May 5, 2013

musicmusingsandsuch

Uncategorized

The Red Shades- Shake Your Bones- Track Review

May 5, 2013

musicmusingsandsuch

Uncategorized

The Red Shades-

Shake Your Bones

Track Review

9.4/10

Leeds boys create a tight and fuzzy blues-rock, that has its heart a lot further west.

Availability:

Shake Your Bones

is available at

http://soundcloud.com/theredshades/shake-your-bones

___________________________________________________________________________

THERE is a growing clan of blues-rock innovators...

coming from the north. I was won over cleanly by Jonnythefirth's sounds recently. Hailing from Wakefield, he managed to portray a genuine love and affection for the blues-rock stylings of the likes of The Von Bondies, The White Stripes, and current mainstays The Black Keys. Like those bands, Jonnythefirth is an authoritative songwriting; adept at weaving together curious and chaotic riots of electronic wail, with restrained and pleading guitar licks. The vocals for all of the bands tend to stray close to what Jack White began in 1999, and is still plying strongly, today. There is a similar howl and tone to the vocal lines, and not a great deal of diversity, with regards to vocals. The songs have range and different colours, but there does seem to be a standardised vocal pitch and presentation when trying to convey a blues-rock sound. It is the nature of blues in general that sounds, vocals, words and chords are 'borrowed' from other artists; given a shine and updated to fit a personal analogy. It is hard to say just how original White's chords are, considering his passion and admiration for the old blues masters such as Son House and Blind Wille McTell. The way he stands out, as do a lot of his contemporary followers, is by eliciting a raw and exhilarating sound, and mixing that with personal and well-crafted songs on life, love, the city streets, and interlinking plot-line. Predominantly the blues-rock genre has been focused around the U.S., and states such as Michigan, Ohio, Texas, and a great proportion of the Midwest. Of course there has been no shortage of U.K. blues-rock legends either, if you look back. The Rolling Stones and The Animals began back in the '60s; even The Beatles attempted the genre, predominantly during the Abbey Road/Let It Be period. It was during this period where U.S. legends such as Bob Dylan and The Doors were showing how it should be done, and was an art form that was a little less common around the British shores. During the '70s and '80s, there was a little bit of campaigning from the U.K., but it was the Americans whom were still the world leaders, and were keeping the genre firmly at home. In fact since the '60s there have been so few genuinely talented blues-rock bands or acts from our end of the world. It has only been over the last year or so, that there has been a resurgence and recapitulation, of sorts. I have seldom heard of much blues-rock activity in the capital. There are some rumblings down the south coast, and a few in the Black Country. It seems to be the north, and specifically Yorkshire, that is producing a new crop of U.K. talent, whom seem intent on breaking away from the hard rock/pop parable; instead proffering and teasing a much rarer and tantilising sound. I mentioned before, that the reason why this is occurring, may hark back to the older industries that were present in Yorkshire. Until fairly recently, a lot of the economic power and a lot of the workforce were employed in the mines, and specifically coalmines. Jonnythefirth is from Wakefield, where The National Coalmining Museum is, and I suspect, that there is a musical connection. Where as the blues originated from the slave workers in the American south, whom would sing their songs in the field, subsequently the U.S. black blues legends, took on that history and continued its work, only changing the themes of the songs. That blues core, was then infused with the harder rock sound, and created a modernised version of the blues singers of the '20s, '30s and '40s. In the U.K., traditionally blues-rock was taken up by more well-off bands based in the south; rather than those situated near to Yorkshire. There was a slight shift during the '70s, but it is following the influx of U.S. blues-rocks bands such as The White Stripes, and the closure of the coalmines in Yorkshire, that has utilised native musicians, to pick up their guitar, and forge a similar path.

The Red Shades stick to the tradition of having 'The' and a colour of some degree, to their moniker. The White Stripes and The Black Keys did; and now our Leeds folk have too. They have an influence of heavy rock to their sound as well, able to infuse some American flavour, with a meatier and more domineering thud. They have been celebrated by many fans and reviewers alike, for being able to proffer a wide range of styles from song to song; switching from toe-tapping melody, through to hard-rock groove. The band consist of guitar and vocal leader Dom Bennison; bass player and vocal deputy Cam Beattie, and drum master Matt Bennison. Since 2012, the boys have been honing and shaping their sound, winning plaudits from beyond the Yorkshire borders. Their debut album, Shake Your Bones, is released on June 29th, and ahead of that, they have unleashed the title track, which provides a beautiful glimmer of what the associative album will sound like. For anyone expecting a too-close-for-comfort approximation of The White Stripes will be pleasantly surprised, as there are clear and unwavering tones of the U.K. and the '60s and '70s legends, in their sound.

There is no inlaying guitar and drum intro; instead the vocal hits hard right from the start. With a proclamation of "Love me once/Love me twice..", the nature of the lyrics suggests a classic '60s pop model, maybe early-career The Beatles. The vocal power maybe hints at John Lennon at his most powerful (Twist and Shout, perhaps), but has a soul hint to it. The ensuing musical rumble dispels any expectation with regards to a soul/funk line; it is relentless and pulverising and definitely born of the '90s blues-rock model. The guitar punches and swagger, with a slight arpeggio edge; whilst the bass is keeping the rabble in order, the percussive clatter would make the likes of Dave Grohl green. There is a definite electricity and kick to it, that is not only a distinctly individual sound, but also employs enough shadings of U.S. rock and blues; together they are blended to form a singularly explosive passage. When he vocal returns, there is a continuation of the theme, as it is explained: "You fool me once/You fool me twice...", complete with impassioned and throat-shredding vocals. The structure is quite a rarity for modern music in general and not just with regards to blues-rock from Yorkshire. Normally bands, and new bands especially, play it safe/traditional with an: intro-verse 1-chorus-verse 2-chorus-verse 3-chorus-outro formation. There may be some deviation and a little bit of switching here and there, but by and large, there is a solid and formulaic model. It is a reliable and solid structure, but one that few acts deviate from. With an exclusion of an intro, and the decision to have mirrored lyrical themes interspersed with blustery, fuzzy blues passages, in the early stages, is an unexpected and worthy decision. Instantly any expectation is subverted. The nature of the beast changes past the 0:30 mark (effectively it seems that the preceding was an intro, of sorts), with a more subdued, but no less potent vocal. The lyrical theme and formation may be modified, but the band are not ready to relent with regards to the explosive musical subterfuge. The vocal is hard to pin down, with regards to comparable. It is a powerful and growling blues monster, that could as easily be at home helming a Grunge or metal track. As the atmosphere builds, contorts and rips like an earthquake, amidst the rubble our front-man asks what it will take "to shake your bones". Past the mid point, there is a further shift. The guitar takes centre stage, as a nibble Van Halen-esque arpeggio is presented, with some hints of Slash and mid-career Clapton in the mix, as well. That mutates and blends with the blues-rock passage, and combined a whirlwind of sound is present, that at once is crowd-pleasing and anthemic, and the next dangerous and brooding. It chugs along, and carries to with it, and prepares you for what is to come. The band spare their words and let the sound paint a thousand words, as around 1:48 there is some guitar and bass play that reminded me of No One Knows by Queens of the Stone Age; the riffage that preceded this is hardly a slouch when compared with QOTSA's most memorable hit. There is a mixture of No One Knows, together with solo album Jack White; maybe Sixteen Salteens-cum-I'm Shakin'. In fact that not-too-disparate kinship of QOTSA and White plays a big part in the closing moments; you could almost this kind of propulsive rock drive appear on the new QOTSA album (also due for release in June). Not in a bad way; in a very good way, there just seems to be that similar flair and bare-knuckle smash to it. The vocal returns to chorus the song's title; combined deftly with the music; nestling in nicely and seeing it through to the end. At under two-and-a-half minutes long, it is incredibly tight and short track, but manages to make a big impression.

