SanguinDrake- Currency- Track Review

Track Review:

SanguinDrake-

Currency

　

9.8/10

Hollywood history and looks, co-mingle with L.A. dreaminess: reborn again, since 2010.

Availability:

Currency is available at

http://www.youtube.com/watch?v=fwO3jnGMsgk

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MIXING acting with music has been a fascination of mine...

for quite a while. It is something that, in this country, leads to grimacing and hesitation amongst many. I guess if you go from the studio to the stage, the reluctance is less intense. It is when actors attempt music, that faces are contorted in a rictus of stunned silence. Critics line up, shining their boots, ready to take the first swing, and the public in general tend to pass them by. In the U.K. the phenomenon has been present for many decades now. It is only over the last 10 years or so, that we have seen more and more actors turning their abilities to music. It is something I will explain more, when explaining the featured band; but for now, is a short history of thespian mis-steps and triumphs. For all the actors, whom have made successful transitions from the stage to the recording studio, there has been a mass of embarrassing failures. Hugh Laurie is the best British example; he has a natural blues voice, and has been displaying his music and vocal chops since his early acting career: Jeeves and Wooster springs to mind. In the U.K. I guess there have been a lot more failures than you'd expect, as I am loathed to highlight another actor, whom has managed to be held in fund regard as a musician. In the U..S, the likes of Juliette Lewis and even William Shatner have had mixed fortunes. Russell Crowe and Robert Downey Jr. have infested their horrid tones on the world; and Jared Leto is a somewhat overrated second-rate singer and musical talent. There are few U.S. examples whom have managed to stay credible. Zoeey Deschanel began brightly as part of She & Him, but their latest album Volume 3 attests, their charm and ideas are running low. If you factor Will Smith out of the equation (whom I suspect began singing before acting), then you have murky waters indeed- but more on it later. In the U.S. there is a small wave of new bands and acts, making their way across the Atlantic. Most of the time, there is an overzealous focus on homegrown talent, with a rather narrow and restrictive foreign policy. I have been privy to hearing superb acts from Australia, Europe, as well as the U.S., and one thing always strikes me hard: why have I not encountered them before now? There seems to be a balkanisation within the music media, or a par with political agendas and evils: giving other countries a leg-up seems to be a no-no in general. Occasionally publications here, such as The Girls Are, The Guardian and The Fly point you in directions unexpected, but by and large, the attention span reaches as far as London, or, if you're lucky, Manchester. The U.S.A. has produced some of the finest ever music, and it seems that there are not more passionate links between us and them, with regards to promoting one another's sonic talent.

Step up, SanguinDrake. Back in the Spring of 2010, amongst the bustle of the West Coast of America, was produced, an amalgamation of Sarah Sanguin Carter and David Drake. Sanguin Carter hailed from Canada; Drake from Michigan. One would not imagine that a man from Detroit: home to Motown, The Eagles, The White Stripes and Aaliyah, would blend so harmoniously with a girl from Canada: native land of Joni Mitchell, Leonard Cohen and Neil Young. The two had produced solo albums before they met one another, and had received plaudits and credibility. They met, as they state, by chance, and had no prior connection or link: they shared a love of shared music and influences. It is the shared chemistry and harmonious musical talents, that has galvanised their partnership, and kept them focused far into the future. I was first made aware of Sarah, through CSI: New York and Falling Skies. She is possessed of an astonishing beauty, that is quite unnerving, but also portrays a natural passion and warmth through her acting roles, that translates effectively through the songs. David has Hollywood idol looks as well, and a keen sense of style: the combination of aesthetes, as well as fascinating back-stories and 'other lives', welds together to create an impressive duo. The band/duo has an impressive online following; their Twitter and Facebook pages are a mass of positive feedback, activity and impassioned feedback. Their official site is painted in pleasing and dynamic pastels; awash with unique and quirky photographs, and detailed and insightful. Drawing from their diverse hometowns, and different musical backgrounds, the duo have concocted a tight and mannered partnership, which has been wowing L.A.- their new residency. They do not go into too much depth about whom their influences and idols are: they let their music do the explaining. On their official website, it is said that Sanguin Carter has "ethereal and edgier artistic tendencies"; whilst Drake possesses a "sincere, masculine vocal quality". The duo's humour, as well as shared affection, results in a "hauntingly balanced blend of paradoxes".

To put that publicity to the test, I set my sights and ears to Currency. The video itself is awash with black-and-white mystique, as well as Pop Art diversions: there is a filmic quality to the promotion. The video itself lays in old style P.B.S. graphics, and gives itself a '70s stylistic: there is a retro appeal straight away, as well as a charming playfulness to proceedings. Opening the track is percussive thud and pump; it is like the momentum is Strawberry Fields Forever (before it fades right down, before coming back up). When that intense punch is married with a dreamy and hazy guitar line, it is a harmonious blend, and creates some romantic mystery to proceedings. It is nary impossible to consider another song, when listening to Currency. There are perhaps elements of early-career The Cardigans, as well as the folky edges of Dylan, Young and Cohen, but I am grasping a little at straws: SanguinDrake known the relevance of communication; discarding the hyperinflation tendencies of most bands (fall in love with a band(s), and copy them repeatedly), and infusing their songs with a distinct stamp of originality. It is a refreshing sea change from a lot of newer music, and Currency manifests a breezy, intriguing and pervasive intro. In the video our hero and heroine wander the streets; Sanguin Carter looking a little like Dusty Springfield or Edie Sedgwick- there are swathes of '60s cool, quirky fashion, and striking hairstyle. When the vocal arrives, the sound is more modernised and fresh. When it is sung: "Nothing in life is free/Gems are gems if we make them so", there is a clarity in the vocals that means that the words hit home. Our heroine has a shading of Lana Del Rey: in the way that she can elicit smoky and sensuous vocals that wash over you, but there is something more captivating at work. The tones are clearer and more emotive; there is less emphasis or capturing some sort of Nancy Sinatra-esque sound, instead the voice is sweeter and more personable: shades of Country, mix with soulful edges and smooth middles. The video's portrayal and replication of Factory Girl is a charming and unexpected move. I guess, if you were listening to the song sans video; you may well picture similar scenes and sensations. Th lyrics are intelligent and poetic: "A diamonds cost is a life lost", is a striking example. The musical background is simple and percussive-heavy, providing an audible heartbeat and blood flow; but the vocals are given best consideration: Sanguin Carter's silky tongue is allowed to seduce and captivate. When the duo combine vocally, the effect is pleasing and natural: they compliment one another brilliantly, and the masculine-ethereal blend adds weight to the words. The two state that "Generosity is a Currency"; the coda emphasises that love is a two-way street and someone is always in someone else's debt, to some degree. When the chorus capitulates, and a new verse arrives, the words: "Side by seed in our need/Side by side in our greed", begin tales of a burgeoning love, filled with possibilities, vulnerabilities and tender promise. In the video, our heroine- at this point- is painted in black-and-white; pouting, a sex kitten; photographed and lusted after. It is the voice that keeps enticing: a little bit The Divinyls-cum-'60s siren. There is a lingering hint of a known vocalist in the tones, but for the life of me, I can't remember who. It is the power and seductive quality that Sanguin Carter has: draws you in and leaves you a little dazed. Our video visuals are a little '60s chic/Strawberry Alarm Clock, but the sonic evocations are focused and engaging. You can imagine the song scoring something modern and underground: a charming, intellectual indie film, or mainstream romantic movie- it has that utilitarian prowess. The chorus is one of the most effecting and effective components. It is powerfully sung, and words such as "My love, nothing in life is free", have a wise and burden-heavy regard upon their shoulders: one gets the impression that both of the guys have seen and experienced a great deal of emotional revocation. The percussion and guitar sounds keep the mood alive and balanced but do not hustle for focus: they let the words and voice stand out. The voice from our heroine does not just dreamily survey and proffer; there are skips and little sparks of energy. When the line "I can't stand still when I hear that", it is has '60s and modern-day pop evocations and in the video, Sanguin Carter combines hair-tousling siren (think Kylie Minogue-cum-rock chic), with the central motif of Sedgwick: saddened and downcast, as our hero (in black-and-white) sits in front of a projector, and watches her below. Just after the 2/3 mark, a noticeable quickening of energy is unveiled, as the percussive sounds grab your attention most. In the video, our central idol, totters away and out of shot; beguiled and starkly affected. The song ends with the chorus repeated and you are left with a strange feeling: a great track has been lodged, and has lodged in your mind, but there are questions. You wonder how events ended up- such is the potency of the words one cannot help but picture every scene. Also, you become curious about how you have not heard of the band before, given the impressiveness of their music.

There is no hyperbole or over-expression in the words above. I only encountered the band through chance. It is ironic, that for a duo whom met amidst serendipity and chance occurrence, that I arrived at their feet by similar fluke. It underpins my argument about the compartmentalisation and balkanisation within the music industry, and associative media. Many may see the duo and become fixated by their combined beauty and sex appeal. Sanguin Carter has an incredibly striking and alluring beauty, and in the music business, that is often used as a pretence to detract an artist, and focus upon superficial aspects. If you factor out the birth rights, and delve into the music, many prescient realisations become clear. The sound itself is a rarity and golden touch. Many new acts, and especially duos can have something of a curate's egg about them. There may be reservations when you hear that one of the group's members is an actor, and a much sought-after focus on the Hollywood scene. Like Deschanel, Sanguin Carter has an affinity and passion for music, that transcends any preconceptions and expectations. The differences, though are many. Sarah's voice is more varied and engaging: there are flavours of '60s legends such as Springfield, as well as modern tones, too. The range is impressive, and she has a very strong and powerful voice. She is at her best when seducing and trying to draw you in (which she does with aplomb). David, is a brilliant singer and counterpart; he is an accomplished and brilliant musician, and his voice is similarly strong and captivating. Where SanguinDrake stand apart, is the compositions and lyrics. I urge you to seek out their other songs as well, but on Currency, there is a clear sense of authority, passion and musical history. The composition is solid, tight and evolutionary: the percussion, guitar and sounds act to eek out maximum emotional fortitude. The key is in simplicity, and unearthing effectiveness through as few diversions as possible. There are haunting and dark smoky edges, as well as defiant stalwartness. The lyrics appeal to me hugely. They go beyond the expected norm: boy-meets-girl-has-issues-hearts-broken-emotions-unfold-no-way-back. The words are intelligent, pointed and thought-provoking; and the theme of 'Currency' is represented originally and brilliantly. Overall, you become an instant fan, as the music exceeds any prefabricated notions, and what is left in your mind, is a duo whom are producing fabulous music that has its mind and body in 2013, but its heart, soul and lust in the '60s and '70s: eliciting a similarly genre and era-straddling charm and quality. The media, as well as social media, needs to do better to promote worthy bands, and enforce their appeal and longevity. If I hadn't happened upon SanguinDrake when I did, who knows when- if at all- I would? There is no fate, destiny or karma- life's randomness and lack of predeterminism does not gift the good with due rewards: you have to go and earn your own luck and richness. I am not sure how far my gold standard thumbs-up with go, towards affording the duo with new and wide-ranging fans and followers; I hope it at least gets them noticed here in the U.K. In spite of my recommendations and patronage, the Drake-Sanguin Carter coefficient will earn plaudits and plenty of currency, beyond their L.A. and U.S. fans, and will (hopefully) soon, be playing festivals and locations around Europe. Listen to what they have produced, and imagine what is coming next; because one thing is certain:

THEY will be a permanent fixture before too long.

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Official:

http://sanguindrake.com

Twitter:

https://twitter.com/SanguinDrake

Facebook:

https://www.facebook.com/sanguindrake

YouTube:

http://www.youtube.com/optimisticduck

Universal Thee- All Is Love- Track Review

Track Review:

Universal Thee-

All Is Love

9.4/10

'Indie/Slack Rock' 5-piece, have vocal stream-of-consciousness, and a strong ear for melody. The Saltire is being strengthened by some prophetic wind and wonderful melody.

Availability:

All Is Love is available at:

http://soundcloud.com/lisalrussell/all-is-love

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THIS week I have featured a fair deal of talent from Scotland...

I shall not go into too much depth again, with regards to Scotland, but it is interesting how different regions, seem, not only to foster a certain level of quality, but types of music too. The north tends to have a lot of acoustic acts and band; but a fair few of Arctic Monkey-esque bands too: heavier and more intense. Yorkshire is a little more diverse with regards to genre: there are swing acts, as well as U.S. Blues Rock acts and talent, here. This is where we may see the majority of future stars. Down south, and towards the coasts, there is a tendency and fashion for breezier and warmer acts: a lot of acoustic sounds, but there are indie acts to be heard. In-between there are patches and flashes of occasional brilliance, but to my mind, the most exciting movements, are taking place in Scotland. Up until a month or two ago, I had not heard a lot of new music from here. I have speculated and hypothesised, that the reason is for the (almost) sudden spurt of Scottish talent coming through- as well as why there is such a high strike rate. It is the diversity and range of sounds, that has impressed me most. I have heard new acts (Steve Heron, Ded Rabbit); through to older bands (Camera Obscura), and was always struck by the same sensation: where have these acts been hiding? I suppose that the narrow focus of the media, as well as a geographical dislocation, of sorts, is affecting concentration and potential attention. But that is going to have to be another conundrum, for another day. Harder and more menacing electric tones, are a comparative rarity in new music. There is a greater emphasis and evidence of acoustic music and softer voices. I guess to an extent, there is greater safety and security in this genre. There is a greater personalisation when you employ an acoustic guitar, and it seems to be what is sought after in today's scene. Of course, it is a genre- acoustic/folk/pop- dedicated and reserved for the solo artist. For bands, there are more options with regards to sound, but also there are greater risks. For your lone star, most of the material is personal and related to romance and the pitfalls of love. The sounds can be limited and predictable, but the rewards waiting for those whom are different: genuinely unique voice; tight, focused lyrics; winning personality etc. The band game is a less busy market, but there is a security in numbers. The singer is not necessarily the focus, and there is a greater potential for credibility, due to the greater numbers. The pitfalls for bands is a lack of originality. Less I moan incessantly like a middle-aged man, gutted that there are no modern-day Rolling Stones or Beatles, there is some validity in this discourse. I have found that a great deal of new acts are trying to hard to be someone else: be an existing band. This is pointless and irritating, as this distills any potential, and is a black mark for new talent. Thankfully; there is a small amount- about 10%- of new bands, whom are motivated to try something, that is distinctly them.

Universal Thee- cool band name aside- are James, Lisa, Robin, Sean and Kevin, and are a ceremonial band of brothers (and sister), whom have an interesting range of influences. Ash, Weezer, Pixies and Pavement are in there: a lot of '80s and '90s influences, as well as late-'90s-modern-day folk such as Queens of the Stone Age. It is an odd pleasure when there is a lack of Arctic Monkeys, Biffy Clyro and The Rolling Stones listed: I have seen these names too often, and consequently been able to pinpoint their influence all too clearly. The band have gained a reputable following, and through a string of local gigs, have built up a native regard.. For nearly three years, they have been pioneering a loud-quiet dynamic: Pixie-esque, as well as crafting sharp melodies: Ash spring to mind. It is the band's skill for blending these facets, together with a stream-of-consciousness vocal ambition, that creates a variable and striking business plan. As well as melody, there is a great deal of exciting noise; this combination, combined with male and female (lead) vocals, elicits an almost-Grunge/Punk splendor: rarely attempted in the 21st century. Aside from their gold credentials and strong war-chest of heroes and influences, the group are staunch tourers: bringing their songs as far and wide as possible. Their on-line following is growing, and attention is starting to mount. In a country, where there are comparatively few new acts making their presence known as far south as London, Universal Thee are part of a small crop that should be on the lips of NME and The Guardian alike. The future success and growth of music depends upon cultural and geographical mixing: not just drawing in foreign influences and music into England, but focusing on Welsh, Scottish and (Northern) Irish talent primarily. It is the nations of the U.K. whom promise greatest promise. The U.S., Europe, Australia and varying nations have their share of fascination, but there is a wealth of untapped wealth to be found within the British Isles. It is bands like Universal Thee: little-known to many in London, whom are examples of what the U.K. has to offer, in the way of diverse, and unique music.

The group has amassed a great deal of songs in their short life, but it is All Is Love that catches my ear hardest. The intro., to me, suggests pure fun and sunshine. The opening notes have shades of early R.E.M., curiously, as well as light-edged Radiohead. Maybe there is some Jack White to be heard- circa White Blood Cells. It is an unexpected beginning, that for all the suggested influences, has a charm and individuality that is theirs alone. If I had to pick a song that rings bells, I would say Near Wild Heaven, by the aforementioned (sadly defunct) band from Georgia, U.S.A. There is a similar Out of Time adventurous joy and strong melody. The quintet have been celebrated for their gift with a melody, and it is the way that a little of Radiohead's Street Spirit (Fade Out) arpeggio; mixed with Jack White's Never Far Away; with whisper of Shiny Happy People R.E.M and the dark edges of Pixie's Debaser, that creates a fairytale/balletic skip and step: not an intro that many acts are capable of developing. It is an interesting point: even acoustic bands and solo artists never compose melodies that are as evocative and Spring-like; preferring to opt for monotonous strum or- if you are a 'heavier' band- something that is all teeth and spit. The duet vocal-play between Lisa and James, matches the mood set by the intro. There is some of Sixpence None the Richer's charm (think Kiss Me), but with none of the Christian Pop/Rock nonsense. Lisa's vocals are warm and sensuous: little honeyed edges of cherry country and folk, melting with a some U.S. indie edges too. The result is soothing and sexy. Similarly, the masculine edges from James's voice compliment perfectly, and when "I see it/More now than ever" is sung, the resultant chemical reaction is a vocal Sodium Acetate Super Saturation against a musical Briggs-Rauscher Reaction. The track is underpinned by a steady acoustic blood-flow, supported by bass and drum; everything is keep tight and engaging. The vocal byplay variates to employ more sprightly edges (at stages it sounds, curiously, like The Beautiful South circa-Gaze; but in a very good way). The chorus is elongated, with quasi-syncopation: the vocal hangs and glides, before hitting/kissing the ground. Perhaps giving the band's near-legendary live performances, it is unsurprising that the song has a 'live feel' to it: the production is impressive but not cluttered or overly-polished- like you are listening to a live version of the song. It is this commendation, tied with the nature of the song: something that employs tinges of influences, yet has a sound that can be seen as L.A. sunshine as well as '90s-modern-day indie. The tales on love, and machinations of the gentler side of things, charm and win you over. There is positivism and personal perspectives: "That's not all I see", married with open-hearted declarations: "You are all/All is Love". What is traditional with love songs, or any story of boy-and-girl-meet-and-beat-the-world, is that there is some negativity or sour tongue, somewhere along the line. The effusive nature of the melodies and composition, means that the band could be singing of kicking a puppy through an electric ceiling fan, and you'd still sing along: lost as you are amidst the sea of technicolour bliss. As the words stop, and the infectious and lilting coda is presented, the song is wrapped up and completed with a designated hitter enthusiasm. The overall effect one takes away from the track is new perspective. A lot of what I have been reviewing lately has had negative edges, or cynicism at its core. All Is Love, rather appropriately, lives up to its title.

