aid other artists, and above all, cultivate a group of like-minded artists whom can put their stamp on the music world. In a climate where the blueprint seems to contain too many straight lines, grey edges and neo-venacular/hair shirt modernism, Sands has a older influences and modern twists, to create something a lot more eye-catching. It may not be a high-rise modern sky scarper; instead it is a charming stylish French cafe, or nightclub. In the short term it may not be as profitable, but in the long run it will still be there; still be drawing in huge crowds of loyal patrons, and will not be consigned to the pages of forgotten curiosity. Take a listen, and let the songs absorb into your consciousness, and be inspired to hear more of Sands, as well as keep an eye out for associated Liverpudlian talent. I have been invigorated this morning by the brilliant music, as well as the inspiring personality. Probably best...

... you get on board, before 'Getitforfree' becomes a pricey commodity.

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Official:

http://johnnysands.com/

Twitter:

https://twitter.com/johnny_sands

Facebook:

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YouTube:

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Highfields- 'The Chase (Oh Lord!)'- Track Review

Highfields

'The Chase (Or Lord!)'

Track Review:

9.8/10.0

Fresh-faced, multi-nationality sextet, make music to conjure a myriad of emotion, that ellict a peaceful bipartisanship. Prepare to be inspired.

Availability: 'The Chase (Or Lord!)' is available via http://www.youtube.com/watch?v=AH3b104QN6A

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It has been a while since I've been able to analyse a band...

that hail from, and originate, from lands and towns beyond those of Great Britain. I have even gone biblical with regards to formatting. I wanted a font and colour scheme that reflected the group. I have plumped for a multi-coloured affair; as representing them through colours and tones, is as difficult and mind-melting, as trying to summarise and describe them through words. It is something I shall- attempt to- do, duly. For now, though, I am reminded that there is not a lot of national endeavour or cross-continent unification, when it comes to groups and acts. If you are part of a 4 or 5-piece group (or even larger), chances are, that depending on your gender, the rest of the group will be of the same sex. It is more common for a duo to be unisex, than larger bands. Occasionally there is a bit of a mixture, but more often than not, unless you are The xx or Fleetwood Mac, or whatever; there is not a lot of gender mix. The mention of the latter example may go some way to explaining the reason behind this phenomenon. It is well documented- what went on during the band's history. Leading up to- and especially during the recording of- 'Rumours'; there was a palpable and excruciating tension. Cocaine marathons, aside, there was so much tension between the two couples of the band, that it is surprise that the album got made, and turned out to be so successful. I guess it pertains to the adage that you should never work with anyone you are in love with. The fact that you spend a vast amount of time together, and are under each other's feet, will always result in a fight or disagreement. The fact that 'Rumours' was the band's masterpiece, is the exception that proves the rule. It was not a break-up album, instead one that was fuelled by and invigorated by tension. Songs like 'Go Your Own Way' and 'You Make Loving Fun' were enforced by tension and affairs. Most other bands and acts, who have men and women co-mingling, have either dissipated, or ended messily. The xx are a modern band, who remain focused and collegial, due to the fact that there is no underlying personal clash; just sagacious music. As for the reason why there are few bands who mix nationalities, I am not sure. I guess you form a band with people you know and are similar, and chances are they will be of the same kin and locality. Past bands have managed to posses a diverse palette of cultural elements; but it is the modern scene that seems to be displaying a worrying trend. There is little mixture of races and nationalities. Bands tend to be very singular; not deliberately segregational or exclusive; yet its patrons, I suspect, have little concern with diversification. The inclusion of foreign and diverse sounds and ideas can revitalise and strengthen a band. Bringing together a varied air of melting pot ingredient, can galvanise a common thread, as well as inject a credit of egalitarianism. The mention of gender and race within music is pertinent. The fact that it is a comparative rarity should be questioned. It may display a wider issue of insularity and homogenisation within music, but as Highfields show, having a cultural mix of players, leads to a phenomenal brew.