The band have their debut out next month, and recorded on a small budget, and containing similarly sparkling and daring tracks, it is a refreshing sea change from a lot of current bands. There is unpredictability and skillful songwriting nestling with good ol' grunt and passion. The band are a professional, tight and talented trio, that deserve a huge subscription in the lead up to their album release. They have already been hailed by BBC Introducing as a hot band to watch, and on the evidence of the album's title track, it is well-founded, too. Blues-rock is not a form of music that is too prevalent in these parts, and has not been this exciting and relevant since the '60s and '70s. The track is a lot of sound and electricity, with few words, but it works well and has the right ratio of both to make sure that the song triumphs. It would be pleasing to think that there will be a lot more similar bands following on in the next few years. Of course the problem is, that once a band and style of music has been embraced, there is a wake of unoriginal and pointless acts, distilling the effect and sounding so similar as to infuriate. It is plain that The Red Shades will inspire some fellow bands to unleash some similar sounds, but I hope above everything...

THAT The Red Shades are embraced as fervently as is deserved.

___________________________________________________________________________

Official:

http://www.theredshades.com/

Twitter:

https://twitter.com/TheRedShades

Facebook:

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

May 4, 2013

musicmusingsandsuch

Uncategorized

The Wytches- Crying Clown- Track Review

May 4, 2013

musicmusingsandsuch

Uncategorized

The Wytches-

Crying Clown

Track Review

9.8/10

An impressive online portfolio, and a twisted and Alpha Male sound results in a wonderful jam.

Availability:

Crying Clown is available at

http://www.guardian.co.uk/music/2013/may/01/the-wytches

___________________________________________________________________________

IT is down to the south coast again, once more...

that my mind is focused upon today. For a long, long while now, most of the bands and acts focused here have hailed from the north. I was surprised and pleased when I came across Classic Plastic, and their unique blend of Britpop-cum-classic '60s blend, and stated how rare it was to hear of a great band from the south coast. Not due to a lack of quality or low numbers; sheerly because any media promotion and attention seems to focus on bands from either London, or foreign climbs. There seems to be an ignorant disregard for any worthy act that originates beyond the capital. As I mentioned when reviewing the Brighton boys, it is hardly surprising that such a confident and talented act should be found here. The air is fresher, the streets are less cluttered, and there seems to be a physical and creative space in the southern coastal spots, that is lacking in the bustling metropolis. A dedicated regard has been appropriated, where there is no city stress. If you wander along the seafront, or venture further into town, there are well-worn doors and strange little clubs, that each proffer a different sound, and offer a unique curiosity. The music that is elicited, tends to be perhaps heavier in nature than you'd expect; there is a lot of guitar music, and not too much soul or jazz. London may have the diversity, but where the likes of Brighton may be less varied as a whole, the quality tends to be more concentrated, and there is more personality and approachability amongst the acts. I guess in a way, the hub of economy, politics and population is centered in London; it is where the vast majority of magazines, newspapers and music sites are based, so naturally, it is where the majority of attention and focus is going to be paid. I accept that. It just seems that a lot is being missed out; there are wonderful, humble and striking acts to be found if you venture further north or south; each promoting a solid work ethic, that promised high yield bonds and a longevity that many of the more celebrated London acts may not posses. Strange thing, I guess, about music: you would expect a greater security and protection the closer you are to London. I suppose politics and life in general is unpredictable and uncertain, so too are our assumptions with regards to epicentres of quality music, and the duration of the inherent participants. I digress, somewhat. Brighton soon could be a contender for the future capital for great music, and the horizon for which tired eyes may soon be straining to view more clearly.

The Guardian has recently focused the wonders of The Wytches. Their name may be simultaneously straight-forward, yet hard to spell, but is a trend that is occurring amongst young bands. The Strypes are doing it as well, and should the two acts ever share a bill, it will be interesting to see if a name civil war breaks out. The profile piece noted that it is rare in 2013; or in the 21st century in general, to hear acts that not only offer psychedelic music, but a sound that is perhaps darker and more deranged than you may expect from any comparable '60s acts such as The Byrds and The Beatles. The Wytches are a rarity, in the sense that they not only are stepping away from a predictable and lamentable scene that sees most new acts aping existing bands, and instead finding a new and curious path. Their front-man, Kristian Bell has had his pipes compared to them of Alex Turner. This shouldn't be seen as a red flag at all; more of a slightly fatigued comparison. Recently I have heard far, far, far too many new bands, where the front-man has taken to mimicking Turner. To be honest one is enough, and trying to emulate Arctic Monkeys in terms of quality and conviction is an impossible and fruitless task. Where as Turner tends to be convincing yet a little flat, with regards to range and power, Bell has a wilder and more ravaged voice; a cross between Jim Morrison and Captain Beefheart, in a sense. Bell, along with his band cohorts, Mark Breed, Dan Rumsey and Gianni Honey (best name ever, by the way), are a tight and mature band, in spite of the fact that from looking at them, you would swear they were all between 16 and 17 years old. The band call their sound "surf doom", which is something I have never heard. You get the impression that Dick Dale has joined forces with Quentin Tarrantino and made a darker follow-up to Pulp Fiction. They have been lucky enough to have recorded their track Beehive Queen, in Hackney's Toe Rag Studios. Helmed by engineer maestro Liam Watson, it has all the hallmark sounds you expect from a Toerag recording: sparse and raw, with a retro '60s sound, and an overall effect that gives the unnerving sensation that the band are playing the sound live in your living room, or the back of your mind. The band have a weird breeding, when it comes to melting sounds, and unleashing a perfunctory aroma. There is a teaspoon of 1950s surf rock; a spill of 1967 psychedelia, and '90s desert rock. If you put out of your mind any notions of Arctic Monkeys tribute, and set aside the issue of the youth of the band, the results are quite startling. Beehive Queen one side of their double A-side single, and has been getting a lot of press, because of its immediate and fresh sound, and of course, that Toe Rag Studios gold seal. It is the other A-side song- Crying Clown- that I was more focused on.