I hope Universal Thee get a lot more future credit. There are few bands whom have an authoritative gentle side to their nature; the default setting is to lean towards heavier and spikier sounds. Their music is imbued with warmer colours, and although they have got enough kick and spark in other songs, it is refreshing that they do not disguise or supplement sensitivity and warmth, with something less sincere. Scotland is home to a parliament of diverse and fascinating players, all of whom- from my experience- have likeable and great personalities too: no pretencion, only modesty and a great appreciation with regards to having their sounds promoted. What 2014 holds, is going to be hard to say. Whether the focus- of the media and the charts- moves away from London and England, and is more incorporating and encompassing, is hard to predict. It should, as there is a tendency to relegate any band with genuine talent and individuality to the nether-regions of the underground, and separate charts. This means that a lot of people miss out. As there is an urgent need to beat as many dents of sub-par pop dross out of public consciousness, and replace it with more solid and reliable sounds such as this, it seems action needs taking. It needs to be done with diplomacy and tact, and as social media is burgeoning and inescapable, it needs to be utilised more effectively so bands such as Universal Thee get due credit, and can amass fans from all of the U.K. as well as Europe and the U.S. That is a battle for a future war; but for now, one thing is certain:

A positive musical mindset leads to greater inspiration: take note future up-comers!_______________________________________________________________________

Twitter:

https://twitter.com/doctorjims

Facebook: 

https://www.facebook.com/?ref=logo#!/universalthee

SoundCloud: 

http://soundcloud.com/lisalrussell

Reverb Nation:

http://www.reverbnation.com/universalthee

Ded Rabbit- Catch 22- Track Review

Track Review:

Ded Rabbit-

Catch 22

                         　

 

 

9.2/10

When a band marries indie-pop with "some uniquely funky sax beats", one of two things can occur: it confuses, or completely wins you. Definitely a case of the latter.

Availability:

Catch 22 is available at

http://soundcloud.com/ded-rabbit/ded-rabbit-catch-22

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DIVERSITY can be as divisive as it is commendable...

When you think back to psychedelic experimentation in music, in the mid-late '60s, the result heralded a huge change in the musical landscape. It was a bold and exciting sound, that was to be used hugely be a lot of bands. The Beatles began to heavily experiment within Revolver; other pop acts incorporated psychedelia into their template, and this continued well into the '70s. It was a wave and transformation that changed music indefinitely, and inspired a great deal of bands in the '80s and '90s, including The Stone Roses. You can hear in a great deal of today's music, and is an example of a genre/style of music that is potent and majestic; if used correctly and not too frequently. It would amaze you at the number and range of acts and artists whom have used psychedelic shades in their songs. Certain styles and stages of music, are of their time. Hair metal and many fads and phenomenons that gladly died in the '80s, reflect the mood and ambition of the artists at the time; Britpop has not been used too inclusively and fervently since the cessation and decline of bands such as Blur, Oasis, Pulp, Supergrass and Suede. Although Suede (and to a degree Pulp) are still operational, their sound has mutated to something more mature, with flecks of hard edges and dark energy. Whether a particular sound is designed to capture the zeitgeist, or inspire future generations to foster and parent it passionately, varies. It has been a source of much perturbation and disgruntlement in my mind, that seldom few bands are willing to be diverse. I don't mean that they have to employ five or six different genres in one song, but it wouldn't hurt is more artists were willing to expand their palette: incorporate something unexpected; mix things up a little bit. It is not a coincidence that the greatest bands of our time- from Blur to Radiohead, through to Queens of the Stone Age and Arcade Fire, regularly would, and do, blend differing sounds and influences into their music. It keeps the intrigue fresh and mobile, and also means that new fans and followers are attracted to your music. Given the vast chasm of music that has been left, and is being produced, one would imagine that this art-form should be popular and ever-expanding: you'd be surprised. Many acts- new artists especially- are too concerned with developing their own sound, that they are too nervous or limited, with regards to expanding their grasp. It is ironical that so many new acts sound like an existing one, that encompassing some obtuse angles into their cauldron, would help take focus away from accusations of mimicry and plagiarism. Over the past 20 years or so, there has been experimentation with jazz and blues notes. Even during the glory dances of dance music- when Massive Attack burst forth with Blue Lines, diversification was expanded in new directions. They were adept at weaving sounds and sample into one harmonious blend: a move that saw the likes of Moby, The Avalanches, Gorillaz and such, delve into annals past, and blend some unexpected compounds together.

The aspect of conjoining sax and jazz influences into a modern indie/rock template, has not been attempted too often. Bands have done it sporadically: Radiohead during Kid A and Amnesiac; QOTSA during Rated R, and I am hard-pressed to think of many groups or acts that experiment this way, aside from Sufjan Stevens. Perhaps I am missing out, but it may be the case that the spate of new acts and music is burying somewhat, the exciting artists, whom are doing something different. Ded (sic.) Rabbit, are a Scottish outfit; created in Yorkshire and migrated to Edinburgh, whom have volunteered a lot of time to studying past masters such as The Beatles and Hendrix, and splicing influential little spices into their sound. The band consist of Eoin, Donal, Fergus and Eugene. From the pages of social media, through to the music newspapers, the band have gained massive positive feedback: bolstered and aided by festival appearances and a tireless work motif. The boys have an impressive and bullet-proof list of influences, and have pulled away from the tendency many have of being narrow and rigid, by infusing their tracks with '60s passion, as well as jazz/sax. wonder. Their is a wild abandon, as well as a playful swing to their music, and their song titles: ranging from Andromeda's Milkshake through to Navajo, have a familiar and appropriate psychedelic/jazz-cum-'60s bliss oddity to them. They seem like cuts from a lost Captain Beefheart album, and certainly are befitting, considering the contents of the tracks themselves. For over 2 years the band have been laying down and honing their sound; with very little comparable bands or artists troubling them at all. It seems unusual: if you think abstractly, and are open-minded in your talent mounting, then songs come more freely, and are alive with greater possibilities and stunning colours. For all the guitar/indie bands out there, most of whom are too similar to an existing act, it is a relief that there are artists that are willing to be different and brave. I have stated (in previous reviews), that the most fascinating footsteps take place the further north you travel. I have been bowled over and seduced by some wonderful acts from Bradford, Leeds, Manchester and Liverpool, and through my association with Steve Heron, have been made aware of a great raft of bright young things in Scotland. In fact Heron himself has a restless energy and is someone always looking to do something new and different- nary compromising his integrity or core values. It is perhaps indicative of a potential shift in 2014, that London-centric media types, will need to refocus their energies to Scotland, when looking for the best and most prodigious: it seems that the south is struggling by comparison. In spite of the band's reputation, as well as their imperial vigour, underneath there is a more tangible and humanised whole: four lads, all of whom are personable and face the same sort of mundane daily torments, as you and I.

In continuation of the thematic detailing of everyday horror, it was not a shock to find that their track, Catch 22, was motivated by getting grief from people on the bus; much undeserved and highly annoying. Whether this is a fictionalised parable, or drawn from the band's collective biography, is a curious question. The song rattles, seduces, bends over, fights and annihilates in 2:08; managing to cover as much ground in 128 seconds, as a lot of bands do over an entire E.P. The track wastes no time in ratcheting the fireworks: guitar, bass and percussive joints fuse, and destroy one another; jazzy sounds are splattered onto the canvas with Abstract intention. There is no time to breathe or absorb what is being proffered: instead you are carried away by the wave. It terms of emotive adjectives, I guess 'fun' would sum it up, as good as any. It is a light-hearted and Calypso dance, that has hidden aces and joker cards up its sleeve. From 0:20, the pattern changes to a woozier guitar swagger: elements of Kaiser Chiefs as well as a little fusion of The Mars Volta and Sonic Youth. It is not dark and brooding, more utilitarian and populist. When it seems like we may be about to witness a Muse-style space opera (think Knights of Cydonia-cum-Take a Bow), the spontaneity continues unabated, as the vocal arrives. The voice is dynamic, but also is embalmed with an innate punk energy, as well as jazzier edges: the resultant hybrid of Ian Dury and Jamie Cullum. When it is sung: "Can't listen to it anymore", Eugene has a delivery that, to my mind, has hints of Carl Barat and Billie Joe Armstrong. There is a relentless pace and drive, but always a purpose and control, too. When the jerking and punching guitar line, transposes to a fuzzier beast, there is QOTSA Lullabies' druid rock-cum-psychedelic fizz. The rise that follows is more celebratory and jazz-tinged, with an acid underscore; there is a comparable scrummage and chaos that Ian Dury and the Blockheads employed. Radiohead elicited pure f****** chaos on The National Anthem and Life in a Glasshouse; QOTSA went similarly nuts on I Think I Lost My Headache; here the disorder is much more amiable and impish. The guitar sways and moves have the appearance of bridging the two halves of the song: they prepare you for what is arriving next. When the next verse arrives, our omnibus drama develops in the second act; our hero is asked what he is sorry for; he explains he was "trying to be polite". There is a simmering tension underneath; the music has a Libertines-by-Squeeze journeyman quality, if the words are more purposeful: "Surely out of mind/And out of sight". The track finishes with a sax. flurry and a final dance, and everything is wrapped up and completed.

If there was any trepidation about the band and their oeuvre: the bold mission statements, the potential for disarray etc. it will come as a soothing remedy that nothing malodorous or unnerving lurks within. At times the vocals are hard to decipher: buried a little too far down the mix and slightly unintelligible, but it is a minor quibble. It is true that Scotland have a vast chest of diverse and amiable talent. Away from the homogenised major cities, it is a breath of fresh air that something different and genuinely exciting can be heard here. What happens next is down to the band. I hope that an album and touring will ensue, not only later this year, but into 2014- and beyond. The guys are young and enthusiastic, and have a key understanding about what the market wants: something that goes beyond the monotony and predictability of a lot of the modern crop. There are guitars, bass and drums; but they are used and fostered with a firmer hand and wiser mouth. In future years, I hope that new acts will break away the tendency to ape existing acts or be too safe and timid when it comes to experimentation and diversity. The likes of Ded Rabbit have shown that it can be done very effectively. Take note, future wannabe musicians:

YOU can learn a lot from these chaps.

____________________________________________________________________________
Official:

http://www.dedrabbit.co.uk/

Twitter:

https://twitter.com/ded_rabbit

Facebook:

https://www.facebook.com/DedRabbit

SoundCloud:

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

YouTube:

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

Gigs:

17th May - Electric Circus, Edinburgh

26th May - 20 Rocks, Dundee

31st May - Snafu, Aberdeen

1st June - PJ Molloys, Dunfermline

22nd June - Mickey 9s fest, Glasgow

29th June - Art School, Glasgow

25th August - Feast/ELjam, Musselburgh

Kayla L'ayton- Don't Let Me Go- Track Review

Track Review:

Kayla L'ayton-

Don't Let Me Go

　

9.3/10

The 'Uninhibited' siren has an allure, rare beauty, dynamism and credibility that will garner, not only an inter-gender, but multi-genre klatch.

Availability:

Don't Let Me Go is available via:

http://www.youtube.com/watch?v=VIgDw0ESmtI&feature=player_embedded#

The Uninhibited EP is out now, available at:

https://itunes.apple.com/gb/album/uninhibited-ep/id641656766
Tracklist & snippet preview: https://soundcloud.com/kaylalayton/sets/kayla-layton-uninhibited-ep/

Cash Money
Don't Let Me Go
Inside Out
Love Drunk
Had Enough
Release Me

____________________________________________________________________________
THERE is a great deal of sketchy logic dictating how artists...

perceive their success. It is an issue a lot with the female market: a great deal of post hoc ergo propter hoc rationalisation is attributed to their victories. It is impossible to navigate anywhere within the musical waters, without hitting a frustrating iceberg of stubbornness. If we clear up a few things, before moving on. The issue of religion and proof of God is not something to be argued against: I find it illogical and strange, but do not try to take that faith away from someone. Real problems exist, when associative quasi-philosophy and Straw Man arguments are applied. I, for one, find it aneurysm-inducing, every time I hear of a musician (or actor) describe their career as a 'journey'. It is a nauseating summation. Musical trajectories have no geographical relation or merit, and less still, are not similar to- or worthy of- any larger or more important imagery. It is a horrid buzz-word I would like to stump out, with a flaming kick. As an extension to my point, and when looking at similar reductio ad absurdum phenomenum, I have always loathed such expressions as 'everything happens for a reason', and 'it's destiny'. The former is contingent on their being a God: things literally happen for a reason, as in everything can be explained. There is no greater purpose or 'master-plan' being orchestrated by God: if there is, then I am getting a royal screw-job. I hate every time this phrase is spoken, and is done far too much in music. Similarly, there is no such thing as fate or destiny. No human has a predetermined objective or destination; it is a lazy and naive way of explaining life's events. At worst, it is indicative of a lack of logic, intelligence and a basic thought process. Too many new acts and artist explain and rationalise their success because of these things; as well as using it to explain any set-back or stutter. For new acts that are genuinely ambitious and talented, it takes credit and worthiness out of their hands, and apportions it to some unreal and intangible hokum. For those whom gain success and followers down to positive media focus, and through galvanised social media interaction; it unfairly neglects people whom spend a lot of time and effort promoting the associative acts. I guess a lot of my reticence and anger comes from personal experience: especially with regards to the latter point. I have chosen this subject to focus on, as there are too many musicians and acts, that rather arrogantly put their 'fate' into 'the hands of the gods' assuming that they are going to be on the scene for years to come. Success in the current climate relies on having a relevant sound and a great talent: sales and fans do not arrive just for the hell of it; you have to work hard to be remembered and to inspire. Too many skate by on faulty syllogisms and consequently put in the bare-minimum work effort, with regards to output and publicity. My featured artist today is the epitome of an act whom understand the vital need to back up an incredible talent, by making her presence know. I shall explain more, in good time.

The 'female solo artist' sector is a variable, but oddly immobile and stolid market. It is a similar issue with the male sector, but for all the vast numbers and differing objectives, the resultant sounds are largely variations on a (narrow) theme. Whether this homogeneous myopic hell is due to the fact that it is a harder life being solo, when compared to being in a band; or down to the fact that there is a lack of ambition or talent to be found, can fairly be argued both ways. The issue is more prevalent when you see 20-something talents, with acoustic guitars, each of whom says the same thing, has the same voice, and writes predictably uninspiring lyrics. There is some variation and mobility when referencing the voice: some can elicit some divisive emotion or range, but by and large, there are little surprises to be found. In terms of black females, there are more fascinating moves being made. The likes of Alicia Keys and collegial soul and R 'n' B contemporaries employ more style and passion: stylish and brilliant piano lines, as well as enraptured and captivating vocal turns. At a different avenue of the spectrum, current crop such as Lianne La Havas, mix in a myriad of sounds and beats into the mix, to bolster her songs, and produce something much more fascinating and electrifying. Singers such as Brittany Howard, are recapturing the magic of the soul queens such as Aretha Franklin and Nina Simone, and mixing in a little Janis Joplin: providing inspiration and invigoration to a rather stale scene. For the likes of me- a 30-year-old white songwriter from the Home Counties- there is greater appeal here, to my mind. It is a minority sector, but one that is growing and provides fascination to a wide range of races, sectors and classes in society. For the young black artist, whom is up-and-coming, there is cultural relevance; for rock, metal and indie acts, there are new and unexpected sounds and shades that can be employed into their music: thus improving it greatly. The young black men and women are at the forefront of a vanguard of quality and diversification that has been lacking in music for many years. Of course, there are artists such as Azealia Banks, whom are torpedoing the rest, by possessing a rather repellent personality, and being too forthright and controversial: thus alienating music-lovers and creating a sour taste in many people's mouths. She is a rare exception, and thankfully, is not representative of her peers. Kayla L'ayton, is a young woman is a hard-working, talented and gorgeous young woman, whom can be ranked alongside the likes of Keys, La Havas and Howard. She knows the importance of making things happen, and does not relying solely on her great talent, looks and personality do the talking. She began performing music at a tender age, and the London-born star has worked with a lot of different D.J.'s, grime and garage artists, and has honed her talents and skills, since her 2012 E.P. debut 'This Is Me'. She is a star-in-the-making: possessive of stunning looks, a likeable and affable personality; a fond consideration and love of her fans, and a bold inventiveness and ambition. She is a graduated of the BRIT School, she should have her name associated with the likes of Adele and Leona Lewis, and certainly not Jessie J. It is the intelligence, humour and down-to-Earth nature that comes through strongest on her social media sites, and the music that she is producing is deserving of a lot more attention.

Her 6-track E.P., Uninhibited is available, and showcases a range of sounds and themes, as well as tableuxs of love-gone-wrong and personal need for space. Song titles such as Had Enough, Release Me and Love Drunk, may hint at a young woman, whom wants to escape and has seen her fair share of pain, where as Cash Money and Inside Out vary their prophecies and ambitions; it is hard to escape the fact that there is great value for money. At 6 tracks long, it is a full and tight E.P., and its 2nd track, Don't Let Me Go, is out in the ether. It is the assimilation of her past history, perseverance and attention to detail that makes the song stand out, and capture so. Beginning with a wordless chorus of emotion and sex appeal,, the initial moments have their heart rooted in soul, as well as modern pop as well. There is a little of Christina Aguilera's tones in the sound, but the weight and timbre can be closer associated with Leona Lewis and Alicia Keys: there is that authoritative sense of passion and conviction. The vocal structure continues, but is accompanied by- at first a soft piano line- a rumbling drum coda. If you watch the official video to the song, it depicts our heroine, saddened and- at times- shackled. There is loneliness, emptiness, constriction and sadness initially apparent from both song, and visuals. The musical backbones keeps strong and propulsive- sprinkling in ethereal twinkling, here and there. Stories of "Reaching for the heavens" portray a woman, whom wants to "break free". One would imagine figuratively-speaking (although in the video she is literally tied up) L'ayton is imprisoned and bound: unable to break away; as she is in a battle for control "over (my) mind". There is tension and stress: she is running short of time, and whether the song is inspired by a relationship she wishes to extricate herself from, or pressures of her life; are open for initial interpretation. The vocalisations should appeal beyond fans of Keys, Aguilera, Lewis and even Mariah Carey. There are elements of their range, power and purpose, but has more soulful and softer edges: there are fewer needless screams, rises, over-indulgences and ululation- it is pure and measured. The lyrics, too, are a step away from what you may expect: personal heartache-cum-man-done-wrong-hate; with too many phrases reminding you of 'motivational photos' on Facebook. L'ayton has a sharper pen, and manages to deviate away from lyrical Dead Sea; mixing typical emotional imagery and metaphors, with something harder and more edgy. This is evidences clearly when her vocal rises (around 1:26). The lungs open, the voice rises and backing it up is the sound of something more carnivorous and indebted to the street- this is augmented during the chorus, where sharper beats and slams inject the mood. Following the chorus's invocation that our heroin is not let go, and held onto, imagery- both lyrical and visual- projects her state of mind: burdened by tears and her entire soul is close to being submerged and nullified. There are plenty of words that will appeal to the teen and 20-something female: resilience in the face of heartache, as well as an inner motivation. The lyrics employ imagery of webs, water, broken spirits and a soul in need of fixing. The chorus, to my ear, has a flavour of En Vogue as well; something that pleased me. There is a band that could appeal to all ages, genders, sectors and societies: there was universal appeal; L'ayton has the same lift and resonance throughout a lot of the song, but especially in the choruses. In the way that the song combines heavier and epic voice-and-music combinations are similar to contemporaries such as Beyonce. Perhaps she is a more relatable companion: there is a similar edge of softer-side I Am...Sasha Fierce. It is the combination of Beyonce, En Vogue, as well as Lewis, that infuses the remainder of the song. The protagonist breaks her shackles (in the video), and is running for freedom, and the repetition of the song title through to the end of the song, reinforces her need for safety and security.

