Annie Drury- Some Day- Track Review

Track Review:

Annie Drury-

Some Day.

9.7/10

Another rare bird, of soulful beauty, is flying high in the Cuckoo nest.

Availability:

Some Day will be available shortly on Annie's debut E.P.

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THOUGHTS and diversions once again are in familiar waters...

I have long said that the burdens the young solo artists face are numerous, and hazardous. I shan't flog a dead gift-horse again; suffice it to say there are two important and vital components to perfect, with regards to making an impact. The lyrics and music are as important as anything. Too often style and substance have taken a back seat to a set of songs, that are deeply personal, but incongruous. The words are seldom fascinating, poetic, or even original: bogged down in a quagmire of cliche scenes and lazy metaphors. Of course first person personal narratives are a perennial favourite, and win most minds- if done right. I have heard so few bands or artists whom talk of subjects away from love, or even take the subject of romance and give it a literary or filmic spin. When considering the voice; this is my biggest sticking point. It is possibly a bigger issue with female singers, compared to their male counterparts. Too many solo artists have a voice which is so androgynous, it is hard to tell whether they have any sort of talent at all. The vocals may be sweet and pleasant enough, but either sound exactly the same as several dozen other artists, or else run the risk of mimicking an existing artist. It is an ever-present problem, and one that is in danger of burying a lot of artists, whom are genuinely unique and promising. I know it is a bit of a sore subject for me, but the voice, and vocal prowess, is a key element for me, when considering new music. It is essential to be a sharp lyricist and great composer, but the voice is the most prominent and immediate facet to any artist. It is always a pleasure to hear a voice that has expressiveness, soulful edges, power, and above all, a unique flair to it. I emphasise and sympathise with the plight of the new artist. With the ever-growing number of acts entering the market place, combined with the pressure faced with regards to originality, there is a bit of a terminal velocity limit. Getting a foothold and making impressions a lot of times, can rely upon strokes of luck, as well as being in the right place at the right time. In 2013, and for the last few years, there has been a demand for either innovative bands that have cerebral edges and heavier potential, or solo artists whom are have soulful tones and ethereal underpinnings. Keeping your identity, whilst simultaneously fitting into the market and giving the public what they want, can be an almost-impossible task.

Almost half a dozen times, I have focused upon or mentioned Cuckoo Records. The Yorkshire record label is housing a small but innovative group of artists whom range in style and substance. There is swing, blues rock and '70s pop/soul to be heard, and a host of other diversions and nooks to be discovered. Annie Drury was born in 1992, a year in which music began to really hot up, following a rather hit-and-miss '80s. Britpop was a couple of years away, and grunge was in full swing. In the U.K. there was a great deal of credible dance music, fantastic pop, and modern soul. Now 23 was in the charts, and boasted hits from the likes of Charles and Eddie; Crowded House; INXS; Roxette and Peter Gabrielle. The range and quality was variable, but there was a higher percentage of memorable acts and songs then, than there are now; a lot of these tracks still stand up, 21 years later. Our Yorkshire singer-songwriter, was probably subjected to a lot of the sounds of 1992. However, the likes of Bruce Springsteen, Nina Simone and The Beatles are counted as her influences: meaning her household was buzzing with many sounds of the '60s and '70s (and '80s to a degree). Annie's father and grandfather were both musicians; her grandfather was a prominent musical figure in the 1940s. As well as being enamoured of, and inspired by the strong female influences such as Joni Mitchell and Kate Bush, the likes of Carole King were also prominent. These are artists I have been inspired by and in awe of- especially Bush and King. These talents between them mix gorgeous piano melodies with stunningly evocative vocals; portraying scenes of ill-fated love and stranger more mythological scenes. When I was born, True by Spandau Ballet was number 1, and Thriller was on everyone's mind. The mix of New Romantic music, and Michael Jackson gems were familiar to my ears when I was young, as well as the likes of The Beatles T-Rex and Kate Bush too. The music you are raised on and absorb at a young age, is as influential in forging your musical identity as modern influences are. A mixture of stunning legends and a strong musical upbringing, inspired Annie strongly. Modern artists such as Amy Winehouse and Bon Iver are key too, and unsurprisingly this mix of high quality and varied genres, has lead to a number of venues booking Annie. Before signing to Cuckoo in 2012, Annie toured around Leeds and Yorkshire (as part of a band and solo too), gaining followers, reputation and valuable experience. As her sound was honed, and her appeal noted, she brought all of this confidence and passion to Cuckoo, and has been growing as an artist over the 16 months since. Annie's new E.P. is out very soon, and the young artist has a lot of plus points. She is a modern pin-up but has a lot of the girl-next-door charm and appeal too. Annie has a down-to-Earth charm and friendliness, and it is rare to hear of a talent in their early-20s, whom is influenced by the '60s and '70s legends, as opposed to artists such as Adele, Christina Aguilera, Mariah Carey and their ilk. Annie's coda is to live in the present-day; for the moment. Her music, as well as having a heritage that suggests strong and wonderful sounds from artists past, is very much the sound of 2013...

Starting, as it does, with an exciting and evocative piano arpeggio, Some Day catches your emotions and mind immediately. There is romantic and passionate power behind the passage, and it succeeds in hooking you in, before a single word is sung. It is a brief and memorable dance, and introduces the vocal. Singing of "Oh what a day/What a day"; Annie's voice has a soulful edge to it; as well as being breezy and seductive, it is also authoritative and romantic, with edges of '60s and '70s folk and soul. Annie has said that she tries to not sound like any of her idols; instead incorporate the sounds and flavours into her music, whilst retaining her individuality and ambition. It is difficult to hear any direct comparisons with any artists. Too many solo acts sound like a poor man's version of their idols- bands do it too often as well. It seems to be a natural go-to for every new act: they have to sound like someone recongisable or popular, I suppose in their mind if they do not then they will alienate the media, fans and undecided voters alike. This is a crazy and short-sighted sin of omission. Individuality, originality and unique projection is the essential component and hallmark every single new act should strive for: something that Annie has figured, and does so brilliantly. Her voice is hers alone, but has the those edges of soul, folk and pop too. If anything, there are light shades of Laura Marling: a similar inflection and delivery to some of Marling's tracks, and a comparable hew to the vocal tones. If any wisps in the voice suggest modern-day Marling, then the composition components: propulsive and impassioned piano, blending with lightly plucked strings, is far from Marling's wheelhouse. It has more in common with past masters such as Bush and Mitchell, yet reinvented and modernised for 2013. Thematically, there is Clouds-era Joni Mitchell. Personal emotions and romantic considerations are alluded to, but the scenes within Some Day refer to dreams, ambitions past, and personal realisations: "You know I could have been a painter", Annie intones, a hint of longing and regret nestles in her sweet hues. Rumbling and skipping drum rolls join the fray, and adds electricity and weight to the track. The chorus itself is summery, light and a sonic smile: our heroine mixes the song title with wordless declarations: this, blended with the composition behind it, gives it a modern and fresh kick, Irish flavours can be tasted between the strings, percussion and insatiable bonhomie: tantilising Mumford and Sons lines run parallel too. When Annie sings about personal regrets, doubts and recollections, she does so with edges of jazz, swing and soul. In the same way that modern artists such as Lilly Allen, Jessie Ware and Lianne La Havas have a way of enunciating and delivering their lines: at once pointed and punctual; the next floating and breezy, Annie does likewise. One can tell that the old legends remain in her soul. Her evocations, tales and delivery has a lot of the same graces and qualities. Her lyrics too are to be noted: "I could have been a lawyer" she claims; going on to say that she could have helped out her guy to "make you a better version of the miserable man you are". When many contemporaries are projecting songs of love-gone-wrong, with lines wallowing in introspection and maudlin woe-is-me sympathy-seeking; Annie instead shows spiked heels. By linking professions with methods of hurting her no-good man, creates a sort of modern-day 50 Ways to Leave Your Lover. It is evocative and brings myriad images to mind. Where as Mr. Simon told of the ways he could hit the road; mixing light-hearted images with lighter music, Annie does the same. She may have violent or vengeful intent and desire, but the vocals and skip in the music catches you off guard. Everything is kept spirited and strong: there is never any depressive undertones or fatigued anger. The wordless vocals and merry abandon of the music brings to mind Irish music, and their traditions- unsurprising given her family history. The strummed string backing- violin I would presume- has a romantic and swaying beauty to it: it creates energy and gravity, and blends well in the chorus. The track itself is quite short, but hits such a chord that it says so much, without having to extend itself. The lyrics are original and clever. There are hints of the likes of Lily Allen: artists whom can add wit and vivid imagery to their songs. Annie has created a song with sweeping and changeable musical scapes: shifting from romantic strings and pianos, to folkier ruminations. Her words are sharp, inventive and witty: love, giving it to a wrong-doer is giving a new spin and angle, setting it aside from most of her peers. The voice is sweet and soulful throughout. On other tracks I have heard from her, lean towards slower and most lustful proffering; but here there is a relentless energy and spring that keeps your heart skipping, even though the words have a sharp tongue to them.

Annie Drury is an artist with a great knowledge and passion for music. Understanding the importance of having a unique voice, whilst displaying a range of different emotions and sounds, she is far from your everyday solo artist. For far too long, there has been far too many whom are in the middle of the road and have no merits to their voice or music. Annie is in her early-20s, yet has the confidence and range of someone far, far older. Having heard River Flow in addition, it is clear that whatever the upcoming E.P. holds, will be something special. River Flow, I have been told, will be augmented with strings; the version that is currently available highlights Annie's romantic and stunning piano playing skills: beautifully composed and able to elicit the maximum amount of emotional resonance. Annie will be a star of the future, and will be another name from Cuckoo's books, that is sure to make huge waves. She is quite a diverse and different talent. Not merely contended to play a modern version of her favourite singers, or portray an inferior version of an existing talent, like so many of her contemporaries do. The combination of a rich musical upbringing, and a steely determination to enforce her originality and unique sound, results in music that will have a mass appeal; and will win respect across a number of different genres, counties and countries. In a year where the best moves are being made by established acts- The National, Daft Punk, Laura Marling, Queens of the Stone Age etc., the rest of the year, and 2014 will not have to suffer such a one-sided eventuality. Where there are acts, such as Annie Drury, willing to cast any conventional shackles off, and pioneering to take on the established acts, and be held in the same regard, it will be a very bright future indeed. If she can keep her ideals and talent at the level it is now...

SHE will not be relatively-unknown for too long at all.