It is Beehive Queen that has, by far the most listens on SoundCloud; but Crying Clown is the curious sister. There is no time for an intro, it is straight down to vocal duties. It that bare-boned and sparse echo that hits you first. There is no studio glimmer and plastic polish; just an unfettered and minimal sound that has not been heard far beyond the legacy of The White Stripes. Our front-man spits electrical sparks in a dark atmosphere; at times it is hard to distinguish what is being sung, as our hero is enraptured by a memory of his loyalty being "sold illegally". The band are settled and composed in the early stages; the percussion smashes, wait for a few seconds, and then smashes again; injecting an audible punch into the proceedings. There is a fleck of bass, but the initial attention is on Bell. He has a vocal rough edge that the likes of John Lennon possessed as a birth right, and inspired a legion of future musicians. The sound is rooted in the north, and somewhere between Liverpool and Manchester. The tales, too, that the band are portraying, have their heart and head in 1967 Liverpool too. In spite of the boys being born in a modern age, they convey a genuine affection for the birth of psychedelia, and seem intent on making sure that it blows the cobwebs from a dusty and stuffy music scene. The chorus- when it arrives- is spewed faster and more breathless. The words are almost growled, like Bell has donned the clown make-up, has grabbed a hatchet, and is swaying through the rain-battered streets, in search of a target. It has a flavour of The White Stripes as well; there is a percussive and vocal byplay, with familiar dark edges; think second half of White Blood Cells. The chorus, too, is the first real accelerated moment to the song. Before, the verse has been measured and biding its time; letting the words out and building up the tension. When the band unleash words of "The graveyard girl" and a septic Gothic haunt, there is a sense that something dark and dangerous is lurking nearby, ready to strike. A murky, psychedelic operetta is dispensed to elicit tension and story. The guitar crackles, burbles and crashes, like an authoritative Jack White lick; only it is less Elephant, and more debut/solo album-era. The way that the clattering percussion, bass and guitar summons a snowballing gravity, is reminiscent of The Beatles' I Want You (She's So Heavy) from Abbey Road. It is focused and well-aimed, as much as anything; nor merely a professional jam session or ad-libbed waltz. It is tantalising too, as the line is built and repeats, and repeats, until you assume that it will be hear to stay for a little longer, and then... it dims down. The mood again becomes more composed, as our protagonist steps back up to the mic. The pattern and signature is the same as the first verse, only now the lyrics have shifted to include dream-reading and "casual teens". The subject of dis-satisfactory or ill-managed love is hardly a new subject, or one that will be diminished, yet The Wytches step away from cliched lyrics, instead arousing vivid and strange images, in the same way the likes of Jake Bugg- and yes, Alex Turner- do so skillfully. The band are nothing if not unpredictable, unwilling as they are to stray towards convention or expectation. Around 1:54, Bell's voice switches from its registered and pondering finger-wagging, and suddenly becomes a bloodier and more savage animal altogether. The demented, psychotic clown figure has apparently found a victim and has entirely lost its composure. There is Frank Black guttural growl, the sort of flair that Kurt Cobain employed for Nirvana. The 1960s psychedelia has fast-forwarded to early-'90s grunge- think a very lo-fi and sonically anorexic Nirvana-cum-Soundgarden (think New Damage/Badmotorfinger) with a little bit of Pixies in there too. It is hard at times to hear what is being sung; in a sense the fascination comes from the intensity of the music and vocal rather than specific words; you just need to let it invade you. When our front-man has exorcised his demons, there is a some feedback, before that heavy metal/Beatles rollicking bomb blast staggers and explodes once again; rhythmic and enticing, as well as hypnotic and fist-pumping. Then it is at an end, having made its mark, and laid out its stall, and punched you in the guts, ears and heart.

The Wytches are by a long distance, the most exciting young from the south that I have heard, for some time. I have heard only 3 tracks from them, but cannot wait to hear more. The specific talents that are brought to the band, individually are hard to match. The vocals are dark and strong, but have a dexterity and malleable menace that gives it a utilitarianism and key utility. The Alex Turner comparisons seem a little lax, as I never heard Turner bellow and scream like Bell; likewise, the overall tone of his (Bell's) voice is closer in comparison to John Lennon or professional John Lennon impersonator Liam Gallagher. There is more than enough in the accent, diversity and power to suggest that Bell could establish himself as a long-term great, and if the songs keep this strong and diverse, he will be able to stretch his lungs and talent to some wonderful and undiscovered corners. The bass has all the Grunge/Gothic crawl of Kim Deal, as well as a pioneering and adventurous soul, that is able to match and bolster the mood and tension, as well as keep the peace when needed to. The guitar and drum work together and work wonderfully. The percussive flair is to be admired, as it is taut, but also has a freewheelin' spirit to it; I hope that on future records, we hear more of it, and it is brought more to the fore, and given a couple of changes to be heard in a solo capacity. The guitar work threatens to steal the show, as it is contorted and strong-arming; able to glide between 1969 The Beatles, 1999 The White Stripes and- yes, at times- 1969 Led Zeppelin. Above all though it is original and modern, and will be an exciting addition to the band's future songs. Overall the band prove themselves to be superior to any comparisons or sabre-rattling. They are a group whom understand the importance of projecting potency, authority and intention right from the off, and the decision to record at Toe Rag Studios and make the most of the fascinating and analogue enviroment, has paid dividends. At times some of the words get buried underneath the sound, making the overall effect less potent and impactful as you'd like, but it is a minor quibble. They will be a future mainstay at festivals, and on the minds and lips of ardent music fans for a long, long time. If they haven't already been played on BBC Six Music, XFM and Absolute Radio, then they will be, as it seems like a natural homestead for them. Whether an album beckons next year, or slightly further afield, is yet to be seen; only increasing anticipation and intrigue. One thing that cannot be questioned..

IS just how impressive these first footsteps are.

____________________________________________________________________________

Official:

http://www.thewytches.com/

Twitter:

https://twitter.com/TheWytches

Facebook:

https://www.facebook.com/thewytches?sk=app_204974879526524&app_data#!/thewytches

YouTube:

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

SoundCloud:

http://soundcloud.com/thewytches/sets

BandCamp:

http://thewitches.bandcamp.com/

May 3, 2013

musicmusingsandsuch

Uncategorized

Oli Wennink- Death Row Lover- Track Review

May 3, 2013

musicmusingsandsuch

Uncategorized

Oli Wennink-

Death Row Lover

Track Review

9.3/10.0

The troubodour's influences may be familiar and well-worn, but the results will exceed any expectations.