I do hope that the Uninhibited E.P. does solid business. The solo market is a vast and crowded one, and there are too few genuine talents, whom are able to vary their sound and keep fresh: choosing to be motionless, creatively. L'ayton has the pedigree to separate herself from a lot of her contemporaries, whom may share the same heartache, and write similar songs. In Don't Let Me Go, and the E.P. as a whole, there is a range and genre-spanning appeal, that can win undecided voters and a wide audience. If you keep going as she has done: innovating her creativity; experimenting with sound, as well as employing hints of influences and other voices (just a little bit), then she will acquire a foothold near the summit of an expanding mountain. She is restless and ever-changing, and in a climate where many solo female tend to be of a certain class, background, culture- with little diversity in terms of sound or ethnicity, L'ayton is going about business the same way as the likes of La Havas and- to a degree- Emile Sande: creating music that can unite those whom would not usually be huge fans, by being fresh, innovative and bold. She knows that she has to work hard and keep going strong in order to obtain glory: not simply believing the universe will put things in order for her. She has a personality and dedication to fans that adds an additional layer of appeal to her core; and her themes, words, mandate and independence will appeal, not only to the young black woman, but every woman. The musical diversity and range will draw in plenty of male attention (taking obvious beauty and sex appeal out of the equation); and the songs on her E.P. (as well as her debut), will ignite excitement those whom would not usually listen to this type of music. When it comes down to it, success and longevity impinges on three main facets: a relevant sound that is indelible; a talent that is not static, but growing; and a winning personality and creative and business intelligence that understands what people need...

THREE out of three ain't bad.

____________________________________________________________________________

Official:

http://www.kaylalayton.com/

Twitter:

https://twitter.com/kaylalaytonuk

Facebook:

https://www.facebook.com/kaylalaytonuk

SoundCloud:

http://soundcloud.com/kaylalayton

YouTube:

http://www.youtube.com/officialkaylalive

Benny Monteux- Let's Be Friends- Track Review

Track Review:

Benny Monteux-

Let's Be Friends

9.2/10

Edinburgh troubadour has motifs of unity, 'togetherness' and humanisation; folk-tinged and coalescing; bit with a sly wink underneath.

Availability:

Let's Be Friends is available via

http://bennymonteux.bandcamp.com/track/lets-be-friends

The E.P. Hold Tight is available at

http://bennymonteux.bandcamp.com/

___________________________________________________________________________

STYLE, personability and imagery, plays a controvertible and vital...

role in music; in the way the public perceives you and your potentiality. I guess this is especially prescient and vital if you are a solo artist. Bands as a whole tend to not spend a great deal of consideration on their projection. As a consequence, it can be a lot harder, on the surface, to differentiate or distinguish them. You often have to listen a great deal to a good few songs, or trawl through interviews, to arrive at conclusions regarding their candescence. Solo artists have a harder life, in all respects. For a start, they are alone; and have to invoke the a comparable impact, but with three or four (or more) fewer people, assisting them. In terms of imagery, there is a lot more focus on personality. With bands, there is less consideration- unless you are a big ticket item. When thinking about your lone star, a far greater relevance is given to this side of them. They have to do all of the talking; have a great scrutiny on their shoulders, and a multitude of media and public eyes, firmly set on their every move. I have somewhat been, um, underwhelmed, shall we say, by the sheer lack of any sort of intrigue, regarding the solo market. There are a lot of popular solo artists on the scene, but very few have any thing worth saying (outside of music), and a greater proportion always have a distinct flaw, that makes them less likeable than you'd hoped. It is understandable I guess, as there is a huge diversity of people in the music industry, and their personality does not differ or improve, when they enter the music business: they are who they are. It just seems that there is so little flamboyance, mystery or star quality, in the modern age. Back in the '60s, '70s and '80s, there was a greater number of artists, whom grabbed your attention. Bob Dylan had his image and mythological fascination; Roy Orbinson was a man of mystery and incredible passion; Morrissey was- and is- a controversial but empathetic idol for the lonely hearts of the world. What do we have now? With the proliferation of social media, and the depersonalisation of music, many of your solo stars are very bland and cloying. Worse still; those characterless names, often have little creative and design intelligence. Any social network page, official website, E.P./album cover and song name, are often predictably homogeneous and unspectacular. To my mind, it is a mandatory primary concern. For all the honing of material and sound, the aspects regarding to packaging are given no credence. I almost bleed from my ears every time I faced with a new solo artist. Their E.P. covers are boring self portraits; their song titles are cliched and drab; their back-story and personality is anodyne and yawning, and it is not a coincidence, that artists whom are guilty of all of these, rarely stick around, and fewer still are remembered. Great male examples, such as Bon Iver show how it should be done- if you are a little introverted and private. His photos, song titles, and interviews are always intriguing, and as a natural consequence, he received a greater adoration, than, say, the likes of Justin Biebers (although he is an entirely different kettle of moronic, cretinous fish). For the girls, I would say Laura Marling strikes a perfect balance. She is alluring in her detachment; gorgeous in her unconventional way, and has a stunning intelligence and savvy business plan. In interviews she comes across as quirky, likeable and gives just the right amount of personal honesty, away. Her tracks, albums, and covers always strike a chord, and even her methods of touring are different and idiosyncratic. These two leaders of their genders, are both very different, but no less vital and electioneering. No one has to lie about themselves, or think too hard to make a comparable impact: you just have to stop doing what every- dull- artist does. When you get this side of things spot-on, subsequently, your music and ambition galvanises, and an appropriate amount of attention and passion comes your way.

I protest and go on for two reasons. One, is that Benny Monteux has all the hallmarks and potential, to be a contemporary curiosity. The other is, that at this stage, little is know about him: cards very much are being clutched to chest. I was made aware of his presence, by his countryman and friend Steve Heron, whom I have featured twice before. Heron has won my over, not just by his music, but by his personality and image. He understands the importance of diversification, originality, and projection of image. His song titles and designs are always fresh, and he comes across as popular, bold and an everyman. He is still in the formative years, but clearly has a concentric quality/quantity coefficient. Having nailed down all the foundations down, he is building upon it, and will not suffer a fall from grace at all: creative and populist mitosis awaits. Similarly, Monteux, is making strides to take a similar road. I'm not sure if it's a Scottish quality, but I am impressed by the finer details and deeper recesses. From communicating with him, he comes across as friendly and relatable, and even in the very years of his career, he has figured that a little thought goes a long way. With regards to his E.P. Hold Tight, the three tracks employ a range of thematic and emotional possibilities, with simple, but effective titles. The E.P. cover is striking and original: great designs, superb colour choices and a staunch and impressive logo, that interests and draws you in, before you hear a single note. As for the man behind the music: I am going by the scents of social media. Twitter states that he is a 21-year-old from Edinburgh; who likes to 'live, laugh, love'. He is a handsome fella, with down-to-Earth looks and fashion. Facebook strips down to the core: a nice stable job, a pleasing- and correct- political and religious affiliation; and an annoyingly gorgeous girlfriend. Is Californian by birth, and resides in the Scottish capital. It is this mixture and cocktail of spirits and essences, that results in an artist whom has all the indelible primary colours painted and dried: expect a steady trajectory, that, through 2013-2014, could see some high-profile bookings and prophecy.

To the music itself then. For a talent whom prefers that his songs tell you all you need to know, they are impressively strong and mature, for someone barely in their 20s. The other two tracks on the set- Hold Tight, and Shackles- provide moods, well-plotted stories and cohabitation unity: the result of which is a cohesive, brief and tantalising slice of folk-tinged pop music. The E.P.'s centre-piece, in terms of location and quality, is Let's Be Friends. Its title creates images of child-like innocence and harmony; there- in my mind- is a reference to a line in a White Stripes song (Let's Shake Hands): although it is less rampant and forceful (especially considering the live approximation borders on the plain creepy). There are loose and sprightly stings of guitar to be heard, at first. Before I continue, it is not just Monteux in the mix. Like Jeff Buckley and Patrick Watson there is a band behind the man. Calum Craig, Craig Coutts and Marc Zwetsloot, provide bass, guitars and drums, accordingly. They provide amplification and emotional reverberation: crackles and strums that whips up an acoustic bow wave. The intro provides some counter-intuitive punches: You would expect an intro. similar to that of Hold Tight, to be heard here too. It is an original and unique parable; maybe an essence of The Housemartins and The Smiths and '80s indie glory: in the best possible sense. Many bands and solo acts tend to go for linear strum and unemotive lines; Monteux manifests amplitude and augmentation with simplicity; when the rest of the band join the fray, and the intro. transmogrifies into a headier rush. The wind-swept and summery electric strings, elicit a springing step, before the vocal enters. Monteux has a unparalleled and incomparable vocal tone: there is a clear native accent in his voice; and mixed with a slight U.S. West Coast edge, results in an interesting sound. There are scenes of intoxication and uncertainty in the streets: "It's not a crime/Not to think", it is said, on a "night like this". The way that the band playful intersect and converse reminds me a bit of They Might Be Giants and REM: there is that same sort of Georgia-via-New York-by-Massachusetts sonic itinerary. As well, there are hints of Scotland: a Proclaimers-style acoustic harmony and unencumbered vocal ellict; Deacon Blue-esque talent for melody and memorability, as well as a Steve Heron-cum-Biffy Clyro elementary mix of modern-life reality and distilled novellas on love, and its instability. When Monteux sings: "Honestly my darling/I have no fear"; there is a curious sound of the '90s. In the way that bands such as Dodgy, Cast, The Auteurs and The Levellers infused fun and mystique into common themes, Monteux has the reverence and qualitative passion of those bands, yet able to (through wordless vocals and elongation and unique annotation) avoid any comparisons with regards to his voice. The band have a loose sense of fun, yet are a tight-knit group, whom bolster our protagonist and elevate a great energy, yet are never imposing or wandering. The chorus, which contains "Let's be friends/Until the morning"; has a lasciviousness and lack of innocence to its tail. The jollity and refreshing breeze and passion of the music, is juxtaposed by the themes and words, which recall one-night stands and machismo alike. It is an unusual and effective blend: your mind is caught up, trying to catch up with the smile on your face, before your brain realises what is being sung; when you do picture what our hero is talking about, your conscience and liberal mindsets negate and nullify this. But before you can decide upon an appropriate response, the boys unleash outpourings of uplifting melody; with our front-man telling tales of a boy knocking on his door; neglecting the fact that "(But) the joke's on him/'cause he's never been here before". Whether there are ambitions for long-term romance, behind the chorus' protestations, is unsure: I suspect that there are more temporary intentions. It is the way that the light-hearted composition and spirited vocals (with its modern pop aesthete), plays off of the slightly grittier and sharper edges, gives the song a unique appeal. The likes of Arctic Monkeys write plenty of songs, with scenes of ill-fated romantic entanglement; unusual characters, and less-than-sincere messages: but there is a caustic and acid-tongued lashing, and musical savagery in most of the notes. Monteux and the gang marry varying shades, to achieve a more endeavouring whole.

Monteux has ideals of romance and passion, yet has a wit and human edge, that does not wrap everything up in bubblegum and purity: he is a romantic at heart, but writes songs filled with modern relevance and relatability, and ties them with compositions that are varying, contrasting and positive. It is this combination, as well as the key components regarding imagery, personality and originality, that will ensure a firm foothold in the future. As it stands- in 2013- there are few solo artists or bands as a whole, whom are doing a hell of a lot different at the moment. Many are lesser approximations of existing acts; quite a few are only semi-interesting, and a great deal are vague and undefined. It is the likes of Monteux, Heron and a lot of the northern clutch of artists, that are redefining pages of music, that are in danger of being relegated to obscurity. As there is an exhaustive and unregulated mass of musical participants, burgeoning onto the scene, it is vitally important, as the days go on, that something unique and diverse is created: far too many suffer from a naivety and self-importance that condemns them to a short creative life. Whether there is an album imminent from Monteux, I am not sure. On the evidence of the 3-track E.P., and the feedback from social media followers, and fans alike, I am sure there is a salivating demand. If he holds his creative nerve, and carries along the same paths; introducing new avenues and themes into the mix, he is sure to hit gold. Scotland is producing a small number of rather fascinating artists, and I am sure far more similarly-ambitious bands and acts are waiting to be unearthed. With the lack of unexpectedness in a lot of music genres, and predictable transitoriness, I hope that Monteux is prepared to settle in for a long stay. Because very few...

HAVE the gravity for longevity that he possess.

___________________________________________________________________________

Twitter:

https://twitter.com/BennyMonteux

Facebook:

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

SoundCloud:

http://soundcloud.com/benny-monteux

YouTube:

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

Audio Suspect- Wake Up- Track Review

Audio Suspect-

Track Review:

　Wake Up

9.3/10

With a stellar list of influences, and a hotly-anticipated E.P. completed, the band deliver a tantalising taste of a bright future.

Availability:

Wake Up is available via

http://audiosuspect.bandcamp.com/track/wake-up

The E.P. Rise is available at

http://audiosuspect.bandcamp.com/

_________________________________________________________________________

THE nature and subject of diversification in music today, is...

an ineffable sticking point, that is ever-relevant, and never resolved. There is less of an issue, when pertaining to established bands. Many are able to mobilise their ambitions and force, in all sorts of directions, without losing focus or credibility. It is almost a right of passage, that a band- once they have concentrated their intent and identity- dust themselves off, smile, and see what they can come up with next. For new acts, there is an inherent and genetic nervousness, that sees them instantly restricted. What with the sheer number of acts on the scene today, and the associative alacrity of critics, waiting to undermine and cut an act down to size, it is understandable. Unless you have a solid and memorable sound, right from the start of your career, then you have to be prepared to adopt flexibility. I recently reviewed Laura Marling; a young artist whom had an unflinching quality and ambition, right from the start. She is one of the best lyricists in the world, and, combined with a concentration and focused mandate that few contemporaries posses, it was hardly surprising that she has captivated critics and fans alike; right from day 1. She is a rare exception. It is especially true in the solo market, that there is too much much of a muchness. There is the depressing cliche: man/woman armed with acoustic/electric guitar; have a bland-not-too-bad voice; write songs about love/heartbreak/betrayal; repeat 10-11 times; touring-taxes-death. It is despairing, when you consider the comparative downfalls, to rebelling against complacency. It is admirable that musicians can write their own songs, etc; but unless you are Nick Drake/Marling/Bob Dylan, you're hardly likely to capture hearts and minds, are you? I appreciate that music is fickle, and it is important to have a 'sound', but if that sound is an approximation of a whining boredom merchant, why bother?! This is where diversification comes into play. If you begin a career; not only pervading something intriguing and different, but are willing to supplement your core sound, with differing shades and tones, then you have an historic edge. It is 2013; we have witnessed Britpop, '60s psychedelia, Beatle Mania, the birth of punk: so why not mix things up a bit? Bygone music is not merely a testament to days gone by: they are there to be inspired by, and to incorporate into songs; in order to excite and inspire fellow artists, and up-and-coming acts, alike.

This brings me- more succinctly than you'd imagine- to the feet of Audio Suspect, a band for whom this theory and lifestyle is sacrament. They remind me, in a way to The White Stripes. Jack White knew, as early as the debut White Stripes album, that it is was possible to mix big riffs and blues wonder, with acoustic numbers and tenderness; thus maximising the band's appeal. It was White Blood Cells, where this ideology and ambition- in my mind- was struck sweetest. Containing only one weak track (This Protector), the 16-track masterpiece was awash with diversions, turns, genres and sounds; yet was honed and immensely tight (in spite of the lo-fi charm and 8-track home-recording process). There was Hotel Yorba's charming narrative and sing-along smile; Fell in Love with a Girl's atomic blast of youthful transgression; through to I Think I Smell a Rat's snarling spit, and the under-appreciated jewel in the crown: I Can Learn. The 26-year-old White was acutely aware of how crucially and important it was to be restless, and spread his creative wings. It makes the ensuing albums, and subsequent regency of The White Stripes, not only more potent, but possible. If you are not talented enough, or intelligent enough to have a similar ambition and range, then you will be shot, buried and forgotten about forever. Quite right, too. Music is not for any yahoo or pub band, to merely 'have a go'; it is there to foster and premiere new talent, to inspire and carry, a most prestigious torch. I have been in touch with Audio Suspect on and off, for a little while. A band whom know that creative and personal incommunicado is a risky stratagem. They have spent a great while craving a set of stunning tracks, and ensuring that their E.P. Rise, does full justice to their ambition and dedication. I have listened to the four tracks, and there is curiosity abound. In a musical Many Worlds Theory sense, there will be, somewhere an Audio Suspect, whom are still honing and second-guessing. In none of those universe's is there an Audio Suspect, that are lacking ambition and intuit. I only mention The White Stripes, as there is a similar mobility between the tracks, and a comparatively sounding and different 1-2. The band are, Tomos, Sean, David and Rory, and hail from Wales. I was bemoaning- as recently as yesterday- the lack of new Welsh bands on the scene and on the tip of tongues, and suspect that the reasons for this, is a native meticulousness, when it comes to songwriting: making sure that whatever the public hears, is as a result of serious craft. The group been electrifying since January 2012, and have an impressive list of influence: Muse, Nirvana and Radiohead, count amongst them.

The opening notes, to the opening track Wake Up, are perhaps axiomatically stirring- and appropriately alarming. There is a semblance of White-esque blues rocketing within the guitar tones: there is the sound of De Stijl-period White Stripes, nestling astride a fighter jet. There are Grunge-era scratchings: think Nirvana-cum-eponymous Soundgarden; as well as modern-day influences, such as Foo Fighters and Biffy Clyro. It is the early stages of the intro, that invigorate, so. It is a fiery and bouncy intro; parts Why Can't You Be Nicer To Me?; parts Origins'-era Muse. Audio Suspect have a keen early eye for detail, as well as impact. They manage to appropriate the quality of the aforementioned artists; only the key components are theirs, and theirs alone. When the drum rumbles, and collaborates, the track strides and is cock of the walk. There is attitude and authority, as well as a northern swagger the likes of Oasis and The Arctic Monkeys have consecrated. Few bands neglect the importance and purpose of the intro.; preferring to skip foreplay and dive right in. Before a vocal note is elicited, you are already hooked and energised. When Tomos sings, the sound is a causal link that meats out growled and ravaged cries, and a more restrained strum. It is difficult to think of other singers, when trying to think of resemblances: which is a pleasing and rare thing in itself. At times the words may be a little indecipherable, but it is the nature and manner of a lot of modern music, that the vocals are a little down in the mix, forced to compete too hard with the sound. In spite of the band being Welsh, there is little national remembrance in the vocals; there is more of Manchester and Liverpool, to my ear. Bits of Gallagher, Noel, and early Lennon are present. When the words: "Come with me/And set you free", there is some of that Definitely Maybe anthemic force. Audio Suspect are able to parlay any influence into little corners of their landscape; and up front, in the mix inject personalities and tales that are fresh and revitalised. The chorus arrives on a levelled playing field; there is not a noticeable rise in energy or change in signature, too much.; instead it is more a continuation of the verses. This is quite a rarity; where most bands would modulate or wander, Audio Suspect keep the focus tighter, and create a more linear plot-line. Sean, David and Rory are capable of stealing the limelight, as they are able to weave patterns and sparks into the mix; the guitar work is particularly noteworthy. The way that the lyrics are repeated and slogans such as "Let your mind run free", is a shrewd political mood. The band are aiming for memorability, and carefully choose words that will remain in your head, and are subsequently likely to be chorused from festival-goers, too. If you infuse a song with too many words, too few turns and an aimless simplicity, attention will be diffuse. Wake Up keeps its body mass lean and mean; its blood clean and it's this rude health and vitality, that gives the song its keen edge. In the way that the middle eight/break strikes, two-thirds in, unveils a sound and structure that marries Britpop with modern indie/alternative rock. There is a fond evocation of times past, but a bedrock of the here and now; there are little passages of heavier metal edges, as well as 1995/6 Britpop sunshine. "I won't break down" begins a final full-bloodied swing, that is accompanied by endeavouring percussion, guitar and bass. Overall the track is a cross between a mini-epic and anthem-in-waiting. It clocks in a little under 3:30, and is muscular and nebulised. Aside from occasional issues with vocal decipherability, the song is a fantastic start, to a brilliant E.P., which promises many different sides to a curious band.