The 6-piece, are a new band to my ears, and I found them via a website called Unsigned You. They post new bands and music each day, which- if you are like me- gives you a chance to experience new sounds and inspirations. Delving into their social media properties, they come across as charming, pioneering, and focused. They consist of: Robert Mulder, A.K.A., "Wise Man Mulder", their principle songwriter, who provides vocals and guitars; Leon Pearce (with an accent over the 'e'), or "Le-Le", the TASK MASTA, their cellist, banjo player, and fellow guitarist; Marius Rekstad, the "Moustachioed maestro", who provides piano and accordion duties; Runar Nybo (forgive the missing diagonal line through the 'o'), a Knows What's Best- bassist extraordinaire, A.K.A "Rune Poon"; Alec Brits, or "The Menne" Groove Factory, whom provides percussion; and finally, Melodie Ng, in charge of aux. percussion, glock. and melodica, going by the sobriquet, "Mel Mel". I was impressed that the band have assigned monikers and nicknames (like The Travelling Wilburys did). This gives them an extra layer of likability, and shows they are light-hearted and want to cultivate personality and a touch of fictionalised fascination to their aesthete. It is obvious from the names, who origins from what country, but they hail from (not in incongruous order): Canada, Norway, Jersey, Singapore and South Africa. It is the mutual friendships, as well as the multicultural diversity that makes the group so strong. There is no municipality within the band; instead a sense of musical laissez-faire, concerned not with personality hierarchy, but focused on creating a principality of strength and common ground. In 2012, songwriter/producer Guy Chambers provided laudation and props to Highfields, praising them most highly. This year they have been working with producer Jon Withnall, whom has produced for the likes of Feeder and Elbow. Their trajectory certainly is going to see a vast ascendancy, and a continuation of positive critical reception, that will see them with a very full scrapbook of wonderful memories, by the time winter rolls back around. They have been heralded as a wonderful new act to watch, and have obtained this, not through providence or luck; instead a balanced cohabitation of fresh folk sounds, and an undeniably tight and established mutuality of obligation. In print they exude a fun-loving and playful air, and the laundrette-themed imagery on their Facebook page, portrays a band that are comfortable with portraying an outer skin of regalement and fun. Most bands, in photos, are serious and moody, concerned that any hint of playfulness will result in them being ostracised from hearts and minds. The irony seems lost on a music scene concerned too much with mannered portfolios, and business-like songs; even bands who are loose and adventurous through music, often come across as defined by ego or po-faced 'cool'. It was a breath of fresh air that proceeded the intro to 'The Chase (Oh Lord!)'.

You won't need a spectrum analyser to sense the excitement and elevation in the intro. The accompanying video on YouTube may allude to British 'Breaking Bad'-esque scenes; potential violence and tensions beckon there; but the track elicits a merriment as an edge of cello and string strung, begins a building scintillation. The initial seconds sound like an Anne Dudley composition: parts P.G. Wodehouse; bits 'Les Mis'; seconds of The Grotesque linger in the mix. The ensuing explosion of good time roll, and jazz/swing rumble, implores you to kick off your shoes and dance along. There are classical edges to it; it is like listening to a 6-piece orchestra that you would hear in the piazzas of Covent Garden; where sway and invigoration are the order of the day. It is difficult to point to any nationality or thread influencing the sound, but there is western Europe and Scandinavia to the flavour. Before any words have been proffered, an energy and folk charm has been infused; like Mumford and Sons, sans faux-Irish tones and overall nausea. Our "Wise Man Mulder" options that: "I don't have a penny to my name", although there is no sense of moody blues. The vocal is at once ubiquitous, and exponentially unidentifiable. It is an original and refreshing voice, and one that will not be instantly comparable. It is the interjected rabble chorus of "Oh Lord!", that provides a celebratory and humoured countenance. If you were to imagine the more enlivened and extrospective numbers on 'The Beatles' ('The White Album'); then this will sound familiar. I could imagine McCartney writing this kind of number in 1967/8; quietly plotting his musical machinations. The lyrics have a modern and timeless relatability, as well as a personal relevance to them (for its author): "Please pull me up/Before I drown" is a transitory sentiment, but is a influential pebble in an ocean of emotional ripple. The audible sense of gay abandon is infectious; at times sounding like an expurgated and transversed Run-DMC; at others there are spritzer splashes of Gaelic cocktails; with Andy Stewart-cum-Latin insouciance-cum They Might Be Giants. The words tumble with syncopation, modulation and breathless enunciation; as the band are up to the task, and up for the craic. It is a same sort of break-neck pace that you would hear on 'One Week', but the themes here are more heart-aching; there is always a sense of running away from things, and having to keep doing so. The music video to the song lends credence to this, and although it depicts a petty theft/chase/incarceration scenario, it is a congruous tableaux. At 1:05 there is an orchestral piano air of Rachmaninoff; a little bit of Joe Jackson-esque vocals ('Something Going On Around Here' came to mind). The piano and sonic kick becomes more subdued, as the vocal and lyrics take charge in the foreground. If you're watching the YouTube video, this is the part where the band cameo; if you're not, you'll have to take my word for it. There is a lovely musical break as the harmonica blows with a strong pull; the piano bobs along the waves, and bass see-saws, and the band whip up an intoxicating folk smoke. It pulls your attention away from the troubles of our protagonist, and what ails his mind; instead abating any woe, and recruiting you to a merrier beat. There is struggle and a return to the parable, as it is said that "I don't always get it right". There is always determination and resilience through the lyrics, as our hero wants to get things right, and make everything good. And although he doesn't have the trust of an unnamed muse, or indeed any pennies in his pocket, there is an optimistic theology that runs through. And before I could dust off my bitchin' dancing clogs, the song was at an end; able to wrap up its message and lodge in your mind, in under 3 minutes. If you have not seen the video for the song as well, I would advise a viewing, as it gives a visual dynamic, and probably is a projection of what comes to everyone's mind when trying to pen a filmic narrative.

