Bird- Shadows- Track Review

Track Review:

Bird

  Shadows

9.2/10

Google-proof of name; but once you discover them, their harmonious beauty will take you somewhere more peaceful.

Availability:

Shadows is available at:

http://soundcloud.com/BIRDOFFICIAL

Their E.P. Ophelia is available at:

https://itunes.apple.com/gb/album/ophelia-ep/id593857775

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DIVERSIFICATION and location are two themes that I have explored...

in some considerable depth recently.  It has played on my mind, and I have tried to rationalise and explain the reasons behind the types of music in various locations.  For a few months I have taken receipt of different acts and bands; each of whom proffer something unique and varied.  As the sounds tumble forth and I read up on the associated act, I am always surprised by the conclusions I reach.  At the moment, there is a growing evidence to suggest that the best and brightest talent are to found the further north you travel.  Yorkshire, Greater Manchester and Scotland even, have all produced a great deal of bustling and exciting acts, which has lead me to this conclusion.  If anything the likes of Manchester are producing too many acts that are too close to existing bands, in terms of their sound, but there is an overriding realisation: diversity is huge.  It was the '90s that we experienced the last real surge and wave of diversified talent.  Yesterday I went into depth at the array of wonderful sounds that we took from that decade: britpop, dance, Grunge etc.; and felt that it surpassed the 1960s, in terms of the quantity of quality and variation that was to evident.  In 2013, we are tasked with a more depressing truth: that range we once heard over 10 years ago, will probably never be felt again- not even close, to my mind.  Not to say that this decade promises little gold.  If you search hard enough there is plenty of interesting moods and sounds to be found.  Away from the top names of the established order, a great deal of fervent and ambitious new talent are plying their trade and offering up some tantalising sounds.  The south of England, as well as Ireland are playing host to some great pop and folk: that varies and at its best, is offering up potential future geniuses (Kiran Leonard).   Up towards the north of England, is where the most wide-ranging noises are happening.  Influences from the west coast of the U.S., as well as Europe are being incorporated.  Sunnier Californian climbs are parenting breezy and blissful pop and melodic music: reminiscent of the '60s and '70s best examples.  European nations such as Sweden and France are also doing their utmost to bring sunshine to our stereos, and is something that the U.K.'s best new talent are getting in on.  In a time where there is still a majorities vote with regards to electric force and rock and indie tones, it is invigorating and a fresh air breath to the scene: much-needed considering the hostile weather and political landscapes we are subjected to.

Hailing from Liverpool; a city hardly slacking when it comes to producing top notch acts, Bird are a name that will intrigue.  In spite of the fact that it is near-impossible to locate them via Google (without some rather deft search terms); once you do locate them, it will be difficult to extricate your thoughts and ears from their music.  Adele Emmas, Sian Williams and Alexis Samata are our trio of winged guardians, and have been making- as The Guardian calls it- "forcefully blissful" sounds for over a year now.  Their 2012 E.P. Shadows garnered a great deal of praise, respect and adulation: arriving at it did at a time where their unique brand of song was- and is now- rarely experienced.  BBC Radio, from 3 through to 6, have featured Bird and helped to elevate the trio, and inspire about a brand new E.P. Ophelia.  Music publications and broadsheets alike have all been forthcoming with regards to praising the band, and their atmospheric and dark shades have captured a public consciousness, and has seen their fan base climb ever upwards.  It is the combination of sonic components; from tribal drums through to haunting vocals that has meant that the three-piece have seen themselves tasked with a busy next few months.  It is hard when trying to draw direct comparisons, as their sound has a quality that is rarely heard of today, and from a historical standpoint, there have been few similar acts.  In a way their tones and evocations have a sense of something otherworldly, and definitely fills a need in a growing void in the music market.  Their new E.P. was produced by Bill Ryder-Jones, guitarist with The Coral- a band whom have a stellar reputation for presenting twisted and distorted sounds, with magical results.  What the future holds for Bird is down to them: whether they choose to make a full-length album, or further E.P.s, but demand is high at the moment, and the band are going to have many options when deciding what they want to do next.  For all the guitar bands, short-lived acts, and new talent that play it safe when looking into their creative war chest, Bird are a trio whom have a tangible and universal reliability, yet take their sounds beyond what you would expect; infusing their songs with a sense of etherealness and spirituality.

When looking at a track to review, in order to get across what I am expressing, Shadows seemed like a pertinent choice.  It is from their Shadows E.P. (released in August of last year), and displays all of the trio's hallmarks and standards.  Opening up with a powerful and passionate wordless vocal; one which begins fairly low-pitched and measured, before changing direction and projecting a higher pitched- backed by a hypnotic guitar arpeggio.  The guitar takes centre stage, slows its pace slightly, and gracefully floats and strums.  The arrival of a subtle percussive background heralds the arrival of the vocal, which spares no time in making an impact and getting into your head.  Our heroine has a voice that has a uniqueness to it; imbued as it is with soothing colours, as well as darker edges.  The lyrics initially point to personal demons, as well as doubts: "In my dreams/I feel I'm always sinking".  There is a little hint of Kate Bush's majesty, as well as Elizabeth Fraser's haunting vocals, but have familiar hints and are never too similar.  Ghostly atmospheres are presented in the backdrop: summoning up chilling undertones, as the vocal tells the story.  Our protagonist's focus of attention, and unnamed subject "walks in the shadows"; amidst a tide of sinking ships.  At once the mood is evocative and tender.  To my ears a lot of the stranger and dissonant eeriness is reminiscent of Radiohead's work during The King of Limbs.  One can detect a comparable quality and sense of mood and majesty.  If the strings and percussion remind you of Radiohead, then the layered vocal harmonies that arrive take your mind away from Yorke and co.  Further reminders that our hero walks in the shadows is bolstered by a calming vocal backing: similar in nature to The Cocteau Twins at their best.  When Adele's central vocal rises and rises, it hits a pin sharp high; eliciting shivers as well as an ethereal cry.  In the way that the vocals play and echo with one another adds an extra layer of texture to the mood, and words about "The creatures of the night" give teeth and danger to an already-fraught scene.  Bird are not a group who are contended to rest and be predictable.  When tales of creatures of the night are told, a chorusing of "On the moon" is sung; swaying and swelling and bursting with high and low notes; hypnotic and eerie in its projection.  Guitar work is subtle but atmospheric; parts Leonard Cohen, circa Songs of Love and Hate; part Pink Moon Nick Drake.  Vocally, when the middling to high notes are sung there are shades of Hounds of Love Kate Bush.  It is an unusual combination and one that elevates the trio's beauty; that mix of darker strings and celestial vocals has quite an effect.  You can vividly imagine what is being sung of in the song: everything is imaginable, as much as (sometimes) you'd rather not.  Scenes of campfires, tribal rituals and strange things in the night mingle, unleashing a heady and intoxicating scent.  Our heroine speaks of ivy crawling up her skin, and whether there is a deeper meaning behind the lyrics: a troubled dream, metaphorical relevance, or based around some inner personal turmoil, it is unsure; but in the same way that Kate Bush so often presented similarly-strange scenes, Bird do likewise- it is something that should be done more in modern music.  Adele's voice has range and a wild edge to it, but never seems too eccentric or over-the-top: everything is controlled and tight- even during the most enflamed moments.  Sian balances Adele's voice perfectly adding smokier tones to counteract the soprano bursts.  It is when the vocals combine with one another that some of the song's best and most spine-tingling moments occur.  Guitar and bass work is especially impressive: the former unravels avalanches, rolls and showers of sound, whilst the latter keeps everything taut, tight and a tad menacing.  Lex's percussive mandates are powerful and potent, yet keep calm: keeps the track's backbone straight and true.  Glorious folk and pop edges from the '70s, mingle with modern-day sparks, to infuse the song with a multitude of strengths.  If you find yourself unfamiliar with some of the influential touches: Bush-cum-Cohen-via-Cocteau Twins; then do not fear, as the way these artists are incorporated within the track add great weight to it.  The tracks themes about wild beasts, moonlight scenes and a man who walks in shadows may seem unfamiliar topics, and are a much-needed tonic.  Too much current emphasis is placed on love-gone-wrong, as well as dislocated emotions and street scenes.  By employing something more mythical and original, the song sticks out before a single note is sung.

Bird are a three-piece whom are relatively new to my ears.  I have heard whispers and praise spoken about them, but never sat down to investigate their music further.  In the modern climate there is still an over-reliance to stick to what has come before.  Commercialism and market forces negotiate and dictate a lot of what is reviewed and promoted.  Aside from the soulless and mindless plastic pop crap- away from the established acts- there is a huge reliance still on guitar bands and their ilk.  There will not be a diversity and opening up of the marketplace if more people are not willing to be embracing and adventurous.  Bird are a trio that will be a bigger name in the next year, and the fact that they have won huge support from so many radio stations and publications, proves that their music speaks to a lot of people.  Their previous E.P. Shadows proved how good they are, and laid out their intentions.  Ophelia continues where Shadows left off, and expands upon its palette.  Those sweet and intoxicating harmonies, dark and heady moods, and potent lyrics, mix with unweathering and atmospheric guitars and bass, and sharp and taut percussion.  It is an E.P. well worth seeking out, and shows the same strengths and wonders that Shadows does.  Over the next year or so, I hope there is a greater mobility and movement away from a some-what homogenous scene- maybe a return to something akin to the '90s.  I won't cheapen the mood by making any bird puns or flight similes and metaphors; but it is true that there will be a lot of fresh ears willing to welcome their intriguing sounds.  Too tempting is it to be narrow with ambition and sound, and not venture out into the open and be more explorative.  Take a listen to the Liverpool 3-piece, and see where the likes of N.M.E. and BBC Radio are coming from...

AS they a rare species indeed.

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Twitter:

https://twitter.com/BIRD_OFFICIAL

Facebook:

https://www.facebook.com/birdmusicofficial

YouTube:

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

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Bourbon Street Beat- Knuckles of Brass- Track Review

Track Review:

Bourbon Street Beat

  Knuckles of Brass

9.5/10

Manchester 3-piece infuse '50s and '60s rock and blues to create styles of the streets; via the sounds of the U.S.A, direct to your brain.

Availability:

Knuckles of Brass is available at:

http://www.youtube.com/watch?v=2zdR-lqAmOw

Their debut E.P. is available at:

https://itunes.apple.com/gb/album/knuckles-of-brass-single/id638923010

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PAST decades have taught us quite a lot about what we have lost...

as well as what we have available, to incorporate into modern music.  There is such a choice that has been left by historical bands and acts, that it can be bewildering when thinking about what ingredients to include into your sounds.  When I am putting together song ideas and titles, my mind always turns to the 1960s: for me, the first truly great decade for music.  It is one that is defined by bands such as The Beatles, The Rolling Stones and a generation of hot U.K. talent; many of whom were the first examples of pop and rock bands that spoke to everyone.  Of course in the U.S. solo stars such as Bob Dylan were also enlivening and inspiring, and their influence has been utilised by a lot of modern-day bands and solo artists.  Naturally it is tempting to incorporate elements of '60s masters into your sonic cauldron, but given the quality of music, it can be hard to match the genius and wonder of these artists; the trick is to hint at the majesty of these folks, and take patterns from their past, and weave them into your music, without sounding like a tribute band.  The '60s also gave us a great deal of potential promise.  The likes of Led Zeppelin began life at the end of the decade, and it was a period that was to see a great deal of talent sit up, take notice, and see how good music could really be.  In the ensuing two decades there was some terrific music being made, but to me the greatest decade for music is the 1990s.  It is a period that is often unexplored by a lot of new bands, which always surprises me.  Considering what the decade brought: Britpop, great dance music, Grunge; a mixture of great U.K. bands and U..S acts, as well as terrific solo work, it is a goldmine that has not been tapped as much as it should.  To my mind, that was the last decade and period that produced truly wonderful music, and I doubt things will ever be as good ever again.  Not pessimism or hyperbole, I just feel that there was something about that period that inspired a great deal of musicians, and a common vein was struck; the reasoning is ineffable but staggering.  Today the task for the new act is making your sounds sound modern, but also eliciting some bygone glory too.  The 1960s and '70s seem to be the best decades to focus upon when crafting rock and indie sounds.  Rarely is there a great deal of consideration or patronage paid to the 1950s.  If anything this was the godfather/mother of modern music.  It gave life to the '60s, which in turn, inspired the bands of the '90s; to give life and inspiration to 21st century music.  I suppose the '50s was defined by narrow appeal.  The rock and roll bands as well as doo-wop mainstays were still in force, as well as a eminence of the swing and jazz greats of the '40s.  Naturally there were some great sounds to be heard, but I feel few take full advantage of the decade as it was defined by sounds rather than bands and songs.

It is perhaps not shocking that Bourbon Street Beat are inspired by the music of 60 years ago.  Their name evokes images of U.S. backwater bars, located in Mississippi or another Louisiana passage; inhabited by New Orleans jazz, grizzled rock and roll and folks that you would not double-cross in a hurry.  The band name is- perhaps unintentionally- taken from a very short-lived T.V. series of the late '50s.  That show focused on a New Orleans former cop, whom partners with an Ivy League lawyer, to fight crime.  Today it is the kind of synopsis that would make you think of a sitcom or parody: it is so clichéd and contrived that it is a wonder it was made at all; but has kitsch appeal and at least had a great backdrop.  Bourbon Street itself is situated in the French quarter of New Orleans, and plays host to Mardi Gras, a wealth of neon-signed bars and- improvised as Louisiana is as a state- it attracts tourists and many visitors, all of whom are keen to be intoxicated by the smells, sights and sounds that it has to offer.  Iain, Joe and Andy, our Manchester trio, are possibly not what you'd expect when presented with that particular band name; given that the current sounds of Manchester are imbued with Arctic Monkeys-esque rock and 1980s-inspired sounds.  I have long focused on Manchester and the north as being one of the most bustling and productive sections of the U.K.  A lot of new bands suffer a similar fate: trying to sound far too much like Arctic Monkeys and more local bands such as Oasis and The Stone Roses.  Away from the clans of the unoriginal groups such as The 1975 are laying down some intriguing and exciting sounds.  Our 'Bourbon' boys are fellows of the same school of thought.  They blend '60s rock with '50s rock and roll; dolloping a modern life dose of invigoration and subjectiveness, creating a spicy and flavoursome dish.  In spite of only being on the scene for 3 years or so, the lads have amounted a fair number of positive reviews; as well as drawing in and winning over a number of dedicated fans- and not just around the Greater Manchester area.  You do not have to hear a single note before your attention is pricked and tantalised.  That band name drips with promise and potential.  The boys are unforceful proselytizers to their merry dance; the music draws you in, and does not need Liam Gallagher-esque bolshie nonsense or hoopla: it captures you on its own pure terms.  The debut E.P. by our trio is available, and the 3-song collection boasts a great range of mood and sound, but keeps their core style and aesthetic solid and dedicated.  Reviews on iTunes for the E.P. have been overwhelmingly positive and were it subjected to a Metacritic survey, it would score in the high 90s.