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Official:

http://www.cuckoorecords.com/artists/annie-drury#/artists/annie-drury

Twitter:

https://twitter.com/anniedrurymusic

Facebook:

https://www.facebook.com/pages/Annie-Drury-music/185837401492957

SoundCloud:

http://soundcloud.com/anniedrury

Night Wolf- The Moonlight E.P.- Review

E.P. Review:

Night Wolf-

The Moonlight E.P.

9.5/10

Gothic artistry and bloodied teeth, hide a softer heart and innovative spirit.

Availability:

The Moonlight E.P. is available at:

http://soundcloud.com/flyproductionzltd/sets/the-moonlight-ep-nightwolf

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REAPPROPRIATING any misgivings about certain genres of music...

is essential, when diversifying tastes and horizons. Of course there are exceptions that disprove the rule. No matter how many examples I hear of rap or modern pop, the effect is still the same: no one is ever going to make it appealing to me. It is the nature of music, in all its open-arm, open-door lack of discretion and discrimination: everyone is welcomed. This causes a lot of trade, but a serious admonishment in quality controls and tariffs. The best results and nicest surprises, seem to emanate from artists and talents, whom are willing to mix styles and sounds; to create unexpected delights. Even if an act purports to belonging to one particular genre or style; by adding different effects and sounds: jazz or swing stylings; classical strings; blues guitars etc., then you have a greater chance of making interesting music and exciting waves. It is not an exact science, obviously: many have tried and failed. Muse's recent foray into dub-step on The 2nd Law, was met with derision and projectile anger. It is a lesson for bigger acts and established bands, I suppose. If you get it wrong, it can take years off of your life expectancy and alienate a lot of fans. New acts have the least and most pressure, all at once. On the one hand, they have no critical or commercial expectations, nor any large swathes of fans to please. That said, survival and growth is a difficult achievement, and there is an innate and inherited tendency to be overly-cautious and unambitious when making your infant steps. Night Wolf is an artist whom I have been aware of for a few months now. Here was an example of a blue-collar human, with white-collar work ethics and promise. Definitely a man of the people, and one whom respects fans and non alike; he (Ryan Wilcox), has made a name and reputation for himself, after producing a string of incredible tracks. It is not just the subject and lyrical content; it is the sounds and sensations within those tracks. I, personally, was struck by the classical and operatic aspects of some of the songs. It is a difficult thing to pull off: mix classical styles together with modern themes and words, whilst pleasing the purists, and drawing in all sects of potential fans. Night Wolf has a Jekyll and Hyde personality. On the surface there is the imagery: the voracious night hunter; ruby eyes, with snarling teeth, and a carnivorous intent. It is when the beast is subdued and its belly tickled that the flip side is revealed: the diverse and daring composer, sans sharp teeth and claws; only a desire to please and inspire. It is a juxtaposition and contrast that excites and surprises.

The Moonlight E.P. is a release that displays those polar edges, with fervent abandon, and adventurous spirit. It was the previous E.P., Watts The Time Mr. Wolf, which cemented me as a fan of Night Wolf and Wilcox's talents. There were myriads moves and shades within that record. I was hardly surprised when I happened upon the initial seconds of The Moonlight E.P., and realised that I was not going to be disappointed. It is 5 tracks of switch, unpredictability and above all, quality:

Chosen:  Its life begins calmly, and with portentous beauty. There are classical overtones, bordering along the edges of Romanticism. One could well imagine strings and an orchestra eliciting the same sound, only here the evocations are created by a punctuated electronic sound; to my ear it sounds like a grand piano, only with an echoed and electronic edge to it. There are hints and reminiscences of club tracks of the '90s and early-'00s: you may be predicting some sort of synthesised pulverisation and reckless fury being revealed; designed to get the sweatiest and more fatigued of revellers, dancing. There is evidence to suggest that similar territory may have a Night Wolf flag planted. Classic reverence and majesty remains in focus for a little while. The mood and atmosphere slowly builds: the authour wants you to be cast asunder and seduced in the infant stages. When a xylophone twinkle is bolstered by a twirling and energised percussion, this, conjoined with the classical edges, builds a momentum and gravitational pull. The pace of the background string sounds is composed, but passionate. In the foreground there is a mixture of sensations: xylophone and percussive temporsiation, mingles with harder and tougher beats, as well as a piano line that skips and rides of a wave. It is the way that Night Wolf builds up a song: beginning on modest and striking foundations, and layering steps and floors as he goes, that is the most distinctive tattoo to be seen. Around about the 1:00 mark, a couple of components are scrubbed from the mix, as the xylophone and strings, are teamed with a skiffing and dancing beat; before long, a distinctly classical flavour takes centre stage. Brooding strings work away behind the central focal point: building up another round of momentum and movement. With little warning, something bordering on musical apocalypse is unleashed. With heavy dub step overtones, it is a pulverising sonic boom, that pulses at first; recoils and sits back, before pulsing again. It is almost a weaponised component: taking lives, moving on, before taking some more. The decision to keep the calmer elements in tact, and juxtaposing those with dub step heaviness works well, and creates an eerie and exhilarating clash. It is a song that- at this stage- will be loved by dub step followers, but has shades of Massive Attack and '90s dance as well. It is heavy for sure, but has that same inventiveness and sensation. The beat, and tripping, nimble tail is a mechanical beast, that skips and pirouettes before letting out a double roar. Something more restrained and melodic takes its place, and changes the direction again- completed with classical edges. As if you were in safe waters, once more the monster rises from the waves, intent on taking further lives: the dub step line is repeated, sticking to the twin throb-calmer tip-toe structure, through to the end. The energy has been sapped and it is a song that is designed to lull you into a sense of false security and hit you by surprise. It mixes the sounds of the streets, with the melodic and cultured compositions of the classical music scene, and wins on both front.  9.4

Wasting Time:  Perhaps on the order of a physician, the first steps of Wasting Time are calmer, and much more meditative. There are feint strings in the back of the room, and a large classical influence again. It is an almost balletic main thesis that is present. Mixtures of Handel, Tchaikovsky, mingles with elements of modern composers; the overall sensation is one of calm, and romantic regard, once more. The string and percussive sounds act as a heart beat and blood-flow: flowing and beating where necessary and keeping the mood alive and breathing. A beat is dropped in, that picks up some momentum and infuses the atmosphere with tension and a hard hit too. Combining the punchy percussive beat and the swaying and pioneering classical lines together makes your heart race slightly, whilst your mind and soul are soothed. This combination spirit, and constant anxiety, really makes the track. You always think that there is something lurking, waiting to punch. It is the feeling of being on edge, made stronger but the bass-heavy beat, that keeps the song electric and invigorating. If you tie all this together with the beauty that is always present, the overall effect is striking and memorable indeed. It has a charm and authority that could see it as a soundtrack to a spy film or taut indie thriller. If I was to describe the perfect theme for a bold and daring drama, this would be it, and it conveys so much without a word being said. It is testament to the compositional skills of Night Wolf, as well as the innate ability to marry sounds and genres together to reveal a strange relationship, that means Wasting Time is another brilliant step. After the gut punches that were present during Chosen, this is a remedy: a relaxing and exciting slice of sound, designed to calm your nerves, and put a big smile on your face.  9.6

Burn The Money: Night Wolf was inspired to write Burn The Money after watching a series of videos. It was then that the idea to write a hip hop number, all be it a grittier, more diverse song. The first thing that happens in this song is the introduction of a vocal. It is not sung, however; it is spoken word. As the title may suggest, the minutia of the song is a financial figure; it is a relate-able tableaux for a modern age. The music underscoring the voice, begins life bearing dark, languid strings. It is an instant mood setter that does not dominate or even try to equal what is being said; instead lurks in the shadows. The recording itself seems to be from an American newscast or news programme; I am not sure. Instantly there is a sense of mystery about who this man is, that is prophesying imminent economic doom. He talks about interest rates on national debt will mean that, theoretically, by 2013 it could mean "total bankruptcy for the U.S. economy". Instantly there is a immanency to proceedings. The message does not go on to bring us tidings of joy, but stays on message, explaining what the wider implications will be. At the 0:30 junction, the recording is stopped and the piano line is not in the spotlight. It is initially dark and funereal; reminiscent of Stravinsky and Raschmaninoff, with a hint of an audible shoulder drop. There is a build-up as lighter notes mix with dark; a feint drum cymbal is heard, before strings come back to play. They are playful and delicate, counteracted by a solid and militaristic drum beat. In a way the mesh and interplay of sounds and moods reflects the theme of the song and act as a musical countenance. The tone now has more of a hip hop theme; a bit of Massive Attack, Tricky, maybe later Portishead too with a delicate nod to Cypress Hill, The Progidy and Jay-Z. Just before the news recording recomposes itself, your mind is somewhere else. In mine at least, driving down a dark road heading for London, neon, multicoloured light beckoning my hence. Before I can be too entrenched in my own fantasy, we are back. It is only for a nanosecond, and the hip hop roll is in the fray; the synthesised night crawler is back; doing battle with a voice that says "the only way to make more money/Is to create more debt and inflation". The combination of the two mileaux’s creates a psychotropic effect. The words affect the mind, soul and brain; the music raises the body, inflames the ears and brightens the eyes. It is a curious sexual call, from a curious allure. The sea has calmed slightly, and the infectious beat pitches tent in your limbic system. Just when you think that we are preparing to fade, Mr. Ominous, like Carrie in a 3-piece suit, rises bloodied from the water, to deliver another apocalyptic bromide. The coda of Burn The Money is that in spite of all the downturn, and fiscal tsunami, we need to "use it to our advantage". Bloody Americans! The track as a whole has a sort of retro feel to it, that harks bark to the genesis of hip hop and big beat. Unlike many of the pre-pubescent shirt tuggers that are trying to acclimate base camp in your brain through a series of left turns, explosions and sample-laden perturbation, Night Wolf have pulled off a neat illusion. The track is quite uncategorisable. Sure there is hip hop, big beat, romantic classical with a light crust of old school rap. There is much to recommend for any lover of any genre of music. The spoken word segments are deployed effectively, punctuating the mood, and coming to the fore at the most effective times. The announcer is suitably anodyne and Mid-Western; in essence quite flat. This, coupled with the extraordinary soundtrack that levies the momentum, interject perfectly and the resultant song is spellbinding its efficiency and effectiveness. It is a tight number as well, and does not overplay its hand or descend into parody or morbid hyperbole. Instead, it is a tight manifesto that will long by remembered once the song has ended.  9.5