The residual aftertaste I get from reviewing a lot of new bands, is that of trying to tick preconceived boxes, in order to conform to an idealised model of what 'a band should be'. Solo artists have more freedom to explore and rebel, but all seem too encumbered and shackled by a desire to please/secure a record label before winning over legions. It was Oscar Wilde who said: "Fashion is a form of ugliness so intolerable, that we have to alter it every six months". I can see in my mind a placard or poster of this in the offices of E.M.I or Sony, where perhaps timelessness and originality are not bedfellows. So many virgin acts are worried about slipping into a musical quicksand, that they err too closely to the shores of existing bands; often losing their own voice and sense of purpose. For those who are established and perhaps less indebted to market forces, they can fall victim to overindulgence and a qualitative lack, when it comes to experimentation. For those fledgling bands that are willing to shows the guts to win the glory; the results can be nerve-wracking (from the perspective of a label head or music lover), but are spellbinding. It shows true character and strength to supersede expectation and labels, and instead write and perform what you love, and what you hold true; a sound bereft of quick comparable. New music and an irrealist mood, or not mutually exclusive, nor predicated by logic. For those musicians who have broken free from the bedrooms, garages, local dive bars and pre-pubescent music venues, the first steps to adulthood can be frightening. I understand- as a songwriter myself- just how intimidating being head can be, and how difficult it is to be recognised, and hold to a collective bosom. With the likes of so much gut-rotting flatulence within the current scene, the secret to alchemy seems to be a mixture of compounds, thus: originality, energy, tight sound and a desire to commandeer consciousness and predict future needs. I will conclude my summation of the current scene with a quote from Winston Churchill: "The best argument against democracy is a five-minute conversation with the average voter". One suspects that this should be on a poster on the walls of the the musical big wigs. Loyal and ardent music obsessives like me would live longer, and die a lot happier, too.