Knuckles of Brass is the swansong finale of the E.P., and is gaining a lot of attention and plaudit.  Scarcely hard to see why it is gathering so much love.  If you play the video to the song, it is swathed in memorable images and scenes from popular T.V. of the past.  Popeye, Scrooge McDuck and cartoons and shows of the '50s make up the video; the band do not feature, instead the entire piece is a compilation of cartoon and T.V. clips, that is dizzying, fascinating and a perfect visualisation of the song's magic.  Twisting and jumping electric guitar strings begin the track; elements of U.S. rock: Queens of the Stone Age, Foo Fighters, Kings of Leon, mingle with U.K. acts: Kasabian, early career-James; Oasis too; but nothing sounds anything like a particular band, it is instead a cultured and authoritative build-up.  When percussion weighs in, it does so with hobnail boots on.  With a smattering of God Is In The Radio QOTSA, as well as a glorious recollection of 1960s Britain, the combination of strings and drums marches and waltzes with masculine strut.  Speaking of "Glasses of wine", and scenes filled with "Girls from shore" standing and staring, the initial bout of the song, sets out the stall.  Sonically the groundwork of '60s and '50s rock, mixed with Mancunian sparks are set up, and the vocal is breezy and powerful in equal measures.  Accent remains, without the need to needlessly bring too much American into the mix; you can tell that there is native tones, as well as influences from past times in the vocal cement, but the sense of individuality is crystalline.  The main thesis of my discourse as of late has been a lack of originality in this country, and the music we produce, but Bourbon Street Beat, walk across county and state lines, picking up memorabilia and souvenirs from some fascinating climbs; yet manage to keep their indigenous heritage and quality all in tact: the effect is why I mention the '90s so much.  To my mind that decade is reproachless in its innovation and joys, and the band are deserving of being classed with the highs of the last generation, as much as they are with the best of the current one.  You can tell that there is a sense of melody and compositional integrity throughout.  The song sways and swaggers as the vocal matches its dance.  Flecks of southern states U.S. come through; a little bit of bluegrass also pokes through in the tones of our front-man.  He has found a plan but "it drags me down": such is there the sense that the best intentions and surest footsteps are met with more negatives than positives.  Few people pick up on the musicianship of bands: look between the cracks and strain their ears and minds; but when you do, it gives you a clearer sense of what the band are trying to say.  Knuckles of Brass is not your straight-laced, one-dimension clout that too many contemporaries produce.  Gravity, multi-dimensions and adventure rule the palette.  In the same way that the new Queens of the Stone Age has been commended for its maturity as well as composed nature and audio blitz: multitudinous guitar sounds and wide-ranging ambition, similarly our Manchester boys wield a similarly-sharp samurai sword.  Gaps and pauses are give, tension is built, and when the guitar, bass and percussion works together, there is a constant sense of movement and change: taut drama-sound tracking spikiness-cum-bourbon-soaked rock entwines, and contorts throughout.  Our hero is "Tired of waiting", as "No one is listening": enforced as his mandate is, by the immovable swagger of the music.  The voice as well is commendable as well.  Certain words are emphasised and there is an audible rise; it gives the sense of lines unfolding likes waves: dipping and rises at various intervals, creating a sense of uneasiness as well as potency.  In the way that the vocals blend U.S. rock, blues and country, as well as British steel and Mancunian overtones, brings the words to life expertly.  Never is there a sense that anything is being phoned in, such is the conviction of all of the band's members.  Before the 2/3 mark a cobra of electric buzz is released, and raises the danger and temperature, as percussion and bass keep the backbone solid and unbreakable.  Throughout, there is a sense that our protagonist can get no satisfaction, and the best laid plans and moves are met by hostility and resistance.  However you interpret the song: whether there is a romance gone bad; personal inner turmoil or something more fictional inspiring the words, it is something that will strike a chord with everyone.  The song has a utilitarianism that can see it played at large festivals or smaller bars.  It could be played at a New Orleans watering hole, or a Salford pub, such is the universality of the sound.  Each of our players works hard and injects the song with huge gravity.

New as the guys were to my mind, Bourbon Street Beat are going to be future main-stays.  Rarely outside of the U.K. are evocations of the U.S. and its southern states displayed so convincingly.  In a year where new bands stick too closely to predictable sources and have too narrow a focus, the three-piece have adventure and ambition.  Musically there is modern U.S., '60s Britain as well as evocations of everyone from King of Leon, Queens of the Stone Age, Bruce Springsteen and The Smiths.  Vocally there are few comparable, but there is a bit of Springsteen, as well as country, bluegrass and rock idols of old.  If you take all of this together, and even if you compartmentalise the various elements that make up their sound, it stands up as its own man and beast, and you will not be thinking of any other band or act when hearing the track.  That is the appeal of the boys.  It is clear that they have a fond affection for the good ol' U.S.A: it's flavours, sounds, landscapes and music, but they have a modern-day sound that is as much influenced by local delicacies as anything.  A breath of fresh air is it as well- how many other acts today sound like them?  Too often have I been subjected to hearing bands and acts that are too indebted to pre-existing bands, but in Bourbon Street Beat there is something fresh and challenging.  It should- I hope at least- a raft of other bands to incorporate some bourbon and whisky into their glass, and pull away from beer and ale, as seems to be the nature of modern-day sounds.  It is fair that their band name, as well as song titles, elicit a lot of curious conclusions and speculation, and there is plenty of comparable joys to be discovered in their E.P.  What the future holds for them will be interesting to see- success for sure.  If a fully fledged album is in their minds will be a question many will ask, on the basis of their E.P.  If there is, then it will be fascinating to see if they keep their sound and aesthete unwavering over 10 or 11 tracks, or whether they will incorporate other genres and styles into the fold.  It is not something they should worry about, as their core sound has enough longevity to be exciting fans for many years to come, but one suspects that there will be some differing moves unleashed in future months.  For now, take in the sounds, smokes and flavours of the Manchester trio, and grab a (digital) hold of the E.P.  One thing in my mind is sure, and has ruled my musical thoughts for a long time: it would be bloody nice to see a new band be heralded in the public view; as there the best music at the moment is being made by established acts and the older guard.  Have no fear.  Should the trans-Atlantic path by trod with endeavours of continuing discovery:

BOURBON Street could very well go from New Orleans to be a big-name franchise.

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Twitter:

https://twitter.com/BSB_bandpage

Facebook:

https://www.facebook.com/BourbonStreetBeat

YouTube:

http://www.youtube.com/user/bourbonstreetbeat1

Reverb Nation:

http://www.reverbnation.com/bourbonstreetbeat

SoundCloud:

http://soundcloud.com/bourbon-street-beat

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The Graphite Set- These Streets- Track Review

Track Review:

The Graphite Set

  These Streets

9.4/10

Pencil-sharp ryhtmns and stunning sonic landscapes, back a stunning voice; the result: game and match.

Availability:

These Streets is available at:

https://www.youtube.com/watch?v=7XxfpWzXj8g

These Streets E.P. available at:

https://itunes.apple.com/gb/album/these-streets-ep/id636432154

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THE strong female voice, is a case study that has many different angles...

that one can examine.  In the current scene, the best representatives of this type of vocal prowess is Adele.  In the U.K., at least, there are few female singers that have a notably powerful and intriguing voice.  When considering solo artists, in today's market, the majority of stars tend to project a softer-edged voice: sweetness and stillness are favoured over emotive strength and belt.  Amy Winehouse was the last great example of a talent whom could evoke jazz and blues power, and do so in a very unique and surprising way.  There are singers such as Jessie J, whom can project and summon up a lot of force; but the songs and personality behind the voice are so divisive and unspectacular, that it is going to waste.  The U.S. have been the strongest historical patrons of the strong female voice.  Soul legends such as Aretha Franklin in the '60s and '70s showed how it should be done.  Towards the '90s and up until modern day, Christina Aguilera and Mariah Carey have been obvious examples of what I am trying to say.  Outside of the U.S., Europeans such as Bjork offered up their own blend of potent vocals; but away from them, there have not been too many examples to offer.  In the country there is a problem that stems from talent shows.  Aside from the fact that they are totally worthless and should be banished, the participants are always moulded to sound like Carey or Aguilera.  Individuality and potential are not realised: the focus is trying to mould someone to sound like a commercial star.  Aside from our Winehouse and Adele, I have been hard-pushed to think of many female singers that have taken you aback with their power and force.  Florence Welch perhaps; maybe the odd other here and there.  In a market starved of real vocal diversity, it seems that it is harder now than ever, to find voices that differ from the norm. and are unique.  I guess when the raft of horrid talent/singing shows have bitten the dust, there will be a renewed focus on personality, and not simply singing in order to try to sound like someone else.  It is something the men are guilty of as well.  In the solo market there is too much falsetto and restrained emoting, and not nearly enough sparks and volume.

Arriving in my thoughts a week or so ago, came a name that I had not heard of previously.  The Graphite Set are a band that are going to be making big impressions.  Fronted by their female star Lily Buchanan, as well as Duncan Brown, Grundy le Zimbra and Scott Skinner, they have been around for a year or so now, and have been cementing their sound and gaining a passionate following.  Their designs and E.P. cover are awash with stunning and bold black-and-white lines and imagery.  Like Jeff Buckley, Lily is the main draw and is up front, but is supported by a talented and strong band, that augment her vocal strengths, and add colours and emotions.  Lily grew up in East Lothian, and from an early age developed a love of sketching and, at the age of 16, set up the band.  It is hardly surprising that, given her love of drawing and black-and-white lines, that the band name was to be The Graphite Set.  The idea for The Graphite Set was originally to have Lily up front and in focus; but as the E.P. has been recorded and the demand to play live increased, band members were drafted in.  On June 5th the E.P., Sebright Arms will be released, and is another step for a restless young artist keen to get her ideals of atmospheric beauty and stunning sounds out to the public.  In the early stages there has been a great deal of positive feedback and praise, and Lily herself is influenced by the likes of P.J. Harvey and Patti Smith.  The latter seems to be a particular favourite and there is some of Smith's notes and shades in Lily's voice; updated slightly but evoking a great deal of similar strengths and merits.  There are few contemporaries that can boast the same type of voice, that elicits the same emotions and responses.  Laura Marling, Anna Calvi and a great deal of the solo sector have their own personalities, and there is a lot of range to be heard for sure, in terms of style.  As much as anything, no matter which artist you are listening to, others things aside from the voice stand out: whether it is the compositions or lyrical quality.  On social media sites, support is coming in and the good word is being spread.  As the year crawls on and new horizons present themselves, expect to hear a lot more about The Graphite Set.  There is a definite need and niche when it comes to the kind of music that The Graphite Set are currently putting out there.  It is at once the antithesis of the X-Factor/Emile Sande/vague pop nonsense that tends to blur together and have a similar underwhelming aftertaste; and at the same time has a relatable and populist quality to it: the tracks are not focused on exclusivity; there is something for everyone.  The E.P., These Streets, is available now, and certainly promises much reward and great returns.  It is the kind of music that is ready for the consumer market and has edges and ideals that will appeal to all, but also contains enough uniqueness and mystery that will invigorate and excite the stuffiest of reviewers and music-lovers alike.

Initial footsteps on These Streets' title track are scene-setting and capture you.  The track fades up and is chocked full of stylish and enlivened percussion and persistent and hard guitar work.  The intro does not impose or overwhelm; instead it builds up a head of steam and keeps a rampant and energised pace.  Initially you are prepared for a full-out and dizzying intro. that keeps on going and pulls you under.  Expectation is subverted, when the pace is slowed and stability is introduced.  A calming arpeggio is unleashed, and the vocal is allowed to enter.  The words are delivered quite unusually; a couple of words are sung, before another; there is an ellipsis and then the rest of the line is produced.  Emotional resonance and unexpectedness are what is felt, and there is a little bit of P.J. Harvey and Patti Smith's delivery and resonance when the lines "I walk these/Streets today/I walk those/In my lonely way".  One can detect modern elements in Lily's voice, but as much as anything it is the sounds of the punk and alternative '70s (and '60s to an extent); there is that abiding feel and reminiscence.  Quite a refreshing and rare thing to hear, as naturally one expects something less striking and unintuitive when approaching new talent- and especially solo artists.  The lower toned vocals, that have Gothic edges, and slowly walk in shadows; combined with a minimal guitar backing, creates a haunted but exciting atmosphere.  There are no intrusive or wasted notes and sounds; full emphasis is put on the words and what is being said, and consideration is given to the best way to highlight them.  In the back, the guitar has a little bit of Mazzy Star, and at some intervals Lily's voice has a hint of Annie Lennox to it as well.  Themes of walking the streets, and doing so "In my lonely way" are repeated, and builds up a sense of unnerve as well as cinematic wonder.  You can build and create scenes in your own mind to fit with the lyrics: vignettes and projections unfold and one suspects that for the majority of people, they will be in black-and-white.  Gradually the energy builds, and the band's influence comes into play.  Talk of uncertainty and indecision are spoken of, both of which "Walk past me"; our heroine telling them to walk past- they have no choice in the matter.  Any doubts or anxieties are being exorcsised, and a brighter horizon is being embraced.  It is asked: "Let ambition/Take hold"; a swaying bi-play between percussion and strings creates a dance and punch that notches up the energy once more, and illustrates perfectly the words being sung.  Although to The Graphite Set, the "streets are cold"; it is asked that ambition is given credence and full attention: just ignore the negativities and harsher truths.  Each word is given consideration, and many artists- and especially bands- have little understanding with regards to intelligibility and clarity in vocals: a lot of the words are slurred, hurried or indecipherable, buried underneath layers of sound.  Here, instead, there is crystal clarity, and the specialised and potent delivery allows you to digest the words and let their effect take hold.  In the way that modern idols such as Adele and Florence Welch have a talent for projection and conviction; there is comparable here.  The lines are delivered, and energetically offered up.  Underneath, Lily is a performer and can has the same grace and passion as her idols when it comes to getting her words across.  Wherever the streets of the song are set: London, Scotland or further climbs, emphasis is put on the words "these streets".  Past the 2:15 mark, the words are repeated often and emphasised; the percussion rumbles and tumbles, building up momentum and gravity, as our heroine becomes more enraptured and forceful.  It is clear that wherever the story takes place, she wants to take you there and get a sense of what is happening in her mind, as well as in the scene.  For the majority of the final third, considertation is given entirely to this mottif, and the words as a coda are sung, taunted, emoted mantra-like, so that they dril into your brain.  Just as the most empassioned interpretation of the words has been summoned forth, the percussion- as well as lilting and subtle guitar sparks that join the fray- begins to die down, as the song fades, and the listener is allowed to draw breath.

The Graphite Set have great future-potential as well as immediacy to their sound.  Buchanan is a talent that understands the need to differentiate herself from the current crop, whilst incorporating some of her idols and influences into her sound.  The vocals are not just unique, but the word the words are planted and distributed are very different too.  Atmosphere and evocation are bywords that she stands by and through relatively few words a great deal of emotion is realised.  Musically the track has large chunks where it is relatively sedated and restrained: percussion is most prominent but guitar is employed to inject some different strokes into the mix.  It is the intro that is the most exciting thing from a musical and compositional standpoint.  It makes sure that the song gets off to an exciting and strong start, and when Lily comes up front, the various components back off slightly, dispatched to create mood and set tone, rather than impede too much.  The big issue with a lot of music, and solo work as well is that there are too many notes and too much noise.  Vocals and lyrics get buried and there seems to be a fear that, unless you make things as loud and cluttered as possible, then people will not listen and keep focused.  When you strip away the needless rabble and sonic blasts, and focus on the words and voice, then the best results are realised.  Lily's vocal has dark tones and lines of Smith, Harvey as well as Welch as well, but sounds very much her own woman: there is never a sense that we are hearing anyone but her.  These Streets, as well as the associative E.P. has a lot of '60s and '70s influence, and a punk-cum-folk blends.  Positivity comes through as much as anything.  Our protagonist sees negative aspects and sensations approach, but never wants to be possessed by them, or associate too much with them.  I get the sense that there are heartaches and troubles that she has encountered and have to overcome, but the sights are most definitely focused on the future and keeping head very much above water.  The rest of the tracks on These Streets are impressive and consistently surprising, and as well as being instant appeal, the tracks stand up to repeated listens, and reveal new layers and merits each time you hear them.  That is the marker of a great act or band: when you can find yourself listening to a song again just to discover something new.  In the way that black-and-white design and motifs are part of The Graphite Set's portraiture, there are colours, depths, landscapes, city scenes and smoke-filled curiosities along the way, and in every verse.  Hopefully online appreciation will triplicate and multiply vastly, and a great number of people take the themes of The Graphite Set to heart.  Long have I bemoaned the lack of originality and diversification in music, and it is refreshing and pleasing when something different and impressive comes along.  Of course the decision is yours whether you investigate further and explore the realms.  For all the below-average and sub-par efforts that float on the surface of the musical waters like dead fish; it is necessary now as much as any time before, to foster and encourage talent whom understand the need to do something about it.  It is clear then, that The Graphite Set...