2013 is a year, which started off a little bit slow, with regards to memorable music. The Spring months always seem to herald the arrival of refreshment. I am excited that I now have a Welsh band to mention in my daily (and sometimes bi-daily) reviews: so much of my attention has been focused farther north. In a country where fastidiousness and perfectionism, have in the past lead to rather mixed results with regards to music (how many great bands and acts from the last 10 years, have originated from here?), I hope that Audio Suspect are at the spearhead of a flying artillery of future Welsh talent. There is plenty of gorgeous country and fresh air to inspire the soul, as well as some great local bands, so I am sure I will be reviewing more Welsh talent, soon. Audio Suspect have taken their time, to get their rhymes and music, just as they should be- memorable and ambitious. It is circular to my original thesis: regarding range and complexity, that the E.P. from the band has so many different patterns and shifts. The group have nailed a sound and thematics that are particular to them, yet have not been remiss in strangulating and distilling their essence too much; they are aware of how important it is to explore and surprise. And for a new band, whom have numerous contemporaries (most of whom, who are less diverse):

THE next few years, will be very interesting and prosperous indeed.

____________________________________________________________________________

Twitter:

https://twitter.com/AudioSuspect

Facebook:

https://www.facebook.com/audiosuspect

SoundCloud:

http://soundcloud.com/audiosuspect-1

YouTube:

http://www.youtube.com/user/AudioSuspect1?feature=watch

The Bedroom Hour- Slow Motion Cinema- Track Review

Track Review:

The Bedroom Hour

Slow Motion Cinema

9.6/10

5-piece band are all about hone and craft. The ensuing E.P. will go a long way to ensuring plenty of plaudits head their way.

Availability:

The E.P. Themes, is available from 17/05 via

https://itunes.apple.com/gb/artist/the-bedroom-hour/id639762435

E.P. launch is being held at 229 Great Portland Street, London, on Friday 17th May: support from Crystal Seagulls and The Broxton Hundred.

____________________________________________________________________________
BREAKING away from the usual themes and discussions...

which normally revolve around music from the north, and bands straying too closely to their modern idols. I have encountered The Bedroom Hour previously, and was impressed by the amount of time, effort and affection, paid to each track. I shall discuss them some more shortly, but for now, there is a bit of a resurgence occurring in London. It is long overdue, as I have been disappointed by the sore lack of new and inviting talent, emanating from the capital. It is a bit baffling, given that the majority of recording studios, labels, media outlets, and, by extension, potential new bands, originate here. Broadsheets, respectable music mags and rags alike, are quick to expound the virtues of London's music scene. For every act that is proffered forth, wrapped in cotton wool, there is another, more worthy band, plying their trade, in other parts of the country. Of course I have mentioned Yorkshire and Scotland, with regards to current hot-spots; but the likes of Brighton are also doing their fair share to get themselves on the map. My derision regarding the apparent lack of artistry coming from London, is probably down to media expectation, and the acts themselves. Most of the broadsheet papers and a great deal of music websites are very London-centric, and seem to have their eyes firmly set upon the city. I have mentioned before, that there seems to be a lack of awareness towards other parts of the U.K., especially the north. I have not heard of a single act being mentioned, who hails from Wales. I am sure there are tonnes of acts around there, that are just as good and ambitious as anyone, yet you never hear of them. Whether this lack of communication is down to the rather flawed nature of social media, or a compartmentalised grouping of acts- all hidden away, and out of the sights of the average consumer. I feel that too few acts utlise social media the way they should; too few updates, on too few possible outlets. It is great to ignite your local scene, and gain a reputation, but for that glory to be cemented and expanded, one must have as large an online presence, as possible. Music media is responsible for a lot of this inculpation. There are really not enough reputable outlets, promoting new music; too many are focused too solely on the existing crop. Of course, the acts themselves must shoulder some of the blame. As I have described before, the reasons the best music is coming from the smaller cities and towns, is because of the space, more sedate pace, and lack of pressure on the artists. London is one of the busiest cities on Earth, and this stress is not always conducive to great and productive music. To my ear though, there seems to be a lack of originality, full stop. There is a lot of third-rate posturing and tribute acts; too many X-Factor moronic wannabes; and too few really potent and credible artists. I fear it is a trend that will flourish, unabated; but has simple solutions, though. That is an explanation, for another day.

I was pleasingly surprised and calmed, by the sounds of The Bedroom Hour. I am familiar with their Submarine, and was impressed, not only by their music, but by the band as a whole. They are a group of men and not boys: you can tell from their publicity photos, that they are fun-loving as well as serious. They are not your usual early-20s bunch of boys, complete with moody stares and quasi-rebellious words. The guys have a touch of Elbow or Doves about them. Not just in their attire and look as a whole, but- as they are influenced by them- the band have a similar ambition and work ethic. They are down-to-Earth and likeable chaps, and are as close to a southern equivalency of the aforementioned northern stunners, as you can get. From their Uxbridge constituency, they are parts modern London, and parts reputable northern bands-cum-classic '70s and '80s bands, such as Pink Floyd and Simple Minds. Stuart, Rob, Dan, Mark and Lewis are our intrepid band of men, and have been honing their craft and perfecting their sound for around 6 years or so, now. They are not only concerned with conquering their own ambition, but are fervent supporters of fellow acts, and new music in general. In spite of the dominance of the northern counterparts, The Bedroom Hour and making waves and strides with regards to volumising London's credibility. Until a way has been figured out to iron out the many creases that exist in the big city, for now, our 5-piece have few local competitors; but plenty of supporters. They have a simple but effective on-line campaign, and have made good use of all social media outlets, as well as the traditional general music outlets- YouTube, SoundCloud, etc. In my previous review for the guys, I noted at how they are not exclusive in their generational appeal. In the sense that they are steeped in historical quality, by proxy of their influences; similarly sharing a sensibility common during the '70s and '80s, they are modern and fresh sounding too; the ghosts of Elbow and their ilk linger in some of the notes, but they are unique and individual as any band I have heard. It is this combination of qualities and shades that means The Bedroom Hour enjoy a wide-ranging appeal and fandom, and consequently, will attract a lot of new and disparate fans, come the release of the Themes E.P.

Charged with picking out a track from the E.P., that was indicative of the release as whole, yet had its own character and personality, was left to Slow Motion Cinema. There is an appropriately slow motion, and dramatic piano coda, that begins the track. It has the drama and flair of a Beethoven or Rachmaninoff composition, and has a touch of Muse to it, curiously. In the same way that their track Apocalypse Please opened with similar piano drama, The Bedroom Hour elicit some of that galloping pace, yet it is more composed and subdued than Muse's effort. It is maybe an unexpected beginning, as most would expect a traditional guitar, bass and drum pattern. In a way, that is where the similarities with the likes of Elbow and Doves begin. Those guys built up a heady reputation and glory from piano and atmosphere-led epics; able to gain your attention and fully emote, from unexpected sources and avenues. There are few modern acts that are able to inject a romantic and dramatic mood into an intro, without guitar and drums starting proceedings. The likes of Think Tank Blur and OK Computer-Amnesiac Radiohead did supremely; yet it has been sadly lacking as of late. The flowing heartbeat is joined by the vocal before long. It is an aching and impassioned covenant. As the band back up our front-man sternly: evoking an air of support and weaving electric and percussive lives, elongated words of "So much to talk about" are dusted and sparkle in the ether. In some of the groups tones and musical combinations, as well as vocal colours, there is a wisp of Kings of Leon at their softest. There are elements of Garvey and Followill; a similar raspy and manly sensitivity, with a hint of Glen Tilbrook. When the line "What would I do without you?" is spoken, there is a sense, here, that we are listening to a song with a very modern and relevant message, yet imbued with the spirit of the northern bands of the '70s; it is this cross pollination that adds weight and spectre to the song. The words relate to, and impose a sense of longing and doubt. Our hero is wondering what his life would be like when his paramour is gone. There is an unwillingness to let go of something so solid and wonderful. The band do justice to this, by adding emotion and openness to the setting; deftly weaving bubbles and rays of light into the central doubt. The chorus relates to our protagonist closing his eyes, and seeing Slow Motion Cinema- a metaphor and parable that sums up his heartache, and is also an easement into his soul. At times too, the vocal- aside from having classic corners of Leaders of the Free World- has Thom Yorke-esque authority: it sounds like a lost cut from In Rainbows or Kid A. The song is the sound of a slow dance in a dream; our hero is there, but his affection's object is a ghostly pale. The what-ifs and elliptical emotions, and calmed and temporised by the musical passages that follow. They allow you to absorb the words and potency, yet restrain the mood to ensure that there are audio peaks, as well. The guitar, bass and drum interplay knowingly, conjuring up a combined sound of The National, The Cure, as well as Simple Minds. When our protagonist sings: "I'll close my eyes/To see slow motion cinema" you strain to see what he sees: chattels, epic scenes, rain-swept or whatever, it is open to imagination and interpretation: making it all the more curious. The bailment of our hero's heart, is currently under duress from his soul and bones. Indemnification comes in the form of a skipping and bright guitar bounce. It has a slither of The Smith's and sunnier and inventive swathes of the Californian coast; and is a dramatic and unexpected deviation. There is a nod to the Gothic playfulness of The Cure, but the guitar, curiously, has the same sound as a Qawwali/Sufis vibe, only less porous. It is the final moments of the track, that are dedicated to the "I'll close me eyes" of the chorus. Each time the line is delivered, it is done differently: either elongated with trembled aching, or shortened and given a narrower consideration. It is the combination of presentation and repetition in itself that produces an epic end to the track, and builds tension and aching. We finish the songs as we begun: filled with vivid imagery and questions on our tongues. Whether the Slow Motion Cinema is a matinee of pleasurable remembrance or a painful reminder, is in the band's mind. It is for you load your own reel...

In less than week, the band prepare to launch their E.P., Themes. It promises to be a varied and exceptional release. I have managed to hear the remaining tracks from the E.P., and there is a massive amount of quality, range and appeal to be heard. If you have not heard of the band yet, then they are well worth seeking out and thorough investigation. They craft modern tableauxs, complete with an incredible sound and ambition. Although they have some modern influences on their sleeves, it is never too obvious or apparent, listening to their music. The band are capable of unleashing the same sort of northern force as the likes of your Doves, Elbows and Smiths, yet are a tight-knit and sterling band whom have a much more curious and endearing originality to them. If you can't get to London on the 17th to hear them live, then get your hands and ears on their E.P. and hear for yourself. In a time where London bands are few and far between, or have not yet been heard, The Bedroom Hour...

SHINE a guiding light, and promise much glory.

____________________________________________________________________________

Official:

http://www.thebedroomhour.com/

Twitter:

https://twitter.com/Thebedroomhour

Facebook:

https://www.facebook.com/thebedroomhour

Reverb Nation:

http://www.reverbnation.com/thebedroomhour

SoundCloud: 

http://soundcloud.com/thebedroomhour

Cisse Redgwick- Gimme That Swing & Mister Mister- Track Reviews

Track Reviews:

Cisse Redgwick-

Gimme That Swing

&

Mister Mister

9.6/10 & 9.7/10

The Cuckoo stalls have unleashed a new swing wonder; and, unsurprisingly, there is potency, style and curiosity, aplenty.

Availability:

Gimme That Swing is available at:

https://www.youtube.com/watch?v=FALYmqt-7TQ&feature=player_embedded#

___________________________________________________________________________

IT has been a fair few weeks, since I have talked of a...

record label that offers endless consistency. I have experienced a lot of great music from Cuckoo as of late, from Jonnythefirth, through to Little Violet. It is not a label that fosters narrow-minded ambition or has a particular sound. There are a lot of styles and flavours to be unearthed, from blues rock, through to folk, and it is a stable that is playing host to some seriously great future talent. It is not a shock that there is so much electricity and marvel, up in the north. It has been with trepidation, that I have taken on the task of reviewing new artists. So many times, I have gone in; hopes high, only to be left heartbroken by the results. Too many artists get it into their minds, that by near-aping their favourite band or most relevant contemporaries, is the way to success and credibility. It seems that every single act or new artist is instantly compared with an existing one. It is a worrying sign, as- no matter how good a voice or sound the act has- it displays a lack of originality. I guess, with so much music already having been recorded, and so many artists having passed through music's illustrious annals, that being unique is becoming harder and harder. Although, this said, when artists are compared with others, by and large, this is because they want to; fans and the media know this. It is angering, as the original artists- whom the new artist tend to mimic- are always superior; have greater talent, and most importantly, got their first! I guess it is a quagmire that is going to get worse, but I am fatigued and fed up with the lack of ambition and individual personality but musicians today. With the exception of a vast minority, music is in danger of becoming a horrid and ersatz version of itself, circa the late '90s. In Yorkshire, where homophones are riff; landscapes are varied and beautiful, and few great football teams are situated, there is a music core, whom are ripe to supersede my reticence and loathing. A lot of the activity is located around Leeds, Bradford and Wakefield, but there are some rustling and bustling around Sheffield as well. It is Leeds that has intrigued me most. Until very recently, I was hard pressed to think of many bands or artists whom originated from here. Scritti Politti, Kaiser Chiefs and Alt-J hail from here, as well as one of my all-time favourite bands. Wild Beasts. Predominantly, it is the less-well known, new artists whom are based here: Pulled Apart By Horses and The Pigeon Detectives are two of the best and most potent, of the current crop.

Cissie Redgwick is a veritable Dark Knight of the music scene. By day, she is Miss. Redgwick- swing artist extraordinaire, but by night: dark vigilante Rose and the Howling North. I have perhaps unveiled her secret too soon, but the woman behind the masks- Rosie Doonan- is not only impressive in her creative range, but also her musical one, too. It is no overstatement, to say that Rose and the Howling North's debut album, was one of the finest I have heard this year. It has been on my stereo for weeks, and there is so much ambition and range over the album, that it always feels alive and fresh. The title track to that album- Cuckoo- will stay in your head longest; with its vivid and story imagery, Nancy Sinatra-esque musical composition and dark edges, and wild and wonderful vocal, it is the epitome and embodiment of the album, artist and Yorkshire scene, as a whole. The work of Rose and the Howling North has been gaining momentum, credit and celebration, at a steady rate since the release of the album, and there is a huge demand for future songs. Redgwick- Bruce Wayne, if you will- is a different sort of beast. Somewhat softer, less dangerous and more jazz-infused, she is a swing legend, re-imagined for the modern age. Of course Rose' has soft, playful and alluring sides: that was what makes the album so invigorating; but Redgwick is more comparable to her Cuckoo 'stablemate' Little Violet. Little Violet (Cherry Gears), is a gorgeous and sassy swing artist, with a fond admiration for the jazz and swing music of the '40s and '50s, and impressed me with her sharp and memorable songwriting, and wonderful sound. Redgwick has a similar appeal and energy; both of whom are making the type of music which- sans Caro Emerald- is vastly rare in 2013 (and indeed the 21st century)! The music of Redgwick and Little Violet is similar to that of the likes of The Andrew Sisters, only a lot sexier, and more steroidal.

The video for Gimme That Swing is dependably stylish and period-relevant. As the intro scats and repeats the song title, and the music jumps feet-first into the fray, there are male dancers, party goers, and scenes that could have been taken from a London swing club of the '40s. The introductory seconds are a blitz of staccato and rapid-fire vocalisation, and a blustery and energetic musical mood: all horns and swing strings. Redgwick sings of themes that are as relevant today, as they were 60 or 70 years ago: simple love and universal differences of intention and opinion. Redgwick is offering love from the heart; but adds the caveat: "Try not to need it so much". Although Redgwick has loved her beau "from the start", there seems to be a lurking discontent: a malaise. Redgwick employs similar thematics and stirring musical accompaniment to that of Little Violet, only the voices are very different. Little Violet is perhaps softer and sweeter, but with power underneath; whilst Redgwick is a little more forceful and Alpha. Both share a pain and common muse; yet the way that their thoughts are expressed, are very different. Gimme That Swing, has skiffling beats and boasts an jubilant and boisterous burst before the 1:00 mark; as the mood notches up, and Redgwick's voice accelerates and intones warnings such as: "You better run for cover". There is a play-fullness and sensitivity beneath the skin, and the main aim is to portray and employ a massive sense of fun and atmosphere. When there is a musical break at the 1:20 point, there is brass and percussion that breathes in and out; parps and dances; only for a brief time, as Redgwick is back onto her feet. She is more pensive and matter-of-fact: she is setting the scene, given some back-story, and settling scores. Her former sweetheart had "dangerous charms", that our heroine fell for- as well as the "diamonds and gold". In the video, our protagonist begins on foot, striding and eliciting; before she sits- a pair of dancers weave in front of her, as the music blends with her voice, perfectly. In spite of all the bads and flaws that her man had she loved him without discrimination; but now that things have taken a turn for the worse and truths have been revealed, she announces: "I will make you pay". The chorus is instantly indelible and simple. It strikes a huge chord, and the combination of swing (and at times Cuban-sounding) brass, combined with a voice and evocation fresh from the golden age, balances brilliantly with the slower, and more spiked verses. The entire song is never dragged too deep down: the key manifestos are energy; excitement, and a imploring desire to make your feet dance. It is an incredibly catchy and invigorating number, and the tune, melody and firestorm of jazzy tones will smash, as hard as the potent and personable honest, and well-observed lyrics. Redgwick is a woman who has been wronged, and is intent on releasing a biblical plague of retribution, through swing. It may sound like a temporised vengeance, but the sonic blasts and cursive vocal immediacy is more discommodious and miasmatic than any physical punishment.

Although not available via YouTube, or on wide release yet, Mister Mister, is the bedfellow of Gimme That Swing, and if anything, even more impressive. The openings bars and notes have a lot in common with Redgwick (Doonan)'s alter ego Rose and the Howling North. The track begins dreamily, with its author imploring: "Mister Mister/Don't treat me so unkind". Again the subject hugs closely to the heroine-is-wronged-paramour-must-pay theme, the way that the story is told, is a lot different to that of Gimme That Swing. There is a little regret and wistful looking back. In the gentle and tender opening moments, Redgwick has told how she figuratively hanged her sweetheart in the past, without thinking of him- or providing him with explanation or reprieve. Anyone whom has heard Cuckoo, will be familiar with Doonan's strong suits, as a songwriter. She knows what a strong and layered voice she has, and is able to scribe tales, that will be familiar to women and men alike. They are ubiquitous and familiar, yet contain twists and snakes, and wrapped around her voice, create a heady elixir. Redgwick is more reserved and open in this track. There is a little of the sharp edges, but by and large, but she is more touching and coquettish. She wants her man to "give me more". The pace of the music, as well as the vocal, suggests a bit more of a soulful edge. If one were to visualise, or anticipate a video for this song; we would be in a club again, but there would be less frenetic dance, and more of a lounge and candlelit mood. In the same way as Little Violet did with Don't Stop, the subverted anger and dissatisfaction (Shut Up, in the case of Little Violet) is counterpointed with a song that is smoother and more flirtatious. Redgwick announcing: "What you need, I/Shall give you for a smile". There are still guts and dominance underneath, as she implores her lover not to mess with her; in order for things to go as he wants, she needs to be treated with respect and due diligence. The way the horns, brass, upright bass strings and associative accoutrements are deployed not only skillfully, but with some authentication, is impressive. A lot of swing-era sounds are elicited with irony or insufficient reverence amongst a lot of R 'n' B and grime artists: it is used as sound-effect and shading, but never treated fairly or given any sufficient airtime or musical Christo duce vincamus. Not since the ages of The Andrews Sisters, and the pages of P.G. Wodehouse, have swing-era playlets been tattooed so beautifully. The use of backing and multi-track vocals in the song add effectiveness and volume; and the words, and the way they are presented are no less magical. Redgwick "can't give any more", and has waited a long time for her beau to do right, and be whom she needs him to be. She warns that all his friends that he spent so much time with, and loved more than her "Can love you when I'm gone". She does not need him, as it turns out, there was insurmountable stress and sadness, mitigating their time together. Redgwick gave all her love to her man; yet was sorely let down, when all she needed was a little comfort. The vocal is delivered, dream-like and flowing, similarly to how Kate Bush would deliver a lot of her music. It is the way the words are elongated, enunciated and subject to her own brand of emotivism, that makes the song so special. There is fond affection for the bygone swing-era artists, and Redgwick is a brilliant modem equivalency. The hallmarks are all present: evocative and romantic musical mood; that distinct and heart-warming vocal, and scathing and ubiquity within the words. There is never an urge to portray a feminism in the same way that the like of Beyonce will turgidly turn out time, and time again. There is not a need for empowerment; there is greater relevance to her words, as our heroine wants to be given her fair due, and respected in love, the way she deserves.