There are a lot of fantastic things about Highfields. As I have mentioned, they have garnered a lot of press from some distinguished patrons. Aside from any intellectualisations, the band succeed because they are bloody good. They have a fair few followers on the social media pages, and quite a few more views on YouTube. I feel that this alone, is a simultaneous decremental commentary on modern music fans, and a worrying sign of the times. So many less-deserving and comparatively diminutive acts have received greater fanfare and attention. In a time where the likes of a monumental cretin like Justin Bieber gets millions of fans, followers, dollars and corporate reach-arounds, it is quite frankly disturbing that so many superior and more credible humans in music, have to electioneer much harder to obtain a modicum of the plaudits. That said, being a likeable human, who is not a naive and thoughtless jerk is more important than anything. The band are filled with exciting and noble members, who are aware of what it takes to make excellent music. The effort they have put in to their fan pages, and how they portray themselves is admirable. They care as much about fans and listeners, as they do the music itself. It is not a coincidence that the music itself is (consequentially) amazing. As well as being incredibly original and fresh, it is also born of and belonging to an era past, where empirical superiority reigned. Although I have spun just one of the band's tunes, none of my words are hollow or unjustified. The group have plenty of 'The Chase (Oh Lord!)'s' in their back pockets, and when E.P.s and albums are on the horizon, then their status as one of the must-watch bands of 2013 will well and truly be consecrated. Highfields have the pedigree and talent to set fire to the scene. The creators are multi-instrumental wizards, imbued with a sense of fun as well as straight-laced honest. The local cuisines of the band members may not seem to blend well on paper, or work if you ever put them into a cooking pot; but it is because of the diversity and captivating personalities that they do, so well. Fickle minds and an overcrowded market have buried and drowned many a good act. The 6-piece should have no fear, as they already must sense that the public and professional will be theirs; as they are the kings and queens of an intersection where quality and quantity meet. In relation to the following quote by Confusius, Highfields achieve success and gold-plated musical attribution because of an autobiographical and honest understanding of the first, a disownment and ignorance of the second; and by a personal assessment of, and commercial expectation of, the thirds. That is: "By three methods we may learn wisdom: First, by reflection, which is noblest; Second, by imitation, which is easiest; and third by experience which is the bitterest". But have no fear...

... Highfields need no chicanery or slights, to become wise.

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Official:

http://highfieldsband.com/

Twitter:

https://twitter.com/highfieldsband

Facebook:

http://www.facebook.com/highfieldsband

YouTube:

http://www.youtube.com/highfieldsband

Marc Otway- 'Find Your Way'- Track Review

Marc Otway-

'Find Your Way'

Track Review:

9.6/10.0

Dynamic Yorkshire songwriter, lets his voice as well as lyrics (and musicianship), shine.

Availability: 'Find Your Way' is available via http://soundcloud.com/marcotway/fi

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The geographical merits may have been expounded on here, a lot...

as of late. I won't go too much into the percussive swell of eager and diverse talent, that is hustling and bustling in the north, at the moment. Greater Manchester may be busiest in terms of numbers, but is less individualised and wide-ranging when it comes to sound and vision. A great proportion of bands and acts have more than a hint of current or past Manchester bands. On a couple of recent occasions, I have noticed a certain Sheffield band being heard more than slightly, in the tones of two particular groups. Steve Lamacq recently theorised, that the future of music will not necessarily emanate from London; suggesting that it is further north, that the most fascinating and long-lasting sounds will be heard. This is true; I think there is just a more determined attitude in these parts. Less concern with following what is trendy or sought after; more concerned with a strong and willing work ethic, that includes, daring sound collaborations, captivating song-craft and an appealing personality. There is better humour, greater endeavour, and more of an eagerness to be shared and saluted by a wider audience. In the struggle and scuffle of competition and friendly rivalry, the configurations of bands seems to be rather predictable; in terms of numeration and gender distribution. I will talk more about Marc Otway, on his own merits, shortly; but he first came to my attention as one half of Marc and Abi; a mesmeric duo from the idyllically situated and cosmopolitan, Bradford. I shall speak more of Abi Uttley, later, as well; but she caught my attention om the track 'Like You Do'. Marc was the song smith behind the soul, but the passion and beauty belonged to Abi. She is possessed of an ethereal and stunning voice that can portray immense beauty, as well as terrific power as well. With a fascinating history and a determined drive and ambition; coupled with amazing beauty; there was star quality and chanteuse allure in equal measures. In the midst of the silky vocal notes, the wonderful and gorgeous composition, alongside intelligent, sharp and memorable lyrics, stunned me. It was a wonderful and incredibly natural combination- it was as though they had been performing together their entire lives. I will allude more to Abi and Marc individually, anon; but another thing that surprised me was the lack of solo talent from Yorkshire. Aside from the odd few that are currently signed to fledgling and promising labels, there isn't exactly a proliferation of one-man and one-woman warriors. It seems strange; or perhaps I am not looking in the right place. Either way, there needs to be a social media ballast, in order to help build a consciousness of these hidden treasures. It is a demographic that is seen a lot in London, and further south, but in a largely band-based culture of the north, it is refreshing and exciting to hear about pulsating solo talent.