MEAN business.

________________________________________________________________________

Official:

http://thegraphiteset.com/

Twitter:

https://twitter.com/TheGraphiteSet

Facebook:

https://www.facebook.com/thegraphiteset

YouTube:

http://www.youtube.com/channel/UCunsIJdoXbKvID9z_n3w78g

SoundCloud:

http://soundcloud.com/thegraphiteset

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Sivu- Bodies- Track Review

Track Review:

Sivu

  Bodies

9.2/10

With a musical projection of Wild Beasts and a voice that is Hayden Thorpe at his most restrained, Sivu unleashes a similar curiosity, sans imperiousness.

Availability:

Bodies is available at:

http://www.youtube.com/watch?v=sqhpNyEQ48Q

The E.P. Bodies is available at:

https://itunes.apple.com/gb/album/bodies-ep/id642040266

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THE male voice is an instrument and facet, that comes under...

a lot of scrutiny and examination.  Before the early '90s, there was some consideration given to a falsetto vocal, or something that possessed femininity.  Sensitivity and a sense of delicate devotion have, historically, been seen as unbefitting for male voices.  In the early '90s when Grunge was taking off and cementing its majesty, there was nary opportunity or desire to hear the flip side to the genre's ideals: raw and belting vocal lines; lyrical themes of isolation and depression; hard-hitting and throat-slashing riffs.  In the era of disco and funk there have always been feline, slinky vocal demonstrations and sexy purrs, but the art of tenderly laying out your voice,- for men- has been a recent discovery.  Jeff Buckley is seen as a modern icon, and an inspiration for the modern-day silky-voiced solo artist.  Before his career took flight (circa 1993), there were certainly not many male singers that sang the way he did.  In terms of sheer potency, there was little competition.  In the early '90s the music scene was awash with multitude and variation.  It was always down to the women of music to bring the spine-chilling evocations and notes.  Post-1993, the likes of Thom Yorke came along, and began to infuse falsetto more commonly into Radiohead's work.  The Bends changed the game greatly.  It was an album that was earmarked as a pure rock album.  Following a concert by Buckley, Yorke reconvened and changed the nature of the album; injecting softer moments such as High and Dry, Fake Plastic Trees and Bullet Proof..I Wish I Was.  Consequently, modern bands took note, and the likes of Muse studied Radiohead's mandates and took it upon themselves to be similarly ambitious.  Without these moves and events unfolding, it is debatable whether there would be many- if any- modern singers, whom erred towards this type of sound.  In 2013 there are a fair few solo singers- as well as bands- that project high-pitched and haunting vocal offerings.  By and large there are very few that stop you in your tracks.  Night Beds as well as a few others are notable leaders, and the likes of Matt Corby, Patrick Watson and Bon Iver have made some strong and indelible impressions.  It is a talent and effect that can yield huge results- if employed considerately.  Still is there the tendency to hold on too tightly to Buckley's coat-tails, and forget about originality.  Singers such as Kate Bush, Eva Cassidy and Karen Carpenter have exquisite and pure voices, and incorporating elements from female singers into your voice, instead of Buckley and Yorke, leads to equally brilliant results, as well as greater thoughtfulness and original intent.  There are a wealth of genius singers that have come and gone, that one can draw shades of influence from.  Too often is there a narrow-minded ambition to simply steal from obvious icons; neglecting entirely the obvious pitfalls and depressing negatives of doing this.  This decade is showing as much as anything, that there is open-mindedness and a great need for vocal diversity and range, and it is now, as much as any time, that the receptive market awaits for a stunning male voice; one that differs from the norm. and defies expectations.

Essentially every week, there seems to be proclamations made by the media, that 'The Next...' has been discovered.  I always shiver slightly, knowing that as soon as comparisons are made, then originality goes out of the window, and you are left wondering what there is to appeal to the market.  Strangely, however, there are certain vocal types of sounds, that are undervalued and rare, that, if you hear a couple of artists whom proffer this, then it is not as bridling and irksome as say, hearing the 1,000th 'Next Jeff Buckley/Thom Yorke/Antony Hegarty' etc.  I bring up this line of thought, because my featured artist sounds- consciously I assume- like Hayden Thorpe.  He (Thorpe) is the lead singer of Wild Beasts: a Yorkshire band that have gained a huge following, and earned a Mercury Prize nomination.  Thorpe- when their debut Limbo, Panto was released- was seen as a curious oddity.  The voice of this man was something oddly titillating, but quite frightening.  Thorpe is a tenor and countertenor, and would infuse songs with grunts, wild yelps, growling, wild abandon, as well as beauty too.  It was a divisive trait that split critics early on.  When Two Dancers arrived, praise was heaped as the voice was temporised to an extent, but lost none of its immediacy and majesty.  It is a rare voice to be heard, and one that has not been replicated by any artist since... until now.  It is an obvious influence for Sivu, a Finnish-named, St. Ives-based musician; James Page to his friends and family.  He is a 24-year-old whom has garnered comparisons as well to Gotye.  It is not just the tones of Hayden Thorpe that rule your mind, but also there is a great deal of Wild Beasts' music to be heard too.  Similar guitar mixtures and sonic resemblances can be found, leading The Guardian to dub Sivu as "a one-man Wild Beasts".  He is a personable and likeable individual with a sharp eye for memorable lyrics.  He is an agnostic but flavours many of his tracks with religious imagery. I feel, with regards to new music, you almost have to factor out everything the media says about them.  The female artists get referred to as 'The New Adele/Mariah Carey/Christina Aguilera' whilst men tends to get the Jeff Buckley, Gotye and Alex Turner treatment.  As annoying and predictable as this is, you have to hear the music on its own merits and form your own opinions.  His 4-track E.P. has just been released (yesterday in fact), and whilst God Speaks In Tongues may have obvious influences, its beauty and punch will appeal to those who care not for any talk of religion or God.  The rest of the tracks have an equal beauty, but it is Bodies that elicits the sweetest and headiest scents and smokes.

From the first few seconds, there is a calming and breezy haze to the music.  The electronic strings arpeggio, cascade and ruminate; there is a lot of Two Dancers' charm and edges, as well as a lot of elements that our the author's alone.  There are theological and questions of the nature of our existence that are offered up.  Early on, Sivu states that "We're just bodies";  saying that we all find flaws.  Everything seems to be built around very personable events.  You get the sense that a breakdown of love or a failed romance enforces the themes that Bodies projects.  Whilst the nature of being and the examination of life in all its fragility are being tended to, underneath there seems to be some anxiety and haunted memories.  As much as anything, it is the music itself that provides some of the biggest focus.  There is a constant and dominant percussive beat that can be detected through the early stages; it is high in the mix and threatens to overwhelm the vocal; the shimmering guitar plays beautifully in the back; strumming with bright colours before retracting and returning once more.  An unnamed devotee keeps "begging me to say", and it is clear that there is turmoil and turbulence afoot.  Sivu's voice keeps restrained and strong; it distils Thorpe's essence and smooth out the 'rough' edges.  When the pace quickens, and "The animals walking two by two" is announced, the atmosphere and shivers augment.  Vocals are doubled and layered, and there is a choral power and beauty.  It is at this point that your mind is taken away from the Beasts, and towards bands such as The Klaxons; even elements of Radiohead can be detected.  It is not done in any obvious way: little flecks here and there, but it is when our protagonist ups the ante, that the biggest shivers are elicited.  Ghostly Radiohead Nude/Kid A slices are mixed and blended around exciting and tense percussion: the result of which is a definite quickening of pulse and heart rate.  Our hero continues the tale of broken hearts and tense days, as his lover wants him to stay but he says he has to go.  "The tide is dragging us away", it is said, as once again the animals walk two by two; the atmosphere is drenched in sound and it is wondered whether our protagonist, as well as his unnamed paramour will ever find dry land.  The structure of the song is quite unexpected as well.  It is not just consistent of verse-chorus-verse, with little surprise between.  Sivu adds vocal passages with ethereal wonder, as well as musical breaks which spark with life and intrigue.  He understand the importance of emotional effect as well as momentum.  Never do you have much of a chance for breath; the floods and waves that are mentioned regularly, are essentially conveyed in the pace and effect of the track: gasping for air is not an option.  Musically, the track earns its stripes for being constantly innovative.  Orchestral potentiality blends with indie touches and Sigur Ros-style otherworldliness.  Overall you are taken aback by the relentless perseverance and force of the track, and as captured as much by the composition as you are by the vocal itself.  Sivu is a constantly impressive player, and his vocal is focused, touching and emotive when it needs to be; seamlessly matching the musical mood, and shifting and snaking throughout the track.

There are not too many negatives to offer up.  There are times- particular in the first minute- where a lot of Hayden Thorpe's voice can be heard; and similarly Wild Beasts' musical influence can be heard quite clearly.  As they are a band that many are still not aware of, then it is not an obvious issue, but something that many will pick up on.  Also some of the words are hard to decipher, and you have to strain your ears to pick up on them.  This occurs when the vocal is more composed and Thorpe-esque; annunciation and projection are key for Thorpe, even during Limbo, Panto's wildest moments, and the force of the percussion drowns a lot of Sivu's words out.  That said this happens are irregular intervals and does not dampen your experience.  Those are the only minuses I can point at, and the abiding impression is one of being overwhelmed and taken aback.  The lyrics are sharp and thought-provoking and summon up some vivid- and often frightening- images in your mind.  The employment of religious themes work very well: there is a perfect balance of necessity and subtlety.  Sivu's voice is highly mobile and can go from a coo to a passionate belt with the drop of a hat, and is a facet that adds touches of gold to the song.  He is clearly a vocalist whom will be talked about for a while.  So tempting is the need to slot into that Buckley/Yorke mould: all spine-chilling falsetto-cum-vibrato quivers, that someone who differs from that already wins your vote.  Sivu instead can unleash tenor shades that tremble with beauty, but one suspects that he could also do pretty much anything with his voice: such is its depth and breadth.  As much as anything, the composition is original and striking.  Twinkling and flowing guitar lines interact with thudding percussion and stirring orchestral evocations.  In terms of subject, love, romance and uncertainty are at the forefront, but are not clichéd or stereotyped in any way.  Our author writes from a very personal place and manages to make his thoughts very different and exciting.  There are influences of '60s masters such as Dylan and Cohen in the more poetic moments, and that in itself is not something that is often said.  I will seek the E.P. out and digest its every sound and thought.  I am always hungry to hear what young artists of today are thinking, and what direction they want to take.  Sivu has released material before, and has always been greeted by excitement and fervent appreciation and devotion.  Bodies is a natural forward step, as well as something that sounds like perfectly natural, given what he has produced before.  Whether there is an album due next year, or another E.P., that is up to him; but in an industry where young U.K. talent rarely impresses when compared to the band market, here is a name that will go some way to winning back ground.  On a sunny day, where one is in need of relaxation, excitement and something that inspires you, then have no fear:

BODIES does just that.

________________________________________________________________________

Official:

http://www.sivusivu.co.uk/

Twitter:

https://twitter.com/SiVUsignals

Facebook:

https://www.facebook.com/sivusignals

YouTube:

http://www.youtube.com/sivusignals

SoundCloud:

http://soundcloud.com/sivusignals

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Raglans- Digging Holes- Track Review

Track Review:

Raglans

  Digging Holes

9.3/10

With some big London dates ahead, and a busy summer schedule, these Dublin boys have a Long Live ambition.

Availability:

Digging Holes  is available at:

http://www.youtube.com/watch?v=tyXyB3kJP20

The E.P. Long Live is available at:

https://itunes.apple.com/ie/artist/raglans/id529644228

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THOUGHTS and attentions turn slightly towards international climbs...

as a great deal of my focus, is usually reserved for English talent.  I have featured a few Scottish acts, as well as bands from the U.S., Sweden, Australia, and- in the case of HighFields- South Africa, Canada,  Singapore and Norway.  It is true that there is a great deal of excitement and innovation to be found within the U.K. as a whole.  The best and most striking sounds I have born witness to, have emanated from the north of England- there is great diversity and originality here.  Aside from some Scottish and southern English stunners, a large chunk of my praise has been levied at either the northern contemporaries, or else have set their sights overseas.  Historically, the best music has either originated in the U.K., or the U.S.  Today there is a bit more of a shift away from our shores.  If you look at the greatest albums of this year, there is an emphasis on American sounds and influences.  Over the last few years, European candidates have put their stamps on the market: all of which has stolen a lot of limelight from Britain as a whole.  It is s a trend and pattern that will continue, I feel, for the foreseeable future.  There seems to be a different attitude and work ethic in different countries, that is dissimilar to what we are used to here.  In the U.S., there seems to be that momentum from established acts whom are owning 2013- Queens of the Stone Age, The National; even Laura Marling (whom has moved to L.A.).  In terms of lyricism, fervent and unusual sounds and an overall quality, other nations and climbs are leading the way at the moment.  It is prescient and advised that we look to other countries, and take in what they have to offer.  Too much homogenisation and copycatting exists in the U.K., and it is the freshness and innovation of our international cousins, that will inspire and bring about a resurgence and revitalisation here.  I have been surprised by the large amount of strong talent that is emanating from E.I.R.E at the moment.  In the same way that Yorkshire is throwing up a band of swing-cum-blues rock-cum-pop wonders, the likes of Dublin are producing some rather intent sounds.  I encountered Bronagh & the Boys recently; a band awash with soothing and emotive sounds, helmed by a crystalline and stunning voice in Bronagh Monahan.  Aside from the classic and well-known acts that we associate with the Republic of Ireland, today there is a change afoot.  If you factor out the likes of The Script; ear-bleeding and nauseating in equal measures, then the current crop are rather strong and mobile.  Raglans are a notable addition to the list of modern E.I.R.E musical joys.

I know very little of the band.  Such is the tradition now (to keep aces tight against the chest) that I have to fill in a lot of blanks.  I hope that more bands in the future, on their Facebook and BandCamp pages, choose to flesh them out a lot more.  Kiran Leonard- the young prodigy whom I have recently reviewed- put details of each of his songs on BandCamp.  Each track was given an overview and had information with it, as well as the lyrics displayed.  His album was explained and some backstory was given- the overall experience was much more involving and personable.  The music of Raglans intrigued me so much I was wondering what their influences were; where they come from; and some background information, so it might be something they will think about very shortly.  For now, the Dublin 4-piece: Stephen, Rhos, Conn and Sean are readying themselves for a jam-packed year.  A single, Natives, is released later this month.  Its sleeve art features colourful jungle and floral scenes, whilst in the foreground a black and white depicting of an elderly woman, and half man-half stone-carved monster, complete the scene.  It gives you an insight into their creative minds: everything is not straightforward or predictable; there is an array of movements and surprises to be detected within their landscape.  A week ago, the band released their E.P., Long Live.  The 5-track release demonstrates their strengths as a band: the mystical rumbling bass and guitar strides of Save Your Words For The Widow, mingles with The Libertines/The Fratellis fun-time bustle and youthful spit.  There is a spirit of the groups of the '60s in a lot of the tracks.  Fresh and evocative vocals, ties in influences from Liverpool and Manchester, and marries it with sing-along charm and a myriad of strengths.  The band are supporting The Strypes very soon, and will be interesting to see how their sounds mix with one another.  The Strypes have a hard-edged '60s Liverpool-via-modern-day bite to them, whilst Raglans have softer edges and a keener ear for melody and musicianship, perhaps.