Darker Days:  It begins almost with a Morse Code sensation. Dark and bass guitar-like electronic points are instantly defeated by sparks and fizzes of electronic percussion. You are not sure what direction the song will take, but suspect that we will hear a similar number to that of Chosen. There is no ritualistic cliche when you consider Night Wolf. Just when I was thinking there may be a classic de tour, a vocal line rocks up hard. The opening words "I'm so sick of these dark, dark days" sets a lyrical tone, and the inclusion of a "fuck-you attitude" goes some way to strengthening this view, and balkanising against the majesty of tracks such as Wasting Time. There is grime, dub step and urban influence. The vocal by Conscious Pilots brings some hip hop influence and authority to the song. Where as the previous tracks, supported by Centrist, had melodic and augmented highs, as well as a combination of quiet-loud; there is much more direct attitude and spikiness here. The words are intended to hit home, and make themselves known. The lyrics are punched out, tumble, spat and rapped: tales of poverty and hard city street living are present and dominant. Musically, there is not a sole tendency to have hip hop and dub step beats in the mix. That may add too much weight and menace to the track. Instead there are darker strings, reminiscent of Bond Themes, Muse's The Resistance work, as well as modern hip hop and urban flavours. When words about "the underground": a place where "the police are aware/But they don't come round", are tumbled forth with angry intent, it is hard not to be both intimidated and won over. The themes are relevant and modern. Lyrics about government statistics and bloodshed paint a picture of a very real of modern Britain. The Queen is name-checked, but not for any positive reasons; the young voices are fresh and filled with world-weariness and burden. Our vocal representative tells of how the rich are forcing the working-class down, and taking away their money. Chaos is the prevailing theme: every man for themselves. Backed by propulsive and majestically subtle strings, the words resonate strongly. They are decipherable and very clear: a lot of hip hop artists slur and blur their words so they are unintelligible. The vocal interplay by the two chaps is impressive. They don't fight for the mic. and attention: instead they join forces and a strengthened and purposeful unit. They are "tasting the pain" in a "catch 22". It is a track that is not reserved for fans of hip hop, urban or street music. Vocally, it is very strong, but not too foreboding. Conscious Pilots are already popular and regraded in their own right, but with the teamwork of Night Wolf, add weight and edges to a fantastic track, that will speak to the youth of today. The lyrics are impressive and consistently sharp, and the atmospheric backing and composition gives the track a great foothold, and rises it above the parapet.  9.5.

Problem:  Completing our travels, and coming into land, is Problem. Now there is not a classical or orchestral start; nor is there any dub step thud or threat. There is almost a science fiction aspect to the intro. It begins with high-pitched and twinkling electronics, projecting the image of a ultraviolet robot. You are taken aback and intrigued at the same time. A building swing occurs: your feet and fingers start to tap and soon a more frazzled and frantic buzz joins in, and takes the song in a new direction. It is the mechanical and retro sounds, that combine, buzz, trickle and endeavour that captures you. There is no menace or violence from the start, only sparks and fires of excitement. Soon enough, the different lines and avenues are met with a tense and static hold. It is unsure if we will hear a dub step smash, or classical leanings. It is the latter which prevails. The foreground remains in tact (joined with percussion), but it is the backing and distant scenery that catches your ear. I am not sure what the 'Problem' is, but judging by the range of chaotic and composed sounds, one suspects it will not be resolved, even after the song has ended. A staccato and head-rush of electronic sound presents itself as well, adding to the mood and energy of the song. In a way there is again a retro feel: something in-between '80s and '90s dance, but given a lot of modern shine and touches. The track is evocative and politicising and scenes and images will be in your head right from the opening notes. Night Wolf strike a chord, and run with it. The pattern and structure that is cemented fairly early on, is ridden and rides along, drawing you in. It is the mastery and skill with which this is done that is most impressive. I myself can't even begin to guess where the sounds were from, and how they were mixed, but it is the unique recipe that hits hard: almost a hallmark and expected step from Night Wolf. Pauses open up to allow the sound of strings to be heard. Our authour is not content to just stick with a sound and not deviate: little flecks and sparks are created, and diversions taken to allow the song to remain mobile, memorable and surprising. Problem has an epic quality and is a fitting closer to a brilliant E.P. There is no hard-hitting rush or dub step beats; you are able to collect your thoughts and contemplate. So much so that by the end of the track, you'd like another track to come along; such is the tease, that you are left wanting more.  9.6.

Another triumphant release from Night Wolf, that goes to show that he is always thinking, working, and making moves few others would dare. I know for a fact that he has a fervent and dedicated fan base and works hard to recruit new followers and potential fans. I was impressed by his previous release's mix of styles, and surprised by how many changes and switches are to be heard in a single song, let alone an E.P. The Moonlight E.P. is a natural step forward and another release filled with innovation and style. There are so little artists out there whom are daring and pioneering when it comes to cross pollinating and mixing sounds and samples together. Within the 5 tracks, there is classical, dub step, urban, spoken word, as well as hip hop, and one suspects that a future release will expand even further on this. Who knows where E.P. no. 3 will take us: jazz? Heavy metal? Stoner rock? Disco perhaps? Any and everything is possible, and it is always exciting imaging what is in the mind of Wilcox and Night Wolf. Until the next steps are made, we have an E.P. of taut, tight and focused tracks, that display a keen and growing talent. Get on board now...

AND get lost in the moonlight...

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Twitter: 

https://twitter.com/ryanwilcox6

Facebook:

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

SoundCloud: 

http://soundcloud.com/nightwolfuk

Juliyaa- Tidal Wave- Track Review

Track Review:

Juliyaa-

Tidal Wave

9.3/10

Stars and Dragon's magical/mythical blend, infuses and enforces a stunning sound. The E.P.'s second-born shows the Welsh-Ghanaian's ambitious polyryhtmic mandate, in full flight.

Availability:

Tidal Wave is available via:

http://juliyaa.bandcamp.com/track/tidal-wave

The E.P. Stars & Dragons is available via:

http://juliyaa.bandcamp.com/

____________________________________________________________________________ NEW music is an art form that relies upon a number of different facets...

Most of the issues I have with new music, is a predetermined lack of knowledge of market needs. Many bands, artists and acts are too contented to produce the bare-minimum; not concerned with doing some necessary research to establish a number of things: what people want; what constitutes a great and worthy artist, and how to ensure that you stick in people's minds. A big issue at the moment, revolves around the ease of which one can record music. There is no longer a reliance on studio sounds: bedroom motifs and tales are favoured as much as anything. If you own some basic record equipment, and have Internet connection, then laying down your sounds, and distributing them to the world, is simple and uncomplicated- and attracts swarms of participants. This is great. It should be simple to record music and let people hear about it; who wants to be restricted and frustrated by barriers and obstacles? Problems arise, when artists get it into their minds, that simply pressing record, equates to an inevitable quality: assumptions are that they will be heralded widely, and ensuing success will surely follow. I have born witness to a great deal of new talent, each of whom has done their research, electioneered hard (and wide), and have a strong and insatiable work ethic. It is those artists whom often succeed- and deservedly so. Still there are too many, whom sound exactly the same as several dozen others: diversity and individuality seem to be long-forgotten bywords for sustainability and memorability. The media is partly to blame as well. Every review I have seen for a new act- and I am guilty as well- starts off by saying: "They are the new...". Half the battle is already lost, if the very first thought on the listeners mind concerns tribute and borderline mimicry. Artists get it into their head that hanging onto the coattails of their favourite act/band/artist will see them obtain a similar amount of respect and credibility: it doesn't. Success and patronage arrives when the act imbues their tones with some influence and familiarity, but above all, it is down to key pillars: ambition and originality. Because of these- some would say, rigid- rules, many have fallen through the cracks, or less, been unable to find a market. For those whom put the extra effort and consideration into their palette, find that funding and opportunities can be a little difficult to come by.

Having been funded via Musicians Benevolent Fund and their Emerging Excellence Awards (that assists artists aged between 18-30; offering funding and support), Juliyaa is a curious case: for very good reasons. Her real name is Julia Suit, but her musical alter ego is every bit as fascinating as any other new act. She is a talent whom realises the importance and significance of an impressive online portfolio. The official website is easy-to-use, and informative; well laid-out and professional-looking. Her Twitter and Facebook accounts are filled with relevant and detailed biography, and chart her progress and ambitions perfectly. Welsh and Ghanaian are probably genetic combinations that are rare. Musically, socially and culturally they are diverse and share very little in common. With regards to Juliyaa, it instantly sets her apart from her contemporaries. From looking at her she is incredibly striking. Possessed with stunning beauty and a statuesque figure, she is a modern-day pin-up. That should not distract you from her personality and passion. From her Twitter feed, you can tell that she is extremely intelligent and sharp: words are not wasted, and all are correct and intriguing- almost unheard of in 2013. Home for Juliyaa is north London, and she has had a colourful- and sometimes difficult- road to prominence. She has labelled her sound as 'Rhythmic Soul': a term that succinctly boils down her essence. Having released a number of singles in the run-up to late-2012, Juliyaa spent time honing her sound, and making her voice heard. Her E.P. Stars & Dragons, was released in November of last year, and is a tight and memorable collection of songs. One cannot help but be impressed by the E.P. cover. Boasting beautiful colours and an artistic and entrancing design, it will catch your eye and elicit a smile from your mouth. So few new acts neglect the need to produce an original and memorable E.P./album cover: choosing to scrape along, with a basic portrait or lazy design. It is details like this, that are so vital in drawing in people. Without having heard a song or note, you are intrigued and fascinated. The plaudits received off of the back of Stars & Dragons, has included airplay on BBC IXtra and BBC Radio 6. Very influential and prominent ears have been captivated by her sounds, and has been made possible by the combination of funding from Musicians Benevolent Fund. and her ambition and impressive range of tracks and styles. Twinning the fresh and vibrant sounds of U.K. urban music, alongside soulful harmonies, has resulted in a terrific blend, and one that has earned her fans from wide reaches of the country; as well as drawing in supporters whom would not usually be aware of the types of music Juliyaa purveys. Her influences include Alicia Keys and Outkast and you can hear a lot of the former's vocal silks, as well as elements of the latter's innovation and free spirit. In preparation for her new E.P., which is due out soon, I investigated Stars & Dragons, to see what delights and treasures could be found within.