I know I have been insistently banging on about the Leeds-based Cuckoo Records, for some while now. It is for no other reason, except to highlight where some of the biggest future names are based. It is a label with few comparables, and there is a consistency here that few other labels can boast to. Redgwick (of course a nom de plume to allow Rosie Doonan to experiment away from Rose and the Howling North) takes bold steps towards taking music in a new direction. I wonder whether she as well as Little Violet will work together, as between the two of them, they are helping to re-popularise a much-ignored genre. Of course Caro Emerald is going some way herself, to revitalising and updating the swing-era sound, and Redgwick, in the mantle of a modern-day electro swing star, is equally as impressive. She has a songwriting craft which has been proven elsewhere; yet she is effortlessly capable of adapting her core themes and ideas for whatever style of music, and whatever sound, she wishes. The voice is evocative and strong, and the musical backing is tight and incredible too. On the basis of this duo of songs, I hope that there is a lot more imminent from her, and she- Doonan- is able to keep Regwick and Rose and the Howling North camps, happy and contented for many years. Like modern-day workaholics Jack White and Damon Albarn, our star is able to reinvent and keep moving between styles and projects, without compromising any quality; instead she showcases her talents in new light. Today there is too narrow an emphasis on solo artists, either being emotive balladeers, or else them playing the self-elected hard done-by hero. Whether you detected- by the tattoos perhaps- that Rose and Redgwick are the same woman, adds a little fictionalised fun to proceedings. I think in a way there is a pioneering attitude from Redgwick, as well as Little Violet's Cherie Gears. They break away from well-worn pop/soul/R 'n' B and rock parables, and re-energise and modernise a style of music that, to me, is timeless and faultless. Perhaps it does not have grit or the sort of graffiti lines to attract the most hardened of street/grime artists and fans; but from my perspective- as a huge rock/Grune/desert rock fan, it is a wonderful sounds, and one wonders why there are not male artists whom are pervading the same electro swing lines. Maybe there are, but down to Redgwick (and Little Violet), there will be others waiting in the wings to sing the songs, they have sung, and try to take them on. There is a great deal of mobility available within electro swing- the lyrics, as well as the musical compositions, and with a voice as strong as Redgwick's; she is going to be capable of a massive amount of good, should she choose to. With the combination of 1941-Andrews Sisters, with 2013 freshness and innovation, mingling with an underlying '70s rock innovation in the music/lyrics set, Cisse Redgwick is sure of a long, and fruitful career; she is stunning, strong-willed and a phenomenally diverse and workaholic songwriter:

JUST make sure you don't pass her by, and miss out..

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Cuckoo (Official): 

http://www.cuckoorecords.com/artists/cissie-redgwick

Twitter:

https://twitter.com/cissieredgwick

YouTube: 

http://www.youtube.com/channel/UCr8OTB6duD_ydTMjfR98JlA

SoundCloud: 

http://soundcloud.com/cissieredgwick

Baby Strange- WANT IT/NEED IT- Track Review

Track Review:

Baby Strange-

WANT IT/NEED IT

9.4/10

Glasgow trio display a punk/glam energy and force; their sound is pure, if their themes don't always subscribe to linear forms of causality.

Availability:

WANT IT/NEED IT

is available at:

http://soundcloud.com/babystrange-1/want-it-need-it

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SCOTLAND is a country that is not willing to declare independence...

from the rest of the U.K., and especially London. I have talked a lot of the north, and will continue to do so, for some time to come- with regards to music. It seems that there is a stratigraphical line of quality, that runs like Hadrian's Wall, between London and the north. I'm not sure what is causing this; possibly freedom to roam, and no constraints or else there is a little more diversity in certain parts. Whatever the explanation for the phenomenon is, one thing is for sure: the most interesting moves are being made, the further north you travel. It is Scotland that has provided the most diverse new music- in my mind- over the past few months. Historically, the country has perhaps not been as vociferous as England, when pertaining to the best and most fervent music, but headway is being made. Scotland has always had a close link with the rest of the U.K., in spite of any political sabre-rattling and yearnings for emancipation. I have always been amazed at how the musical landscape changes, in direct relation with the locality. I would have imagined that away from the busiest cities, there would be greatest homogenisation and narrowness; but it seems that London has suffered a stagnation. If the right-wing musical rags, and the left-wing broadsheets are to be believed, they alternately speak of a resurgence in originality and hot new things to watch, or belie a lack of focus and individuality. Both are wrong, when it boils down to it. There is originality, if you know where to find it. The issue with the biggest cities- particularly London and Manchester, is that there are so many acts and bands plying their trade and vying for ear space, that a lot of their sounds and uniqueness blend into one another, and gets muddled in a massive sea. On the other side of things, I have heard a lot of new acts, where the music and lyrics have been potent and potential-filled, yet the singer has strayed so close to an existing artist (past or present), that one could not be swayed in the belief, that a cover's band are playing. The huge cities are always subjected to the mainstream artists. The beige and nauseated sector containing your Sheerans, Little Mix, Barlows, androgynous indie bands, hopeless girl and boy bands; and raft of heart-on-sleeve, dull-as-crap solo singers, is responsible for the inculpation. When there is a diffuse and uneducated media scrutiny and lack of quality control; hordes of horrible acts are allowed to foster and burgeon. Consequently, the neighbouring new acts, are unwittingly attuned to replicate- in some degree- the associative sounds. Away from the disingenuous rapture, there is a comparative inertia, that means bands have space to grow free-range; and not be confined to predefined cages; forced to play the role of 'battery hen musician'.

I was somewhat perturbed by a recent summation given about Baby Strange, by The Guardian. I have followed closely their 'New band of the day' segment for many months, and have found them to be a reliable- if somewhat overly-critical- barometer, when searching out new music. They attested that the band's music swings between "drones and dirges", and in their banner headline, stated that (the band) were: "Like The Clash, only minus the anger and energy". I have scolded The Guardian before for phoning in their reviews somewhat; compelled, baffingly, to summarise an entire album's worth of material into six or seven lines. I am assuming their longest-serving reviewers comfortably take home a healthy five-figure pay-cheque, and are hardly swamped, when it comes to workload. I do my reviews for free, and feel it is insane to be so casual and under-valuing when critiquing an album, or song. If it sucks, say so. But say so with constructive criticism; don't just write something off. Similarly, where The Guardian have introduced a daily 'New band..' employee; they have built them up, in some reverent tones; only to have a bitter lash in their tongue; chopping them down and undermining them in a few words. I can nary see the point of putting the spotlight on a group, whom you wish the public to become aware of, only to offer sarcasm, feint praise and a myriad of Oxbridge tautology and thinly-veiled condescension. In the case of Paul Lester, whom was tasked with distilling Baby Strange's essence into a digestible pill-form; he has somewhat missed the point. I have a more mechanically-reliable focus and authority; so I shall give the band their long-over-dues. I am a huge T-Rex fan, so spotted the connection with their 1972 song, Baby Strange. Their sound is a combination of dark and moody punk edge, combined with a natural ability to funnel out any tribute-paying, and leave an original and fresh sound that is capable of uniting large clans of music lovers. They have swagger and class; a sharp songwriting talent, as well as a knowing knowledge of great music past: which they manage to infuse into their palette, and paint their canvas with some primary colours, as well as daring shades. In essence, they're a Pop Art wonder: sharp and daring, yet enlivening and sexy (quite), underneath it all. In a middle-class broadsheet Kobyashi Maru scenario, every new band has an autosomal dominant doom; if you know your music, and appreciate what is being offered by a band, it is a lot of easier to be appreciative. Johnny, Connaire, and Aidan are our endeavouring three-piece, dapper-dressed, and have a keen-edged and mannered smolder that the likes of James Dean and Steve McQueen would envy. Their music is intense and exhilarating, and want you leaving (a lot) more...

I have chosen WANT IT/NEED IT for a number of reasons. It is a track that just creaks over the two minute mark; yet covers so much ground, and takes so much wind from your sails, that it seems simultaneously impressive and teasing. The opening bars go some way to backing up my hypothesis. There is a background of mechanical mystery and druid darkness. It is joined by a pulsing drum pattern, which merges with a striking electric guitar buzz, that comes and goes sporadically; infusing the music with some urgency and imminent danger. In the formative stages, the track has more in common with desert/stoner rock bands such as Kyuss, Queens of the Stone Age; and a sound and vigour that is more often associated with Californian acts. I can detect some punk-ier overtones, as well as flavours of hard rock and 'rebel rock' bands of today. I was hard pressed to place Baby Strange in a pod with other bands; their initial strums and fuzz displays a sense of adventure, but they also have relatable and tangible tones, that will bind uninitiated and intuitive alike. The unpredictable explosion that follows the (comparative) calm, is a riotous bluster. It has punk clothing, in the sense that it is a Buzzcocks-cum-Sex Pistols slam and smash. There is a similar jostle and unpredictable electricity being ushered, but it is a more modern and depoliticised enunciation. I was reminded, initially, of Blur's Think Tank wonder We've Got A File on You. There are hints of that here, as well as a lo-fi and raw edge to it. There is no studio sheen or gloss; it is as though the song is being performed in the streets: mandated to the people gathered around. The words, however, suffer no ill health: everything is clear enough to be recognised, but urgent enough to catch you unaware. The refrain of "It's alright/It's okay" is offered up, as the band create a spinning and gravitational twirl around the words. The musical composition is not a straight-forward noise; it intelligently elicits a melody, but changes course at certain stages to support the vocals, as well as alter the mood, so that the excitement and intrigue is kept up. Even in a 121 second track, the band take time to deviate and take some side-steps. The mood is calmed, briefly, before the 1:00 mark, as a new vocal passage comes into play. This time, it is has less brute force, and more pugnacity and swing: "I don't want it/But I need it" is the repeated chorus, which heralds the way for a full-bodied band choir. There is a little bit of The Libertine's early spirit in the way the band youthfully yell, with an audible smile. I admire the number of different shifts, that the song contains. By 1:42, we have graduated from a Fun House-era The Stooges. There is dirt, spit and U.S. bite and bile beneath the skin. From there, with perhaps a segway of Black Rebel Motorcycle Club-esque potency; there unfurls, a new and immediate charm. Somewhere pitched between '70s GBGB underground punk, and eponymous album The White Stripes. I could detect the same abandon and cunning inventiveness in the guitars, as that of Jack White. It is the type of lick and shred he would employ, circa-2001/2. The drum bounces and crackles as it does on Let's Shake Hands/Hypnotize; and it is underpinned, and carried steadily by a tight bass line, that the likes of Muse would be proud. This Detroit-via-Glasgow guitar, drum and bass camaraderie is carried through to the end; the chorus is unleashed once more, to add a last drop of flammable oil to the fire; and we are done.

The entire experience is a refreshing change. I know from vast experience, as well as the relevant and current parable of me, as the songwriter, that it is too tempting to open up a song, and let it wander too long. There is a lack of concision and focus amongst a great deal of new bands. Many seem to be worried that a truncated running time, equates to a lack of quality (whether the associated track is a homunculus, or not). By presenting a song that is 2 minutes long, and takes detours and digressions, yet is cohesive and encapsulating, has meant Baby Strange achieve a heady high. Few contemporaries are capable of recording a track like this, so early in their career. It is the type of song that is reserved for a 3rd or 4th album: when you are absolutely sure that the public are on your side. Their is bravery and boldness, but the band should have no fear. As a free-standing track, or presented alongside their other songs, it is a triumphant effort, and Mr. Lester should take note from me. There is plenty of anger and energy, but the band do not pretend to be, or are necessarily influenced by The Clash. There are varying influences and passages within the song, but at the core, the sound is unique and a lot more than 'neo-punk' or a challenge to the current scene, or whatever other label you want to levy at the band. I have heard little evidence that other groups are willing to embrace the freedom and quality of the classic punk and rock era. There is a current trend towards- if you are a rock band- aping The Arctic Monkeys or another popular band. I hope I have done the band full justice, and that I have come a lot closer to describing who the boys are, what they play; and what effect they will have. They will be a big name for 2013 and 2014, I am sure about, and are good enough to be future festival mainstays. Although, with any new band, there are differing opinions; and there is only one way to decide for certain how good they are:

LISTEN for yourself, and arrive at your own conclusion.

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Facebook:

https://www.facebook.com/babystrangemusic

Twitter:

https://twitter.com/BABYSTRANGEX

Soundcloud:

http://soundcloud.com/babystrange-1

Profile: Freddie Mercury

PROFILE:

FREDDIE MERCURY

One of the most revered and, to my mind, the greatest singer of all-time, has no equals, and surprisingly few contenders for his crown.

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IT is a change of venue and landscape, with regard's to today's focus...

In the first, of 15 weekly installments, I am breaking away from highlighting new acts and music, instead turning my fond regard towards classic singers and bands. Not so much to please myself, but in order to gain the aforementioned artists, a new audience, and a renewed appreciation for them. In this edition, I am focusing on a man whom I consider to be the finest and most talented singer, there has ever been. Whilst many rock magazines overlook him, when deciding on the greatest and most influential singers of all-time, it is about time- some twenty one and a half years after his death, to give the man behind Queen, a fair shaking: Freddie Mercury.

The Man, In His Formative Years:

Born in Zanzibar on 5th September, 1946, the boy who was to become Freddie Mercury, was born in a culture and lifestyle, that would soon become a thing of his past. In his early childhood, Farrokh Bulsara, took to the piano as a seven year old, dedicating a great deal of time to practising the instrument, that was to feature prominently, in a great deal of Queen's greatest ever songs. Friends recall that the young boy, was able to recall perfectly songs he had heard on the radio, and replicate them on his piano. Unable to remain in Zanzibar, due to the 1964 Zanzibar Revolution, the family reallocated to Middlesex, where the king-in-waiting remained for the rest of his life. It was in 1970, that Bulsara became Mercury; and was during this time, that Brian May and Roger Taylor met Freddie, and the three of them formed Queen. Mercury was slyly aware of the connotations surrounding the name Queen, but explained that it has several different meanings and facets. The name Freddie Mercury was cemented, essentially as soon as the move to England took place. Whether a move to throw off some of his troublesome past, or purely in order to denote a new stage in his life, the man we all know and love, decided upon his path and ambition, as early as his early to mid twenties. Mercury knew, even this early in his life that he would be remembered, stating: "I am not going to be a star. I am going to be a legend". The band, the songs, the albums and live performances that soon followed, laid the foundations and fulfilled Mercury's bold prophecy.

Relationships and Personality:

Mercury was a very different human on stage, compared to the man he was, off. In Mercury's own words, he was shy and introverted. Mercury stated that he was an extrovert on stage, as that was whom the band were, and what he needed to do. He was a true showman, and someone who not only wanted to perform to a crowd and make his voice heard, but he wanted them to fall in love with him too. This side of Mercury is something I will explore more, but it is a curious that Mercury said that he was an extroverted performer "yet inside I'm a completely different man". Mercury granted few interviews, choosing instead, to be selective with whom he spoke to, preferring to have privacy and space off of stage, and away from the band. Mercury realised that, due to the nature of his profession, and the ensuing idolisation that he would receive, meant that long-term relationships and dedicated love, would be something that would be almost impossible. He compared it to Russian Roulette, explaining that it was difficult to be away from the spotlight, and find a semblance of normality. It was a focus and strain that would enforce his ambition and drive, but would perhaps put an irrevocable dent on potential happiness.

During the early '70s, Mercury began a relationship with Mary Austin, a woman of whom was to become a long-term fixture in Mercury's life, and the subject of a few of Queen's songs. They met through Brian May, and lived together for a few years (before Mercury began an affair with a record executive, which broke the relationship down). In Mercury's mind, Austin was his only true friend, and he considered her to be his common-law wife; someone whom was always there for him, and would receive his London home upon his death. It was a relationship that inspired several of Mercury's greatest tracks, including Love of My Life; a tender summation on a relationship that was pure, and unending. Mercury has relationships with other woman through the years, even as late of the mid '80s; but it was his male romances that grew most attention and speculation amongst the media. Although many today consider Mercury to be a homosexual, he was a bi-sexual, and someone who was open about all of his relationships. Publications such as NME were very bold and tactless with regards to the question of his homosexual relations. He didn't care what people though, and it was a perfectly natural side to his life. There is still a stigma to homosexuality today, bafflingly, but in the '70s, '80s, and even '90s there was a lot of prejudice from the public, as well as the media. Although Mercury was open about his relationships, he was occasionally forced to distance himself from boyfriends in public, at times, due to media scrutiny and overly-narrow obsession from many sectors of society.

The Voice:

As an instrument, and as Mercury's defining feature, it is something that is still marvelled at, and analysed, today. Mercury's speaking voice was a baritone, but was a natural tenor. His range went from a bass low F, through to a soprano high F, with an incredible diversity in-between these notes. He is an artists that is mentioned alongside Prince, Michael Jackson and Rob Halford, with regards to a huge range of octaves and abilities. Mercury was selling his voice, and it was a voice that received no formal training or instruction; all of this was accomplished in spite of the fact that he has painful vocal nodules; an ailment that would occasionally affect some live performances. I will go into a lot more depth with regards to his voice, later in the profile, but it is one of the main reasons that I am so in awe of Mercury. It is an instrument that is still capable of stunning and overwhelming music lovers, this many years after his death. He was clearly a flamboyant and electric performer, but as Mercury saw it "Dullness is a disease", going on to say "I'm never scared of putting my self out on a limb".

Queen and The Albums:

The band was formed in the early '70s, and was quite a startling revelation for the young Mercury. In an era where a lot of bands possessed very little brains, and were quite homogeneous and predictable. Mercury encouraged his band-mates to be more experimental and by the time of Queen's debut album in 1973, the band has created a sound, influenced by hard rock and progressive rock. Their debut album was well received by critics, and contained Seven Seas of Rhye; a live favourite and future classic. It was an album defined by Queens legendary experimentation, instrumental passages, and vocal harmonies, and a great deal of attention was being paid to Mercury's voice and talent as a songwriter. Sheer Heart Attack and A Night At The Opera, built upon this groundwork, and fused sounds of music hall, reggae and heavy metal into the mix. It was at this point in their career, that Queen began diversifying, and pulling away from the traditional sounds of the day. Sheer Heart Attack contained Killer Queen, as well as a number of memorable tracks; but few would be featured on the greatest hits collections. It was an album that was strong and memorable, but perhaps not their strongest collection. The ensuing A Night At The Opera, was considered to be an early masterpiece, in no small parts due to Bohemian Rhapsody. It was a startling revelation from the band, and as well as being their greatest song to date, is rightfully considered as one of the best songs of all time. Subsequent albums A Day at the Races and News of the World, received mixed reviews, but also contained some of the band's most memorable songs, and cemented Queen's popularity. During the early and mid '80s, Queen moved into disco and dance music; a step that confounded a lot of critics, but provided a new range of sounds and songs. It was the nature of Mercury and the band as a whole, that they were ever-moving, and adventurous. By the time A Kind of Magic arrived in 1986, a lot of critics and music magazines, had fallen out of love with the band, feeling that the quality of the early albums was lacking. By the time of Innuendo in 1991, the band had moved back to replicating the flair and style of their early albums, but, with their front-man in such poor health, very little touring was completed. It was an album that was a fitting tribute, and aside from the final release Made In Heaven, was one of the most tender and impassioned of Queens chronology.