Before then, the task of charting their sharp rise, is of some importance: to see how they have managed to climb so high, so fast.  The single Digging Holes, and lead-off song from their E.P., shows the key themes and plus points from the band from the off.  The video to the song has arable themes and farmyard scenery, but the song kicks off with a chorus of "Digging Holes!"; backed by rumbling boulders of percussion, and a youthful kick that tells of:  "Now you know/Why the people don't love you".  As soon as that line has been boisterously delivered, a shimmering and electrifying coda of percussive thuds and metal, as well as a waterfall of electronic sounds is unleashed.  Scenes of an unnamed central focus watching the walls; for reasons unknown, is presented; the band asking: "What do you see?/What do you see?".  The lines and themes have a simplicity, that is designed to be remembered and sung.  When the words are sung, they are done so with full-voiced conviction, and sound quite unique.  There is never a sense of a band trying to emulate another: their tones and vocals are theirs alone.  Our boys see "the future and the past", but are very much in the here and now.  The verses and nature of the delivery are very much ready-made for festivals and large venues, to be choruses by enraptured fans; but there is indie and folk charm to suggest that they will gain appeal from bigger radio stations such as XFM and BBC 6 Music too.  It is unsure who the figure is at the centre of the song; the subject that is being offered little solace.  Their body and mind are drifting apart; they are unloved and digging themselves deeper.  Usually, or for most bands at least, romance and the uncertainty of love is normally focused upon; yet it seems that there is a more masculine idol that is being picked apart.  Perhaps the most defining feature of the track is the shimmering electronics and waves.  They are employed to create mood and atmosphere between the choruses and verses, and make you forget about any negativity or scorn on behalf of the band, and take you somewhere calmer, and more detached.  For all of the memorable simplicity, the boys have a way of offering scenes with intrigue and strangeness dripping from the seams.  In the way Bob Dylan penned a venomous poem to an unnamed woman in Like A Rolling Stone, asking "How does it feel?", Raglans do the same, instead insights such as "Like a leper on your throne" are proffered.  Feelings and thoughts are key themes and topics that are dissected and examined in various ways.  Backed by a tumbling and kicking musical smile- similar to Mumford and Sons only far less irritating- the question of "How do you feel" is asked; our singer feels alone, but "Alive/For the first time in my life".  No matter what vengeances or turmoil are present, there is a sense of there being a turning point afoot; no matter what bitterness is reserved for the anonymous subject, the lads themselves seem bereft of any burdens.  Energy and conviction never let up, and it is this commitment to creating a sustained atmosphere and regulating any negative edges, that gives Digging Holes such an edge.  Its chorus, with 'uh-ohs' punched and shouted, backed by folk augmentations.  It is these folk touches, that give way to indie lines.  A rapid-fire and glimmering passage twists and duplicates, whipping up another layer and shade of curiosity, before it is said:   "This can be the start of something new".  The chorus is ridden again, and our tale comes to an end.

It is hard to fault the quality and conviction of the band.  They have a knack for memorable choruses, and can mix straightforward sentiments with sharp lines, to boot.  Vocally there is a unique blend and strength that few bands possess.  Their native accents are present, and they haven't tried to intone American accents or distil its essence, which makes the sound more original than most bands.  The abiding sense one takes away from the song, is the sense of adventure and misadventure.  Fun and frivolity infuse the atmosphere and scenes, lifting you up, and imploring you to sing along; this is blended with words that speak of mixed personal fortunes and some harsh words for a common foe.  The E.P. as a whole is bursting with a similar charm and authority, and Raglans are a group that can fit a definite gap in the market.  Too much emphasis is placed on either harder and more feral edges, or innovative digressions along the lines of Alt-J and indie colleagues.  In a scene where there are very few bands like Doves or Elbow: those that can produce big sing-alongs and anthems, but keep their words sharp and intent; it is a welcomed treat to have the Dubliners around.  2013 especially has focused itself on indie movements and riff-heavy groups, a certain sense of elemental positivity and crowd-ready awareness has been negated.  The likes of The Voice, Britain's Got Talent and The X Factor are the emphasis and embodiment of fame-chasing an d copycat wannabes; devoid of any credibility and originality.  For those interested in musicians whom are not wanting to chase fame, money and nonsensical aspects, it is towards the bands that one looks.  Set aside the horrid boy bands and lame rejects like 30 Seconds to Mars, then a need and desire still needs to be fed.  The Strypes are imbued with riffs and '60s revocations, but there is going to be a switch away from that sort of music, and a need for something more channelled and matured in the long-term.  Raglans are being accepted in anticipation of this, and their blend of indie and folk styling will see them in much demand come next year.  This year they have touring to do of course, taking them down south, to London as well as further north; imploring supporters and fans to take their music to heart.  If Digging Holes and the associative E.P. are any evidence of what the future holds for them, then...

THEY will have a busy and productive few years ahead of them.

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Twitter:

https://twitter.com/Raglans

Facebook:

https://www.facebook.com/Raglans

BandCamp:

http://raglans.bandcamp.com/

SoundCloud:

http://soundcloud.com/raglans

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tieranniesaur- DIYSCO- Track Review

Track Review:

tieranniesaur-

  DIYSCO

9.5/10

Fun-loving and invigorating Dubliners give previous little about themselves away, but make amends with some stunning sounds.

Availability:

DIYSCO  is available at:

http://tieranniesaur.bandcamp.com/track/diysco-2]

The album DIYSCO is available at:

http://tieranniesaur.bandcamp.com/

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FUN is a subject, that has had little exploration or consideration...

as of late.  A great deal of music today is overly po-faced, or else dripping with emotion and anxiety.  Very few contemporaries actually dedicate a lot of time to the nature of good-time fun and exhilaration.  Rock and indie acts can pervade hard riffs and foot-stomping beats, but lurking beneath the notes there is always some form of negativity; and the abiding sound comes off as more violent than it does loving.  I suppose getting the formula right is a difficult task.  Disco and funk are probably the genres that exemplify this fun nature; songs drip with sexiness and excitement: where are the equivalents today?  In a sense, personal narratives and love songs are the most common, and most sought-after type of tracks; these tend to be more restrained and insular.  It is not even a case of making a career out of disco-esque tracks either: the odd few will suffice.  I have encountered a few acts that are producing this type of music; ranging from Swedish duo Club 8, through to U.S. act The Open Feel.  Aside from the odd one or two, one has to search long and hard to find something that makes you want to get up and dance, tap your feet and smile.  R 'n' B and modern pop has cheery and sugary shades; most of which are soulless and infused with electronic nonsense and auto-tuned vocals.  I have been waiting for bands to come along that have an innate knowledge of the disco sounds of the '70s, and can update the sound and potency, to appeal to a modern-day audience.  If you can produce an album or E.P. that has something with some 1970s/'80s dance to it, and tie that together with some harder and more emotional numbers, then you are better prepared to win a war that has long been raging in the music industry.  As much as anything recently, I have been saddened and essentially irritated by the lack of originality and identity in modern acts.  Kiran Leonard was a recent find whom managed to be original and multi-talented too: but he is a rare exception.  A vast majority of every new act I have encountered can be tied to an existing act.  The main issue lies with singers, whom get it into their head that the way to success and recognition is to mimic their idols.  Bands also choose to ape popular acts, with a great deal of modern rock bands tending to rip-off Arctic Monkeys and Queens of the Stone Age.  It is infuriating, as it shows a distinct lack of talent as much as anything: anyone can mimic pretty much anyone; originality is the hardest thing to achieve.  When thinking of genres that are under-explored and little-heard-of, then the likes of disco and swing are in need of attention.  Few have given closer attention to these genres, and by re-discovering their charm and effectiveness, an originality and foresight is unveiled, that few have latched onto.

Hailing from Dublin, the intruigingly-named tieranniesaur, give little away about themselves or their influences.  I have found with a great deal of new acts, that the music alone stands on the social media and official websites: but not a lot of anything else.  I am always keen to know more about the members; where they come from; who their idols are etc.  It is understandable that the music has to tell most of the story, but a little bit of revelation and biography often draws in more fans, and inspires others too.  In the flesh, they are a beautiful and fashionable bunch.  The women are beautiful and ice-cool; the men equally cool as well.  The band have been received with a lot of critical acclaim, and their sounds and ambitions have been championed and met with excitable praise.  The thing that strikes my hardest, and impresses me most, is the group's eye for intelligent and memorable design work.  Aside from the band's fashions; a mix of casual cool, and elegant chic; the album cover is something that impressed me hugely.  It is a picture of circus ground mystery and retro quirkiness.  Mounted by a vanity mirror, the image is filled with lights, sharp edges and colours, with DIYSCO in bold gold, running diagonally.  In the O is a white-faced woman; ruby-red lips with a pearl necklace.  It is a striking, original and sums up the band beautifully: original lines and patterns, and bold and memorable statements and scenes.  In lieu of extensive biography or quotations, the album cover says volumes about the band's intentions, styles and sounds.  If one was to pin the album down to one or two succinct words, I would say: variation.  The titles themselves are packed with ruminations of the otherworldly and delicious.  Looking Up The Skirts Of Giants, Horses With Melting Eyes and Chill Bros give no indication of what lies within, but provide plenty of curiosity and excitement.  This year is one where May onwards promises the best results.  The National, Queens of the Stone Age, Laura Marling are names whom prove my point, and where new music is concerned the bold and innovative directions of tieranniesaur are planting their flag firmly.

Their single DIYSCO, has been gathering a lot of attention, and is the 2nd track from their album of the same name.  Its rush and strike from the first few seconds, raises the energy levels and grabs you firmly.  No time is spent letting you absorb any notes or sounds: the hit is direct and instant.  The band, singing of "things I'm not opposed to", wash the atmosphere with enlivened and spirited vocals.  Our female heroines chorus and weave inside one another's voices; creating a vibrant spark of invigoration.  Percussive rolls and dives mix with funky strings and disco flavours, eliciting '70s sensations and a dancing stomp.  The band keep  the music tight, taut and atmospheric.  Twangs, beats and strings bounce and keep the mood alive and focused, as the vocals strike up front.  Messages about not compromising in a relationship.  Youthfulness, spirit and passion are keywords when summing up the vocals; they are at the top of the mix, and not drowned by the music at all.  The song has a polished and professional sound, giving evocations of U.S. disco, as well as hints of modern-day European music.  Our heroines say "Maybe I should do what most do"; their voices echoing and sparring with one another.  Whoops and rushes are unleashed at intervals too, always infusing the track with energy, joy and excitement.  It is impressive how the vocals are delivered during the chorus.  It is not just high-pitched vocals to be heard; the girls swoop and dive.  Every part of the track is given fond consideration, to create maximum impact.  In the back, supporting the foreground, the disco strings create funky and twisting sounds, the percussion remaining steady and powerful.  These sonic touches augment the voices, which keep impressively convincing and impassioned.  Never is there a sense that here is a band in 2013, trying to recapture the spirit of a by-gone era, with lesser-heard-of sounds.  Throughout there is authenticity and tieranniesaur could easily fit in 1970s New York; there is a club sound that would seamlessly fit there, and has a ready-made charm that can win over today's crowds.  Your hands and feet are powerless to resist the charm of the track, as it rides a constant wave.  When a piano line is injected into the composition, the words "so crazy" are sung: at once robust and punchy, the next more subdued and seductive.  In the minds of our protagonists, an easy life and stress-free life is required; romance and bonds with little hassle and strife.  It is difficult trying to think of a modern-day equivalent of the song, and indeed the overall sound.  Even the other more disco-orientated tracks I have heard over the past few months, have not been as restless and diverse as DIYSCO.  The track never lets up, and surprises constantly.  The chorus' mandate is repeated to great effect, and is the one constant.  Musical backing keeps moving and manoeuvring, changing to fit and augment the vocal, as well as create its own gravity and potency.  The girls harmonise and play off of one another; playfully and always with the sense of a smile.  In terms of the themes of the song, it strays away from the good-love-gone band parables, and instead provides a more positive and persuasive delight.  Never is there a sense throughout that too many hearts have been broken; in that sense it is every bit a disco track, but one very much suited to the 21st century.  When the vocal rabble talking of "Falling in love at the DIYSCO", there is a slur and rush and heady intoxication to the delivery, which mixes a multitude of vocal lines together, and summons up a rush, before being supported by stern and strange sounds, which combined with the twinkling notes and glitter edges ends the track.

I am not too worried by the slight mystery surrounding the band, and where they are going.  The album speaks for itself.  Love Makes A Frightening Sounds would probably be my standout, but the entire record is crammed with a range of different avenues that will please and delight a mass of different music lovers.  In spite of them being a new name to my mind, I have been motivated to investigate their past moves, and am giving the album a good listen as well as it is well worth a listen.  It stands up to repeated listens as well, and different tracks will do different things at different times to you; some are slow-burners; others immediate in their intention.  My point about there being a lot of hopeless derivation and tributing in music stands firm.  It is an issue that is huge now, and one suspects with the rising tide of new acts, will only become worse to a absurd degree.  Those whom are willing to bite their tongue and seek bands and acts that promise and promote different and original sounds, will find a lot to love about tieranniesau.  DIYSCO is one classic example of how you can tie together threads from different decades and genres, and come up with something that is striking.  I am not sure why so many modern artists are not able to, as it seems that with a bit more innovation, effort and intuition would lead to a stronger scene in general.  It is encouraging that there are bands like these Dubliners, whom are fresh and determined to make a big impression.  Take a look at their album and investigate the colours and shadows that lie within each of the 13 tracks, as there will be something in there for everyone.  They are clearly a very talented bunch, and hopefully a band that will keep producing material for a very long time to come.  For all the lack of fun, energy and individuality within music, it is refreshing that not everyone is determined to cause haughty derision amongst the impassioned and dedicated listener.  We need to find bands like tieranniesaur, that can distill the swarms of acts, who are the poor man's equivocations.  It is true enough that...

THIS year it is required, as much as any there has ever been.

________________________________________________________________________

Twitter:

https://twitter.com/tieranniesaur

Facebook:

https://www.facebook.com/pages/tieranniesaur/110975412280662

BandCamp:

http://tieranniesaur.bandcamp.com/

SoundCloud:

http://soundcloud.com/tieranniesaur

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Kiran Leonard- Brunswick Street- Track Review

Track Review:

Kiran Leonard-

  Brunswick Street

9.8/10

A very young man, imbued with a mature confidence and striking talent, shows new talent how it should be done.