The title track may have received the most number of plays, historically, and Iwihia is not too far behind. It is, however, the track Tidal Wave that caught my attention and compelled me to investigate further. The sense of adventure and intelligence is present imminently, when listening to the opening moments of the song. The voice is queen: up front and strong, showing strong soulful veins, with a tad of modern urban influence. However, there is an ominous and swirling sound, that builds momentum in the background and creeps further towards the front. It has urban elements, but also modern pop and soul touches too. That combination spikes interest straight away, and then prostrates to what follows. Energy and passion multiply and intensifies as Juliyaa's voice is layered and harmonises with itself, creating a stirring chorus. Maybe with a hint of mid-career Beyonce/Destiny's Child, the vocal choir eases and evaporates; giving way to the central, focused vocal line. The musical landscape changes to something more intoxicating and psychotropic. Electronic sounds and sensations swirl and contort, reminiscent of sonic blood-flow- backed by a sharp and edgy percussive beat. Words are offered and brought forth: "The water's rising", is the initial tristesse, and is the foreword to a chapter, speaking of sublimation, subversion and a metaphorical sense of drowning. It is clear that our heroine has anxiety and burdens to shoulder. The use of imagery steers from metaphysical temptations, and instead vividly paints a scene of a overwhelming tension. Thematically, it may well be ground that has had many footprints make their impression, but precious few have managed to combine the protestations and poetry, alongside such soulful and streetwise sounds. It is the way that the hallmarks of urban composition: stinging and punctuating percussion and electronic whirls and grimey sparks; are tied together in unity with soulful vocals and a strong prowess, that invigorates and inflames the bones. Gravity, momentum and energy are keywords that one cannot help but avoid. There are few gaps for breath or consideration: the song drags you in and pulls you along (perhaps appropriate given its title). Juliyaa's voice swoons, trips and seduces; tying your tongues, as the rampant winged beasts that are the embodiment of the sound, clean rip it out. Before the 1:00 marker, there is a coda of "I'm calling". The vocal performance has elements of Knowles, Keys and (at during its lightest moments) Sande. No needless histrionics nor wasted breaths: the performance is strong, passionate and convincing. Tales of the night, forces beyond our heroine's ken and perception, are shaking her nerves and stirring her soul ("The power it calls me to stay"). In the past- as well as the present- I have been put off by a lot of urban artists for a number of reasons. Firstly their personalities and projection highlights them as people you'd rather not support or be generous towards; this is often galvanised by their words, which are often infantile or sloppily generic. Juliyaa has the sounds of the street in her arsenal, but in a locket around her neck, is a soulful voice and spirit, bonded by a chain that is strong and unyielding. It is those combination and flavours that means Tidal Wave supersedes expectation, as well as positions itself well above the offerings brought forth by many of her contemporaries. A hymn and calling card to her unnamed beau, Juliyaa has his love, and is falling. When she sings, she does so with intense passion, but treats her vocals with care: she layers where appropriate; elongates here and there; electronic slices it to create juddery staccato, and at its core is a tender and heartfelt serenity. Few urban or pop artists have a voice that stands up to such a workout, such is the ability of Juliyaa; even fewer are capable of melting their voice into a musical cauldron that bubbles with smokes of toxic, sweet-smelling, noisome and erotic. The sense of tenderness and honeyed annunciations is ever-present at the 2/3 mark. Here the mood is brought down, stripped and rests peacefully. "I'm falling" is repeated, backed by softer and less forceful sounds; the voice contains less anxiety; whether the falling refers to falling in love, or a free-fall into an emotional quagmire is uncertain: such is the allure and sly bait-and-switch. When it is said that "Your love is my calling", doubts may have been cast aside from the listener's perspective. When this confession is delivered, there is an air of Dangerously in Love/I Am... Sasha Fierce-Beyonce, mingling with As I Am-era Alicia Keys. Neither are overly-obvious nor overly-intrusive influences: their flavour notes and scents ruminate, but the most potent sensations are Juliyaa's alone. The sing-along quality of- the unofficial- chorus will strike chords with urban and soul fans alike, and unify dance floors and venues, as well as draw in any disenchanted fans of N-Dubz (whom are probably not used to hearing any quality music).

The key themes of love and desire, as well as the associative side effects of its tribulations and reality, are all present and correct. Our protagonist brings a sense of autobiography in, and is clearly writing about something that is meaningful and relevant to her. Subsequently, the words are filled with conviction and authority. Her voice is able to remain composed and taut, but has a range and emotional spectrum that paints many scenes and pictures. In the current climate there are not many solo artists whom have an ability to integrate urban and more soulful sounds together, and make it work well. I myself am not a huge fan or follower of urban music, so there was a measure of apprehension. For those alike, there should be no fear, as the track, and E.P. as a whole is testament to a talent, whom is restless, inventive and bold. Juliyaa can unite different genres and sounds together to create a harmonious and intriguing whole; not losing focus or passion at any turn. The debut E.P. has shown that she has real staying power and potential, and it will be interesting to see what her forthcoming E.P. has to offer. For anyone unaware of her presence, and unfamiliar with her back-story and biography, should check her out: it's free after all. The solo market is a difficult sector to crack, and with the help of the Emerging Excellence Awards and The Musicians Benevolent Fund, Juliyaa has brought her talents and visions to fruition. It may have been a less-than-easy transformation to where she is now, but the future will be bright indeed. Take a moment, and discover someone who will be familiar to many...

VERY soon indeed.

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The Musicians Benevolent Fund has been supporting musicians for more than 90 years. It helps young musicians at the start of their careers, professional musicians when an accident, illness or injury means they are unable to work and older musicians in retirement. In 2012 the Fund assisted over 2,000 musicians either directly or through partnerships. The Musicians Benevolent Fund is independent and relies on donations to underpin its work. For more information visit: helpmusicians.org.uk

Emerging Excellence Awards

: The Emerging Excellence Awards are open to artists working in any genre, from jazz to rock, urban to classical and folk to funk. The awards celebrate the diversity and entrepreneurialism of the UK’s exciting young talent. For more information visit: helpmusicians.org.uk/eea

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Debut EP from singer/songwriter Juliyaa

Credits:

Released 01 November 2012 Production: B.Hanson (1,5,6) Antony OTB (3,4) Moses "Mo-Keyz" Samuels (2) Live Instruments Recorded by: Mike McGill, Tom Szappanos (SSR Studios) Keys & Guitars: Niji Adeleye, Si Cliff, Jon Atterbury Drums: Donna Thompson, Matthew Fox Strings: Chris John, Abigail Davis, Susie Attwood Brass: Josh O'Riordan, Dave White, Dan Hayter Photography & Styling: Hilda Sackey, The Mother Plucker, Andree Marie Design: SMB Studios

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Official:

http://www.juliyaa.com/

Twitter: 

https://twitter.com/Juliyaamusic

Facebook:

https://www.facebook.com/juliyaamusic

YouTube:

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

SoundCloud:

http://soundcloud.com/juliyaa

Club 8- I'm Not Gonna Grow Old- Track Review

Track Review:

Club 8-

I'm Not Gonna Grow Old

　

9.7/10

Swedish masters offer up a slice of discofied sunshine: something no one can argue against.

Availability:

I'm Not Gonna Grow Old is available via:

https://www.youtube.com/watch?v=5uXyFEbG_Hk

The album Above the City is available via:

https://itunes.apple.com/gb/album/above-the-city/id624343942

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GAMBLING is legal in international waters...

where musicians are keen to roll the dice, and go all in, no matter what the outcome. I am not sure as to why there is less reluctance to be cautious or penned in overseas; or why there are fewer mundane or predictable acts. Obviously it is hard to say what the music scene is like through Europe and North America: what happens day to day, that means acts are more ambitious and varied. I suppose that one hears less about foreign music, simply because we do not reside there. For all I know there could be waves and scores of bland bands, generic solo artists, and a lot of white noise. It is when you do hear of great bands from overseas: whether they are from the U.S., Canada, Norway, Australia etc., that chords are struck; and struck hard. I have reviewed a great deal of acts within the U.K., and have seldom been disappointed. All the songs, sounds and E.P.s have been different (to one another), well produced and have displayed the talents of the associative artists very well. As impassioned as I have become of a lot of the artists, there is seldom variation on a theme. Genres are explored and tempted, but there is a great deal of two types of music: Indie/Rock, talking of street life, and broken love; or else acoustic/solo offerings that deal primarily with doubt, self-recrimination and the pitfalls of romance. It is when artists have broken away from the tired and well-worn moulds, that results occur, and fascination is implanted in the mind. Unfortunately, for whatever reason, there is not a great deal of mobility or diversification. I suppose the current music scene is to blame. New artists will- in the initial stages- parody or emulate an existent act, to some extent: in order to gain some sort of residual credibility. The issues are twofold. Firstly, too many acts stick too closely to a existent act, and come off sounding like a poor man's approximation. Secondly, there is not enough risk-taking or experimentation. In the U.K.- and to an extent, the rest of the world- commercial and media expectation controls the mandate and output of new music. Few young artist are aware of great bands of the past; nary aware of what is possible, and what they are missing out on. At best it is absent-mindedness; at its worst- and most accurate- it is blinding stupidity. For all the exceptional music out there: acts whom are willing to be bold, or have an original and solid sound that cannot be slated; there are legions of new music that suffer from the same maladies. Few are willing to hunt through the great acts of the '60s, '70s, and even '90s, looking for fresh innovation. Too few too, are prepared to mix and investigate genres like swing, jazz, funk, grunge, stoner rock, psychedelia, etc. There are precious few great or hugely impressive voice; not enough spectacular lyricists, and barely an act out there whom push the envelope and dissect expectation. In Europe, and the U.S., especially, there is much more to be impressed by.