Live Aid:

The worldwide concert Live Aid, held in 1985, was an event that showed why Mercury was one of the most talented and electric live performers ever. Queen performed for 20 minutes, during which, Mercury lead the crowd of 72,000 in unison refrains, and drew them into every song. It has been voted as the greatest live performance of all time, and highlighted Mercury the extrovert. He parades the stage, moves, switches, dances, and gets everyone in the audience involved, and singing along. It is a performance that galavanised Wembley Stadium, and I implore you seek out the full performance on YouTube (link to part 1, is at the bottom of the page); it shows just what an extraordinary showman Mercury was. The private man was a shy and introverted human, but the performer Mercury was an unleashed colossus. The Live Aid performance was the definition of what it is to perform, truly: to have the crowd in your hand. Mercury himself said: "I'm so powerful on stage I seem to have created a monster". If you view the performance in its entirety, it is clear how in awe Mercury is of the situation, the audience, and the event; it is reciprocated too, creating a spellbinding live feat.

Solo Career:

Although not as commercially successful as his work with Queen, Mercury yearned for a change. In interviews he stated that he spent so much time with the band, that he needed to get away from it, and create his own music on his own terms. His first solo album, Mr. Bad Guy, was well received by critics, many noting how strong it was from start to finish. It has a more disco/dance-orientated feel to it, at a time (1985) when Queen's foray into the genres were faring poorly. In spite of any preconceptions, the album showed a liberated Mercury able to spread his wings artistically, and make an album he wanted to. His first and truest love would always be the band, but given space and time away from the hectic life of Queen, Mercury was able to craft 11 songs that were as true to him, as any he had ever written. The follow up album, Barcelona, was more operatic and dramatic in feel; written as it was, to feature heavily soprano Montserrat Caballe. Aside from the sweeping title track, which was featured to coincide with the 1992 Olympics in Barcelona, it was an album that fared less well than Mr. Bad Guy. Although both performers were at the top of their game, and brought the songs alive, it was seen as too simplistic and some of the more pop-orientated tracks did not fully suit Caballe's voice. The solo endeavours by Mercury just emphasied what a diverse and dedicated artist he was, and how much of a prolific artist he was, too.

Freddie, The Songwriter:

Mercury once said that "I don't want to change the world with our (Queen's) music"; stating that he was a songwriter who wrote for the modern consumer. Mercury was ever-modest about his abilities as a songwriter, and the effect his tracks would have on future generations. Mercury was responsible for writing most of Queen's greatest songs, including Bohemian Rhapsody, Somebody to Love and We Are the Champions. According to Mercury, he did not consider himself an especially talented pianist, although it is at the piano that he wrote most of his songs. He could barely read music, yet was able to compose a wide range of musical styles; some songs employed dozens of chords and notes, and Mercury himself said how he didn't like to stay put as a songwriter; preferring to incorporate a wide range of styles and genres over the course of an album. In my mind, he one of the most underrated songwriters ever, and given that he was responsible for the likes of Bohemian Rhapsody and Somebody to Love, it is staggering that he is not held in the same regard as the likes of Pete Townsend and John Lennon, as great rock and pop writers.

The Final Years:

It was well documented; the fact that Mercury was diagnosed with HIV in 1987. He kept the news to himself, seeing it as only his business. It was only publicly announced a day before his death, that he had AIDs, and Mercury preferred to keep his private life that; he continued to work as hard as ever and buried himself in music and work with the band. As late as the early '90s, it couldn't escape the wider attention, that something was seriously wrong. Mercury appeared haggard and frail in public, and during the video for These Are the Days of Our Lives, Mercury was very unsteady, barely able to walk. In his final days and months, Mercury was largely bed-ridden, and only allowed a statement to be released to confirm his illness, one day before he died, on 24th November, 1991. Mercury was 45, and had lived a hell of a life. He said himself: "I don't have aspirations to live to 70"; going on to say that "if I'm dead tomorrow I don't give a damn". He was a man dedicated to his music and reaching an audience, and during a fairly brief life, had made more of an impact most do in twice that time.

Legacy:

His legacy is clear. Magazines and websites constantly rank him in the top 10 lists of the greatest singers of all time. It is inescapable at just how good a singer he was. He should be cemented as number 1 in all lists, as I find him far superior to the likes of Robert Plant and Elvis Presley. Those artists came before Mercury yet possessed few of his idiosyncrasies and talents. Mercury had that astonishing range; but also a conviction that few posses. Considering the nature of some of Queen's songs, it is all the more impressive that such conviction and passion could be elicited. Mercury did not play it safe as a songwriter; choosing to push himself and never rest; test his voice and say what he wanted to say- not what convention said he should. This reflects the man himself. He liked his privacy, but knew that he was human, and wanted people to understand that. On stage he gave the crowds what they wanted, and so much more. In the studio he continued to baffle and surprise; and away from all of that he lived his life with richness, but gave little away. He was a man whom wanted respect and love, and was rewarded as such. To my mind, there are still too few aware of Mercury's potency. I recently saw a poll where Axl Rose was voted the greatest rock front-man of all time (Mercury was 3rd, I think). Considering Rose is a homophobic, misogynistic, racist, megalithic, ego-bloated, vile tapeworm of a human: infested by his own sense of self-importance, it is a sorry state of affairs. In terms of pound for pound, Rose may edge Mercury with relation to octave range, and can hit higher highs, but taken out of the equation, and add in what really matters, Mercury has no equals. He was a man that should inspire more people than he does. Whether the lack of ardent revering and tribute owes as much to a lack of comparable talent, or a fear of some sort, is hard to say. I suspect it is the former. Mika sort of had a go- and still does- but he is a third-rate equivalency of Mercury. He has some of the pomp and vocal trickery, but little of Mercury's range, passion and songwriting ability; he comes off as a mawkish tribute act and is too close for comfort at times. As we are so far past the point where Mercury last performed, it is sad that so few male singers choose the path of sensitive troubadour, and there are so few willing to be more flamboyant, imperial, and bold. I hope this change. But you can't deny what a human being he was.

Final Thoughts:

Sasha Baron Cohen is currently limbering up to play Mercury, in a forthcoming biopic. Cohen has the looks, and many say, his vocal chops aren't too bad, either. They are not going to be Mercury good, but the point of the film will be to bring into focus, a talent whom deserves to be in focus a lot more. From my perspective he has inspired me as a songwriter and singer. The fact that he didn't record his best material until his late 20s and early 30s, has given me a lot of food for thought. I am too worried, that I have a voice and a lot written, but nothing on tape. I have been waiting, honing and bidding time; hoping that the current crop of songs I am working on, will be the beginning of a brief, but bustling career. As a songwriter, Mercury inspires experimentation and diversification. Few singers today do so in the same way, and it is because of Mercury that I have begun a- perhaps fruitless- attempt, at writing a Bohemian-Rhapsody style track. The frustration with that is, that it is unlikely to be topped. It is a majestic track that seems alien in its brilliance, and is impossible to write something comparable that would ever get within touching distance. As a singer, Mercury was self-taught, and honed his voice young, absorbing the world around him, and incorporating that into his tones. Mercury was a talent who amazes me still; when I listen to songs like The Show Must Go On, it is staggering how he lacerates the vocal in one take. He was so frail when recording it, that May advised him not to go for it; Mercury instead, took a drink and said "Fuck it darling. I'll do it". Knowing he was not long for the world, he was able to stay happy and focused, and subsequently turned in one of the greatest vocals of all time. It was his power and conviction that always gets me. You believe every note and syllable, and never doubt the authenticity and intention being proferred. Often Mercury would shred his vocals after a particularly intense performance; which annoyed and angered him, but he was aware of the risk given his passion and potential. As a human being, he is possibly most inspiring. In interviews he is warm and playful, and always engaging. He did not succumb to some pathetic desire for fame and the kind of cretinous regard many reality show losers crave. He was a performer at heart, whom wanted his private life compartmentalised. It was this separation that meant he did not burn out or tire of music. He had a cheeky side; he had a temper at times, and always he was an example of a man who should inspire everyone. For musicians, there are no equals when looking for idols; and for anyone else he showed how a life should be lived. I'm sure he was scared of death- everyone is, that's a fact; yet he didn't let it drag him down, dedicating some of his last months to performing and getting as much on record as possible. That strength in the face of adversity is inspiring. I hope that 2013/2014 shows glimmers of someone willing to at least incorporate some of Mercury's ambition, into their own songs and voice. In an age of saturation and too much nauseating mimicry and unoriginal stylising; it is sadly unlikely. I live in hope, and if I have to overcome every physical, emotional and financial barrier in my way, I will give it a damn good shot. That is what Mercury does: he makes you want to be him; but is going to be that kind of voice and talent that no one will ever be able to beat... and no one will ever be excused from ignoring.

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Mercury's Top 10 (Studio) Vocal Performances- (in no particular order):

Seek these out, please :)

Bohemian Rhapsody

Who Wants To Live Forever (with Brian May)

One Vision

Under Pressure (with David Bowie)

The Show Must Go On

Barcelona (With Montserrat Caballe)

Don't Try So Hard

Somebody To Love

Another One Bites the Dust

I Want to Break Free

Essential Queen Albums:

A Night at the Opera; Jazz; A Kind of Magic.

Interview/Important Links (Open in a new tab):

http://www.youtube.com/watch?v=5a6uA76vYDM (Interview)

http://www.youtube.com/watch?v=Ybqb0xfkka4 (Interview)

http://www.youtube.com/watch?v=V4XgdWDhvQw (Last interview)

http://www.youtube.com/watch?v=eQsM6u0a038 (Live Aid performance)

http://www.youtube.com/watch?v=HDQ5t-2E8Tc (Making of One Vision)

Further Reading (Open in a new tab):

http://www.freddiemercury.com/

http://www.youtube.com/artist/freddie-mercury

http://www.mercuryphoenixtrust.com/Home.aspx

http://en.wikipedia.org/wiki/Freddie_Mercury

Sky Larkin- Motto- Track Review

Sky Larkin

Motto

Track Review

9.1/10

The Leeds four-piece have a wide and building fan-base; and have the sound to ensure a dedicated and long-term glory.

Availability:

Motto

is available at

http://soundcloud.com/weareskylarkin/motto

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IT is, reliably once more, that the subject of my attention returns...

to the north, and Leeds. It is hardly surprising, given how much talent I have been reviewing from here. In fact, Yorkshire as a whole, has been producing a hell of a lot of wonderful new music recently. I suppose, given the size of the county, it is unsurprising. It is London, that of course, has the greatest wealth, and concentration of potential stars, yet seem to be falling behind, with regards to proffering future talent. I explained previously, that the reason Yorkshire may be surging ahead, is a lack of distraction. In the busier cities, there is such a bustle and stress, that there is either the temptation to project and produce music that reflects this; or a lot of potential gets subjugated and suppressed, with artists finding it hard to express themselves truly. It is perhaps not a coincidence, that the best and most refreshingly open music I have experienced, has originated from calmer, and less polluted climbs. From the outskirts of L.A., through to Scotland and Brighton, it seems that where there is sea air, floral life, and a general air of relaxation; this is where the biggest musical potential lies. Of course Leeds is quite a busy city; not to the extent of London, but still there is a shoulder-deep concentration of commuters and general populous. There seems to be an opposing theology amongst the citizens here, that differs from that of London. In London, there is a distinct self-obsession; a little lack of sociability, and- due to the sheer number of people- a difficulty in establishing any nature of personal space or long-term relaxation. Leeds does not suffer a similar quagmire. It is busy, but there is a great personalisation and openness amongst the residence; this in turn creates an overall (comparative) good-natured spirit. When there is less hassle, and perhaps less pressure from the media to conform and supersede expectation, it is a lot easier to make music you want to, in your own time, and, importantly, songs that are superior in quality. I'm given to thinking this theory is not hokum, or a faulty algorithm at all. It is scarcely a coincidence that the best music I have heard in the last month, has, by and large, arrived away from the capital; away from the traffic, the hassle, and the sheer chaos. Humans require a balance of human interaction and personal space, in order to evolve at the best rate; the busy city streets are not conducive to this end. Yorkshire offers this balance, and importantly, there is a simultaneous space and friendly network of musicians; each willing to help one another out. This fraternal lack of selfishness and consideration, is the explanation behind the sensation. My hypothesis was given further credence, but a recent discovery.

Sky Larkin, are: Kate, Nile, Nestor, and Sam. They have been purveying their blend of golden music for quite a few years now; and have not put a step wrong or dropped pace since. There is a tight-lipped mystery with regards to biography. On the social media pages, they simply state: TOUR NOT BORE, with regards to explaining where they come from, who they are, and where they are going. They have a clear desire to be seen and heard but as many people as possible, and let their music do as much of the talking, as possible. Their latest single was 'canned' in Seattle (the natural home for Grunge music), and inspired by their native Yorkshire; showcasing a transatlantic appeal, reach and popularity. Their personal website is a mass of striking and endearing photography, key and detailed facts and information, and a wealth of up-to-date blogs, tour dates and tidbits for fans and casual followers, alike. They take the business of music and promotion very seriously; noticing how essential it is to not only produce stunning music, but offer professional and informative websites, in order to intrigue and keep fans dedicated. The band have been recording a fair bit in Seattle, since their formation in 2005. Their debut E.P. featured cover versions; yet songs many bands would usually not be aware of, or touch. They made the switched to the American-named, but U.K. based label Wichita Recordings. One of the band members, Katie, has been performing recently with one of my all-time favourite bands Wild Beasts. I am a huge fan of their lead's (Hayden Thorpe) voice, and the groups intelligence and stunning range of sounds and moves. Given that Bloc Party are on Sky Larkin's label, you get the sense that this band are serious contenders- whether you are aware of them or not. That, in fact, brings me to another point: promotion and awareness. In my unofficial day job of music reviewer, I am responsible for furthering and highlighting specific bands. The issue I have, is that it is harder to find the groups in the first place, compared with any difficulty with regards to reviewing and promotion. For a band as established and stellar as Sky Larkin, I was only really aware of them, as recently as a few weeks ago. I am always at a loss as to why it is so difficult coming across such talented bands. There is too much serendipity and anemic networking, when pertaining to discovering new talent. Social media seems to be a contradiction in terms and a bit of an oxymoron. I do hope that the worrying trend will reverse itself very soon, as I have been blown away (sorry- music cliche, I know), by the Yorkshire trio's sounds and ambition, and sad that I have missed out on so many years and songs- I have been making up for it, this week, however. Their new single, is what we are hear to discuss.

To begin, there is building atmosphere; it is awed and building. A slight feedback is present, but soon there is an introduced electronic strum. It is hard but creeping. It introduces itself, and lays in a darker edge, and then repeats. The pattern repeats again, making bigger footprints, and establishing a distinct mood and curiosity. There is a palpable sense of tension and anxiety, anticipating what is going to arrive; one suspects it will be unexpected. Before long, there is a sound of percussion, linking with a pioneering and striking guitar line. The two work off and blend with each other, seamlessly, creating an electricity and spark, with little fuss or noise. Just before the 0:30 marker, the sound level is notched up, as the tempo and excitement mounts. There is a distinct Grunge/hard rock edge; slipstreams of Foo Fighters, as well as early Queens of the Stone Age, Soundgarden and Nirvana. It is heavy and masculine, yet has a soft and restrained edge to it, which creates a melody and punch in equal measures. When the vocals are elicited there are tales of "I saw a bird in flight". There is a darker sentiment to the words as "I plucked the feathers off" conjures a swathe of odd and extreme imagery. Perhaps matching the musical tones, the lyrics are at once beautiful and evocative, and the next are harsher and brasher. Being newly-initiated to Katie's unique tones, I was at a loss to find comparable. In an odd, or unintended sense, there is a little bit of Bjork to some of the enunciation and playfulness. There is an equivocal sense of fun and innocence to the projection, yet it is a less divisive and ostracising instrument. She has a pleasing smile; one can sense that there is little moodiness or intensity in her personality; she conveys a very personable and uncontroversial self. The band unveil slight moods of Wild Beasts; I can hear some of their Yorkshire counterparts in some of the more inventive guitar helixs. Backing the vocals, the band do a stellar job of keeping grounded, yet marrying a melodic and catchy riff and lineage, to heavy undertones, which are a mix of Seattle Grunge and Californian stoner desert rock. The percussion is especially noteworthy. At one stage there are edges of Dave Grohl around 1:24- it is a similarly inventive and difficulty fill that he has employed over Them Crooked Vulture numbers such as Warsaw Or The First Breath You Take After You Give Up. It is similarly stellar sticks work, and the drum beats and fills provide an emotional support to what has come before. The entire band campaign diligently, not stealing focus, instead, combining staunchly. They have a similar togetherness and intuition that the likes of QOTSA do. In fact, having just heard QOTSA's latest single (I Appear Missing), there is a comparative sound and swagger to it, too. Katie has a solid and strong voice, that can convey U.S. and U.K. tones and annunciation, never parodying either, but mixing them superbly. Between the words, the momentum is built, and held by the band, who weave sound clouds into the clear sky of the vocals. The vocals themselves change course and nature; from electioneering focus, to playful insouciance: "Emitted from my lips/From my lips.." trips and spins, as the words are born forth. From here, there is another shift in pattern, as a wordless chorus and rally, mingles with purging and exploitative guitar, bass and percussion; offering explosions, wandering lines, and rumbling interplay. It is a facet that is elongated and carried all the way to the end. It has a gravity and snowballing effect that builds and builds, until the band bring the song down, and let it end; exhausted, one would suspect.

Another day, another Yorkshire revelation. It is not the fact that there are so many great bands to be heard within such a specific part of the country; it is the sheer range of styles and sounds. In a lot of senses, London and the bigger cities are comparatively more homogenised and restricted. Where there are rolling hills and diverse towns and landscapes, similarly there is a musical geography that is equally as evocative and stunning. Sky Larkin have been playing to thousands of fans for many years, and have recorded a lot of material. There seems to be no signs of slowing in terms of energy or quality. A new album is due later this year, and Motto provides a tantalising slice of what could be featured on the record. It is the band's love of the very best U.S. and U.K. acts- which they manage to allude to, and fashion into their own uniform style- as well as being part of a burgeoning stable of ambitious colleagues, that has driven an ambition and quality that few other bands are currently plotting. It is difficult to say what form or nature the forthcomign album will take: whether there will be similar slices of similar sounds, or a widening palette; it is part and parcel of the band's appeal and history, that will cause salivation. Based on previous outings, there will be variation and a reliable quality and drive, that I hope will entice new fans and followers to their cause. If you're looking for a group, who are capable of transcending U.S./U.K. musical barriers, whilst offering up songs that will be impervious to near-sighted comparisons, then you will not have to look too far. It seems 2013...

BELONGS to the north; and is in safe hands.