Availability:

Brunswick Street is available at:

http://kiranleonard.bandcamp.com/track/brunswick-street

Bowler Hat Soup is available at:

http://kiranleonard.bandcamp.com/

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AGE is a fixation, that has been rather unhealthily flirted with...

in the media.  It is a curate's egg of a subject, when investigating new acts.  If a participant is under a certain age, magazines, media and the public are practically sweating with excitement.  Too much regard and precision is levied towards the subject.  Sure, it is impressive when young talent are heard and admired.  It makes you aware that the young are ambitious and dedicated early on, and inspires you to encourage other such youthful acts.  Where the issue comes, is with expectations.  Laura Marling has been the modern idol, when it comes to proving my point.  She has recorded a string of brilliant albums, and is still in her early 20s.  In a way she is the exception that proves the rules.  I hope that when she is in her 30s and 40s, that there is still material and desire in her: one suspects there will be to some degree.  Problems arise for the rest of the market.  Unless you are one of the greatest acts or artists of all time, then it is likely that you are not going to achieve the potential of Marling.  There are many in their teens and 20s, whom have energy and intent now, but one wonders whether they will still be making music a decade from now?  As a man of 30 myself, I am finding, that after 12 years of song writing, that I am creating some of my sharpest and most ambitious songs- and haven't recorded a note yet.  I have thrown away songs, lyrics and ideas that seems like a good idea, but when being retrospective, are embarrassing or sub-par.  I would hate to think, that if I had put a band together in my late-teens, natural decay and market forces would have extinguished our flame by now.  Once that happens, and you exhaust solo channels, there is a real risk that you could be dead and buried in your early 30s.  Acts such as The National show how bloody good and inspiring you can be in your 40s.  So, what happens to today's young wonders?  Reports have come out that suggest less attention is paid to new acts, and less long-term care is applied to their cause.  This means that they are often forced to fend for themselves, and face a worrying nervousness throughout their entire career: which can often end after a few years.  The media are largely to blame by putting so much attention and weight onto their shoulders.  Too many new young acts burst with too much energy and fervency keen, no doubt, to impress straight from the off.  This pattern and momentum continues for a couple of albums or so, before the seams begin to dangle loose.  It is tremendous if you have the clarity and songs early on; but unless there are labels and people willing to support that act, then a uncertain future beckons.  It is a tough and anxious choice: leave your great songs aside for a few years, and bide time until your mid-late 20s; or go in young and hard and hope that things work out well for the long-term.  I can fully appreciate the latter; if you have the songs and the desire, go for it!  I just worry that too much emphasis is placed on the subject of age, and puts too much expectation on young shoulders.  That said, if you look and scratch hard enough, you will find saplings, that are capable of growing into huge birds of prey.  Not too many mind, but just the right amount to give you some hope.

Kiran Leonard was brought to my attention via The Guardian: a publication whose music featured and reviews have caused as much chagrin and anger in my as anything else.  They featured Leonard, of course concentrating on age hugely, but also heaping huge praise onto him; referring to him as "gifted"- whilst highlighting his inventiveness.  I am going to try to nab him for future band work, as on paper, there are few more talented musicians on the planet.  He plays drums, guitars, electric piano and mandolin, amongst the long, long list of instruments to his name.  Between the fact that he is in his teen years, he is unlike anyone else.  Sufjan Stevens has a comparable multi-insturmental talent, but even he pales into comparisons.  I have long bemoaned the lack of information new acts provide to the potential listener/reviewer/stalker.  Aside from obligatory social media coverage, little consideration is given to providing biography or insights.  The music is all there, for sure, but there is seldom information about the band (or solo artist), or any insight into their music, lyrics or influenced.  If the music 'can do the talking' it goes someway to distilling the issue, but is still not good enough.  In an age where musicians are having to work harder than ever to be heard, recognised and remembered, it is vital that more is done by the act.  Leonard has informative and striking social media and BandCamp pages: colourful designs, great photography, and most importantly, commentary and details about his songs.  Leonard has released E.P.s before; working and honing his sounds, and making his name known to many.  Now, in the spring of 2013, he has unveiled his album Bowler Hat Soup.  You sense there is intelligence and personality working overtime in every nook and cranny.  The album cover is not a predictably dull portrait; instead it is a variegated and fascinating painting depicting psychotropic horizons, cartoon characterisations and trippy '60s psychedelia designed by Kelly, whom should be very proud!  Leonard is self-deprecating and good-humoured.  His last album, The Big Fish, was worked on hard, but he attributes some failings and shortcomings.  He attests that the production values were underwhelming; there are too many loqouacious tracks and too few sharper compacts; little regard towards personal themes and too much oblique lyrics and philosophy.  One could forgive him in a heartbeat: debut albums are never spectacular; unless you are Weezer, The Libertines: or acts that are encouraged by enough various input and support.  Now, the 16-track opus is unveiled, and ready for public consumption.  The majority of the tracks are under two-and-a-half minutes (Sea of Eyes is 70 seconds long); some are longer (Drysdale is seven minutes and seven seconds long).  The titles are fascinating, the range spectacular and ambition matches that of the '60s pioneers such as The Beatles, Rolling Stones and The Byrds.  Ordinarily a new act shows little invention regarding song titles; a tendency to the cloying is evident.   Leonard has Whisky Bath and Bora Bora on the track list: not something your Ke$has or Ed Sheerans would be smart enough to write.  In a time where there is a leaning towards the digital, Leonard has gone to great lengths to rectify the issues of sterility and lack of design.  Each track (if you access BandCamp) has a unique design picture/cover; as well as a few lines to describe what the song is about and entails.  Great attention is paid towards fans and potential fans alike.  It makes it easy to like him, and gain an insight into his thought process.

After an 18-month process of writing, recording and mixing, Bowler Hat Soup's children are born.  As someone whom writes with terribly exhausting and ambition, and has a curious vocal range, I am always drawn by individuals that are unafraid to be bold and honest with regards to their talents and skills.  I have been off put by my own vocal 'eccentricities': Leonard has an even bigger talent for instruments, mixing moods and genres, and creating an array of wonderful sounds.  Although the album has been around for quite a few months (it was released in October of last year), songs such as Dear Lincoln have been gaining a lot of regard and praise.  Brunswick Street caught my ear; it is the album's second track, and- in my view- the highlight.  The title refers to a street in Australia, and in a country where- unbeknownst to me- they have separate recycling bins for heroin needles- due to high proportion of junkies.  Although inspiration may be pointed towards drug-induced chaos, its personal portrait/cover depicts two sweet young girls, smiling broadly to camera: a wild and sharp juxtaposition.  I sat down to investigate the song, refreshed that I did not have to interpret another track about personal anxiety, love-gone-bad and the woe-is-me attitude towards Britain's streets.  An acoustic strum opens the track, as Leonard's voice arrives, sweet and calmed.  There are tones of modern solo artists, but I detected hints of McCartney's 'The White Album'-era work, as well as Crowded House.  There is that same sense of authoritative beauty to it.  It's words: "A cold winter brawl/The fog masquerades" sets a stirring and poetic early scene.  Leonard's voice drips with raw honey and whisky-stained soul: early Rufus Wainwright can be heard in the way his semi-operatic tones bring to life his words.  All the words are crystalline and fraught with emotion and remembrance: one suspects that a quivering lip could be detected during the recording.  Brunswick Street is "where the deadbeats meet": a street that moves our protagonist in foreign and unusual ways.  The acoustic stillness is augmented by orchestral lustre and passion.  The kind of strings Nick Drake would unleash during Five Leaves Left are heard, and create spine-tingling waves.  Although you cannot compare Leonard to any other artists through study, intuitive ear or second-guessing, there are shades of various icons in little avenues: a bit of Paul Simon's poetic and stirring lyrics; some Bon Iver vocal beauty; a swish of Kate Bush/Wainwright string work- the effect is quite haunting.  Evocations of Wainwright's gorgeous timbre, as well as colours of '60s legends are detectable in the vocal that follows a musical rush.  Percussion blows and strikes, tumbling and blowing steam; the strings are a whisper, and acoustic guitar joins the fray.  Street scenes and local figures are introduced: "The prose of a lost man", who plays guitar and "speaks with hoarse experience" is to be heard in the baking sun, and vivid lanes.  There is less focus on the author himself, and his love strife and personal doubts.  Attentions are turned to a place few of us will ever broach; the images that are unveiled put you right there, fearful yet mesmerised.  Never is there any sense of any foreboding or bleak mood: there is a pop and orchestral strum for the most part.  Although Leonard's voice quivers and emotes, the music remains supportive and comforting.  U.S. influences and arcs are layered into the architecture and bits of Dylan's snarl can be detected when he sings "That's where the cool beats sleep".  Ballad of a Thin Man-cum-Bringing It All Back Home are worthy notations and footnotes.  As well as the lyrics, which paint wonderful pictures; the chorus is also strong and memorable; the music is charming and locomotive; but the vocals impress most.  Leonard growls, sneers, quivers and emotes; his voice belts, distorts and introverts, sometimes within the same line, bringing to mind the likes of Frank Zappa and Captain Beefheart, sans plain scariness.  When the frantic and busy mood is calmed to sleep, Leonard turns his voice into a sweet-natured call; bare strings are introduced, and tales of a "dent in your car" and "summers on Brunswick Street" bring us to land... well, almost.  For the final 35 seconds or so, a curious coda and outro is presented.  Strange echos and sounds can be heard: perhaps the true and purest evocation of the words are brought to life.  There is a dancing and tripping line of electric piano (?), that is backed by wooshings, twisted wordless vocals, and a psychedelic haze to it.  Due to the nature of the song, in the way that it subverts expectation and provides constant surprise, it is s fitting and memorable end to a brilliant track.

It has taken a little while for me to be made aware of Kiran Leonard- shame on me, but also the media as well.  I have not heard of a better or more talented artist for a very long time indeed, and was rather taken aback at just how good he is.  He is very young, for sure, but if you factor that out (conceding that it is an impressive fact), and concentrate on everything else, then you will be a huge fan very soon.  The range of moods and movements on Bowler Hat Soup keeps you fascinated and enthralled, and there are so many wonderful compositions, lovely stories and strange scenes, that it is an exhausting, but vastly rewarding listen.  I do hope that many people turn on to his music, as well as being impressed by him enormously, I am jealous.  Have to nab this guy for the future, and there will be more like me, whom will try to recruit him into a band; knowing that he will give great weight and wonder to the mix.  As of now, as a teenage solo artist, he is in a rare position.  There are no musicians as talented as him, and in terms of a singer, he has few competitors too.  His words and tales are captivating and varied, and as a lyricist and composer he is also far ahead of his contemporaries; making the songs and albums more impressive than pretty much anything else out there.  Leonard gives detailed information and insights into his world: thus making it far easier to relate and appreciate what he has to say.  When we consider age, I hope it will not be an issue.  I am confident he will be making music in a couple of decades from now.  He has all the key components and a clear drive and ambition.  I just hope that the media will let him record and not focus too much on age, because in a time where too many solo artists and bands fizzle out- talented or not- it would be wonderful to see an artist making album after album, for years to come.  He should have no fear at all.  The public ear will be receptive and hungry for his music now, and the future, and I really do hope that when he reaches my age (really, really old), thoughts, songs, and compositions will still be renewed, played and presented to the public.  Take enough time to listen to the music, and see where I am coming from, as one thing is crystal-clear:

NO ONE like him will be heard of any time soon- if at all.

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Facebook:

https://www.facebook.com/digitalsustain?fref=ts

SoundCloud:

http://soundcloud.com/kiranleonard

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Brunswick Street available at

http://kiranleonard.bandcamp.com/track/brunswick-street

The album, Bowler Hat Soup, is released on August 26th- pre-order it at:

http://handofglory.bigcartel.com/product/kiran-leonard-bowler-hat-soup

The Family Rain- Pushing It- Track Review

Track Review:

The Family Rain-

  Pushing It

9.6/10

Euphoric family of man, have blues and rock grit, but a steady heartbeat underneath.  Guaranteed to blow away the cobwebs, with panache.

Availability:

Pushing It is available at:

https://www.youtube.com/watch?v=OL31Y4aNWfQ

The E.P. Pushing It is available at:

http://thefamilyrain.sandbag.uk.com/Store/DII-92-5-pushing+it+ep+%28cd%29.html

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RECOGNITION and late praise is something that bothers me somewhat...

The media in the U.K. is culpable to a large extent.  The issue is not nearly as rife in other nations such as the U.S., but here it is practically endemic: too little praise is given too late to too many great bands.  Some may consider it to be a minor problem, but is hints at a larger malaise.  As well as a swarm and plethora of new music coming into the market by the day, there is a huge amount of newly-established bands and artists whom are on the scene, deserving of attention too.  It seems that there is an obsolescence in the chain of reason, and too many kinks.  Social media is burgeoning and expanding beyond its limitations and there are plenty of music websites and on-line newspapers.  The trouble is, that so few actively and thoroughly look out for and promote music and new acts especially.  Far too many times I have come across a particular act by sheer chance; stunned at the lack of promotion and attention the artist has received.  Everyone is deserving of a space within music- regardless of  their level of talent or abilities.  Mediation and due attention should be paid, and more fervent regard should be paid, because frankly, too much good music is slipping through the cracks.  The artists themselves can only accomplish so much on their own; or by word-of-mouth.  Media outlets have a responsibility to help further new talent, and to my knowledge, too little is being done; there is no due diligence; no real insight or effort being carried out.  It is relevant to my point when considering artists whom have already made footsteps, but whom also need to be grasped my more people, and have their name and songs recognised more widely.  In the current climate there are few websites- if any at all- that dedicated time to highlighting these types of acts (as well as brand new ones).  A lot of time a broadsheet paper's website or music magazine will mention a 'New Band of the Day'; and that act may have been around for a fair few months.  Radio and music shows on T.V. are doing their part as much as possible: it is just the rest of the Internet and media that are dropping the ball.  It is not just a theme I bring up to fill space, but mention it because a lot of wonderful music is being left on the shelf too long, or relies on people stumbling upon them by chance.  I have arrived at the footsteps of some pretty strong acts, thinking that they are brand new on the scene; only to discover that they have been out there and making music for a good long time.  I suppose that in the future, measures will be introduced and websites designed, that make it easier to be kept abreast of all the happenings, and relevant new music.  For too long stations and the media have fixated too hard on the mainstream and popular act; relegating newer music and different sounds to dark corners, and small print.  Only time will tell whether this issue will ever be rectified, and people will be made more aware of good vibrations and brilliant sounds.

The Family Rain are a band that I have been aware of for a little while, but not one that have been featured too heavily in music magazines or online; I feel that they are victims of late praise and some retrospection.  The Guardian have just featured them as their 'New Band of the Day', in light of the release of new musical releases from the group.  Their Pushing It E.P. is released and the title track is catching a lot of ears and minds.  The band have been on the scene for a little while, and their song Trust Me... I'm a Genius, was met with a great deal of adoration and interest.  Many were comparing the group with the likes of the Kings of Leon; whilst others felt that they had all the hallmarks of classic rock groups of the '60s and '70s.  Their official website is striking and well designed, and there is an air of confidence about the boys: they know that you need to have good online presence, and not just great songs.  Little is known about the boys on an individual basis.  Their music does a lot of talking, but the guys are William, Timothy and Oliver, and are based in Bath.  Their sound is very much indie and rock, but there are harder elements as well as blues touches too.  At the moment the boys are touring, having just played Manchester.  Word and buzz are being built up, and there is a great anticipation and excitement with regards to their E.P. and future footsteps.  Whatever the future holds, for now they are recruiting a wide range and fans, and their live performances and reputation are doing them more favours than the media at the moment.  If the likes of the broadsheets and music publications are to maintain popularity and a good name, then they need to be more informed and involved with bands like The Family Rain, as they do seem to be an afterthought for a lot of publications, when they should be taking up a lot more of their space and time.