Availability:

'Death Row Lover'

is available at http://www.youtube.com/watch?v=HeogWOeBZt4

___________________________________________________________________________

THERE is something quite interesting occurring...

down in the male solo artist market. I contrast with the female market, there does seem to be a little bit more unpredictability and range amongst new artists. I'd say the quantity/quality ratio was more-or-less even in the established cores; but when it comes to the business of brand spanking new musicians, it is the men who offer a little more curiosity. The mystery and odd range comes from the rather limited stock of established influences. For the female market, a great deal of the most inspirational established artists, are still performing. From Beyonce, to Christina Aguilera, through to Mariah Carey, the modern influences are either still recording, or on the scene. Not that every new female artists will be influenced directly by these established superstars, but a huge amount are. There are a few that are truly unique, and offer a sound that is incomparable; but a vast majority of the total market's D.N.A. can be traced to relevant 21st century paramours. For the men, the story is somewhat different. The range of artists that the new male talents are driven and indebted to, is a lot wider. For the most part, a lot of the responsible artists have already passed on, or less are long retired. In this sense, it comes as a bigger surprise when hearing the voices, emanated forth. There is a fickle short memory amongst music fans, along the lines of 'out of sight, out of mind'. So few, predominantly, teenagers are even aware of the existence of the likes of Freddie Mercury, Otis Redding or Roy Orbinson. It is true that a great deal of new artists will in some way- directly or not- try to emulate existing stars like Thom Yorke, Antony Hegarty or Matt Bellamy, for instance, but to my mind, the majority of the tribute is paid to musicians of the '70s through to the mid '90s. I have been casting my mind around, to see if I could drag some contemporary examples to mind, when ascribing vocal lineage. If you listen to someone like Justin Timberlake, for instance; there is a hint of Michael Jackson and Prince. Matt Bellamy has aspirations to combine Freddie Mercury with Thom Yorke, and within the wider sphere of the well-established market, you can detect a lot of older influences as well. I am not sure why this is; except perhaps that there are fewer modern male idols on the scene. With a lot of established female artists trying to project an air of liberation and feminist power, there is not that same political edge and ambition with the men. If anything there is less structure and focus, but consequently, there are more surprises; and a lot more range with regards to vocal tone, projection and the overall artist. Where are there is a lot of choice for the consumer, unfortunately there is a depressing tendency for sections of the media, to lazily label artists as 'The Next...'. I have mentioned in a previous review, that a lot of the comparisons are made with Jeff Buckley. The comparables are made because the featured male artist can sign falsetto, or has a modicum of emotional projection. Tom Odell is compared to him; Patrick Watson is, as well as several other dozen I can mention. The dirty secret is, that none of these artists are worthy of this comparison. They may have a few similarities, but when comparing vocal majesty, range and originality, none of them are within spitting distance. Also Buckley came first. If you are being compared to him, chances are you have ambitions to be him, and therefore suffer from a lack of new ideas, individuality and personality, and really need to start from scratch. Matt Corby is possibly the most worthy modern equivalent. But even he cannot reach the same dizzying highs; instead being more skilled in the lower ranges. Even time, a new artist arrives on the scene and is compared with Buckley, I shudder and want to cry.

I rant, because Oli Wennink has Mr. Buckley as an influence, as well as Antony and the Johnsons. I was relieved to hear that although you can hear shades of the aforementioned in his voice, one can also hear that Wennink's voice is his, and his alone. It is the mark of a truly unique and impressive artist if you can mention your influences in passing, yet differ from them, and not fall into any trap of lazily parodying and mimicking them. There are too many new artists that stray far too closely to their idols; Wennink manages to craft something quite masterful. The young man hails from Brixton, an area that has not been especially prevalent in the music press, for producing a lot of recent talent. Historically it has always been a key location and inspiration point with regards to music production. As a whole, London has been quite quiet as of late. The north, Scotland and interlinking locales have been hosting a great percentage of fervent talent, yet the U.K.'s most populated and prosperous city, has been a little guarded and shy. There is a vast amount of new talent performing in and around the capital, yet when it comes time to finding stunning current wonder, attention is drawn and focused on other parts of the country. Wennink will go some way to bucking the trend, and putting London back on the map. Wennink has already been championed by Absolute Radio, and has played a session for them. He has been hailed as a huge future star, in no small part due to his exceptional piano playing and distinctive voice. In the same way as a lot of our current male solo artists have a hard time shaking off burdens of comparison, and have little real chance of being a viable prospect in several years from now.

Death Row Lover is a summation of a restless and adventurous young man. The video for the track has recently been completed, and will be airing very soon. The acoustic version is available on YouTube and has been earning some plaudits and a lot of love. It is a song that takes little time making its mark, beginning as it does, with a gorgeous and romantic piano coda. It has an essence of the great romantic classical pieces, yet repurposes any sedate or mournful tones, and instead weaves a contemporary relevance into proceedings. In the same way that some of today's greatest purveyors of classical edges, such as The Cinematic Orchestra, can invoke a riot of tenderness and emotion. It is a passage that lasts less than 20 seconds, yet manages to set the tone beautifully. It is soft and elicits a swooning touch that captures and seduces. The scenes that are evoked portray carnage and disorder, and amongst the corners of mayhem and emotional turmoil, is the heroine; the subject; the Death Row Lover. There is a doubt in our hero's mind, as to whether his lover is faithful and if he is the only one on her mind. When Wennink sings "And you're in love with another"; his voice rises and you can hear that underneath, there is a lot of pain and regret. It is said that if he is not too late, and there is still a hope, then he can be the one to save her; casting himself as the Death Row Lover; the saviour for a soul that is tormented and doomed for unhappiness. Wennink speaks of a hard road and future for him; one that could be swallowed up. Damn it though, if the torment and uncertainty is intended to bring you down. The author has his heart on his sleeve, but it is the consistently gorgeous and moving piano coda that keeps the mood above the water. Your sympathies are certainly with him, but your body is swept up in the waves of lilting notes and swathes of beauty. The chorus is the most effecting element to the track, and a silver dollar which produces a multitude of vivid and striking imagery. One cannot help but imagine a lonely woman, making mistakes, in love with a man who is all wrong for her. Meanwhile, our protagonist sits alone, and wonders why it is not him who is with her. There is a longing for sure, but the vocalisation is never cloying or overdone; the falsetto is affecting and mannered, and wrings the right amount of emotion from the situation. Wennink wants to be a "lucky escape"; a lifeline for the unnamed object of his desires. In a sense there are some similarities with To Build A Home, by The Cinematic Orchestra. There is that same wonderful and soothing piano work, lyrics that take your mind to other corners and places that they may have never visited before, and a strong and impressive vocal tying everything together. There is no need for any cheap linchpin or trick; the track wins you because of its bare-boned and bare-chested core. In the way that Antony and the Johnsons can consistently produce stirring and stunning songs with classical tones, Wennink can pull off the same authority. Only the voice behind the talent is not as deep and haunted; there are softer edges nestling within the lingering beauty. The track ends with a wordless coo. Our hero serenades, emotes and doesn't say a word; you can tell that all that needs to be said has been said; and he is letting you into his head and thoughts and the piano and voice blend superbly. One cannot help but wonder how things worked out, and whether the individual parties found peace, and how the heartache and tension was resolved. Although I guess the conclusion will be reserved for a later date.