I have been amazed by acts such as Highfields, as well as Anna von Hausswolff: imbued with European components and genes, that translate to stunningly daring and strange sounds. It seems, as a general rule of thumb, that the further north or north-east you go (from London), the greater the (exponential) quality of music. I am not a skeptic or cynic of London, or its potential; the fact is that the capital yields too few great acts and artists. In northern Europe, there seems to be a bit more of what is needed. Club 8 have been in existence since 1995: a year that was rife with Britpop fascination and some rather brilliant music. They have been regarded with critical acclaim, due to their mixture of dreamy pop, and experimentation spirit. The Boy Who Couldn't Stop Dreaming, released in 2007, was the first of their albums to receive a lot of positive feedback and attention. 2010's The People's Record was another big success, which saw them come into the sights of a lot of reviewers and media outlets in the U.K. The band consist Johan Angergard, and Karolina Komstedt- possibly one of the most alluring beautiful women in music. The band's influences extend from The Smiths, to Mazzy Star, through to Leonard Cohen. There is a lot of introversion and introspection between those artists, and it is a facet that has been used- in small shots- by the band. Above all of that, there is an inescapable sense of fun and passion. There are few tales of depression, anxiety, woe-is-me histrionics, and self-flagellation- oh no, far from it. Looking at the track-listing, song titles such as Kill Kill Kill, Stop Taking My Time and Less Than Love, may hint at savage parables, glorious kiss-offs and sorrowful recollections, the themes and contents are less Leonard Cohen, and more... well, something far more optimistic. The duo are tight and focused, and convey a wealth of evocation and promise from just two members. There are no wasted bodies or movements; Karolina is up front and the teasing Siren; Johan has string duties. Their sonic outpourings and myriad shades and avenues points towards a band, whom want to be adored and regarded fervently outside of their native Sweden. It has taken a long while for us here, as well as a lot of the world, to be attuned to the wonders of the band. U.S. media and publications have known of Club 8 for years now, but I stumbled upon their sounds via The Girls Are: a constant source of contacts for me. Above The City is out this week, and ahead of its release, I settled down and in, to listen to the 8th track, from the forthcoming album.

Fun is a word that cannot be applied too confidently to much music at the present time. There has always been, and is certainly now, a heavy emphasis or personalisation and biography: most of the time this consists of navel gazing or maudlin displays of guilt and self-assessment. It is clear from the first second, that energy and punch rule the song. With electronic, disco infusion and invigoration straight from the off, there is no time to ponder or choose an appropriate response. Behind the clash and dance of the foreground, are wordless choursings and stutters: each of which punctuates the stability of the composition perfectly. There is an effervescence, bubbly youthfulness and child-like joie de vivre in Karolina's vocals. The album has received words of comparison to Madonna and Florence and the Machine. There is evidence to be found, with regards to the former's Like A Virgin (album)-era credibility and sound. Spirit and smoke of dance and club music can be heard loud and clear. Recollections of the likes of Groovejet are also present, but when word such as "I'm the loser/Love abuser"is sung, there are hints of Nina Persson and Kylie Minogue. There is that same dreaminess and sex appeal; a comparable firepower and fertility. I was struck by the structure of the track. Starting with the disco and pop composition and wordless vocals, between the verses this is employed again, adding potency and fascination. Whereas other bands and acts may plump towards verse-chorus-verse struck, with little deviation, Club 8 know how to build the mood and hold interest: there is a consistent energy and smile. Tales of silence and violence are heralded; backed by what sounds like a glass xylophone being played; a electronic percussion thuds, and the sound of rampant strings build, before the chorus is unleashed. When "Don't want to be someone like you" is delivered, audio ecstasy is present; words are elongated, softly delivered and seduced: backed with vocal interjections, the effect is one of exhilaration. Subjects of the future and reminders that "I've been passing all these years" are introduced; our heroine showing no signs of anxiety or foreboding: everything is delivered with great expression and thorough regard for clarity and emotional effect. Combining Johan's deft and impressive songwriting and ear for hooks, and marrying that to the vocal purity of Karolina yields brilliant results. It is true that there are a lot of modern touches: the production is current and the band are very much in the moment; but the quality and influence hint at the '80s and early '90s. Reminders of Madonna, and flavours of The Cardigans mingle seamlessly, with no sense of intrusion: there are hints of those artists but the abiding sense is originality and freshness. Sound and atmosphere are unquenchable, as there is a consistent movement and energisation: barely are there are pauses, gaps or silences. It has a model that is fit for Summer, the clubs, dance circuits, discos, or wherever the hell it wants to go. The breeziness and utilitarianism of the song means that it is difficult to fault anything about it; it wants to win you over, and will do so with some aplomb.

Allmusic have already given the album- Above the City- a glowing and detailed review. They mentioned the "super-discofied" majesty of I'm Not Gonna Grow Old, but went on to highlight that the band mix still and haunting tracks, with high-energy smashers, too. There is clearly a great range and ambition to be heard in the record, and the two key components: stunning and adaptive musical landscapes and melodies, and dreamy and beautiful vocals, stamp each track with authoritative and conviction. In the past, African sounds have featured in the pages of Club 8, as well as all sorts of different music and notes. Here is a group that love to innovate and keep moving: there is never any danger of being bored or let down. On the current album, there are icy ballads, heavy metal guitars as well as sunny pop, disco moves and Robyn-esque club gems. Samples and odd sounds are thrown into the mix, to add weight, cadence and majesty to the album. On the basis of I'm Not Gonna Grow Old, alone, it is is clear that 2013 is going to be another successful year for the group, whom show no signs of slowing or degradation. Due to their ideologies: keep things varied and fascinating; explore different genres and styles; never lose focus, the album is a triumph, and they are an inspiration to any new or future acts. I have long been banging-on about how narrow the focus is amongst new U.K. acts, but I suspect that the issue is present farther afield. In the same way that the likes of Damon Albarn travelled the globe and drew in sounds of the countries he visited into Blur and Gorrilaz records; Club 8 have picked up souvenirs from foreign climbs and integrated them into their compositions. I have long said that you need to do more than stick with one particular sound: having an 'identity' apparently means a homogeneous and unevolving constant. Club 8 keep their personality, but have created it by being adventurous, pioneering and wide-ranging. Different samples, instruments, styles and spectrums are experimented with and adored; the result of which, is a multi-genre golden nugget. If you want to be striking and memorable, then this is what you need to do. Without compromising integrity, focus or individuality, it is possible to gain the same sort of credibility and ardour, by not being honed in and stuck in a rut. As I said before, there have been decades of wonderful music, all sorts of incredible songs and albums, and a spectacular banquet of tastes and sensations. You do not need to rip anyone off, ape a band or be a cover band to elicit a visceral and impassioned response. Simply travel the world, listen to bands and albums you haven't before, and get writing. When you separate yourself away from current bands and obvious 'influences' and 'modern idols' and actually open your mind and aspirations up, then that is when something special occurs. The greatest albums and songs resulted from this same process. Not a single one of the greatest songs, singers, bands or albums, contained, proffered or professed anything equivocal to what consists of about 90% of modem music. I long for the day when there will be contenders for the crown of the all-time best bands, acts, songs and albums: it seems less likely with every passing week. Band such as Club 8 need to be brought more into international focus, as they are capable of inspiring new moves and thoughts. Hunt down the album (and previous offerings), and listen to their music...

AND then everything will become apparent...

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Official:

http://www.club-8.org/

Twitter:

https://twitter.com/club8music

Facebook: 

https://www.facebook.com/#!/Club8music

Spotify: 

http://open.spotify.com/user/angergard/playlist/3twmXttylFbULHMgOblSGO

Second Hand Poet- Little Sun- Track Review

Track Review:

Second Hand Poet-

Little Sun

　

9.0/10

Surrey-based Bedroom Acoustics troubadour, presents songs of rare affirmation.

Availability:

Little Sun is available via:

http://secondhandpoet.bandcamp.com/track/little-sun

Bedroom Acoustics vol. 1 available at:

http://secondhandpoet.bandcamp.com/album/bedroom-acoustics

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THE solo acoustic 'genre'/market is one that is safe from entropy...

and liquidation. It is simultaneously the most common form of modern music, as well as the hardest to crack. If you are armed with an acoustic guitar and little more, then there is instantly a high workload; and the results still need to reflect mandation. When thinking of bands, if you have a four or five-piece group (as well as more or less), then duties are shared; responsibility becomes a fraction, and there is creative and human support that eases the burden. Of course 'the more is merrier', or 'strength in numbers' can be seen as a false equivalency or an overstatement. The band involved have to have the quality and ambition for that to be true, otherwise larger quantities can have a detrimental effect. For the solo market, there are benefits and drawbacks. In terms of positives, there is creative freedom. You do not need to negotiate with a fellow writer, nor do you need to pass your ideas through a committee or voting process. Greater freedom, as well as augmented potential output are rewards. You can blend sounds, genres, styles, moods; without suffering vitriolic band feedback or any trade restrictions. If the results hit home, and there is adulation and success, then the feelings of self-worth and resolve, make for a great sensation. Of course, there are a greater number of hardships, hindrances and stumbling blocks. Parallel to life itself, music has inherent autosomal dominant issues for the lone ranger. There are no sounding boards to say if an idea has no validity or value; 100% of creative output derives from one person; fatigue and over self-assessment can lead to decay, as well as there been an ever-present danger of relegation and sublimation. The solo market is one that is ever-expanding and crowded. There are no quotas or controls, so the numbers rise, unabated. It makes perfect sense: it does not rely on hiring band members, thus making it easier to make personal and easily-accessible music. Issues arise, when trying to separate the good from the bad and the ugly. For all your legends: Bob Dylan, James Taylor, Neil Young etc., and your modern-day icons: Bon Iver, P.J. Harvey, Laura Marling etc. there is a disproportionately high number of superficial and plain awful examples of the breed. This is a point that bothers me most. For all the commendations that should be levied at the sole artist, it is not simply enough to record songs and hope for the best. The rules of the game apply equally, and unless you have a singular voice, set of lyrics, sound scape or collection of songs, then it is not worth turning up at all.

Duality and dichotomy of quality and quantity are inscrutably harsh mistresses: subject to fickle public minds, changing demands, and undefined limits. Getting a clear head and knowing what you have to achieve borders on the impossible, so the best thing to do (for the worthy and talented artist) is to believe in what you write, and make it the best you can. Hailing from Surrey, a much-underrated and underexposed county, Jamie, A.K.A. Second Hand Poet, is a brand new artist, with fledgling wings and hungry sights. His name, ambition and potential is built up from the aggregation of a steely ambition, modesty and charming back-story. His online presence is limited at the moment, consisting mainly of BandCamp, Facebook and Twitter coverage, but given the nature of his recordings and his infant steps, it is hardly surprising. The man behind the Poet has an air of mystery to him. Aside from his forename, and a few minor details being known, his biography is scarce and skeletal. As with my featured act yesterday (Surrey's Nylon Sky), there is little indication as to the influences and idols of our protagonist; nor any signs of what is contained within the songs. The surprise and summations arrive when the tracks are unveiled, and reveal themselves. The title of the 5-track 'mini album'/E.P.- Bedroom Acoustics vol. 1- has obvious derivations. The sounds you hear come courtesy of the four walls, floor and door of Jamie's bedroom. It is not fair to call it 'lo-fi' or 'outsider'; it is more accurate and concise to describe it thus: personal. Honest, personable and relatable. The likes of Morrissey, Nick Drake and their modern ilk, started out in the bedroom. It is the natural first step for all artists; and Second Hand Poet's sounds make you feel as though you are there with him. It will be fascinating to see if he graduates and moves to the studio as adulation and appreciation arrives; or whether the sounds will be safely ensconced within four walls in Surrey.