The opening notes of Pushing It have hard and ragged stomps.  There is a little bit of Queens of the Stone Age's Lullabies' work, especially Burn The Witch and Tangled Up in Plaid.  Definitely the sound of the desert and the U.S. lingers in the opening notes.  It is intently and striking, and pulls you along, not giving you time to absorb the music.  The band are "pushing it hard"; the vocal is quite an individual facet for the band.  Elements of U.S. stars linger in the tones as well as northern influences, but the overall sound is refreshing and individual.  It matches the mood and pace of the riff, and is intent and dominating.  When things are pushed past "the pace of the day", there is a raw and sexual edge to the vocal.  The riff strikes and hits, whilst percussion and bass pound and provide hard-hitting support.  It is clear that momentum and power are bywords for the track, and the pace rarely lets up at all.  Many will find relatable familiarities within the song.  The northern influence is probably heavier, with '90s Britpop nestling alongside modern idols such as Mile Kane.  A similar raw edge and fortitude are detected within the vocals especially, and the band have the same tight and confident stride to their step, as the likes of Kasabian.  Even though the lyrics and words have sly undertones, impassioned intent and a tongue-in-cheek to their edges, the composition and band performance is layered and intriguing.  Lesser bands may just infuse the track with too much sound and weight, and ruin the overall effect: The Family Rain bring the pace down to allow the vocals to shine when needs be; ramping it up and sidewinding to emphasis effect when required.  "It's all undercover" the band sing; there is shadiness, weird and curious scenes and impending paradigm shifting events.  Everything is delivered with clarity and consideration as well; vocals are not spluttered or drawled; instead calmly delivered like a sermon, our front-man teasing the syllables and one suspects there is always a cheeky smile not far from his lips.  That hint of U.S. stoner rock-cum Manchester indie is particularly prescient when the band fire up and let their instruments do the work.  Guitar, bass and guitar codas snake and rattle, and spark electricity and fire.  The riff and percussive drilling has the nature of a boxer: punches are sprinkled; the fighter recoils and comes back for more.  The video for the track depicts a female boxer in the ring, appropriately hotting up the pace and getting shots in good and clean at this juncture.  Physicality and masculinity are also essential words as well, and the boys, through their words of things delving "under the skin"; and "microphone checks"always have a spiked and ragged passion to their performance.  The momentum and firepower never lets up; an unstoppable gravity and snowballing effect is elicited.  "The hairdresser's in/And she's seen it coming" is used a fair few times, and the guys have a way of conjuring up vivid scenes from doorways and town corners, that makes you think you are there watching it happen.  Characters and false idols are presented, and an underlying sense of controversy and danger lurk beneath the chords and beats.  In the way that the vocals are sometimes snarled or forced forth reminds me a great deal of early-career Oasis, as well as Arctic Monkeys; although possibly not influences for the band, there is a similar force and quality to the vocal tones, as well as the music itself.  Again when the band break and unleash another passage, Queens of the Stone Age comparisons are hard to ignore.  A bit of No One Knows can be detected, as well as Songs for the Deaf tones and flavours.  Not that it is ever a bad or overly-obvious thing: The Family Rain have an ambition and quality that means that they can sprinkle influences and familiar sounds into their riffs, but make them feel fresh and urgent.  Whatever you hear, imagine or can detect from the sounds: whether there is clear influence or some strange avenues, the abiding effect is one of impressive intent and ambition.

It is through The Guardian that I was made aware of the band's new E.P. and it was by chance that I happened by the band a few months ago.  It seems, that in 2013, better and more prominent steps should be put in line, so that someone like me, who wants to hear about The Family Rain, should not have to work so hard to do so.  The emphasis is still placed well and truly on chart music; mainstream sounds and bands that have already cemented their sounds and credibility.  For those that are saplings, or on the rise, their futures are not giving as much consideration and affection as they deserve.  I hope that The Family Rain have a chance to be heard and seen by a lot more people.  At the moment, they have a hell of a lot of followers via Facebook and Twitter, and are attracting huge crowds from all around the U.K.  If they want to break into America, and get the credit they deserve, people should be prepared to help out and share their sounds, as they are clearly a band that are going to be around for a long time to come.  Their E.P. is a perfect representation of where they are now, and how good they are.  Their indie, rock and hard sounds are hard-hitting and memorable.  Lyrics of personal relevance are mingled with something more universal and commonplace.  Vocal performances are consistently strong and impressive, and have a clear identity, as well as containing bits of U.S. and U.K. stars.  It is when the band come together that the most stunning results are realised.  They are tight and professional; have a great energy and swagger and a clear affection for one another.  Riffs, lines and middle eights are ready-made for festivals and venues, and also tailored for the best radio stations out there: Absolute, BBC 6 Music, XFM, etc.  In weeks to come, many will be speaking of them, snapping up their E.P. and looking forward to what comes next, and the band should prepare themselves for that.  What a future album will herald: softer sounds mixing with their anthems, or a different sound completely, it will be exciting to see.  To help further the cause of great new bands, that are deserving of much plaudits, give them a listen...

AND spread the word.

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Official:

http://www.thefamilyrain.com/

Twitter:

https://twitter.com/thefamilyrain

Facebook:

https://www.facebook.com/thefamilyrain

YouTube:

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

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Bronagh & the Boys- Green- Track Review

Track Review:

Bronagh & the Boys-

Green

9.3/10

Belfast-lead and Glasgow-based, the endeavouring six-piece girl and Boys make music with a gentle heart, designed to charm and seduce.

Availability:

Green is available at:

http://bronaghandtheboys.bandcamp.com/track/green

A Young Heart E.P. is available at:

http://bronaghandtheboys.bandcamp.com/

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THE success and appeal of any new band does not solely depend upon...

talent or an aggregation of talent and a collection of strong tracks. A lot of the time, bold movements and ambitions can be realised by fusing together people from different countries; each influenced by different styles of music. I recently focused on HighFields, a group of men and women whose members hailed from areas as disparate as Norway, Canada and Singapore. At their core was a mutual respect and fascination, but it was the collective diversity and scope of various influences, when mixed together, that saw a magnificent sound being made. The music was intriguing and celebratory; the vocals strong and fresh, and a sense of fun and adventure was evident. I was well aware that each member was extremely talented, but got to thinking that it was probably the geographical diversity that enhanced their music. Each artist, wherever they hail from, has separate tastes and interests and lives in different landscapes. A great deal of the new acts that I have reviewed recently, have members whom hail from the same town or county. Most either met at school, or later in life, but the common bond was one of geography. I find that if a band consists of members that live in the same town, the music often has less weight when compared to the music of a band whose participants emanate from different climbs. Songs and sounds can somewhat sound homogeneous or single-minded when you get down to it. There is an over-reliance for particular acts to project the sound of their city or county, and more often than not, they can come off sounding too similar to existing acts or other artists. I have witnesses a few groups such as The 1975, whom have managed to elicit originality, as well as portraying enough flavours of their native soil (Manchester). Too often I have heard bands and solo artists trying to present themselves as 'The Next...', without realising that that lack of originality and foresight alienates and divides a lot of people. It is not too much of a coincident that some of the best bands out there at the moment, are those whom have variegated backgrounds, tastes and members. For as long as I have been bemoaning the lack of variation and surprise in current music, I have also been extolling the virtues and wonders of Scotland. Perhaps due to the distance from London, and subsequent dislocation from the U.K. media's epicentre, this country has been somewhat overlooked with regards to new talent. The diversity and quality that I have witnessed has been impressive for sure: much stronger than the national average. It is going to be a hub for future music generations, and when looking ahead, Scotland is going to be a key focal point.

Bronagh & the Boys' male members come from Scotland, and it is where the band are based. Adding their names to a growing list of future stars, the 6-piece are fairly new on the scene. The music that they have made so far has been gaining positive press and a lot of admiration. It is not only because of where they are situated, but also because of their influences and inspirations. The band are influenced heavily by soul and the likes of Amy Winehouse. Their front-woman, Bronagh Monahan is from Belfast, and you can sense influences of Northern Ireland as well as Scotland in the songs of the group. One of the heroes for the 6-piece is Fleetwood Mac, which in itself is quite a rarity in 2013. There are a surprising number of people who are not aware of the band's existence, or capable of naming any of their songs. Bronagh and the Boys also incorporate some of Fleetwood's magic into the mix as well. You can detect a similar dreamy quality; the ear for melody and emotion also has flavours of the legendary group, but the overall quality and credit is definitely theirs. Monahan herself is only 22 years of age, but since moving from Belfast in 2008, has made a name for herself around Scotland and the U.K. as a whole. Her distinct and incredible voice has earned plaudits from the likes of Radio 1. She has also been featured on the BBC Introducing show: earning herself praise and the fascinated eyes of large sections of the media and population. Having completed a degree in music recently, her sights are set on the future. The Irishwoman, together with her Scottish band of men, are stirring up some fascinating sensations and lines, and it has resulted in their debut E.P. It is early days for the fledgling group, but they are gaining a steady stream of fans and followers via their Facebook and Twitter pages. On Facebook, the group attest to being inspired by the likes of Laura Marling, Queen, The Supremes as well as Norah Jones: quite a mixture of genres, and all top quality and memorable artists. Usually when bands list their icons on websites and social media, it is normally just a checklist for reviewers and fans. As soon as you hit play, one can pick out certain bands and artists from different parts of the song; so by the end you have a long list of very obvious influences: often making the associative act seem like copycats. Recently I have noticed a cessation of this habit. Many new acts are keeping their social media sites sparse, and reducing them to the bare-minimum, afraid of showing their hand or revealing any tell-tale signs of tributing. Bold bands whom have their own style and originality are comfortable in listing their icons: as much as anything it helps people like me to get a sense of who they are and where they come from. If you can do this, and not have your music sound like a composite of those influences, then you have done exactly what is required. With the release of the E.P., Bronagh & the Boys will expand in the market with regards to on-line representation, and draw in a great deal of new fans, all eager to get inside their minds and fall in love. The E.P. A Young Heart is in the market and available for all to hear, and should be studied close. It is a 4-track collection, but each track is detailed and crammed with substance, twists and emotion. The second track from the set is their debut single, and has been garnering a lot of respect and attention from a wide range of sources. It is indicative of the group as a whole and ties together their signature sound, whilst blending seamless flavours from some of their heroes and heroines.

Green is the longest of the quartet of songs on the E.P., but also the most evocative. Beginning with a vocal rush, our front-woman is joined by her band members; the resultant rush of voices swells and emotes. Bronagh's voice is full-bodied yet romantic, announcing: "Green is the colour that makes me feel hope". There is a distinct dreamy quality to the vocal project, sort of Fleet Foxes-cum-Fleetwood Mac that is a rarity in 2013, or in fact recent years. I was wondering if the colour of green has an autobiographical or symbolic relevance to the band and Monahan: maybe an Irish connection, and when she sings "And green reminds me of you", I was curious if there was a man waiting in Belfast for her; or whether green referred to grass; Spring; happier times and climbs: there is a mystery and fascination to begin. Colours have been used before as synonyms; especially blue and black: Amy Winehouse went Back to Black; The Marcels sung of a Blue Moon, and various acts have incorporated colour schemes into their songs. The initial vocal swells: that begin as chorusing calls, before focusing on just Monahan's tones, are subdued at the 0:24 mark, and replaced by gently-picked strings. Green's initial stages are a mixture of Californian sunshine and soul, mixed with folk and '70s pop scenes. The light and luscious guitar sounds are joined by a gorgeous piano coda, that when blended, is genuinely spine-tingling. From the early rush and energy of the vocals; now we are laid down and tenderly rested: the effect is quite startling. Strings of a classical nature enter the scene very shortly, eliciting Irish flavours: the romantic sway and sensation has its heart rooted in parts of Northern Ireland, as well as E.I.R.E. When the next verse is delivered, the tone is more sedate and introspective. Our front-woman's voice is soft and tender and crystalline in its purity. She speaks of doubts, stating "I've made mistakes"; her vocal evocations being subtly backed by the band, who keep the mood fragile and warm. In the way that a lot of band and artist write themes of love-gone-wrong and fill their lines with some bitterness and spikiness, here the sentiments are much more respectful and earnest: "In you I've found that love could be restored". Bronagh's band: Neil, Andrew, Tony, Allan and Michael let the voice speak clearly and be heard, never trying to crowd it with too many notes or noise; instead their musical polymorphism compliments the voice and lyrics superbly. There is never hint of sadness within Monahan's voice; everything is delivered strongly with focus: one suspects that any demons that were present are gone, and she is now focusing on her love and what is to come. The chorus is repeated, adding weight and familiarity in equal measures, the true meaning behind its words are no clearer the second time. One suspects that there are links to home and far-away places, but also a lot of hidden meaning behind 'green' and "Green in the colour that makes me feel whole". Throughout the chorus and verses, as well as the musical passages too, there is an abiding sense of youthfulness and child-like innocence. Fairytale sparkle can be heard in the strings and piano, and evocations of beautiful landscapes, verdant valleys and fields are summoned forth. For all the gentle soulful words, that make you think of times and eras past, there are reminders of today as well as more vulnerable moments: "Who knew a drunken moment would make see some sense". It is when the chorus is introduced for the third time, that the vocal harmonies are reintroduced. Slowly, more meaning and relevance is unveiled from the lines of the chorus, and you get a clearer sense of what our heroine has been through, and where she wants to be. Whomever and wherever her heart belongs, it is anonymous, left to the listener to decide if it is home, a paramour or a particular place she is dreaming of, but you suspect that there is a little of all three. Monahan's voice has some comparable with some female contemporaries, but the abiding sense is that her quality and tones are more similar to the folk and soul icons of old, as well as influences such as Fleetwood Mac. In the modern climate, female voices- with a few exceptions- go either for raw power and belting (Adele for instance) or are too sickly-sweet or bland. Here, there is more authority, passion and conviction. Sure, a few modern singers have a similar ambition and quality, but they are few and far between, and it is pleasing to hear a voice you can have faith in. Not to demote the band to any sort of background fascination, they add as much as to atmosphere and mood as anything. When the chorus ends, piano, strings and additional vocals are heralded that are swooning, delicate and passionate. "It's true I'm not blue/When I see green and you know who I mean" becomes a mantra in the song's final third; musical accompaniment is sparse but effective and the vocals (by Monahan, as well as the rest of the band) create a stirring scene. Percussion is added to the mix, as well as wind instruments, and Monahan adds more power and passion to her voice as well, to match the rising energy. With further revelations from the repeating of the chorus, the song comes to an end. The overall effect is one of a pleasing satisfaction, where a personal message has been delivered, with a little mystery and intrigue at its edge.

It is difficult to compare Bronagh & the Boys to any current act. Perhaps the better-educated of music-lover will disagree, but I found that there was a vital freshness and originality to the sound. Elements of '60s and '70s pop and folk mingle alongside modern-day sounds. Green is infused with sunshine, rainswept and has a wind of Ireland, Scotland and gorgeous views. The lyrics are romantic and tender at their heart, and the chorus is particularly memorable and impressive: it has a simplicity and obliqueness mixed together that will be familiar and relatable to a lot of people. All of the musical accompaniments and shades fit the song perfectly, and add passion and tenderness where needed; the entire composition is consistently impressive. Perhaps the most striking and memorable facet is the vocals from Monahan. Her voice is calming and gentle, but also possessed of power and plenty of potency. The band's maxim is to produce music that speaks to people and inspires. Harmonies, lyrics and songs will lodge in your brain a long time after you hear them, and there are so many different colours and sounds to be experienced within the E.P. as a whole. Green is a gorgeous love song that tells of fond memories filled with soul, and smiles. I'm His has Kate Bush/The Carpenters stillness and haunted beauty, and tells of a relationship that seems one sided: the man seems uncaring and distance when our heroine gives all she has. Young Hearts steps away from a personal narrative, and examines young lovers and is filled with beauty and positive sensations; where as the closer Not My Own hides deeper scars and doubts. No matter what the subject; whether it is first or third person, pain-filled or overwhelmed with joy, it is delivered beautifully by the band; lead by Monahan's pure voice. Seek out the E.P., as it is filled with texture and layers, and is very much a work of originality. You can hear influences from Scotland, as well as Ireland, with hints of modern and older influences too; fused together to create something that is endearing, captivating and will appeal to lovers of soul, folk, pop as well as devotees of something heavier and more foreboding. In a year where too many new bands are too concerned with heavier and more forceful sounds, and negate the importance of something more sensuous and thought-provoking, Bronagh & the Boys...