I am glad that Wennink has not pulled off a lazy and uninspiring trick, by trying to be someone who he is not. There are far, far too many in the market today that have no voice of their own; instead being second-rate copies of past artists. Wennink's career may be in its infancy and the best moves are ahead of him, but the first steps are so encouraging, that he should have no fear. On the evidence of Death Row Lover, you can tell he is a talented songwriter, whom is capable of taking themes of love, longing and pain, and doing something different with them. Lesser songwriters may have told of a relationship that has broken up, or an affair, or whatever; essentially treading very old ground with little insight or though paid towards poetic detail. Wennink blends strong imagery with an intelligent and poetic touch that infuses the song with a maturity and authority, beyond his years. The piano playing is exemplary, and he is clearly an incredibly talented musician. It is the blend of originality, musicianship, and a voice that is impassioned and striking, that will lodge the song in your ears for a long while. Where as I have been reviewing a lot of northern talent, and focusing my attentions further up the country, I am pleased that there is some major talent close to home. The capital has always been a little down the league table when it comes to producing the all-time classic artists, but I am hopeful that some time soon, there will be a new band of pioneering acts, whom are capable of being remembered decades from now. For the meantime, it is encouraging that there are songwriters out there, that have their own voice and ideal, and are not contented to compromise or squander their talents. The official version and release of the song is imminent, and it will be wonderful to hear what it will sound like, and whether it will differ too much from the acoustic version. I am confident that it will build upon the solid foundations that are displayed here, and add extra texture and mystique. Wennink is a young artists whom has a lot to say, and has a loyal band of fans that are willing to provide support and accreditation for many years to come. If you are someone who believes in the future of the solo market, and are looking for a genuine talent who can deliver a hefty punch, one thing is for sure:

HERE is a name you will be hearing a lot more of in the future.

___________________________________________________________________________

Twitter:

https://twitter.com/oliwennink

Facebook:

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

SoundCloud:

http://soundcloud.com/oliwennink

YouTube:

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

May 2, 2013

musicmusingsandsuch

Uncategorized

Classic Plastic- Bucket and Spade Escapade- Track Review

May 2, 2013

musicmusingsandsuch

Uncategorized

Classic Plastic-

Bucket and Spade Escapade

Track Review

9.1/10.00

The band have a knack and trend for rhyming, friends. But there is a lot more curiosity, when you dig deeper.

Availability:

'Bucket and Spade Escapade'

is available at http://classicplastic.bandcamp.com/

___________________________________________________________________________

It is, once more, back to the parable of the new band ...

only today, there is a minor twist. When summing up and over-viewing a new band, and the associative local scene, there is a lot of talk about the north. My recent focus, has taken me to the undervalued, and rather prodigious climbs of Leeds, Bradford; and perhaps more obvious hot-spots such as Manchester and Liverpool. As you may- or may not- be aware from my newer reviews, I have waxed lyrical and been quite tumescent when analysing the great north. From Abi and Marc, to Rose and the Howling North, through to Johnnythefirth, there is a teeming and seemingly unlimited potential and wealth of new talent, bursting at the overstuffed seems. Some of the great new hopefuls have originated from London, but not many to be fair. The problem we have with the media, and especially the more left-wing conservative press, is that they tend be narrow-minded and pedantic. They are either unaware that there are cities and towns outside of London, or bogged down in their middle-class, middle-England role; seemingly unwilling to acknowledge any area that could be considered working-class. In my unofficial role as a music reviewer, I have had to work hard to find some great acts. That said, those acts that I have had the pleasure to write about, are with few exceptions, based in the north of England, or Scotland. I myself live about 40 minutes from Brighton, and know for a fact that there has always been a fervent and diverse music scene down there. I have often wandered down The Lanes, and nearby venues; little doorways and fascinating pubs. Each one is awash with billboards and signs promoting local, and far-away talent, all eager to ply their trade to the southern folk. It is not an anomaly, either. If you travel down towards Dorset or Hampshire, again there is a huge amount of similarly wonderful talent. It is the sea air and the tranquility, you see. London is bustling and busy, no matter which district you reside in. Consequently, a great deal of- especially promoted- music, tends to be guitar bands, and a lot of uptempo music. Although the bands here do not exclusively write about the city street stress, their sound seems to be indicative and representative of a deep-seated anxiety, as a whole. The same is true of the big cities in the north-west. There is a modern and industrial speed, that dictates pace and enforces mood. Perhaps it is not surprising, if you follow the analogy, that the likes of Bradford play host to more acoustic acts. If you travel down the A23 from London, and go 'off the beaten track', as it were, you will be amazed at just what a shift there is, with regards to music. Sure, the south coast plays host to a great deal of indie, hard rock and metal bands, the same as anywhere else I guess. It just so happens, that proportionally, there is a higher percentage of bands and acts, who are less harried, and convey sounds that are at once mellifluous, as well as urgent. There is a more temporised strain beneath the bones, I guess. The fact that the local talent are in a, by and large, calmer environment, can be heard in their music. I mention all of this, because there needs to be a closer and more dedicated level of research and attention given to the musical folk south of London.

Brighton boys Classic Plastic, formed last year, arrive with a refreshing and intriguing style of sound, that has been compared to Britpop favourites Blur, whilst drawing in northern influences, The Smiths and The Beatles. The four lads hail from different parts of the country, yet were formed because of their mutual musical loves, and common ideologies. They have been touring relentless through Brighton, and London, even having their tunes spun by XFM and BBC 6 Music. In just a year they have gained a strong reputation and a loyal band of fans, through social media, and beyond. The lads are, singer/songwriter and guitarist Alex Hill; guitarist Cai Trefor; drummer Joshua Belcher, and bass player David Armstrong. Their sound is melodic, and combines modern and restless sounds, with a flavour of '60s pop and classic '90s Britpop. In spite of the growing number of guitar bands, many of whom say nothing different from the rest of their contemporaries. There are few fresh and vibrant bands on the scene at the moment, and Classic Plastic fill a demand that has been growing and growing for many years now.