Marc Otway has a varied and impressive list of influences, ranging from Frank Sinatra, to Stevie Wonder. He can switch from the dapper fashion of Sinatra and Gershwin, to a modern relaxed cool of Jason Mraz. It is safe to say that the majority of influential voices and hero's on Marc's top 10, enjoyed success and adulation in the '60s and '70s, predominantly. It is a rare set of influence in a modern music scene, and is made all the more impressive, considering what has been achieved by the young artist. Marc developed an almost Motzart-like ability to master instruments and music, and develop a talent free from precociousness. As well as having an affinity with guitars and drums; he also is a skilled keyboard player, and is able to inject his influences and various talents into each of his songs. As I mentioned I was impressed hugely by his and Abi's collaboration of 'Like You Do'. It was Abi's voice that stole the spotlight, but it was the instrumental flourishes and moods; combined with an impressive set of lyrics, that added unexpected colours and shades. Marc has been writing for 5 years now, and honing his craft and skill set. There are an array of YouTube videos and cover versions; as well as glowing reviews and testimonies, that pay homage to the bubbling potential that lies within Marc's bones.

'Find Your Way' begins as a starling twinkle of acoustics. There are whispers of Nick Drake, Kings of Convenience, as well as the masters such as Neil Young and Bob Dylan. It is a hymn for spring, and is evocative of a walk by a river, as the sun beats down. Nothing lingers threateningly in the air; there is just peace, and a gentle breeze. It puts you at ease at once, and settles and eradicates any tension or ambivalence, you may have had, before listening to the song. The guitar strums and skips; before hopping and swimming in the cool; meandering, seducing and stamping an early mark of quality. There is adventure and turns in the intro, and shows the talent that Marc has to evoke a lot of pleasure and curiosity, from a few strings. By 0:17 the guitar trip was a glorious mix of 'Songbird' Eva Cassidy, and 'Quiet Is The New Loud', Kings of Convenience; with a smidge of 'Harvest Moon' Neil Young. It would be cheap to make comparisons, or predict what the vocal would sound like, given the evocations and memories contained within the intro. Marc sings in a calm and mannered way, that means that his words can be heard, understood and appreciated, without any stutter, drawl or any cloying ephemera I have heard from a lot of nearby bands and acts. There is clarity and directness: perhaps the two most important elements that should be employed when attempting to win hearts and minds. There is remembrance and stories of a carefree life; an alternative way of life, and a conversation being held between him and an unnamed paramour. "Don't be afraid/'Cause you don't know the way", are the words of comfort that are proffered, when it seems that there is uncertainty and hesitation in mind. The vocal remains strong and overcomes the emotion that is being portrayed. Lesser artists may be concerned with histrionics and needless plaintive mewing, desperate to wring out every drop of feeling from their lyrics. Marc deploys the guitar, as a device to convey a gorgeous and still mood, but also add shades and layers that others just can't. The vocal itself is genuinely original. I have reviewed a lot of acts, and have been able to pick the vocal apart, assigning tones and accents to various other decades, albums and bands. But here, there is none of that. With inspirational themes, and a mandate that implores his beau, as well as the listener in general; to not let life pass by, and find your own path, at your own speed. Marc asks: "maybe I can find you", as the acoustic strum sparks and ignites the mood, and his voice shows some vulnerability, but never cracks. There is a guitar and piano calling song, where light and gorgeous notes mix with duskier shades; creating a bucolic emotional calm, as once again, a musical passage allow you to catch your breath, reflect, and absorb what has been said. The instrumental touches have a lovely hint of Cassidy to them. In the way she could reinterpret and own a song like Fields of Gold, Over the Rainbow and Autumn Leaves, Marc displays a superior guitar talent, knowing that the words are all his. Whether taken from autobiography, or rooted within a dream-like fiction, it is a mystery; the way he lets his voice hold and float and dive, shows a keen understanding of how to convey atmosphere and emotional resonance, with as few breaths as possible. As I said- there is no need for over-zealous showboating; he wins and convinces with a simple directness and unequivocal determination. As the second half becomes settled in, and comfortable, the words of encouragement, motivation and strength are displayed once more. "You need to rise up/Get yourself dressed" are delivered; with certain words elongated; others punctuated, designed, above all, to catch the ear and mind, and make you smile as well as think. The vocal backing provided by Abi, around the 3:00 is wordless and invigorating, as the two create a lullaby of a harmony, and bring the song to a stunning conclusion.