ARE showing how good beauty can be.

________________________________________________________________________

Twitter:

https://twitter.com/BronaghMonahan

Facebook:

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

Soundcloud:

http://soundcloud.com/bronaghmusic

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Crystal Seagulls- Yours For As Long As You Keep Me- Track Review

Track Review:

Crystal Seagulls-

Yours For As Long As You Keep Me

9.5/10

Masters of "Sexy Sexy Love Music" have a rare sense of humour, and sounds that are seriously good.

Availability:

Yours For As Long As You Keep Me is available at:

http://crystalseagulls.bandcamp.com/

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UNIFYING elements from the '60s and '70s, and fusing them with...

movements of the modern-age, is near-essential when producing music that can inspire masses, as well as paving the way for other bands to do likewise. Originality and the nature of identity is something that is elementally flawed. New bands are always tasked with coming up with 'their own identity' or having a sound that was theirs, and theirs alone. There are a multitude of issues when trying to formulate a very utilitarian business plan. Not only does an act have to please the media: critics, reviews and the likes; they also need to recruit fans, inspire fellow acts, as well as appeal to the next generation of upcoming musicians. Archiving this is damn near impossible: every sector demands a different sound or sensation, and pleasing everyone is never going to happen. If a group is considered too individual or 'eccentric' then they risk alienating large sectors from the off; at best they can hope to elicit some retrospective appeal and restoration. The main problem with acts today is that they either ape existing music, or else have too many familiar tones in their songs. The latter is far more depressing and common-place and exemplifies the current scene, whilst going a long way to explaining why there are so few genuinely worthy bands on the market. It is the rarefied climbs of innovative and subversive base camps, that will inspire people like me- both as a reviewer and songwriter- to become excited and regain some semblance of faith in the potential of my generation. I can fully emphathise with the plight of the new act: there are myriad temptations and appeals to the music scene; yet striking the right balance is a precocious art form. In essence there is chemistry, biology and physics involved with regards to arriving at a profitable hypothesis. Bonding together the heart, mind, blood and 'soul' is an alchemy that is rarely perfected. If you can make your potential audience feel sympathy towards any- whether they are lyrical or musical- heartbreaks, then you win 'souls'. If the music and words are authentically heartfelt and everyman, then hearts can be captured with ease. If, into the mix, you can throw in sparks of energy, magic and mystery; sure as hell the blood will rush to all parts (and I mean ALL), as well as boil with lustful stupor. Cementing the foundations with cerebral proffering, thought-provoking melodies, lyrics and songs appeal to the intelligence and hippocampus. For those willing to formulate ways of striking gold, and mining oil, then the rewards are multitudinous and affirming. Predilection leans towards ticking maybe three of these four boxes. More often than not, bands and solo artists negate the need to seduce the mind: concerned too much with electioneering to lowest common denominators. It seems that the most efficient way of being able to achieve all the necessary goals, is to marry sounds and sights from various eras. Add a little bit of '60s and '70s invigoration, with a smattering of '90s swagger and sweat, and top it off with a drop of up-to-the-moment-2013, and you are going to yield healthier crops. Originality and a unique personality are sacrosanct as well, but can easily be obtained in addition to drawing in variable influences and genres. Not that this has seemed to penetrate to a lot of the modern-day crop, whom seem bereft in a sea of multiplicity, or else do not have enough mobility within their own sounds to be able to sustain longevity. A few, do, however, get it right...

Formed back in July of last year, and consisting of John, Jim, Elliot and Ben, our four-piece brethren hail from unrelated counties: Greater London, Warwickshire, Cheshire and Hertfordshire. Historically, those regions have sired some influential bands and acts; maybe Hertfordshire has been slightly more diffident and insular in that respect, but it is the acquired evocations from the diverse localities that has contributed to their accomplished sound. In addition to having won the Unsigned Isle of Wight Festival Competition, the boys are unsigned at the present time. Little is known with regards to the band members individual biographies: as well as scant being offered when pertaining to their heroes and influences. I have encountered many new acts that take similar lines; none want to give too much away, less reviewers and fans fixate too much upon it. When evaluating an act's influences, many will use it as a pretense to sublimate the act's potential, or lazily compare them (to the bands/artists that they are in awe of). I have been pointed in their direction by a lot of fellow musicians, including Steve Heron: a Scottish singer-songwriter. The guys have an evident sense of humour, and have a generously populate their social media pages, with links, reviews and information. They understand the importance of generous promotion and representation, as well as producing exciting and wide-ranging sounds. If you can pull of these under-used aces, then you are already 3/4 of the way to achieving long-term attention. Their name as well- Crystal Seagulls- is appropriately evocative and intriguing. Both precious but precocious; valuable yet antogonising. With odd imagery, strange dreams and psychedelic buzz in mind, I broached the subject of the band's music.

The opening salvo is always tough to get right. You are mandated to hook people in, and keep their attentions held. Yours For As Long As You Keep Me, begins its climb and sight-seeing with appropriately gentle intention. There are distinctive patterns of the '90s to be heard from the initial seconds: remnants of (What's the Story) Morning Glory?-Oasis; 1995-Britpop; essences of modern-day solo artistry too. Sparsity and emotional resonance are all present and correct, and it is the simplicity of the effective electric strum that leads in the song confidently. Lyrically, the mood shifts slightly from the shores of Oasis, Blur and from the '60s masters as well as modern-day troubadours. If the skeleton hints at times past, the organs are very much that of Crystal Seagulls. "Saline drip my dream" is as evocative and provocative as any opening line; galvanised by "Blunt the edges/Reinforce what's real". A sense of dislocation as well as displacement linger within the opening verse. Poetic and direct notions go on to mix with oblique and dream-like sentiments. Everything is delivered with confidence and passion. When the second verse kicks in, it is done with audible abandon: the drum snaps into life, and an energy rush is elicited. Words of concern seem to layer into the mood. Our hero clearly has a girl in mind; one whom has caused sleepless nights and anxiety. You would never tell from the vocal tones that there is too much inner scarring. Like the brothers Gallagher, as well as northern contemporaries such as Doves and Elbow, there is a masculine confidence and bravado: even if you suspect that deeper down there is some pain and tears. From the opening thoughts, the energy is built ever upwards. By the time we hear of "So tell me if they work you like a dog?", our protagonist unleashes a slight gravelly growl. Plenty of swagger is abound: the boys have a fond admiration for the heyday of '90s music. You can hear the same little slams and lines in the verses; yet expectation is circumvented so that they come off as fresh and modern. As much as the quarter parade and march, underneath there is a sensitive that tells of times where they'd "gaze and watch your stars come alive". There is an anthemic quality to proceedings. If I had to cheapen the moment and compare the track, I could hear elements of mid-career Blur, as well as early Oasis. A comparable quality and vitality rules the sound. Even if there are some Britpop-cum-Grunge undertones, then the abiding impression is very much one of 2013. The boys whom want it said: "Shoot me scouting for an even feel", twist and turn their words inside out; display plain, hard emotion as well as more open-ended mystery. It is not just the lyrics and vocals that intrigue and strike. The rest of the band whip up gorgeous and diverse guitar lines, that go from '90s blister, through to 1960s pop smile, via '70s Steely Dan (and their jazz expeditions). Little flecks of Crowded House and their gift for vocal and audio melody, and a comparable lyrical talent is on display: "Cos if my heart counts for something/Don't care what they say, it's not wasted on you". Crystal Seagulls can unveil their inner-most demons, yet infuse everything with a sense of bonhomie and uplifting energy. Ordinarily, songs that have slightly anxious or downbeat sentiments, are delivered with appropriate gloom. The boys keep everything positive and interesting. The percussion, bass and drum summon up lines and passages that are filled with blues authority, as well as star-gazing prowess from '90s and '60s pop annals. As much as there is introspection and questions asked, the abiding them is one of love and hope. The final line reads: "Be here by my side, I'm still here waiting for you". It is a graceful and romantic coda, that encapsulates the song's majesty.

I guess for a long time, I have bemoaned the lack of inspiring bands and sounds in the current scene. Perhaps my standards are too high, or my sights too narrow. Whatever is causing this malaise and very real discontent, is a long way from being reappropriated. Too many bands and new artists lack the basic knowledge and ambition that is required to capture minds. Even fewer are aware of what is required within a song/E.P./album, in order to captivate: must glaringly there is little originality or excitement. Crystal Seagulls understand that it is important to incorporate themes from bygone times into your sound. It displays no lack of innovation; quite the opposite in fact. They also have not fallen into the trap that most have, of distilling their own essence with too many other ingredients. Our four-piece, in Yours For As Long As You Keep Me, have laid down a song that is as ready-made for the festivals and arenas, as it is for the mainstream radio stations. It is unsurprising that success has come to them, and many are latching onto their sounds. Through a combination of fresh and impassioned vocals; pioneering and exciting musical lines, and a sharp and intelligent set of lyrics, the track manages to excite, endeavour, seduce and captivate. Not many bands can lay testament to that, and certainly not too many in 2013. Whatever the future holds for them: E.P.s, albums, tours or the like, they deserve to be snapped up and encouraged more by the record labels, as well as influential media bodies and outlets. Word of mouth, ambition, accomplishment and talent have got them a long way in a short time, but I suspect that their sights are set even further. In order to scale some ice-tipped peaks and murky climbs, a greater understanding and exposure needs to be begun. So long as they keep going strong, then the next few years should be very prosperous indeed. Join them, and see what the fuss is all about:

WOULD I lie to you?________________________________________________________________________

Twitter:

https://twitter.com/CrystalSeagulls

Facebook:

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

iTunes:

https://itunes.apple.com/gb/album/crystal-seagulls-single/id558476975

Soundcloud: 

http://soundcloud.com/crystalseagulls

YouTube: 

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

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The 1975- Chocolate- Track Review

Track Review:

The 1975-

Chocolate

9.7/10

A 38-year-old name, a personality built around black-and-white and a rising fan-base, means only one thing: one hell of a sound.

Availability:

Chocolate is available at:

http://www.youtube.com/watch?v=FfBKqaVk2Co

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A lack of authoritarianism, and a rampant drive of electioneering...

is as important as anything, in the current climate, with regards to gaining and keeping a foothold. It is obvious that a great swarm of acts and bands are coming onto the market by the week. If you're lucky, you may get a bit of press attention. There may be an obligatory short biography; contained within will be some feint praise, and an annoying tendency for the associated writer to compare the act or artists to someone or other. Every piece seems to begin: "Meet the new...". It is the lack of imagination within the media, as well as an apparent lack of originality within music, that has sunk many a ship, and condemned a fledgling act to a premature- and often painful- death. Social media is as important as anything these days. The influence and power that it has, is utilised by new music, and is responsible for getting an act's music to unusual places; gaining them new legions of fans, as well as inspiring other bands as well. Of course, one can not solely rely upon these facets, nor can they have an overconfident naivety, and assume that everything will work out for them. Too few new acts have done the bare-minimum with regards to promotion, on-line coverage, and getting their sounds perfected, differentiated, and spread to the public. Sticking too closely to a particular promotional format and mould, and being too restricted and predictable, can also cause early entropy. If a new act not only wants to survive, but to be heralded as a modern great, then it is as important to have a sound that is fresh, all-encompassing, and stunning. I have focused long on twin pillars: location and originality. With regards to the former, most of my concentrating has been aimed towards the north of England, as well as Scotland. The latter tends to have greater range, and a bit more fascination, but the former has growing numbers and consistency. Bradford, Leeds and the general Yorkshire area is proffering a great deal of variable talent: swing, blues rock and '60s Nancy Sinatra-esque pop mingles alongside indie flavours. It is farther west that something more distilled is to be found. Whereas the Yorkshire contemporaries portray greater range, over in Manchester there is a focus primarily on indie bands as well as rock and hard rock groups. I have stated unequivocal that these area are producing the ripest crop of current talent. Long have I wiped my brow when trying to formulate scientific conclusions why this is so, but there seems to be a busier local scene here, as well as being a greater number of stronger acts. As much as I have been in awe of the passion and protestations from the musical fellows, I have been as dismayed by some rather worrying trends. More often than not, originality is a big issue. In the past few weeks a great deal of groups I have focused upon have been aping Arctic Monkeys. I understand the desire to try and emulate a group that is popular and (relatively) local: but why bother compromising your identity to achieve this? We already have Arctic Monkeys and no matter how close you mimic or how hard you try you are not going to be as good; either musically and certainly not lyrically. Alex Turner's voice is also ripped off, and you get the sense that as well as there being a lot of movement in the north, there is not a great deal of imagination...

The 1975, however, are a band that have defied this, and have done everything right. The guys met over 10 years ago now, but through a shared affection as well as a combined passion for music, the band was formed and cemented, 1975 itself was a year that saw some of the best songs from the likes of The Eagles, Wings and Alice Cooper. The group consist of Matt Healy, George Daniel, Adam Hann and Ross MacDonald. The band themselves are not beholding to simply tributing an existing act, nor sticking unyielding to one genre: they mix punk energy, with Motown, northern European dreaminess and big pop hooks. Innovation as well as cross pollination is as essential as anything, if one wants to create songs that are memorable as well as innovative. In spite of having only released their debut E.P. a year ago, the four-piece have been restless: promoting and touring extensively, and summoning a prodigious and consistent workload. Many new bands neglect the power and necessity of on-line representation. I have come across too many acts that maybe have a basic and skeleton Facebook page; and maybe something on Twitter too. More often than not, these pages and spaces are neither memorable, nor especially informative. The 1975 are a band that appreciate the value of spreading the good word as far and wide as possible, and their social media representation, as well as wider appeal, is awash with black-and-white classical edges. There are few colour photos or colours in general to be found: their appeal and aesthete is representative of their band name's heritage and implication. Small things impress me: they have lyrics on their official site, even though the words are not differentiated, making it hard to get too much out of it. Too many bands do not publish their lyrics, and combined with vocal performances which are often unintelligible and indecipherable, it makes for a frustrating experience. Of course it not just because of their impressive on-line portfolio that the band have amassed an army of impassioned fans. The music itself, in terms of its original ambition and qualitative regard is what gives The 1975 their stellar reputation. As well as their pioneering nature with regards to mixing genres, it is also the clear affection the guys share, and the passion they have for music. Last year they released their debut E.P. Facedown., and gained a lot of positive radio play, with crowds and the uninitiated latching onto their unique blitz and energy in the live arena. The E.P.s Sex and Music and Cars followed, and gained attention from the likes of Zane Lowe. Following on from this IV ensued, and pulled in new fans, all hungry to hear what the band will come up with in 2013. The debut, and self-titled album is all-but-completed, and will be unleashed in the Autumn. It is axiomatic to say that the album will be met with a firestorm of intrigue and demand, and will project a mix of their trademark sounds, as well as some new avenues and sensations. It may be the E.P. IV that is gaining the current share of attention, but Chocolate is one of their most-celebrated tracks, and derives from the release Music for Cars.