The start of the intro has a invigorating and propulsive edge to it. I was reminded initially of Coffee + T.V. by Blur. There a similar rhythm and strum to it, and instantly your head is taken to the mid-late '90s; there is instant authority and quality to it. Unlike Coffee + T.V., Bucket and Spade Escapade is a slower jam, and has a slightly breezier, '60s edge. I can see and hear the influence of The Beatles, circa-Help!; a smattering of Johnny Marr's innovative guitar work lingers in the formative notes. When the drums enter the fray, there is an explosion of summer colours; it is tattooed splinters being blasted into the sunset, and infuses the track with additional energy and swing. The track checks up a notch, and provides a beautiful stepping stone for the vocal to begin on. When the vocal line does arrive there is no Damon Albarn/John Lennon-esque tribute or emulation; it is a modern-day and unique vocal performance. There is a distinct accent; to my ear, originating from either the west or south west of England. It is a bit of a change from the rather bland accentuation that many modern bands seem to posses, and when the words "You I knew it was real" are enunciated, there is a charm and conviction to it. Our front-man has a way of seemingly licking his lips with a sly wink when the words are delivered. He has a similar swagger and cheekiness to his tones as the likes of The Libertines boys Doherty and Barat. I could almost picture Doherty, in his pork pie hat, swinging around the microphone, smiling away. If anything, the refreshing and swaying drive to the song reminded me of a younger Suede perhaps; there is that sense of sexuality and youth to proceedings that, married with the Britpop/'60s backing, conjures up a tantalising and heady blend. When the words "You I knew it was real" return, the energy level sparks, and there is a familiar tone to the vocal, and amidst a flurry of seaside imagery: sandcastles, beaches and a tangible sense of summer heat. Through a whirlwind of curious scenes; speedboats, near-romance and simmering tension, there is a simultaneous child-like innocence, and lascivious intent. The band are consistent and tight through the track. The percussion, bass and guitar line remains structured and unwavering. It is a line that keeps the track balanced and compelling. In the same way the likes of Blur and The Smiths can keep you engaged with a taut and composed musical passage, the band do so, and tie it in with a compelling and memorable vocal too. When our hero talks about the fact that him and his lover never go home "'til we've had a swim"; you get the sense that there is double entendre and a sly nudge lurking within the sentiments. The vocals are an ever-changing monster; from The Clash-style punk punch, to cheeky little subdued laughs and effects, right through to modern-day London in the chorus edges. Although the soul and heart of the track, may be implanted with seeds from '90s Essex and '60s Liverpool, the bones of the song are rooted in the south, and by the sea. Although Brighton has a bone-breaking pebble beach, the mood is very much sun, sea, sand, and... yes, sex, too. In the way that debut and eponymous album Supergrass were fresh-faced and a gang of reckless abandon, Classic Plastic have a similar tongue-in-cheek-cum-innovative rock gods persona. One wonders whether the 'Bucket' refers to...well, you know, and the 'Spade' refers to, well... hmm; escapades a plenty, and it is quite pleasing to hear of a band whom have a loose sense of fun, as well as a genuine talent for hooks, strong and wonderful melody, and an intelligence with regards to keeping a song unpredictable and unflinching. It is a track that motions like a juggernaut, musically, counterpointed with a pioneering and adventurous vocal, that keeps its own style and voice strongly, whilst showing shades and colours of some past masters.

It is true that the best sounds of 2013 are a good 40 miles away from London. In the same way that the north has been showing how it should be done, it seems that the south are making waves, and grabbing focus too. I have been familiar with the Brighton music scene for a long while, and have been stunned by the range of styles and sounds that are present within the town. In a year where there are more new acts than ever bursting forward, it is not going to be hard for Classic Plastic to gain a huge following, and hear their fresh and stunning sound heard by a large audience. They have already been turning heads and winning over some of the largest and most influential radio stations in the U.K., and have been supporting some rather stellar talent too. They will not need my endorsement and patronage to win over a new legion of fans, but at the same time, I hope that my gold star can help draw in some disparate and unexpected avenues of listeners. In a time where it is simultaneously open-market and near-impossible to break to the surface and win a majoritive vote, the 4-piece Brighton band are in a really strong position to rule the airwaves, and a final message to any fickle and uneducated city media:

There may be more talent down south than you thought.

_____________________________________________________________________________

Twitter:

https://twitter.com/ClassicPlasticc

Facebook:

https://www.facebook.com/#!/Classic.Plastic.uk?fref=ts

SoundCloud:

http://soundcloud.com/classicplastic

YouTube:

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

May 1, 2013

musicmusingsandsuch

Uncategorized

Laura Marling- Master Hunter- Track Review

May 1, 2013

musicmusingsandsuch

Uncategorized

Laura Marling

Master Hunter

Track Review:

9.8/10.0

Predicating the future impact of her fourth album, arrives a reliably taut and fascinating '... Eagle' flight.

Availability:

'Master Hunter'

is available via:

http://www.youtube.com/watch?v=KH8VJyASTsg

___________________________________________________________________________

A brief dedication will be given, once more, to the inter-changing role...

of the female solo artist, in the 21st century. For every 'new' talent that arrives on the scene, a cursory, and then more in-depth summation is undertaken. The eager Jane Doe, is subjected to a minefield of infinite regression, poor wordplay, and lazy comparisons. If the subject is gorgeous, more often than not, a lot of focus is given to that. If the music is similarly breathtaking, then a semblance of hysteria is elicited. Many new artists have arrived on the scene, for which one thing has been scrutinised and highlighted the most: the voice. Whether the instrument is generic, amazing, flawed or unexpected, an uneven weight does seem to be levied towards it. In spite of the fact that the male market but have a larger subscription of solo artists, it is the female quarters that garner the most fervent- and divisive- press. Adele has probably been celebrated the most, in recent years, and has been championed for her wide-ranging and emotive power. Previously, the likes of Amy Winehouse were seen as the forerunners of the female voice, and aside from media darlings and controversial heroines, there is little curiosity elsewhere. There are a great many new female solo artists, but few that you are actually enraptured by. Aside from vocal prowess, as much as anything, there appears to be little in the way of an ear for composition, a literary and intelligent mind, and an intriguing and original personality. Many solo stars; with a shocking amount named Lucy Rose, are at the forefront of a vanguard of mechanical slurry. The aesthetic is the same: cutesy smiles, casual '70s fashion, and an underlying sexiness, combined with a somewhat-twee and unspectacular voice. I guess that these singers fill a void, or fulfil a market need, but once you've heard (and subsequently forgotten) one, the same fate awaits the rest. For all the homogeneous blandness, there is a core of exciting and worthy talent, whom are making strides to be heard, amidst the rabble of white noise. It is a rarity to see- and not just in the female market- a talent whom is capable of unleashing a singularly fascinating voice, and tying that to a remarkable songwriting ability. Even rarer do we see artists whom achieve all of this, and keep the quality rate, not only consistent, but burgeoning.