The elegance and beauty of 'Find Your Way', is hard to ignore. With regards to the purity of the performance, it can rank alongside the fi9nest solo artists going today. Where as a lot of the market are concerned with too much self-indulgence, and do not have a great lyrical talent, Marc is able to strike the right words at the right time, and does not clutter the landscape. Everything is employed for maximum affect; the message may be simple and universal, but the way it is premiered, is certainly not. It is predominantly the female solo market where the combination of still beauty and stirring passion are mixed so effectively lyrically, vocally and musically. Usually an artist falls at one or more fences, and yet still maintains a lot of fans and adulation. There is a great originality to the vocal tone as well as delivery, and Marc establishes himself as an incredible guitarist; not contended to strum aimlessly, instead pioneer and seek out the most sterling and lilting notes, in order to conjure up the purest and simplest beauty. I am sure there will be several avenues Marc can take. Abi Uttley is  the strongest vocalist, perhaps, and has the sex appeal and siren tones to make hearts melt; yet Marc is his own man, and has a fantastic voice, that pleases and invigorates. He is a multi-talented guitarist and would be just as adept at laying down some scuzzy, dirty electric riffs as he is with painting riparian delights. Similarly he is a skilled pianist and composer, and could do conjure orchestral majesty into songs as well. Marc and Abi need to remain, as the two of them combined, can create an enormous fan-base, and win a lot of support. Whether they have an E.P. in their minds or not, there will be a huge demand. If Marc also decides to pursue a solo career, it will also be met with high expectations and back orders. It is an exciting and promising next few years ahead, that makes me wonder what moves he will make next. Whether there is going to be any hard or heavy rock gems; snaking blues monsters, or caressing acoustic kisses. It is all up to him, but I for one, am keen to spread the word. With comparatively few followers on Twitter, Facebook and YouTube, when matched against many local- and inferior- music acts, he deserves a lot more attention, and for people to hear all he has done with, and without Abi. There will be record labels beating a path to his door, as well as a vast amount of options. It is the early days and the formative years that provide greatest insight and unexpectedness. I am keen to see...

... what moves Marc makes next.

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Official:

http://www.marcotway.co.uk/

Twitter:

https://twitter.com/marcmischief

Facebook:

http://www.facebook.com/#!/pages/Marc-Otway-Musician/180949738624931?fref=ts

MySpace:

http://www.myspace.com/marcotway

YouTube:

http://www.youtube.com/user/marcmischief?annotation_id=annotation_696967&feature=iv&src_vid=ovYn5zs6Uxk

The Gullwings- Truth Or Tone- Track Review

The Gullwings-

'Truth Or Tone'

Track Review:

9.1/10.0

Magic and mystical sounds; mix with hard and heavy; result in a cosmic blast of song.

Availability: 'Truth Or Tone' is available via http://soundcloud.com/thegullwings/truth-or-tone

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Once again, we are in some familiar territory...