It is the pulsating and almost-electronic percussive thud; combined with a pupated building energy that lights the fuse for Chocolate. Once one siphons through the myriad of trolls and pointless vitriol on the YouTube comments section, and focuses on the video, it adds weight to the track. Reliable hues of black and white, stylised and filmic beauty, alongside foreboding nightscapes, represents the song's authority perfectly. Past the 0:10 mark, the percussive smack mutates with electric guitar sparks. The rhythm kicks and dances in a bonhomie disregard; it is a mixture of modern-day vitality-cum '60s and '70s charm that gives the song its initial intrigue. The intro. itself settles upon a pattern and format and holds itself true: it draws you in and is as exciting as it is relaxing. When the vocal arrives, the tone is invigorated and raw-edged. There's a little of Kings of Leon's U.S. drawl, mingling with Mancunian accent, that is apparent. Any fear of hearing something overly-familiar or overly-replicated is expunged immediately, to be replaced by something that is as imbued with originality, as it is with vitality. The voice has youthful passion, but has married in influence from the band's idols, as well as tones from the modern scene. Chocolate's words deal with ambiguity of love and cessation of a parabond: "Call it a split/Because I know that you will". When the words are delivered, there is some unique delivery: lines are tripped out, skip and trip, making the meaning more pointed and evocative. Scenes of city life and associative danger are spoken: "We got guns hidden under our petticoats". It is with energy and firm evocation that the band support the front-man. The bass and guitar bubble and create waves; the drum work is solid and galvanize's the track's spine: together the effect is one of youthful vigour and sensationalism. In the way that The 1975 are influenced by the likes of Motown, The '60s legends, as well as The Rolling Stones, this is apparent in the way the music is projected. Delivery is given special consideration. Lesser groups would choose force over construction, produce something more anodyne and monotonous. The 1975 blend the hallmarks of different genres when projecting, and means that their words and themes are made more memorable and exciting. The boys tell of vignettes and scenes where "We're never gonna quit/If you don't stop smoking it". It is the mandate of not giving in and resilience that is repeated to great effect: the words are said more convincingly than any other in the track. If the guys can differentiate the lyrics on their official page it would have made it easier to deduce this; but is something I hope will be rectified in the lead-up to their album release. It is the re-enforced themes of petticoats, chocolate scents and lawlessness that gives Chocolate an almost romantic and bygone-era charm. It is the sound and sights of a wild north-west: hero and heroine embroiled in the unpredictability and danger of the night. Of course there is a pure heart and tenderness underneath anything, with our protagonist (in the song's video) alternately looking forlorn and thought-provoked: he projects the air of a punk idol, shrouded in mystery and cigarette smoke. Familiarity and key themes are at the pinnacle of the order of magnitude. Phrases and words are repeated and enunciated to elicit maximum fortitude; the composition is perpetual and unwavering, and the vocal is impressively sprightly and captivating throughout. Chocolate is a track that does not outstay its welcome, nor waste breath or words. You can tell a great deal of thought and detail has been considered with regards to the song. The lyrics are evocative, yet intriguing in their intentions and meaning: "We're dressed in black/Head to toe", for example: a sentiment that can have numerous meanings and implications. There are no needless solos or gaps, with the band given the task of remaining focused and tight throughout.

As a whole, the track is simultaneously a perfect representation of the band's codas, as well as an example of how simple and effective storytelling can draw you in. I have traversed the shores of The 1975, and explored their history quite immersed. Whilst their tracks are varied and differing, the boys have a keen ear for melody and punch. Underneath Chocolate's layers is a punk edge and authority, even if at the core something warmer lies. I was impressed by the group's tight performance and ability. The composition is well structured and exciting. Tones and reminiscences of the U.S. as well as northern England fuse together. Special kudos goes to our protagonist, whose voice is something quite striking. I am particularly struck by vocal prowess and effect, and there are no signs of any other artist inherent in his D.N.A. There is definitely a leaning towards modern energy and sounds, but little slices of older and wiser artists can be detected too. The way that the words are delivered is impressive too: movement, vitality and richness are chapter headings. Being slightly late to the party, I have had to do a lot of retrospective investigation and catching-up. Their forthcoming album will be interesting to hear, and will be exciting to see what direction the band take. Based on the strength and consistency of the work contained within their E.P.s I am certain that they will retain their solid and reputable sound, but coalesce a multitude of genres and diversions. The modern music scene is as susceptible to dry rot as it is to a lack of differentiation. The 1975 are a breeze of fresh air in that respect. Displaying a talent and keen edge for ambitious sounds and striking songs, they break away from the parable of "mimicry is the most sincere form of flattery". With their ready-made festival sound and merit, 2013 and the next few years will afford them many opportunities and possibilities. With over 71,000 'Likes' on Facebook; 40,000+ Twitter followers and a multitude of fans that grows by the day, they are not going to be seeking too much approval or thumbs-up from me. That said, if the band can sort out the niggling issue of their lyrics page, then they will win over many new fans. Being quite enamoured of lyrics and words as I am, the band have a lot of great lyrics and memorable lines. Making them more visible and less cryptic will make it easier to quote them. Although, that said the annunciation and projection is always pretty clear, so it not a huge issue. My main and central thesis with regards to originality and location is prescient and relevant. Here is a Manchester band that can reappropriate some credibility with regards to originality, as well as highlighting the merits and profitability of having a fresh sound. This, combined with an expansive and thorough on-line coverage, has meant they have graduated from the bustling and dangerous underground, and seen some daylight, that will help them grow in the future. Above all it is the ambition and hard work of the guys that will see them firmly in the creative, financial and historical black. With a predictably British Spring in force, where seasons come and go illogically, grab a hold of some consistent sunshine...

AND brightern the day.

________________________________________________________________________

Official: 

http://the1975.com/

Twitter: 

https://twitter.com/the1975

Facebook:

https://www.facebook.com/the1975

iTunes

https://itunes.apple.com/gb/artist/the-1975/id542640016

Soundcloud:

http://soundcloud.com/the1975

YouTube: 

http://www.youtube.com/user/The1975music?feature=watch

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Love L.U.V.- In My Daydreams- Track Review

　Track Review: 

Love L.U.V.-

In My Daydreams.

9.3/10

Their name is taken from a track by the Shangra-Las; their sound infused with U.S. elements of garage-rock: an effect that is hard to shake off.

Availability:

In My Daydreams is available at:

http://www.youtube.com/embed/NHCS2ebMAS0

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GARAGE-rock and heavier, yet controlled sounds are not often...

heard at the moment. Band that are new to the market, and make their first tentative steps into unsure waters, face an inherent gamble. Depending on the year, often depends on what the public wants. Trends and demands, fickle as they are, have an infantile lack of concentration. Over the last several years there has been a shift in popularity; from The xx-style other-worldliness, through to of-the-moment fascinations such as Daft Punk, Vampire Weekend and Emile Sande. Little consistency, pattern or structure seems to dictate minds and demands. It has been a worrying trend over the last few years: something that looks set to continue too. When the likes of Britpop and indie were in vogue, you could always rely on the fact that, at least for the new few years, the public would be clasping and seeking out this type of music. There was some mobility in the market for new bands, but by and large, trends tending to control output. I guess it is good to an extent that there is more diversity and less dependence on fitting into a mould. However, new acts have a tougher time ahead of them. The public, unfortunately, are still as inexplicably unpredictable when it comes to consistency of opinion; popularity and credibility often hinges as much on striking the right chord at the right time, or else being so unique or different, that a sheer curiosity is the focal mandate. In 2013, it is harder now than ever, to determine what is going to be required , from the public's view. A host of variable and colourful acts are bursting forth, nestling into the marketplace, and vying for admiration and notice. If one were to say what is required most of all in the current climate, I would say heavier blues sounds; or else garage rock sounds with a kick of the U.S., and its heart in the U.K. Too many bands now are bogged down in indie sounds and The XX-esque navel-gazing mystique. Sure, there is a great deal of interest when it comes to the compositions, but with regards to the atmosphere, vocals and lyrics, there is little diversity, intrigue or potency at all. We hear too much sedateness, a lot of so-so guitar noise, and a world of indistinguishably. It is true that, if you dig hard enough, you can hear music that will capture you- but you have to look far too hard for comfort. Modern music is still being made memorable but existing acts. The biggest and most profitable acts of this year will be established acts. As well as Daft Punk and Vampire Weekend, the likes of Laura Marling, Queens of the Stone Age and The National will be making the 'top 10' lists, come the end of the year. I have witnessed few examples of bands whom can ever challenge the established order, and make viable steps towards a coup. Solo artists suffer a similar issue. There has been a few that are a bit different; but so many are so similar: bogged down in unspectacular acoustic scenes, proffered by a voice that is either vastly unoriginal, or else mind-numbing. When hunting through the media, and keeping your ears close to the ground, where do you situate yourself, when hoping to find something that is outside of the norm., and capable of eliciting fascination and excitement?

Hopes were high, and my senses inflamed, when I discovered Love L.U.V. All the ingredients were in place: the classic four-piece formation with male and female blends; gorgeous and striking girls, with cool and suave boys; a curious biography and ambition, as well as a sound that I have not heard a lot recently. Lucy Doyle is the vocal queen; Tommy Atkins the guitar warrior; Steve Quigley the drum lord, with Jessica Turner playing keys pioneer. With a unique and intriguing band name, and a distinct band uniform and uniformity: a lot of black-and-white photography, alongside black clothing. Cards are kept close to chest, and the social media sites that they are on, give little insight into their influence and individual biographies. You are required to write your own assumptions and arrive at conclusions based on the strength of their music. It is a tact and requisite that many new acts have taken. Having only formed last Summer, the band only made their live debut three months ago. The fledgling steps have been positive and celebrated: more dates beckon, and a steady reputation has been built. Limehouse, east London, and 'The Disco Room' was the location the band used to record In My Daydreams- as well as the associative video. I am always fascinated by the initial months of any new act's career. Even if they have a manager or record label on board to begin, a lot of their personality, development and consciousness is developed by them alone. They are orphaned or un-adopted children, left to fend for themselves in the music world, with all its heady sounds and smells and barbed wire. Many struggle with the pressure and independence, whilst others thrive and turn it to their advantage. Love L.U.V. have a bold confidence and convincing ambition, which to my mind, indicates a smooth and prosperous road. Certainly based on the strength of their single, they should have no anxiety or apprehensions...

In My Daydreams has a cool and seductive electric guitar strum. Sounding like something between The Everly Brothers' All I Have To Do Is Dream-cum-debut album The Beatles (Do You Want to Know a Secret/A Taste of Honey), it is a smooth and pleasingly evocative initial introduction. As a light percussive tap arrives, with cymbal emphasis, a guitar riot is unleashed. It has the blues/garage rock sound of Seven Nation Army, as well being reminiscent of a less aggressive Arbeit Macht Frei (off of The Libertines' eponymous album). It seems like a witch's brew of the two, with a rollicking kick of something quite intoxicating. It will have your head swaying, feet tapping, and with evocative edges, and a fresh spark of 2013 London garage rock, it is invigorating and intent.  It is hard to shake off the Seven Nation Army comparisons. It never brings to mind any sort of reappropriation. It is fresher; less twangy and hard-hitting: it is more inclusive and melodic, with more percussive influence, and less tortured drama. In a way it the perfect introduction, as it is short and sharp, and will certainly be in your brain for a long, long time. In the way that Detroit and London are introduced, given alcohol, a quiet room, and a packet of cigarettes; the resulting progeny is wide-smiling, relaxed and filled with ethanol tangs and serotonin release. The track concerns an unnamed beau being our heroine's "star-crossed lover". There is a romantic coquettishness, as well as an impassioned power to Lucy's tones: honeyed, but born with a tough fists. Jessica provides ample and effective supportive vocals, adding an extra layer of emphasis and authority to the words. Tommy and Steve work wonderfully together, unveiling a twirling and psychotropic twist of blues, rock, that mixes '60s and '70s sides, with '90s recollections, that are both soldered to a modern-day steel template. The vocal is something that struck my ear hard. Ordinarily, and being a self-proclaimed (and regrettable) master/anal retentive when it comes to vocals and their lineage and heritage; I was stumped. Lucy has few of the pitfalls of most singers: I could not instantly recall a comparable voice, or hint at an obvious influence. There are minute shades of Cyndi Lauper; tiny punk edges, with some early-Madonna as well: not that it is either obvious or overly-apparent or predominant. These vocals are given time to pervade and strike up front: unencumbered by too much sonic inference, yet are punctured beautifully by a rabble of rumbling keys, drums and guitar. The motif of daydreams, and scenes "In my visions", tell of our protagonist proclaiming and exulting the benefits and wonders of an anonymous subject. Whether the man in question is a lover, former or present, or a friend, there is always a positive regard elicited. Comparisons with The Kills have been levied at Love L.U.V. and I suppose there is a similar bait and switch with the vocal and music; as well as a cinematic stomp in the sound and lyrics. Romantic dispositions and charmed proclamations give the track a positive energy and pop sensibility, that, when combined with the rush and blood-rush of the audio energy, produces something natural and cohesive, as well as surprising and unexpected. Our protagonist says that, in daydreams, she is not (just) "this little girl": she wants to be taken "to the stars". The coda and theme of 'stars' is emphasised, repeated and ramified. Its simplicity and effectiveness is infectious and gains a momentum and gravity, that lasts for probably a third of the track, with precious little lyrical or vocal diversion.

Love L.U.V have stepped forward with big results. In a year where there is a heavy reliance on softer sounds, or rock force with little melody, the group are pulling together forgotten threads from stronger times. The vocals are original and fresh, yet have some '60s charm along the lines of The Shagri-Las and The Ronettes. The keys, guitar and drums have garage rock elements from the '90s and early-'00s, yet have an urgency that is very much as modern as anything out there. It is early in the game to say what the future holds, with regards to the direction their music will go. If they can keep producing more songs like In My Daydreams, then they will be in the public consciousness for a long time. One suspects that there are a lot of other sounds and styles in their arsenal, which will be unleashed in due course. The band have a knack and talent for hooks and lines that have memorable pop swing, as well as steely kicks to them. Each member plays their part brilliantly, and there is no sense of anyone trying to steal the limelight: everything supports and blends together to create the best sound. In spite of some White Stripes ruminations and interjected spirit, nothing comes off as tributing. It is a fresh and urgent sound that is a fond departure and needed remedy to counteract a lot of modern bands and sounds, which are, with all the best will in the world, stale and forgettable. Some new groups such as The Strypes (stupid name aside): with all their Beatle-esque '60s style and raw energy, are worthy of consideration and support, but too many are contended to offer precious little memorability. What the group intend to do for the rest of 2013, is hard to say: touring, an E.P./album in the works, or another single, perhaps. There is a market need and gap that needs to be filled with garage rock contenders and bands such as Love L.U.V. Let's just hope that whatever comes next...

HAS the same kick as In My Daydreams.

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Official:

http://loveluvband.tumblr.com/

Twitter:

https://twitter.com/LoveLUVband

Facebook:

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

YouTube: 

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

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UPCOMING GIGS (SO FAR):
July 4th - Paper Dress Vintage, London
July 13th -East End Live Festival, London.

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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.

________________________________________________________________________

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

__________________________________________________________________________

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

_____________________________________________________________________________________

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

____________________________________________________________________________
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...

__________________________________________________________________________

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

____________________________________________________________________________
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.

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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

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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/