The second track from E.P., Little Sun, has evocations- in the early stages- of authoritative sources. There are indie edges, lighter Britpop hints, and above all, a keen and sharp ear for melody and mood-setting. The acoustic scenes and lines, swoon and endeavour with riparian flavours. At once the atmosphere is light and sensual; there is a sense that the authour is trying to convey scenes filled with sun, Summer, and peace. The string-picking is impressively accomplished and solid, and displays a sharp and bright talent. So few solo artists, especially those whom purvey acoustic numbers, are not particularly notable for their guitar skills. Second Hand Poet has a clear passion, as well as a skilled hand, and is able to mix sounds and sensations over the course of a couple of seconds, making the introduction propulsive, as well as taut and emblazoning. The 23 seconds or so that it is present, is enough to build up speculation and intrigue, so when the vocal arrives, expectations are high. The vocal is strong and emotive. The fact that the song was recorded within a bedroom does not detract from the quality of the recording. The guitar is clean and clear, and the vocal has a clarity that shines through, but also a slight far-off quality that adds weight to what is being sung. With regards to the nature of the voice itself, there are certainly modern tones and influences within the flavour notes: comparisons can be drawn with some contemporary colleagues. Emphasis is largely on the timbre and weight of the voice, rather than the diversity of it. Lyrically, there is honesty and openness: "I'm not perfect"and "My whole melody is wrong", point towards a young man with anxiety and unresolved tension. If the scenes and settings of the intro. hinted at lighter and brighter parables, the ensuing words and heaviness of soul, point towards doubt and uncertainty. The song has ambitions to linger within your mind, and it does through a number of ways. Aside from the vocal being rooted within 2013, and the subject being something everyone can relate to, the way that the words and intentions are expressed is impressive. Many artists would tell their tales, with little consideration lent towards projection and resonance. Second Hand Poet mixes diffidence with angry protestation: some lines are punctuated sternly, before being countered by an emotionally overwhelmed riposte or rejoinder. This unique hybrid is a key focal point, and something that adds gravity to the song. The chorus has an air of mystery and open interpretation: "Hey Little Sun/Look what you've done"; emotions run high and there is a suggestive shrug elicited. If some of the themes of personal dislocation and uncertainty are prevalent: "Feeling lost/And/Stuck on a cross", for example, then the way in which they are presented does not bring you down. The voice does not wallow too much nor hide its scars beneath thin-veiled deceit; the guitar remains strong and focused: hints of Noel Gallagher can be detected in lighter-edged (What's the Story) Morning Glory. Towards the latter stages of the track, the Little Sun is turned upon, put onto the stand, and given accusatory regard: "Burned away/Chosen day", is delivered with an emphatic guilt-trip and disregard. The tension that mounts is temporised, slightly, by the ensuing guitar passage: it picks and strums with delicate touches, before being swallowed and replaced with the final vocal touches.

I hope that in the future Second Hand Poet gains wider appreciation. He has a voice and sound that is almost tailor-made for the live scene, and will win over local patrons and those further afield, alike. The title of the E.P. suggests that further volumes will be unveiled in coming months, and will be curious to see what moves are made next. Whether there will be a move to the studio, and an incorporation of percussion and strings; or the format and structure will remain in tact, is yet to be seen. In the initial stages, the decision to present bedroom sounds and summations is brave and smart. It shows that the authour is comfortable with his surroundings, and knows the vitality and importance of authenticity and narrative. The songs within Bedroom Acoustics paint the portrait of a talent whom could supersede the local scene, and make his way to festivals and larger venues. It is a very of-the-moment release, and one that does not suffer from the weaknesses of many within the solo scene and the associative flaws. The proficiency and striking acoustic playing is a highlight, and the lyrics are capturing and sharp. It is always interesting to hear where future talent may originate from, and what their core values and themes will be. Second Hand Poet is the sound of a heavy-heart, curious mind and endeavouring sound; above all it is a mandate filled with...

PLENTY of potential.

___________________________________________________________________________

Twitter: 

https://twitter.com/SecondHandPoet

Facebook:

https://www.facebook.com/pages/Second-Hand-Poet/417534431620189?directed_target_id=0

BandCamp: 

http://secondhandpoet.bandcamp.com/

Nylon Sky- Tell Me (They)- Track Review

Track Review:

Nylon Sky-

Tell Me (They)

9.2/10

The Little Things, Bigger Picture band create epic sounds, with more than small wonder.

Availability:

Tell Me (They) is available at:

http://soundcloud.com/nylonskyofficial/tell-me-they-1

Little Things, Bigger Picture, is available at:

https://itunes.apple.com/gb/album/little-things-bigger-picture/id622632492

___________________________________________________________________________

LOCAL talent is always something particularly relevant...

to upcoming musicians, and home fans alike. From my perspective, it is always interesting to hear what sounds are being favoured, and- as a songwriter- what potential competition and supporters there are. I have focused my attention on a fair few acts and artists from the A.C.M. in Guildford, a town from where Nylon Sky hail. Historically Guildford has had a few notable bands make their mark, but not too many though. The Jam were formed just up the road, but The Stranglers aside, there has been previous little proffered from this old town. Plenty of history still exists within the town, and I have been baffled why this part of Surrey has not spawned more talent than it has. Surrey in general, in terms of producing the all-time great acts is a bit like a British Eurovision entry: never even close to the top 10, and producing acts of rather variable quality. Given the proximity to London, Surrey should do more, but is hoped with the likes of the A.C.M., there will be a lot of strong representation in years to come. It is probably that very music school (The Academy of Contemporary Music) that will foster our most likely local stars. I have displayed some ambivalence in the past towards music schools and academies due to the nature of the graduates. Historically, well, none of the all-time great voices have gone through this route, and in terms of the very best bands, they have always done things differently. It is very much a modern thing, and although there are some truly dreadful examples being brought forth (that accounts for a pretty high percentage), there are some genuine talents to be found, several of whom I have the pleasure of reviewing their work. For bands, I feel that the local scenes- pubs, venues etc.- will play a bigger role, and if there is going to be a modern-day The Jam equivalency, then they are likely to be cultivated and reared on the local circuit. In terms of the sounds of the bands I am aware of from Guildford, they tend to stray towards the heavier end of the spectrum. There is a lot of heavier Grunge-type sounds, as well as Metal and Punk. Never entirely sure why this is, as the solo talent sure as hell tend to be as far from that as possible. Bands of a certain age- late teens/early-mid 20s- were listening to the old masters such as Nirvana and Grunge in the early-'90s, and strangely detoured slightly towards the mid-'90s to incorporate Britpop and indie sounds. It is this collective memory and D.N.A. that enforces a lot of the band motifs: heavier and darker middles, with less menacing, and more melodic edges. It is an understandable phenomenon: every artist has influences and idols, and most will incorporate them into their own music. Trouble is, I have heard a lot of bands from the north- Manchester, Liverpool etc- that have been so close to an existing (or defunct) band, that it has sounded like a third-rate tribute band.

Through stellar fanbase, and a reputable and solid name on the live scene of Surrey and beyond, the four-piece: Tony, Tom, Stuart and Nai-ik, have a large and dedicated online following, and have surmounted a greater and more exhaustive fanbase than a lot of better-known acts. I am going to have to clutch at straws again, when it comes to band biography, as I know very little of them. In the same as my subject yesterday, Story Books, have little online biography, Nylon Sky have even less. I know they have been playing for a long time now, and have a legendary name and repute amongst the A.C.M. crowd and independents alike. Again the music has to do all of the talking, but would be nice to know more about the band: what their influences are, a few sentences on the members, as well as a few reviews here and there. In the very modern age of Facebook, Twitter and the like, the boys will gain new fans and catch the eyes of festival organises and venue managers with a few additions: promotional videos, a more in-depth official site, as well as some quotes/quips, etc. I can provide no further information, so will get down to the business of the music itself.

Their album Little Things, Bigger Picture (impressive title aside) boasts some striking artwork, in addition to 13 tracks; all with intriguing and curious titles. Track 4, Tell Me (They) wastes precious little time, in making an impression and cementing its desires. The opening strings have early-mid '90s flavours: In Utero Nirvana/Superunknown Soundgarden, as well as something more soulful and sensuous (one could, at one point, picture Chris Isaak's voice following the initial stages of the intro.). Following a brief percussive interjection, the vocals open the song up. The voice has some U.S. evocations, yet is not whiskey-soaked and tormented, nor lightweight and wandering: there are evocations of Anthony Kiedis, curiously. Following that parable, there are hints of Californian breeziness that The Red Hot Chilli Peppers have hallmarked. The initial strings and percussion have that same laconic but intentional authority. The lyrics, however- with a little Blood Sugar Sex Magik- have a painful past and present: "I've been born/I've been wasted". Unlike the ageing U.S. band, Nylon Sky have a youthful energy and vigour that is tireless and infectious. The sound builds upon the quiet-loud dynamic: the initial four dozen or so seconds are calmed, and building, before an explosion is presented. There is passion and strength in our protagonists voice as he implores: "And they tell me not to worry", is delivered with tremulous anxiety, as well as defiance. The drums slam like a storm, and guitar and bass whip up an electrical wind. Vocals are held, stuttered and elongated to create maximum emotional effect- there is an impressive power and capacity to the vocals during the chorus. The overall themes and lyrical subjects, mixed with the adventurous and engaging musical breaks, pulls any minds away from Californian wells. There is a uniquely sharp and focused sound; the band are tight and supported by some brilliant production values. A lot of tracks seem to have their structure and signatures established, by rarely wander. The vocal lines are predictably symmetrical, as are the instrumentations and verse-chorus-verse formation. Nylon Sky keep a restless energy and unpredictability at the forefront: vocals change presentation and lines; tics, raps and syncopation is blended in, for instance. From 1:42 there is a more light-hearted change. The words are rapped and trip along; there are 'whoop whoops!'; subjects such as death and proclivity are given a blase and humorous disregard. After the chorus explodes once more, another twist comes into view. Unleashed is a wave of guitar arpeggios and excitement; wordless but ecstatic. It is hard to compare the sound and passage to anything else. There is the '60s and '70s spirit; Van Halen edges, and Hard Rock/Psychedelic underpinnings. It rides a crest and bides its time for a little while, before the vocal returns to the fold. In a battle to win the mood, and stay alive to the end, the words "Worry is all I do" is proffered: delivered intensely and with full-bloodied passion. Another side to the story has been told, and a further snaking turn has unfolded. When the track ends, it takes a little while to absorb the different sounds and sensations, and unearth what the track wants to say.