Well, in more than one way. The music is alive, electric and fascinating. More pertinently, the music that is being bequeathed, is from the north once more. Later this week, I hope to be looking at sounds from all over the U.K., as well as further abroad. But for the next two days, I am focusing again on music from the great north. I have always been surprised what is hiding away, and nestling in the delightful scented back streets of the social network sites. The mainstream is like a city- not a great one, like London, Barcelona or York. I'm thinking of something crapper. I'd say the closest geographical comparable is a tectonic realignment of modern-day Los Angeles, with a rejoined attachment of African and Asian wonders. In the main streets and boulevards there are the predictable yawns of name brand stores. The corporate, faceless mega-stores that can simultaneously gauge you and entice you without conscientiousness. This constitutes the central core of modern music; the bland and toothless alike. Current ministers of mediocre include Bruno Mars and Coldplay. When you take a trip further downtown, there is the seedy and dangerous back doors of tattoo parlours, dive bars and shops with bullet proof windows. The likes of Katy Perry, One Direction, Justin Bieber, etc. are the proprietors and wasted patrons. They are all too common and replicated; but hopefully one imagines they will die a death when a nationalised common sense prevails. Of course there are more charming and historic sites and attractions. The Rolling Stones,The Stone Roses and Paul McCartney are the big tourist spots. They are solid, but subject to imminent entropy. They have played their collective parts wonderfully, but are looking tired, and offer no new delights. Then there is a final sub-sector; way beyond the neon strips and bustling unpredictability, there is a safer and more intriguing back alley allure. Perhaps not seen in the U.S. or most of Europe, these side streets and towns proffer a nascent and head-swimming array of spices, flavours, trinkets and tasty liquids. You have to look harder, and unfortunately, you have to rely on serendipity and an interchangeable sense of direction to happen upon such splendours. It is, however a more rewarding and spellbinding discovery, when you do happen upon these treats. These are, the new musicians; the new bands and talent. They are curious to win your hearts and earn your currency, yet are detached from and unconcerned with mass commercialism and a preconceived notion of what is trendy or popular. They market their own stalls and provide a cathartic and healing glow, that you just don't get in the mean and twisted streets...

Which, perhaps with semi-poetic license, leads me to the charming and variegated scents of The Gullwings. They may be seen in The Lanes of Brighton. You get some rather colourful and sweet-smelling doorways down there, but social media has done a lot of the work for me; so I shall do a good job at summation and paraphrasing what the band are, and who they aim to be.  On Facebook, they are Oliver Podmore (vox and guitar); James Lennon (lead guitar); Thomas Castle (bass), and Jake Perry (drum). They hail from the Stockport area, and Podmore, it is claimed, possesses pipes which defy any stereotyped or cliched views on a northern voice. There is no Ashcroft/Gallagher/Brown homosapien swagger and controversy. It was The Manc Review whom were blown away by their "poetic lyrics" and "razorsharp riffs". There is much acclaim being spread due to the band's raw, enthralling, and blues gravity. They are fairly new boys on the scene, but have spent their days campaigning and accruing supporters and fans to their growing legions. They have a small clutch of tracks at the moment, and are cementing their intent; providing a codified chest of black magic and white lightening. Already they have been played on BBC radio, and enjoyed praise from various media outlets; each of them aghast at the band's ability to switch and interplay emotions paradigmatically; conjuring a cool and seductive mix of edge and esteem; undiluted or spoiled by market plans, prefabricated designs, or future stocks in The X-Factor/talent show market. Their music has crawled, and walked, and has decided to skip the whole 'talking' bit, and get right down to screaming...