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Official:

http://skylarkinskylarkin.tumblr.com/

Twitter:

https://twitter.com/weareskylarkin

Facebook:

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

SoundCloud:

http://soundcloud.com/weareskylarkin

YouTube:

http://www.youtube.com/artist/sky-larkin

Last FM:

http://www.last.fm/music/Sky+Larkin

MySpace:

http://www.myspace.com/skylarkinskylarkin

Tour Dates:

MAY

2nd London - The Scala w/ Dutch Uncles
4th Live at Leeds festival
21st York - Fibbers w/ Dutch Uncles
22nd Cambridge - Portland Arms w/ Dutch Uncles
23rd Bristol - The Fleece w/ Dutch Uncles
24th Southampton - The Joiners w/ Dutch Uncles
25th Norwich - Water Front w/ Dutch Uncles
26th Leicester - Handmade Festival
30th Birmingham - Hare & Hounds w/ Marnie Stern
31st Sheffield - Queens Social Club w/ Marnie Stern

JUNE

1st Manchester - Ruby Lounge w/ Marnie Stern
2nd Glasgow - Broadcast w/ Marnie Stern
3rd Leeds - Brudenell Social Club w/ Marnie Stern
4th Bristol - Louisiana w/ Marnie Stern
5th London - The Garage w/ Marnie Stern
8th Long Division Festival, Wakefield

JULY

13th 2000trees festival, Cheltenham
20th Tramlines Festival, Sheffield
26-27th Fell Foot Sound festival, The Lake District

AUGUST

3rd Y Not Festival, Derbyshire
16th Beacons Festival, North Yorkshire

Escort- Cocaine Blues- Track Review

Escort

Cocaine Blues

Track Review

9.7/10

New York's 17-piece disco orchestra crew, make "boom boom party good time"; from Brooklyn... to your ears.

Availability:

Cocaine Blues

is available at

http://soundcloud.com/escortescortescort/cocaine-blues-1

___________________________________________________________________________

IT is with a sigh of relief, that I can turn my focus to something truly...

unique. In terms of geography, style and formation, the featured artists are a bit of a revelation. In the meantime, I am turning my attentions across the Atlantic. It has been a rarity that I have had the opportunity or inclination to extend my psyche across the pond, and explore the U.S. for new musical talent. I have been delighted and transfixed by a couple of L.A.-based bands; each of whom has projected a dreamy and captivating sound. It is a bit of a gamble or risk when you are seeking out new music. If you are based in a particular country- whether it is in England or the U..S- there tends to be a reliance within the media, to promote a country's own talent. The business of fostering and encouraging international talent, tends to a take a territory impotence. Maybe a publication like The Guardian or NME will alert you to some curious and wonderful surprises now and then, but you have to search hard. I have been relieved that there seems to be a pulling away from a homogeneous and narrow-minded focus; a lot of music-lovers and musicians have brought to my attention acts from around Europe, the U.S. and Australia. I hope one day a website, or social media site is created solely, to make it easier to connect with worthy talent from all across the globe. I am sure there are pockets of Africa, towns in Australia, and a western European collective, either or all of whom could be the greatest band I've heard this year. The trouble is, that unless you seem to be ideally placed or 'in the know', it is extremely difficult to seek them out. Until- and even if- that occurs, for now, I shall do my best, to join a small list of U.K.-based musicians/reviewers whom are intent on adding cosmopolitan and variegated sounds to a consciousness, sorely in need of diversification

On the 'chopping block' as it were, today, is quite an oddity: in terms of their sound and formation. Hailing from the bustling and sometimes dangerous streets of Brooklyn, the collective Escort, are intent on being heard and remembered. They are- if you'll believe it- a 17-piece group. They label themselves as a "disco orchestra", and are fronted by lead-singer Adeline Michele. Publications and newspapers around N.Y.C. have dubbed the band as the best live act in the city, and the reviews from their current tour, have seemed to back this up. They have just played in London (yesterday, in fact), and have amassed an army of fans from all around the world. This is in no small part down to their sound. There have not been too many credible disco acts performing and recording since the cessation and dissolution of the scene in the '80s. They released a debut album in 2011, and Scissor Sisters' front-man Jake Shears proclaimed them as the finest disco act you will ever hear. It is quite a golden standard thumbs-up, from a man who current fronts, what I would consider as, challengers and comparable to the group. Escort have been playing and wowing audiences since 2006, and have a wide range of influences, from Prince to The Rolling Stones. The group, in their entirety, consist:

Adeline Michèle - Vocals
Eugene Cho - Keys
Dan Balis - Guitar
Mark Tewarson - Guitar
Jason Kriveloff - Bass
Ben Herson - Drums
Karlie Bruce - Vocals
Joy Dragland - Vocals
Angelica Allen - Vocals
Ernesto Abreu - Percussion
David Freyre - Percussion
Caleb Burhans - Viola, Violin
Pauline Kim - Viola, Violin
Tarrah Reynolds - Violin
Jon Natchez - Alto Sax, Tenor Sax, Bari Sax
Nathan Warner - Trumpet
Ryan Keberle - Trombone

You get the sense when approaching their music, that something wonderfully unsettling and inspiring lurks beneath the skin, and is present as daylight on the surface. They are a vibrant and diverse band, whom each have their own style and individual looks; yet when these wide ranging humans combine, the sound is quite phenomenal. You would think, from reading the band description, and seeing their smiling faces, that the music is going to be happy and have the same charm as the classic disco acts from the '70s and '80s. The collective, however, have a deeper appeal, and are not a rehash or tribute to bygone legends and stall-warts. They have the same flair and quality of the disco acts of the past, yet have a modern urgency and innovation: they fuse orchestral majesty with funky and dirty beats. Their songs can elicit fond reminiscences of Donna Summer and European sounds of disco; the group have an attitude and talent that few contemporaries posses, managing to make music in a genre which was popular for a reason, and, if done lovingly and properly, is as relevant and striking now, as it was back then. Disco, of course, may not be to everyone's liking: it is going to be divisive to a certain extent, no matter whom you ask. It is the modernised production, and the quality and intensity in numbers, combined with a gorgeous and intelligent articulation and deployment of strings and classic augmentations, that transcends preconceived notions, and creates a profound and lingering taste.

It is down to business, I guess. The group have a long, and fascinating back catalogue, but is the track Cocaine Blues, that struck my ear the hardest, and compelled me to go into detail: so I will. Beginning with a thumping and pointed beat, that is accompanied by- initially- some lighter, tribal percussion that infuses some multi-discipline sway to the building momentum. When the intro starts to kick up a gear, there is a brief smattering of brass; giving the track an instant feel of Toots and the Maytals, Ian Dury and the '70s disco legends. When our heroine steps up to the mic., she is backed by some funky and campaigning guitar and bass. There is a soul and funk edge injected into proceedings, which again elevates the atmosphere and takes it closer to the heavens. The voice- when it comes- produced by Adeline is fresh and unique. There are some fellow female comparables around the mainstream, whom have a similar invigorating pull to their voice; yet none quite have the same ability to simultaneously sound current and representative of a golden era, at the same time. When the words "Cocaine/Running around my brain" are sung, it is done with glee, and merriment. There is never any deepening or revocation of mood; everything is upbeat and accelerated. The 'cocaine' is elongated and hangs; but the ensuing sound that envelopes it, adds a flash and kick that keeps the proceedings attentive: think Prince-cum-Ian Dury, and you get some sense of what the funky and blissful riff will remind you of. Just before the 1:00 mark, the sound and notation becomes a little darker and moodier; the ensuing passage reminded me slightly of Galvanised by The Chemical Brothers, only less foreboding and menacing. It is quite a shift, but seems natural and integral to the plot. It is simply there to create a bridge from the chorus and the ensuing verse. The driving guitars and percussion, thus far, sound a little like a slowed-down version of Wanna Be Startin' Somethin': there is that same kick and glee, to it. The lyrics that follow, however, break away from any Jackson-esque parables: "A knife, a fork, a bottle and a cork/That's the way we spell New York". Instantly there are images of the neon-lit city streets, and the underworld bustling- maybe modern-day, or '70s set. This is repeated, to create maximum effect, and drive into your skull. Whether the group employ this imagery in order to create an air of stability and legality, in view of what has proceed it, or project some invigorating innocence and relevance, is hard to say. The contrast and imagery that is unfolded and prevails, is as startling and refreshing as the musical and vocal components. There are trumpeted and delighted wordless vocal interjections, again adding to the sense of abandon and fun. With the chorus repeated, there is again a little percussive beat- a sort of bongo flavoured edge- which heralds another change in tempo and mood. It is just before the 2:00 spot, that strings are unveiled and perforate the pitched festivity, with swathes of romance and drama. The strings and orchestration is beautifully-composed yet modest: the band do not allow them to go wild or deviate beyond a stable path. They weave and play off of the percussive beats well; as a repetitive coda of "I don't wanna stop, no no" is presented. The kick and dance is still there, and it is a further emotive swagger. Where as, previously, New York had been given a culinary and alcohol-infused pairing; Chicago is next up: "Chicken in a car, the car won't go/That's how we spell Chicago". The language and style of the lyrics remind me of the best days of Ian Dury and The Blockheads: there is a similar eccentricity and effectiveness. Whereas Ian Dury has a sardonic and loveable lower register, filled with nuance and unique inflection, Escort are more populist and regulated. They are reminiscent of a Detroit-via Chicago blending of soulful blends and mystique of the streets. The oblique lyrics of the verse succumb to a wordless chorusing. It is continued, riding on a wave of energy and cocaine-infused bliss, before stopping... dead.

The group- all 17 of them- know what a great sound they have. They have been playing the cities and towns, for many years, and have been received fervently internationally. I was only alerted to them a few days previous, with them being touted as a 'new band', by The Guardian. It is quite disturbing when a group this good seem to circumvent the public consciousness in the U.K. It is not the band's fault, but that of the press agency, whom are responsible for showcasing talent, and making aware the existence of the most exciting and brilliant acts. Given enough reappropriation and dedication by certain bold, and daring outlets, the days of stumbling upon fantastic music, will- I hope- become a thing of the past. Just like disco itself, the days of just simply being aware of this type of music, has died a similar death. Consequently, with Escort bring it make into the mainstream and making it popular once more, there should also be a game change in the media. It is not simply good enough to subjugate popular opinion and demand, when it suits; nor be contented to feature solely U.K. talent. I adore the British music scene, but there is a butt-load of prodigious and genre-pushing music like Escort's over in New York. There are some brilliant sounds in Sweden and Spain, I can say for a fact; yet, how do we ever know about them? I hope at least Escort won't slip through the gaping cracks of the media's singularity and diffuse attention. I am just glad I have heard them. With slick production, a unified gravity in the band that is at once stable and concrete, yet playful and endeavouring, is something that is not being proffered on these shores. Jake Shears got it half right, when he said they were the best disco band now- and perhaps of all time. The simple fact is, that in less than a couple of years from now, they may be one of the most popular...

AND influential bands, in the world.

___________________________________________________________________________

Official:

http://weareescort.com/

Twitter:

https://twitter.com/WeAreEscort

Facebook:

https://www.facebook.com/weareesc0rt/info#!/weareesc0rt

YouTube:

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

SoundCloud:

http://soundcloud.com/escort-records

MySpace:

http://www.myspace.com/weareescort

The Red Shades- Shake Your Bones- Track Review

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

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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

The Wytches- Crying Clown- Track Review

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/

Oli Wennink- Death Row Lover- Track Review

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

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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.

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Twitter:

https://twitter.com/oliwennink

Facebook:

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

SoundCloud:

http://soundcloud.com/oliwennink

YouTube:

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

Classic Plastic- Bucket and Spade Escapade- Track Review

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

Laura Marling- Master Hunter- Track Review

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.

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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
1.	"Take The Night Off"	4:12
2.	"I Was An Eagle"	4:21
3.	"You Know"	2:30
4.	"Breathe"	5:00
5.	"Master Hunter"	3:16
6.	"Little Love Caster"	5:52
7.	"Devil's Resting Place"	3:14
8.	"Interlude"	2:16
9.	"Undine"	3:12
10.	"Where Can I Go?"	3:40
11.	"Once"	3:38
12.	"Pray For Me"	5:05
13.	"When Were You Happy? (And How Long Has That Been)"	3:53
14.	"Love Be Brave"	3:04
15.	"Little Bird"	5:40
16.	"Saved These Words"	4:27

Steve Heron- Saltwater- Track Review

Steve Heron-

Saltwater

Track Review

9.5/10.0

I have featured the endeavouring Scot once before, but this track is a whole different kettle, of curious fish.

Availability:

'Saltwater'

is available later in the year; Steve Heron available at

http://soundcloud.com/steveheron

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Today's theme will mostly centre around the nature of the creative ...

diversity of many acts. One of the defining cores of much of my recent praise, has concerned diversity and quality control within music. A lot of my discourse has been levied at bands and artists who seem to be understand how important it is to keep moving upwards and onwards musically; when so many are concerned merely with lateral and narrow moves. I guess if you are an established act, and have been pounding the beat for some considerable time, there is less of a pressure to deviate or grow, creatively. Nor is there much of an emphasis placed on them, with regards to conforming or fitting into a predefined mould. The problem that new acts face is, that they are entering a market, which is ever-expanding and crowded. It becomes harder to really make a mark and get heard, unless you have something special to say. I have been rather angry as of late, as a lot of praise has been heaped onto certain solo artists in the charts. A great deal of bands, too are being heralded and placed onto plinths; made into false idols, simply because they can record a couple of great songs in a row. Bully for them, I guess, but unless you are capable of stringing together a collection of truly impressive albums and songs, then praise (feint or not), should be reserved. It is the new acts that are breaking through, plying their trade, and making small waves, that are the most fascinating. In the same way as they are the next generation of music talent, they have a hard time of distinguishing themselves. In recent months I have been privy to a great deal of diverse and invigorating acts; each of whom has offered something different, if not necessarily, unique. A lot of my shoulder-sagging has revolved around the fact that, although all of the acts have been adventurous, too many have strayed too closely to an existing band; offering comparative little originality. As a flip side, there has been a growing number coming through, whom promise much spice, flavour and strange mystique, which is hard not to be intoxicated by. Whether a stunning love song has been offered, or a strange and hardened beast has been born forth, the resultant aftershocks have restored my faith in the next wave of talent. I guess it is hard to anticipate whether it is the more unique acts that will garner the most attention and fandom in the future, or whether the fickle market will clasp to its bosom the acts of a less adventurous ken; it is hard to tell. It seems though, that in order to obtain and cement a worthy reputation, one has to first of all, be original and bold, and secondly, once those first seeds have been planted, you need to stay fresh and- to an extent- unpredictable.

In a previous review for his track 'Picturesque', I have provided some honest truth and fictional back alley analysis about Steve Heron. In terms of my consciousness and peripheral vision, he came seemingly out of nowhere. I had not heard too much about previous to reviewing that track, and was a little alarmed by this. I shall dispense of any cheap heron-related puns, less I dilute the potency of the artist. In the way that 'Picturesque' won me over by its catchiness, positivity and sharp and impressive lyrics, his back catalogue and previous songs have won me over by their diverse colours and consistency. The man behind the songs is a like-able and honest human; displaying openness, bold sentiments and directness that few others would dare posses. He is a young man, but is a multi-talented musician, a prolific songwriter, and quite a favourite amongst his home crowd. With comparisons being drawn with the likes of The Smiths and Television, there is an inherent authority and steely punch to the incredible songs. I have been most impressed by the sheer range of sounds and moods that have been established over the course of Steve's career. In lieu of the new track being available (for a little while yet), Heron is an artist whom deserves a fervent investigation and wide-ranging peer review. There are not too many Scottish artists or bands, aside from the mainstream, that are familiar beyond the borders. There are plenty of them out there, but in the same way that there is a slight ignorance in society towards unfamiliar peoples and lands, in the music world, there is a reticence to embrace a certain foreign sound. The media has been responsible for a lot of the blase attitude and lack of awareness. Certain publications and sites have given key spotlights to music from the U.S., Australia, West Europe and Asia, but there is still a lot of neglect when it comes to our native talent. In previous posts I have stated how much quality and exciting music there is, currently emanating from Manchester, Liverpool, Leeds and Bradford; so it is not entirely shocking that Scotland is also producing a great deal of stars. I hope that the media does focus attention beyond London and the southern extremes, as Heron is undeserving of suffering an ill-fated disregard.

It is within the opening few seconds, that the initial intrigue begins. 'Saltwater' is a song that breaks from expectation, and provides a delightful right-wing shift from the tones of 'Picturesque'. Steve is being pretty mysterious and tight-lipped about future plans for the songs. Whilst perhaps not a potential single release, it seems that it is being earmarked as a potential soundtrack piece. The intro. lurks in the night, blood dripping from its fangs. There is ghostly mood, rushing wind, and an underlying sense, that something carnivorous will soon be knocking on your door. As the noise of sheer atmosphere abates, something more controlled, but no less mood-enhancing arrives. Sounding like a cross between 'Lullabies to Paralyze' QOTSA-cum-Kings of Leon-esque grab, the building smoke, entices. There is a lot of originality in the initial bursts; whilst having some U.S. influences, the way that the intro. moves and proffers, is unlike anything I've heard for a little while. There are perhaps some shades of darker-edged Cocteau Twins, perhaps. There is a certain baroque romanticism to things as well, and I can well imagine this song at home sound-tracking a intelligent twisting action film ('The Bourne Identity' sort of thing); but it would be equally at home scoring a northern European indie drama or 'Breaking Bad'-style masterpiece. The guitar is light and bubbles; the percussion keeps pace but never sprints ahead, and, combined with a majestic Gothic backing, it is a parable that soon reminds me of some of Radiohead's glory. It could be a 'OK Computer' or 'Kid A' gem; it has that same atmosphere and consistency to it. It is when the vocal appears, that things break away from the tones of Thom Yorke, instead reminding me much more of something more northern; something less anxious. With its childhood verses of film in the camera, deft touches, and curious little scenes, the track has a lot of Heron's trademark observations and vocal authority. Previously I have heard the romantic and fun-loving elements of Heron's voice, where he has played the part of romantic, and ringleader; yet here, there is a sense of revocation and remembrance. It seems as though memories are being recalled, and a story is unfolding, that holds hard facts and emotional memories for our hero; a sense that there is a tear beneath the soul. In terms of comparable singers, there is as much Ryan Adams as there is The Smiths, in the mix. It is quite a dark hue of a vocal delivery, and one which embeds a sense of disquiet into your heart. When Heron sings: "Try and talk you round", it is initially delivered with pace; before settling calmly, and showcases, not only a fine and memorable voice, but a keen intuit for effective and pertinent delivery. In that respect, Heron shares some D.N.A. with current-day The National. There is a distinct and local accent announced, which adds weight to proceedings. The song deals with trying to talk a woman into remaining in a relationship and remaining in the author's life, but, no matter what is tried, "I know you won't stay". His subjective muse has been "hitting the bottle", when it is said "You should be hitting the hay". The verses are delivered with passion, but there is elongation and time taken to make sure the words are heard, and hit home. In a way there is a lot in common with the classic bands of the '80s: a bit of Depeche Mode lurks in the languid longings. Heron has Morrissey's theatrical edge, as well as his ability to turn a phrase and make even simplest playlets of love, sound essential and tortured. Into the final third, providence is given to the music itself; as the band combine to create sonic flames, and hazy sway. The electric guitar, at once a Van Halen-esque arpeggio (or the type of shredding skills displayed on Michael Jackson's 'Beat It'), that explodes like a firework, before disintegrating into the cold air; the embers simmer with muted sedition. This parable is repeated several times, promoting a tension and emotion that is quite fitting, given what has come before. Just as you think that we are repeating to fade, Heron is back up front, this time with a more impassioned and immediate vocal. He tells once more of his efforts to make his former love stay, and the resultant self-destruction that she unleashes; where as before there was a slight restraint, now there is some desperation and a sense that he has won the battle, but can never win the war...