There is personal doubt and clear anxiety: not only about life, but about love and issues. Most bands put the vocal and lyrics far down in the mix, and it is often indecipherable and unintelligible. The vocals are clear so that you can hear what is being sung. The guitar, bass and percussion does not impose and drown the voice out; similarly out front-man does not drawl or slur: everything is enunciated finely so you get the best of all worlds. On that note, the band themselves are tight, focused and professional and it is clear that they have been working on their sound for a while, and, coupled with smooth and focused production, results in a great track. Having delved into the other tracks from the album, there is a lot of that same quality and ambition. The tracks do not follow the exact same path; there is movement, surprises and an overall feeling of brilliance and originality. Nylon Sky have splashes of other influences, from '90s West Coast U.S., through to Home Counties Indie/Rock. They will be doing a great service to new music as well as Surrey; putting the county firmly back on the map, whilst making great waves much farther afield. In the current climate, there are few new bands whom can provide original and fresh sounds, whilst displaying a conviction for softer, more sensitive edges, as well as hard and dominant highs. In a scene, where the vast majority of exciting and superlative new music derives from north and Scotland, it is a relief to hear of a southern band, whom are capable of toppling them all. Seek out their album and Tell Me (They)...

BIG things are shortly ahead.

___________________________________________________________________________

Twitter: 

https://twitter.com/nylonsky

Facebook:

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

SoundCloud:

http://soundcloud.com/nylonskyofficial

YouTube:

http://www.youtube.com/nylonskyofficial

Story Books- Knot- Track Review

Track Review:

Story Books-

Knot

9.3/10

It is hard to hear the song beyond the pages of iTunes and The Guardian; luckily the band have a wealth of wonderful novelistic visuals, and stunning sounds.

Availability:

Knot is available at:

http://soundcloud.com/storybooksband/story-books_knot-master/s-1OTQ8

Their E.P., Too Much a Hunter, is available at:

https://itunes.apple.com/gb/album/too-much-a-hunter-ep/id627529476

___________________________________________________________________________ KENT is the featured county today; and a new angle is apparent...

I have been subjecting any tired minds that will take note, that the south of England, and the Home Counties, have been a little slack and remiss, when coming to offering up new music stars. London and the south coast have been making tiny little movements: the odd band or act here and there, but by and large, activity has been hottest elsewhere. I suppose, historically-speaking of course, the southern counties have played host to a great deal of wonderful talent: Blur, Radiohead, The Jam etc; there has been no shortage when it comes to offering up and proffering forth curious smells, sounds and sensations. Each of those bands had a very particular identity and talent: ranging from Britpop, through to New Wave. It has been a concern of mine, that there is not enough diversity within groups. If you hear of a four or five-piece band, chance are they met when they were young, or live close to one another. Bands like HighFields are axiomatically atypical when it comes to predictability: multi-nationality, inter-gender and open-armed. In the U.K. especially, there is not a lot of mixing or multicultural blending. Various parts of the U.K., as well as being quite lax when it comes to pulling their weight, have other issues. It is important that have some local flavours in your group: pulling in relevance local noises, as well as looking further afield. Most new bands suffer issues of homogenisation. The band members tend to be of a similar creed, age and locality: there is scant range. I precursor to a new wave of invigorating groups, will be a willingness to in other and unexpected parts, with regards to recruiting members. At the moment, there is too much of a willingness to rest on laurels and be unadventurous. This is something I will allude to more later. Individuality is a more glaring and important concern, initially. I have heard many bands; ranging from northern rock acts, to southern pop acts, that do suffer a tendency to stick closely to other groups. It is a recurring thesis, but one that becomes no less relevant with each passing day. If you are a northern rock or indie band there is a reluctance to stray too far away from Arctic Monkeys and Oasis; if you are southern, then many will gravitate towards our best and brightest bands here. It is a tricky situation for a new band, or a group that has established a reputation, with regards to being achieve a high quality, and remaining original. Scotland are doing a better job of achieving this, than anywhere else in the U.K.; but there are a group of southern acts, that promise something that supersedes any expectations.

Story Books came to my attention via a feature piece in The Guardian. For all the publication's weaknesses when it comes to reviewing new music, they at least are pretty potent when it comes to introducing great new acts. The London/Kent five-piece: consisting Kristofer, Robert, Joseph, Andrew and Jack, have an air of mystery with regarding to band history and biography. They have an impressive on-line representation (including a particular detailed official site), but say little about whom they each are, or where their influces arrive from. Whether this is designed to focus your mind solely on the music- effectively not having any preconceived expectations in your mind- or intended as a talking point, it is hard to say. It would be nice to know more about the guys; not any needless mindless tidbits, but where they came from, and what they want people to take away from the experience. Luckily, the music itself speaks volumes, and compensates largely. The band's E.P., Too Much A Hunter, shows that the boys mean business, and this is enforced by the fact that they are soon to support The Rolling Stones at Hyde Park. The Guardian asks that they be filed next to Coldplay, Keane and Snow Patrol, which in itself will scare a lot of people. I am not sure why they have been lumped with these bands as their sound is entirely different and more impressive: I suppose that they have a comparable popular appeal. Paul Lester's radar and summations have always been contentious and intoxicated, so I shall do a better job at arriving at noteworthy and accurate conclusions. The group are photographed a lot in black-and-white; they have a downcast projection, but no need to fear: there is not an ounce of any sort of monotonous drag in the music; everything is kept fascinating and integral to their qualitative ambitions.

Knot, is a difficult song to get hold of. It forms part of their E.P., but is featured- from what I can see- on iTunes and The Guardian alone. Simple Kids is the song getting most coverage and plays, but Knot has more intrigue, to me. It is hard to escape the intensity and rush of the song, as there is an immediate electric slam, that takes you be surprised. There is no build-up of suspense or a little acoustic or bass work: it is straight down to business. There is a little of the '60s and '70s in the sound: mid-career The Rolling Stones, mixes a little with The Kinks. It is a refreshing change to see some exceptional, older influences in the mix, rather than pick away and include only more recent reverence. There are just skeletal, basic tones that suggest any similarity- there is a distinct and original sound that pushes through. The intro itself mixes passionate and thumping drums with hard-strung electric guitar. Emphasis is put squarely on the shoulders of excitement and intensity. It is with a great rock spirit and flair, combined with a softer and more melodic guitar line, that creates a fascinating and unique intro. In one part of the scene there is a fight: bustling gangs square off against one another; in a separate scene there is a regarded calm: semblance of order and melodic discipline is unveiled. It is where the two combine that the greatest reaction is elicited. Very few bands would be able to pull off or even attempt this; choosing maybe to separate the two or stick with a single theme, and see it through. At the 0:22 mark, the electric sparks are calmed slightly. The guitar becomes calmer and more studies, whilst the drum still has a hard heartbeat. When the voice comes through, it is restrained and passionate. There is plenty of raw rock spirit lurking beneath, but there is something calmer at the start: "From the start/She'd never be pure enough"; are the first words, and an insight into our authour's mind. Clearly there is a tortured back-story and past, and there is a weight in the vocals to suggest that there is lingering doubt and pain. The band support our protagonist sturdily and professionally. The bass, guitar and drum combination keep the overall tone light enough, whilst injecting some Wild Beasts-esque passion and innovation into proceedings. There is perhaps some relatable notes in the vocal; but the way that it remains essential and swimming draws you in, and- combined with a delicate and powerful composition- pushes the song on and on. Evocations and memories of a past love or paramour, points at some bad decisions "She chose a crooked path"; the words clear and concisely delivered, bolster the emotional edge. Our front-man is imploring that the future of his subject is kept safe, and secure: there is tenderness and thoughtfulness in the midst. With tints of Mumford and Sons- although only in spirit rather than sound- there is a musical rush and surge: guitars stab and flail; the percussion batters, and there is a storming distorted symphony elicited. It is introduced to signal difference between the two: separate lives and paths, as well as intentions, and the internalised anger that has been hiding in our hero's mind and body. When it is sung: "Don't expose her to the emptiness", there is a pause in the vocals; the music fills in and creates an emotive response, before the lyrics return once more. The way that the mood is brought down, calmed- and a sermon is spoken- before being contrasted by a rapture and heady rush, is a selling point that few bands or acts have perfected. I guess- although I am as far from a fan of theirs as you get- there is some definite Mumford influences in the later stages; there is just a familiar sense. Not that it is a bad thing. The sharpness and openness of the lyrics, combined with an earnest vocal turn, are a winning formulae, no matter whose hands they are in.

The band achieve a rare feat of ticking a lot of boxes, with comparatively little being known about them. By achieving the honour of support The Stones, they will be heard by a huge number of new- and potential fans- people. Their sound is very much of the moment. If you factor out any lazy comparisons with Mumford, Coldplay, Keane, and so forth, and judge them with a cleansed palette, the effect is more striking. It is very much a band performance- the vocal does not steal focus. Every member is tight and focused, and expertly supports one another. When the words are suing they are clear and recognisable. So many acts seem content to have their lead mumble and splutter words beneath a fuzzy and under-produced racket, that you can not understand a single thing sung. It is becoming frustratingly acceptable and common and sure as hell needs to stop. Story Books make sure that their mandates and tales are understandable and tangible in equal measure. The themes of love-gone-wrong, dislocation, doubt, and anxiety have been worn well for decades now. If they are kept fresh and personal then there is a huge market. The voice is strong and universal; you cannot fault the geniality of the emotions and conviction, and convincing with your words is half of the battle won. The indie flavours, combined with a heavy and hard intro that suggests '60s legends, blends wonderfully, to create a track that few could turn their noses up to. All you need to know about Story Books is that their E.P. promises inspiration and rewards, and stands up to repeated listens. A string of high-profile festivals and dates is sure to follow, and the guys clearly have a great deal of respect and understanding of one another's roles and skills. This friendship and strong bond shows through in the music, and is a formula that yields surprisingly positive results. Before they head to Hyde Park, and after the dust has settled...