Okay, then, eager tourists: let me introduce you to the designated thaumaturgy of 'Truth Or Tone'. The lads have pitched stall in a rather underused and valuable property patch. The combination of stunning and memorable vocals and a terrific and epic sound, sets them apart from the local competition and legends alike. The sound is not one you'd expect from such a young band. The order of the day is usually pastiche and mimicry, or trying to become a second-rate version of who they think they should be. It take only a few seconds of the track to know that the results are going to be unexpected. There is some scene-setting and dark bass twangs; reminding me of something Nirvana or Pixies might produce. The latter may be more fitting, as it sounds like it is something from their 'Surfer Rosa'/'Doolittle' presidency. The little electrical sparks of electric guitar, that proffer and smile in the back of frame have curious blends too. Part 'Lullabies to Paralyze' Queens of the Stone Age; bits of 'Think Tank' Blur-cum 'L.A. Woman' The Doors. It is that rare and refreshing mix of modern north, '60s, '80s, '00s America, and early '00s Britain that brings beautiful life to the intro. From the lines that weave a bit like 'Jets' and 'Debaser'/'La La Love You'; the stenographic mind creep takes you far far away. I have a tendency to introduce parable and dream sequences when reviewing, but one cannot help but be taken to somewhere more filmic, and fat-fetched. For me, at least, there is the sound of a stunning film like 'Fight Club'. There is all of that dark street mood, and brooding violence and dissatisfaction with modern-day life. It is rainy and dark to be sure; whether the band consciously want to instill some sort of unnerve into the atmosphere to lull you into a sense of false security, or not, is a mystery. There is a little bit of a 'Humbug'-era Arctic Monkeys, when the electric guitar suits and boots up and goes into the day. The light is up and 'Narrator/Jack' is off to a soulless job; but instilled with confidence and menace of forethought. The music is Fonzie in a freezer of Dave Grohl merchandise cool; and implores your senses to prick and sizzle. We are at the door; along the corridor, into the office, where rows of desks and rows of trapped sardines, look on blankly. It is still wet outside, and there is a neon buzz above. Sitting down at his desk, our protagonist ignores the myriad of paperwork and 'to-dos'; instead smiling, as he opens his briefcase. When the pace changes, drops and curves before the 1:00, the sound turns to a sort of debut album The White Stripes, with shades of Iggy and The Stooges. It is a little blues-via Detroit rock- infused; with some punk trills and spike in its heels. Anyway-briefly- back to the Fincher fantasy scenes. The briefcase is opened, and besides an obligatory and inconsequential gun, there are bloodied papers. Work papers, or something. More intriguingly, is a key that sits in the corner. Our hero picks it up, and walks away from his desk, in time to the music, as his boss holds his hands up exasperated. No one else looks around; no one else cares. As the vocal starts to slip in; I am reminded of several sounds. There is a bit of the calmer, less garbled edges of Alex Turner; but there are also a lot of individuality and personality as it is said: "I need to stand out". A commentator on SoundCloud commented that this track could be destined for a Tarrantino film; but to my mind my modern-day 'Fight Club' scenarios seem more trite. I'll get back to the Hollywood tableaux shortly, but the vocals have compelled an investigative spark in me. Like I stated during me review of The Ruckus, there is perhaps, a little too much of Alex Turner in the vocals, and The Arctic Monkeys in the music. This is no bad thing; it just means that sharp-eared pedants such as me, will jump on it. It is only really a fleeting vocal nod to Turner, as Podmore has less of the ravaged drawl, instead possessing a pleasing abstemiousness, that means as well as being less jarring at times, it also makes him a lot more decipherable. You can actually understand what is being sung. When contradictory lyrics such as "..I'm always surrounded/Yeah, I'm always alone", there is an unequivocal sense of confusion and emotional turmoil. The track has a tension and need to be emancipated. Through the employment of brooding and hard guitars, as well as an assured and frank vocal turn, there is a sense of electricity and passion being displayed. The whole band put in a tight and professional shift, and show as much endeavouring surge and sound-craft as the front-man does. It is a song which never outstays its welcome; only leaving you wanting more- no meekness, only intention. Oh, and back to the film set; and our hero has reached a red door in a corridor under the offices. He turns it, licks his lips and opens it. We do not see anything but a shallow, feint light emanate, as the music ends. The conclusion will have to wait for a sequel...

Let me get any sort of constructive words out of the way. There was a lot of reference and evocation of Arctic Monkeys throughout. Perhaps at times straying into the 'Humbug/Suck It And See' spectrum, too closely. There are tints of Turner in the vocals, and the band also have that sound. Not that it is ever a bad thing; it's just with the likes of The Ruckus doing it as well; one wonders whether we need a 2nd or 3rd mutation of the band. That said there are only the odd tones here and there, and the band manage to break from the lyrics book of Turner, with tales of matters closer to home, and themes of alienation and personal questioning. The intro is the most fascinating part of the song, and the band show that they know how to begin a song, better than anyone out there at the moment. I suspect that the future is going to incredibly prosperous and bright, as the combination of stunning vocals, and an incredibly moving and shifting musical backdrop. Listen to this stunning song, and check out their other tunes, as well. Because very soon, it is going to be likely that this 4-piece, will be

... making huge waves for years to come.

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Official:

http://www.thegullwings.co.uk/

Facebook:

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

Twitter:

https://twitter.com/The_Gullwings

YouTube:

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

Reverb Nation:

http://www.reverbnation.com/thegullwingsmusic

MySpace:

http://www.myspace.com/the_gullwings

Gigs:

April 20th

Roadhouse MANCHESTER

May 28th Gullivers MANCHESTER

June 22nd Headlander Festival STOCKPORT

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.

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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