Where this track will end up, is unsure at this point. As Steve himself has said, there are big plans for it, but nothing firmed up at this stage. He needn't have any reservations or misgivings, as 'Saltwater' has such a qualitative edge to it, that it is wholly mobile; effectively able to fit in wherever it needs to go. Whether it is going to form part of a future album, or E.P., or soundtrack something quite spectacular, that has yet to be unveiled. It is, however, another sure-footed step by Heron, who remains as enigmatic, as he does the everyman. As easily as he can pen a track to get the crowds chanting, and unite the steeliest of hearts, he can as easily create a song that burns and aches with emotion and hidden pain. It highlights my point about new acts (or in this case, relatively new) whom are able to evolve constantly, without sacrificing quality or their identity. It is as important in 2013 to make a mark, as it would have been in 1965. The only difference that has unfolded in 48 years, is that so much has already been done, and the definition of 'original' and 'daring' has become more fungible and loose. In a crowded market, where there is a lot of a much of a muchness, and a depressing over-reliance on playing it safe and leaning on the 'caution button', it is frankly refreshing to hear an artist whom is blithely unconcerned with getting stuck in rush hour traffic; instead making his own route and way, to a more prosperous end. Listen to his previous efforts, and the range of motions and sounds on display, because you may not be expecting 'Saltwater'. Wherever this track ends up, one thing is for sure:

It is going to be a hard song to top.

___________________________________________________________________________

Facebook:

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

Twitter:

https://twitter.com/stevejheron

YouTube:

http://www.youtube.com/watch?v=2Ds6e7VZ-YE

Reverb Nation:

http://www.reverbnation.com/steveheron

iTunes:

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

Jingo- The Matador- Track Review

Jingo-

The Matador

　

Track Review

9.2/10.0

My final review for the band, and it focuses on a track that completes an exciting, and rather unexpected trilogy.

Availability:

'The Matador'

is available via

http://soundcloud.com/jingomusic/the-matador

___________________________________________________________________________

It's going to be a more brief, and summated overview...

As I have focused quite tightly on Jingo over the past few weeks. I shall return to their well in a moment, but the nature of today's paraphrasing, is concerning new bands in general. I have been pleased and quite frankly flattered, by a lot of the response and appreciation bands and artists feel, when having their work reviewed and focuses upon. You can tell that it means a lot that someone has taken the effort to write about a song(s), that they have spent a lot of effort on, and taken a lot of time, to complete. Of course, the flip side to that brings its own issues. Far too many seem to take any effort given to promoting their work, with a casual disregard. To be fair, a lot of that has been from 'established' acts- the type that has probably become disingenuous for no real reason; instead determined to play the role of 'unappreciative artist'. For people like me, whom attribute a lot of concentration towards their music, and give a lot more insight and depth than your average pundit, it is rather galling and offensive. It has brought about a strict domestic policy: once ignored, forever forgotten about. I have expressly vowed to never go after any well-established act or band, as it seems that they have better things to do with their times. With regards to new acts, not all are entirely polite, considerate or worthy; just as recently as yesterday it seems that I perhaps should not have wasted my time focusing upon a particular band. But you know, you live and learn. It is a lesson that is more commonly learnt when dealing with your average person, rather than a musician. Your typical musician, by and large, tends to be a more humble, open-minded and kinder creature; aware that they are in a difficult and unpredictable industry, but one that is simultaneously enthralling and ever-changing. Consequently, as from next week, a more considered and cautious approach will need to be taken, with regards to praising and writing about new music. It is not to much as a chance to 'get something off of my chest', more a relevant tableaux, that has a wider and more sociological relevance. Whether it is the weather, the economy, or random event, but the people that you expect a lot from, tend to let you down the hardest. On the flip side, the folks that have less need to be nice, are usually the sweetest and most effusive. Strange moral and conclusion I guess, but based upon observation and keen-sight. Whether there is a subconscious implore to our featured threesome, or a deeper meaner, well... you'll have to decide for yourself. I have been somewhat impressed by the sheer range and dynamism amongst many new acts, as of late. In an industry where there can be a conservative and bashful need to play it safe, and not show your hand, many new acts have been rebelling and pioneering; risking a possible future reputation and stature to do what they want to do, right from the start. The knock-on effect has been, that it has inspired me to be bolder with my own writing and take chances; in essence it has pushed me not to compromise, but to show boldness.

Jingo came to my attention nary a few weeks ago, and impressed me for a number of reasons. They have managed to capture my appeal, in spite of the fact that they have the least on-line coverage on the social media sites. There seems to be no Twitter account, not a lot of other coverage beyond Facebook and SoundCloud. I hope that alters, as there are many new fans awaiting over on Twitter. They are a different breed as well: less conservative perhaps, and also easier to connect with. No annoying 'friend requests' and having to trawl through crappy fan pages and such to find a band; it is a lot easier to connect and find like-minded music, and fans alike. Aside from the singularity of their wallpaper pattern, the group have a focused and filmic approach to their songs. I have previously scripted reports for their tracks '1Q84' and 'Same Without You', impressed not only by the range of sounds and lyrics between the two, seemingly disparate tracks, but by the quality of the individual numbers. The group have claimed that their latest song rounds off a trilogy of sorts. Whether the songs will form an E.P. of their own, or are separate entities, ahead of a possible future release, it is uncertain. It is curious that the band have chosen to release their tracks one-by-one, instead of putting out a single 3-track E.P.; maybe it is a long-term strategy, but goes to show that the trio have a confidence that few contemporaries posses; and in a way signals to an act whom intend on having a long and uninterrupted tenure within music; not a mere nebula willing to float, and burn after a short time. In case you are a recent subscriber, or have a short attention span, Jingo is: husband and wife duo Jack and Katie Buckett, and Joseph Reeves. Katie is the sole American of the band, whilst the boys are English. I am unsure whether the future will see them branch out to producing E.P.s and albums; the group at the moment are saplings and letting the world know what they are capable of; contended to sit back and review the feedback.

Down to business, then. You can probably tell from the title, but The Matador, is not going to be a pared-back-romantic-ballad-of-a-song. Where as their previous two songs have invoked the sounds and sensations of the U.S., U.K. and similar allies, on their third release their is an obvious influence from the Spanish-speaking regions of the globe. There is a pleasing- if somewhat expected- rush of Flamenco guitar at the very beginning; it elicits and cements the tone and theme from the initial seconds, and lets you know that there is going to be little irony or misappropriation within the title. The guitar line is swooning and romantic. It has a little bit of a build; as if it were going to peak and punch, but instead, comes back down. With a vocal interjection, that is screamed with Hispanic lust, it is followed by a tinny-sounding drum patter; echoed and metallic. That is overthrown by the return of the guitar line which gifts images of sunny climbs, scorching beaches, tranquility and care-free moods. The drum keeps steady and solid; not deviating or wavering, just keeping a consistent beat. The guitar showers and dances, before the vocal arrives. The vocal from Katie is predictably reliable and solid, proffering scenes of "Silent rituals/Whilst she sleeps". In terms of vocal comparisons, there is a little bit of the likes of P.J. Harvey, (the rougher edges of) Tori Amos; as well as a distinct flavour of the U.S. There is, perhaps, a restrained air of Adele, too; sounding at times quite similar at times. A little before the 1:00 marker, the mood shifts, ramping slightly up, with a palpable sense of impending explosion. As Katie's voice rises at 1:14, having told tales of "the man and beast"; the Adele comparisons may not seem too premature; there is a comparable quality when Katie belts and shows emotional power. She can hold the notes, and perhaps, in an odd way, shares more in common with Bjork. The musical backing matches the electricity up front, the apolysis strum hints at another sound shift. Before long there is a duet, with Jack joining in; they sing of the bull hitting the floor, and the chaotic storm of the associated fray, the musical backing gets darker, more intense and punctuated too; matching the lyrical tone perfectly. As soon as the chorus has finished, there is a return to the softer, Flamenco verse. The hero of the song is preparing to do battle once more, as it is said: "He hears the cheers/And begins to wait". Throughout the track, and during the verses especially, there is plenty of evidence that shows that Jingo can implant vivd and colourful scenes in your mind, and use their words effectively to conjure a myriad of emotions and movement. As the vocal ramps back up again, there is a little electric guitar buzz that has similarities with Jack White; both during his White Stripes tenure, and particularly his solo work. The chorus is unleashed again, portraying images of bloodshed, death and victory.

The nature of the lyrics, at its base, may not be new. The structure and way the story is told, has been done a lot before. The way that this track stands out, is that familiarity is stretched and expanded, in ways that are fresh and new. The subject and theme is unexplored and inventive, the lyrics are sharp and vivid, and the music especially is unpredictable, exciting and variable. It is refreshing and pleasing to hear Spanish sounds in any song, let alone employed by a popular band. I have gone back and listened to parts 1 and 2 of the trilogy, and unsure which of the three I prefer. I think 1Q84 has a slight edge, but is impressive and inspiring to hear of a brand new act, whom are unwilling to stand still, and stick with a singular sound. They have variety, a sense of innovation and style that is very rare these days. So, as I sign off my final review for them, and look elsewhere for similarly amazing sounds.

I think they will do just fine in the future..

___________________________________________________________________________

Facebook:

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

SoundCloud:

http://soundcloud.com/jingomusic

In The Valley Below- Hymnal- Track Review

In The Valley Below-

Hymnal

　

Track Review

9.1/10.0

As well as having a secular and Ecumenism curiosity; they pack a punch that will unify, enliven and shake your agnostic senses.

Availability:

'Hymnal' is available via

http://inthevalleybelow.bandcamp.com/track/hymnal-2

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The boy-girl/husband-wife/man-woman dynamic has not often been seen...

in musical circles. It seems to be- for some reason- an odd and underused combination. I guess if there is a relationship at the foundation, then it has a greater-than-average potential to break, thus disbanding the group (or duo). There are groups like The xx, Blood Red Shoes, and America's The Open Feel, who have successfully managed to keep business and pleasure separate and make no bones or issue about the inter-gender structure. I suppose that it is quite uncommon to hear about any 2-piece groups at all. You either hear of a solo artist, or a 4 or 5-piece group. At a primitive and basic core, sex can cloud everything, as well as be unpredictable. It caused ruckus and explosion in Fleetwood Mac; a bizarre back-story and possible friction in The White Stripes, and anxiety and parallel lines in other, lesser bands. Of course, it is probably worth noting, that the best sounds can come from a male/female union. It can bring about some of the best an most informed lyrics, the strangest and most curious sounds, and a disciplined and focused band. It also means that the range of scope and material that the group can produce, is more varied and unpredictable than an all-male or female band, too. Just a theory I guess, but one can help but to wonder, what tricks and majesty is being missed out on and denied, but some rather inflexible and predictable 'band rules'. I happened across HighFields recently, who managed to combine an inter-gender formation; as well as a multi-nationality aesthete; the resultant song that I reviewed, was magnificent, and I suspect made all the strongest because of the nature of their band set-up. I am also a fan of an all-girl group Fake Club, whom have a raw and hard rock sound; and are an incredibly tight and together band. That said, there is a bigger danger with all-female groups; it is not a cliche to say that female friendships become more strained easier than that of men, and there is an inherent likely-hood of tension and turmoil, should things go wrong. Circulating to my main thesis, acts and bands, in the past, as well as present-day are predisposed to fit into a pre-conceived 'mould' or ideal; one that seems to marginalise and subjugate any leanings towards mixing sexes, nationalities and ages. In the U.K. at least, there are a great deal of single sex, white bands; there is not a racist element, it has been the case that most black artists are solo acts, or part of a rap crew or seem to be stray a little from the mainstream. I would like to hear and see a lot more black bands and formations, as well as see bands whom are willing to rebel against old-age and outmoded ideals of 'what a band should be'. When I can formulate and discover 4 like-minded figures to complete my band, I sure as hell want at least one female body in the line-up. I have a guitarist in mind, and will have to find a way to poach her or 'borrow' her; and I am also keen to find U.S., Australian and Canadian musicians too. In a perfect world I would have myself, a female lead guitarist, a male U.S. fellow-lead guitarist, Australian drummer and Canadian/U.K. bass player; picky and finicky, I know, but hey... a boy can dream?!

It may seem artless to deny the charms of American acts. I am not sure if there is a foreign policy that encourages a home grown domestication; rallying against any U.S. imports, but I have not heard too much from the world leaders in music, as of late. Historically, sure; they are- if not as great as the combined talents of the U.K.- always produced staggering and legendary talent, from Bob Dylan, to Nirvana, through to Ella Fitzgerald. Most of the U.K. music rags and respectables dedicate a lot of focus and patronage towards the sonic outpourings of home-grown talent, rarely venturing that far north of the M4 corridor, as it happens. The U.S. band, In The Valley Below, consequently, have come to my attention, via the rather undignified second-hand smoke or inconsequential Internet about-face. Through my association, with L.A.'s stunning, The Open Feel, that I 'found' the group. They hail from the, somewhat unfamiliar to us folk, Echo Park; a bustling and dreamy neighbourhood, lying to the north-west of Downtown Los Angeles, and to the south-east of Hollywood. It is situated away from the fake suburban Disneyworld of the latter, and the danger and unpredictable aroma of the former. The residents of Echo Beach play host to the Lotus Festival, are within a do-able commute of Sunset Blvd. and is a locality that Elliot Smith used to call home. If you stray from the nausea, smoke and avenues beyond one's ken, you will hear of In The Valley Below, and the local pride that has been tattooed into the water supply, and has reached tributaries beyond the tri-county area. At their core they are Jeffrey Jacob and Angela Gail. Joshua Clair and Jeremy Grant provide fervent accompaniment, in a brilliant group made up of a lot of Js, Gs, Cs and an un-delinated alphabetical book of 'Indie Dusk, 'Post Ghost', 'Sex Prog' and 'Dark Duet'. Formed in 2011, and being poets of dark riddles, with a soceror's apprentices of pugnacity and hypnotic fever dreams and multi-coloured cauldrons, they have been cementing their manifesto, as well as fighting fire with gasoline, for 2 years, which has seen them gain a gradual and unabated clan of international followers. To look at the couple in the press and profile shots, and one would be forgiven to thinking that they were models. Angela is raven-haired, gorgeous and striking, decked in black-and-white; often sporting a rather fashionable and eye-catching hat, to boot. Jeffrey, similarly, sports identical colours; and is similarly trim, and has the Hollywood idol looks, one would not normally associate with a Californian musician. Well, not a mature and credible one, anyway. In a sense, they seem to have the air of a revitalised and reincarnated The White Stirpes, about them. Whilst Meg White and John Gillis (away from the pantomime facade that they were siblings) stuck to a strict corporate band uniform; red, white and black. The group were students and musical recruits of Nikola Tesla: obsession with the number 3, quirky and closed-off, with a fascinating knack of being able to toss off siphoning and pernicious electric charges. Luckily, our modern-equivalents are less mysterious, and one hopes more approachable; but their music and potency does not suffer from comparable dilution or temporisation. They recently released their E.P., 'Hymnal': a 3-track collection that promises healthy returns and investment-grade bonds. I was struck by the band name. I have heard the words 'the valley below' used in Bob Dylan's 'One More Cup of Coffee' (which was, perhaps unsurprisingly, covered by The White Stripes). I am guessing- but maybe wrong- that the band did not have fiery hell in mind when figuring upon a band name, but who knows? A mysterious cool and lack of widespread media coverage and interviews, means that it is difficult to say where they got their inspiration from. There seems to be some religious fascination, as a whole. As well as 'Hymnal', 'Last Soul' and 'Palm Tree Fire' are the other two tracks on the E.P. One suspects that if Job were alive- and real for that matter- he would probably be aghast at the sacrilegious thud and twirl of the band's unique brew.

That last sentence, perhaps, succinctly would sum up the intro, to the E.P.'s title track 'Hymnal'. There is a brief twinkle unveiled; sounding sort of a cross between a glass xylophone and the de-tuned high notes of a piano, there is a fairy and child-like innocence to the first couple of seconds; a sound that could give credence to the thought that a whimsical and Lewis Carroll-esque dizziness was imminent. Any such naive notions are dispelled, as that sound is accompanied by, and domineered by a hammering percussive thud. It is the sort of sound and trick that Portishead pulled off during 'Three'. It is also the same sort of experimentation spirit that Massive Attack unleashed all over their greatest album: 'Blue Lines'. It is a Blitzkrieg strop of unlikely allies; juxtaposing the balletic swan waltz with something more industrial, mean streets and violent, is a heady and awesome mix. Beyond the 0:10 mark, there is an, almost reggae-like sound to the music; it sounds like a kettle drum, but is not. It is the myriad of questions and U-turns, that causes such a brouhaha of elicitation, and completes an unexpected and vital introduction. Like the classic English electro groups such as Massive Attack, In The Valley Below, have a similar talent for being able to intertwine dreamy and breathy female vocals, with a geographically relevant musical landscape. Perhaps it isn't surprising that Echo Park has such diaphanous undertones, that a reciprocal instrumentation should sway in the background. Also, it is pertinent that savage and smoke casts shadows in the foreground, given Echo Park's proximity to the suburban jungle. It is the combination of the duo's vocals that creates a sedative wash and serotonin smile. The theme of the lyrics does not stray as far from the beaten track as the music, perhaps; but is universally acknowledged: "I wish I found you sooner/I could have loved you longer", is implored, creating an arc of regret and longing, that is a prevalent notion. Whether the following words apply to a former love or is a disguised first-person narrative, it is hard to say: "This old sleepy town/Never even knew you were around". Throughout the song there is discourse about the nature of remembrance and a strange mortality. The guy and gal of In The Valley Below, are subscribers to The xx's philosophy of twinning meditative and swimming charm, with a haven of audio smells, sounds and substance. It is the combination of a vocal rush, followed by the interjected serried ranks of keyboard tones that blends together so effortlessly. In a way they have a bit of mid-career Fleetwood Mac to them; that same sort of authority and effect. As the track progresses and reaches its autumn years; the vocals again are calibrated and- to a certain extent- strengthened. The 'dreamy levels' are raised all the way to 11, and with some sharp razor cuts of electric guitar stabbed into the mood like fork lightning, a little tension is introduced. The chorused dream revelry hits the sky and, when it reaches the clouds, the guitars transform to a more composed shower; conveying some restraint and dignity, where previous there was a menace. The licks and side-steps at the end, are part of a musical paragraph, which fades, and leaves as it does, an intriguing ellipses.

Another month, and another new U.S. talent, that has been long cast away from our shores for too long now. With The Open Feel, I was impressed by their unique and capturing sound; a structure indoctrinated for a while, that has managed to wow their native California. In the same way, In The Valley Below have won me over with their combination of luscious music, which can ease the most fevered of brows; and tied that in with a curious design and back-story, that leaves you wondering where they came from, how they got their, and- because of their impressive work ethic- where they are heading. I am curious to hear more from them, and on the strength alone of their E.P., I am sure that they will win appeal from the U.K. and Europe as a whole. On the basis of 'Hymnal' they are making initial huge waves. For now, I shall leave you with my catchphrase...

I hope that we hear a lot more from this band in the future.

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Official:

http://www.inthevalleybelow.com/home.html

Twitter:

https://twitter.com/bookofITVB

Facebook:

https://www.facebook.com/inthevalleybelow

SoundCloud:

http://soundcloud.com/inthevalleybelow

Last FM:

http://www.last.fm/music/In+the+Valley+Below