The case of 23-year-old Laura Marling, is to say the least, a unique one. With musical parents, and a household filled with music, it was perhaps not a shock that the daughter Marling was going to follow in similarly-shaped footsteps. What was unusual, perhaps, was that Marling decided to choose folk music, as her muse and museal fascination. In a period (the early-mid '00s), where a lot of focus was paid to indie and rock sector, bands such as The Strokes and The Libertines, were perhaps most aspired to , and replicated. For the solo artist, there was perhaps a paternal encouragement to go into the safe trades: pop, pop-rock and perhaps soul. Around the age of 16, Marling relocated to London, uprooted herself from a rather uncertain future, at home. It was in the capital where she met (and subsequently fell in love with) Charlie Fink (of Noah and the Whale), as well as a group of like-minded musicians. The press, lazily referred to them, as 'nu folk'; for the remainder of the music world, they were seen as a veritable breath of fresh air; something that was an antidote and remedy to the heavy electrics and pulsating percussion, that was tattooing the sound-scape of '00s music. Marling's musical endeavour began around 2007, where she was afforded the opportunity to perform at a number of prestigious festivals, including the first-ever Underage Festival. The Hampshire-born siren began collating a loyal band of followers, and it is with an inherent confidence as well as a growing demand that 'Alas, I Cannot Swim', was released. Whilst perhaps not her strongest album, it hinted at a very bright future, one which was made possible by a modal and genetic simplicity: one woman, one guitar, one voice. It was a little while to wait before she was cemented as the benchmark for all female solo artists, as around 2008-2009, a lot of similar artists such as Feist, were making their mark. In spite of the fact that it was nominated for a Mercury Music Prize, and featured such stunning tracks as 'My Manic and I' and 'Ghosts', it reached only no. 45 in the charts. Continuing a succession of albums containing the word 'I', with a lot of songs that didn't necessarily pertain too much on Marling's troubles, 'I Speak Because I Can' garnered a hell of a lot of critical praise, and fared a lot better. Many were indoctrinated by Marling's studies on the responsibility of womanhood, and the issues and heartaches that are sometimes faced. As well as a lot of credence being paid to her, as The Guardian put it, "crisp and unflinching (songwriting). Allmusic were impressed by Marling's unique phrasing, which they compared to that of Joni Mitchell; whilst they went on to say that the album "delivers almost on every level". Heartache, pain and the nature of love are recurrent and cyclical issues for almost everyone; yet Marling employed them as vicissitudes; crafting 10 tight tracks, which captured the imagination. Even as early as her sophomore album, Marling had established herself, not only as the greatest songwriter and lyricist of her generation, but possibly the most accomplished female songwriter since Mitchell. There were Dylan-esque chord progressions, instantly quotable sets and couplets, and an amazing confidence. It was at the prefaced infancy of the Mendelian inheritency summation, 'A Creature I Don't Know', where I came in. As a similarly-minded (if slightly older) songwriter, I found much inspiration within the songs. I found a lot of relatable autobiography when learning about Marling's emotional state at the time of writing the album. She spent many a day in cafes, scrawling in books for months "before any songs took shape". I still do this, and have the daily experience, but Marling utilised this loneliness and introspection to craft her finest album to date. Many critics hinted at a more literary focus to several songs, including 'Salinas' (which was inspired by a book about John Steinbeck), and 'Sophia' (written after Marling completed reading of 'The Rebel Angels'). Perhaps born as an arbitrary axiomatic reaction, or a symbolic shift, Marling's voice was lower and more emotive on this collection. It was the centrepiece 'The Beast' which struck my hardest. With its building wonder, and storm-blinding atmosphere, it showed the maturity and confidence of an artist more advanced in years. Not only could- and can- Marling justify her role as the leader of the new avant-garde with acoustic guitar beauty, and a stunning and compassionate voice, but also through the orchestration of strings- with homonymic duality, when considering 'heart strings' were being plucked- and forbidding and ominous percussion. It was the aggregation of consistently stunning songs, a new and more developed sound; and a new social philosophy, enforced by a demurred and subjugated emotional mindset, that saw the album placed in the 'Top 50 Albums of 2011' lists of Mojo and Uncut. This brings us, perhaps with little succinct tread, to Marling's latest creation,' Once I Was An Eagle'. Whether the tonal shift from personal doubt, personal immersion, and beast tackling signals a refreshed and positive outlook on life, is difficult to say, but in a recent interview with The Guardian (which I shall mention more in the conclusion), hints that Marling, may finally be where she wants to be in life, and, dare we say 'contented'. Marling is a highly intelligent woman, unconcerned with poppycock such as fate, miracles and a greater power. She knows that in order to be autonomous and continuously adored, she needs to keep moving (quite literally, in fact, given that her new home is L.A.), whilst regenerating and calibrating her talents as a songwriter. There is a lot of speculative deceleration being levied towards the album; with many claiming that it will be her greatest set of songs yet. NME have been lucky early recipients of the album, and have cut through any folderol, to proclaim the album as her most accomplished work "by some distance". As Marling did with 'Don't Ask Me Why' and 'Salinas' from 'Creature', the first four tracks from the new album will take the form of a medley- with each song of the quartet, running into one another. Whether it will be a sort of 'Abbey Road' second side-cum 'A Creature I Don't Know' machination, is unsure. It is perhaps unsurprising, then, that our featured song is track 5 of the album. With such a rich and variegated history from Marling, whom has penned three rather compelling and addictive chapters thus far, I settled down to experience my first taste of 'Once I Was An Eagle'.

Before I try to seduce 'Master Hunter', I am struck by the album title Marling has chosen. I am guessing at least, that the album titles (perhaps more so than the song titles) are demonstrative and indicative of an emotional malaise or deeper physiological pain. Where as the first two albums were perhaps more literal in this respect, 'A Beast I Used To Know' was more oblique and mysterious. Whether the 'Beast' referred to a former love, an emotional state, or an abandoned creative paragon, is for the open-minded. I suspect that there is some reference to creative rebirth, and a spiritual calm in our heroine, that leads to the words 'Once I Was An Eagle' being chosen, as the album's moniker. Or perhaps not. One of the fascinating and inscrutable aspects of Marling, is that she is as open as you want her to be about her songs as she is with her personal life. I suspect that the album as a whole will be reflective of a wider personal Munchhausen Trilemma: she is letting her music do the talking and explaining. With a paltry 15,000 or so YouTube views, and 50 comments on SoundCloud, 'Master Hunter' is deserving of an accelerated and dedicated obeisance. The track gets into your brain right from the off; unleashing a myriad hailstorm of acoustic strings. At once I was reminded of the odd number on 'Led Zeppelin III'- especially 'Celebration Day' and 'Bron-Y-Aur Stomp'. There is that same weaving fire and ecstatic within the initial bursts of 'Master Hunter'. It is the percussion that adds extra depth. It is a ballast to the speedy strings; a punctuated artillery that, combined, musters up a theatrical and majestic mood. When Marling announces her voice, it is familiar to fans of 'A Creature I Don't Knows' finest moments. It is calm and authoritative; not lecturing, instead the usual mix of qualitative principality and that unique phrasing and annotation. There are country twangs to Marling's voice, giving you a flavour of '70s U.S. country; there is a veritable smorgasbord of Dixie delight. Marling's vocalisation is neither a parody or feint tribute; she has always had this edge to her voice. There is an edge of Dylan and Young in the guitar tones, as well as some of the more evocative lyrics. Marling is a master at subverting expectation, and after she announces: "You want a woman/Because you want to be saved", the subsequent lyrics tumble, and roll from her mouth; syncopated and twisted of tongue. The lyrical themes bear resemblance to her core mandates: emotional dislocation; the disparate nature of love, and a longing for some space and independence. Dylan sang in 1964, about a woman who wanted him to "open each and every door"; in 2013 Marling is speaking about a man whom wants someone "who can call your name". Both reach the same conclusion: "It ain't me babe". Again there is a homonymic tic; both beneath the skin and a nervous one on the cheek, as Marling defies gravity and lets her words pour out. The comparisons with 'Another Side of Bob Dylan'-era Zimmerman. There are similarly frantic and toppling vocals; as well as a mixture of literal and oblique lyricism. When Marling lets us know: "I don't stare at water anymore/Water doesn't do what it used to do before", one suspects that she is not speaking literally. The 'water' may refer to creative endeavours, or words; or simply- as is common with all great poets- whatever interpretation you have, it is a thirst that will be unslaked. Marling, backed by jiving, alpha-helixs of drums, remains steady and unflinching, as she lets the disgraced hound-dog know exactly what's what. Marling shifts narratives, when she tells of "You let me into your bed"; she is speaking not only to a perhaps-clingy wannabe lover, but also to an unnamed femme fatale. In spite of Marling being in a better head space that she was in 2011, her ability to cut brilliant shapes from black velvet, remains undiminished. Bon mots, such as "They can't get into my head/Oh they don't have a hope in hell", are juxtaposed and intertwined with notions of suicidally and riparian torment. Marling's voice is at times, augmentative and youthful (when she sings the words "bullet in my brain" she does with a little skip; again hinting at a young Dylan), complete with honeyed and delectable bursts of femininity; whilst, in the spirit of capricious endeavour, portray a more carbolic and indigo hue. What is not open for interpretation is how confident Marling sounds. Gone is any timidity or meekness that may have haunted her 18-year-old mind; there is triple bluff to her swing either. I could well imagine Marling in the studio, microphone overhead, as she punches her arms and kicks her heels, loving every second. This stately grace and dauntless appeal imbue the song with racing stripes and a summery breeze. The dance of 'Master Hunter' changes tempo at around 1:54. Where as the chorus is a little more relaxed and takes its time to say what it needs to, here the pace is faster and spiritedly; Marling shows some of the D.N.A. from Dylan's 'It's Alright Ma (I'm Only Bleeding)'- there is a comparable urgency. Where as Marling previously has kept a measure of composure and restraint, now she is angrier and more studded- even dropping the f-bomb at one stage. I suspect that there are parralel lines between the song's themes and Laura's personal circumstances (and her move from London to L.A.). Having elicited scenes of darkness and struggle, she sings about "Take me somewhere I can grow". Whether there is detachment or if she is referring to her dissatisfaction and sense of suffocation living in the U.K., is a uncertain. It would be most naive to think that there isn't some personal relevance in the song's themes of dissatisfaction and dislocation. Marling has always been an elementary particle; a woman that is not content to rest and be unhappy anymore. As the song comes to a resplendent, if premature end, there will be a smile on your face. You will instantly want more, and it is impressive that even in a 3:17 track, Marling can say so much, and leave so many questions unanswered. It is her intrinsic genius as a songwriter and artists that she can do this so consistently and unabated.