MAKE sure they are still in your mind.

_________________________________________________________________________

Official:

http://www.storybooksband.com/

Twitter:

https://twitter.com/storybooksband

Facebook:

https://www.facebook.com/StoryBooksBand

YouTube:

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

SoundCloud: 

http://soundcloud.com/storybooksband/sets/story-books-player

Just Handshakes- London Bound- Track Review

Track Review:

Just Handshakes-

London Bound

9.1/10

A psedonym that hints at only a stiff upper lip; a monkier that reverbirates in their jocund sounds. From Leeds-via-the '90s: and all the way to London.

Availability:

London Bound is available at:

http://www.youtube.com/watch?v=NQiMYZB2OfU

Their album Say It available via

http://justhandshakeswerebritish.bandcamp.com/album/say-it-2

____________________________________________________________________________
IT is back to Yorkshire, and back to musical versatility...

that occupies mind-space and desire today. I have broken away, slightly, from Yorkshire, over the past week or so: in search of endeavouring bands from other parts of the U.K. Yorkshire is a county, that maybe historically, is not in many people's minds, when considering the all-time greats. There have been some varied bands that have hailed from here- The Housemartins, Arctic Monkeys, Alt-J, The Music, Shed Seven etc. It is really over the last few years, that there has been a real surge of new talent from these parts. I have been studying closely, the goings-on in Leeds, Bradford and in-between. There are fevered dreams and strange avenues being explored: more than you would imagine. In a great deal of the U.K. there is a tendency to stick closely to your influences: play it safe and not stray too far from familiar soil. In Yorkshire, there seems to be a greater independence and pioneer. Many of the acts and new musicians seem far happier to go deeper, and produce unexpected moves. It would be dyscalculia, to assume that there is not similar mobility and motivation elsewhere: Scotland is particular hot when it comes to originality; so too is the West Coast of the U.S. The thing that separates Yorkshire from the rest of the U.K., is the range of sounds and styles from the musical patrons. The greatest natural resource the county possesses is its history- industry, coalmines, landscape and natural beauty. It is a county that has a fascinating- and sometimes difficult- history. This has been noted, and recognised by modern music acts. In the way that acts from large cities, feel constrained and subjugated- there is less of this strain further north. When there is more physical and emotional room to manoeuvre; as well as a more diverse and variegated history: this produces the most striking moves. I have heard some rather baroque styling from four and five-piece bands; Jazz/Swing sensations from a Leeds record label; Blues Rock sounds reminiscent of Detroit from Wakefield, and all manner of cross pollination. There are fewer closed circles and homogeneous clans to be found: a sense of identity and uniqueness are bywords that are adhered to closely. Personality and verisimilitude rules the hearts and souls of the local talent, and there is a much more professional and dedicated passion too. It is the sheer scale and range that sets Yorkshire aside, and to my mind, will see this part of the U.K. hosting the most celebrated and popular acts of next year.

Hailing from Leeds, Just Handshakes do nothing to discourage my plaudits, nor spoil the quality ratio. BBC 6 Music, Drowned In Sound and Rough Trade East have already paid tribute to the band, and noted their ambition and incredible sound. One notices that there is a little mystery with regards to the group themselves. They have an impressive online coverage, and an array of glowing reviews, but their biography and background is fairly anemic and bare: they have a need to let their music take focus, rather than the band members. Just Handshakes would suggest a rather British sensibility. There is not an inkling of knowledge of the links of "Discussing Uganda" and "Slipping my moorings". A sense of cheeky candidness and sexual anomie lurks beneath the surface. I think, in the past their band name contained open bracket-We're British- closed bracket. A rather wry and tongue-in-cheek smile is present, and the group are not your moody The xx-esque bunch: there is a joy and passion in the music, and Just Handshakes have been heralded by reviewers and fans: many of whom note that they have hints of the '80s and '90s in their sound. As well as having an impressive back catalogue of songs and scenes, they have been fortunate enough to have played with Mystery Jets and Veronica Falls.

The song that has been garnering the most attention, is their new album's lead-off song, London Bound. It is an appropriate opening track to any album, as it invigorates and makes its presence known, straight away. Beginning life as an elliptical portrait of sound: electronic hold, reminiscent of Dance music, but promising far, far more. It is a deceptive side-step, and in your mind, you are predicting heavier and more forbidding sounds: there is an element of Kid A Radiohead, as well as Portishead to the ambition. It is when the soundscape supersedes to percussion, bass and guitar rumbling- soft, but with plenty of energy- that your thoughts are taken elsewhere. The presence of electronics persevere in the background, but the foreground has an Indie tone to it: sort of like Wild Beasts-cum-Alt-J. In the way that I have decried the XX for their down-turned moodiness, Just Handshakes can invoke a similarly understated epicness to their compositions. The strings and percussion- combined with the introduction of a new guitar line- result in a euphoric rush, that promises ensuing tales of curious regard. The introduction does its very best to build momentum, and draw you in and under. The bass and percussive line are filled with sparks and bounces: a gravity is developed, and draws all the sounds and sight into a central core, before the vocal arrives. When Clara's voice arrives there is a delicacy and playfulness behind it. Instantly it seems belonging to a past time. Her tones remind me of a song that for the life of me, I can't remember. There are hints of the singer to that song, and it will come to me no doubt, in a few hours of so. In any case, there is evocations of the '80s and early '90s: singers like Liz Fraser. The proscenium backing elevates her flavour notes, so that a distinct charm and curiosity is elicited. There is melody, and sounds of mature longings and revocations. I have heard many people say that during previous releases, the music has bustled for attention, and each band member were sort of on a level plain, with regards to adulation and attention. It is hard to argue against the relentless dance and sway of the music: the bass and strings that bounce and pop; the drum that keeps the mood in check, and surveys the scene. The voice is the star; and something that I was eager to hear even higher up the mix. It stands in the spotlight and coquettishly plays with its hair and smiles. There are audible swings and skips: the voice elongates and holds notes; wrestling with them and contorting them into beautiful shapes. If the nature of the voice, and the enthusiastic warmth of the music suggests a harmonious whole. If you studied the lyrics: "I don't want to be on my own" for instance, suggests deeper loneliness and uncertainty. It is not clear if the title 'London Bound' refers to a preferred destination for our heroine, or whether there is a less literal relevance and ambition behind it. The lyrics go on to explain that our heroine's friends: "They leave without making a sound" on their way to London. Whether there is longing to be with them; a regret that friends are flying the nest; or there is greater anxiety at heart, is hard to say. You would be forgiven for getting lost in the voice and musical concoctions: they distract you enough so you do not become too sad at our heroine's plight; but are inclusive and intoxicating in the sense that you will be picturing what the lyrics are saying. There are questions: "Does it have to be this way?"; emphasising the dislocation and depersonalisation. Towards the 1:20 mark, there are drum rumblings that have '80s indie jangle to them: evocations of The Smiths in the guitar work as well. With a triumphant and lifting rush similar to that pioneered by The Cure, London Bound has a very real mechanical rush and propulsion. When the rush and mini-chaos is temporised and calmed, the hopping bass has '90s credentials: there is modern-day relevance but it has its heart rooted in the Britpop scufflings of '94-'95. The drum fills gallop and pop their hips; the guitar signals are subtle, but sprinkle little touches on the shoulder, that supports the emotion, but shows a dignified personality too. When the line "Can we walk the long way home" is sung just before 3:00, there is a tangible pain in the voice and desperation: it is a plea to be in company, and not to left alone. It is the sort of line and subject Morrissey would write about, circa Viva Hate. If there is a sound of '80s/'90s Manchester in some of the lines and notes; this is bolstered around 3:11; little bits of Joy Division ('70s if we're being precise); tiny smatterings of Happy Monday's (transposed touched of Step On), and a fond affection for the past masters. The final minute spends time making sure the chorus is embedded into your mind: it is a centre-point and the key mandate. That sense of our central figure wanting to take her time, so she does not have to go to an empty home (whether the "long way" refers to going home via London, may be lurking in the subconscious). The bold uniqueness of the song, with all its qualities; combined with tiny The Cure/The Smiths touches here and there, make for an authoritative and memorable song. It is the perfect lead-off for an album that promises much treasure and reward. London Bound opens brilliantly and builds up the atmosphere, and ends with a more meditative and calmer vocal plea.

If you are not a fan of any of the music, examples of influences I have mentioned here, then you should not abandon the shores of Just Handshakes. There is an incredibly modern and fresh feel to the entire effect. If anything it is more modern than anything out there at the moment. A lot of bands tend to not produce music with such a carefree and wistful energy; and combine that with lyrics that are imploring, yet not too dark. Emphasis today is put on heavy-handedness and a tendency to be a little moribund; unless you are a top-notch lyricist, there is always the temptation to become too insular. Just Handshakes are all-inclusive and open-armed in their loneliness. The voice is so warm and charming- with only slight emphemarability- that it is impossible not to be won over, and sympathetic all at the same time. The album Say It has- over its 12 tracks- a mixture of wanting to be near the bright city lights, as well as a fond love for home and for Yorkshire. There is a lot of personal stuff, as well as romantic strife and aching. On the basis of the evidence here, and having listened to the rest of the album, it is safe to say that the band will cement a wide appeal and gain many new fans. I hope that they rationalise and figure out their definition of home and belonging. There will be a temptation- outside of London Bound- to want to stray from Yorkshire, and move to the capital. London is where the money and record labels are based, by and large, and it is understandable. I have found, from reviewing bands from Leeds and Bradford, that that is where the creative juices flow, and where much inspiration is to be found. What 2013/2014 holds for Just Handshakes is evident: success and demand; it is what moves they make next, that will be interesting. Take a listen to the single, and to the album as a whole; because there are never straight interpretations to be drawn. Just Handshakes make music that is simply universal, but whose messages...

CAN strike and effect everyone for very different reasons.

____________________________________________________________________________
Official:

http://justhandshakeswerebritish.tumblr.com/

Twitter:

https://twitter.com/justhandshakes

Facebook:

https://www.facebook.com/justhandshakes

BandCamp: 

http://justhandshakeswerebritish.bandcamp.com/

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.

_______________________________________________________________________
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

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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#

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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..

___________________________________________________________________________

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

___________________________________________________________________________

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.

___________________________________________________________________________

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.

___________________________________________________________________________

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

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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.

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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