I shan't keep you too much longer, but there are a couple more things to say. Marling current resides in the U..S, but I am hoping that she remains faithful to her voice- both literal and creatively, as she is our brightest star in a crowded musical solar system. Marling has never had to concern herself with conforming to any expectation or fitting any ill-fitting moulds. She is a beautiful woman, filled with renewed confidence and inspiration. She is someone who has always managed to craft stunningly intelligent and thought-provoking lyrics, without slipping into pretentious waters. Above all, she has an alluring and tumescent appeal that is a rarity today. She is very honest and likeable as a person, and has always kept appropriate cards close to her chest. In a way she is a poster girl for the 21st century. In an age where there is so much bland and plastic talent, and ghastly talentless talent, caked in make-up, unable to string an eloquent and coherent sentence together, Marling is an undiluted tonic. There should be more like her; it would make music a better place, but in a sense knowing there is just the one of her, makes her music and majesty all the more special. Aside from any fawning rants from me, Marling has taken another big step away from her peers, and showing the female (and male) solo artist how it should be done; not only from a personal viewpoint, but creatively. 'Master Hunter' shows that Marling as close to a young Bob Dylan, as the current-day Dylan is. It is not an over-exaggeration to say that a few years from now she will be mentioned in comparable breaths, and I hope that we are still hearing albums from her, by the time she hits 30. 'Master Hunter' is not going to be anomaly in the context of the forthcoming 'Once I Was An Eagle'. It will be filled with similarly egalitarian and masterful tracks.

I am going to conclude by giving a some details from a recent interview Marling gave to The Guardian. Marling resides currently in Silver Lake, Los Angeles, and she lives on what was described as an "unremarkable stretch" of road. Her daily routine consists of visiting a local bookshop (often purchasing one), frequenting a nearby coffee shop. It is part of her "ridiculous life" as she explains, and she loves how she doesn't have to explain herself to anybody. She moved to L.A. because of its landscape, diversity, as well as easy sociability. The move came about, from Marling's growing feeling of unrest living in London, and the U.K. as a whole. She liked to be alone, but not to feel lonely, but explains that residing in England is not conducive to this desire. The pace and the lifestyle seem to suit her well, as I could tell from the interview and the narrative, that she feels at home amongst the busy streets and curious scenes; interesting bookshops, fascinating little bars, with plenty of people to talk with. Marling is used to answering questions about her personal life, and gives precious little scandal. There is a lot of over-interpretation with regards to her artistic license, and there has been a lot of interest surrounding the new album, and the inspirations behind the songs: love, life, changing locations... the lot. Reading the interview, you get the impression that the new city is doing her a lot of good. She explained that she didn't want to "accept unhappiness" anymore. It is the need for change, the desire to be in a new land: one which is not so suffocating and lonely, that has inspired a lyrical and musical regeneration and development. The woman behind the music seems a lot happier and peaceful than at previous avenues of her life. She has a hell of a long career ahead of her, I hope, and it is good that, with a fourth album beckoning, contentment is tangible. Whether this changes things for the better or worse in the future is moot, because her music, appeal and stunning results have never been dictated by lifestyle, locality or scandal. She is at a core an ever-evolving and restless songwriter, who is as inspired by literature, as she is of the scenes of the city streets. With a new personal paragon in sight, local bookshops with beautiful color (sic.) schemes, and less hostile (?) streets beneath her feet, 'Once I Was An Eagle' will be reflective of a young woman with a lot to say...

... and a long, long career ahead of her.

___________________________________________________________________________

Interview quotations taken from

http://www.guardian.co.uk/music/2013/apr/28/laura-marling-interview-once-eagle

Official:

http://www.lauramarling.com/

Twitter:

https://twitter.com/lauramarlinghq

Facebook:

https://www.facebook.com/lauramarling

YouTube:

http://www.youtube.com/lauramarling

SoundCloud:

http://soundcloud.com/lauramarlingofficial

iTunes:

https://itunes.apple.com/gb/artist/laura-marling/id267087057

MySpace:

http://www.myspace.com/lauramarling

'Once I Was An Eagle' will be available on 27th May via:http://www.amazon.co.uk/Once-Was-Eagle-Laura-Marling/dp/B00BQWR9BO/ref=sr_1_1?s=music&ie=UTF8&qid=1367398940&sr=1-1&keywords=once+i+was+an+eagle

Track listing

All songs written and composed by Laura Marling.

No.

Title

Length

"Take The Night Off"